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[ "Benjamin Henry Latrobe", "England", "When di d he go to england?", "Latrobe returned to England in 1784,", "Are there any other interesting aspects about this article?", "In February 1790, Latrobe married Lydia Sellon," ]	C_d5feaffe27ea4330818d179fa4d55c29_1	Did he have a family?	3	Did Benjamin Henry and Lydia Latrobe have a family?	Benjamin Henry Latrobe	Latrobe returned to England in 1784, and was apprenticed to John Smeaton, an engineer known for designing Eddystone Lighthouse. Then in 1787 or 1788, he worked in the office of neoclassical architect Samuel Pepys Cockerell for a brief time. In 1790, Latrobe was appointed Surveyor of the Public Offices in London, and established his own private practice in 1791. Latrobe was commissioned in 1792 to design Hammerwood Park, near East Grinstead in Sussex, his first independent work, and he designed nearby Ashdown House in 1793. Latrobe was involved in construction of the Basingstoke Canal in Surrey, together with engineers John Smeaton and William Jessop. In spring 1793, Latrobe was hired to plan improvements to the River Blackwater from Maldon to Beeleigh, so that the port of Maldon could compete with the Chelmer and Blackwater Navigation, which bypassed the town. The project lasted until early 1795, when Parliament denied approval of his plan. Latrobe had problems getting payment for his work on the project, and faced bankruptcy. In February 1790, Latrobe married Lydia Sellon, and they lived a busy social life in London. The couple had a daughter (Lydia Sellon Latrobe) and a son (Henry Sellon Boneval Latrobe), before she died giving birth during November 1793. Lydia had inherited her father's wealth, which in turn was to be left to the children through a trust with the children's uncles, but never ended up going to the children. In 1795, Latrobe suffered a breakdown and decided to emigrate to America, departing on November 25 aboard the Eliza. In America, Latrobe was known for his series of topological and landscape watercolors; the series started with a view of the White Cliffs of the south coast of England viewed from the Eliza. The series was preceded by a watercolor of East Grinstead, dated September 8, 1795. CANNOTANSWER	The couple had a daughter (Lydia Sellon Latrobe) and a son (Henry Sellon Boneval Latrobe	Benjamin Henry Boneval Latrobe (May 1, 1764 – September 3, 1820) was a British-American neoclassical architect who emigrated to the United States. He was one of the first formally trained, professional architects in the new United States, drawing on influences from his travels in Italy, as well as British and French Neoclassical architects such as Claude Nicolas Ledoux. In his thirties, he emigrated to the new United States and designed the United States Capitol, on "Capitol Hill" in Washington, D.C., as well as the Old Baltimore Cathedral or The Baltimore Basilica, (later renamed the Basilica of the National Shrine of the Assumption of the Blessed Virgin Mary). It is the first Cathedral constructed in the United States for any Christian denomination. Latrobe also designed the largest structure in America at the time, the "Merchants' Exchange" in Baltimore. With extensive balconied atriums through the wings and a large central rotunda under a low dome which dominated the city, it was completed in 1820 after five years of work and endured into the early twentieth century. Latrobe emigrated in 1796, initially settling in Virginia where he worked on the Virginia State Penitentiary in Richmond. Latrobe then moved to Philadelphia where he established his practice. In 1803, he was hired as Surveyor of the Public Buildings of the United States, and spent much of the next fourteen years working on projects in the new national capital of Washington, D.C., (in the newly-laid out Federal capital of the District of Columbia) where he served as the second Architect of the Capitol. He also was responsible for the design of the White House porticos. Latrobe spent the later years of his life in New Orleans, Louisiana working on a waterworks project, and died there in 1820 from yellow fever. Latrobe has been called the "father of American architecture". He was the uncle of Charles La Trobe, who was the first Lieutenant-Governor of Victoria in Australia. Biography Latrobe was born on May 1, 1764, at the Fulneck Moravian Settlement, near Pudsey in the city of Leeds, in the West Riding of Yorkshire, England. His parents were the Reverend Benjamin Latrobe, a leader of the Moravian Church who was of Huguenot (French Protestant) ancestry, and Anna Margaretta Antes whose father was German and whose maternal line was Dutch. Antes was born in the American colony of Pennsylvania, but was sent to England by her father, a wealthy landowner, to attend a Moravian school at Fulneck. Latrobe's father, who was responsible for all Moravian schools and establishments in Britain, had an extensive circle of friends in the higher ranks of society. He stressed the importance of education, scholarship, and the value of social exchange; while Latrobe's mother instilled in her son a curiosity and interest in America. From a young age, Benjamin Henry Latrobe enjoyed drawing landscapes and buildings. He was a brother of Moravian leader and musical composer Christian Ignatius Latrobe. In 1776, at the age of twelve, Latrobe was sent away to a Moravian School at Niesky in Upper Lusatia, near the border of the German principalities of Saxony and Prussia, where his brother was studying. At age eighteen, he spent several months traveling around Germany, and then joined the Royal Prussian Army, becoming close friends with a distinguished officer in the United States Army. Latrobe also may have served briefly in the Austrian Imperial Army, and suffered some injuries or illness. After recovering, he embarked on a continental "Grand Tour", visiting eastern Saxony, Paris, Italy, and other places. Through his education and travels, Latrobe mastered German, French, ancient and modern Greek, and Latin. He had advanced ability in Italian and Spanish and some knowledge of Hebrew. Latrobe was elected a member of the American Antiquarian Society in 1815. His son, Benjamin Henry Latrobe, II, (sometimes referred to as "Junior"), also worked as a civil engineer. In 1827, he joined the newly organized Baltimore and Ohio Railroad and designed the longest, most challenging bridge on its initial route: the curving Thomas Viaduct, (the third of four multi-arched "viaducts"). Another son, John Hazlehurst Boneval Latrobe (1803–1891), was a noted civic leader, lawyer, author, historian, artist, inventor, intellectual, and social activist in Maryland. A grandson, Charles Hazlehurst Latrobe (1834–1902), Benjamin Henry Latrobe II's son, a Confederate soldier, also continued the tradition of architect and engineer, building bridges for the city and the Baltimore and Ohio Railroad. Latrobe Park in south Baltimore is named for the family, as is Latrobe Park, New Orleans, in the French Quarter. Another grandson, Ferdinand Claiborne Latrobe, was a seven-term mayor of Baltimore. Travels England Latrobe returned to England in 1784, and was apprenticed to John Smeaton, an engineer known for designing Eddystone Lighthouse. Then in 1787 or 1788, he worked in the office of neoclassical architect Samuel Pepys Cockerell for a brief time. In 1790, Latrobe was appointed Surveyor of the Public Offices in London, and established his own private practice in 1791. Latrobe was commissioned in 1792 to design Hammerwood Lodge, near East Grinstead in Sussex, his first independent work, and he designed nearby Ashdown House in 1793. Latrobe was involved in construction of the Basingstoke Canal in Surrey, together with engineers John Smeaton and William Jessop. In spring 1793, Latrobe was hired to plan improvements to the River Blackwater from Maldon to Beeleigh, so that the port of Maldon could compete with the Chelmer and Blackwater Navigation, which bypassed the town. The project lasted until early 1795, when Parliament denied approval of his plan. Latrobe had problems getting payment for his work on the project, and faced bankruptcy. In February 1790, Latrobe married Lydia Sellon, and they lived a busy social life in London. The couple had a daughter (Lydia Sellon Latrobe) and a son (Henry Sellon Boneval Latrobe), before she died giving birth during November 1793. Lydia had inherited her father's wealth, which in turn was to be left to the children through a trust with the children's uncles, but never ended up going to the children. In 1795, Latrobe suffered a breakdown and decided to emigrate to America, departing on November 25 aboard the Eliza. In America, Latrobe was known for his series of topological and landscape watercolors; the series started with a view of the White Cliffs of the south coast of England viewed from the Eliza. The series was preceded by a watercolor of East Grinstead, dated September 8, 1795. Virginia Latrobe arrived in Norfolk, Virginia, in mid-March 1796 after a harrowing four-month journey aboard the ship, which was plagued with food shortages under near-starvation conditions. Latrobe initially spent time in Norfolk, where he designed the "William Pennock House," then set out for Richmond in April 1796. Soon after arriving in Virginia, Latrobe became friends with Bushrod Washington, nephew of President George Washington, along with Edmund Randolph and other notable figures. Through Bushrod Washington, Latrobe was able to pay a visit to Mount Vernon to meet with the president in the summer of 1796. Latrobe's first major project in the United States was the State Penitentiary in Richmond, commissioned in 1797. The penitentiary included many innovative ideas in penal reform, then being espoused by Thomas Jefferson and various other figures, including cells arranged in a semicircle, that allowed for easy surveillance, as well as improved living conditions for sanitation and ventilation. He also pioneered the use of solitary confinement in the Richmond penitentiary. While in Virginia, Latrobe worked on the Green Spring mansion near Williamsburg, which had been built by Governor Sir William Berkeley in the seventeenth century but fell into disrepair after the American Revolutionary War. Latrobe created designs for Fort Nelson in Virginia in 1798. He also made drawings for a number of houses that were not built, including the "Mill Hill" plantation house near Richmond. After spending a year in Virginia, the novelty of being in a new place wore off, and Latrobe was lonely and restless in Virginia. Giambattista Scandella, a friend, suggested Philadelphia as an ideal location for him. In April 1798, Latrobe visited Philadelphia for the first time, meeting with Bank of Pennsylvania president Samuel J. Fox, and presented to him a design for a new bank building. At the time, the political climate in Philadelphia was quite different than Virginia, with a strong division between the Federalists and Jefferson's Democratic-Republicans, along with anti-French sentiment, thus the city was not entirely welcoming for Latrobe. On his way to Philadelphia, Latrobe passed through the national capital city of Washington, D.C., then under construction (congress and the president would not arrive until the year 1800), where he met with the first architect of the capitol, William Thornton, and viewed the United States Capitol for the first time. He stopped by Washington again on his way back to Richmond. Latrobe remained in Richmond, Virginia, until November 1798, when his design was selected for the Bank of Pennsylvania. He moved to Philadelphia, so that he could supervise the construction, although he continued to do occasional projects for clients in Virginia. Philadelphia By the time he arrived in Philadelphia, Latrobe's two friends, Scandella and Volney, had left due to concerns regarding the Alien and Sedition Acts, but Latrobe made friends with some of their acquaintances at the American Philosophical Society. Latrobe submitted several papers to the society, on his geology and natural history observations, and became a member of the society in 1799. With his charming personality, Latrobe quickly made other friends among the influential financial and business families in Philadelphia, and became close friends with Nicholas Roosevelt, a talented steam-engine builder who would help Latrobe in his waterworks projects. Latrobe's first major project in Philadelphia was to design the Bank of Pennsylvania, which was the first example of Greek Revival architecture in the United States. It was demolished in 1870. This commission is what convinced him to set up his practice in Philadelphia, where he developed his reputation. Latrobe also was hired to design the Center Square Water Works in Philadelphia. The Pump House, located on the common at Broad and Market Streets (now the site of Philadelphia City Hall), was designed by Latrobe in a Greek Revival style. It drew water from the Schuylkill River, a mile away, and contained two steam engines that pumped it into wooden tanks in its tower. Gravity then fed the water by wooden mains into houses and businesses. Following his work on the Philadelphia water works project, Latrobe worked as an engineer of the Chesapeake and Delaware Canal. In addition to Greek Revival designs, Latrobe also used Gothic Revival designs in many of his works, including the 1799 design of Sedgeley, a country mansion in Philadelphia. The Gothic Revival style was used in Latrobe's design of the Philadelphia Bank building as well, which was built in 1807 and demolished in 1836. As a young architect, Robert Mills worked as an assistant with Latrobe from 1803 until 1808 when he set up his own practice. While in Philadelphia, Latrobe married Mary Elizabeth Hazlehurst (1771–1841), in 1800. The couple had several children together. Washington, D.C. In the United States, Latrobe quickly achieved eminence as the first professional architect working in the country. Latrobe was a friend of Thomas Jefferson, influencing Jefferson's design for the University of Virginia. Latrobe also knew James Monroe, as well as New Orleans architect and pirate, Barthelemy Lafon, was Aaron Burr's preferred architect, and he trained architect William Strickland. In 1803, Jefferson hired Latrobe as Surveyor of the Public Buildings of the United States, and to work as superintendent of construction of the United States Capitol. As construction of the capitol was already underway, Latrobe was tasked to work with William Thornton's plans, which Latrobe criticized. In an 1803 letter to Vice President Aaron Burr, he characterized the plans and work done as "faulty construction". Nonetheless, President Thomas Jefferson insisted that Latrobe follow Thornton's design for the capitol. Although Latrobe's major work was overseeing construction of the United States Capitol, he also was responsible for numerous other projects in Washington. In 1804, became chief engineer in the United States Navy. As chief surveyor, Latrobe was responsible for the Washington Canal. Latrobe faced bureaucratic hurdles in moving forward with the canal, with the directors of the company rejecting his request for stone locks. Instead, the canal was built with wooden locks, which were subsequently destroyed in a heavy storm in 1811. Latrobe also designed the main gate of the Washington Navy Yard. Latrobe worked on other transportation projects in Washington, D.C., including the Washington and Alexandria Turnpike, which connected Washington with Alexandria, as well as a road connecting with Frederick, Maryland, and a third road, the Columbia Turnpike going through Bladensburg to Baltimore. Latrobe also provided consulting on the construction of the Washington Bridge across the Potomac River in a way that would not impede navigation and commerce to Georgetown. Benjamin Latrobe was responsible for several other projects located around Lafayette Square, including St. John's Episcopal Church, Decatur House, and the White House porticos. Private homes designed by Latrobe include commissions by John P. Van Ness and Peter Casanove. In June 1812, construction of the Capitol came to a halt with the outbreak of the War of 1812 and the failure of the First Bank of the United States. During the war, Latrobe relocated to Pittsburgh, and returned to Washington in 1815, as Architect of the Capitol, charged with responsibility of rebuilding the capitol after it was destroyed in the war. Latrobe was given more freedom in rebuilding the capitol, to apply his own design elements for the interior. Through much of Latrobe's time in Washington, he remained involved with his private practice to some extent and with other projects in Philadelphia and elsewhere. His clerk of works, John Lenthal, often urged Latrobe to spend more time in Washington. By 1817, Latrobe had provided President James Monroe with complete drawings for the entire building. He resigned as Architect of the Capitol on November 20, 1817, and without this major commission, Latrobe faced difficulties and was forced into bankruptcy. Latrobe left Washington, for Baltimore in January 1818. Latrobe left Washington with pessimism, with the city's design contradicting many of his ideals. Latrobe disliked the Baroque-style plan for the city, and other aspects of L'Enfant's plan, and resented having to conform to Thornton's plans for the Capitol Building. One of the greatest problems with the overall city plan, in the view of Latrobe, was its vast interior distances, and Latrobe considered the Washington Canal as a key factor that, if successful, could help alleviate this issue. Latrobe also had concerns about the city's economic potential, and argued for constructing a road connecting Washington with Frederick to the northwest to enhance economic commerce through Washington. New Orleans Latrobe saw great potential for growth in New Orleans, situated at the mouth of the Mississippi River, with the advent of the steamboat and great interest in steamboat technology. Latrobe's first project in New Orleans was the first New Orleans United States Customs building, constructed in 1807. In 1810 Latrobe sent his son, Henry Sellon "Boneval" Latrobe, to the city to present a plan for a waterworks system to the New Orleans city council. Latrobe's plan for the waterworks system was based on that of Philadelphia, which he earlier designed. The system in Philadelphia was created as a response to yellow fever epidemics affecting the city. Latrobe's system used steam pumps to move water from the Schuylkill River to a reservoir, located upstream; so that gravity could be used to transmit the water from there to residents in the city. The New Orleans waterworks project also was designed to desalinate water, using steam-powered pumps. While in New Orleans, Latrobe's son participated in the Battle of New Orleans against British forces in 1815, and took on other projects including building a lighthouse, a new Charity Hospital, and the French Opera House. New Orleans agreed to commission the waterworks project in 1811, although Latrobe was not ready to take on the project immediately and faced financial problems in securing enough investors for the project. His work on the United States Capitol was completed shortly before the War of 1812 started, ending his source of steady income. During the war Latrobe unsuccessfully tried several wartime schemes to make money, including some steamboat projects. In 1814, Latrobe partnered with Robert Fulton in a steamship venture based at Pittsburgh. While in Pittsburgh, Latrobe designed and built a theater for the Circus of Pepin and Breschard. After the U. S. Capitol and White House were burned by the British Army, Latrobe remained in Washington to help with rebuilding, and Latrobe's son took on much of the work for the New Orleans waterworks project. Latrobe faced further delays trying to get an engine built for the waterworks, which he finally accomplished in 1819. The process of designing and constructing the waterworks system in New Orleans spanned eleven years. In addition to this project, Latrobe designed the central tower of the St. Louis Cathedral, which was his last architectural project. Latrobe died September 3, 1820, from yellow fever, while working in Louisiana. He was buried in the Protestant section of the Saint Louis Cemetery in New Orleans, where his eldest son, architect Henry Sellon Boneval Latrobe (1792–1817), had been buried three years earlier, having also succumbed to yellow fever. Architecture Influences While studying in Germany, Latrobe was mentored by Baron Karl von Schachmann, a classical scholar interested in art and collecting. Around 1783, Latrobe made the decision to become an architect, a decision influenced by the baron. While Latrobe was in Germany, a new architectural movement, led by Carl Gotthard Langhans and others, was emerging with return to more Classical or Vitruvian designs. In 1784, Latrobe set off on a Grand Tour around Europe, visiting Paris where the Panthéon, a church dedicated to St. Genevieve, was nearing completion. The Panthéon in Paris, designed by Jacques Germain Soufflot and Jean-Baptiste Rondelet, represented an early example of Neoclassicism. At that time, Claude Nicolas Ledoux was designing numerous houses in France, in Neoclassical style. Latrobe also visited Rome, where he was impressed by the Roman Pantheon and other ancient structures with Greek influence. Influential architects in Britain, at the time when Latrobe returned in 1784, adhered to a number of different styles. Sir William Chambers was at the forefront, designing in Palladianism style, while Chambers' rival, Robert Adam's designs had Roman influence, in a style known as Adam style. Latrobe was not interested in either the Palladian nor Adam style, but Neoclassicalism also was being introduced to Great Britain at the time by George Dance the Younger. Other British architects, including John Soane and Henry Holland, also designed in the Neoclassical style while Latrobe was in London. During his European tour, Latrobe gathered ideas on how American cities should be designed. He suggested city blocks be laid out as thin rectangles, with the long side of the blocks oriented east-west so that as many houses as possible could face south. For a city to succeed, he thought it needed to be established only in places with good prospects for commerce and industrial growth, and with a good water supply. Public health was another key consideration of Latrobe, who believed that the eastern shores of rivers were unhealthy, due to prevailing direction of the wind, and recommended cities be built on the western shores of rivers. Greek Revival in America Latrobe brought from England influences of British Neoclassicism, and was able to combine it with styles introduced by Thomas Jefferson, to devise an American Greek Revival style. John Summerson described the Bank of Pennsylvania, as an example of how Latrobe "married English Neo-Classicism to Jeffersonian Neo-Classicism [and] ... from that moment, the classical revival in America took on a national form". The American form of Greek Revival architecture that Latrobe developed became associated with political ideals of democracy—a meaning that was less apparent in Britain. The direct link between the Greek Revival architecture and American democracy has been disputed by recent scholars such as W. Barksdale Maynard, who sees the Greek Revival as an international phenomenon. Selected works Houses When Latrobe began private practice in England, his first projects were alterations to existing houses, designing Hammerwood Park, and designing Ashdown House, East Sussex. Alterations completed early in his career may have included Tanton Hall, Sheffield Park, Frimley, and Teston Hall, although these homes have since been altered and it is difficult now to isolate Latrobe's work in the current designs. His designs were simpler than was typical at the time, and had influences of Robert Adam. Features in his designs often included as part of the front porticos, Greek ionic columns, as used in Ashdown House, or doric columns, seen in Hammerwood Park. The book, The Domestic Architecture of Benjamin Henry Latrobe, lists buildings he designed in England, including Grade II* listed Alderbury House (late 1800s) in Wiltshire. This structure had previously been misattributed to James Wyatt. It has been described as "one of Wiltshire’s most elegant Georgian country houses". Latrobe continued to design houses after he emigrated to the United States, mostly using Greek Revival designs. Four houses still stand that Latrobe designed: the Decatur House in Washington, D.C.; Adena in Chillicothe, Ohio; the Pope Villa in Lexington, Kentucky; and the Sedgeley Porter's house in Philadelphia. As one of Latrobe's most avant-garde designs, the Pope Villa has national significance for its unique design. He also introduced Gothic Revival architecture to the United States with the design of Sedgeley. The mansion was built in 1799 and demolished in 1857; however, the stone Porter's house at Sedgeley remains as his only extant building in Philadelphia. A theme seen in many of Latrobe's designs is plans with squarish-dimensions and a central, multi-story hall with a cupola to provide lighting, which was contrary to the popular trend of the time of building houses with long narrow plans. Notes References Klotter, James C., and Daniel Rowland, eds. Bluegrass Renaissance: The History and Culture of Central Kentucky, 1792–1852 (University Press of Kentucky; 2012) 371 pages; emphasis on Benjamin Henry Latrobe and "neoclassical" Lexington External links Fine Arts Library Image Collection – University of Pennsylvania Library of Congress, Jefferson Building East Corridor mosaics Benjamin Latrobe: America's First Architect on PBS Benjamin Henry LaTrobe Sketches of Fishes, 1796–1797, 1882 from the Smithsonian Institution Archives American Neoclassical architects British neoclassical architects Architects of the Capitol 1764 births 1820 deaths American ecclesiastical architects Architects of cathedrals Gothic Revival architects Neoclassical architects English ecclesiastical architects Federalist architects Greek Revival architects American surveyors English surveyors Members of the American Philosophical Society Members of the American Antiquarian Society English emigrants to the United States English people of the Moravian Church People educated at Fulneck School People from Pudsey Prussian Army personnel Burials in Louisiana Deaths from yellow fever Infectious disease deaths in Louisiana Latrobe, Pennsylvania 18th-century American people 18th-century English architects Architects from Leeds Latrobe family	true	[ ", son of Konoe Iehiro and adopted son of Takatsukasa Kanehiro, was a kugyō or Japanese court noble of the Edo period (1603–1868). He did not hold regent positions sesshō and kampaku. He and his wife did not have a son, but they adopted one Hisasuke.\n\nReferences\n \n\n1710 births\n1730 deaths\nFujiwara clan\nTakatsukasa family", "Christopher Martin (c. 1582-1621)\n\nIn 1920, at the three-hundredth anniversary of the Mayflower sailing, a plaque was unveiled in the United Reformed Church in Billericay, Essex, England, to commemorate the Martin family, Mayflower emigrants from that town. The plaque names Christopher Martin, Marie Martin, Solomon Prower and John Langerman.\n\nServants traveling with the Christopher Martin family on the Mayflower \n\nSolomon Prowe. Servant and step-son of Christopher Martin. He did not sign the Mayflower Compact indicating he had not yet reached the age of twenty-one, possibly being born between 1600 and 1606. He seems to have been from Essex, from where the Martin family probably originated. All members of the Martin family died during the first few months the Mayflower was in the New World. Solomon Prower died on December 24, 1620, just days before the exploration of Plymouth Harbor for the Pilgrim settlement.\nJohn Langemore. Servant to Christopher Martin. Probably in his teens as he did not sign the Mayflower Compact. Almost nothing is known of his ancestry although he may have come with the Martin family from Essex. He died the first winter, as did all members of the Martin family.\n\nReferences\n\nFurther reading \nRobert C. Anderson. The Great Migration Begins. Boston: New England Historic Genealogical Society, 1995.\nRobert C. Anderson. The Pilgrim Migration. Boston: New England Historic Genealogical Society, 2004.\nR. J. Carpenter. Christopher Martin, Great Burstead and The Mayflower. Chelmsford, Essex, 1982.\n\nMayflower passengers\n1580s births\n1620s deaths\nYear of birth uncertain\nBurials at Cole's Hill Burial Ground (Plymouth)" ]
[ "Benjamin Henry Latrobe", "England", "When di d he go to england?", "Latrobe returned to England in 1784,", "Are there any other interesting aspects about this article?", "In February 1790, Latrobe married Lydia Sellon,", "Did he have a family?", "The couple had a daughter (Lydia Sellon Latrobe) and a son (Henry Sellon Boneval Latrobe" ]	C_d5feaffe27ea4330818d179fa4d55c29_1	Did htey divorce?	4	Did Benjamin Henry andBenjamin Henry and Lydia Latrobe divorce?	Benjamin Henry Latrobe	Latrobe returned to England in 1784, and was apprenticed to John Smeaton, an engineer known for designing Eddystone Lighthouse. Then in 1787 or 1788, he worked in the office of neoclassical architect Samuel Pepys Cockerell for a brief time. In 1790, Latrobe was appointed Surveyor of the Public Offices in London, and established his own private practice in 1791. Latrobe was commissioned in 1792 to design Hammerwood Park, near East Grinstead in Sussex, his first independent work, and he designed nearby Ashdown House in 1793. Latrobe was involved in construction of the Basingstoke Canal in Surrey, together with engineers John Smeaton and William Jessop. In spring 1793, Latrobe was hired to plan improvements to the River Blackwater from Maldon to Beeleigh, so that the port of Maldon could compete with the Chelmer and Blackwater Navigation, which bypassed the town. The project lasted until early 1795, when Parliament denied approval of his plan. Latrobe had problems getting payment for his work on the project, and faced bankruptcy. In February 1790, Latrobe married Lydia Sellon, and they lived a busy social life in London. The couple had a daughter (Lydia Sellon Latrobe) and a son (Henry Sellon Boneval Latrobe), before she died giving birth during November 1793. Lydia had inherited her father's wealth, which in turn was to be left to the children through a trust with the children's uncles, but never ended up going to the children. In 1795, Latrobe suffered a breakdown and decided to emigrate to America, departing on November 25 aboard the Eliza. In America, Latrobe was known for his series of topological and landscape watercolors; the series started with a view of the White Cliffs of the south coast of England viewed from the Eliza. The series was preceded by a watercolor of East Grinstead, dated September 8, 1795. CANNOTANSWER	she died giving birth during November 1793.	Benjamin Henry Boneval Latrobe (May 1, 1764 – September 3, 1820) was a British-American neoclassical architect who emigrated to the United States. He was one of the first formally trained, professional architects in the new United States, drawing on influences from his travels in Italy, as well as British and French Neoclassical architects such as Claude Nicolas Ledoux. In his thirties, he emigrated to the new United States and designed the United States Capitol, on "Capitol Hill" in Washington, D.C., as well as the Old Baltimore Cathedral or The Baltimore Basilica, (later renamed the Basilica of the National Shrine of the Assumption of the Blessed Virgin Mary). It is the first Cathedral constructed in the United States for any Christian denomination. Latrobe also designed the largest structure in America at the time, the "Merchants' Exchange" in Baltimore. With extensive balconied atriums through the wings and a large central rotunda under a low dome which dominated the city, it was completed in 1820 after five years of work and endured into the early twentieth century. Latrobe emigrated in 1796, initially settling in Virginia where he worked on the Virginia State Penitentiary in Richmond. Latrobe then moved to Philadelphia where he established his practice. In 1803, he was hired as Surveyor of the Public Buildings of the United States, and spent much of the next fourteen years working on projects in the new national capital of Washington, D.C., (in the newly-laid out Federal capital of the District of Columbia) where he served as the second Architect of the Capitol. He also was responsible for the design of the White House porticos. Latrobe spent the later years of his life in New Orleans, Louisiana working on a waterworks project, and died there in 1820 from yellow fever. Latrobe has been called the "father of American architecture". He was the uncle of Charles La Trobe, who was the first Lieutenant-Governor of Victoria in Australia. Biography Latrobe was born on May 1, 1764, at the Fulneck Moravian Settlement, near Pudsey in the city of Leeds, in the West Riding of Yorkshire, England. His parents were the Reverend Benjamin Latrobe, a leader of the Moravian Church who was of Huguenot (French Protestant) ancestry, and Anna Margaretta Antes whose father was German and whose maternal line was Dutch. Antes was born in the American colony of Pennsylvania, but was sent to England by her father, a wealthy landowner, to attend a Moravian school at Fulneck. Latrobe's father, who was responsible for all Moravian schools and establishments in Britain, had an extensive circle of friends in the higher ranks of society. He stressed the importance of education, scholarship, and the value of social exchange; while Latrobe's mother instilled in her son a curiosity and interest in America. From a young age, Benjamin Henry Latrobe enjoyed drawing landscapes and buildings. He was a brother of Moravian leader and musical composer Christian Ignatius Latrobe. In 1776, at the age of twelve, Latrobe was sent away to a Moravian School at Niesky in Upper Lusatia, near the border of the German principalities of Saxony and Prussia, where his brother was studying. At age eighteen, he spent several months traveling around Germany, and then joined the Royal Prussian Army, becoming close friends with a distinguished officer in the United States Army. Latrobe also may have served briefly in the Austrian Imperial Army, and suffered some injuries or illness. After recovering, he embarked on a continental "Grand Tour", visiting eastern Saxony, Paris, Italy, and other places. Through his education and travels, Latrobe mastered German, French, ancient and modern Greek, and Latin. He had advanced ability in Italian and Spanish and some knowledge of Hebrew. Latrobe was elected a member of the American Antiquarian Society in 1815. His son, Benjamin Henry Latrobe, II, (sometimes referred to as "Junior"), also worked as a civil engineer. In 1827, he joined the newly organized Baltimore and Ohio Railroad and designed the longest, most challenging bridge on its initial route: the curving Thomas Viaduct, (the third of four multi-arched "viaducts"). Another son, John Hazlehurst Boneval Latrobe (1803–1891), was a noted civic leader, lawyer, author, historian, artist, inventor, intellectual, and social activist in Maryland. A grandson, Charles Hazlehurst Latrobe (1834–1902), Benjamin Henry Latrobe II's son, a Confederate soldier, also continued the tradition of architect and engineer, building bridges for the city and the Baltimore and Ohio Railroad. Latrobe Park in south Baltimore is named for the family, as is Latrobe Park, New Orleans, in the French Quarter. Another grandson, Ferdinand Claiborne Latrobe, was a seven-term mayor of Baltimore. Travels England Latrobe returned to England in 1784, and was apprenticed to John Smeaton, an engineer known for designing Eddystone Lighthouse. Then in 1787 or 1788, he worked in the office of neoclassical architect Samuel Pepys Cockerell for a brief time. In 1790, Latrobe was appointed Surveyor of the Public Offices in London, and established his own private practice in 1791. Latrobe was commissioned in 1792 to design Hammerwood Lodge, near East Grinstead in Sussex, his first independent work, and he designed nearby Ashdown House in 1793. Latrobe was involved in construction of the Basingstoke Canal in Surrey, together with engineers John Smeaton and William Jessop. In spring 1793, Latrobe was hired to plan improvements to the River Blackwater from Maldon to Beeleigh, so that the port of Maldon could compete with the Chelmer and Blackwater Navigation, which bypassed the town. The project lasted until early 1795, when Parliament denied approval of his plan. Latrobe had problems getting payment for his work on the project, and faced bankruptcy. In February 1790, Latrobe married Lydia Sellon, and they lived a busy social life in London. The couple had a daughter (Lydia Sellon Latrobe) and a son (Henry Sellon Boneval Latrobe), before she died giving birth during November 1793. Lydia had inherited her father's wealth, which in turn was to be left to the children through a trust with the children's uncles, but never ended up going to the children. In 1795, Latrobe suffered a breakdown and decided to emigrate to America, departing on November 25 aboard the Eliza. In America, Latrobe was known for his series of topological and landscape watercolors; the series started with a view of the White Cliffs of the south coast of England viewed from the Eliza. The series was preceded by a watercolor of East Grinstead, dated September 8, 1795. Virginia Latrobe arrived in Norfolk, Virginia, in mid-March 1796 after a harrowing four-month journey aboard the ship, which was plagued with food shortages under near-starvation conditions. Latrobe initially spent time in Norfolk, where he designed the "William Pennock House," then set out for Richmond in April 1796. Soon after arriving in Virginia, Latrobe became friends with Bushrod Washington, nephew of President George Washington, along with Edmund Randolph and other notable figures. Through Bushrod Washington, Latrobe was able to pay a visit to Mount Vernon to meet with the president in the summer of 1796. Latrobe's first major project in the United States was the State Penitentiary in Richmond, commissioned in 1797. The penitentiary included many innovative ideas in penal reform, then being espoused by Thomas Jefferson and various other figures, including cells arranged in a semicircle, that allowed for easy surveillance, as well as improved living conditions for sanitation and ventilation. He also pioneered the use of solitary confinement in the Richmond penitentiary. While in Virginia, Latrobe worked on the Green Spring mansion near Williamsburg, which had been built by Governor Sir William Berkeley in the seventeenth century but fell into disrepair after the American Revolutionary War. Latrobe created designs for Fort Nelson in Virginia in 1798. He also made drawings for a number of houses that were not built, including the "Mill Hill" plantation house near Richmond. After spending a year in Virginia, the novelty of being in a new place wore off, and Latrobe was lonely and restless in Virginia. Giambattista Scandella, a friend, suggested Philadelphia as an ideal location for him. In April 1798, Latrobe visited Philadelphia for the first time, meeting with Bank of Pennsylvania president Samuel J. Fox, and presented to him a design for a new bank building. At the time, the political climate in Philadelphia was quite different than Virginia, with a strong division between the Federalists and Jefferson's Democratic-Republicans, along with anti-French sentiment, thus the city was not entirely welcoming for Latrobe. On his way to Philadelphia, Latrobe passed through the national capital city of Washington, D.C., then under construction (congress and the president would not arrive until the year 1800), where he met with the first architect of the capitol, William Thornton, and viewed the United States Capitol for the first time. He stopped by Washington again on his way back to Richmond. Latrobe remained in Richmond, Virginia, until November 1798, when his design was selected for the Bank of Pennsylvania. He moved to Philadelphia, so that he could supervise the construction, although he continued to do occasional projects for clients in Virginia. Philadelphia By the time he arrived in Philadelphia, Latrobe's two friends, Scandella and Volney, had left due to concerns regarding the Alien and Sedition Acts, but Latrobe made friends with some of their acquaintances at the American Philosophical Society. Latrobe submitted several papers to the society, on his geology and natural history observations, and became a member of the society in 1799. With his charming personality, Latrobe quickly made other friends among the influential financial and business families in Philadelphia, and became close friends with Nicholas Roosevelt, a talented steam-engine builder who would help Latrobe in his waterworks projects. Latrobe's first major project in Philadelphia was to design the Bank of Pennsylvania, which was the first example of Greek Revival architecture in the United States. It was demolished in 1870. This commission is what convinced him to set up his practice in Philadelphia, where he developed his reputation. Latrobe also was hired to design the Center Square Water Works in Philadelphia. The Pump House, located on the common at Broad and Market Streets (now the site of Philadelphia City Hall), was designed by Latrobe in a Greek Revival style. It drew water from the Schuylkill River, a mile away, and contained two steam engines that pumped it into wooden tanks in its tower. Gravity then fed the water by wooden mains into houses and businesses. Following his work on the Philadelphia water works project, Latrobe worked as an engineer of the Chesapeake and Delaware Canal. In addition to Greek Revival designs, Latrobe also used Gothic Revival designs in many of his works, including the 1799 design of Sedgeley, a country mansion in Philadelphia. The Gothic Revival style was used in Latrobe's design of the Philadelphia Bank building as well, which was built in 1807 and demolished in 1836. As a young architect, Robert Mills worked as an assistant with Latrobe from 1803 until 1808 when he set up his own practice. While in Philadelphia, Latrobe married Mary Elizabeth Hazlehurst (1771–1841), in 1800. The couple had several children together. Washington, D.C. In the United States, Latrobe quickly achieved eminence as the first professional architect working in the country. Latrobe was a friend of Thomas Jefferson, influencing Jefferson's design for the University of Virginia. Latrobe also knew James Monroe, as well as New Orleans architect and pirate, Barthelemy Lafon, was Aaron Burr's preferred architect, and he trained architect William Strickland. In 1803, Jefferson hired Latrobe as Surveyor of the Public Buildings of the United States, and to work as superintendent of construction of the United States Capitol. As construction of the capitol was already underway, Latrobe was tasked to work with William Thornton's plans, which Latrobe criticized. In an 1803 letter to Vice President Aaron Burr, he characterized the plans and work done as "faulty construction". Nonetheless, President Thomas Jefferson insisted that Latrobe follow Thornton's design for the capitol. Although Latrobe's major work was overseeing construction of the United States Capitol, he also was responsible for numerous other projects in Washington. In 1804, became chief engineer in the United States Navy. As chief surveyor, Latrobe was responsible for the Washington Canal. Latrobe faced bureaucratic hurdles in moving forward with the canal, with the directors of the company rejecting his request for stone locks. Instead, the canal was built with wooden locks, which were subsequently destroyed in a heavy storm in 1811. Latrobe also designed the main gate of the Washington Navy Yard. Latrobe worked on other transportation projects in Washington, D.C., including the Washington and Alexandria Turnpike, which connected Washington with Alexandria, as well as a road connecting with Frederick, Maryland, and a third road, the Columbia Turnpike going through Bladensburg to Baltimore. Latrobe also provided consulting on the construction of the Washington Bridge across the Potomac River in a way that would not impede navigation and commerce to Georgetown. Benjamin Latrobe was responsible for several other projects located around Lafayette Square, including St. John's Episcopal Church, Decatur House, and the White House porticos. Private homes designed by Latrobe include commissions by John P. Van Ness and Peter Casanove. In June 1812, construction of the Capitol came to a halt with the outbreak of the War of 1812 and the failure of the First Bank of the United States. During the war, Latrobe relocated to Pittsburgh, and returned to Washington in 1815, as Architect of the Capitol, charged with responsibility of rebuilding the capitol after it was destroyed in the war. Latrobe was given more freedom in rebuilding the capitol, to apply his own design elements for the interior. Through much of Latrobe's time in Washington, he remained involved with his private practice to some extent and with other projects in Philadelphia and elsewhere. His clerk of works, John Lenthal, often urged Latrobe to spend more time in Washington. By 1817, Latrobe had provided President James Monroe with complete drawings for the entire building. He resigned as Architect of the Capitol on November 20, 1817, and without this major commission, Latrobe faced difficulties and was forced into bankruptcy. Latrobe left Washington, for Baltimore in January 1818. Latrobe left Washington with pessimism, with the city's design contradicting many of his ideals. Latrobe disliked the Baroque-style plan for the city, and other aspects of L'Enfant's plan, and resented having to conform to Thornton's plans for the Capitol Building. One of the greatest problems with the overall city plan, in the view of Latrobe, was its vast interior distances, and Latrobe considered the Washington Canal as a key factor that, if successful, could help alleviate this issue. Latrobe also had concerns about the city's economic potential, and argued for constructing a road connecting Washington with Frederick to the northwest to enhance economic commerce through Washington. New Orleans Latrobe saw great potential for growth in New Orleans, situated at the mouth of the Mississippi River, with the advent of the steamboat and great interest in steamboat technology. Latrobe's first project in New Orleans was the first New Orleans United States Customs building, constructed in 1807. In 1810 Latrobe sent his son, Henry Sellon "Boneval" Latrobe, to the city to present a plan for a waterworks system to the New Orleans city council. Latrobe's plan for the waterworks system was based on that of Philadelphia, which he earlier designed. The system in Philadelphia was created as a response to yellow fever epidemics affecting the city. Latrobe's system used steam pumps to move water from the Schuylkill River to a reservoir, located upstream; so that gravity could be used to transmit the water from there to residents in the city. The New Orleans waterworks project also was designed to desalinate water, using steam-powered pumps. While in New Orleans, Latrobe's son participated in the Battle of New Orleans against British forces in 1815, and took on other projects including building a lighthouse, a new Charity Hospital, and the French Opera House. New Orleans agreed to commission the waterworks project in 1811, although Latrobe was not ready to take on the project immediately and faced financial problems in securing enough investors for the project. His work on the United States Capitol was completed shortly before the War of 1812 started, ending his source of steady income. During the war Latrobe unsuccessfully tried several wartime schemes to make money, including some steamboat projects. In 1814, Latrobe partnered with Robert Fulton in a steamship venture based at Pittsburgh. While in Pittsburgh, Latrobe designed and built a theater for the Circus of Pepin and Breschard. After the U. S. Capitol and White House were burned by the British Army, Latrobe remained in Washington to help with rebuilding, and Latrobe's son took on much of the work for the New Orleans waterworks project. Latrobe faced further delays trying to get an engine built for the waterworks, which he finally accomplished in 1819. The process of designing and constructing the waterworks system in New Orleans spanned eleven years. In addition to this project, Latrobe designed the central tower of the St. Louis Cathedral, which was his last architectural project. Latrobe died September 3, 1820, from yellow fever, while working in Louisiana. He was buried in the Protestant section of the Saint Louis Cemetery in New Orleans, where his eldest son, architect Henry Sellon Boneval Latrobe (1792–1817), had been buried three years earlier, having also succumbed to yellow fever. Architecture Influences While studying in Germany, Latrobe was mentored by Baron Karl von Schachmann, a classical scholar interested in art and collecting. Around 1783, Latrobe made the decision to become an architect, a decision influenced by the baron. While Latrobe was in Germany, a new architectural movement, led by Carl Gotthard Langhans and others, was emerging with return to more Classical or Vitruvian designs. In 1784, Latrobe set off on a Grand Tour around Europe, visiting Paris where the Panthéon, a church dedicated to St. Genevieve, was nearing completion. The Panthéon in Paris, designed by Jacques Germain Soufflot and Jean-Baptiste Rondelet, represented an early example of Neoclassicism. At that time, Claude Nicolas Ledoux was designing numerous houses in France, in Neoclassical style. Latrobe also visited Rome, where he was impressed by the Roman Pantheon and other ancient structures with Greek influence. Influential architects in Britain, at the time when Latrobe returned in 1784, adhered to a number of different styles. Sir William Chambers was at the forefront, designing in Palladianism style, while Chambers' rival, Robert Adam's designs had Roman influence, in a style known as Adam style. Latrobe was not interested in either the Palladian nor Adam style, but Neoclassicalism also was being introduced to Great Britain at the time by George Dance the Younger. Other British architects, including John Soane and Henry Holland, also designed in the Neoclassical style while Latrobe was in London. During his European tour, Latrobe gathered ideas on how American cities should be designed. He suggested city blocks be laid out as thin rectangles, with the long side of the blocks oriented east-west so that as many houses as possible could face south. For a city to succeed, he thought it needed to be established only in places with good prospects for commerce and industrial growth, and with a good water supply. Public health was another key consideration of Latrobe, who believed that the eastern shores of rivers were unhealthy, due to prevailing direction of the wind, and recommended cities be built on the western shores of rivers. Greek Revival in America Latrobe brought from England influences of British Neoclassicism, and was able to combine it with styles introduced by Thomas Jefferson, to devise an American Greek Revival style. John Summerson described the Bank of Pennsylvania, as an example of how Latrobe "married English Neo-Classicism to Jeffersonian Neo-Classicism [and] ... from that moment, the classical revival in America took on a national form". The American form of Greek Revival architecture that Latrobe developed became associated with political ideals of democracy—a meaning that was less apparent in Britain. The direct link between the Greek Revival architecture and American democracy has been disputed by recent scholars such as W. Barksdale Maynard, who sees the Greek Revival as an international phenomenon. Selected works Houses When Latrobe began private practice in England, his first projects were alterations to existing houses, designing Hammerwood Park, and designing Ashdown House, East Sussex. Alterations completed early in his career may have included Tanton Hall, Sheffield Park, Frimley, and Teston Hall, although these homes have since been altered and it is difficult now to isolate Latrobe's work in the current designs. His designs were simpler than was typical at the time, and had influences of Robert Adam. Features in his designs often included as part of the front porticos, Greek ionic columns, as used in Ashdown House, or doric columns, seen in Hammerwood Park. The book, The Domestic Architecture of Benjamin Henry Latrobe, lists buildings he designed in England, including Grade II* listed Alderbury House (late 1800s) in Wiltshire. This structure had previously been misattributed to James Wyatt. It has been described as "one of Wiltshire’s most elegant Georgian country houses". Latrobe continued to design houses after he emigrated to the United States, mostly using Greek Revival designs. Four houses still stand that Latrobe designed: the Decatur House in Washington, D.C.; Adena in Chillicothe, Ohio; the Pope Villa in Lexington, Kentucky; and the Sedgeley Porter's house in Philadelphia. As one of Latrobe's most avant-garde designs, the Pope Villa has national significance for its unique design. He also introduced Gothic Revival architecture to the United States with the design of Sedgeley. The mansion was built in 1799 and demolished in 1857; however, the stone Porter's house at Sedgeley remains as his only extant building in Philadelphia. A theme seen in many of Latrobe's designs is plans with squarish-dimensions and a central, multi-story hall with a cupola to provide lighting, which was contrary to the popular trend of the time of building houses with long narrow plans. Notes References Klotter, James C., and Daniel Rowland, eds. Bluegrass Renaissance: The History and Culture of Central Kentucky, 1792–1852 (University Press of Kentucky; 2012) 371 pages; emphasis on Benjamin Henry Latrobe and "neoclassical" Lexington External links Fine Arts Library Image Collection – University of Pennsylvania Library of Congress, Jefferson Building East Corridor mosaics Benjamin Latrobe: America's First Architect on PBS Benjamin Henry LaTrobe Sketches of Fishes, 1796–1797, 1882 from the Smithsonian Institution Archives American Neoclassical architects British neoclassical architects Architects of the Capitol 1764 births 1820 deaths American ecclesiastical architects Architects of cathedrals Gothic Revival architects Neoclassical architects English ecclesiastical architects Federalist architects Greek Revival architects American surveyors English surveyors Members of the American Philosophical Society Members of the American Antiquarian Society English emigrants to the United States English people of the Moravian Church People educated at Fulneck School People from Pudsey Prussian Army personnel Burials in Louisiana Deaths from yellow fever Infectious disease deaths in Louisiana Latrobe, Pennsylvania 18th-century American people 18th-century English architects Architects from Leeds Latrobe family	true	[ "Judgement of Martin Bucer by John Milton was published on 15 July 1644. The work consists mostly of Milton's translations of pro-divorce arguments from Martin Bucer's De Regno Christi. By finding support for his views among orthodox writers, Milton hoped to sway the members of Parliament Protestant ministers who had condemned him.\n\nBackground\n\nMilton married in spring 1642, and shortly after, his wife Marie Powell left him and returned to live with her mother. The legal statutes of England did not allow for Milton to apply for a divorce and he resorted to promoting the lawfulness of divorce. Although the laws did not change, he wrote four tracts on the topic of divorce, with Judgement of Martin Bucer Concerning Divorce as his second tract. The hostile response by clergymen to the first tract, The Doctrine and Discipline of Divorce, prompted Milton to defend himself by translating Martin Bucer's De Regno Christi and his arguments concerning the legitimacy of divorce. Bucer was a Protestant Reformer and close to the Protestant movement in England, and Milton felt that he would serve as a means to convince Parliament to change their views on divorce. The work was published on 13 August 1644, a week before Milton was attacked in a sermon preached before Parliament by Herbert Palmer.\n\nTract\nThe work begins with a preface titled \"To the Parlament\", and the preface connects the history of Bucer and his reformist ideas with the history of Milton's previous tract on divorce: \nFor against these my adversaries, who before the examining of a propound truth in a fit time of reformation, have had the conscience to oppose naught els but their blind reproaches and surmises, that a single innocence (his own) might not be opprest and overborn by a crew of mouths for the restoring of a law and doctrin falsely and unlernedly reputed new and scandalous. God... hath unexpectedly rais'd up as it were from the dead... one famous light of the first reformation to bear witnes with me\nMilton believed that a translation of Bucer's words would convince Parliament of the truth behind his previous tract on divorce. In the translation, he omits many sections that did not support Milton's purpose (Patterson cites the joys of single life as the main section omitted) and added slight translations that connected to Milton's personal state.\n\nNotes\n\nReferences\n Miller, Leo. John Milton among the Polygamophiles. New York: Loewenthal Press, 1974.\n Milton, John. Complete Prose Works of John Milton Vol II ed. Don Wolfe. New Haven: Yale University Press, 1959.\n Patterson, Annabel. \"Milton, Marriage and Divorce\" in A Companion to Milton. Ed. Thomas Corns. Oxford: Blackwell Publishing, 2003.\n\nWorks by John Milton\n1644 books", "A referendum on divorce was held in Malta on 28 May 2011. Voters were asked whether they approved of a new law to introduce allowing divorces, as at that time, Malta was one of only three countries in the world (along with the Philippines and the Vatican City) in which divorce was not permitted. The proposal was approved by 53% of voters, resulting in a law allowing divorce under certain conditions being enacted later in the year.\n\nBackground\nA private member's bill was tabled in the House of Representatives by Jeffrey Pullicino Orlando, a Nationalist Member of Parliament. The text of the bill, which had been changed twice, did not provide for the holding of a referendum. This was eventually provided for through a separate Parliamentary resolution under the Referenda Act authorising a facultative, non-binding referendum to be held.\n\nThe Catholic Church in Malta encouraged a \"no\" vote through a pastoral letter issued on the Sunday before the referendum day. Complaints were made that religious pressure was being brought to bear upon voters. Around 8 per cent of marriages in Malta are already annulled by the Catholic Church.\n\nQuestion\nBallot papers had both English and Maltese questions printed on them. The English version of the question put to voters was as follows:\n\nThe question, which resembled the proposal approved by Irish voters in the Irish divorce referendum of 1995, was somewhat controversial. It was claimed that it did not reflect the content of the private member's bill.\n\nResults\n\nAlthough for the purposes of the referendum the whole country was regarded to be a single constituency - taking into account electoral districts - in only three out of the thirteen did the \"no\" vote reach a majority.\n\nAftermath\nDiscussion on the divorce bill started in earnest soon after the result was announced. In the second and third readings a number of MPs still voted against the bill. Parliament approved the law on 25 July. The law came into effect on 1 October.\n\nSee also \nDivorce in Malta\n\nReferences\n\n2011 in Malta\nMalta\nReferendums in Malta\nDivorce law\nMaltese law\nHistory of Malta\nMarriage reform\nMay 2011 events in Europe\nDivorce referendums" ]
[ "Benjamin Henry Latrobe", "England", "When di d he go to england?", "Latrobe returned to England in 1784,", "Are there any other interesting aspects about this article?", "In February 1790, Latrobe married Lydia Sellon,", "Did he have a family?", "The couple had a daughter (Lydia Sellon Latrobe) and a son (Henry Sellon Boneval Latrobe", "Did htey divorce?", "she died giving birth during November 1793." ]	C_d5feaffe27ea4330818d179fa4d55c29_1	Did the child live?	5	Did the child Lydia Latrobe gave birth to in November 1793 live?	Benjamin Henry Latrobe	Latrobe returned to England in 1784, and was apprenticed to John Smeaton, an engineer known for designing Eddystone Lighthouse. Then in 1787 or 1788, he worked in the office of neoclassical architect Samuel Pepys Cockerell for a brief time. In 1790, Latrobe was appointed Surveyor of the Public Offices in London, and established his own private practice in 1791. Latrobe was commissioned in 1792 to design Hammerwood Park, near East Grinstead in Sussex, his first independent work, and he designed nearby Ashdown House in 1793. Latrobe was involved in construction of the Basingstoke Canal in Surrey, together with engineers John Smeaton and William Jessop. In spring 1793, Latrobe was hired to plan improvements to the River Blackwater from Maldon to Beeleigh, so that the port of Maldon could compete with the Chelmer and Blackwater Navigation, which bypassed the town. The project lasted until early 1795, when Parliament denied approval of his plan. Latrobe had problems getting payment for his work on the project, and faced bankruptcy. In February 1790, Latrobe married Lydia Sellon, and they lived a busy social life in London. The couple had a daughter (Lydia Sellon Latrobe) and a son (Henry Sellon Boneval Latrobe), before she died giving birth during November 1793. Lydia had inherited her father's wealth, which in turn was to be left to the children through a trust with the children's uncles, but never ended up going to the children. In 1795, Latrobe suffered a breakdown and decided to emigrate to America, departing on November 25 aboard the Eliza. In America, Latrobe was known for his series of topological and landscape watercolors; the series started with a view of the White Cliffs of the south coast of England viewed from the Eliza. The series was preceded by a watercolor of East Grinstead, dated September 8, 1795. CANNOTANSWER	CANNOTANSWER	Benjamin Henry Boneval Latrobe (May 1, 1764 – September 3, 1820) was a British-American neoclassical architect who emigrated to the United States. He was one of the first formally trained, professional architects in the new United States, drawing on influences from his travels in Italy, as well as British and French Neoclassical architects such as Claude Nicolas Ledoux. In his thirties, he emigrated to the new United States and designed the United States Capitol, on "Capitol Hill" in Washington, D.C., as well as the Old Baltimore Cathedral or The Baltimore Basilica, (later renamed the Basilica of the National Shrine of the Assumption of the Blessed Virgin Mary). It is the first Cathedral constructed in the United States for any Christian denomination. Latrobe also designed the largest structure in America at the time, the "Merchants' Exchange" in Baltimore. With extensive balconied atriums through the wings and a large central rotunda under a low dome which dominated the city, it was completed in 1820 after five years of work and endured into the early twentieth century. Latrobe emigrated in 1796, initially settling in Virginia where he worked on the Virginia State Penitentiary in Richmond. Latrobe then moved to Philadelphia where he established his practice. In 1803, he was hired as Surveyor of the Public Buildings of the United States, and spent much of the next fourteen years working on projects in the new national capital of Washington, D.C., (in the newly-laid out Federal capital of the District of Columbia) where he served as the second Architect of the Capitol. He also was responsible for the design of the White House porticos. Latrobe spent the later years of his life in New Orleans, Louisiana working on a waterworks project, and died there in 1820 from yellow fever. Latrobe has been called the "father of American architecture". He was the uncle of Charles La Trobe, who was the first Lieutenant-Governor of Victoria in Australia. Biography Latrobe was born on May 1, 1764, at the Fulneck Moravian Settlement, near Pudsey in the city of Leeds, in the West Riding of Yorkshire, England. His parents were the Reverend Benjamin Latrobe, a leader of the Moravian Church who was of Huguenot (French Protestant) ancestry, and Anna Margaretta Antes whose father was German and whose maternal line was Dutch. Antes was born in the American colony of Pennsylvania, but was sent to England by her father, a wealthy landowner, to attend a Moravian school at Fulneck. Latrobe's father, who was responsible for all Moravian schools and establishments in Britain, had an extensive circle of friends in the higher ranks of society. He stressed the importance of education, scholarship, and the value of social exchange; while Latrobe's mother instilled in her son a curiosity and interest in America. From a young age, Benjamin Henry Latrobe enjoyed drawing landscapes and buildings. He was a brother of Moravian leader and musical composer Christian Ignatius Latrobe. In 1776, at the age of twelve, Latrobe was sent away to a Moravian School at Niesky in Upper Lusatia, near the border of the German principalities of Saxony and Prussia, where his brother was studying. At age eighteen, he spent several months traveling around Germany, and then joined the Royal Prussian Army, becoming close friends with a distinguished officer in the United States Army. Latrobe also may have served briefly in the Austrian Imperial Army, and suffered some injuries or illness. After recovering, he embarked on a continental "Grand Tour", visiting eastern Saxony, Paris, Italy, and other places. Through his education and travels, Latrobe mastered German, French, ancient and modern Greek, and Latin. He had advanced ability in Italian and Spanish and some knowledge of Hebrew. Latrobe was elected a member of the American Antiquarian Society in 1815. His son, Benjamin Henry Latrobe, II, (sometimes referred to as "Junior"), also worked as a civil engineer. In 1827, he joined the newly organized Baltimore and Ohio Railroad and designed the longest, most challenging bridge on its initial route: the curving Thomas Viaduct, (the third of four multi-arched "viaducts"). Another son, John Hazlehurst Boneval Latrobe (1803–1891), was a noted civic leader, lawyer, author, historian, artist, inventor, intellectual, and social activist in Maryland. A grandson, Charles Hazlehurst Latrobe (1834–1902), Benjamin Henry Latrobe II's son, a Confederate soldier, also continued the tradition of architect and engineer, building bridges for the city and the Baltimore and Ohio Railroad. Latrobe Park in south Baltimore is named for the family, as is Latrobe Park, New Orleans, in the French Quarter. Another grandson, Ferdinand Claiborne Latrobe, was a seven-term mayor of Baltimore. Travels England Latrobe returned to England in 1784, and was apprenticed to John Smeaton, an engineer known for designing Eddystone Lighthouse. Then in 1787 or 1788, he worked in the office of neoclassical architect Samuel Pepys Cockerell for a brief time. In 1790, Latrobe was appointed Surveyor of the Public Offices in London, and established his own private practice in 1791. Latrobe was commissioned in 1792 to design Hammerwood Lodge, near East Grinstead in Sussex, his first independent work, and he designed nearby Ashdown House in 1793. Latrobe was involved in construction of the Basingstoke Canal in Surrey, together with engineers John Smeaton and William Jessop. In spring 1793, Latrobe was hired to plan improvements to the River Blackwater from Maldon to Beeleigh, so that the port of Maldon could compete with the Chelmer and Blackwater Navigation, which bypassed the town. The project lasted until early 1795, when Parliament denied approval of his plan. Latrobe had problems getting payment for his work on the project, and faced bankruptcy. In February 1790, Latrobe married Lydia Sellon, and they lived a busy social life in London. The couple had a daughter (Lydia Sellon Latrobe) and a son (Henry Sellon Boneval Latrobe), before she died giving birth during November 1793. Lydia had inherited her father's wealth, which in turn was to be left to the children through a trust with the children's uncles, but never ended up going to the children. In 1795, Latrobe suffered a breakdown and decided to emigrate to America, departing on November 25 aboard the Eliza. In America, Latrobe was known for his series of topological and landscape watercolors; the series started with a view of the White Cliffs of the south coast of England viewed from the Eliza. The series was preceded by a watercolor of East Grinstead, dated September 8, 1795. Virginia Latrobe arrived in Norfolk, Virginia, in mid-March 1796 after a harrowing four-month journey aboard the ship, which was plagued with food shortages under near-starvation conditions. Latrobe initially spent time in Norfolk, where he designed the "William Pennock House," then set out for Richmond in April 1796. Soon after arriving in Virginia, Latrobe became friends with Bushrod Washington, nephew of President George Washington, along with Edmund Randolph and other notable figures. Through Bushrod Washington, Latrobe was able to pay a visit to Mount Vernon to meet with the president in the summer of 1796. Latrobe's first major project in the United States was the State Penitentiary in Richmond, commissioned in 1797. The penitentiary included many innovative ideas in penal reform, then being espoused by Thomas Jefferson and various other figures, including cells arranged in a semicircle, that allowed for easy surveillance, as well as improved living conditions for sanitation and ventilation. He also pioneered the use of solitary confinement in the Richmond penitentiary. While in Virginia, Latrobe worked on the Green Spring mansion near Williamsburg, which had been built by Governor Sir William Berkeley in the seventeenth century but fell into disrepair after the American Revolutionary War. Latrobe created designs for Fort Nelson in Virginia in 1798. He also made drawings for a number of houses that were not built, including the "Mill Hill" plantation house near Richmond. After spending a year in Virginia, the novelty of being in a new place wore off, and Latrobe was lonely and restless in Virginia. Giambattista Scandella, a friend, suggested Philadelphia as an ideal location for him. In April 1798, Latrobe visited Philadelphia for the first time, meeting with Bank of Pennsylvania president Samuel J. Fox, and presented to him a design for a new bank building. At the time, the political climate in Philadelphia was quite different than Virginia, with a strong division between the Federalists and Jefferson's Democratic-Republicans, along with anti-French sentiment, thus the city was not entirely welcoming for Latrobe. On his way to Philadelphia, Latrobe passed through the national capital city of Washington, D.C., then under construction (congress and the president would not arrive until the year 1800), where he met with the first architect of the capitol, William Thornton, and viewed the United States Capitol for the first time. He stopped by Washington again on his way back to Richmond. Latrobe remained in Richmond, Virginia, until November 1798, when his design was selected for the Bank of Pennsylvania. He moved to Philadelphia, so that he could supervise the construction, although he continued to do occasional projects for clients in Virginia. Philadelphia By the time he arrived in Philadelphia, Latrobe's two friends, Scandella and Volney, had left due to concerns regarding the Alien and Sedition Acts, but Latrobe made friends with some of their acquaintances at the American Philosophical Society. Latrobe submitted several papers to the society, on his geology and natural history observations, and became a member of the society in 1799. With his charming personality, Latrobe quickly made other friends among the influential financial and business families in Philadelphia, and became close friends with Nicholas Roosevelt, a talented steam-engine builder who would help Latrobe in his waterworks projects. Latrobe's first major project in Philadelphia was to design the Bank of Pennsylvania, which was the first example of Greek Revival architecture in the United States. It was demolished in 1870. This commission is what convinced him to set up his practice in Philadelphia, where he developed his reputation. Latrobe also was hired to design the Center Square Water Works in Philadelphia. The Pump House, located on the common at Broad and Market Streets (now the site of Philadelphia City Hall), was designed by Latrobe in a Greek Revival style. It drew water from the Schuylkill River, a mile away, and contained two steam engines that pumped it into wooden tanks in its tower. Gravity then fed the water by wooden mains into houses and businesses. Following his work on the Philadelphia water works project, Latrobe worked as an engineer of the Chesapeake and Delaware Canal. In addition to Greek Revival designs, Latrobe also used Gothic Revival designs in many of his works, including the 1799 design of Sedgeley, a country mansion in Philadelphia. The Gothic Revival style was used in Latrobe's design of the Philadelphia Bank building as well, which was built in 1807 and demolished in 1836. As a young architect, Robert Mills worked as an assistant with Latrobe from 1803 until 1808 when he set up his own practice. While in Philadelphia, Latrobe married Mary Elizabeth Hazlehurst (1771–1841), in 1800. The couple had several children together. Washington, D.C. In the United States, Latrobe quickly achieved eminence as the first professional architect working in the country. Latrobe was a friend of Thomas Jefferson, influencing Jefferson's design for the University of Virginia. Latrobe also knew James Monroe, as well as New Orleans architect and pirate, Barthelemy Lafon, was Aaron Burr's preferred architect, and he trained architect William Strickland. In 1803, Jefferson hired Latrobe as Surveyor of the Public Buildings of the United States, and to work as superintendent of construction of the United States Capitol. As construction of the capitol was already underway, Latrobe was tasked to work with William Thornton's plans, which Latrobe criticized. In an 1803 letter to Vice President Aaron Burr, he characterized the plans and work done as "faulty construction". Nonetheless, President Thomas Jefferson insisted that Latrobe follow Thornton's design for the capitol. Although Latrobe's major work was overseeing construction of the United States Capitol, he also was responsible for numerous other projects in Washington. In 1804, became chief engineer in the United States Navy. As chief surveyor, Latrobe was responsible for the Washington Canal. Latrobe faced bureaucratic hurdles in moving forward with the canal, with the directors of the company rejecting his request for stone locks. Instead, the canal was built with wooden locks, which were subsequently destroyed in a heavy storm in 1811. Latrobe also designed the main gate of the Washington Navy Yard. Latrobe worked on other transportation projects in Washington, D.C., including the Washington and Alexandria Turnpike, which connected Washington with Alexandria, as well as a road connecting with Frederick, Maryland, and a third road, the Columbia Turnpike going through Bladensburg to Baltimore. Latrobe also provided consulting on the construction of the Washington Bridge across the Potomac River in a way that would not impede navigation and commerce to Georgetown. Benjamin Latrobe was responsible for several other projects located around Lafayette Square, including St. John's Episcopal Church, Decatur House, and the White House porticos. Private homes designed by Latrobe include commissions by John P. Van Ness and Peter Casanove. In June 1812, construction of the Capitol came to a halt with the outbreak of the War of 1812 and the failure of the First Bank of the United States. During the war, Latrobe relocated to Pittsburgh, and returned to Washington in 1815, as Architect of the Capitol, charged with responsibility of rebuilding the capitol after it was destroyed in the war. Latrobe was given more freedom in rebuilding the capitol, to apply his own design elements for the interior. Through much of Latrobe's time in Washington, he remained involved with his private practice to some extent and with other projects in Philadelphia and elsewhere. His clerk of works, John Lenthal, often urged Latrobe to spend more time in Washington. By 1817, Latrobe had provided President James Monroe with complete drawings for the entire building. He resigned as Architect of the Capitol on November 20, 1817, and without this major commission, Latrobe faced difficulties and was forced into bankruptcy. Latrobe left Washington, for Baltimore in January 1818. Latrobe left Washington with pessimism, with the city's design contradicting many of his ideals. Latrobe disliked the Baroque-style plan for the city, and other aspects of L'Enfant's plan, and resented having to conform to Thornton's plans for the Capitol Building. One of the greatest problems with the overall city plan, in the view of Latrobe, was its vast interior distances, and Latrobe considered the Washington Canal as a key factor that, if successful, could help alleviate this issue. Latrobe also had concerns about the city's economic potential, and argued for constructing a road connecting Washington with Frederick to the northwest to enhance economic commerce through Washington. New Orleans Latrobe saw great potential for growth in New Orleans, situated at the mouth of the Mississippi River, with the advent of the steamboat and great interest in steamboat technology. Latrobe's first project in New Orleans was the first New Orleans United States Customs building, constructed in 1807. In 1810 Latrobe sent his son, Henry Sellon "Boneval" Latrobe, to the city to present a plan for a waterworks system to the New Orleans city council. Latrobe's plan for the waterworks system was based on that of Philadelphia, which he earlier designed. The system in Philadelphia was created as a response to yellow fever epidemics affecting the city. Latrobe's system used steam pumps to move water from the Schuylkill River to a reservoir, located upstream; so that gravity could be used to transmit the water from there to residents in the city. The New Orleans waterworks project also was designed to desalinate water, using steam-powered pumps. While in New Orleans, Latrobe's son participated in the Battle of New Orleans against British forces in 1815, and took on other projects including building a lighthouse, a new Charity Hospital, and the French Opera House. New Orleans agreed to commission the waterworks project in 1811, although Latrobe was not ready to take on the project immediately and faced financial problems in securing enough investors for the project. His work on the United States Capitol was completed shortly before the War of 1812 started, ending his source of steady income. During the war Latrobe unsuccessfully tried several wartime schemes to make money, including some steamboat projects. In 1814, Latrobe partnered with Robert Fulton in a steamship venture based at Pittsburgh. While in Pittsburgh, Latrobe designed and built a theater for the Circus of Pepin and Breschard. After the U. S. Capitol and White House were burned by the British Army, Latrobe remained in Washington to help with rebuilding, and Latrobe's son took on much of the work for the New Orleans waterworks project. Latrobe faced further delays trying to get an engine built for the waterworks, which he finally accomplished in 1819. The process of designing and constructing the waterworks system in New Orleans spanned eleven years. In addition to this project, Latrobe designed the central tower of the St. Louis Cathedral, which was his last architectural project. Latrobe died September 3, 1820, from yellow fever, while working in Louisiana. He was buried in the Protestant section of the Saint Louis Cemetery in New Orleans, where his eldest son, architect Henry Sellon Boneval Latrobe (1792–1817), had been buried three years earlier, having also succumbed to yellow fever. Architecture Influences While studying in Germany, Latrobe was mentored by Baron Karl von Schachmann, a classical scholar interested in art and collecting. Around 1783, Latrobe made the decision to become an architect, a decision influenced by the baron. While Latrobe was in Germany, a new architectural movement, led by Carl Gotthard Langhans and others, was emerging with return to more Classical or Vitruvian designs. In 1784, Latrobe set off on a Grand Tour around Europe, visiting Paris where the Panthéon, a church dedicated to St. Genevieve, was nearing completion. The Panthéon in Paris, designed by Jacques Germain Soufflot and Jean-Baptiste Rondelet, represented an early example of Neoclassicism. At that time, Claude Nicolas Ledoux was designing numerous houses in France, in Neoclassical style. Latrobe also visited Rome, where he was impressed by the Roman Pantheon and other ancient structures with Greek influence. Influential architects in Britain, at the time when Latrobe returned in 1784, adhered to a number of different styles. Sir William Chambers was at the forefront, designing in Palladianism style, while Chambers' rival, Robert Adam's designs had Roman influence, in a style known as Adam style. Latrobe was not interested in either the Palladian nor Adam style, but Neoclassicalism also was being introduced to Great Britain at the time by George Dance the Younger. Other British architects, including John Soane and Henry Holland, also designed in the Neoclassical style while Latrobe was in London. During his European tour, Latrobe gathered ideas on how American cities should be designed. He suggested city blocks be laid out as thin rectangles, with the long side of the blocks oriented east-west so that as many houses as possible could face south. For a city to succeed, he thought it needed to be established only in places with good prospects for commerce and industrial growth, and with a good water supply. Public health was another key consideration of Latrobe, who believed that the eastern shores of rivers were unhealthy, due to prevailing direction of the wind, and recommended cities be built on the western shores of rivers. Greek Revival in America Latrobe brought from England influences of British Neoclassicism, and was able to combine it with styles introduced by Thomas Jefferson, to devise an American Greek Revival style. John Summerson described the Bank of Pennsylvania, as an example of how Latrobe "married English Neo-Classicism to Jeffersonian Neo-Classicism [and] ... from that moment, the classical revival in America took on a national form". The American form of Greek Revival architecture that Latrobe developed became associated with political ideals of democracy—a meaning that was less apparent in Britain. The direct link between the Greek Revival architecture and American democracy has been disputed by recent scholars such as W. Barksdale Maynard, who sees the Greek Revival as an international phenomenon. Selected works Houses When Latrobe began private practice in England, his first projects were alterations to existing houses, designing Hammerwood Park, and designing Ashdown House, East Sussex. Alterations completed early in his career may have included Tanton Hall, Sheffield Park, Frimley, and Teston Hall, although these homes have since been altered and it is difficult now to isolate Latrobe's work in the current designs. His designs were simpler than was typical at the time, and had influences of Robert Adam. Features in his designs often included as part of the front porticos, Greek ionic columns, as used in Ashdown House, or doric columns, seen in Hammerwood Park. The book, The Domestic Architecture of Benjamin Henry Latrobe, lists buildings he designed in England, including Grade II* listed Alderbury House (late 1800s) in Wiltshire. This structure had previously been misattributed to James Wyatt. It has been described as "one of Wiltshire’s most elegant Georgian country houses". Latrobe continued to design houses after he emigrated to the United States, mostly using Greek Revival designs. Four houses still stand that Latrobe designed: the Decatur House in Washington, D.C.; Adena in Chillicothe, Ohio; the Pope Villa in Lexington, Kentucky; and the Sedgeley Porter's house in Philadelphia. As one of Latrobe's most avant-garde designs, the Pope Villa has national significance for its unique design. He also introduced Gothic Revival architecture to the United States with the design of Sedgeley. The mansion was built in 1799 and demolished in 1857; however, the stone Porter's house at Sedgeley remains as his only extant building in Philadelphia. A theme seen in many of Latrobe's designs is plans with squarish-dimensions and a central, multi-story hall with a cupola to provide lighting, which was contrary to the popular trend of the time of building houses with long narrow plans. Notes References Klotter, James C., and Daniel Rowland, eds. Bluegrass Renaissance: The History and Culture of Central Kentucky, 1792–1852 (University Press of Kentucky; 2012) 371 pages; emphasis on Benjamin Henry Latrobe and "neoclassical" Lexington External links Fine Arts Library Image Collection – University of Pennsylvania Library of Congress, Jefferson Building East Corridor mosaics Benjamin Latrobe: America's First Architect on PBS Benjamin Henry LaTrobe Sketches of Fishes, 1796–1797, 1882 from the Smithsonian Institution Archives American Neoclassical architects British neoclassical architects Architects of the Capitol 1764 births 1820 deaths American ecclesiastical architects Architects of cathedrals Gothic Revival architects Neoclassical architects English ecclesiastical architects Federalist architects Greek Revival architects American surveyors English surveyors Members of the American Philosophical Society Members of the American Antiquarian Society English emigrants to the United States English people of the Moravian Church People educated at Fulneck School People from Pudsey Prussian Army personnel Burials in Louisiana Deaths from yellow fever Infectious disease deaths in Louisiana Latrobe, Pennsylvania 18th-century American people 18th-century English architects Architects from Leeds Latrobe family	false	[ "\"Bless the Child\" is the seventh single by Finnish symphonic metal band Nightwish, released as the second single from their album Century Child. It is one of two songs which were filmed from the Century Child album, with other one being \"End of All Hope\". It was also the first song bassist/vocalist Marko Hietala worked on after he joined the band replacing Sami Vänskä.\n\nThere are two versions of the single, each having a slightly different track list. The normal release includes the title track and the two songs, \"Lagoon\" and \"The Wayfarer\", which have not been released in Germany before. There is too a limited DVD plus of the single which includes three DVD videotracks in addition to the audio content. The videos are \"Over the Hills and Far Away\", \"Bless the Child\", and a 30-minute interview.\n\nIn addition to it being a single, part of the edited version was used in a Chinese broadcast on CCTV-4.\n\nTrack listing\n\nSpinefarm version\n \"Bless the Child\" (Edit)\n \"Bless the Child\" \n \"Lagoon\"\n\nSpinefarm EP\n \"Bless the Child\"\n \"The Wayfarer\"\n \"Come Cover Me\" (Live)\n \"Dead Boy's Poem\" (Live)\n \"Once Upon a Troubadour\"\n \"A Return to the Sea\"\n \"Sleepwalker\" (Heavy Version)\n \"Nightquest\"\n\nDrakkar version\n \"Bless the Child\"\n \"Lagoon\"\n \"The Wayfarer\"\n\nNEMS EP\n \"Bless the Child\" (Edit)\n \"Walking in the Air\" (Edit)\n \"The Wayfarer\"\n \"The Kinslayer\" (Live in Argentina)\n \"Deep Silent Complete\" (Live)\n \"The Pharaoh Sails to Orion\" (Live)\n \"Come Cover Me\" (Live)\n \"Wanderlust\" (Live)\n \"Instrumental\" (Live)\n \"Swanheart\" (Live)\n \"Elvenpath\" (Live)\n \"Fantasmic Part 3\" (Live)\n \"Dead Boy's Poem\" (Live)\t \t\n \"Sleepwalker\" (Original Version)\n \"Lagoon\"\n \"Over the Hills and Far Away\" (Video Edit Mix)\n\nSales and certifications\n\nPersonnel\nTarja Turunen - vocals\nTuomas Holopainen - keyboards\nEmppu Vuorinen - guitars\nJukka Nevalainen - drums\nMarko Hietala - bass\nSam Hardwick - spoken word\n\nVideo\nThe video for this song tells a sad love story in reverse, it's a mix between the scenes and the band playing in a disused warehouse. The band was a bit disappointed with the video, because they found it to be a bit too complex.\n\nReferences\n\nExternal links\nNightwish's Official Website\n\nNightwish songs\n2002 singles\nNumber-one singles in Finland\n2002 songs\nSongs written by Tuomas Holopainen\nSpinefarm Records singles", "King Biscuit Flower Hour (In Concert) is a live album by Canadian rock band Triumph released in 1996. Taken from the Allied Forces tour stop in Cleveland on October 12, 1981, this album features songs from the album of the same name in addition to some of the earlier hits.\n\nTrack listing\n \"Tear the Roof Off\" – 5:03\n \"American Girls\" – 4:54\n \"Lay it on the Line\" – 4:54\n \"Allied Forces\" – 3:46\n \"Fight the Good Fight\" – 5:23\n \"Blinding Light Show\" / \"Moon Child\" – 12:28\n \"Rock and Roll Machine\" – 9:39\n \"I Live for the Weekend\" – 2:22\n \"Nature's Child\" – 4:14\n \"Drum Solo\" – 3:43\n \"Instrumental\" – 5:09\n \"Rocky Mountain Way\" – 5:10\n \"Hot Time (In this City Tonight)\" – 4:44\n\nNotes\nFor \"Hot Time (In this City Tonight)\" the band did their usual procedure and put in the name of the city where they were playing, thus calling on this particular live version \"Hot Time (In Old Cleveland Tonight)\". Also at the end Rik Emmett says the final \"good night\" and \"Triumph loves you\" instead of Mike Levine who usually says it at the end of each show.\n\nPersonnel\n Rik Emmett – guitars, vocals\n Gil Moore – drums, vocals\n Mike Levine – bass\n\nReferences\n\nTriumph (band) albums\nAlbums produced by Mike Levine (musician)\n1996 live albums" ]
[ "Benjamin Henry Latrobe", "England", "When di d he go to england?", "Latrobe returned to England in 1784,", "Are there any other interesting aspects about this article?", "In February 1790, Latrobe married Lydia Sellon,", "Did he have a family?", "The couple had a daughter (Lydia Sellon Latrobe) and a son (Henry Sellon Boneval Latrobe", "Did htey divorce?", "she died giving birth during November 1793.", "Did the child live?", "I don't know." ]	C_d5feaffe27ea4330818d179fa4d55c29_1	What ele happened in england?	6	What else happened in the life of Benjamin Henry Latrobe when he was in England?	Benjamin Henry Latrobe	Latrobe returned to England in 1784, and was apprenticed to John Smeaton, an engineer known for designing Eddystone Lighthouse. Then in 1787 or 1788, he worked in the office of neoclassical architect Samuel Pepys Cockerell for a brief time. In 1790, Latrobe was appointed Surveyor of the Public Offices in London, and established his own private practice in 1791. Latrobe was commissioned in 1792 to design Hammerwood Park, near East Grinstead in Sussex, his first independent work, and he designed nearby Ashdown House in 1793. Latrobe was involved in construction of the Basingstoke Canal in Surrey, together with engineers John Smeaton and William Jessop. In spring 1793, Latrobe was hired to plan improvements to the River Blackwater from Maldon to Beeleigh, so that the port of Maldon could compete with the Chelmer and Blackwater Navigation, which bypassed the town. The project lasted until early 1795, when Parliament denied approval of his plan. Latrobe had problems getting payment for his work on the project, and faced bankruptcy. In February 1790, Latrobe married Lydia Sellon, and they lived a busy social life in London. The couple had a daughter (Lydia Sellon Latrobe) and a son (Henry Sellon Boneval Latrobe), before she died giving birth during November 1793. Lydia had inherited her father's wealth, which in turn was to be left to the children through a trust with the children's uncles, but never ended up going to the children. In 1795, Latrobe suffered a breakdown and decided to emigrate to America, departing on November 25 aboard the Eliza. In America, Latrobe was known for his series of topological and landscape watercolors; the series started with a view of the White Cliffs of the south coast of England viewed from the Eliza. The series was preceded by a watercolor of East Grinstead, dated September 8, 1795. CANNOTANSWER	In 1795, Latrobe suffered a breakdown and decided to emigrate to America, departing on November 25 aboard the Eliza.	Benjamin Henry Boneval Latrobe (May 1, 1764 – September 3, 1820) was a British-American neoclassical architect who emigrated to the United States. He was one of the first formally trained, professional architects in the new United States, drawing on influences from his travels in Italy, as well as British and French Neoclassical architects such as Claude Nicolas Ledoux. In his thirties, he emigrated to the new United States and designed the United States Capitol, on "Capitol Hill" in Washington, D.C., as well as the Old Baltimore Cathedral or The Baltimore Basilica, (later renamed the Basilica of the National Shrine of the Assumption of the Blessed Virgin Mary). It is the first Cathedral constructed in the United States for any Christian denomination. Latrobe also designed the largest structure in America at the time, the "Merchants' Exchange" in Baltimore. With extensive balconied atriums through the wings and a large central rotunda under a low dome which dominated the city, it was completed in 1820 after five years of work and endured into the early twentieth century. Latrobe emigrated in 1796, initially settling in Virginia where he worked on the Virginia State Penitentiary in Richmond. Latrobe then moved to Philadelphia where he established his practice. In 1803, he was hired as Surveyor of the Public Buildings of the United States, and spent much of the next fourteen years working on projects in the new national capital of Washington, D.C., (in the newly-laid out Federal capital of the District of Columbia) where he served as the second Architect of the Capitol. He also was responsible for the design of the White House porticos. Latrobe spent the later years of his life in New Orleans, Louisiana working on a waterworks project, and died there in 1820 from yellow fever. Latrobe has been called the "father of American architecture". He was the uncle of Charles La Trobe, who was the first Lieutenant-Governor of Victoria in Australia. Biography Latrobe was born on May 1, 1764, at the Fulneck Moravian Settlement, near Pudsey in the city of Leeds, in the West Riding of Yorkshire, England. His parents were the Reverend Benjamin Latrobe, a leader of the Moravian Church who was of Huguenot (French Protestant) ancestry, and Anna Margaretta Antes whose father was German and whose maternal line was Dutch. Antes was born in the American colony of Pennsylvania, but was sent to England by her father, a wealthy landowner, to attend a Moravian school at Fulneck. Latrobe's father, who was responsible for all Moravian schools and establishments in Britain, had an extensive circle of friends in the higher ranks of society. He stressed the importance of education, scholarship, and the value of social exchange; while Latrobe's mother instilled in her son a curiosity and interest in America. From a young age, Benjamin Henry Latrobe enjoyed drawing landscapes and buildings. He was a brother of Moravian leader and musical composer Christian Ignatius Latrobe. In 1776, at the age of twelve, Latrobe was sent away to a Moravian School at Niesky in Upper Lusatia, near the border of the German principalities of Saxony and Prussia, where his brother was studying. At age eighteen, he spent several months traveling around Germany, and then joined the Royal Prussian Army, becoming close friends with a distinguished officer in the United States Army. Latrobe also may have served briefly in the Austrian Imperial Army, and suffered some injuries or illness. After recovering, he embarked on a continental "Grand Tour", visiting eastern Saxony, Paris, Italy, and other places. Through his education and travels, Latrobe mastered German, French, ancient and modern Greek, and Latin. He had advanced ability in Italian and Spanish and some knowledge of Hebrew. Latrobe was elected a member of the American Antiquarian Society in 1815. His son, Benjamin Henry Latrobe, II, (sometimes referred to as "Junior"), also worked as a civil engineer. In 1827, he joined the newly organized Baltimore and Ohio Railroad and designed the longest, most challenging bridge on its initial route: the curving Thomas Viaduct, (the third of four multi-arched "viaducts"). Another son, John Hazlehurst Boneval Latrobe (1803–1891), was a noted civic leader, lawyer, author, historian, artist, inventor, intellectual, and social activist in Maryland. A grandson, Charles Hazlehurst Latrobe (1834–1902), Benjamin Henry Latrobe II's son, a Confederate soldier, also continued the tradition of architect and engineer, building bridges for the city and the Baltimore and Ohio Railroad. Latrobe Park in south Baltimore is named for the family, as is Latrobe Park, New Orleans, in the French Quarter. Another grandson, Ferdinand Claiborne Latrobe, was a seven-term mayor of Baltimore. Travels England Latrobe returned to England in 1784, and was apprenticed to John Smeaton, an engineer known for designing Eddystone Lighthouse. Then in 1787 or 1788, he worked in the office of neoclassical architect Samuel Pepys Cockerell for a brief time. In 1790, Latrobe was appointed Surveyor of the Public Offices in London, and established his own private practice in 1791. Latrobe was commissioned in 1792 to design Hammerwood Lodge, near East Grinstead in Sussex, his first independent work, and he designed nearby Ashdown House in 1793. Latrobe was involved in construction of the Basingstoke Canal in Surrey, together with engineers John Smeaton and William Jessop. In spring 1793, Latrobe was hired to plan improvements to the River Blackwater from Maldon to Beeleigh, so that the port of Maldon could compete with the Chelmer and Blackwater Navigation, which bypassed the town. The project lasted until early 1795, when Parliament denied approval of his plan. Latrobe had problems getting payment for his work on the project, and faced bankruptcy. In February 1790, Latrobe married Lydia Sellon, and they lived a busy social life in London. The couple had a daughter (Lydia Sellon Latrobe) and a son (Henry Sellon Boneval Latrobe), before she died giving birth during November 1793. Lydia had inherited her father's wealth, which in turn was to be left to the children through a trust with the children's uncles, but never ended up going to the children. In 1795, Latrobe suffered a breakdown and decided to emigrate to America, departing on November 25 aboard the Eliza. In America, Latrobe was known for his series of topological and landscape watercolors; the series started with a view of the White Cliffs of the south coast of England viewed from the Eliza. The series was preceded by a watercolor of East Grinstead, dated September 8, 1795. Virginia Latrobe arrived in Norfolk, Virginia, in mid-March 1796 after a harrowing four-month journey aboard the ship, which was plagued with food shortages under near-starvation conditions. Latrobe initially spent time in Norfolk, where he designed the "William Pennock House," then set out for Richmond in April 1796. Soon after arriving in Virginia, Latrobe became friends with Bushrod Washington, nephew of President George Washington, along with Edmund Randolph and other notable figures. Through Bushrod Washington, Latrobe was able to pay a visit to Mount Vernon to meet with the president in the summer of 1796. Latrobe's first major project in the United States was the State Penitentiary in Richmond, commissioned in 1797. The penitentiary included many innovative ideas in penal reform, then being espoused by Thomas Jefferson and various other figures, including cells arranged in a semicircle, that allowed for easy surveillance, as well as improved living conditions for sanitation and ventilation. He also pioneered the use of solitary confinement in the Richmond penitentiary. While in Virginia, Latrobe worked on the Green Spring mansion near Williamsburg, which had been built by Governor Sir William Berkeley in the seventeenth century but fell into disrepair after the American Revolutionary War. Latrobe created designs for Fort Nelson in Virginia in 1798. He also made drawings for a number of houses that were not built, including the "Mill Hill" plantation house near Richmond. After spending a year in Virginia, the novelty of being in a new place wore off, and Latrobe was lonely and restless in Virginia. Giambattista Scandella, a friend, suggested Philadelphia as an ideal location for him. In April 1798, Latrobe visited Philadelphia for the first time, meeting with Bank of Pennsylvania president Samuel J. Fox, and presented to him a design for a new bank building. At the time, the political climate in Philadelphia was quite different than Virginia, with a strong division between the Federalists and Jefferson's Democratic-Republicans, along with anti-French sentiment, thus the city was not entirely welcoming for Latrobe. On his way to Philadelphia, Latrobe passed through the national capital city of Washington, D.C., then under construction (congress and the president would not arrive until the year 1800), where he met with the first architect of the capitol, William Thornton, and viewed the United States Capitol for the first time. He stopped by Washington again on his way back to Richmond. Latrobe remained in Richmond, Virginia, until November 1798, when his design was selected for the Bank of Pennsylvania. He moved to Philadelphia, so that he could supervise the construction, although he continued to do occasional projects for clients in Virginia. Philadelphia By the time he arrived in Philadelphia, Latrobe's two friends, Scandella and Volney, had left due to concerns regarding the Alien and Sedition Acts, but Latrobe made friends with some of their acquaintances at the American Philosophical Society. Latrobe submitted several papers to the society, on his geology and natural history observations, and became a member of the society in 1799. With his charming personality, Latrobe quickly made other friends among the influential financial and business families in Philadelphia, and became close friends with Nicholas Roosevelt, a talented steam-engine builder who would help Latrobe in his waterworks projects. Latrobe's first major project in Philadelphia was to design the Bank of Pennsylvania, which was the first example of Greek Revival architecture in the United States. It was demolished in 1870. This commission is what convinced him to set up his practice in Philadelphia, where he developed his reputation. Latrobe also was hired to design the Center Square Water Works in Philadelphia. The Pump House, located on the common at Broad and Market Streets (now the site of Philadelphia City Hall), was designed by Latrobe in a Greek Revival style. It drew water from the Schuylkill River, a mile away, and contained two steam engines that pumped it into wooden tanks in its tower. Gravity then fed the water by wooden mains into houses and businesses. Following his work on the Philadelphia water works project, Latrobe worked as an engineer of the Chesapeake and Delaware Canal. In addition to Greek Revival designs, Latrobe also used Gothic Revival designs in many of his works, including the 1799 design of Sedgeley, a country mansion in Philadelphia. The Gothic Revival style was used in Latrobe's design of the Philadelphia Bank building as well, which was built in 1807 and demolished in 1836. As a young architect, Robert Mills worked as an assistant with Latrobe from 1803 until 1808 when he set up his own practice. While in Philadelphia, Latrobe married Mary Elizabeth Hazlehurst (1771–1841), in 1800. The couple had several children together. Washington, D.C. In the United States, Latrobe quickly achieved eminence as the first professional architect working in the country. Latrobe was a friend of Thomas Jefferson, influencing Jefferson's design for the University of Virginia. Latrobe also knew James Monroe, as well as New Orleans architect and pirate, Barthelemy Lafon, was Aaron Burr's preferred architect, and he trained architect William Strickland. In 1803, Jefferson hired Latrobe as Surveyor of the Public Buildings of the United States, and to work as superintendent of construction of the United States Capitol. As construction of the capitol was already underway, Latrobe was tasked to work with William Thornton's plans, which Latrobe criticized. In an 1803 letter to Vice President Aaron Burr, he characterized the plans and work done as "faulty construction". Nonetheless, President Thomas Jefferson insisted that Latrobe follow Thornton's design for the capitol. Although Latrobe's major work was overseeing construction of the United States Capitol, he also was responsible for numerous other projects in Washington. In 1804, became chief engineer in the United States Navy. As chief surveyor, Latrobe was responsible for the Washington Canal. Latrobe faced bureaucratic hurdles in moving forward with the canal, with the directors of the company rejecting his request for stone locks. Instead, the canal was built with wooden locks, which were subsequently destroyed in a heavy storm in 1811. Latrobe also designed the main gate of the Washington Navy Yard. Latrobe worked on other transportation projects in Washington, D.C., including the Washington and Alexandria Turnpike, which connected Washington with Alexandria, as well as a road connecting with Frederick, Maryland, and a third road, the Columbia Turnpike going through Bladensburg to Baltimore. Latrobe also provided consulting on the construction of the Washington Bridge across the Potomac River in a way that would not impede navigation and commerce to Georgetown. Benjamin Latrobe was responsible for several other projects located around Lafayette Square, including St. John's Episcopal Church, Decatur House, and the White House porticos. Private homes designed by Latrobe include commissions by John P. Van Ness and Peter Casanove. In June 1812, construction of the Capitol came to a halt with the outbreak of the War of 1812 and the failure of the First Bank of the United States. During the war, Latrobe relocated to Pittsburgh, and returned to Washington in 1815, as Architect of the Capitol, charged with responsibility of rebuilding the capitol after it was destroyed in the war. Latrobe was given more freedom in rebuilding the capitol, to apply his own design elements for the interior. Through much of Latrobe's time in Washington, he remained involved with his private practice to some extent and with other projects in Philadelphia and elsewhere. His clerk of works, John Lenthal, often urged Latrobe to spend more time in Washington. By 1817, Latrobe had provided President James Monroe with complete drawings for the entire building. He resigned as Architect of the Capitol on November 20, 1817, and without this major commission, Latrobe faced difficulties and was forced into bankruptcy. Latrobe left Washington, for Baltimore in January 1818. Latrobe left Washington with pessimism, with the city's design contradicting many of his ideals. Latrobe disliked the Baroque-style plan for the city, and other aspects of L'Enfant's plan, and resented having to conform to Thornton's plans for the Capitol Building. One of the greatest problems with the overall city plan, in the view of Latrobe, was its vast interior distances, and Latrobe considered the Washington Canal as a key factor that, if successful, could help alleviate this issue. Latrobe also had concerns about the city's economic potential, and argued for constructing a road connecting Washington with Frederick to the northwest to enhance economic commerce through Washington. New Orleans Latrobe saw great potential for growth in New Orleans, situated at the mouth of the Mississippi River, with the advent of the steamboat and great interest in steamboat technology. Latrobe's first project in New Orleans was the first New Orleans United States Customs building, constructed in 1807. In 1810 Latrobe sent his son, Henry Sellon "Boneval" Latrobe, to the city to present a plan for a waterworks system to the New Orleans city council. Latrobe's plan for the waterworks system was based on that of Philadelphia, which he earlier designed. The system in Philadelphia was created as a response to yellow fever epidemics affecting the city. Latrobe's system used steam pumps to move water from the Schuylkill River to a reservoir, located upstream; so that gravity could be used to transmit the water from there to residents in the city. The New Orleans waterworks project also was designed to desalinate water, using steam-powered pumps. While in New Orleans, Latrobe's son participated in the Battle of New Orleans against British forces in 1815, and took on other projects including building a lighthouse, a new Charity Hospital, and the French Opera House. New Orleans agreed to commission the waterworks project in 1811, although Latrobe was not ready to take on the project immediately and faced financial problems in securing enough investors for the project. His work on the United States Capitol was completed shortly before the War of 1812 started, ending his source of steady income. During the war Latrobe unsuccessfully tried several wartime schemes to make money, including some steamboat projects. In 1814, Latrobe partnered with Robert Fulton in a steamship venture based at Pittsburgh. While in Pittsburgh, Latrobe designed and built a theater for the Circus of Pepin and Breschard. After the U. S. Capitol and White House were burned by the British Army, Latrobe remained in Washington to help with rebuilding, and Latrobe's son took on much of the work for the New Orleans waterworks project. Latrobe faced further delays trying to get an engine built for the waterworks, which he finally accomplished in 1819. The process of designing and constructing the waterworks system in New Orleans spanned eleven years. In addition to this project, Latrobe designed the central tower of the St. Louis Cathedral, which was his last architectural project. Latrobe died September 3, 1820, from yellow fever, while working in Louisiana. He was buried in the Protestant section of the Saint Louis Cemetery in New Orleans, where his eldest son, architect Henry Sellon Boneval Latrobe (1792–1817), had been buried three years earlier, having also succumbed to yellow fever. Architecture Influences While studying in Germany, Latrobe was mentored by Baron Karl von Schachmann, a classical scholar interested in art and collecting. Around 1783, Latrobe made the decision to become an architect, a decision influenced by the baron. While Latrobe was in Germany, a new architectural movement, led by Carl Gotthard Langhans and others, was emerging with return to more Classical or Vitruvian designs. In 1784, Latrobe set off on a Grand Tour around Europe, visiting Paris where the Panthéon, a church dedicated to St. Genevieve, was nearing completion. The Panthéon in Paris, designed by Jacques Germain Soufflot and Jean-Baptiste Rondelet, represented an early example of Neoclassicism. At that time, Claude Nicolas Ledoux was designing numerous houses in France, in Neoclassical style. Latrobe also visited Rome, where he was impressed by the Roman Pantheon and other ancient structures with Greek influence. Influential architects in Britain, at the time when Latrobe returned in 1784, adhered to a number of different styles. Sir William Chambers was at the forefront, designing in Palladianism style, while Chambers' rival, Robert Adam's designs had Roman influence, in a style known as Adam style. Latrobe was not interested in either the Palladian nor Adam style, but Neoclassicalism also was being introduced to Great Britain at the time by George Dance the Younger. Other British architects, including John Soane and Henry Holland, also designed in the Neoclassical style while Latrobe was in London. During his European tour, Latrobe gathered ideas on how American cities should be designed. He suggested city blocks be laid out as thin rectangles, with the long side of the blocks oriented east-west so that as many houses as possible could face south. For a city to succeed, he thought it needed to be established only in places with good prospects for commerce and industrial growth, and with a good water supply. Public health was another key consideration of Latrobe, who believed that the eastern shores of rivers were unhealthy, due to prevailing direction of the wind, and recommended cities be built on the western shores of rivers. Greek Revival in America Latrobe brought from England influences of British Neoclassicism, and was able to combine it with styles introduced by Thomas Jefferson, to devise an American Greek Revival style. John Summerson described the Bank of Pennsylvania, as an example of how Latrobe "married English Neo-Classicism to Jeffersonian Neo-Classicism [and] ... from that moment, the classical revival in America took on a national form". The American form of Greek Revival architecture that Latrobe developed became associated with political ideals of democracy—a meaning that was less apparent in Britain. The direct link between the Greek Revival architecture and American democracy has been disputed by recent scholars such as W. Barksdale Maynard, who sees the Greek Revival as an international phenomenon. Selected works Houses When Latrobe began private practice in England, his first projects were alterations to existing houses, designing Hammerwood Park, and designing Ashdown House, East Sussex. Alterations completed early in his career may have included Tanton Hall, Sheffield Park, Frimley, and Teston Hall, although these homes have since been altered and it is difficult now to isolate Latrobe's work in the current designs. His designs were simpler than was typical at the time, and had influences of Robert Adam. Features in his designs often included as part of the front porticos, Greek ionic columns, as used in Ashdown House, or doric columns, seen in Hammerwood Park. The book, The Domestic Architecture of Benjamin Henry Latrobe, lists buildings he designed in England, including Grade II* listed Alderbury House (late 1800s) in Wiltshire. This structure had previously been misattributed to James Wyatt. It has been described as "one of Wiltshire’s most elegant Georgian country houses". Latrobe continued to design houses after he emigrated to the United States, mostly using Greek Revival designs. Four houses still stand that Latrobe designed: the Decatur House in Washington, D.C.; Adena in Chillicothe, Ohio; the Pope Villa in Lexington, Kentucky; and the Sedgeley Porter's house in Philadelphia. As one of Latrobe's most avant-garde designs, the Pope Villa has national significance for its unique design. He also introduced Gothic Revival architecture to the United States with the design of Sedgeley. The mansion was built in 1799 and demolished in 1857; however, the stone Porter's house at Sedgeley remains as his only extant building in Philadelphia. A theme seen in many of Latrobe's designs is plans with squarish-dimensions and a central, multi-story hall with a cupola to provide lighting, which was contrary to the popular trend of the time of building houses with long narrow plans. Notes References Klotter, James C., and Daniel Rowland, eds. Bluegrass Renaissance: The History and Culture of Central Kentucky, 1792–1852 (University Press of Kentucky; 2012) 371 pages; emphasis on Benjamin Henry Latrobe and "neoclassical" Lexington External links Fine Arts Library Image Collection – University of Pennsylvania Library of Congress, Jefferson Building East Corridor mosaics Benjamin Latrobe: America's First Architect on PBS Benjamin Henry LaTrobe Sketches of Fishes, 1796–1797, 1882 from the Smithsonian Institution Archives American Neoclassical architects British neoclassical architects Architects of the Capitol 1764 births 1820 deaths American ecclesiastical architects Architects of cathedrals Gothic Revival architects Neoclassical architects English ecclesiastical architects Federalist architects Greek Revival architects American surveyors English surveyors Members of the American Philosophical Society Members of the American Antiquarian Society English emigrants to the United States English people of the Moravian Church People educated at Fulneck School People from Pudsey Prussian Army personnel Burials in Louisiana Deaths from yellow fever Infectious disease deaths in Louisiana Latrobe, Pennsylvania 18th-century American people 18th-century English architects Architects from Leeds Latrobe family	true	[ "Rajya Sabha elections were held on various dates in 1977, to elect members of the Rajya Sabha, Indian Parliament's upper chamber.\n\nElections\nElections were held to elect members from various states.\n\nMembers elected\nThe following members are elected in the elections held in 1979. They are members for the term 1977-1983 and retire in year 1983, except in case of the resignation or death before the term.\nThe list is incomplete.\n\nState - Member - Party\n\nBye-elections\nThe following bye elections were held in the year 1977.\n\nState - Member - Party\n\n Haryana - Sujan Singh - INC ( ele 13/07/1977 term till 1978)\n WB - Ananda Pathak - CPM ( ele 13/07/1977 term till 1978)\n Orissa - Patitpaban Pradhan - LD ( ele 13/07/1977 term till 1982)\n Karnataka - T V Chandrasekharappa - INC ( ele 14/07/1977 term till 1978 )\n Karnataka - L G Havanur - INC ( ele 14/07/1977 term till 1978 )\n Uttar Pradesh - Narendra Singh - JAN ( ele 14/07/1977 term till 1978 )\n Uttar Pradesh - Dr M M S Siddhu - JAN ( ele 14/07/1977 term till 1978 )\n Madhya Pradesh - Baleshwar Dayal - JAN ( ele 14/07/1977 term till 1978 )\n Uttar Pradesh - Dinesh Singh - JAN ( ele 14/07/1977 term till 1980 )\n Uttar Pradesh - K B Asthana - JP ( ele 14/07/1977 term till 1980 )\n Uttar Pradesh - Shanti Bhushan - JP ( ele 14/07/1977 term till 1980 )\n Uttar Pradesh - Prem Manohar - JP ( ele 14/07/1977 term till 1980 )\n Andhra Pradesh - N. G. Ranga - INC ( ele 18/07/1977 term till 1980 ) 08/01/1980\n Tamil Nadu - E R Krishnan - AIADMK ( ele 18/07/1977 term till 1980 )\n Gujarat - Trilok Gogoi - INC ( ele 20/07/1977 term till 1980 )\n Karnataka - L R Naik - INC ( ele 20/07/1977 term till 1980 )\n Kerala - Thalekkunnil Basheer - INC INC ( ele 20/07/1977 term till 1979 )\n\nReferences\n\n1977 elections in India\n1977", "Rajya Sabha elections were held on various dates in 1967, to elect members of the Rajya Sabha, Indian Parliament's upper chamber.\n\nElections\nElections were held to elect members from various states.\n\nMembers elected\nThe following members are elected in the elections held in 1967. They are members for the term 1967-1973 and retire in year 1973, except in case of the resignation or death before the term.\nThe list is incomplete.\n\nState - Member - Party\n\nBye-elections\nThe following bye elections were held in the year 1967.\n\nState - Member - Party\n\n Andhra - Yasoda Reddy - INC ( ele 23/03/1967 term till 1972 )\n Madras - V V Ramaswamy -OTH ( ele 20/03/1967 term till 1968 )\n Andhra - M Chenna Reddy - INC ( ele 27/03/1967 term till 1968 )\n Madhya Pradesh - Shiv Dutt Upadhyaya - INC ( ele 31/03/1967 term till 1970 )\n Haryana - Mukhtiar Singh Malik - INC ( ele 06/04/1967 term till 1968 )\n Punjab - Bhupinder Singh Brar - INC ( ele 06/04/1967 term till 1970 )\n Bihar - Rewati Kant Sinha - INC ( ele 06/04/1967 term till 1970 )\n Kerala - Aravindakshan Kaimal - OTH ( ele 17/04/1967 term till 1968 )\n Kerala - K Chandrasekaran - SP ( ele 17/04/1967 term till 1970 )\n Maharashtra - Vimal Punjab Deshmukh - INC ( ele 19/04/1967 term till 1972 )\n Maharashtra - A. G. Kulkarni - INC ( ele 19/04/1967 term till 1970 )\n Orissa - Bira Kesari Deo - INC ( ele 19/04/1967 term till 1970 )\n Uttar Pradesh - Triloki Singh - INC ( ele 27/04/1967 term till 1968 )\n Uttar Pradesh - Srikrishna Dutt Paliwal - INC ( ele 27/04/1967 term till 1968 )\n Tripura - Dr Triguna Sen - INC ( ele 27/04/1967 term till 1968 )\n Mysore - T Siddalingaya - INC ( ele 03/05/1967 term till 1968 )\n Rajashtan - Ram Niwas Mirdha - INC ( ele 04/05/1967 term till 1968 )\n Rajashtan - Harish Chandra Mathur - IND ( ele 04/05/1967 term till 1968 )\n Jammu and Kashmir - Tirath Ram Amla - INC ( ele 04/05/1967 term till 1970 )\n Jammu and Kashmir - A M Tariq - INC ( ele 04/05/1967 term till 1968 )\n Assam - Sriman Prafulla Goswami - INC ( ele 04/05/1967 term till 1972 )\n Assam - Emonsing M Sangma - INC ( ele 04/05/1967 term till 1972 )\n Uttar Pradesh - Bindumati Devi - C-O ( ele 09/07/1967 term till 1972 )\n Gujarat - Tribhovandas K Patel - INC ( ele 21/07/1967 term till 1968 )\n Orissa - Brahmananda Panda - OTH ( ele 30/11/1967 term till 1972 )\n\nReferences\n\n1967 elections in India\n1967" ]
[ "Benjamin Henry Latrobe", "England", "When di d he go to england?", "Latrobe returned to England in 1784,", "Are there any other interesting aspects about this article?", "In February 1790, Latrobe married Lydia Sellon,", "Did he have a family?", "The couple had a daughter (Lydia Sellon Latrobe) and a son (Henry Sellon Boneval Latrobe", "Did htey divorce?", "she died giving birth during November 1793.", "Did the child live?", "I don't know.", "What ele happened in england?", "In 1795, Latrobe suffered a breakdown and decided to emigrate to America, departing on November 25 aboard the Eliza." ]	C_d5feaffe27ea4330818d179fa4d55c29_1	What caused the break down?	7	What caused the break down that Benjamin Henry Latrobe suffered in 1795?	Benjamin Henry Latrobe	Latrobe returned to England in 1784, and was apprenticed to John Smeaton, an engineer known for designing Eddystone Lighthouse. Then in 1787 or 1788, he worked in the office of neoclassical architect Samuel Pepys Cockerell for a brief time. In 1790, Latrobe was appointed Surveyor of the Public Offices in London, and established his own private practice in 1791. Latrobe was commissioned in 1792 to design Hammerwood Park, near East Grinstead in Sussex, his first independent work, and he designed nearby Ashdown House in 1793. Latrobe was involved in construction of the Basingstoke Canal in Surrey, together with engineers John Smeaton and William Jessop. In spring 1793, Latrobe was hired to plan improvements to the River Blackwater from Maldon to Beeleigh, so that the port of Maldon could compete with the Chelmer and Blackwater Navigation, which bypassed the town. The project lasted until early 1795, when Parliament denied approval of his plan. Latrobe had problems getting payment for his work on the project, and faced bankruptcy. In February 1790, Latrobe married Lydia Sellon, and they lived a busy social life in London. The couple had a daughter (Lydia Sellon Latrobe) and a son (Henry Sellon Boneval Latrobe), before she died giving birth during November 1793. Lydia had inherited her father's wealth, which in turn was to be left to the children through a trust with the children's uncles, but never ended up going to the children. In 1795, Latrobe suffered a breakdown and decided to emigrate to America, departing on November 25 aboard the Eliza. In America, Latrobe was known for his series of topological and landscape watercolors; the series started with a view of the White Cliffs of the south coast of England viewed from the Eliza. The series was preceded by a watercolor of East Grinstead, dated September 8, 1795. CANNOTANSWER	Latrobe had problems getting payment for his work on the project, and faced bankruptcy.	Benjamin Henry Boneval Latrobe (May 1, 1764 – September 3, 1820) was a British-American neoclassical architect who emigrated to the United States. He was one of the first formally trained, professional architects in the new United States, drawing on influences from his travels in Italy, as well as British and French Neoclassical architects such as Claude Nicolas Ledoux. In his thirties, he emigrated to the new United States and designed the United States Capitol, on "Capitol Hill" in Washington, D.C., as well as the Old Baltimore Cathedral or The Baltimore Basilica, (later renamed the Basilica of the National Shrine of the Assumption of the Blessed Virgin Mary). It is the first Cathedral constructed in the United States for any Christian denomination. Latrobe also designed the largest structure in America at the time, the "Merchants' Exchange" in Baltimore. With extensive balconied atriums through the wings and a large central rotunda under a low dome which dominated the city, it was completed in 1820 after five years of work and endured into the early twentieth century. Latrobe emigrated in 1796, initially settling in Virginia where he worked on the Virginia State Penitentiary in Richmond. Latrobe then moved to Philadelphia where he established his practice. In 1803, he was hired as Surveyor of the Public Buildings of the United States, and spent much of the next fourteen years working on projects in the new national capital of Washington, D.C., (in the newly-laid out Federal capital of the District of Columbia) where he served as the second Architect of the Capitol. He also was responsible for the design of the White House porticos. Latrobe spent the later years of his life in New Orleans, Louisiana working on a waterworks project, and died there in 1820 from yellow fever. Latrobe has been called the "father of American architecture". He was the uncle of Charles La Trobe, who was the first Lieutenant-Governor of Victoria in Australia. Biography Latrobe was born on May 1, 1764, at the Fulneck Moravian Settlement, near Pudsey in the city of Leeds, in the West Riding of Yorkshire, England. His parents were the Reverend Benjamin Latrobe, a leader of the Moravian Church who was of Huguenot (French Protestant) ancestry, and Anna Margaretta Antes whose father was German and whose maternal line was Dutch. Antes was born in the American colony of Pennsylvania, but was sent to England by her father, a wealthy landowner, to attend a Moravian school at Fulneck. Latrobe's father, who was responsible for all Moravian schools and establishments in Britain, had an extensive circle of friends in the higher ranks of society. He stressed the importance of education, scholarship, and the value of social exchange; while Latrobe's mother instilled in her son a curiosity and interest in America. From a young age, Benjamin Henry Latrobe enjoyed drawing landscapes and buildings. He was a brother of Moravian leader and musical composer Christian Ignatius Latrobe. In 1776, at the age of twelve, Latrobe was sent away to a Moravian School at Niesky in Upper Lusatia, near the border of the German principalities of Saxony and Prussia, where his brother was studying. At age eighteen, he spent several months traveling around Germany, and then joined the Royal Prussian Army, becoming close friends with a distinguished officer in the United States Army. Latrobe also may have served briefly in the Austrian Imperial Army, and suffered some injuries or illness. After recovering, he embarked on a continental "Grand Tour", visiting eastern Saxony, Paris, Italy, and other places. Through his education and travels, Latrobe mastered German, French, ancient and modern Greek, and Latin. He had advanced ability in Italian and Spanish and some knowledge of Hebrew. Latrobe was elected a member of the American Antiquarian Society in 1815. His son, Benjamin Henry Latrobe, II, (sometimes referred to as "Junior"), also worked as a civil engineer. In 1827, he joined the newly organized Baltimore and Ohio Railroad and designed the longest, most challenging bridge on its initial route: the curving Thomas Viaduct, (the third of four multi-arched "viaducts"). Another son, John Hazlehurst Boneval Latrobe (1803–1891), was a noted civic leader, lawyer, author, historian, artist, inventor, intellectual, and social activist in Maryland. A grandson, Charles Hazlehurst Latrobe (1834–1902), Benjamin Henry Latrobe II's son, a Confederate soldier, also continued the tradition of architect and engineer, building bridges for the city and the Baltimore and Ohio Railroad. Latrobe Park in south Baltimore is named for the family, as is Latrobe Park, New Orleans, in the French Quarter. Another grandson, Ferdinand Claiborne Latrobe, was a seven-term mayor of Baltimore. Travels England Latrobe returned to England in 1784, and was apprenticed to John Smeaton, an engineer known for designing Eddystone Lighthouse. Then in 1787 or 1788, he worked in the office of neoclassical architect Samuel Pepys Cockerell for a brief time. In 1790, Latrobe was appointed Surveyor of the Public Offices in London, and established his own private practice in 1791. Latrobe was commissioned in 1792 to design Hammerwood Lodge, near East Grinstead in Sussex, his first independent work, and he designed nearby Ashdown House in 1793. Latrobe was involved in construction of the Basingstoke Canal in Surrey, together with engineers John Smeaton and William Jessop. In spring 1793, Latrobe was hired to plan improvements to the River Blackwater from Maldon to Beeleigh, so that the port of Maldon could compete with the Chelmer and Blackwater Navigation, which bypassed the town. The project lasted until early 1795, when Parliament denied approval of his plan. Latrobe had problems getting payment for his work on the project, and faced bankruptcy. In February 1790, Latrobe married Lydia Sellon, and they lived a busy social life in London. The couple had a daughter (Lydia Sellon Latrobe) and a son (Henry Sellon Boneval Latrobe), before she died giving birth during November 1793. Lydia had inherited her father's wealth, which in turn was to be left to the children through a trust with the children's uncles, but never ended up going to the children. In 1795, Latrobe suffered a breakdown and decided to emigrate to America, departing on November 25 aboard the Eliza. In America, Latrobe was known for his series of topological and landscape watercolors; the series started with a view of the White Cliffs of the south coast of England viewed from the Eliza. The series was preceded by a watercolor of East Grinstead, dated September 8, 1795. Virginia Latrobe arrived in Norfolk, Virginia, in mid-March 1796 after a harrowing four-month journey aboard the ship, which was plagued with food shortages under near-starvation conditions. Latrobe initially spent time in Norfolk, where he designed the "William Pennock House," then set out for Richmond in April 1796. Soon after arriving in Virginia, Latrobe became friends with Bushrod Washington, nephew of President George Washington, along with Edmund Randolph and other notable figures. Through Bushrod Washington, Latrobe was able to pay a visit to Mount Vernon to meet with the president in the summer of 1796. Latrobe's first major project in the United States was the State Penitentiary in Richmond, commissioned in 1797. The penitentiary included many innovative ideas in penal reform, then being espoused by Thomas Jefferson and various other figures, including cells arranged in a semicircle, that allowed for easy surveillance, as well as improved living conditions for sanitation and ventilation. He also pioneered the use of solitary confinement in the Richmond penitentiary. While in Virginia, Latrobe worked on the Green Spring mansion near Williamsburg, which had been built by Governor Sir William Berkeley in the seventeenth century but fell into disrepair after the American Revolutionary War. Latrobe created designs for Fort Nelson in Virginia in 1798. He also made drawings for a number of houses that were not built, including the "Mill Hill" plantation house near Richmond. After spending a year in Virginia, the novelty of being in a new place wore off, and Latrobe was lonely and restless in Virginia. Giambattista Scandella, a friend, suggested Philadelphia as an ideal location for him. In April 1798, Latrobe visited Philadelphia for the first time, meeting with Bank of Pennsylvania president Samuel J. Fox, and presented to him a design for a new bank building. At the time, the political climate in Philadelphia was quite different than Virginia, with a strong division between the Federalists and Jefferson's Democratic-Republicans, along with anti-French sentiment, thus the city was not entirely welcoming for Latrobe. On his way to Philadelphia, Latrobe passed through the national capital city of Washington, D.C., then under construction (congress and the president would not arrive until the year 1800), where he met with the first architect of the capitol, William Thornton, and viewed the United States Capitol for the first time. He stopped by Washington again on his way back to Richmond. Latrobe remained in Richmond, Virginia, until November 1798, when his design was selected for the Bank of Pennsylvania. He moved to Philadelphia, so that he could supervise the construction, although he continued to do occasional projects for clients in Virginia. Philadelphia By the time he arrived in Philadelphia, Latrobe's two friends, Scandella and Volney, had left due to concerns regarding the Alien and Sedition Acts, but Latrobe made friends with some of their acquaintances at the American Philosophical Society. Latrobe submitted several papers to the society, on his geology and natural history observations, and became a member of the society in 1799. With his charming personality, Latrobe quickly made other friends among the influential financial and business families in Philadelphia, and became close friends with Nicholas Roosevelt, a talented steam-engine builder who would help Latrobe in his waterworks projects. Latrobe's first major project in Philadelphia was to design the Bank of Pennsylvania, which was the first example of Greek Revival architecture in the United States. It was demolished in 1870. This commission is what convinced him to set up his practice in Philadelphia, where he developed his reputation. Latrobe also was hired to design the Center Square Water Works in Philadelphia. The Pump House, located on the common at Broad and Market Streets (now the site of Philadelphia City Hall), was designed by Latrobe in a Greek Revival style. It drew water from the Schuylkill River, a mile away, and contained two steam engines that pumped it into wooden tanks in its tower. Gravity then fed the water by wooden mains into houses and businesses. Following his work on the Philadelphia water works project, Latrobe worked as an engineer of the Chesapeake and Delaware Canal. In addition to Greek Revival designs, Latrobe also used Gothic Revival designs in many of his works, including the 1799 design of Sedgeley, a country mansion in Philadelphia. The Gothic Revival style was used in Latrobe's design of the Philadelphia Bank building as well, which was built in 1807 and demolished in 1836. As a young architect, Robert Mills worked as an assistant with Latrobe from 1803 until 1808 when he set up his own practice. While in Philadelphia, Latrobe married Mary Elizabeth Hazlehurst (1771–1841), in 1800. The couple had several children together. Washington, D.C. In the United States, Latrobe quickly achieved eminence as the first professional architect working in the country. Latrobe was a friend of Thomas Jefferson, influencing Jefferson's design for the University of Virginia. Latrobe also knew James Monroe, as well as New Orleans architect and pirate, Barthelemy Lafon, was Aaron Burr's preferred architect, and he trained architect William Strickland. In 1803, Jefferson hired Latrobe as Surveyor of the Public Buildings of the United States, and to work as superintendent of construction of the United States Capitol. As construction of the capitol was already underway, Latrobe was tasked to work with William Thornton's plans, which Latrobe criticized. In an 1803 letter to Vice President Aaron Burr, he characterized the plans and work done as "faulty construction". Nonetheless, President Thomas Jefferson insisted that Latrobe follow Thornton's design for the capitol. Although Latrobe's major work was overseeing construction of the United States Capitol, he also was responsible for numerous other projects in Washington. In 1804, became chief engineer in the United States Navy. As chief surveyor, Latrobe was responsible for the Washington Canal. Latrobe faced bureaucratic hurdles in moving forward with the canal, with the directors of the company rejecting his request for stone locks. Instead, the canal was built with wooden locks, which were subsequently destroyed in a heavy storm in 1811. Latrobe also designed the main gate of the Washington Navy Yard. Latrobe worked on other transportation projects in Washington, D.C., including the Washington and Alexandria Turnpike, which connected Washington with Alexandria, as well as a road connecting with Frederick, Maryland, and a third road, the Columbia Turnpike going through Bladensburg to Baltimore. Latrobe also provided consulting on the construction of the Washington Bridge across the Potomac River in a way that would not impede navigation and commerce to Georgetown. Benjamin Latrobe was responsible for several other projects located around Lafayette Square, including St. John's Episcopal Church, Decatur House, and the White House porticos. Private homes designed by Latrobe include commissions by John P. Van Ness and Peter Casanove. In June 1812, construction of the Capitol came to a halt with the outbreak of the War of 1812 and the failure of the First Bank of the United States. During the war, Latrobe relocated to Pittsburgh, and returned to Washington in 1815, as Architect of the Capitol, charged with responsibility of rebuilding the capitol after it was destroyed in the war. Latrobe was given more freedom in rebuilding the capitol, to apply his own design elements for the interior. Through much of Latrobe's time in Washington, he remained involved with his private practice to some extent and with other projects in Philadelphia and elsewhere. His clerk of works, John Lenthal, often urged Latrobe to spend more time in Washington. By 1817, Latrobe had provided President James Monroe with complete drawings for the entire building. He resigned as Architect of the Capitol on November 20, 1817, and without this major commission, Latrobe faced difficulties and was forced into bankruptcy. Latrobe left Washington, for Baltimore in January 1818. Latrobe left Washington with pessimism, with the city's design contradicting many of his ideals. Latrobe disliked the Baroque-style plan for the city, and other aspects of L'Enfant's plan, and resented having to conform to Thornton's plans for the Capitol Building. One of the greatest problems with the overall city plan, in the view of Latrobe, was its vast interior distances, and Latrobe considered the Washington Canal as a key factor that, if successful, could help alleviate this issue. Latrobe also had concerns about the city's economic potential, and argued for constructing a road connecting Washington with Frederick to the northwest to enhance economic commerce through Washington. New Orleans Latrobe saw great potential for growth in New Orleans, situated at the mouth of the Mississippi River, with the advent of the steamboat and great interest in steamboat technology. Latrobe's first project in New Orleans was the first New Orleans United States Customs building, constructed in 1807. In 1810 Latrobe sent his son, Henry Sellon "Boneval" Latrobe, to the city to present a plan for a waterworks system to the New Orleans city council. Latrobe's plan for the waterworks system was based on that of Philadelphia, which he earlier designed. The system in Philadelphia was created as a response to yellow fever epidemics affecting the city. Latrobe's system used steam pumps to move water from the Schuylkill River to a reservoir, located upstream; so that gravity could be used to transmit the water from there to residents in the city. The New Orleans waterworks project also was designed to desalinate water, using steam-powered pumps. While in New Orleans, Latrobe's son participated in the Battle of New Orleans against British forces in 1815, and took on other projects including building a lighthouse, a new Charity Hospital, and the French Opera House. New Orleans agreed to commission the waterworks project in 1811, although Latrobe was not ready to take on the project immediately and faced financial problems in securing enough investors for the project. His work on the United States Capitol was completed shortly before the War of 1812 started, ending his source of steady income. During the war Latrobe unsuccessfully tried several wartime schemes to make money, including some steamboat projects. In 1814, Latrobe partnered with Robert Fulton in a steamship venture based at Pittsburgh. While in Pittsburgh, Latrobe designed and built a theater for the Circus of Pepin and Breschard. After the U. S. Capitol and White House were burned by the British Army, Latrobe remained in Washington to help with rebuilding, and Latrobe's son took on much of the work for the New Orleans waterworks project. Latrobe faced further delays trying to get an engine built for the waterworks, which he finally accomplished in 1819. The process of designing and constructing the waterworks system in New Orleans spanned eleven years. In addition to this project, Latrobe designed the central tower of the St. Louis Cathedral, which was his last architectural project. Latrobe died September 3, 1820, from yellow fever, while working in Louisiana. He was buried in the Protestant section of the Saint Louis Cemetery in New Orleans, where his eldest son, architect Henry Sellon Boneval Latrobe (1792–1817), had been buried three years earlier, having also succumbed to yellow fever. Architecture Influences While studying in Germany, Latrobe was mentored by Baron Karl von Schachmann, a classical scholar interested in art and collecting. Around 1783, Latrobe made the decision to become an architect, a decision influenced by the baron. While Latrobe was in Germany, a new architectural movement, led by Carl Gotthard Langhans and others, was emerging with return to more Classical or Vitruvian designs. In 1784, Latrobe set off on a Grand Tour around Europe, visiting Paris where the Panthéon, a church dedicated to St. Genevieve, was nearing completion. The Panthéon in Paris, designed by Jacques Germain Soufflot and Jean-Baptiste Rondelet, represented an early example of Neoclassicism. At that time, Claude Nicolas Ledoux was designing numerous houses in France, in Neoclassical style. Latrobe also visited Rome, where he was impressed by the Roman Pantheon and other ancient structures with Greek influence. Influential architects in Britain, at the time when Latrobe returned in 1784, adhered to a number of different styles. Sir William Chambers was at the forefront, designing in Palladianism style, while Chambers' rival, Robert Adam's designs had Roman influence, in a style known as Adam style. Latrobe was not interested in either the Palladian nor Adam style, but Neoclassicalism also was being introduced to Great Britain at the time by George Dance the Younger. Other British architects, including John Soane and Henry Holland, also designed in the Neoclassical style while Latrobe was in London. During his European tour, Latrobe gathered ideas on how American cities should be designed. He suggested city blocks be laid out as thin rectangles, with the long side of the blocks oriented east-west so that as many houses as possible could face south. For a city to succeed, he thought it needed to be established only in places with good prospects for commerce and industrial growth, and with a good water supply. Public health was another key consideration of Latrobe, who believed that the eastern shores of rivers were unhealthy, due to prevailing direction of the wind, and recommended cities be built on the western shores of rivers. Greek Revival in America Latrobe brought from England influences of British Neoclassicism, and was able to combine it with styles introduced by Thomas Jefferson, to devise an American Greek Revival style. John Summerson described the Bank of Pennsylvania, as an example of how Latrobe "married English Neo-Classicism to Jeffersonian Neo-Classicism [and] ... from that moment, the classical revival in America took on a national form". The American form of Greek Revival architecture that Latrobe developed became associated with political ideals of democracy—a meaning that was less apparent in Britain. The direct link between the Greek Revival architecture and American democracy has been disputed by recent scholars such as W. Barksdale Maynard, who sees the Greek Revival as an international phenomenon. Selected works Houses When Latrobe began private practice in England, his first projects were alterations to existing houses, designing Hammerwood Park, and designing Ashdown House, East Sussex. Alterations completed early in his career may have included Tanton Hall, Sheffield Park, Frimley, and Teston Hall, although these homes have since been altered and it is difficult now to isolate Latrobe's work in the current designs. His designs were simpler than was typical at the time, and had influences of Robert Adam. Features in his designs often included as part of the front porticos, Greek ionic columns, as used in Ashdown House, or doric columns, seen in Hammerwood Park. The book, The Domestic Architecture of Benjamin Henry Latrobe, lists buildings he designed in England, including Grade II* listed Alderbury House (late 1800s) in Wiltshire. This structure had previously been misattributed to James Wyatt. It has been described as "one of Wiltshire’s most elegant Georgian country houses". Latrobe continued to design houses after he emigrated to the United States, mostly using Greek Revival designs. Four houses still stand that Latrobe designed: the Decatur House in Washington, D.C.; Adena in Chillicothe, Ohio; the Pope Villa in Lexington, Kentucky; and the Sedgeley Porter's house in Philadelphia. As one of Latrobe's most avant-garde designs, the Pope Villa has national significance for its unique design. He also introduced Gothic Revival architecture to the United States with the design of Sedgeley. The mansion was built in 1799 and demolished in 1857; however, the stone Porter's house at Sedgeley remains as his only extant building in Philadelphia. A theme seen in many of Latrobe's designs is plans with squarish-dimensions and a central, multi-story hall with a cupola to provide lighting, which was contrary to the popular trend of the time of building houses with long narrow plans. Notes References Klotter, James C., and Daniel Rowland, eds. Bluegrass Renaissance: The History and Culture of Central Kentucky, 1792–1852 (University Press of Kentucky; 2012) 371 pages; emphasis on Benjamin Henry Latrobe and "neoclassical" Lexington External links Fine Arts Library Image Collection – University of Pennsylvania Library of Congress, Jefferson Building East Corridor mosaics Benjamin Latrobe: America's First Architect on PBS Benjamin Henry LaTrobe Sketches of Fishes, 1796–1797, 1882 from the Smithsonian Institution Archives American Neoclassical architects British neoclassical architects Architects of the Capitol 1764 births 1820 deaths American ecclesiastical architects Architects of cathedrals Gothic Revival architects Neoclassical architects English ecclesiastical architects Federalist architects Greek Revival architects American surveyors English surveyors Members of the American Philosophical Society Members of the American Antiquarian Society English emigrants to the United States English people of the Moravian Church People educated at Fulneck School People from Pudsey Prussian Army personnel Burials in Louisiana Deaths from yellow fever Infectious disease deaths in Louisiana Latrobe, Pennsylvania 18th-century American people 18th-century English architects Architects from Leeds Latrobe family	true	[ "\"When I Start To (Break It All Down)\" is a single by English synthpop duo Erasure, released as the lead single from their 2011 album Tomorrow's World. The song was written by Andy Bell and Vince Clarke, whilst it was produced by electropop musician Frankmusik who produced the rest of the Tomorrow's World album.\n\nBackground\nThe song was released on 23 September 2011, and received its first UK airplay on BBC Radio 2's Ken Bruce show on 15 August.\n\nIt was the first eligible single (discounting remixed versions of hit singles), since the duo's formation in 1985, not to chart in the top 100 in the UK. The song peaked at #172 in the UK. In November 2011, the song peaked at #25 on the American Billboard Dance/Club Play Songs Chart.\n\nAn official YouTube short film featured the duo speaking of the album. In this film, it was stated that the original leading single from the album was to be \"You've Got to Save Me Right Now\" until \"When I Start To (Break It All Down)\" replaced it at short notice. Bell stated \"Usually we don't choose the singles, you kind of have an instinctive feeling sometimes. In this instance, \"When I Start To (Break It All Down)\" took over from \"Save Me\" because we thought the song had gone in the direction that sounded really good.\"\n\nThe song originally had the demo title \"Tender\", where it was loosely based on the Elvis Presley song \"Love Me Tender\". In the short film on the album, Clarke stated the track got \"mashed up into what it is now\", noting \"to me now it sounds like Tears for Fears.\"\n\nMute Records released a live video clip for the song as its official music video. This clip used footage recorded during the Total Pop Tour in the summer of 2011, most of them coming from the first of two Dublin gigs played in June 2011. It was released officially onto YouTube on 18 November 2011.\n\nThe song was performed live on the Tomorrow's World tour, where an official rehearsal video was uploaded onto YouTube in early September, featuring the duo in London rehearsing the song in full.\n\nRelease\nThe single was released on CD, where a single version of \"When I Start To (Break It All Down)\" was used as the main track.\n\nThe b-side \"Tomorrow's World\" is an instrumental track, exclusive to the single, written by Richard Denton and Martin Cook. The track was originally released in 1980 as the theme from the BBC TV series of the same name.\n\nA total of 9 remixes were created for the track, not including the album, radio edit and single version of the track. Four remixes were created by the House music duo Steve Smart & Westfunk, three remixes by German DJ/producer Kris Menace, one by Little Loud and one by Frankmusik.\n\nIn Europe, the single was released with five tracks, the single version of the song, the b-side, the \"Steve Smart & Westfunk Main Room Mix Edit\", the \"Kris Menace Remix\" and the \"(Little Loud Remix)\". In France, a cardboard sleeve edition of the single was released.\n\nVarious promotional versions of the single were released. In the UK, a one track promo was released, containing the radio version of the song. A European promo contained the single version and the \"Steve Smart & Westfunk Main Room Radio Edit\". In Greece, a promotional single featured both the single and album version, all four Steve Smart & Westfunk remixes and two Kris Menace remixes. Another promotional single grouped all of the song's remixes, along with the radio edit and album version, except for the \"Steve Smart & Westfunk Club Mix\".\n\nIn America, the song was not officially released as a single but as a promotional single instead. This release featured three Steve Smart & Westfunk remixes, two Kris Menace remixes and the Little Loud remix.\n\nFor the Deluxe 2-Disc Set of Tomorrow's World, the Frankmusik Remix of the song featured as a bonus track.\n\nThe single's cover is similar to the Tomorrow's World album, where like the album, the artwork was created by Tom Hingston using sculptures made by Kate MacDowell.\n\nTrack listing\nCD Single (UK and Europe)\n\"When I Start To (Break It All Down)\" - 3:34\n\"Tomorrow's World\" - 4:18\n\"When I Start To (Break It All Down)\" (Steve Smart & Westfunk Main Room Mix Edit) - 4:23\n\"When I Start To (Break It All Down)\" (Kris Menace Remix) - 5:24\n\"When I Start To (Break It All Down)\" (Little Loud Remix) - 4:36\n\nCD Single (European Promo)\n\"When I Start To (Break It All Down)\" (Single Version) - 3:33\n\"When I Start To (Break It All Down)\" (Steve Smart & Westfunk Main Room Radio Edit) - 4:04\n\nCD Single (UK Promo)\n\"When I Start To (Break It All Down)\" (Radio Version) - 3:45\n\nCD Single (Greek Promo)\n\"When I Start To (Break It All Down)\" (Single Version) - 3:34\n\"When I Start To (Break It All Down)\" (Album Version) - 3:45\n\"When I Start To (Break It All Down)\" (Steve Smart & Westfunk Main Room Radio Edit) - 4:02\n\"When I Start To (Break It All Down)\" (Steve Smart & Westfunk Main Room Edit) - 4:20\n\"When I Start To (Break It All Down)\" (Steve Smart & Westfunk Club Mix) - 6:19\n\"When I Start To (Break It All Down)\" (Steve Smart & Westfunk Main Room Dub Mix) - 6:19\n\"When I Start To (Break It All Down)\" (Kris Menace Club Remix) - 5:12\n\"When I Start To (Break It All Down)\" (Kris Menace Remix) - 5:23\n\nCD Single (American Promo)\n\"When I Start To (Break It All Down)\" (Steve Smart & Westfunk Main Room Edit) - 4:21\n\"When I Start To (Break It All Down)\" (Steve Smart & Westfunk Club Mix) - 6:19\n\"When I Start To (Break It All Down)\" (Steve Smart & Westfunk Main Room Dub) - 6:19\n\"When I Start To (Break It All Down)\" (Kris Menace Remix) - 5:12\n\"When I Start To (Break It All Down)\" (Kris Menace Club Remix) - 5:23\n\"When I Start To (Break It All Down)\" (Little Loud Remix) - 4:34\n\nCD Single (Promo)\n\"When I Start To (Break It All Down)\" (Radio Edit) - 3:35\n\"When I Start To (Break It All Down)\" (Album Version) - 3:45\n\"When I Start To (Break It All Down)\" (Steve Smart & Westfunk Edit) - 4:20\n\"When I Start To (Break It All Down)\" (Steve Smart & Westfunk Mix) - 6:18\n\"When I Start To (Break It All Down)\" (Steve Smart & Westfunk Dub) - 6:18\n\"When I Start To (Break It All Down)\" (Kris Menace Remix) - 5:11\n\"When I Start To (Break It All Down)\" (Kris Menace Club Remix) - 5:22\n\"When I Start To (Break It All Down)\" (Kris Menace Instrumental) - 3:31\n\"When I Start To (Break It All Down)\" (Little Loud Remix) - 4:36\n\"When I Start To (Break It All Down)\" (Frankmusik Remix) - 4:58\n\"Tomorrow's World\" - 4:15\n\nCritical reception\nIn a review for the Tomorrow's World album, Allmusic.com wrote \"Fans get to experience Vince Clarke's fingerprints on \"Fill Us with Fire\" and \"When I Start To (Break It All Down),\" as the recent reunion of his Yaz project is reflected in the nocturnal synth pop and soul muscle driving these highlights.\"\n\nAllmusic.com picks the track as an AMG recommended track.\n\nChart performance\n\nPersonnel \n Design – Tom Hingston Studio\n Design (Sculptures) – Kate Macdowell\n Photography – Dan Kvitka\n Assistant Engineer - Neil Quinlan\n Mixer – Robert Orton\n Mixer of \"Tomorrow's World\" - Timothy \"Q\" Wiles\n Producer – Frankmusik\n Producer, programmer, instrumentation on \"Tomrorow's World\" - Vince Clarke\n Remixers - Steve Smart & Westfunk, Kris Menace, Little Loud, Frankmusik\n Programmed, Instrumentation by, Keyboards, Piano – Frankmusik, Vince Clarke\n Keyboards on \"(Steve Smart & Westfunk Main Room Mix Edit)\" - Danny Dove, Steve Smart\n Drums, Keyboards on \"(Kris Menace Remix)\" - Christoph Hoeffel, Walter Schmidt\n Writers of \"When I Start To (Break It All Down)\" - Andy Bell, Vince Clarke\n Writers of \"Tomorrow's World\" - Richard Denton, Martin Cook\n\nReferences\n\n2011 singles\nErasure songs\nSongs written by Vince Clarke\nSongs written by Andy Bell (singer)\nMute Records singles", "From Here on In: The DVD 1997–2004 is a video compilation album of Australian punk rock band The Living End, released as a double-DVD in 2004. The album features video clips of the band's singles as well as a \"supergig\". The second disc contains a 2-hour documentary titled \"In the End\", which outlines the band's history.\n\nDisc one\nMusic videos:\nPrisoner of Society (US & Australian versions)\nSecond Solution\nSave the Day\nAll Torn Down\nWest End Riot\nPictures in the Mirror\nRoll On (US & Australian Versions)\nDirty Man\nOne Said to the Other\nWho's Gonna Save Us? (US & Australian Versions)\nTabloid Magazine\nI Can't Give You What I Haven't Got\n\n\"Supergig\":\nRoll On (Summer Sonic)\nSave the Day (Splendour in the Grass)\nOne Said to the Other (Summer Sonic)\nPrisoner of Society (Summer Sonic)\nBlinded (Big Day Out)\nWest End Riot (Splendour in the Grass)\nPictures in the Mirror (Summer Sonic)\nAll Torn Down (Big Day Out)\nCarry Me Home (Splendour in the Grass)\nWhat Would You Do? (Big Day Out)\nE-Boogie (Splendour in the Grass)\nSecond Solution (Summer Sonic)\n\nDisc two\n2-hour feature documentary \"In the End\"\n\nThe disc mistakenly lists the title of the documentary as \"The End\", leaving out the word \"In\". This caused speculation over a possible break-up of the band at the time of the DVD's release.\n\nCharts\n\nCertifications\n\nReferences\n\nExternal links\neeggs.com How to find \"Dirty Man\" hidden clip\n\nThe Living End albums\n2004 films" ]
[ "Benjamin Henry Latrobe", "England", "When di d he go to england?", "Latrobe returned to England in 1784,", "Are there any other interesting aspects about this article?", "In February 1790, Latrobe married Lydia Sellon,", "Did he have a family?", "The couple had a daughter (Lydia Sellon Latrobe) and a son (Henry Sellon Boneval Latrobe", "Did htey divorce?", "she died giving birth during November 1793.", "Did the child live?", "I don't know.", "What ele happened in england?", "In 1795, Latrobe suffered a breakdown and decided to emigrate to America, departing on November 25 aboard the Eliza.", "What caused the break down?", "Latrobe had problems getting payment for his work on the project, and faced bankruptcy." ]	C_d5feaffe27ea4330818d179fa4d55c29_1	Did he avoid bankrucy?	8	Did Benjamin Henry Latrobe avoid bankrucy?	Benjamin Henry Latrobe	Latrobe returned to England in 1784, and was apprenticed to John Smeaton, an engineer known for designing Eddystone Lighthouse. Then in 1787 or 1788, he worked in the office of neoclassical architect Samuel Pepys Cockerell for a brief time. In 1790, Latrobe was appointed Surveyor of the Public Offices in London, and established his own private practice in 1791. Latrobe was commissioned in 1792 to design Hammerwood Park, near East Grinstead in Sussex, his first independent work, and he designed nearby Ashdown House in 1793. Latrobe was involved in construction of the Basingstoke Canal in Surrey, together with engineers John Smeaton and William Jessop. In spring 1793, Latrobe was hired to plan improvements to the River Blackwater from Maldon to Beeleigh, so that the port of Maldon could compete with the Chelmer and Blackwater Navigation, which bypassed the town. The project lasted until early 1795, when Parliament denied approval of his plan. Latrobe had problems getting payment for his work on the project, and faced bankruptcy. In February 1790, Latrobe married Lydia Sellon, and they lived a busy social life in London. The couple had a daughter (Lydia Sellon Latrobe) and a son (Henry Sellon Boneval Latrobe), before she died giving birth during November 1793. Lydia had inherited her father's wealth, which in turn was to be left to the children through a trust with the children's uncles, but never ended up going to the children. In 1795, Latrobe suffered a breakdown and decided to emigrate to America, departing on November 25 aboard the Eliza. In America, Latrobe was known for his series of topological and landscape watercolors; the series started with a view of the White Cliffs of the south coast of England viewed from the Eliza. The series was preceded by a watercolor of East Grinstead, dated September 8, 1795. CANNOTANSWER	CANNOTANSWER	Benjamin Henry Boneval Latrobe (May 1, 1764 – September 3, 1820) was a British-American neoclassical architect who emigrated to the United States. He was one of the first formally trained, professional architects in the new United States, drawing on influences from his travels in Italy, as well as British and French Neoclassical architects such as Claude Nicolas Ledoux. In his thirties, he emigrated to the new United States and designed the United States Capitol, on "Capitol Hill" in Washington, D.C., as well as the Old Baltimore Cathedral or The Baltimore Basilica, (later renamed the Basilica of the National Shrine of the Assumption of the Blessed Virgin Mary). It is the first Cathedral constructed in the United States for any Christian denomination. Latrobe also designed the largest structure in America at the time, the "Merchants' Exchange" in Baltimore. With extensive balconied atriums through the wings and a large central rotunda under a low dome which dominated the city, it was completed in 1820 after five years of work and endured into the early twentieth century. Latrobe emigrated in 1796, initially settling in Virginia where he worked on the Virginia State Penitentiary in Richmond. Latrobe then moved to Philadelphia where he established his practice. In 1803, he was hired as Surveyor of the Public Buildings of the United States, and spent much of the next fourteen years working on projects in the new national capital of Washington, D.C., (in the newly-laid out Federal capital of the District of Columbia) where he served as the second Architect of the Capitol. He also was responsible for the design of the White House porticos. Latrobe spent the later years of his life in New Orleans, Louisiana working on a waterworks project, and died there in 1820 from yellow fever. Latrobe has been called the "father of American architecture". He was the uncle of Charles La Trobe, who was the first Lieutenant-Governor of Victoria in Australia. Biography Latrobe was born on May 1, 1764, at the Fulneck Moravian Settlement, near Pudsey in the city of Leeds, in the West Riding of Yorkshire, England. His parents were the Reverend Benjamin Latrobe, a leader of the Moravian Church who was of Huguenot (French Protestant) ancestry, and Anna Margaretta Antes whose father was German and whose maternal line was Dutch. Antes was born in the American colony of Pennsylvania, but was sent to England by her father, a wealthy landowner, to attend a Moravian school at Fulneck. Latrobe's father, who was responsible for all Moravian schools and establishments in Britain, had an extensive circle of friends in the higher ranks of society. He stressed the importance of education, scholarship, and the value of social exchange; while Latrobe's mother instilled in her son a curiosity and interest in America. From a young age, Benjamin Henry Latrobe enjoyed drawing landscapes and buildings. He was a brother of Moravian leader and musical composer Christian Ignatius Latrobe. In 1776, at the age of twelve, Latrobe was sent away to a Moravian School at Niesky in Upper Lusatia, near the border of the German principalities of Saxony and Prussia, where his brother was studying. At age eighteen, he spent several months traveling around Germany, and then joined the Royal Prussian Army, becoming close friends with a distinguished officer in the United States Army. Latrobe also may have served briefly in the Austrian Imperial Army, and suffered some injuries or illness. After recovering, he embarked on a continental "Grand Tour", visiting eastern Saxony, Paris, Italy, and other places. Through his education and travels, Latrobe mastered German, French, ancient and modern Greek, and Latin. He had advanced ability in Italian and Spanish and some knowledge of Hebrew. Latrobe was elected a member of the American Antiquarian Society in 1815. His son, Benjamin Henry Latrobe, II, (sometimes referred to as "Junior"), also worked as a civil engineer. In 1827, he joined the newly organized Baltimore and Ohio Railroad and designed the longest, most challenging bridge on its initial route: the curving Thomas Viaduct, (the third of four multi-arched "viaducts"). Another son, John Hazlehurst Boneval Latrobe (1803–1891), was a noted civic leader, lawyer, author, historian, artist, inventor, intellectual, and social activist in Maryland. A grandson, Charles Hazlehurst Latrobe (1834–1902), Benjamin Henry Latrobe II's son, a Confederate soldier, also continued the tradition of architect and engineer, building bridges for the city and the Baltimore and Ohio Railroad. Latrobe Park in south Baltimore is named for the family, as is Latrobe Park, New Orleans, in the French Quarter. Another grandson, Ferdinand Claiborne Latrobe, was a seven-term mayor of Baltimore. Travels England Latrobe returned to England in 1784, and was apprenticed to John Smeaton, an engineer known for designing Eddystone Lighthouse. Then in 1787 or 1788, he worked in the office of neoclassical architect Samuel Pepys Cockerell for a brief time. In 1790, Latrobe was appointed Surveyor of the Public Offices in London, and established his own private practice in 1791. Latrobe was commissioned in 1792 to design Hammerwood Lodge, near East Grinstead in Sussex, his first independent work, and he designed nearby Ashdown House in 1793. Latrobe was involved in construction of the Basingstoke Canal in Surrey, together with engineers John Smeaton and William Jessop. In spring 1793, Latrobe was hired to plan improvements to the River Blackwater from Maldon to Beeleigh, so that the port of Maldon could compete with the Chelmer and Blackwater Navigation, which bypassed the town. The project lasted until early 1795, when Parliament denied approval of his plan. Latrobe had problems getting payment for his work on the project, and faced bankruptcy. In February 1790, Latrobe married Lydia Sellon, and they lived a busy social life in London. The couple had a daughter (Lydia Sellon Latrobe) and a son (Henry Sellon Boneval Latrobe), before she died giving birth during November 1793. Lydia had inherited her father's wealth, which in turn was to be left to the children through a trust with the children's uncles, but never ended up going to the children. In 1795, Latrobe suffered a breakdown and decided to emigrate to America, departing on November 25 aboard the Eliza. In America, Latrobe was known for his series of topological and landscape watercolors; the series started with a view of the White Cliffs of the south coast of England viewed from the Eliza. The series was preceded by a watercolor of East Grinstead, dated September 8, 1795. Virginia Latrobe arrived in Norfolk, Virginia, in mid-March 1796 after a harrowing four-month journey aboard the ship, which was plagued with food shortages under near-starvation conditions. Latrobe initially spent time in Norfolk, where he designed the "William Pennock House," then set out for Richmond in April 1796. Soon after arriving in Virginia, Latrobe became friends with Bushrod Washington, nephew of President George Washington, along with Edmund Randolph and other notable figures. Through Bushrod Washington, Latrobe was able to pay a visit to Mount Vernon to meet with the president in the summer of 1796. Latrobe's first major project in the United States was the State Penitentiary in Richmond, commissioned in 1797. The penitentiary included many innovative ideas in penal reform, then being espoused by Thomas Jefferson and various other figures, including cells arranged in a semicircle, that allowed for easy surveillance, as well as improved living conditions for sanitation and ventilation. He also pioneered the use of solitary confinement in the Richmond penitentiary. While in Virginia, Latrobe worked on the Green Spring mansion near Williamsburg, which had been built by Governor Sir William Berkeley in the seventeenth century but fell into disrepair after the American Revolutionary War. Latrobe created designs for Fort Nelson in Virginia in 1798. He also made drawings for a number of houses that were not built, including the "Mill Hill" plantation house near Richmond. After spending a year in Virginia, the novelty of being in a new place wore off, and Latrobe was lonely and restless in Virginia. Giambattista Scandella, a friend, suggested Philadelphia as an ideal location for him. In April 1798, Latrobe visited Philadelphia for the first time, meeting with Bank of Pennsylvania president Samuel J. Fox, and presented to him a design for a new bank building. At the time, the political climate in Philadelphia was quite different than Virginia, with a strong division between the Federalists and Jefferson's Democratic-Republicans, along with anti-French sentiment, thus the city was not entirely welcoming for Latrobe. On his way to Philadelphia, Latrobe passed through the national capital city of Washington, D.C., then under construction (congress and the president would not arrive until the year 1800), where he met with the first architect of the capitol, William Thornton, and viewed the United States Capitol for the first time. He stopped by Washington again on his way back to Richmond. Latrobe remained in Richmond, Virginia, until November 1798, when his design was selected for the Bank of Pennsylvania. He moved to Philadelphia, so that he could supervise the construction, although he continued to do occasional projects for clients in Virginia. Philadelphia By the time he arrived in Philadelphia, Latrobe's two friends, Scandella and Volney, had left due to concerns regarding the Alien and Sedition Acts, but Latrobe made friends with some of their acquaintances at the American Philosophical Society. Latrobe submitted several papers to the society, on his geology and natural history observations, and became a member of the society in 1799. With his charming personality, Latrobe quickly made other friends among the influential financial and business families in Philadelphia, and became close friends with Nicholas Roosevelt, a talented steam-engine builder who would help Latrobe in his waterworks projects. Latrobe's first major project in Philadelphia was to design the Bank of Pennsylvania, which was the first example of Greek Revival architecture in the United States. It was demolished in 1870. This commission is what convinced him to set up his practice in Philadelphia, where he developed his reputation. Latrobe also was hired to design the Center Square Water Works in Philadelphia. The Pump House, located on the common at Broad and Market Streets (now the site of Philadelphia City Hall), was designed by Latrobe in a Greek Revival style. It drew water from the Schuylkill River, a mile away, and contained two steam engines that pumped it into wooden tanks in its tower. Gravity then fed the water by wooden mains into houses and businesses. Following his work on the Philadelphia water works project, Latrobe worked as an engineer of the Chesapeake and Delaware Canal. In addition to Greek Revival designs, Latrobe also used Gothic Revival designs in many of his works, including the 1799 design of Sedgeley, a country mansion in Philadelphia. The Gothic Revival style was used in Latrobe's design of the Philadelphia Bank building as well, which was built in 1807 and demolished in 1836. As a young architect, Robert Mills worked as an assistant with Latrobe from 1803 until 1808 when he set up his own practice. While in Philadelphia, Latrobe married Mary Elizabeth Hazlehurst (1771–1841), in 1800. The couple had several children together. Washington, D.C. In the United States, Latrobe quickly achieved eminence as the first professional architect working in the country. Latrobe was a friend of Thomas Jefferson, influencing Jefferson's design for the University of Virginia. Latrobe also knew James Monroe, as well as New Orleans architect and pirate, Barthelemy Lafon, was Aaron Burr's preferred architect, and he trained architect William Strickland. In 1803, Jefferson hired Latrobe as Surveyor of the Public Buildings of the United States, and to work as superintendent of construction of the United States Capitol. As construction of the capitol was already underway, Latrobe was tasked to work with William Thornton's plans, which Latrobe criticized. In an 1803 letter to Vice President Aaron Burr, he characterized the plans and work done as "faulty construction". Nonetheless, President Thomas Jefferson insisted that Latrobe follow Thornton's design for the capitol. Although Latrobe's major work was overseeing construction of the United States Capitol, he also was responsible for numerous other projects in Washington. In 1804, became chief engineer in the United States Navy. As chief surveyor, Latrobe was responsible for the Washington Canal. Latrobe faced bureaucratic hurdles in moving forward with the canal, with the directors of the company rejecting his request for stone locks. Instead, the canal was built with wooden locks, which were subsequently destroyed in a heavy storm in 1811. Latrobe also designed the main gate of the Washington Navy Yard. Latrobe worked on other transportation projects in Washington, D.C., including the Washington and Alexandria Turnpike, which connected Washington with Alexandria, as well as a road connecting with Frederick, Maryland, and a third road, the Columbia Turnpike going through Bladensburg to Baltimore. Latrobe also provided consulting on the construction of the Washington Bridge across the Potomac River in a way that would not impede navigation and commerce to Georgetown. Benjamin Latrobe was responsible for several other projects located around Lafayette Square, including St. John's Episcopal Church, Decatur House, and the White House porticos. Private homes designed by Latrobe include commissions by John P. Van Ness and Peter Casanove. In June 1812, construction of the Capitol came to a halt with the outbreak of the War of 1812 and the failure of the First Bank of the United States. During the war, Latrobe relocated to Pittsburgh, and returned to Washington in 1815, as Architect of the Capitol, charged with responsibility of rebuilding the capitol after it was destroyed in the war. Latrobe was given more freedom in rebuilding the capitol, to apply his own design elements for the interior. Through much of Latrobe's time in Washington, he remained involved with his private practice to some extent and with other projects in Philadelphia and elsewhere. His clerk of works, John Lenthal, often urged Latrobe to spend more time in Washington. By 1817, Latrobe had provided President James Monroe with complete drawings for the entire building. He resigned as Architect of the Capitol on November 20, 1817, and without this major commission, Latrobe faced difficulties and was forced into bankruptcy. Latrobe left Washington, for Baltimore in January 1818. Latrobe left Washington with pessimism, with the city's design contradicting many of his ideals. Latrobe disliked the Baroque-style plan for the city, and other aspects of L'Enfant's plan, and resented having to conform to Thornton's plans for the Capitol Building. One of the greatest problems with the overall city plan, in the view of Latrobe, was its vast interior distances, and Latrobe considered the Washington Canal as a key factor that, if successful, could help alleviate this issue. Latrobe also had concerns about the city's economic potential, and argued for constructing a road connecting Washington with Frederick to the northwest to enhance economic commerce through Washington. New Orleans Latrobe saw great potential for growth in New Orleans, situated at the mouth of the Mississippi River, with the advent of the steamboat and great interest in steamboat technology. Latrobe's first project in New Orleans was the first New Orleans United States Customs building, constructed in 1807. In 1810 Latrobe sent his son, Henry Sellon "Boneval" Latrobe, to the city to present a plan for a waterworks system to the New Orleans city council. Latrobe's plan for the waterworks system was based on that of Philadelphia, which he earlier designed. The system in Philadelphia was created as a response to yellow fever epidemics affecting the city. Latrobe's system used steam pumps to move water from the Schuylkill River to a reservoir, located upstream; so that gravity could be used to transmit the water from there to residents in the city. The New Orleans waterworks project also was designed to desalinate water, using steam-powered pumps. While in New Orleans, Latrobe's son participated in the Battle of New Orleans against British forces in 1815, and took on other projects including building a lighthouse, a new Charity Hospital, and the French Opera House. New Orleans agreed to commission the waterworks project in 1811, although Latrobe was not ready to take on the project immediately and faced financial problems in securing enough investors for the project. His work on the United States Capitol was completed shortly before the War of 1812 started, ending his source of steady income. During the war Latrobe unsuccessfully tried several wartime schemes to make money, including some steamboat projects. In 1814, Latrobe partnered with Robert Fulton in a steamship venture based at Pittsburgh. While in Pittsburgh, Latrobe designed and built a theater for the Circus of Pepin and Breschard. After the U. S. Capitol and White House were burned by the British Army, Latrobe remained in Washington to help with rebuilding, and Latrobe's son took on much of the work for the New Orleans waterworks project. Latrobe faced further delays trying to get an engine built for the waterworks, which he finally accomplished in 1819. The process of designing and constructing the waterworks system in New Orleans spanned eleven years. In addition to this project, Latrobe designed the central tower of the St. Louis Cathedral, which was his last architectural project. Latrobe died September 3, 1820, from yellow fever, while working in Louisiana. He was buried in the Protestant section of the Saint Louis Cemetery in New Orleans, where his eldest son, architect Henry Sellon Boneval Latrobe (1792–1817), had been buried three years earlier, having also succumbed to yellow fever. Architecture Influences While studying in Germany, Latrobe was mentored by Baron Karl von Schachmann, a classical scholar interested in art and collecting. Around 1783, Latrobe made the decision to become an architect, a decision influenced by the baron. While Latrobe was in Germany, a new architectural movement, led by Carl Gotthard Langhans and others, was emerging with return to more Classical or Vitruvian designs. In 1784, Latrobe set off on a Grand Tour around Europe, visiting Paris where the Panthéon, a church dedicated to St. Genevieve, was nearing completion. The Panthéon in Paris, designed by Jacques Germain Soufflot and Jean-Baptiste Rondelet, represented an early example of Neoclassicism. At that time, Claude Nicolas Ledoux was designing numerous houses in France, in Neoclassical style. Latrobe also visited Rome, where he was impressed by the Roman Pantheon and other ancient structures with Greek influence. Influential architects in Britain, at the time when Latrobe returned in 1784, adhered to a number of different styles. Sir William Chambers was at the forefront, designing in Palladianism style, while Chambers' rival, Robert Adam's designs had Roman influence, in a style known as Adam style. Latrobe was not interested in either the Palladian nor Adam style, but Neoclassicalism also was being introduced to Great Britain at the time by George Dance the Younger. Other British architects, including John Soane and Henry Holland, also designed in the Neoclassical style while Latrobe was in London. During his European tour, Latrobe gathered ideas on how American cities should be designed. He suggested city blocks be laid out as thin rectangles, with the long side of the blocks oriented east-west so that as many houses as possible could face south. For a city to succeed, he thought it needed to be established only in places with good prospects for commerce and industrial growth, and with a good water supply. Public health was another key consideration of Latrobe, who believed that the eastern shores of rivers were unhealthy, due to prevailing direction of the wind, and recommended cities be built on the western shores of rivers. Greek Revival in America Latrobe brought from England influences of British Neoclassicism, and was able to combine it with styles introduced by Thomas Jefferson, to devise an American Greek Revival style. John Summerson described the Bank of Pennsylvania, as an example of how Latrobe "married English Neo-Classicism to Jeffersonian Neo-Classicism [and] ... from that moment, the classical revival in America took on a national form". The American form of Greek Revival architecture that Latrobe developed became associated with political ideals of democracy—a meaning that was less apparent in Britain. The direct link between the Greek Revival architecture and American democracy has been disputed by recent scholars such as W. Barksdale Maynard, who sees the Greek Revival as an international phenomenon. Selected works Houses When Latrobe began private practice in England, his first projects were alterations to existing houses, designing Hammerwood Park, and designing Ashdown House, East Sussex. Alterations completed early in his career may have included Tanton Hall, Sheffield Park, Frimley, and Teston Hall, although these homes have since been altered and it is difficult now to isolate Latrobe's work in the current designs. His designs were simpler than was typical at the time, and had influences of Robert Adam. Features in his designs often included as part of the front porticos, Greek ionic columns, as used in Ashdown House, or doric columns, seen in Hammerwood Park. The book, The Domestic Architecture of Benjamin Henry Latrobe, lists buildings he designed in England, including Grade II* listed Alderbury House (late 1800s) in Wiltshire. This structure had previously been misattributed to James Wyatt. It has been described as "one of Wiltshire’s most elegant Georgian country houses". Latrobe continued to design houses after he emigrated to the United States, mostly using Greek Revival designs. Four houses still stand that Latrobe designed: the Decatur House in Washington, D.C.; Adena in Chillicothe, Ohio; the Pope Villa in Lexington, Kentucky; and the Sedgeley Porter's house in Philadelphia. As one of Latrobe's most avant-garde designs, the Pope Villa has national significance for its unique design. He also introduced Gothic Revival architecture to the United States with the design of Sedgeley. The mansion was built in 1799 and demolished in 1857; however, the stone Porter's house at Sedgeley remains as his only extant building in Philadelphia. A theme seen in many of Latrobe's designs is plans with squarish-dimensions and a central, multi-story hall with a cupola to provide lighting, which was contrary to the popular trend of the time of building houses with long narrow plans. Notes References Klotter, James C., and Daniel Rowland, eds. Bluegrass Renaissance: The History and Culture of Central Kentucky, 1792–1852 (University Press of Kentucky; 2012) 371 pages; emphasis on Benjamin Henry Latrobe and "neoclassical" Lexington External links Fine Arts Library Image Collection – University of Pennsylvania Library of Congress, Jefferson Building East Corridor mosaics Benjamin Latrobe: America's First Architect on PBS Benjamin Henry LaTrobe Sketches of Fishes, 1796–1797, 1882 from the Smithsonian Institution Archives American Neoclassical architects British neoclassical architects Architects of the Capitol 1764 births 1820 deaths American ecclesiastical architects Architects of cathedrals Gothic Revival architects Neoclassical architects English ecclesiastical architects Federalist architects Greek Revival architects American surveyors English surveyors Members of the American Philosophical Society Members of the American Antiquarian Society English emigrants to the United States English people of the Moravian Church People educated at Fulneck School People from Pudsey Prussian Army personnel Burials in Louisiana Deaths from yellow fever Infectious disease deaths in Louisiana Latrobe, Pennsylvania 18th-century American people 18th-century English architects Architects from Leeds Latrobe family	false	[ "Donald Duckworth is a retired NASCAR Grand National Series driver from Gray Court, South Carolina, US.\n\nCareer\nDuckworth made his sole Cup Series appearance at the 1955 Southern 500 under the Woodruff Motors sponsorship livery while driving a 1955 Chevrolet.\n\nIn the 1955 Southern 500, Duckworth qualified 40th and finished 55th after Arden Mounts crashed into his stalled vehicle on lap 147. While Bill Champion managed to avoid Duckworth by swerving past the vehicle rapidly, Mounts did not see the stalled vehicle it was until too late to avoid him. Duckworth earned $50 ($ when adjusted for inflation).\n\nDespite his very brief career, his appearance on filmed media makes him one of the more recognizable drivers who never made it in professional stock car racing.\n\nReferences\n\nLiving people\nNASCAR drivers\nPeople from Gray Court, South Carolina\nYear of birth missing (living people)\nRacing drivers from South Carolina", "Edward H. Murphy is a former senior executive and board member of the American Petroleum Institute.\n\nEducation\nEdward Murphy obtained his BA in Economics from Fordham University and his Ph.D from Rutgers University.\n\nCareer\nEdward Murphy has been employed at the American Petroleum Institute in a variety of positions, beginning in 1975, and he retired from the Institute as Group Director for Industry Operations and Downstream in 2007. He has been outspoken in defense of the petroleum industry and appeared in the 2006 film, Who Killed the Electric Car as an interviewee, in which he stated: \"I differ strongly with that. We did not kill the electric car. The petroleum industry did not kill the electric car, what killed the electric car was antiquated technology. It's a good example of something we should not repeat, it's something we need to avoid.\"\n\nPublications\n\nReferences \n\n20th-century American businesspeople\nAmerican businesspeople in the oil industry\nFordham University alumni\nRutgers University alumni\nLiving people\nYear of birth missing (living people)" ]
[ "Benjamin Henry Latrobe", "England", "When di d he go to england?", "Latrobe returned to England in 1784,", "Are there any other interesting aspects about this article?", "In February 1790, Latrobe married Lydia Sellon,", "Did he have a family?", "The couple had a daughter (Lydia Sellon Latrobe) and a son (Henry Sellon Boneval Latrobe", "Did htey divorce?", "she died giving birth during November 1793.", "Did the child live?", "I don't know.", "What ele happened in england?", "In 1795, Latrobe suffered a breakdown and decided to emigrate to America, departing on November 25 aboard the Eliza.", "What caused the break down?", "Latrobe had problems getting payment for his work on the project, and faced bankruptcy.", "Did he avoid bankrucy?", "I don't know." ]	C_d5feaffe27ea4330818d179fa4d55c29_1	Was england a good place for him?	9	Was England a good place for Benjamin Henry Latrobe?	Benjamin Henry Latrobe	Latrobe returned to England in 1784, and was apprenticed to John Smeaton, an engineer known for designing Eddystone Lighthouse. Then in 1787 or 1788, he worked in the office of neoclassical architect Samuel Pepys Cockerell for a brief time. In 1790, Latrobe was appointed Surveyor of the Public Offices in London, and established his own private practice in 1791. Latrobe was commissioned in 1792 to design Hammerwood Park, near East Grinstead in Sussex, his first independent work, and he designed nearby Ashdown House in 1793. Latrobe was involved in construction of the Basingstoke Canal in Surrey, together with engineers John Smeaton and William Jessop. In spring 1793, Latrobe was hired to plan improvements to the River Blackwater from Maldon to Beeleigh, so that the port of Maldon could compete with the Chelmer and Blackwater Navigation, which bypassed the town. The project lasted until early 1795, when Parliament denied approval of his plan. Latrobe had problems getting payment for his work on the project, and faced bankruptcy. In February 1790, Latrobe married Lydia Sellon, and they lived a busy social life in London. The couple had a daughter (Lydia Sellon Latrobe) and a son (Henry Sellon Boneval Latrobe), before she died giving birth during November 1793. Lydia had inherited her father's wealth, which in turn was to be left to the children through a trust with the children's uncles, but never ended up going to the children. In 1795, Latrobe suffered a breakdown and decided to emigrate to America, departing on November 25 aboard the Eliza. In America, Latrobe was known for his series of topological and landscape watercolors; the series started with a view of the White Cliffs of the south coast of England viewed from the Eliza. The series was preceded by a watercolor of East Grinstead, dated September 8, 1795. CANNOTANSWER	In 1790, Latrobe was appointed Surveyor of the Public Offices in London, and established his own private practice in 1791.	Benjamin Henry Boneval Latrobe (May 1, 1764 – September 3, 1820) was a British-American neoclassical architect who emigrated to the United States. He was one of the first formally trained, professional architects in the new United States, drawing on influences from his travels in Italy, as well as British and French Neoclassical architects such as Claude Nicolas Ledoux. In his thirties, he emigrated to the new United States and designed the United States Capitol, on "Capitol Hill" in Washington, D.C., as well as the Old Baltimore Cathedral or The Baltimore Basilica, (later renamed the Basilica of the National Shrine of the Assumption of the Blessed Virgin Mary). It is the first Cathedral constructed in the United States for any Christian denomination. Latrobe also designed the largest structure in America at the time, the "Merchants' Exchange" in Baltimore. With extensive balconied atriums through the wings and a large central rotunda under a low dome which dominated the city, it was completed in 1820 after five years of work and endured into the early twentieth century. Latrobe emigrated in 1796, initially settling in Virginia where he worked on the Virginia State Penitentiary in Richmond. Latrobe then moved to Philadelphia where he established his practice. In 1803, he was hired as Surveyor of the Public Buildings of the United States, and spent much of the next fourteen years working on projects in the new national capital of Washington, D.C., (in the newly-laid out Federal capital of the District of Columbia) where he served as the second Architect of the Capitol. He also was responsible for the design of the White House porticos. Latrobe spent the later years of his life in New Orleans, Louisiana working on a waterworks project, and died there in 1820 from yellow fever. Latrobe has been called the "father of American architecture". He was the uncle of Charles La Trobe, who was the first Lieutenant-Governor of Victoria in Australia. Biography Latrobe was born on May 1, 1764, at the Fulneck Moravian Settlement, near Pudsey in the city of Leeds, in the West Riding of Yorkshire, England. His parents were the Reverend Benjamin Latrobe, a leader of the Moravian Church who was of Huguenot (French Protestant) ancestry, and Anna Margaretta Antes whose father was German and whose maternal line was Dutch. Antes was born in the American colony of Pennsylvania, but was sent to England by her father, a wealthy landowner, to attend a Moravian school at Fulneck. Latrobe's father, who was responsible for all Moravian schools and establishments in Britain, had an extensive circle of friends in the higher ranks of society. He stressed the importance of education, scholarship, and the value of social exchange; while Latrobe's mother instilled in her son a curiosity and interest in America. From a young age, Benjamin Henry Latrobe enjoyed drawing landscapes and buildings. He was a brother of Moravian leader and musical composer Christian Ignatius Latrobe. In 1776, at the age of twelve, Latrobe was sent away to a Moravian School at Niesky in Upper Lusatia, near the border of the German principalities of Saxony and Prussia, where his brother was studying. At age eighteen, he spent several months traveling around Germany, and then joined the Royal Prussian Army, becoming close friends with a distinguished officer in the United States Army. Latrobe also may have served briefly in the Austrian Imperial Army, and suffered some injuries or illness. After recovering, he embarked on a continental "Grand Tour", visiting eastern Saxony, Paris, Italy, and other places. Through his education and travels, Latrobe mastered German, French, ancient and modern Greek, and Latin. He had advanced ability in Italian and Spanish and some knowledge of Hebrew. Latrobe was elected a member of the American Antiquarian Society in 1815. His son, Benjamin Henry Latrobe, II, (sometimes referred to as "Junior"), also worked as a civil engineer. In 1827, he joined the newly organized Baltimore and Ohio Railroad and designed the longest, most challenging bridge on its initial route: the curving Thomas Viaduct, (the third of four multi-arched "viaducts"). Another son, John Hazlehurst Boneval Latrobe (1803–1891), was a noted civic leader, lawyer, author, historian, artist, inventor, intellectual, and social activist in Maryland. A grandson, Charles Hazlehurst Latrobe (1834–1902), Benjamin Henry Latrobe II's son, a Confederate soldier, also continued the tradition of architect and engineer, building bridges for the city and the Baltimore and Ohio Railroad. Latrobe Park in south Baltimore is named for the family, as is Latrobe Park, New Orleans, in the French Quarter. Another grandson, Ferdinand Claiborne Latrobe, was a seven-term mayor of Baltimore. Travels England Latrobe returned to England in 1784, and was apprenticed to John Smeaton, an engineer known for designing Eddystone Lighthouse. Then in 1787 or 1788, he worked in the office of neoclassical architect Samuel Pepys Cockerell for a brief time. In 1790, Latrobe was appointed Surveyor of the Public Offices in London, and established his own private practice in 1791. Latrobe was commissioned in 1792 to design Hammerwood Lodge, near East Grinstead in Sussex, his first independent work, and he designed nearby Ashdown House in 1793. Latrobe was involved in construction of the Basingstoke Canal in Surrey, together with engineers John Smeaton and William Jessop. In spring 1793, Latrobe was hired to plan improvements to the River Blackwater from Maldon to Beeleigh, so that the port of Maldon could compete with the Chelmer and Blackwater Navigation, which bypassed the town. The project lasted until early 1795, when Parliament denied approval of his plan. Latrobe had problems getting payment for his work on the project, and faced bankruptcy. In February 1790, Latrobe married Lydia Sellon, and they lived a busy social life in London. The couple had a daughter (Lydia Sellon Latrobe) and a son (Henry Sellon Boneval Latrobe), before she died giving birth during November 1793. Lydia had inherited her father's wealth, which in turn was to be left to the children through a trust with the children's uncles, but never ended up going to the children. In 1795, Latrobe suffered a breakdown and decided to emigrate to America, departing on November 25 aboard the Eliza. In America, Latrobe was known for his series of topological and landscape watercolors; the series started with a view of the White Cliffs of the south coast of England viewed from the Eliza. The series was preceded by a watercolor of East Grinstead, dated September 8, 1795. Virginia Latrobe arrived in Norfolk, Virginia, in mid-March 1796 after a harrowing four-month journey aboard the ship, which was plagued with food shortages under near-starvation conditions. Latrobe initially spent time in Norfolk, where he designed the "William Pennock House," then set out for Richmond in April 1796. Soon after arriving in Virginia, Latrobe became friends with Bushrod Washington, nephew of President George Washington, along with Edmund Randolph and other notable figures. Through Bushrod Washington, Latrobe was able to pay a visit to Mount Vernon to meet with the president in the summer of 1796. Latrobe's first major project in the United States was the State Penitentiary in Richmond, commissioned in 1797. The penitentiary included many innovative ideas in penal reform, then being espoused by Thomas Jefferson and various other figures, including cells arranged in a semicircle, that allowed for easy surveillance, as well as improved living conditions for sanitation and ventilation. He also pioneered the use of solitary confinement in the Richmond penitentiary. While in Virginia, Latrobe worked on the Green Spring mansion near Williamsburg, which had been built by Governor Sir William Berkeley in the seventeenth century but fell into disrepair after the American Revolutionary War. Latrobe created designs for Fort Nelson in Virginia in 1798. He also made drawings for a number of houses that were not built, including the "Mill Hill" plantation house near Richmond. After spending a year in Virginia, the novelty of being in a new place wore off, and Latrobe was lonely and restless in Virginia. Giambattista Scandella, a friend, suggested Philadelphia as an ideal location for him. In April 1798, Latrobe visited Philadelphia for the first time, meeting with Bank of Pennsylvania president Samuel J. Fox, and presented to him a design for a new bank building. At the time, the political climate in Philadelphia was quite different than Virginia, with a strong division between the Federalists and Jefferson's Democratic-Republicans, along with anti-French sentiment, thus the city was not entirely welcoming for Latrobe. On his way to Philadelphia, Latrobe passed through the national capital city of Washington, D.C., then under construction (congress and the president would not arrive until the year 1800), where he met with the first architect of the capitol, William Thornton, and viewed the United States Capitol for the first time. He stopped by Washington again on his way back to Richmond. Latrobe remained in Richmond, Virginia, until November 1798, when his design was selected for the Bank of Pennsylvania. He moved to Philadelphia, so that he could supervise the construction, although he continued to do occasional projects for clients in Virginia. Philadelphia By the time he arrived in Philadelphia, Latrobe's two friends, Scandella and Volney, had left due to concerns regarding the Alien and Sedition Acts, but Latrobe made friends with some of their acquaintances at the American Philosophical Society. Latrobe submitted several papers to the society, on his geology and natural history observations, and became a member of the society in 1799. With his charming personality, Latrobe quickly made other friends among the influential financial and business families in Philadelphia, and became close friends with Nicholas Roosevelt, a talented steam-engine builder who would help Latrobe in his waterworks projects. Latrobe's first major project in Philadelphia was to design the Bank of Pennsylvania, which was the first example of Greek Revival architecture in the United States. It was demolished in 1870. This commission is what convinced him to set up his practice in Philadelphia, where he developed his reputation. Latrobe also was hired to design the Center Square Water Works in Philadelphia. The Pump House, located on the common at Broad and Market Streets (now the site of Philadelphia City Hall), was designed by Latrobe in a Greek Revival style. It drew water from the Schuylkill River, a mile away, and contained two steam engines that pumped it into wooden tanks in its tower. Gravity then fed the water by wooden mains into houses and businesses. Following his work on the Philadelphia water works project, Latrobe worked as an engineer of the Chesapeake and Delaware Canal. In addition to Greek Revival designs, Latrobe also used Gothic Revival designs in many of his works, including the 1799 design of Sedgeley, a country mansion in Philadelphia. The Gothic Revival style was used in Latrobe's design of the Philadelphia Bank building as well, which was built in 1807 and demolished in 1836. As a young architect, Robert Mills worked as an assistant with Latrobe from 1803 until 1808 when he set up his own practice. While in Philadelphia, Latrobe married Mary Elizabeth Hazlehurst (1771–1841), in 1800. The couple had several children together. Washington, D.C. In the United States, Latrobe quickly achieved eminence as the first professional architect working in the country. Latrobe was a friend of Thomas Jefferson, influencing Jefferson's design for the University of Virginia. Latrobe also knew James Monroe, as well as New Orleans architect and pirate, Barthelemy Lafon, was Aaron Burr's preferred architect, and he trained architect William Strickland. In 1803, Jefferson hired Latrobe as Surveyor of the Public Buildings of the United States, and to work as superintendent of construction of the United States Capitol. As construction of the capitol was already underway, Latrobe was tasked to work with William Thornton's plans, which Latrobe criticized. In an 1803 letter to Vice President Aaron Burr, he characterized the plans and work done as "faulty construction". Nonetheless, President Thomas Jefferson insisted that Latrobe follow Thornton's design for the capitol. Although Latrobe's major work was overseeing construction of the United States Capitol, he also was responsible for numerous other projects in Washington. In 1804, became chief engineer in the United States Navy. As chief surveyor, Latrobe was responsible for the Washington Canal. Latrobe faced bureaucratic hurdles in moving forward with the canal, with the directors of the company rejecting his request for stone locks. Instead, the canal was built with wooden locks, which were subsequently destroyed in a heavy storm in 1811. Latrobe also designed the main gate of the Washington Navy Yard. Latrobe worked on other transportation projects in Washington, D.C., including the Washington and Alexandria Turnpike, which connected Washington with Alexandria, as well as a road connecting with Frederick, Maryland, and a third road, the Columbia Turnpike going through Bladensburg to Baltimore. Latrobe also provided consulting on the construction of the Washington Bridge across the Potomac River in a way that would not impede navigation and commerce to Georgetown. Benjamin Latrobe was responsible for several other projects located around Lafayette Square, including St. John's Episcopal Church, Decatur House, and the White House porticos. Private homes designed by Latrobe include commissions by John P. Van Ness and Peter Casanove. In June 1812, construction of the Capitol came to a halt with the outbreak of the War of 1812 and the failure of the First Bank of the United States. During the war, Latrobe relocated to Pittsburgh, and returned to Washington in 1815, as Architect of the Capitol, charged with responsibility of rebuilding the capitol after it was destroyed in the war. Latrobe was given more freedom in rebuilding the capitol, to apply his own design elements for the interior. Through much of Latrobe's time in Washington, he remained involved with his private practice to some extent and with other projects in Philadelphia and elsewhere. His clerk of works, John Lenthal, often urged Latrobe to spend more time in Washington. By 1817, Latrobe had provided President James Monroe with complete drawings for the entire building. He resigned as Architect of the Capitol on November 20, 1817, and without this major commission, Latrobe faced difficulties and was forced into bankruptcy. Latrobe left Washington, for Baltimore in January 1818. Latrobe left Washington with pessimism, with the city's design contradicting many of his ideals. Latrobe disliked the Baroque-style plan for the city, and other aspects of L'Enfant's plan, and resented having to conform to Thornton's plans for the Capitol Building. One of the greatest problems with the overall city plan, in the view of Latrobe, was its vast interior distances, and Latrobe considered the Washington Canal as a key factor that, if successful, could help alleviate this issue. Latrobe also had concerns about the city's economic potential, and argued for constructing a road connecting Washington with Frederick to the northwest to enhance economic commerce through Washington. New Orleans Latrobe saw great potential for growth in New Orleans, situated at the mouth of the Mississippi River, with the advent of the steamboat and great interest in steamboat technology. Latrobe's first project in New Orleans was the first New Orleans United States Customs building, constructed in 1807. In 1810 Latrobe sent his son, Henry Sellon "Boneval" Latrobe, to the city to present a plan for a waterworks system to the New Orleans city council. Latrobe's plan for the waterworks system was based on that of Philadelphia, which he earlier designed. The system in Philadelphia was created as a response to yellow fever epidemics affecting the city. Latrobe's system used steam pumps to move water from the Schuylkill River to a reservoir, located upstream; so that gravity could be used to transmit the water from there to residents in the city. The New Orleans waterworks project also was designed to desalinate water, using steam-powered pumps. While in New Orleans, Latrobe's son participated in the Battle of New Orleans against British forces in 1815, and took on other projects including building a lighthouse, a new Charity Hospital, and the French Opera House. New Orleans agreed to commission the waterworks project in 1811, although Latrobe was not ready to take on the project immediately and faced financial problems in securing enough investors for the project. His work on the United States Capitol was completed shortly before the War of 1812 started, ending his source of steady income. During the war Latrobe unsuccessfully tried several wartime schemes to make money, including some steamboat projects. In 1814, Latrobe partnered with Robert Fulton in a steamship venture based at Pittsburgh. While in Pittsburgh, Latrobe designed and built a theater for the Circus of Pepin and Breschard. After the U. S. Capitol and White House were burned by the British Army, Latrobe remained in Washington to help with rebuilding, and Latrobe's son took on much of the work for the New Orleans waterworks project. Latrobe faced further delays trying to get an engine built for the waterworks, which he finally accomplished in 1819. The process of designing and constructing the waterworks system in New Orleans spanned eleven years. In addition to this project, Latrobe designed the central tower of the St. Louis Cathedral, which was his last architectural project. Latrobe died September 3, 1820, from yellow fever, while working in Louisiana. He was buried in the Protestant section of the Saint Louis Cemetery in New Orleans, where his eldest son, architect Henry Sellon Boneval Latrobe (1792–1817), had been buried three years earlier, having also succumbed to yellow fever. Architecture Influences While studying in Germany, Latrobe was mentored by Baron Karl von Schachmann, a classical scholar interested in art and collecting. Around 1783, Latrobe made the decision to become an architect, a decision influenced by the baron. While Latrobe was in Germany, a new architectural movement, led by Carl Gotthard Langhans and others, was emerging with return to more Classical or Vitruvian designs. In 1784, Latrobe set off on a Grand Tour around Europe, visiting Paris where the Panthéon, a church dedicated to St. Genevieve, was nearing completion. The Panthéon in Paris, designed by Jacques Germain Soufflot and Jean-Baptiste Rondelet, represented an early example of Neoclassicism. At that time, Claude Nicolas Ledoux was designing numerous houses in France, in Neoclassical style. Latrobe also visited Rome, where he was impressed by the Roman Pantheon and other ancient structures with Greek influence. Influential architects in Britain, at the time when Latrobe returned in 1784, adhered to a number of different styles. Sir William Chambers was at the forefront, designing in Palladianism style, while Chambers' rival, Robert Adam's designs had Roman influence, in a style known as Adam style. Latrobe was not interested in either the Palladian nor Adam style, but Neoclassicalism also was being introduced to Great Britain at the time by George Dance the Younger. Other British architects, including John Soane and Henry Holland, also designed in the Neoclassical style while Latrobe was in London. During his European tour, Latrobe gathered ideas on how American cities should be designed. He suggested city blocks be laid out as thin rectangles, with the long side of the blocks oriented east-west so that as many houses as possible could face south. For a city to succeed, he thought it needed to be established only in places with good prospects for commerce and industrial growth, and with a good water supply. Public health was another key consideration of Latrobe, who believed that the eastern shores of rivers were unhealthy, due to prevailing direction of the wind, and recommended cities be built on the western shores of rivers. Greek Revival in America Latrobe brought from England influences of British Neoclassicism, and was able to combine it with styles introduced by Thomas Jefferson, to devise an American Greek Revival style. John Summerson described the Bank of Pennsylvania, as an example of how Latrobe "married English Neo-Classicism to Jeffersonian Neo-Classicism [and] ... from that moment, the classical revival in America took on a national form". The American form of Greek Revival architecture that Latrobe developed became associated with political ideals of democracy—a meaning that was less apparent in Britain. The direct link between the Greek Revival architecture and American democracy has been disputed by recent scholars such as W. Barksdale Maynard, who sees the Greek Revival as an international phenomenon. Selected works Houses When Latrobe began private practice in England, his first projects were alterations to existing houses, designing Hammerwood Park, and designing Ashdown House, East Sussex. Alterations completed early in his career may have included Tanton Hall, Sheffield Park, Frimley, and Teston Hall, although these homes have since been altered and it is difficult now to isolate Latrobe's work in the current designs. His designs were simpler than was typical at the time, and had influences of Robert Adam. Features in his designs often included as part of the front porticos, Greek ionic columns, as used in Ashdown House, or doric columns, seen in Hammerwood Park. The book, The Domestic Architecture of Benjamin Henry Latrobe, lists buildings he designed in England, including Grade II* listed Alderbury House (late 1800s) in Wiltshire. This structure had previously been misattributed to James Wyatt. It has been described as "one of Wiltshire’s most elegant Georgian country houses". Latrobe continued to design houses after he emigrated to the United States, mostly using Greek Revival designs. Four houses still stand that Latrobe designed: the Decatur House in Washington, D.C.; Adena in Chillicothe, Ohio; the Pope Villa in Lexington, Kentucky; and the Sedgeley Porter's house in Philadelphia. As one of Latrobe's most avant-garde designs, the Pope Villa has national significance for its unique design. He also introduced Gothic Revival architecture to the United States with the design of Sedgeley. The mansion was built in 1799 and demolished in 1857; however, the stone Porter's house at Sedgeley remains as his only extant building in Philadelphia. A theme seen in many of Latrobe's designs is plans with squarish-dimensions and a central, multi-story hall with a cupola to provide lighting, which was contrary to the popular trend of the time of building houses with long narrow plans. Notes References Klotter, James C., and Daniel Rowland, eds. Bluegrass Renaissance: The History and Culture of Central Kentucky, 1792–1852 (University Press of Kentucky; 2012) 371 pages; emphasis on Benjamin Henry Latrobe and "neoclassical" Lexington External links Fine Arts Library Image Collection – University of Pennsylvania Library of Congress, Jefferson Building East Corridor mosaics Benjamin Latrobe: America's First Architect on PBS Benjamin Henry LaTrobe Sketches of Fishes, 1796–1797, 1882 from the Smithsonian Institution Archives American Neoclassical architects British neoclassical architects Architects of the Capitol 1764 births 1820 deaths American ecclesiastical architects Architects of cathedrals Gothic Revival architects Neoclassical architects English ecclesiastical architects Federalist architects Greek Revival architects American surveyors English surveyors Members of the American Philosophical Society Members of the American Antiquarian Society English emigrants to the United States English people of the Moravian Church People educated at Fulneck School People from Pudsey Prussian Army personnel Burials in Louisiana Deaths from yellow fever Infectious disease deaths in Louisiana Latrobe, Pennsylvania 18th-century American people 18th-century English architects Architects from Leeds Latrobe family	true	[ "Nick Abendanon (born 27 August 1986 in Bryanston, South Africa) is a former England international rugby union player. His preferred position was full-back. He has Dutch nationality through his parents.\n\nAbendanon burst onto the scene during the 2006–07 season, scoring 10 tries in 24 first-team appearances for Bath. A strong tackler, balanced runner and dangerous counter-attacker, he firmly established himself as Bath's first-choice full-back in the post-Matt Perry era.\n\nHis form that season earned him a first England cap in South Africa – the country of his birth – in June 2007. He was capped again against France in August 2007, but narrowly missed out on a place in England's 30-man squad for the 2007 Rugby World Cup. However, he did eventually travel to France as cover for the final after an injury to Josh Lewsey.\n\nSome fine performances during the 2008–09 season were rewarded with a call-up for the England Saxons squad for the 2009 Churchill Cup in the United States.\n\nRetaining his place in the squad, Abendanon was part of the England Saxons victory of the 2010 Churchill Cup and his impressive performances resulted in him being named Player of the Tournament.\n\nEntering the 2010–11 season Abendanon continued his good form. Although he lost his place for a month to Jack Cuthbert due to a niggling injury which limited him to impact appearances of the bench, Abendanon was promoted to the England Elite squad as replacement for the banned Delon Armitage. This promotion put him in contention to feature during the 2011 Six Nations which some pundits believed he deserved for his improvement over the previous year.\n\nAfter eight years with Bath, on 3 February 2014, Abendanon signed for French giants Clermont Auvergne, playing in the Top 14 from the 2014-15 season. On 12 June 2020, Abendanon joined Pro D2 outfit Vannes on a two-year deal from the 2020-21 season.\n\nAbendanon confirmed his retirement from international rugby on 28 October 2021 via Instagram.\n\nReferences\n\nExternal links\nBath profile\nEngland profile\nClermont Auvergne Profile \n\nLiving people\n1986 births\nEngland international rugby union players\nEnglish rugby union players\nDutch expatriate rugby union players\nBath Rugby players\nASM Clermont Auvergne players\nSouth African people of British descent\nRugby union fullbacks\nPeople educated at Cheltenham College\nPeople educated at Beaudesert Park School\nSportspeople from Gloucestershire", "Mason Sidney Crane (born 18 February 1997) is an English cricketer who plays for the Hampshire County Cricket Club. He is a right-arm leg break bowler and right-handed batsman. He also played for the England national cricket team in 2017 & 2018.\n\nDomestic career\nCrane was a member of the Hampshire County Cricket Club academy since the age of 14, where he was under the guidance of former Hampshire spinner Rajesh Maru at Lancing College, West Sussex. Under Maru's guidance he impressed straight away despite concerns about his height and quickly he became a leg break bowler with good control as well as a googly.\n\nCrane has also been a member of Sussex Cricket League club Worthing Cricket Club since the age of 10, playing for the club's junior teams and also claiming 54 wickets for the Worthing CC 1st XI.\n\nCrane's good performance in the academy and guidance from Maru and Hampshire academy spin coach Darren Flint earned him a call-up to the England U17 development team. In the summer of 2014 Crane's continued good performances made him a regular in the Hampshire 2nd XI and earned him a call-up to the England U19s for the tour of Dubai and later the teams tour of Australia to play the Australia U19s. Crane was also called up to the first team squad for their trip to Worcestershire in the LV County Championship. Crane's performances in Australia were good, taking 2 wickets in 3 games in a series that England would lose 3–2.\n\nOn 10 July 2015, Crane made his Hampshire 1st team debut in a Natwest T20 Blast fixture against Surrey at the Ageas Bowl. Coming on in the 9th over of Surrey's innings with them chasing 187 runs for victory, Crane bowled well dismissing Kumar Sangakkara and Vikram Solanki in his allocated 4 over to finish with figures of 2/35 as Hampshire won by 29 runs.\n\nIn December 2015 he was named in England's squad for the 2016 Under-19 Cricket World Cup.\n\nIn October 2016 Crane went to Sydney to play for Gordon District Cricket Club in Sydney Grade Cricket.\n\nIn March 2017, Crane made his debut for New South Wales, becoming the first overseas player to play for them since Imran Khan in 1984, where he took match figures of 5/116 and remained 15 not out when batting.\n\nInternational career\nIn June 2017, he was named in England's Twenty20 International (T20I) squad for the series against South Africa. He made his T20I debut for England against South Africa on 21 June 2017. In August 2017, he was named in England's Test squad for their series against the West Indies, but he did not play. In September 2017, he was named in England's Test squad for the 2017–18 Ashes series. He made his Test debut in the fifth Test against Australia on 4 January 2018. On Test debut, he took his maiden test wicket by dismissing Usman Khawaja, having previously had an appeal against the same player turned down because of a no ball.\n\nOn 29 May 2020, Crane was named in a 55-man group of players to begin training ahead of international fixtures starting in England following the COVID-19 pandemic. In January 2021, Crane was named as a reserve player in England's Test squad for their series against India.\n\nReferences\n\nExternal links\n \n\n1997 births\nLiving people\nEnglish cricketers\nEngland Test cricketers\nEngland Twenty20 International cricketers\nPeople from Shoreham-by-Sea\nHampshire cricketers\nNew South Wales cricketers\nMarylebone Cricket Club cricketers\nNorth v South cricketers\nLondon Spirit cricketers" ]
[ "Benjamin Henry Latrobe", "England", "When di d he go to england?", "Latrobe returned to England in 1784,", "Are there any other interesting aspects about this article?", "In February 1790, Latrobe married Lydia Sellon,", "Did he have a family?", "The couple had a daughter (Lydia Sellon Latrobe) and a son (Henry Sellon Boneval Latrobe", "Did htey divorce?", "she died giving birth during November 1793.", "Did the child live?", "I don't know.", "What ele happened in england?", "In 1795, Latrobe suffered a breakdown and decided to emigrate to America, departing on November 25 aboard the Eliza.", "What caused the break down?", "Latrobe had problems getting payment for his work on the project, and faced bankruptcy.", "Did he avoid bankrucy?", "I don't know.", "Was england a good place for him?", "In 1790, Latrobe was appointed Surveyor of the Public Offices in London, and established his own private practice in 1791." ]	C_d5feaffe27ea4330818d179fa4d55c29_1	What was is practice off?	10	What was Benjamin Henry Latrobe private practice?	Benjamin Henry Latrobe	Latrobe returned to England in 1784, and was apprenticed to John Smeaton, an engineer known for designing Eddystone Lighthouse. Then in 1787 or 1788, he worked in the office of neoclassical architect Samuel Pepys Cockerell for a brief time. In 1790, Latrobe was appointed Surveyor of the Public Offices in London, and established his own private practice in 1791. Latrobe was commissioned in 1792 to design Hammerwood Park, near East Grinstead in Sussex, his first independent work, and he designed nearby Ashdown House in 1793. Latrobe was involved in construction of the Basingstoke Canal in Surrey, together with engineers John Smeaton and William Jessop. In spring 1793, Latrobe was hired to plan improvements to the River Blackwater from Maldon to Beeleigh, so that the port of Maldon could compete with the Chelmer and Blackwater Navigation, which bypassed the town. The project lasted until early 1795, when Parliament denied approval of his plan. Latrobe had problems getting payment for his work on the project, and faced bankruptcy. In February 1790, Latrobe married Lydia Sellon, and they lived a busy social life in London. The couple had a daughter (Lydia Sellon Latrobe) and a son (Henry Sellon Boneval Latrobe), before she died giving birth during November 1793. Lydia had inherited her father's wealth, which in turn was to be left to the children through a trust with the children's uncles, but never ended up going to the children. In 1795, Latrobe suffered a breakdown and decided to emigrate to America, departing on November 25 aboard the Eliza. In America, Latrobe was known for his series of topological and landscape watercolors; the series started with a view of the White Cliffs of the south coast of England viewed from the Eliza. The series was preceded by a watercolor of East Grinstead, dated September 8, 1795. CANNOTANSWER	Latrobe was commissioned in 1792 to design Hammerwood Park, near East Grinstead in Sussex, his first independent work, and he designed nearby Ashdown House in 1793.	Benjamin Henry Boneval Latrobe (May 1, 1764 – September 3, 1820) was a British-American neoclassical architect who emigrated to the United States. He was one of the first formally trained, professional architects in the new United States, drawing on influences from his travels in Italy, as well as British and French Neoclassical architects such as Claude Nicolas Ledoux. In his thirties, he emigrated to the new United States and designed the United States Capitol, on "Capitol Hill" in Washington, D.C., as well as the Old Baltimore Cathedral or The Baltimore Basilica, (later renamed the Basilica of the National Shrine of the Assumption of the Blessed Virgin Mary). It is the first Cathedral constructed in the United States for any Christian denomination. Latrobe also designed the largest structure in America at the time, the "Merchants' Exchange" in Baltimore. With extensive balconied atriums through the wings and a large central rotunda under a low dome which dominated the city, it was completed in 1820 after five years of work and endured into the early twentieth century. Latrobe emigrated in 1796, initially settling in Virginia where he worked on the Virginia State Penitentiary in Richmond. Latrobe then moved to Philadelphia where he established his practice. In 1803, he was hired as Surveyor of the Public Buildings of the United States, and spent much of the next fourteen years working on projects in the new national capital of Washington, D.C., (in the newly-laid out Federal capital of the District of Columbia) where he served as the second Architect of the Capitol. He also was responsible for the design of the White House porticos. Latrobe spent the later years of his life in New Orleans, Louisiana working on a waterworks project, and died there in 1820 from yellow fever. Latrobe has been called the "father of American architecture". He was the uncle of Charles La Trobe, who was the first Lieutenant-Governor of Victoria in Australia. Biography Latrobe was born on May 1, 1764, at the Fulneck Moravian Settlement, near Pudsey in the city of Leeds, in the West Riding of Yorkshire, England. His parents were the Reverend Benjamin Latrobe, a leader of the Moravian Church who was of Huguenot (French Protestant) ancestry, and Anna Margaretta Antes whose father was German and whose maternal line was Dutch. Antes was born in the American colony of Pennsylvania, but was sent to England by her father, a wealthy landowner, to attend a Moravian school at Fulneck. Latrobe's father, who was responsible for all Moravian schools and establishments in Britain, had an extensive circle of friends in the higher ranks of society. He stressed the importance of education, scholarship, and the value of social exchange; while Latrobe's mother instilled in her son a curiosity and interest in America. From a young age, Benjamin Henry Latrobe enjoyed drawing landscapes and buildings. He was a brother of Moravian leader and musical composer Christian Ignatius Latrobe. In 1776, at the age of twelve, Latrobe was sent away to a Moravian School at Niesky in Upper Lusatia, near the border of the German principalities of Saxony and Prussia, where his brother was studying. At age eighteen, he spent several months traveling around Germany, and then joined the Royal Prussian Army, becoming close friends with a distinguished officer in the United States Army. Latrobe also may have served briefly in the Austrian Imperial Army, and suffered some injuries or illness. After recovering, he embarked on a continental "Grand Tour", visiting eastern Saxony, Paris, Italy, and other places. Through his education and travels, Latrobe mastered German, French, ancient and modern Greek, and Latin. He had advanced ability in Italian and Spanish and some knowledge of Hebrew. Latrobe was elected a member of the American Antiquarian Society in 1815. His son, Benjamin Henry Latrobe, II, (sometimes referred to as "Junior"), also worked as a civil engineer. In 1827, he joined the newly organized Baltimore and Ohio Railroad and designed the longest, most challenging bridge on its initial route: the curving Thomas Viaduct, (the third of four multi-arched "viaducts"). Another son, John Hazlehurst Boneval Latrobe (1803–1891), was a noted civic leader, lawyer, author, historian, artist, inventor, intellectual, and social activist in Maryland. A grandson, Charles Hazlehurst Latrobe (1834–1902), Benjamin Henry Latrobe II's son, a Confederate soldier, also continued the tradition of architect and engineer, building bridges for the city and the Baltimore and Ohio Railroad. Latrobe Park in south Baltimore is named for the family, as is Latrobe Park, New Orleans, in the French Quarter. Another grandson, Ferdinand Claiborne Latrobe, was a seven-term mayor of Baltimore. Travels England Latrobe returned to England in 1784, and was apprenticed to John Smeaton, an engineer known for designing Eddystone Lighthouse. Then in 1787 or 1788, he worked in the office of neoclassical architect Samuel Pepys Cockerell for a brief time. In 1790, Latrobe was appointed Surveyor of the Public Offices in London, and established his own private practice in 1791. Latrobe was commissioned in 1792 to design Hammerwood Lodge, near East Grinstead in Sussex, his first independent work, and he designed nearby Ashdown House in 1793. Latrobe was involved in construction of the Basingstoke Canal in Surrey, together with engineers John Smeaton and William Jessop. In spring 1793, Latrobe was hired to plan improvements to the River Blackwater from Maldon to Beeleigh, so that the port of Maldon could compete with the Chelmer and Blackwater Navigation, which bypassed the town. The project lasted until early 1795, when Parliament denied approval of his plan. Latrobe had problems getting payment for his work on the project, and faced bankruptcy. In February 1790, Latrobe married Lydia Sellon, and they lived a busy social life in London. The couple had a daughter (Lydia Sellon Latrobe) and a son (Henry Sellon Boneval Latrobe), before she died giving birth during November 1793. Lydia had inherited her father's wealth, which in turn was to be left to the children through a trust with the children's uncles, but never ended up going to the children. In 1795, Latrobe suffered a breakdown and decided to emigrate to America, departing on November 25 aboard the Eliza. In America, Latrobe was known for his series of topological and landscape watercolors; the series started with a view of the White Cliffs of the south coast of England viewed from the Eliza. The series was preceded by a watercolor of East Grinstead, dated September 8, 1795. Virginia Latrobe arrived in Norfolk, Virginia, in mid-March 1796 after a harrowing four-month journey aboard the ship, which was plagued with food shortages under near-starvation conditions. Latrobe initially spent time in Norfolk, where he designed the "William Pennock House," then set out for Richmond in April 1796. Soon after arriving in Virginia, Latrobe became friends with Bushrod Washington, nephew of President George Washington, along with Edmund Randolph and other notable figures. Through Bushrod Washington, Latrobe was able to pay a visit to Mount Vernon to meet with the president in the summer of 1796. Latrobe's first major project in the United States was the State Penitentiary in Richmond, commissioned in 1797. The penitentiary included many innovative ideas in penal reform, then being espoused by Thomas Jefferson and various other figures, including cells arranged in a semicircle, that allowed for easy surveillance, as well as improved living conditions for sanitation and ventilation. He also pioneered the use of solitary confinement in the Richmond penitentiary. While in Virginia, Latrobe worked on the Green Spring mansion near Williamsburg, which had been built by Governor Sir William Berkeley in the seventeenth century but fell into disrepair after the American Revolutionary War. Latrobe created designs for Fort Nelson in Virginia in 1798. He also made drawings for a number of houses that were not built, including the "Mill Hill" plantation house near Richmond. After spending a year in Virginia, the novelty of being in a new place wore off, and Latrobe was lonely and restless in Virginia. Giambattista Scandella, a friend, suggested Philadelphia as an ideal location for him. In April 1798, Latrobe visited Philadelphia for the first time, meeting with Bank of Pennsylvania president Samuel J. Fox, and presented to him a design for a new bank building. At the time, the political climate in Philadelphia was quite different than Virginia, with a strong division between the Federalists and Jefferson's Democratic-Republicans, along with anti-French sentiment, thus the city was not entirely welcoming for Latrobe. On his way to Philadelphia, Latrobe passed through the national capital city of Washington, D.C., then under construction (congress and the president would not arrive until the year 1800), where he met with the first architect of the capitol, William Thornton, and viewed the United States Capitol for the first time. He stopped by Washington again on his way back to Richmond. Latrobe remained in Richmond, Virginia, until November 1798, when his design was selected for the Bank of Pennsylvania. He moved to Philadelphia, so that he could supervise the construction, although he continued to do occasional projects for clients in Virginia. Philadelphia By the time he arrived in Philadelphia, Latrobe's two friends, Scandella and Volney, had left due to concerns regarding the Alien and Sedition Acts, but Latrobe made friends with some of their acquaintances at the American Philosophical Society. Latrobe submitted several papers to the society, on his geology and natural history observations, and became a member of the society in 1799. With his charming personality, Latrobe quickly made other friends among the influential financial and business families in Philadelphia, and became close friends with Nicholas Roosevelt, a talented steam-engine builder who would help Latrobe in his waterworks projects. Latrobe's first major project in Philadelphia was to design the Bank of Pennsylvania, which was the first example of Greek Revival architecture in the United States. It was demolished in 1870. This commission is what convinced him to set up his practice in Philadelphia, where he developed his reputation. Latrobe also was hired to design the Center Square Water Works in Philadelphia. The Pump House, located on the common at Broad and Market Streets (now the site of Philadelphia City Hall), was designed by Latrobe in a Greek Revival style. It drew water from the Schuylkill River, a mile away, and contained two steam engines that pumped it into wooden tanks in its tower. Gravity then fed the water by wooden mains into houses and businesses. Following his work on the Philadelphia water works project, Latrobe worked as an engineer of the Chesapeake and Delaware Canal. In addition to Greek Revival designs, Latrobe also used Gothic Revival designs in many of his works, including the 1799 design of Sedgeley, a country mansion in Philadelphia. The Gothic Revival style was used in Latrobe's design of the Philadelphia Bank building as well, which was built in 1807 and demolished in 1836. As a young architect, Robert Mills worked as an assistant with Latrobe from 1803 until 1808 when he set up his own practice. While in Philadelphia, Latrobe married Mary Elizabeth Hazlehurst (1771–1841), in 1800. The couple had several children together. Washington, D.C. In the United States, Latrobe quickly achieved eminence as the first professional architect working in the country. Latrobe was a friend of Thomas Jefferson, influencing Jefferson's design for the University of Virginia. Latrobe also knew James Monroe, as well as New Orleans architect and pirate, Barthelemy Lafon, was Aaron Burr's preferred architect, and he trained architect William Strickland. In 1803, Jefferson hired Latrobe as Surveyor of the Public Buildings of the United States, and to work as superintendent of construction of the United States Capitol. As construction of the capitol was already underway, Latrobe was tasked to work with William Thornton's plans, which Latrobe criticized. In an 1803 letter to Vice President Aaron Burr, he characterized the plans and work done as "faulty construction". Nonetheless, President Thomas Jefferson insisted that Latrobe follow Thornton's design for the capitol. Although Latrobe's major work was overseeing construction of the United States Capitol, he also was responsible for numerous other projects in Washington. In 1804, became chief engineer in the United States Navy. As chief surveyor, Latrobe was responsible for the Washington Canal. Latrobe faced bureaucratic hurdles in moving forward with the canal, with the directors of the company rejecting his request for stone locks. Instead, the canal was built with wooden locks, which were subsequently destroyed in a heavy storm in 1811. Latrobe also designed the main gate of the Washington Navy Yard. Latrobe worked on other transportation projects in Washington, D.C., including the Washington and Alexandria Turnpike, which connected Washington with Alexandria, as well as a road connecting with Frederick, Maryland, and a third road, the Columbia Turnpike going through Bladensburg to Baltimore. Latrobe also provided consulting on the construction of the Washington Bridge across the Potomac River in a way that would not impede navigation and commerce to Georgetown. Benjamin Latrobe was responsible for several other projects located around Lafayette Square, including St. John's Episcopal Church, Decatur House, and the White House porticos. Private homes designed by Latrobe include commissions by John P. Van Ness and Peter Casanove. In June 1812, construction of the Capitol came to a halt with the outbreak of the War of 1812 and the failure of the First Bank of the United States. During the war, Latrobe relocated to Pittsburgh, and returned to Washington in 1815, as Architect of the Capitol, charged with responsibility of rebuilding the capitol after it was destroyed in the war. Latrobe was given more freedom in rebuilding the capitol, to apply his own design elements for the interior. Through much of Latrobe's time in Washington, he remained involved with his private practice to some extent and with other projects in Philadelphia and elsewhere. His clerk of works, John Lenthal, often urged Latrobe to spend more time in Washington. By 1817, Latrobe had provided President James Monroe with complete drawings for the entire building. He resigned as Architect of the Capitol on November 20, 1817, and without this major commission, Latrobe faced difficulties and was forced into bankruptcy. Latrobe left Washington, for Baltimore in January 1818. Latrobe left Washington with pessimism, with the city's design contradicting many of his ideals. Latrobe disliked the Baroque-style plan for the city, and other aspects of L'Enfant's plan, and resented having to conform to Thornton's plans for the Capitol Building. One of the greatest problems with the overall city plan, in the view of Latrobe, was its vast interior distances, and Latrobe considered the Washington Canal as a key factor that, if successful, could help alleviate this issue. Latrobe also had concerns about the city's economic potential, and argued for constructing a road connecting Washington with Frederick to the northwest to enhance economic commerce through Washington. New Orleans Latrobe saw great potential for growth in New Orleans, situated at the mouth of the Mississippi River, with the advent of the steamboat and great interest in steamboat technology. Latrobe's first project in New Orleans was the first New Orleans United States Customs building, constructed in 1807. In 1810 Latrobe sent his son, Henry Sellon "Boneval" Latrobe, to the city to present a plan for a waterworks system to the New Orleans city council. Latrobe's plan for the waterworks system was based on that of Philadelphia, which he earlier designed. The system in Philadelphia was created as a response to yellow fever epidemics affecting the city. Latrobe's system used steam pumps to move water from the Schuylkill River to a reservoir, located upstream; so that gravity could be used to transmit the water from there to residents in the city. The New Orleans waterworks project also was designed to desalinate water, using steam-powered pumps. While in New Orleans, Latrobe's son participated in the Battle of New Orleans against British forces in 1815, and took on other projects including building a lighthouse, a new Charity Hospital, and the French Opera House. New Orleans agreed to commission the waterworks project in 1811, although Latrobe was not ready to take on the project immediately and faced financial problems in securing enough investors for the project. His work on the United States Capitol was completed shortly before the War of 1812 started, ending his source of steady income. During the war Latrobe unsuccessfully tried several wartime schemes to make money, including some steamboat projects. In 1814, Latrobe partnered with Robert Fulton in a steamship venture based at Pittsburgh. While in Pittsburgh, Latrobe designed and built a theater for the Circus of Pepin and Breschard. After the U. S. Capitol and White House were burned by the British Army, Latrobe remained in Washington to help with rebuilding, and Latrobe's son took on much of the work for the New Orleans waterworks project. Latrobe faced further delays trying to get an engine built for the waterworks, which he finally accomplished in 1819. The process of designing and constructing the waterworks system in New Orleans spanned eleven years. In addition to this project, Latrobe designed the central tower of the St. Louis Cathedral, which was his last architectural project. Latrobe died September 3, 1820, from yellow fever, while working in Louisiana. He was buried in the Protestant section of the Saint Louis Cemetery in New Orleans, where his eldest son, architect Henry Sellon Boneval Latrobe (1792–1817), had been buried three years earlier, having also succumbed to yellow fever. Architecture Influences While studying in Germany, Latrobe was mentored by Baron Karl von Schachmann, a classical scholar interested in art and collecting. Around 1783, Latrobe made the decision to become an architect, a decision influenced by the baron. While Latrobe was in Germany, a new architectural movement, led by Carl Gotthard Langhans and others, was emerging with return to more Classical or Vitruvian designs. In 1784, Latrobe set off on a Grand Tour around Europe, visiting Paris where the Panthéon, a church dedicated to St. Genevieve, was nearing completion. The Panthéon in Paris, designed by Jacques Germain Soufflot and Jean-Baptiste Rondelet, represented an early example of Neoclassicism. At that time, Claude Nicolas Ledoux was designing numerous houses in France, in Neoclassical style. Latrobe also visited Rome, where he was impressed by the Roman Pantheon and other ancient structures with Greek influence. Influential architects in Britain, at the time when Latrobe returned in 1784, adhered to a number of different styles. Sir William Chambers was at the forefront, designing in Palladianism style, while Chambers' rival, Robert Adam's designs had Roman influence, in a style known as Adam style. Latrobe was not interested in either the Palladian nor Adam style, but Neoclassicalism also was being introduced to Great Britain at the time by George Dance the Younger. Other British architects, including John Soane and Henry Holland, also designed in the Neoclassical style while Latrobe was in London. During his European tour, Latrobe gathered ideas on how American cities should be designed. He suggested city blocks be laid out as thin rectangles, with the long side of the blocks oriented east-west so that as many houses as possible could face south. For a city to succeed, he thought it needed to be established only in places with good prospects for commerce and industrial growth, and with a good water supply. Public health was another key consideration of Latrobe, who believed that the eastern shores of rivers were unhealthy, due to prevailing direction of the wind, and recommended cities be built on the western shores of rivers. Greek Revival in America Latrobe brought from England influences of British Neoclassicism, and was able to combine it with styles introduced by Thomas Jefferson, to devise an American Greek Revival style. John Summerson described the Bank of Pennsylvania, as an example of how Latrobe "married English Neo-Classicism to Jeffersonian Neo-Classicism [and] ... from that moment, the classical revival in America took on a national form". The American form of Greek Revival architecture that Latrobe developed became associated with political ideals of democracy—a meaning that was less apparent in Britain. The direct link between the Greek Revival architecture and American democracy has been disputed by recent scholars such as W. Barksdale Maynard, who sees the Greek Revival as an international phenomenon. Selected works Houses When Latrobe began private practice in England, his first projects were alterations to existing houses, designing Hammerwood Park, and designing Ashdown House, East Sussex. Alterations completed early in his career may have included Tanton Hall, Sheffield Park, Frimley, and Teston Hall, although these homes have since been altered and it is difficult now to isolate Latrobe's work in the current designs. His designs were simpler than was typical at the time, and had influences of Robert Adam. Features in his designs often included as part of the front porticos, Greek ionic columns, as used in Ashdown House, or doric columns, seen in Hammerwood Park. The book, The Domestic Architecture of Benjamin Henry Latrobe, lists buildings he designed in England, including Grade II* listed Alderbury House (late 1800s) in Wiltshire. This structure had previously been misattributed to James Wyatt. It has been described as "one of Wiltshire’s most elegant Georgian country houses". Latrobe continued to design houses after he emigrated to the United States, mostly using Greek Revival designs. Four houses still stand that Latrobe designed: the Decatur House in Washington, D.C.; Adena in Chillicothe, Ohio; the Pope Villa in Lexington, Kentucky; and the Sedgeley Porter's house in Philadelphia. As one of Latrobe's most avant-garde designs, the Pope Villa has national significance for its unique design. He also introduced Gothic Revival architecture to the United States with the design of Sedgeley. The mansion was built in 1799 and demolished in 1857; however, the stone Porter's house at Sedgeley remains as his only extant building in Philadelphia. A theme seen in many of Latrobe's designs is plans with squarish-dimensions and a central, multi-story hall with a cupola to provide lighting, which was contrary to the popular trend of the time of building houses with long narrow plans. Notes References Klotter, James C., and Daniel Rowland, eds. Bluegrass Renaissance: The History and Culture of Central Kentucky, 1792–1852 (University Press of Kentucky; 2012) 371 pages; emphasis on Benjamin Henry Latrobe and "neoclassical" Lexington External links Fine Arts Library Image Collection – University of Pennsylvania Library of Congress, Jefferson Building East Corridor mosaics Benjamin Latrobe: America's First Architect on PBS Benjamin Henry LaTrobe Sketches of Fishes, 1796–1797, 1882 from the Smithsonian Institution Archives American Neoclassical architects British neoclassical architects Architects of the Capitol 1764 births 1820 deaths American ecclesiastical architects Architects of cathedrals Gothic Revival architects Neoclassical architects English ecclesiastical architects Federalist architects Greek Revival architects American surveyors English surveyors Members of the American Philosophical Society Members of the American Antiquarian Society English emigrants to the United States English people of the Moravian Church People educated at Fulneck School People from Pudsey Prussian Army personnel Burials in Louisiana Deaths from yellow fever Infectious disease deaths in Louisiana Latrobe, Pennsylvania 18th-century American people 18th-century English architects Architects from Leeds Latrobe family	false	[ "The 2013 IFMAR 1:10 Electric Off-Road World Championships was the fifteenth edition of the IFMAR - 1:10 Electric Off-Road World Championship was held in America. The track is located at Silver Dollar Fairgrounds and is on a large purpose built 150’×110’ dirt track.\n\nSchedule\n\n2WD - Class\nSunday 22nd Sept: Registration, Opening Ceremony\nMonday 23rd Sept: Practice\nTuesday 24th Sept: Practice, 4 Qualifying Rounds\nWednesday 25th Sept: Q5, Finals\n\n4WD - Class\nThursday 26th Sept: Registration\nFriday 27th Sept: Practice\nSaturday 28th Sept: Practice, 4 Qualifying Rounds\nSunday 29th Sept: Q5, Finals\n\nResults\n\n2WD\n\n4WD\n\nReferences\n\nSources\n Neo Buggies Online Blog Coverage\n Red RC Online Blog Coverage\n\nExternal links\n Official Event Website \n Official Videos RedRC Live\n\nIFMAR 1:10 Electric Off-Road World Championship", "Hua Tou (話頭, Korean: hwadu, Japanese: wato) is part of a form of Buddhist meditation known as Gongfu 工夫 (not to be confused with the Martial Arts 功夫 ) common in the teachings of Chan Buddhism, Korean Seon and Rinzai Zen. Hua Tou can be translated as 'word head', 'head of speech' or 'point beyond which speech exhausts itself'. A Hua Tou can be a short phrase that is used as a subject of meditation to focus the mind.\n\nOrigins\nHua Tou are based on the encounter-dialogues and koan of the interactions between past masters and students, but are shorter phrases than koans. The Hua Tou method was invented by the Chinese Zen master Dahui Zonggao (1089–1163) who was a member of the Linji school. Dahui was interested in teaching the lay community, particularly the educated Chinese scholar-officials. Support of those \"literati\" was essential for the survival of the individual lineages, since appointments as abbot of public monasteries were determined by this ruling class. Providing accessible methods of training for layman was a means to gather this necessary support. Hua Tou practice does not use regular interviews and question and answer sessions between student and teacher (dokusan). According to Dahui, Hua Tou is also a form of meditation that \"can be carried out by laymen in the midst of their daily activities.\"\n\nDahui was also against the intellectualism and literary commentary that had begun to enter into Koan practice with the Blue Cliff Record of his master Yuan-wu. In fact, Dahui burned his copy of the Blue Cliff Record.\n\nFormal Hua Tou practice was promoted in Korea by Seon master Chinul. He was extremely successful in popularizing Hua Tou. According to Robert Buswell: \n\nAccording to Bhikkhu Analayo, a similar practice is found in the Pali commentaries relating to mindfulness of bodily postures. Analayo writes that according to the Papañcasudani \"the difference between simple walking and walking meditation as a Satipatthana is that a meditator keeps in mind the question: \"Who goes? Whose is this going?\" (Ps I 251).\n\nPractice\n\nDahui emphasised that initial insight is essential for Zen-training. Dahui stressed that it was possible for laymen to achieve enlightenment through this practice. He often gave instructions through letters to his pupils.\n\nChinul described Hwadu (Hua Tou) in his treatise Dharma Collection and Special Practice Record () as a practice that leads to the very limits of speech and acts as a purification device. Because the practice leads students beyond conceptual understanding, Chinul considered an advanced practice for those of particular talent, or those who had already advanced through other practices first.\n\nTo practice Hua Tou, one concentrates on the phrase, initially repeating it silently with a questioning and open mind and then thinking about \"Who\" or \"What\" is generating the Hua Tou, this brings about \"Great Doubt\". Hua Tou can be practiced during sitting meditation, after the mind has been calmed through an initial period of breath meditation. \n\nHsu Yun said of practicing Hua Tou: \n\nAccording to Chan master Sheng Yen, there are three stages of Hua Tou practice: reciting the Hua Tou, asking the Hua Tou and investigating the Hua Tou. Through these stages it is important not to try to answer the Hua Tou intellectually, but to persistently ask the question mindfully with genuine interest and sincere desire to know. It is through this constant practice that great doubt and then insight arises.\n\nExamples of Hua Tou\nAccording to Stuart Lachs, there are various popular Hua Tous such as:\n\n“What is it?” - very popular in Korean Seon\n“What is this?” \n“Who is repeating the Buddha’s name?” - Popular with Chinese who also practice nianfo. This Huatou changes nianfo into a Chan practice. \n“Who is dragging this corpse around?” - popularized by Hsu Yun, who often recommended it as a first practice, it was given to him by Master Yang-jing of the Tian-tai sect. \n“Who am I?”\n“What was my Original face before my father and mother were born?” - from the Sixth Patriarch Huineng, and the 23rd case in the well known koan collection, the Mumonkan\n“What is Mu?” - This is taken from the famous kōan, Joshu’s Mu which goes as follows, “A monk asked Joshu, ‘Does a dog have Buddha-nature or not?’ Joshu replied, ’Mu.”\n\nNotes\n\nReferences\n\nSources\n\nFurther reading\n Cleary, JC. Swampland Flowers: The Letters and Lectures of Zen Master Ta Hui (1977) Shambhala.\n Luk, Charles. ‘Empty Cloud The Autobiography of a Chinese Zen Master’ (1988) Element.\n Broughton, Jeffrey. The letters of Chan master Dahui Pujue\n Broughton, Jeffrey. The Chan Whip Anthology: A Companion to Zen Practice\n\nExternal links\n Hsu Yun Organisation, The Hua Tou practice\n Buddhist Door, Koan or Huatou in Chinese Chan Buddhism\n Yin I. Park, Zen language in our time: the case of Pojo Chinul's Hua Tou practice\n\nRinzai school\nChan Buddhism\nNondualism" ]
[ "Benjamin Henry Latrobe", "England", "When di d he go to england?", "Latrobe returned to England in 1784,", "Are there any other interesting aspects about this article?", "In February 1790, Latrobe married Lydia Sellon,", "Did he have a family?", "The couple had a daughter (Lydia Sellon Latrobe) and a son (Henry Sellon Boneval Latrobe", "Did htey divorce?", "she died giving birth during November 1793.", "Did the child live?", "I don't know.", "What ele happened in england?", "In 1795, Latrobe suffered a breakdown and decided to emigrate to America, departing on November 25 aboard the Eliza.", "What caused the break down?", "Latrobe had problems getting payment for his work on the project, and faced bankruptcy.", "Did he avoid bankrucy?", "I don't know.", "Was england a good place for him?", "In 1790, Latrobe was appointed Surveyor of the Public Offices in London, and established his own private practice in 1791.", "What was is practice off?", "Latrobe was commissioned in 1792 to design Hammerwood Park, near East Grinstead in Sussex, his first independent work, and he designed nearby Ashdown House in 1793." ]	C_d5feaffe27ea4330818d179fa4d55c29_1	Did he build in england?	11	Did Benjamin Henry Latrobe build anything else in England?	Benjamin Henry Latrobe	Latrobe returned to England in 1784, and was apprenticed to John Smeaton, an engineer known for designing Eddystone Lighthouse. Then in 1787 or 1788, he worked in the office of neoclassical architect Samuel Pepys Cockerell for a brief time. In 1790, Latrobe was appointed Surveyor of the Public Offices in London, and established his own private practice in 1791. Latrobe was commissioned in 1792 to design Hammerwood Park, near East Grinstead in Sussex, his first independent work, and he designed nearby Ashdown House in 1793. Latrobe was involved in construction of the Basingstoke Canal in Surrey, together with engineers John Smeaton and William Jessop. In spring 1793, Latrobe was hired to plan improvements to the River Blackwater from Maldon to Beeleigh, so that the port of Maldon could compete with the Chelmer and Blackwater Navigation, which bypassed the town. The project lasted until early 1795, when Parliament denied approval of his plan. Latrobe had problems getting payment for his work on the project, and faced bankruptcy. In February 1790, Latrobe married Lydia Sellon, and they lived a busy social life in London. The couple had a daughter (Lydia Sellon Latrobe) and a son (Henry Sellon Boneval Latrobe), before she died giving birth during November 1793. Lydia had inherited her father's wealth, which in turn was to be left to the children through a trust with the children's uncles, but never ended up going to the children. In 1795, Latrobe suffered a breakdown and decided to emigrate to America, departing on November 25 aboard the Eliza. In America, Latrobe was known for his series of topological and landscape watercolors; the series started with a view of the White Cliffs of the south coast of England viewed from the Eliza. The series was preceded by a watercolor of East Grinstead, dated September 8, 1795. CANNOTANSWER	In spring 1793, Latrobe was hired to plan improvements to the River Blackwater from Maldon to Beeleigh,	Benjamin Henry Boneval Latrobe (May 1, 1764 – September 3, 1820) was a British-American neoclassical architect who emigrated to the United States. He was one of the first formally trained, professional architects in the new United States, drawing on influences from his travels in Italy, as well as British and French Neoclassical architects such as Claude Nicolas Ledoux. In his thirties, he emigrated to the new United States and designed the United States Capitol, on "Capitol Hill" in Washington, D.C., as well as the Old Baltimore Cathedral or The Baltimore Basilica, (later renamed the Basilica of the National Shrine of the Assumption of the Blessed Virgin Mary). It is the first Cathedral constructed in the United States for any Christian denomination. Latrobe also designed the largest structure in America at the time, the "Merchants' Exchange" in Baltimore. With extensive balconied atriums through the wings and a large central rotunda under a low dome which dominated the city, it was completed in 1820 after five years of work and endured into the early twentieth century. Latrobe emigrated in 1796, initially settling in Virginia where he worked on the Virginia State Penitentiary in Richmond. Latrobe then moved to Philadelphia where he established his practice. In 1803, he was hired as Surveyor of the Public Buildings of the United States, and spent much of the next fourteen years working on projects in the new national capital of Washington, D.C., (in the newly-laid out Federal capital of the District of Columbia) where he served as the second Architect of the Capitol. He also was responsible for the design of the White House porticos. Latrobe spent the later years of his life in New Orleans, Louisiana working on a waterworks project, and died there in 1820 from yellow fever. Latrobe has been called the "father of American architecture". He was the uncle of Charles La Trobe, who was the first Lieutenant-Governor of Victoria in Australia. Biography Latrobe was born on May 1, 1764, at the Fulneck Moravian Settlement, near Pudsey in the city of Leeds, in the West Riding of Yorkshire, England. His parents were the Reverend Benjamin Latrobe, a leader of the Moravian Church who was of Huguenot (French Protestant) ancestry, and Anna Margaretta Antes whose father was German and whose maternal line was Dutch. Antes was born in the American colony of Pennsylvania, but was sent to England by her father, a wealthy landowner, to attend a Moravian school at Fulneck. Latrobe's father, who was responsible for all Moravian schools and establishments in Britain, had an extensive circle of friends in the higher ranks of society. He stressed the importance of education, scholarship, and the value of social exchange; while Latrobe's mother instilled in her son a curiosity and interest in America. From a young age, Benjamin Henry Latrobe enjoyed drawing landscapes and buildings. He was a brother of Moravian leader and musical composer Christian Ignatius Latrobe. In 1776, at the age of twelve, Latrobe was sent away to a Moravian School at Niesky in Upper Lusatia, near the border of the German principalities of Saxony and Prussia, where his brother was studying. At age eighteen, he spent several months traveling around Germany, and then joined the Royal Prussian Army, becoming close friends with a distinguished officer in the United States Army. Latrobe also may have served briefly in the Austrian Imperial Army, and suffered some injuries or illness. After recovering, he embarked on a continental "Grand Tour", visiting eastern Saxony, Paris, Italy, and other places. Through his education and travels, Latrobe mastered German, French, ancient and modern Greek, and Latin. He had advanced ability in Italian and Spanish and some knowledge of Hebrew. Latrobe was elected a member of the American Antiquarian Society in 1815. His son, Benjamin Henry Latrobe, II, (sometimes referred to as "Junior"), also worked as a civil engineer. In 1827, he joined the newly organized Baltimore and Ohio Railroad and designed the longest, most challenging bridge on its initial route: the curving Thomas Viaduct, (the third of four multi-arched "viaducts"). Another son, John Hazlehurst Boneval Latrobe (1803–1891), was a noted civic leader, lawyer, author, historian, artist, inventor, intellectual, and social activist in Maryland. A grandson, Charles Hazlehurst Latrobe (1834–1902), Benjamin Henry Latrobe II's son, a Confederate soldier, also continued the tradition of architect and engineer, building bridges for the city and the Baltimore and Ohio Railroad. Latrobe Park in south Baltimore is named for the family, as is Latrobe Park, New Orleans, in the French Quarter. Another grandson, Ferdinand Claiborne Latrobe, was a seven-term mayor of Baltimore. Travels England Latrobe returned to England in 1784, and was apprenticed to John Smeaton, an engineer known for designing Eddystone Lighthouse. Then in 1787 or 1788, he worked in the office of neoclassical architect Samuel Pepys Cockerell for a brief time. In 1790, Latrobe was appointed Surveyor of the Public Offices in London, and established his own private practice in 1791. Latrobe was commissioned in 1792 to design Hammerwood Lodge, near East Grinstead in Sussex, his first independent work, and he designed nearby Ashdown House in 1793. Latrobe was involved in construction of the Basingstoke Canal in Surrey, together with engineers John Smeaton and William Jessop. In spring 1793, Latrobe was hired to plan improvements to the River Blackwater from Maldon to Beeleigh, so that the port of Maldon could compete with the Chelmer and Blackwater Navigation, which bypassed the town. The project lasted until early 1795, when Parliament denied approval of his plan. Latrobe had problems getting payment for his work on the project, and faced bankruptcy. In February 1790, Latrobe married Lydia Sellon, and they lived a busy social life in London. The couple had a daughter (Lydia Sellon Latrobe) and a son (Henry Sellon Boneval Latrobe), before she died giving birth during November 1793. Lydia had inherited her father's wealth, which in turn was to be left to the children through a trust with the children's uncles, but never ended up going to the children. In 1795, Latrobe suffered a breakdown and decided to emigrate to America, departing on November 25 aboard the Eliza. In America, Latrobe was known for his series of topological and landscape watercolors; the series started with a view of the White Cliffs of the south coast of England viewed from the Eliza. The series was preceded by a watercolor of East Grinstead, dated September 8, 1795. Virginia Latrobe arrived in Norfolk, Virginia, in mid-March 1796 after a harrowing four-month journey aboard the ship, which was plagued with food shortages under near-starvation conditions. Latrobe initially spent time in Norfolk, where he designed the "William Pennock House," then set out for Richmond in April 1796. Soon after arriving in Virginia, Latrobe became friends with Bushrod Washington, nephew of President George Washington, along with Edmund Randolph and other notable figures. Through Bushrod Washington, Latrobe was able to pay a visit to Mount Vernon to meet with the president in the summer of 1796. Latrobe's first major project in the United States was the State Penitentiary in Richmond, commissioned in 1797. The penitentiary included many innovative ideas in penal reform, then being espoused by Thomas Jefferson and various other figures, including cells arranged in a semicircle, that allowed for easy surveillance, as well as improved living conditions for sanitation and ventilation. He also pioneered the use of solitary confinement in the Richmond penitentiary. While in Virginia, Latrobe worked on the Green Spring mansion near Williamsburg, which had been built by Governor Sir William Berkeley in the seventeenth century but fell into disrepair after the American Revolutionary War. Latrobe created designs for Fort Nelson in Virginia in 1798. He also made drawings for a number of houses that were not built, including the "Mill Hill" plantation house near Richmond. After spending a year in Virginia, the novelty of being in a new place wore off, and Latrobe was lonely and restless in Virginia. Giambattista Scandella, a friend, suggested Philadelphia as an ideal location for him. In April 1798, Latrobe visited Philadelphia for the first time, meeting with Bank of Pennsylvania president Samuel J. Fox, and presented to him a design for a new bank building. At the time, the political climate in Philadelphia was quite different than Virginia, with a strong division between the Federalists and Jefferson's Democratic-Republicans, along with anti-French sentiment, thus the city was not entirely welcoming for Latrobe. On his way to Philadelphia, Latrobe passed through the national capital city of Washington, D.C., then under construction (congress and the president would not arrive until the year 1800), where he met with the first architect of the capitol, William Thornton, and viewed the United States Capitol for the first time. He stopped by Washington again on his way back to Richmond. Latrobe remained in Richmond, Virginia, until November 1798, when his design was selected for the Bank of Pennsylvania. He moved to Philadelphia, so that he could supervise the construction, although he continued to do occasional projects for clients in Virginia. Philadelphia By the time he arrived in Philadelphia, Latrobe's two friends, Scandella and Volney, had left due to concerns regarding the Alien and Sedition Acts, but Latrobe made friends with some of their acquaintances at the American Philosophical Society. Latrobe submitted several papers to the society, on his geology and natural history observations, and became a member of the society in 1799. With his charming personality, Latrobe quickly made other friends among the influential financial and business families in Philadelphia, and became close friends with Nicholas Roosevelt, a talented steam-engine builder who would help Latrobe in his waterworks projects. Latrobe's first major project in Philadelphia was to design the Bank of Pennsylvania, which was the first example of Greek Revival architecture in the United States. It was demolished in 1870. This commission is what convinced him to set up his practice in Philadelphia, where he developed his reputation. Latrobe also was hired to design the Center Square Water Works in Philadelphia. The Pump House, located on the common at Broad and Market Streets (now the site of Philadelphia City Hall), was designed by Latrobe in a Greek Revival style. It drew water from the Schuylkill River, a mile away, and contained two steam engines that pumped it into wooden tanks in its tower. Gravity then fed the water by wooden mains into houses and businesses. Following his work on the Philadelphia water works project, Latrobe worked as an engineer of the Chesapeake and Delaware Canal. In addition to Greek Revival designs, Latrobe also used Gothic Revival designs in many of his works, including the 1799 design of Sedgeley, a country mansion in Philadelphia. The Gothic Revival style was used in Latrobe's design of the Philadelphia Bank building as well, which was built in 1807 and demolished in 1836. As a young architect, Robert Mills worked as an assistant with Latrobe from 1803 until 1808 when he set up his own practice. While in Philadelphia, Latrobe married Mary Elizabeth Hazlehurst (1771–1841), in 1800. The couple had several children together. Washington, D.C. In the United States, Latrobe quickly achieved eminence as the first professional architect working in the country. Latrobe was a friend of Thomas Jefferson, influencing Jefferson's design for the University of Virginia. Latrobe also knew James Monroe, as well as New Orleans architect and pirate, Barthelemy Lafon, was Aaron Burr's preferred architect, and he trained architect William Strickland. In 1803, Jefferson hired Latrobe as Surveyor of the Public Buildings of the United States, and to work as superintendent of construction of the United States Capitol. As construction of the capitol was already underway, Latrobe was tasked to work with William Thornton's plans, which Latrobe criticized. In an 1803 letter to Vice President Aaron Burr, he characterized the plans and work done as "faulty construction". Nonetheless, President Thomas Jefferson insisted that Latrobe follow Thornton's design for the capitol. Although Latrobe's major work was overseeing construction of the United States Capitol, he also was responsible for numerous other projects in Washington. In 1804, became chief engineer in the United States Navy. As chief surveyor, Latrobe was responsible for the Washington Canal. Latrobe faced bureaucratic hurdles in moving forward with the canal, with the directors of the company rejecting his request for stone locks. Instead, the canal was built with wooden locks, which were subsequently destroyed in a heavy storm in 1811. Latrobe also designed the main gate of the Washington Navy Yard. Latrobe worked on other transportation projects in Washington, D.C., including the Washington and Alexandria Turnpike, which connected Washington with Alexandria, as well as a road connecting with Frederick, Maryland, and a third road, the Columbia Turnpike going through Bladensburg to Baltimore. Latrobe also provided consulting on the construction of the Washington Bridge across the Potomac River in a way that would not impede navigation and commerce to Georgetown. Benjamin Latrobe was responsible for several other projects located around Lafayette Square, including St. John's Episcopal Church, Decatur House, and the White House porticos. Private homes designed by Latrobe include commissions by John P. Van Ness and Peter Casanove. In June 1812, construction of the Capitol came to a halt with the outbreak of the War of 1812 and the failure of the First Bank of the United States. During the war, Latrobe relocated to Pittsburgh, and returned to Washington in 1815, as Architect of the Capitol, charged with responsibility of rebuilding the capitol after it was destroyed in the war. Latrobe was given more freedom in rebuilding the capitol, to apply his own design elements for the interior. Through much of Latrobe's time in Washington, he remained involved with his private practice to some extent and with other projects in Philadelphia and elsewhere. His clerk of works, John Lenthal, often urged Latrobe to spend more time in Washington. By 1817, Latrobe had provided President James Monroe with complete drawings for the entire building. He resigned as Architect of the Capitol on November 20, 1817, and without this major commission, Latrobe faced difficulties and was forced into bankruptcy. Latrobe left Washington, for Baltimore in January 1818. Latrobe left Washington with pessimism, with the city's design contradicting many of his ideals. Latrobe disliked the Baroque-style plan for the city, and other aspects of L'Enfant's plan, and resented having to conform to Thornton's plans for the Capitol Building. One of the greatest problems with the overall city plan, in the view of Latrobe, was its vast interior distances, and Latrobe considered the Washington Canal as a key factor that, if successful, could help alleviate this issue. Latrobe also had concerns about the city's economic potential, and argued for constructing a road connecting Washington with Frederick to the northwest to enhance economic commerce through Washington. New Orleans Latrobe saw great potential for growth in New Orleans, situated at the mouth of the Mississippi River, with the advent of the steamboat and great interest in steamboat technology. Latrobe's first project in New Orleans was the first New Orleans United States Customs building, constructed in 1807. In 1810 Latrobe sent his son, Henry Sellon "Boneval" Latrobe, to the city to present a plan for a waterworks system to the New Orleans city council. Latrobe's plan for the waterworks system was based on that of Philadelphia, which he earlier designed. The system in Philadelphia was created as a response to yellow fever epidemics affecting the city. Latrobe's system used steam pumps to move water from the Schuylkill River to a reservoir, located upstream; so that gravity could be used to transmit the water from there to residents in the city. The New Orleans waterworks project also was designed to desalinate water, using steam-powered pumps. While in New Orleans, Latrobe's son participated in the Battle of New Orleans against British forces in 1815, and took on other projects including building a lighthouse, a new Charity Hospital, and the French Opera House. New Orleans agreed to commission the waterworks project in 1811, although Latrobe was not ready to take on the project immediately and faced financial problems in securing enough investors for the project. His work on the United States Capitol was completed shortly before the War of 1812 started, ending his source of steady income. During the war Latrobe unsuccessfully tried several wartime schemes to make money, including some steamboat projects. In 1814, Latrobe partnered with Robert Fulton in a steamship venture based at Pittsburgh. While in Pittsburgh, Latrobe designed and built a theater for the Circus of Pepin and Breschard. After the U. S. Capitol and White House were burned by the British Army, Latrobe remained in Washington to help with rebuilding, and Latrobe's son took on much of the work for the New Orleans waterworks project. Latrobe faced further delays trying to get an engine built for the waterworks, which he finally accomplished in 1819. The process of designing and constructing the waterworks system in New Orleans spanned eleven years. In addition to this project, Latrobe designed the central tower of the St. Louis Cathedral, which was his last architectural project. Latrobe died September 3, 1820, from yellow fever, while working in Louisiana. He was buried in the Protestant section of the Saint Louis Cemetery in New Orleans, where his eldest son, architect Henry Sellon Boneval Latrobe (1792–1817), had been buried three years earlier, having also succumbed to yellow fever. Architecture Influences While studying in Germany, Latrobe was mentored by Baron Karl von Schachmann, a classical scholar interested in art and collecting. Around 1783, Latrobe made the decision to become an architect, a decision influenced by the baron. While Latrobe was in Germany, a new architectural movement, led by Carl Gotthard Langhans and others, was emerging with return to more Classical or Vitruvian designs. In 1784, Latrobe set off on a Grand Tour around Europe, visiting Paris where the Panthéon, a church dedicated to St. Genevieve, was nearing completion. The Panthéon in Paris, designed by Jacques Germain Soufflot and Jean-Baptiste Rondelet, represented an early example of Neoclassicism. At that time, Claude Nicolas Ledoux was designing numerous houses in France, in Neoclassical style. Latrobe also visited Rome, where he was impressed by the Roman Pantheon and other ancient structures with Greek influence. Influential architects in Britain, at the time when Latrobe returned in 1784, adhered to a number of different styles. Sir William Chambers was at the forefront, designing in Palladianism style, while Chambers' rival, Robert Adam's designs had Roman influence, in a style known as Adam style. Latrobe was not interested in either the Palladian nor Adam style, but Neoclassicalism also was being introduced to Great Britain at the time by George Dance the Younger. Other British architects, including John Soane and Henry Holland, also designed in the Neoclassical style while Latrobe was in London. During his European tour, Latrobe gathered ideas on how American cities should be designed. He suggested city blocks be laid out as thin rectangles, with the long side of the blocks oriented east-west so that as many houses as possible could face south. For a city to succeed, he thought it needed to be established only in places with good prospects for commerce and industrial growth, and with a good water supply. Public health was another key consideration of Latrobe, who believed that the eastern shores of rivers were unhealthy, due to prevailing direction of the wind, and recommended cities be built on the western shores of rivers. Greek Revival in America Latrobe brought from England influences of British Neoclassicism, and was able to combine it with styles introduced by Thomas Jefferson, to devise an American Greek Revival style. John Summerson described the Bank of Pennsylvania, as an example of how Latrobe "married English Neo-Classicism to Jeffersonian Neo-Classicism [and] ... from that moment, the classical revival in America took on a national form". The American form of Greek Revival architecture that Latrobe developed became associated with political ideals of democracy—a meaning that was less apparent in Britain. The direct link between the Greek Revival architecture and American democracy has been disputed by recent scholars such as W. Barksdale Maynard, who sees the Greek Revival as an international phenomenon. Selected works Houses When Latrobe began private practice in England, his first projects were alterations to existing houses, designing Hammerwood Park, and designing Ashdown House, East Sussex. Alterations completed early in his career may have included Tanton Hall, Sheffield Park, Frimley, and Teston Hall, although these homes have since been altered and it is difficult now to isolate Latrobe's work in the current designs. His designs were simpler than was typical at the time, and had influences of Robert Adam. Features in his designs often included as part of the front porticos, Greek ionic columns, as used in Ashdown House, or doric columns, seen in Hammerwood Park. The book, The Domestic Architecture of Benjamin Henry Latrobe, lists buildings he designed in England, including Grade II* listed Alderbury House (late 1800s) in Wiltshire. This structure had previously been misattributed to James Wyatt. It has been described as "one of Wiltshire’s most elegant Georgian country houses". Latrobe continued to design houses after he emigrated to the United States, mostly using Greek Revival designs. Four houses still stand that Latrobe designed: the Decatur House in Washington, D.C.; Adena in Chillicothe, Ohio; the Pope Villa in Lexington, Kentucky; and the Sedgeley Porter's house in Philadelphia. As one of Latrobe's most avant-garde designs, the Pope Villa has national significance for its unique design. He also introduced Gothic Revival architecture to the United States with the design of Sedgeley. The mansion was built in 1799 and demolished in 1857; however, the stone Porter's house at Sedgeley remains as his only extant building in Philadelphia. A theme seen in many of Latrobe's designs is plans with squarish-dimensions and a central, multi-story hall with a cupola to provide lighting, which was contrary to the popular trend of the time of building houses with long narrow plans. Notes References Klotter, James C., and Daniel Rowland, eds. Bluegrass Renaissance: The History and Culture of Central Kentucky, 1792–1852 (University Press of Kentucky; 2012) 371 pages; emphasis on Benjamin Henry Latrobe and "neoclassical" Lexington External links Fine Arts Library Image Collection – University of Pennsylvania Library of Congress, Jefferson Building East Corridor mosaics Benjamin Latrobe: America's First Architect on PBS Benjamin Henry LaTrobe Sketches of Fishes, 1796–1797, 1882 from the Smithsonian Institution Archives American Neoclassical architects British neoclassical architects Architects of the Capitol 1764 births 1820 deaths American ecclesiastical architects Architects of cathedrals Gothic Revival architects Neoclassical architects English ecclesiastical architects Federalist architects Greek Revival architects American surveyors English surveyors Members of the American Philosophical Society Members of the American Antiquarian Society English emigrants to the United States English people of the Moravian Church People educated at Fulneck School People from Pudsey Prussian Army personnel Burials in Louisiana Deaths from yellow fever Infectious disease deaths in Louisiana Latrobe, Pennsylvania 18th-century American people 18th-century English architects Architects from Leeds Latrobe family	true	[ "The Bedford Lunatic Asylum was a mental health facility. It opened in 1812 and closed in 1860.\n\nHistory \nSamuel Whitbread headed the committee which commissioned the asylum. The Bedford Lunatic Asylum, designed by John Wing, was opened in April 1812. In 1845, the UK parliament passed a new act requiring that counties either build their own asylums or operate an asylum jointly with another county. Many other counties did not build asylums like Bedford, so there were now twice as many inmates in the asylum and not enough staff to help with their needs. Bedford's neighbouring counties, Hertfordshire and Huntingdonshire, then sent patients to Bedford. In 1860 the three counties combined asylums in Fairfield Hospital near Arlesey and the Bedford Lunatic Asylum closed soon after.\n\nRenovation \nThe site of the asylum is now a residential building. The bodies of patients that died at the hospital are now buried underneath the children's playground.\n\nSee also\n Healthcare in Bedfordshire\n\nReferences\n\nFurther reading\n\nExternal links\n Asylum projects - Bedford Hospital\n\n1812 establishments in England\n1860 disestablishments in England\nFormer psychiatric hospitals in England\nHospital buildings completed in 1812\nHospitals in Bedfordshire\nHistory of Bedfordshire\nDefunct hospitals in England\nHospitals established in 1812\nBuildings and structures in Bedford", "Frank Penn (7 March 1851 – 26 December 1916) was an amateur English international cricketer who played for Kent County Cricket Club from 1875 to 1881 and was considered one of the finest batsmen of his day. He played once for England in the first Test match played in England in 1880.\n\nPenn was born at Lee in Lewisham, then part of Kent in 1851, the son of John Penn. His father was an engineer and ran John Penn and Sons, a company manufacturing marine steam engines in Deptford and Greenwich. He made his first-class cricket debut for Kent in 1875, having played club cricket previously.\n\nHis Wisden obituary describes Penn as \"the famous Kent batsman\" who had \"a short but very brilliant career, ranking for several years among the finest batsmen of his day.\" It described his batting as combining \"strong defence with splendid hitting\" and said he had \"a free, commanding style\". In 1877, he made 857 runs in 24 innings, including two centuries, and took part in the tour of Australia by Lord Harris' side in 1878/79, although he did not play in the only Test match during the tour.\n\nPenn did, however, play in the first Test in England in 1880, hitting the winning runs. His cricket career ended in 1881 when his doctor advised him not to run due to heart disease. He had played in 98 first-class matches, 62 of them for Kent.\n\nAfter his playing career, Penn remained a prominent figure at Kent, helping Lord Harris build the club. He was the club's president in 1905.\n\nPenn died at Patrixbourne near Canterbury in 1916 aged 65 with an estate valued at £981.\n\nFamily\nHis brothers William and Dick also played for Kent, as did his son Frank junior. Another brother, John was the Member of Parliament for Lewisham from 1891 to 1903. He was married to Grace.\n\nReferences\n\nExternal links\n\n1851 births\n1916 deaths\nEngland Test cricketers\nEnglish cricketers\nKent cricketers\nGentlemen of the South cricketers\nMarylebone Cricket Club cricketers\nNorth v South cricketers\nGentlemen cricketers\nGentlemen of England cricketers\nGentlemen of Kent cricketers" ]
[ "Jacqueline Fernandez", "2009-2013: Debut and breakthrough" ]	C_7def29c0a1ed46c4b8f2617ae8005252_1	What is the debut all about?	1	What was Jacueline Fernandez's debut all about?	Jacqueline Fernandez	In 2009, Fernandez traveled to India for a modeling assignment. She studied acting under the mentorship of theatre director Barry John, and successfully auditioned for Sujoy Ghosh's fantasy film Aladin (2009) her acting debut. She played the love interest of Riteish Deshmukh's character, a role based on the character of Princess Jasmine. and Rajeev Masand of CNN-IBN felt that she was: "easy on the eyes and appears confident but has precious little to do". Although the film was a critical and commercial failure, she won the IIFA Award for Star Debut of the Year - Female. In 2010, Fernandez appeared opposite Deshmukh in the science fiction romantic comedy Jaane Kahan Se Aayi Hai. She was cast as a girl from Venus, who lands on Earth in search of love. The film, along with Fernandez's performance, received poor reviews; Rediff.com's Sukanya Verma noted: "She gamely makes a fool of herself whilst aping the actions of movie stars, ranging from Sridevi's Naagin dance, Mithun Chakravarthy's Disco Dancer moves, to Big B's violent headshake in Hum. Her Tara could be a keeper if only Jaane Kahan Se Aayi Hai wasn't so intent on turning her into a love-struck Barbie." Critic Anupama Chopra also criticized Fernandez, calling her "a pin-prick on a balloon". Later that year, she made a special appearance in the song "Dhanno" for Sajid Khan's comedy Housefull. Mahesh Bhatt's thriller Murder 2 was Fernandez's first commercial success and marked a turning point in her career. She took on the role of Priya, a lonely model who is in a confused relationship with Arjun Bhagwat (played by Emraan Hashmi). Fernandez was praised for her performance, and for the boldness and sex appeal she displayed in the film. Gaurav Malini of The Times of India stated that she was "tastefully tempting" but noted that her romance with Hashmi was "literally half-baked". The following year, Fernandez appeared in the ensemble comedy Housefull 2 alongside Akshay Kumar, John Abraham, and Asin. It became one of the top grossing productions of India that year and earned Rs1.86 billion (US$28 million) worldwide. Fernandez received mostly negative reviews for her performance. While Gaurav Malini praised her for her looks, NDTV called her a "blathering bimbo" who "find[s] no pleasure in [her role]". Despite the negative reviews, Fernandez received a Best Supporting Actress nomination at the 14th IIFA Awards for her performance. Fernandez's first release of 2013 was Race 2, an ensemble action thriller (alongside Saif Ali Khan, John Abraham and Deepika Padukone), described as the "cinematic equivalent of a trashy novel" by critic Rajeev Masand. She played Omisha, a femme fatale, a role which required her learn fencing and some acrobatics. The film emerged as a commercial success, with the domestic gross of more than Rs1 billion (US$15 million). In a particularly scathing review, Saibal Chatterjee of NDTV wrote that both Fernandez and Padukone "strut around like wound-up automatons that are all decked-up but have nowhere to go." Also that year, Fernandez appeared in an item number, titled, "Jaadu Ki Jhappi", for Prabhu Deva's romantic comedy Ramaiya Vasta Vaiya. CANNOTANSWER	CANNOTANSWER	Jacqueline Fernandez (born 11 August 1985) is a Sri Lankan actress, model and the winner of the Miss Universe Sri Lanka pageant of 2006 who predominantly works in Hindi films. In 2009, she debuted with Aladin and since then has established a career in the Hindi film industry. Fernandez was born and raised in Bahrain to a multiracial Eurasian family of Sri Lankan, Canadian, and Malaysian descent. After graduating in mass communication from the University of Sydney and working as a television reporter in Sri Lanka, she joined the modeling industry. She was crowned Miss Universe Sri Lanka in 2006, and represented her country at Miss Universe 2006. While on a modelling assignment in India in 2009, Fernandez successfully auditioned for Sujoy Ghosh's fantasy drama Aladin, which marked her acting debut. Fernandez had her breakthrough role with the psychological thriller Murder 2 (2011), her first commercial success. This was followed by glamorous roles in the commercially successful ensemble-comedy Housefull 2 (2012) and the action thriller Race 2 (2013), which garnered her an IIFA Award for Best Supporting Actress nomination. Fernandez went on to star in the top-grossing action film Kick (2014) and the comedies Housefull 3 (2016) and Judwaa 2 (2017). Alongside her screen acting career, Fernandez has worked as a judge in the ninth season of the dance reality show Jhalak Dikhhla Jaa (2016–2017), is a popular celebrity endorser for various brands and products, has participated in stage shows, and is active in humanitarian work. Early life and modeling career Jacqueline Fernandez was born on 11 August 1985, in Manama, Bahrain, and was raised in a multi-ethnic family. Her father, Elroy Fernandez, is a Sri Lankan Burgher, and her mother, Kim, is of Malaysian and Canadian descent. Her maternal grandfather is Canadian. Her father, who was a musician in Sri Lanka, moved to Bahrain in the 1980s to escape civil unrest between the Sinhalese and Tamils and subsequently met her mother, who was an air hostess. She is the youngest of four children with one elder sister and two elder brothers. After receiving her early education in Bahrain at Sacred Heart School, she studied mass communication at the University of Sydney in Australia. After graduating she did a couple of television shows in Sri Lanka. She also attended the Berlitz school of languages, where she learned Spanish and improved her French and Arabic. According to Fernandez, she had aspired to become an actress at a young age and fantasized about becoming a Hollywood movie star. She received some training at the John School of Acting. Although, she was a television reporter, she accepted offers in the modeling industry, which came as a result of her pageant success. In 2006, she was crowned the winner of the Miss Universe Sri Lanka pageant and represented Sri Lanka at the world Miss Universe 2006 pageant held in Los Angeles. In a 2015 interview, Fernandez described the modeling industry as "a good training ground" and said: "It is a medium that is about shedding your inhibitions, knowing your body, confidence". In 2006, she appeared in a music video for the song "O Sathi" by music duo Bathiya and Santhush and young female singer Umaria Sinhawansa. Acting career 2009–2013: Debut and breakthrough In 2009, Fernandez traveled to India for a modeling assignment. She successfully auditioned for Sujoy Ghosh's fantasy film Aladin (2009) her acting debut. She played the love interest of Riteish Deshmukh's character, a role based on the character of Princess Jasmine. and Rajeev Masand of CNN-IBN felt that she was: "easy on the eyes and appears confident but has precious little to do". Although the film was a critical and commercial failure, she won the IIFA Award for Star Debut of the Year – Female. In 2010, Fernandez appeared opposite Deshmukh in the science fiction romantic comedy Jaane Kahan Se Aayi Hai. She was cast as a girl from Venus, who lands on Earth in search of love. The film, along with Fernandez's performance, received poor reviews; Rediff.com's Sukanya Verma noted: "She gamely makes a fool of herself whilst aping the actions of movie stars, ranging from Sridevi's Naagin dance, Mithun Chakravarthy's Disco Dancer moves, to Big B's violent headshake in Hum. Her Tara could be a keeper if only Jaane Kahan Se Aayi Hai wasn't so intent on turning her into a love-struck Barbie." Critic Anupama Chopra also criticized Fernandez, calling her "a pin-prick on a balloon". Later that year, she made a special appearance in the song "Dhanno" for Sajid Khan's comedy Housefull. Mahesh Bhatt's thriller Murder 2 was Fernandez's first commercial success and marked a turning point in her career. She took on the role of Priya, a lonely model who is in a confused relationship with Arjun Bhagwat (played by Emraan Hashmi). Fernandez was praised for her performance, and for the boldness and sex appeal she displayed in the film. Gaurav Malini of The Times of India stated that she was "tastefully tempting" but noted that her romance with Hashmi was "literally half-baked". The following year, Fernandez appeared in the ensemble comedy Housefull 2 alongside Akshay Kumar, John Abraham, and Asin. It became one of the top grossing productions of India that year and earned worldwide. Fernandez received mostly negative reviews for her performance. While Gaurav Malini praised her for her looks, NDTV called her a "blathering bimbo" who "find[s] no pleasure in [her role]". Despite the negative reviews, Fernandez received a Best Supporting Actress nomination at the 14th IIFA Awards for her performance. Fernandez's first release of 2013 was Race 2, an ensemble action thriller (alongside Saif Ali Khan, John Abraham and Deepika Padukone), described as the "cinematic equivalent of a trashy novel" by critic Rajeev Masand. She played Omisha, a femme fatale, a role which required her learn fencing and some acrobatics. The film emerged as a commercial success, with the worldwide gross of more than and a net domestically of over . In a particularly scathing review, Saibal Chatterjee of NDTV wrote that both Fernandez and Padukone "strut around like wound-up automatons that are all decked-up but have nowhere to go." Also that year, Fernandez appeared in an item number, titled, "Jaadu Ki Jhappi", for Prabhu Deva's romantic comedy Ramaiya Vasta Vaiya. 2014–present: Commercial success In 2014, Fernandez appeared in Sajid Nadiadwala's directorial debut—the action film Kick, a remake of a 2009 Telugu film of same name. She starred opposite Salman Khan, playing Shaina, a psychiatrist. She retained her real voice for the first time in Kick. While Sneha May Francis commented that she is: "incredibly dazzling, and moves like a magic", Raja Sen of Rediff.com was more critical of her dialogue delivery, calling it "unfortunate." The film received mixed reviews from critics, but with worldwide revenue of over , it became the fourth highest-grossing Bollywood film. The film established Fernandez as one of the most popular Bollywood actresses. In 2015, Fernandez featured in Vicky Singh's Roy, a romantic thriller, which critic Sarita A. Tanwar described as a "boring, exhausting and pretentious" film. Fernandez played dual roles, Ayesha Aamir, a filmmaker in a relationship with another filmmaker (played by Arjun Rampal) and Tia Desai, a girl in love with a thief (played by Ranbir Kapoor). While India TV called it "her best act till date", critic Rajeev Masand felt that she "appears miscast in a part that required greater range." Roy failed to meet its box-office expectations, and was a commercial failure. Later that year, she appeared in a guest appearance for the comedy-satire Bangistan. Karan Malhotra's action drama Brothers was Fernandez's next release. Co-starring alongside Akshay Kumar and Sidharth Malhotra, Fernandez played Jenny, a fearless mother struggling for her child, a role which she described as "challenging", "intense", and "difficult". The role marked a departure from the glamorous characters that she had a reputation for portraying. Dhriti Sharma of Zee News called her character "soft, timid and promising", and praised her for: "convincingly pull[ing] off a pleasing character of a street fighter's wife". Film critic Subhash K. Jha noted that she: "...in a limited role gives her finest emotive shot", while critic Raja Sen remarked: "[she] plays Kumar's long-sobbing wife who gets so deliriously happy on seeing a text message that it may well have contained news about a Kick sequel." Later that year, she starred in the horror thriller Definition of Fear, which marked her Hollywood debut. Fernandez began 2016 with a role in Housefull 3 which is the third installment to the Housefull Series's. The ensemble comedy film paired her with Akshay Kumar as her love interest. The critic for Firstpost was disappointed with the picture and criticized Fernandez for her inclination towards a film, where she is treated as nothing more than a "visual attraction". Nevertheless, the film was a commercial success, grossing worldwide. Her next film—the action adventure Dishoom—also grossed worldwide at the box-office. Later that year, she served as a judge to the ninth season of the dance show Jhalak Dikhhla Jaa. In 2017, Fernandez appeared in Chandran Rutnam's English-Sri Lankan crime-thriller According to Mathew. The film was her maiden cinematic appearance in Sri Lankan cinema as well. The film was released in Sri Lanka on 7 April 2017 in CEL Theatres with the title Anuragini. Her next film was the action-comedy A Gentleman, with Siddharth Malhotra from the director duo Raj Nidimoru and Krishna D.K.. The film was poorly received by critics and was a box-office flop. Later that year, she appeared in David Dhawan's comedy film Judwaa 2, opposite Varun Dhawan and Taapsee Pannu. It was a sequel to the 1997 comedy film Judwaa. The film proved to be a box-office success earning worldwide. In 2018, she starred alongside Salman Khan in Race 3, the third addition to the Race Franchise. Race 3 was a box office success earning more than worldwide despite mixed reviews. Fernandez is filming Tarun Mansukhani's next, Drive opposite Sushant Singh Rajput. She is set to star in the Netflix original film, Mrs. Serial Killer, directed by Shirish Kunder. She is also set to feature with Akshay Kumar for the fourth time in a gangster drama Bachchan Pandey. Personal life and other work Fernandez shares a close bond with her family, and admits that she misses being around them. She says: "I miss them so much everyday. You don't realise when you live away from home how difficult life can be [...] At the same time, staying away from them has taught me to be more responsible. It has taught me so many things about myself, about priorities and time management." In 2008, Fernandez started dating Bahraini prince Hassan bin Rashid Al Khalifa, whom she met at a mutual friend's party; they separated in 2011. While filming Housefull 2 in 2011, Fernandez began a romantic relationship with director Sajid Khan. The relationship attracted media coverage in India and there was speculation of an impending wedding. However, the relationship ended in May 2013. Fernandez has supported charitable organisations and a number of causes. For advocating the welfare of animals, Fernandez was named "Woman Of The Year" by PETA (India) in 2014. Fernandez has participated in several concert tours and televised award ceremonies. In 2013, she performed at the Temptations Reloaded in Auckland, Perth, and Sydney alongside Shah Rukh Khan, Rani Mukerji, and Madhuri Dixit. She also performed at the live talent show "Got Talent World Stage Live" with Khan, Priyanka Chopra and Varun Dhawan the following year. In July 2014, Fernandez opened a restaurant in Colombo, Kaema Sutra, in collaboration with chef Dharshan Munidasa, which specialises in contemporary Sri Lankan cuisine. In July 2018, Fernandez co-founded her activewear clothing line-up, Just F. In the media In 2008 and 2011, Fernandez featured in the UK magazine Eastern Eye "World's Sexiest Asian Women" list, ranking twelfth. She was ranked third on The Times of India listing of the "Most Desirable Woman" in 2013 and 2014, after being ranked eighth, seventh and fourteenth, respectively, in the preceding three years. In 2013, Rediff.com placed her on their list of "Bollywood's Best Dressed Actresses". The following year, she held the sixty second position in the Indian edition of the Forbes Celebrity 100, a list based on the income and popularity of India's celebrities. In early 2013, Fernandez became the ambassador for HTC One, which she endorses in India. She was the face of Indian Bridal Fashion Week—IBFW of 2013. Later that year, she became the spokesperson for Gareth Pugh's designed Forevermark Diamonds in Mumbai, and was at the inaugural opening of the Forever 21 store in Mumbai. That year, she also launched Gillette Shaving System with Arbaaz Khan and Aditya Roy Kapur. While analysing Fernandez's career, India TV noted: "Slowly and steadily Jacqueline Fernandez is climbing up the ladder of success [...] Jacqueline is comfortably grasping every aspect of the work, which an actress is required to do and is accordingly giving results." On the contrary, Charu Thakur of India Today criticized her acting skills, but remarked that: "[she has] managed to find her feet in Bollywood now by banking on glamorous roles". In 2017, Fernandez invested in Rakyan Beverages' Raw Pressery. The company claim that with this investment, Fernandez became India's first celebrity to part-finance a consumer products firm. Money laundering case Since December 2021, Fernandez is subjected to an investigation into a money laundering case involving $200 million. The investigation is being carried out by the Enforcement Directorate (ED) who questioned Fernandez for 10 hours in relation to the case on 9 December 2021. On 22 December, ED rejected Fernandez’s request to downgrade the Lookout Circular (LOC) which was issued against her in the case which blocks her to travel outside India. Fernandez was removed from the upcoming movie The Ghost which will star Nagarjuna. It is speculated that the eviction from the movie happened due to the money laundering case. Filmography Films All films are in Hindi unless otherwise noted. Television Music videos Awards and nominations Fernandez has won numerous awards mainly for her works in Housefull 2, its sequel Housefull 3, Murder 2, and Race 3. References Further reading External links 1985 births Living people People from Manama Actresses in Hindi cinema Miss Universe 2006 contestants Sri Lankan beauty pageant winners Indian film actresses Sri Lankan film actresses Bahraini film actresses Sri Lankan female models Burgher models Bahraini female models Bahraini people of Sri Lankan descent Bahraini people of Malaysian descent Sri Lankan people of Malaysian descent Sri Lankan people of Canadian descent Sri Lankan people of Dutch descent Sri Lankan Malays Sri Lankan Roman Catholics University of Sydney alumni	false	[ "Song of the Crippled Bull is the debut EP from American based progressive death metal band Black Crown Initiate. It was released independently on July 17, 2013 and quickly became a featured EP on various underground publications. The album was recorded by Carson Slovak at Atrium Audio in Lancaster, Pennsylvania. Slovak is also credited for having designed the artwork.\n\nIn an interview with Terrorizer, guitarist Andy Thomas goes in depth about the concept of the EP and some of the themes that surround the music:\n\"Basically, there are a couple of themes running through the album. Microcosmic and macrocosmic, in their nature. The overarching apparent theme is based on Hindu texts. A four stage cycle in the universe that goes from the creation to destruction, and then recreation. And the last phase is called Caliuga. It’s a phase of complete depravity, everything is almost ruined. If I look around that’s what I see. It’s symbolized by iron, an extension of the Iron Age, and also by a one-legged bull. The first phase is known as the Golden Age, which you read about in all this different cultures, but that’s symbolized by a bull with all his legs. We’re now living in the age of the one-legged bull, which is what The Song Of The Crippled Bull is all about.\"\n\nTrack listing\n\nReception\n\"The band’s debut EP, Song of the Crippled Bull, is an epic four-part suite of progressive death metal sanctity that shouldn’t be ignored. The utter brutality matched with a sense of grandeur and melodic reprieve is immensely impressive.\"\n- No Clean Singing\n\n\"A very good start for an up and coming metal band, and a promising release that shows what they are capable of becoming.\"\n- Sputnik Music\n\n\"'Song of The Crippled Bull' is fantastic on almost every level, and the major complaint is that it’s a giant tease for their debut LP.\"\n- Metal Underground\n\n\"Another new exemplar of the fast-growing modern prog-death scene – think mechanized hyperspeed technicality and shimmering chord flurries.\"\n- Metalsucks\n\nReferences\n\n2013 albums\nBlack Crown Initiate albums", "{{Album ratings\n\| rev1 = Allmusic\n\| rev1Score = <ref name=\"allmusic\">{{cite web\|last1=Adams\|first1=Greg\|url=https://www.allmusic.com/album/what-about-me-mw0000948918\|title=What About Me\|work=Allmusic\|access-date=October 25, 2017}}</ref>}}What About Me is the debut studio album by Anne Murray issued in 1968 on Arc Records. Upon its release, the album was only issued in Canada (it would later be issued in the U.S. on the Pickwick label, following Murray's 1970s chart success there).\n\nThe album was reissued in Europe on the Astan label under the title Both Sides Now after original title track \"What About Me\" was dropped from the album. \"Both Sides Now\" is the well known Joni Mitchell song covered on the album. Other versions of the album kept the title Both Sides Now but include the \"What About Me\" track.\n\nIn 1980, Chevron Records (UK) released an album (#CHVL 1830) with the same title but with a different cover art - tracks 4 and 5 are a medley and this causes confusion but the Chevron issue is complete.\n\nTrack listing\n\"What About Me\" (Scott McKenzie) - 3:09\n\"Both Sides Now\" (Joni Mitchell) - 3:22\n\"It's All Over\" (Alan MacRae) - 2:09\n\"Some Birds\" (Ken Tobias) \n\"For Baby\" (John Denver credited as Deutshendorf'') - 4:31 (medley total for tracks 4 & 5) \n\"Paths of Victory\" (Brian Ahern) - 1:54\n\"David's Song\" (David Wiffen) - 3:10\n\"There Goes My Everything\" (Dallas Frazier) - 3:25\n\"Buffalo in the Park\" (Ahern, William Hawkins) - 2:52\n\"Last Thing on My Mind\" (Tom Paxton) - 2:28\n\"All the Time\" (Mel Tillis, Wayne Walker) - 2:39\n\nReferences\n\n1968 debut albums\nAnne Murray albums\nAlbums produced by Brian Ahern (producer)" ]
[ "Jacqueline Fernandez", "2009-2013: Debut and breakthrough", "What is the debut all about?", "I don't know." ]	C_7def29c0a1ed46c4b8f2617ae8005252_1	what can you tell me about breakthrough?	2	what can you tell me about Jacueline Fernandez's breakthrough?	Jacqueline Fernandez	In 2009, Fernandez traveled to India for a modeling assignment. She studied acting under the mentorship of theatre director Barry John, and successfully auditioned for Sujoy Ghosh's fantasy film Aladin (2009) her acting debut. She played the love interest of Riteish Deshmukh's character, a role based on the character of Princess Jasmine. and Rajeev Masand of CNN-IBN felt that she was: "easy on the eyes and appears confident but has precious little to do". Although the film was a critical and commercial failure, she won the IIFA Award for Star Debut of the Year - Female. In 2010, Fernandez appeared opposite Deshmukh in the science fiction romantic comedy Jaane Kahan Se Aayi Hai. She was cast as a girl from Venus, who lands on Earth in search of love. The film, along with Fernandez's performance, received poor reviews; Rediff.com's Sukanya Verma noted: "She gamely makes a fool of herself whilst aping the actions of movie stars, ranging from Sridevi's Naagin dance, Mithun Chakravarthy's Disco Dancer moves, to Big B's violent headshake in Hum. Her Tara could be a keeper if only Jaane Kahan Se Aayi Hai wasn't so intent on turning her into a love-struck Barbie." Critic Anupama Chopra also criticized Fernandez, calling her "a pin-prick on a balloon". Later that year, she made a special appearance in the song "Dhanno" for Sajid Khan's comedy Housefull. Mahesh Bhatt's thriller Murder 2 was Fernandez's first commercial success and marked a turning point in her career. She took on the role of Priya, a lonely model who is in a confused relationship with Arjun Bhagwat (played by Emraan Hashmi). Fernandez was praised for her performance, and for the boldness and sex appeal she displayed in the film. Gaurav Malini of The Times of India stated that she was "tastefully tempting" but noted that her romance with Hashmi was "literally half-baked". The following year, Fernandez appeared in the ensemble comedy Housefull 2 alongside Akshay Kumar, John Abraham, and Asin. It became one of the top grossing productions of India that year and earned Rs1.86 billion (US$28 million) worldwide. Fernandez received mostly negative reviews for her performance. While Gaurav Malini praised her for her looks, NDTV called her a "blathering bimbo" who "find[s] no pleasure in [her role]". Despite the negative reviews, Fernandez received a Best Supporting Actress nomination at the 14th IIFA Awards for her performance. Fernandez's first release of 2013 was Race 2, an ensemble action thriller (alongside Saif Ali Khan, John Abraham and Deepika Padukone), described as the "cinematic equivalent of a trashy novel" by critic Rajeev Masand. She played Omisha, a femme fatale, a role which required her learn fencing and some acrobatics. The film emerged as a commercial success, with the domestic gross of more than Rs1 billion (US$15 million). In a particularly scathing review, Saibal Chatterjee of NDTV wrote that both Fernandez and Padukone "strut around like wound-up automatons that are all decked-up but have nowhere to go." Also that year, Fernandez appeared in an item number, titled, "Jaadu Ki Jhappi", for Prabhu Deva's romantic comedy Ramaiya Vasta Vaiya. CANNOTANSWER	director Barry John, and successfully auditioned for Sujoy Ghosh's fantasy film Aladin (2009)	Jacqueline Fernandez (born 11 August 1985) is a Sri Lankan actress, model and the winner of the Miss Universe Sri Lanka pageant of 2006 who predominantly works in Hindi films. In 2009, she debuted with Aladin and since then has established a career in the Hindi film industry. Fernandez was born and raised in Bahrain to a multiracial Eurasian family of Sri Lankan, Canadian, and Malaysian descent. After graduating in mass communication from the University of Sydney and working as a television reporter in Sri Lanka, she joined the modeling industry. She was crowned Miss Universe Sri Lanka in 2006, and represented her country at Miss Universe 2006. While on a modelling assignment in India in 2009, Fernandez successfully auditioned for Sujoy Ghosh's fantasy drama Aladin, which marked her acting debut. Fernandez had her breakthrough role with the psychological thriller Murder 2 (2011), her first commercial success. This was followed by glamorous roles in the commercially successful ensemble-comedy Housefull 2 (2012) and the action thriller Race 2 (2013), which garnered her an IIFA Award for Best Supporting Actress nomination. Fernandez went on to star in the top-grossing action film Kick (2014) and the comedies Housefull 3 (2016) and Judwaa 2 (2017). Alongside her screen acting career, Fernandez has worked as a judge in the ninth season of the dance reality show Jhalak Dikhhla Jaa (2016–2017), is a popular celebrity endorser for various brands and products, has participated in stage shows, and is active in humanitarian work. Early life and modeling career Jacqueline Fernandez was born on 11 August 1985, in Manama, Bahrain, and was raised in a multi-ethnic family. Her father, Elroy Fernandez, is a Sri Lankan Burgher, and her mother, Kim, is of Malaysian and Canadian descent. Her maternal grandfather is Canadian. Her father, who was a musician in Sri Lanka, moved to Bahrain in the 1980s to escape civil unrest between the Sinhalese and Tamils and subsequently met her mother, who was an air hostess. She is the youngest of four children with one elder sister and two elder brothers. After receiving her early education in Bahrain at Sacred Heart School, she studied mass communication at the University of Sydney in Australia. After graduating she did a couple of television shows in Sri Lanka. She also attended the Berlitz school of languages, where she learned Spanish and improved her French and Arabic. According to Fernandez, she had aspired to become an actress at a young age and fantasized about becoming a Hollywood movie star. She received some training at the John School of Acting. Although, she was a television reporter, she accepted offers in the modeling industry, which came as a result of her pageant success. In 2006, she was crowned the winner of the Miss Universe Sri Lanka pageant and represented Sri Lanka at the world Miss Universe 2006 pageant held in Los Angeles. In a 2015 interview, Fernandez described the modeling industry as "a good training ground" and said: "It is a medium that is about shedding your inhibitions, knowing your body, confidence". In 2006, she appeared in a music video for the song "O Sathi" by music duo Bathiya and Santhush and young female singer Umaria Sinhawansa. Acting career 2009–2013: Debut and breakthrough In 2009, Fernandez traveled to India for a modeling assignment. She successfully auditioned for Sujoy Ghosh's fantasy film Aladin (2009) her acting debut. She played the love interest of Riteish Deshmukh's character, a role based on the character of Princess Jasmine. and Rajeev Masand of CNN-IBN felt that she was: "easy on the eyes and appears confident but has precious little to do". Although the film was a critical and commercial failure, she won the IIFA Award for Star Debut of the Year – Female. In 2010, Fernandez appeared opposite Deshmukh in the science fiction romantic comedy Jaane Kahan Se Aayi Hai. She was cast as a girl from Venus, who lands on Earth in search of love. The film, along with Fernandez's performance, received poor reviews; Rediff.com's Sukanya Verma noted: "She gamely makes a fool of herself whilst aping the actions of movie stars, ranging from Sridevi's Naagin dance, Mithun Chakravarthy's Disco Dancer moves, to Big B's violent headshake in Hum. Her Tara could be a keeper if only Jaane Kahan Se Aayi Hai wasn't so intent on turning her into a love-struck Barbie." Critic Anupama Chopra also criticized Fernandez, calling her "a pin-prick on a balloon". Later that year, she made a special appearance in the song "Dhanno" for Sajid Khan's comedy Housefull. Mahesh Bhatt's thriller Murder 2 was Fernandez's first commercial success and marked a turning point in her career. She took on the role of Priya, a lonely model who is in a confused relationship with Arjun Bhagwat (played by Emraan Hashmi). Fernandez was praised for her performance, and for the boldness and sex appeal she displayed in the film. Gaurav Malini of The Times of India stated that she was "tastefully tempting" but noted that her romance with Hashmi was "literally half-baked". The following year, Fernandez appeared in the ensemble comedy Housefull 2 alongside Akshay Kumar, John Abraham, and Asin. It became one of the top grossing productions of India that year and earned worldwide. Fernandez received mostly negative reviews for her performance. While Gaurav Malini praised her for her looks, NDTV called her a "blathering bimbo" who "find[s] no pleasure in [her role]". Despite the negative reviews, Fernandez received a Best Supporting Actress nomination at the 14th IIFA Awards for her performance. Fernandez's first release of 2013 was Race 2, an ensemble action thriller (alongside Saif Ali Khan, John Abraham and Deepika Padukone), described as the "cinematic equivalent of a trashy novel" by critic Rajeev Masand. She played Omisha, a femme fatale, a role which required her learn fencing and some acrobatics. The film emerged as a commercial success, with the worldwide gross of more than and a net domestically of over . In a particularly scathing review, Saibal Chatterjee of NDTV wrote that both Fernandez and Padukone "strut around like wound-up automatons that are all decked-up but have nowhere to go." Also that year, Fernandez appeared in an item number, titled, "Jaadu Ki Jhappi", for Prabhu Deva's romantic comedy Ramaiya Vasta Vaiya. 2014–present: Commercial success In 2014, Fernandez appeared in Sajid Nadiadwala's directorial debut—the action film Kick, a remake of a 2009 Telugu film of same name. She starred opposite Salman Khan, playing Shaina, a psychiatrist. She retained her real voice for the first time in Kick. While Sneha May Francis commented that she is: "incredibly dazzling, and moves like a magic", Raja Sen of Rediff.com was more critical of her dialogue delivery, calling it "unfortunate." The film received mixed reviews from critics, but with worldwide revenue of over , it became the fourth highest-grossing Bollywood film. The film established Fernandez as one of the most popular Bollywood actresses. In 2015, Fernandez featured in Vicky Singh's Roy, a romantic thriller, which critic Sarita A. Tanwar described as a "boring, exhausting and pretentious" film. Fernandez played dual roles, Ayesha Aamir, a filmmaker in a relationship with another filmmaker (played by Arjun Rampal) and Tia Desai, a girl in love with a thief (played by Ranbir Kapoor). While India TV called it "her best act till date", critic Rajeev Masand felt that she "appears miscast in a part that required greater range." Roy failed to meet its box-office expectations, and was a commercial failure. Later that year, she appeared in a guest appearance for the comedy-satire Bangistan. Karan Malhotra's action drama Brothers was Fernandez's next release. Co-starring alongside Akshay Kumar and Sidharth Malhotra, Fernandez played Jenny, a fearless mother struggling for her child, a role which she described as "challenging", "intense", and "difficult". The role marked a departure from the glamorous characters that she had a reputation for portraying. Dhriti Sharma of Zee News called her character "soft, timid and promising", and praised her for: "convincingly pull[ing] off a pleasing character of a street fighter's wife". Film critic Subhash K. Jha noted that she: "...in a limited role gives her finest emotive shot", while critic Raja Sen remarked: "[she] plays Kumar's long-sobbing wife who gets so deliriously happy on seeing a text message that it may well have contained news about a Kick sequel." Later that year, she starred in the horror thriller Definition of Fear, which marked her Hollywood debut. Fernandez began 2016 with a role in Housefull 3 which is the third installment to the Housefull Series's. The ensemble comedy film paired her with Akshay Kumar as her love interest. The critic for Firstpost was disappointed with the picture and criticized Fernandez for her inclination towards a film, where she is treated as nothing more than a "visual attraction". Nevertheless, the film was a commercial success, grossing worldwide. Her next film—the action adventure Dishoom—also grossed worldwide at the box-office. Later that year, she served as a judge to the ninth season of the dance show Jhalak Dikhhla Jaa. In 2017, Fernandez appeared in Chandran Rutnam's English-Sri Lankan crime-thriller According to Mathew. The film was her maiden cinematic appearance in Sri Lankan cinema as well. The film was released in Sri Lanka on 7 April 2017 in CEL Theatres with the title Anuragini. Her next film was the action-comedy A Gentleman, with Siddharth Malhotra from the director duo Raj Nidimoru and Krishna D.K.. The film was poorly received by critics and was a box-office flop. Later that year, she appeared in David Dhawan's comedy film Judwaa 2, opposite Varun Dhawan and Taapsee Pannu. It was a sequel to the 1997 comedy film Judwaa. The film proved to be a box-office success earning worldwide. In 2018, she starred alongside Salman Khan in Race 3, the third addition to the Race Franchise. Race 3 was a box office success earning more than worldwide despite mixed reviews. Fernandez is filming Tarun Mansukhani's next, Drive opposite Sushant Singh Rajput. She is set to star in the Netflix original film, Mrs. Serial Killer, directed by Shirish Kunder. She is also set to feature with Akshay Kumar for the fourth time in a gangster drama Bachchan Pandey. Personal life and other work Fernandez shares a close bond with her family, and admits that she misses being around them. She says: "I miss them so much everyday. You don't realise when you live away from home how difficult life can be [...] At the same time, staying away from them has taught me to be more responsible. It has taught me so many things about myself, about priorities and time management." In 2008, Fernandez started dating Bahraini prince Hassan bin Rashid Al Khalifa, whom she met at a mutual friend's party; they separated in 2011. While filming Housefull 2 in 2011, Fernandez began a romantic relationship with director Sajid Khan. The relationship attracted media coverage in India and there was speculation of an impending wedding. However, the relationship ended in May 2013. Fernandez has supported charitable organisations and a number of causes. For advocating the welfare of animals, Fernandez was named "Woman Of The Year" by PETA (India) in 2014. Fernandez has participated in several concert tours and televised award ceremonies. In 2013, she performed at the Temptations Reloaded in Auckland, Perth, and Sydney alongside Shah Rukh Khan, Rani Mukerji, and Madhuri Dixit. She also performed at the live talent show "Got Talent World Stage Live" with Khan, Priyanka Chopra and Varun Dhawan the following year. In July 2014, Fernandez opened a restaurant in Colombo, Kaema Sutra, in collaboration with chef Dharshan Munidasa, which specialises in contemporary Sri Lankan cuisine. In July 2018, Fernandez co-founded her activewear clothing line-up, Just F. In the media In 2008 and 2011, Fernandez featured in the UK magazine Eastern Eye "World's Sexiest Asian Women" list, ranking twelfth. She was ranked third on The Times of India listing of the "Most Desirable Woman" in 2013 and 2014, after being ranked eighth, seventh and fourteenth, respectively, in the preceding three years. In 2013, Rediff.com placed her on their list of "Bollywood's Best Dressed Actresses". The following year, she held the sixty second position in the Indian edition of the Forbes Celebrity 100, a list based on the income and popularity of India's celebrities. In early 2013, Fernandez became the ambassador for HTC One, which she endorses in India. She was the face of Indian Bridal Fashion Week—IBFW of 2013. Later that year, she became the spokesperson for Gareth Pugh's designed Forevermark Diamonds in Mumbai, and was at the inaugural opening of the Forever 21 store in Mumbai. That year, she also launched Gillette Shaving System with Arbaaz Khan and Aditya Roy Kapur. While analysing Fernandez's career, India TV noted: "Slowly and steadily Jacqueline Fernandez is climbing up the ladder of success [...] Jacqueline is comfortably grasping every aspect of the work, which an actress is required to do and is accordingly giving results." On the contrary, Charu Thakur of India Today criticized her acting skills, but remarked that: "[she has] managed to find her feet in Bollywood now by banking on glamorous roles". In 2017, Fernandez invested in Rakyan Beverages' Raw Pressery. The company claim that with this investment, Fernandez became India's first celebrity to part-finance a consumer products firm. Money laundering case Since December 2021, Fernandez is subjected to an investigation into a money laundering case involving $200 million. The investigation is being carried out by the Enforcement Directorate (ED) who questioned Fernandez for 10 hours in relation to the case on 9 December 2021. On 22 December, ED rejected Fernandez’s request to downgrade the Lookout Circular (LOC) which was issued against her in the case which blocks her to travel outside India. Fernandez was removed from the upcoming movie The Ghost which will star Nagarjuna. It is speculated that the eviction from the movie happened due to the money laundering case. Filmography Films All films are in Hindi unless otherwise noted. Television Music videos Awards and nominations Fernandez has won numerous awards mainly for her works in Housefull 2, its sequel Housefull 3, Murder 2, and Race 3. References Further reading External links 1985 births Living people People from Manama Actresses in Hindi cinema Miss Universe 2006 contestants Sri Lankan beauty pageant winners Indian film actresses Sri Lankan film actresses Bahraini film actresses Sri Lankan female models Burgher models Bahraini female models Bahraini people of Sri Lankan descent Bahraini people of Malaysian descent Sri Lankan people of Malaysian descent Sri Lankan people of Canadian descent Sri Lankan people of Dutch descent Sri Lankan Malays Sri Lankan Roman Catholics University of Sydney alumni	false	[ "\"Tell Me What You Want Me to Do\" is the title of a number-one R&B single by singer Tevin Campbell. To date, the single is Campbell's biggest hit peaking at number 6 on the Billboard Hot 100 and spending one week at number-one on the US R&B chart. The hit song is also Tevin's one and only Adult Contemporary hit, where it peaked at number 43. The song showcases Campbell's four-octave vocal range from a low note of E2 to a D#6 during the bridge of the song.\n\nTrack listings\nUS 7\" vinyl\nA \"Tell Me What You Want Me to Do\" (edit) – 4:16\t\nB \"Tell Me What You Want Me to Do\" (instrumental) – 5:00\n\n12\" vinyl\nA \"Tell Me What You Want Me to Do\" (edit) – 4:16\t\nB \"Tell Me What You Want Me to Do\" (album version) – 5:02\n\nUK CD\n \"Tell Me What You Want Me to Do\" – 4:16\n \"Goodbye\" (7\" Remix Edit) – 3:48\n \"Goodbye\" (Sidub and Listen) – 4:58\n \"Goodbye\" (Tevin's Dub Pt 1 & 2) – 6:53\n\nJapan CD\n \"Tell Me What You Want Me to Do\" – 4:10\n \"Tell Me What You Want Me to Do\" (instrumental version) – 4:10\n\nGermany CD\n \"Tell Me What You Want Me to Do\" (edit) – 4:10\n \"Just Ask Me\" (featuring Chubb Rock) – 4:07\n \"Tomorrow\" (A Better You, Better Me) – 4:46\n\nCharts\n\nWeekly charts\n\nYear-end charts\n\nSee also\nList of number-one R&B singles of 1992 (U.S.)\n\nReferences\n\nTevin Campbell songs\n1991 singles\n1991 songs\nSongs written by Tevin Campbell\nSongs written by Narada Michael Walden\nSong recordings produced by Narada Michael Walden\nWarner Records singles\nContemporary R&B ballads\nPop ballads\nSoul ballads\n1990s ballads", "\"Tell Me What You Want\" is the fourth single by English R&B band Loose Ends from their first studio album, A Little Spice, and was released in February 1984 by Virgin Records. The single reached number 74 in the UK Singles Chart.\n\nTrack listing\n7” Single: VS658\n \"Tell Me What You Want) 3.35\n \"Tell Me What You Want (Dub Mix)\" 3.34\n\n12” Single: VS658-12\n \"Tell Me What You Want (Extended Version)\" 6.11\n \"Tell Me What You Want (Extended Dub Mix)\" 5.41\n\nU.S. only release - 12” Single: MCA23596 (released 1985)\n \"Tell Me What You Want (U.S. Extended Remix)\" 6.08 \n \"Tell Me What You Want (U.S. Dub Version)\" 5.18\n\n The U.S. Extended Remix version was released on CD on the U.S. Version of the 'A Little Spice' album (MCAD27141).\n\nThe Extended Version also featured on Side D of the limited gatefold sleeve version of 'Magic Touch'\n\nChart performance\n\nReferences\n\nExternal links\n Tell Me What You Want at Discogs.\n\n1984 singles\nLoose Ends (band) songs\nSong recordings produced by Nick Martinelli\nSongs written by Carl McIntosh (musician)\nSongs written by Steve Nichol\n1984 songs\nVirgin Records singles" ]
[ "Jacqueline Fernandez", "2009-2013: Debut and breakthrough", "What is the debut all about?", "I don't know.", "what can you tell me about breakthrough?", "director Barry John, and successfully auditioned for Sujoy Ghosh's fantasy film Aladin (2009)" ]	C_7def29c0a1ed46c4b8f2617ae8005252_1	what role did she play	3	what role did Jacueline Fernandez play in the breakthrough?	Jacqueline Fernandez	In 2009, Fernandez traveled to India for a modeling assignment. She studied acting under the mentorship of theatre director Barry John, and successfully auditioned for Sujoy Ghosh's fantasy film Aladin (2009) her acting debut. She played the love interest of Riteish Deshmukh's character, a role based on the character of Princess Jasmine. and Rajeev Masand of CNN-IBN felt that she was: "easy on the eyes and appears confident but has precious little to do". Although the film was a critical and commercial failure, she won the IIFA Award for Star Debut of the Year - Female. In 2010, Fernandez appeared opposite Deshmukh in the science fiction romantic comedy Jaane Kahan Se Aayi Hai. She was cast as a girl from Venus, who lands on Earth in search of love. The film, along with Fernandez's performance, received poor reviews; Rediff.com's Sukanya Verma noted: "She gamely makes a fool of herself whilst aping the actions of movie stars, ranging from Sridevi's Naagin dance, Mithun Chakravarthy's Disco Dancer moves, to Big B's violent headshake in Hum. Her Tara could be a keeper if only Jaane Kahan Se Aayi Hai wasn't so intent on turning her into a love-struck Barbie." Critic Anupama Chopra also criticized Fernandez, calling her "a pin-prick on a balloon". Later that year, she made a special appearance in the song "Dhanno" for Sajid Khan's comedy Housefull. Mahesh Bhatt's thriller Murder 2 was Fernandez's first commercial success and marked a turning point in her career. She took on the role of Priya, a lonely model who is in a confused relationship with Arjun Bhagwat (played by Emraan Hashmi). Fernandez was praised for her performance, and for the boldness and sex appeal she displayed in the film. Gaurav Malini of The Times of India stated that she was "tastefully tempting" but noted that her romance with Hashmi was "literally half-baked". The following year, Fernandez appeared in the ensemble comedy Housefull 2 alongside Akshay Kumar, John Abraham, and Asin. It became one of the top grossing productions of India that year and earned Rs1.86 billion (US$28 million) worldwide. Fernandez received mostly negative reviews for her performance. While Gaurav Malini praised her for her looks, NDTV called her a "blathering bimbo" who "find[s] no pleasure in [her role]". Despite the negative reviews, Fernandez received a Best Supporting Actress nomination at the 14th IIFA Awards for her performance. Fernandez's first release of 2013 was Race 2, an ensemble action thriller (alongside Saif Ali Khan, John Abraham and Deepika Padukone), described as the "cinematic equivalent of a trashy novel" by critic Rajeev Masand. She played Omisha, a femme fatale, a role which required her learn fencing and some acrobatics. The film emerged as a commercial success, with the domestic gross of more than Rs1 billion (US$15 million). In a particularly scathing review, Saibal Chatterjee of NDTV wrote that both Fernandez and Padukone "strut around like wound-up automatons that are all decked-up but have nowhere to go." Also that year, Fernandez appeared in an item number, titled, "Jaadu Ki Jhappi", for Prabhu Deva's romantic comedy Ramaiya Vasta Vaiya. CANNOTANSWER	She played the love interest of Riteish Deshmukh's character,	Jacqueline Fernandez (born 11 August 1985) is a Sri Lankan actress, model and the winner of the Miss Universe Sri Lanka pageant of 2006 who predominantly works in Hindi films. In 2009, she debuted with Aladin and since then has established a career in the Hindi film industry. Fernandez was born and raised in Bahrain to a multiracial Eurasian family of Sri Lankan, Canadian, and Malaysian descent. After graduating in mass communication from the University of Sydney and working as a television reporter in Sri Lanka, she joined the modeling industry. She was crowned Miss Universe Sri Lanka in 2006, and represented her country at Miss Universe 2006. While on a modelling assignment in India in 2009, Fernandez successfully auditioned for Sujoy Ghosh's fantasy drama Aladin, which marked her acting debut. Fernandez had her breakthrough role with the psychological thriller Murder 2 (2011), her first commercial success. This was followed by glamorous roles in the commercially successful ensemble-comedy Housefull 2 (2012) and the action thriller Race 2 (2013), which garnered her an IIFA Award for Best Supporting Actress nomination. Fernandez went on to star in the top-grossing action film Kick (2014) and the comedies Housefull 3 (2016) and Judwaa 2 (2017). Alongside her screen acting career, Fernandez has worked as a judge in the ninth season of the dance reality show Jhalak Dikhhla Jaa (2016–2017), is a popular celebrity endorser for various brands and products, has participated in stage shows, and is active in humanitarian work. Early life and modeling career Jacqueline Fernandez was born on 11 August 1985, in Manama, Bahrain, and was raised in a multi-ethnic family. Her father, Elroy Fernandez, is a Sri Lankan Burgher, and her mother, Kim, is of Malaysian and Canadian descent. Her maternal grandfather is Canadian. Her father, who was a musician in Sri Lanka, moved to Bahrain in the 1980s to escape civil unrest between the Sinhalese and Tamils and subsequently met her mother, who was an air hostess. She is the youngest of four children with one elder sister and two elder brothers. After receiving her early education in Bahrain at Sacred Heart School, she studied mass communication at the University of Sydney in Australia. After graduating she did a couple of television shows in Sri Lanka. She also attended the Berlitz school of languages, where she learned Spanish and improved her French and Arabic. According to Fernandez, she had aspired to become an actress at a young age and fantasized about becoming a Hollywood movie star. She received some training at the John School of Acting. Although, she was a television reporter, she accepted offers in the modeling industry, which came as a result of her pageant success. In 2006, she was crowned the winner of the Miss Universe Sri Lanka pageant and represented Sri Lanka at the world Miss Universe 2006 pageant held in Los Angeles. In a 2015 interview, Fernandez described the modeling industry as "a good training ground" and said: "It is a medium that is about shedding your inhibitions, knowing your body, confidence". In 2006, she appeared in a music video for the song "O Sathi" by music duo Bathiya and Santhush and young female singer Umaria Sinhawansa. Acting career 2009–2013: Debut and breakthrough In 2009, Fernandez traveled to India for a modeling assignment. She successfully auditioned for Sujoy Ghosh's fantasy film Aladin (2009) her acting debut. She played the love interest of Riteish Deshmukh's character, a role based on the character of Princess Jasmine. and Rajeev Masand of CNN-IBN felt that she was: "easy on the eyes and appears confident but has precious little to do". Although the film was a critical and commercial failure, she won the IIFA Award for Star Debut of the Year – Female. In 2010, Fernandez appeared opposite Deshmukh in the science fiction romantic comedy Jaane Kahan Se Aayi Hai. She was cast as a girl from Venus, who lands on Earth in search of love. The film, along with Fernandez's performance, received poor reviews; Rediff.com's Sukanya Verma noted: "She gamely makes a fool of herself whilst aping the actions of movie stars, ranging from Sridevi's Naagin dance, Mithun Chakravarthy's Disco Dancer moves, to Big B's violent headshake in Hum. Her Tara could be a keeper if only Jaane Kahan Se Aayi Hai wasn't so intent on turning her into a love-struck Barbie." Critic Anupama Chopra also criticized Fernandez, calling her "a pin-prick on a balloon". Later that year, she made a special appearance in the song "Dhanno" for Sajid Khan's comedy Housefull. Mahesh Bhatt's thriller Murder 2 was Fernandez's first commercial success and marked a turning point in her career. She took on the role of Priya, a lonely model who is in a confused relationship with Arjun Bhagwat (played by Emraan Hashmi). Fernandez was praised for her performance, and for the boldness and sex appeal she displayed in the film. Gaurav Malini of The Times of India stated that she was "tastefully tempting" but noted that her romance with Hashmi was "literally half-baked". The following year, Fernandez appeared in the ensemble comedy Housefull 2 alongside Akshay Kumar, John Abraham, and Asin. It became one of the top grossing productions of India that year and earned worldwide. Fernandez received mostly negative reviews for her performance. While Gaurav Malini praised her for her looks, NDTV called her a "blathering bimbo" who "find[s] no pleasure in [her role]". Despite the negative reviews, Fernandez received a Best Supporting Actress nomination at the 14th IIFA Awards for her performance. Fernandez's first release of 2013 was Race 2, an ensemble action thriller (alongside Saif Ali Khan, John Abraham and Deepika Padukone), described as the "cinematic equivalent of a trashy novel" by critic Rajeev Masand. She played Omisha, a femme fatale, a role which required her learn fencing and some acrobatics. The film emerged as a commercial success, with the worldwide gross of more than and a net domestically of over . In a particularly scathing review, Saibal Chatterjee of NDTV wrote that both Fernandez and Padukone "strut around like wound-up automatons that are all decked-up but have nowhere to go." Also that year, Fernandez appeared in an item number, titled, "Jaadu Ki Jhappi", for Prabhu Deva's romantic comedy Ramaiya Vasta Vaiya. 2014–present: Commercial success In 2014, Fernandez appeared in Sajid Nadiadwala's directorial debut—the action film Kick, a remake of a 2009 Telugu film of same name. She starred opposite Salman Khan, playing Shaina, a psychiatrist. She retained her real voice for the first time in Kick. While Sneha May Francis commented that she is: "incredibly dazzling, and moves like a magic", Raja Sen of Rediff.com was more critical of her dialogue delivery, calling it "unfortunate." The film received mixed reviews from critics, but with worldwide revenue of over , it became the fourth highest-grossing Bollywood film. The film established Fernandez as one of the most popular Bollywood actresses. In 2015, Fernandez featured in Vicky Singh's Roy, a romantic thriller, which critic Sarita A. Tanwar described as a "boring, exhausting and pretentious" film. Fernandez played dual roles, Ayesha Aamir, a filmmaker in a relationship with another filmmaker (played by Arjun Rampal) and Tia Desai, a girl in love with a thief (played by Ranbir Kapoor). While India TV called it "her best act till date", critic Rajeev Masand felt that she "appears miscast in a part that required greater range." Roy failed to meet its box-office expectations, and was a commercial failure. Later that year, she appeared in a guest appearance for the comedy-satire Bangistan. Karan Malhotra's action drama Brothers was Fernandez's next release. Co-starring alongside Akshay Kumar and Sidharth Malhotra, Fernandez played Jenny, a fearless mother struggling for her child, a role which she described as "challenging", "intense", and "difficult". The role marked a departure from the glamorous characters that she had a reputation for portraying. Dhriti Sharma of Zee News called her character "soft, timid and promising", and praised her for: "convincingly pull[ing] off a pleasing character of a street fighter's wife". Film critic Subhash K. Jha noted that she: "...in a limited role gives her finest emotive shot", while critic Raja Sen remarked: "[she] plays Kumar's long-sobbing wife who gets so deliriously happy on seeing a text message that it may well have contained news about a Kick sequel." Later that year, she starred in the horror thriller Definition of Fear, which marked her Hollywood debut. Fernandez began 2016 with a role in Housefull 3 which is the third installment to the Housefull Series's. The ensemble comedy film paired her with Akshay Kumar as her love interest. The critic for Firstpost was disappointed with the picture and criticized Fernandez for her inclination towards a film, where she is treated as nothing more than a "visual attraction". Nevertheless, the film was a commercial success, grossing worldwide. Her next film—the action adventure Dishoom—also grossed worldwide at the box-office. Later that year, she served as a judge to the ninth season of the dance show Jhalak Dikhhla Jaa. In 2017, Fernandez appeared in Chandran Rutnam's English-Sri Lankan crime-thriller According to Mathew. The film was her maiden cinematic appearance in Sri Lankan cinema as well. The film was released in Sri Lanka on 7 April 2017 in CEL Theatres with the title Anuragini. Her next film was the action-comedy A Gentleman, with Siddharth Malhotra from the director duo Raj Nidimoru and Krishna D.K.. The film was poorly received by critics and was a box-office flop. Later that year, she appeared in David Dhawan's comedy film Judwaa 2, opposite Varun Dhawan and Taapsee Pannu. It was a sequel to the 1997 comedy film Judwaa. The film proved to be a box-office success earning worldwide. In 2018, she starred alongside Salman Khan in Race 3, the third addition to the Race Franchise. Race 3 was a box office success earning more than worldwide despite mixed reviews. Fernandez is filming Tarun Mansukhani's next, Drive opposite Sushant Singh Rajput. She is set to star in the Netflix original film, Mrs. Serial Killer, directed by Shirish Kunder. She is also set to feature with Akshay Kumar for the fourth time in a gangster drama Bachchan Pandey. Personal life and other work Fernandez shares a close bond with her family, and admits that she misses being around them. She says: "I miss them so much everyday. You don't realise when you live away from home how difficult life can be [...] At the same time, staying away from them has taught me to be more responsible. It has taught me so many things about myself, about priorities and time management." In 2008, Fernandez started dating Bahraini prince Hassan bin Rashid Al Khalifa, whom she met at a mutual friend's party; they separated in 2011. While filming Housefull 2 in 2011, Fernandez began a romantic relationship with director Sajid Khan. The relationship attracted media coverage in India and there was speculation of an impending wedding. However, the relationship ended in May 2013. Fernandez has supported charitable organisations and a number of causes. For advocating the welfare of animals, Fernandez was named "Woman Of The Year" by PETA (India) in 2014. Fernandez has participated in several concert tours and televised award ceremonies. In 2013, she performed at the Temptations Reloaded in Auckland, Perth, and Sydney alongside Shah Rukh Khan, Rani Mukerji, and Madhuri Dixit. She also performed at the live talent show "Got Talent World Stage Live" with Khan, Priyanka Chopra and Varun Dhawan the following year. In July 2014, Fernandez opened a restaurant in Colombo, Kaema Sutra, in collaboration with chef Dharshan Munidasa, which specialises in contemporary Sri Lankan cuisine. In July 2018, Fernandez co-founded her activewear clothing line-up, Just F. In the media In 2008 and 2011, Fernandez featured in the UK magazine Eastern Eye "World's Sexiest Asian Women" list, ranking twelfth. She was ranked third on The Times of India listing of the "Most Desirable Woman" in 2013 and 2014, after being ranked eighth, seventh and fourteenth, respectively, in the preceding three years. In 2013, Rediff.com placed her on their list of "Bollywood's Best Dressed Actresses". The following year, she held the sixty second position in the Indian edition of the Forbes Celebrity 100, a list based on the income and popularity of India's celebrities. In early 2013, Fernandez became the ambassador for HTC One, which she endorses in India. She was the face of Indian Bridal Fashion Week—IBFW of 2013. Later that year, she became the spokesperson for Gareth Pugh's designed Forevermark Diamonds in Mumbai, and was at the inaugural opening of the Forever 21 store in Mumbai. That year, she also launched Gillette Shaving System with Arbaaz Khan and Aditya Roy Kapur. While analysing Fernandez's career, India TV noted: "Slowly and steadily Jacqueline Fernandez is climbing up the ladder of success [...] Jacqueline is comfortably grasping every aspect of the work, which an actress is required to do and is accordingly giving results." On the contrary, Charu Thakur of India Today criticized her acting skills, but remarked that: "[she has] managed to find her feet in Bollywood now by banking on glamorous roles". In 2017, Fernandez invested in Rakyan Beverages' Raw Pressery. The company claim that with this investment, Fernandez became India's first celebrity to part-finance a consumer products firm. Money laundering case Since December 2021, Fernandez is subjected to an investigation into a money laundering case involving $200 million. The investigation is being carried out by the Enforcement Directorate (ED) who questioned Fernandez for 10 hours in relation to the case on 9 December 2021. On 22 December, ED rejected Fernandez’s request to downgrade the Lookout Circular (LOC) which was issued against her in the case which blocks her to travel outside India. Fernandez was removed from the upcoming movie The Ghost which will star Nagarjuna. It is speculated that the eviction from the movie happened due to the money laundering case. Filmography Films All films are in Hindi unless otherwise noted. Television Music videos Awards and nominations Fernandez has won numerous awards mainly for her works in Housefull 2, its sequel Housefull 3, Murder 2, and Race 3. References Further reading External links 1985 births Living people People from Manama Actresses in Hindi cinema Miss Universe 2006 contestants Sri Lankan beauty pageant winners Indian film actresses Sri Lankan film actresses Bahraini film actresses Sri Lankan female models Burgher models Bahraini female models Bahraini people of Sri Lankan descent Bahraini people of Malaysian descent Sri Lankan people of Malaysian descent Sri Lankan people of Canadian descent Sri Lankan people of Dutch descent Sri Lankan Malays Sri Lankan Roman Catholics University of Sydney alumni	true	[ "Pranoti Pradhan is an Indian television and film actress.\n\nCareer \nPranoti Pradhan started her acting career as a child artist. She played a popular story of Rabindranath Tagore named Dakghar, her role was of a boy. She used to take part in her school plays. Her career started when she was selected in a TV series named Hum paanchi ek dal ke as Kunti, these serials were broadcast on DD National at 9:30 am. She received a best child actress award for this show. After that she did a lot more serials as a child artist namely Mamaji, Khelghar, Haste Khelte. As a child artist she also did a Marathi serial named Najuka and a Kannada movie.\n\nAfter that Pradhan took a break, then again started with Hindi and Marathi theatre in her college years. At that time, Pranoti did a Gujarati play. During that time, Vipul Mehta offered her a commercial Gujarati play, Pritam Khele Aankh Micholi, which she performed 17 times. After that a role in the play Rang che Raja was offered to her. This play was performed 80 times in India and in America.\n\nIn 2006, Pradhan was cast in the serial Thodi Khushi Thode Gham, telecast on Sony TV. Pradhan did many Gujarati plays including Hatt Tari ne Hath mathi gai, Ek Murakh ne evi tev, Parnela ne Puchi juo, Chaanu ne Chapanu Kai Thai nai, Vaat Bahar Jai nai, Hu, Raju ne Ruksana and Tamne maline Anand Thayo.\n\nPranoti Pradhan did a TV series named Vicky and Vetaal on Disney Channel, and a Life OK TV series named Zindagi Kahe Smile Please. Pradhan played the role of Asha in Firangi Bahu. Then she did the role of Ansuya Mehta in the serial Naya Mahisagar on Big Magic in 2016. Pradhan hosted a reality TV show named Aji Sunte Ho on Zee TV in 2016–2017.\n\nTelevision\n\nReferences\n\nLiving people\nYear of birth missing (living people)\nIndian film actresses\nIndian television actresses\nActresses from Mumbai\nActresses in Marathi television\nActresses in Hindi television\nActresses in Gujarati cinema\n20th-century Indian actresses\n21st-century Indian actresses", "Mabel Elizabeth King (née Washington; December 25, 1932 – November 9, 1999) was an American film, stage, and television actress, and singer. She is known for her role as Mabel \"Mama\" Thomas on the ABC sitcom What's Happening!! from its premiere in 1976 until the end of its second season in 1978. King is also known for portraying Evillene the Witch, a role she originated in the stage musical The Wiz and reprised in Sidney Lumet's 1978 film adaptation. She recorded on the Rama Records and Amy Records labels.\n\nEarly life\nKing was born Mabel Elizabeth Washington in Charleston, South Carolina, the daughter of Rosalie Washington and Joseph Washington. She was raised in Harlem, New York where she eventually became a gospel and nightclub singer.\n\nCareer\n\nStage work\nShe did not start acting until her mid thirties, in 1966, when she played the role of Maria in the national touring play of Porgy and Bess. The following year she played the role of Ernestina in the Broadway musical/comedy Hello, Dolly!. Then in 1972, she appeared in the Broadway musical Don't Play Us Cheap. The following year, she appeared in the film version of the play. That same year, she played the Queen of Myrthia in the horror film Ganja & Hess. In January 1975, she played the role of Evilene, the Wicked Witch of the West in the all-African-American cast of the Broadway musical The Wiz. The role earned her a Drama Desk Award nomination for outstanding featured actress in a musical. Her performance in The Wiz brought her much attention and soon after she received roles in the films The Bingo Long Traveling All-Stars & Motor Kings, with Billy Dee Williams and James Earl Jones, and Scott Joplin, with Billy Dee Williams and Clifton Davis. In June 1980, King returned to stage work, starring in the Broadway musical It's So Nice to Be Civilized. However, the show did poorly and closed after eight performances.\n\nTelevision and film\nIn 1976, she was offered the role of Mabel Thomas on the sitcom What's Happening!!. Her character often used the catch phrase \"This is true\", which she said to her children when she tried to prove a point to them. King played the role from 1976 to 1978, but due to disagreements with the direction the creators wanted to take the series, she left What's Happening!! in 1978 after two seasons. That same year, she reprised the role of Evillene for the 1978 film version of The Wiz. It was the second time in her career that she appeared in a movie after being in the stage version, the first being Don't Play Us Cheap. The following year, she appeared in the film The Jerk as the mother to Steve Martin's character. King received mostly guest spots on television series including Fantasy Island, The Jeffersons, Amazing Stories and Tales from the Darkside. In between, she signed on with then Hollywood agent Ruben Malaret, who negotiated her reprised role of Mama Johnson in the made-for-TV movie The Jerk, Too (1984). Her last two movie roles were Scrooged (1988) starring Bill Murray and Dead Men Don't Die (1990) starring Elliott Gould.\n\nPersonal life\nKing was married to Melvin King from June 1967 until September 1989. They had one child, a son named Larry King. King was a staunch conservative Republican who strongly supported the presidency of Ronald Reagan.\n\nLater years and death\nKing was diabetic and in 1986 one of her toes was amputated as a result of the disease. In 1990, King suffered a stroke and entered the Motion Picture & Television Country House and Hospital in Woodland Hills, California. In 1991, King's diabetes resulted in the amputation of her left leg. In 1994, her right leg was also amputated. King would also lose one of her arms to diabetes. Her son, Larry, died in 1996. King died on November 9, 1999, at age 66.\n\nFilmography\n\nRecordings\n\"Alabama Rock'n'Roll\" (RAMA Records, 1956)\n\"Mabel King With The Royal Sita Chorus – Symbol Of Love / Second Hand Love\" (RAMA Records, 1956)\n\"Go Back Home Young Fella/Lefty\" (Amy Records, 1962)\n\"When We Get The Word / Love\" (Amy Records, 1962)\n\nReferences\n\nExternal links\n \n \n \n\n1932 births\n1999 deaths\nActresses from Charleston, South Carolina\nAmerican amputees\nAmerican musical theatre actresses\nDeaths from diabetes\n20th-century American actresses\nAmerican television actresses\nAfrican-American actresses\nAmerican film actresses\nAmerican stage actresses\nCalifornia Republicans\nSouth Carolina Republicans\nNightclub performers\n20th-century American women singers\n20th-century American singers\n20th-century African-American women singers" ]
[ "Jacqueline Fernandez", "2009-2013: Debut and breakthrough", "What is the debut all about?", "I don't know.", "what can you tell me about breakthrough?", "director Barry John, and successfully auditioned for Sujoy Ghosh's fantasy film Aladin (2009)", "what role did she play", "She played the love interest of Riteish Deshmukh's character," ]	C_7def29c0a1ed46c4b8f2617ae8005252_1	How did the film do with the public?	4	How did the breakthrough film do with the public?	Jacqueline Fernandez	In 2009, Fernandez traveled to India for a modeling assignment. She studied acting under the mentorship of theatre director Barry John, and successfully auditioned for Sujoy Ghosh's fantasy film Aladin (2009) her acting debut. She played the love interest of Riteish Deshmukh's character, a role based on the character of Princess Jasmine. and Rajeev Masand of CNN-IBN felt that she was: "easy on the eyes and appears confident but has precious little to do". Although the film was a critical and commercial failure, she won the IIFA Award for Star Debut of the Year - Female. In 2010, Fernandez appeared opposite Deshmukh in the science fiction romantic comedy Jaane Kahan Se Aayi Hai. She was cast as a girl from Venus, who lands on Earth in search of love. The film, along with Fernandez's performance, received poor reviews; Rediff.com's Sukanya Verma noted: "She gamely makes a fool of herself whilst aping the actions of movie stars, ranging from Sridevi's Naagin dance, Mithun Chakravarthy's Disco Dancer moves, to Big B's violent headshake in Hum. Her Tara could be a keeper if only Jaane Kahan Se Aayi Hai wasn't so intent on turning her into a love-struck Barbie." Critic Anupama Chopra also criticized Fernandez, calling her "a pin-prick on a balloon". Later that year, she made a special appearance in the song "Dhanno" for Sajid Khan's comedy Housefull. Mahesh Bhatt's thriller Murder 2 was Fernandez's first commercial success and marked a turning point in her career. She took on the role of Priya, a lonely model who is in a confused relationship with Arjun Bhagwat (played by Emraan Hashmi). Fernandez was praised for her performance, and for the boldness and sex appeal she displayed in the film. Gaurav Malini of The Times of India stated that she was "tastefully tempting" but noted that her romance with Hashmi was "literally half-baked". The following year, Fernandez appeared in the ensemble comedy Housefull 2 alongside Akshay Kumar, John Abraham, and Asin. It became one of the top grossing productions of India that year and earned Rs1.86 billion (US$28 million) worldwide. Fernandez received mostly negative reviews for her performance. While Gaurav Malini praised her for her looks, NDTV called her a "blathering bimbo" who "find[s] no pleasure in [her role]". Despite the negative reviews, Fernandez received a Best Supporting Actress nomination at the 14th IIFA Awards for her performance. Fernandez's first release of 2013 was Race 2, an ensemble action thriller (alongside Saif Ali Khan, John Abraham and Deepika Padukone), described as the "cinematic equivalent of a trashy novel" by critic Rajeev Masand. She played Omisha, a femme fatale, a role which required her learn fencing and some acrobatics. The film emerged as a commercial success, with the domestic gross of more than Rs1 billion (US$15 million). In a particularly scathing review, Saibal Chatterjee of NDTV wrote that both Fernandez and Padukone "strut around like wound-up automatons that are all decked-up but have nowhere to go." Also that year, Fernandez appeared in an item number, titled, "Jaadu Ki Jhappi", for Prabhu Deva's romantic comedy Ramaiya Vasta Vaiya. CANNOTANSWER	she won the IIFA Award for Star Debut of the Year - Female.	Jacqueline Fernandez (born 11 August 1985) is a Sri Lankan actress, model and the winner of the Miss Universe Sri Lanka pageant of 2006 who predominantly works in Hindi films. In 2009, she debuted with Aladin and since then has established a career in the Hindi film industry. Fernandez was born and raised in Bahrain to a multiracial Eurasian family of Sri Lankan, Canadian, and Malaysian descent. After graduating in mass communication from the University of Sydney and working as a television reporter in Sri Lanka, she joined the modeling industry. She was crowned Miss Universe Sri Lanka in 2006, and represented her country at Miss Universe 2006. While on a modelling assignment in India in 2009, Fernandez successfully auditioned for Sujoy Ghosh's fantasy drama Aladin, which marked her acting debut. Fernandez had her breakthrough role with the psychological thriller Murder 2 (2011), her first commercial success. This was followed by glamorous roles in the commercially successful ensemble-comedy Housefull 2 (2012) and the action thriller Race 2 (2013), which garnered her an IIFA Award for Best Supporting Actress nomination. Fernandez went on to star in the top-grossing action film Kick (2014) and the comedies Housefull 3 (2016) and Judwaa 2 (2017). Alongside her screen acting career, Fernandez has worked as a judge in the ninth season of the dance reality show Jhalak Dikhhla Jaa (2016–2017), is a popular celebrity endorser for various brands and products, has participated in stage shows, and is active in humanitarian work. Early life and modeling career Jacqueline Fernandez was born on 11 August 1985, in Manama, Bahrain, and was raised in a multi-ethnic family. Her father, Elroy Fernandez, is a Sri Lankan Burgher, and her mother, Kim, is of Malaysian and Canadian descent. Her maternal grandfather is Canadian. Her father, who was a musician in Sri Lanka, moved to Bahrain in the 1980s to escape civil unrest between the Sinhalese and Tamils and subsequently met her mother, who was an air hostess. She is the youngest of four children with one elder sister and two elder brothers. After receiving her early education in Bahrain at Sacred Heart School, she studied mass communication at the University of Sydney in Australia. After graduating she did a couple of television shows in Sri Lanka. She also attended the Berlitz school of languages, where she learned Spanish and improved her French and Arabic. According to Fernandez, she had aspired to become an actress at a young age and fantasized about becoming a Hollywood movie star. She received some training at the John School of Acting. Although, she was a television reporter, she accepted offers in the modeling industry, which came as a result of her pageant success. In 2006, she was crowned the winner of the Miss Universe Sri Lanka pageant and represented Sri Lanka at the world Miss Universe 2006 pageant held in Los Angeles. In a 2015 interview, Fernandez described the modeling industry as "a good training ground" and said: "It is a medium that is about shedding your inhibitions, knowing your body, confidence". In 2006, she appeared in a music video for the song "O Sathi" by music duo Bathiya and Santhush and young female singer Umaria Sinhawansa. Acting career 2009–2013: Debut and breakthrough In 2009, Fernandez traveled to India for a modeling assignment. She successfully auditioned for Sujoy Ghosh's fantasy film Aladin (2009) her acting debut. She played the love interest of Riteish Deshmukh's character, a role based on the character of Princess Jasmine. and Rajeev Masand of CNN-IBN felt that she was: "easy on the eyes and appears confident but has precious little to do". Although the film was a critical and commercial failure, she won the IIFA Award for Star Debut of the Year – Female. In 2010, Fernandez appeared opposite Deshmukh in the science fiction romantic comedy Jaane Kahan Se Aayi Hai. She was cast as a girl from Venus, who lands on Earth in search of love. The film, along with Fernandez's performance, received poor reviews; Rediff.com's Sukanya Verma noted: "She gamely makes a fool of herself whilst aping the actions of movie stars, ranging from Sridevi's Naagin dance, Mithun Chakravarthy's Disco Dancer moves, to Big B's violent headshake in Hum. Her Tara could be a keeper if only Jaane Kahan Se Aayi Hai wasn't so intent on turning her into a love-struck Barbie." Critic Anupama Chopra also criticized Fernandez, calling her "a pin-prick on a balloon". Later that year, she made a special appearance in the song "Dhanno" for Sajid Khan's comedy Housefull. Mahesh Bhatt's thriller Murder 2 was Fernandez's first commercial success and marked a turning point in her career. She took on the role of Priya, a lonely model who is in a confused relationship with Arjun Bhagwat (played by Emraan Hashmi). Fernandez was praised for her performance, and for the boldness and sex appeal she displayed in the film. Gaurav Malini of The Times of India stated that she was "tastefully tempting" but noted that her romance with Hashmi was "literally half-baked". The following year, Fernandez appeared in the ensemble comedy Housefull 2 alongside Akshay Kumar, John Abraham, and Asin. It became one of the top grossing productions of India that year and earned worldwide. Fernandez received mostly negative reviews for her performance. While Gaurav Malini praised her for her looks, NDTV called her a "blathering bimbo" who "find[s] no pleasure in [her role]". Despite the negative reviews, Fernandez received a Best Supporting Actress nomination at the 14th IIFA Awards for her performance. Fernandez's first release of 2013 was Race 2, an ensemble action thriller (alongside Saif Ali Khan, John Abraham and Deepika Padukone), described as the "cinematic equivalent of a trashy novel" by critic Rajeev Masand. She played Omisha, a femme fatale, a role which required her learn fencing and some acrobatics. The film emerged as a commercial success, with the worldwide gross of more than and a net domestically of over . In a particularly scathing review, Saibal Chatterjee of NDTV wrote that both Fernandez and Padukone "strut around like wound-up automatons that are all decked-up but have nowhere to go." Also that year, Fernandez appeared in an item number, titled, "Jaadu Ki Jhappi", for Prabhu Deva's romantic comedy Ramaiya Vasta Vaiya. 2014–present: Commercial success In 2014, Fernandez appeared in Sajid Nadiadwala's directorial debut—the action film Kick, a remake of a 2009 Telugu film of same name. She starred opposite Salman Khan, playing Shaina, a psychiatrist. She retained her real voice for the first time in Kick. While Sneha May Francis commented that she is: "incredibly dazzling, and moves like a magic", Raja Sen of Rediff.com was more critical of her dialogue delivery, calling it "unfortunate." The film received mixed reviews from critics, but with worldwide revenue of over , it became the fourth highest-grossing Bollywood film. The film established Fernandez as one of the most popular Bollywood actresses. In 2015, Fernandez featured in Vicky Singh's Roy, a romantic thriller, which critic Sarita A. Tanwar described as a "boring, exhausting and pretentious" film. Fernandez played dual roles, Ayesha Aamir, a filmmaker in a relationship with another filmmaker (played by Arjun Rampal) and Tia Desai, a girl in love with a thief (played by Ranbir Kapoor). While India TV called it "her best act till date", critic Rajeev Masand felt that she "appears miscast in a part that required greater range." Roy failed to meet its box-office expectations, and was a commercial failure. Later that year, she appeared in a guest appearance for the comedy-satire Bangistan. Karan Malhotra's action drama Brothers was Fernandez's next release. Co-starring alongside Akshay Kumar and Sidharth Malhotra, Fernandez played Jenny, a fearless mother struggling for her child, a role which she described as "challenging", "intense", and "difficult". The role marked a departure from the glamorous characters that she had a reputation for portraying. Dhriti Sharma of Zee News called her character "soft, timid and promising", and praised her for: "convincingly pull[ing] off a pleasing character of a street fighter's wife". Film critic Subhash K. Jha noted that she: "...in a limited role gives her finest emotive shot", while critic Raja Sen remarked: "[she] plays Kumar's long-sobbing wife who gets so deliriously happy on seeing a text message that it may well have contained news about a Kick sequel." Later that year, she starred in the horror thriller Definition of Fear, which marked her Hollywood debut. Fernandez began 2016 with a role in Housefull 3 which is the third installment to the Housefull Series's. The ensemble comedy film paired her with Akshay Kumar as her love interest. The critic for Firstpost was disappointed with the picture and criticized Fernandez for her inclination towards a film, where she is treated as nothing more than a "visual attraction". Nevertheless, the film was a commercial success, grossing worldwide. Her next film—the action adventure Dishoom—also grossed worldwide at the box-office. Later that year, she served as a judge to the ninth season of the dance show Jhalak Dikhhla Jaa. In 2017, Fernandez appeared in Chandran Rutnam's English-Sri Lankan crime-thriller According to Mathew. The film was her maiden cinematic appearance in Sri Lankan cinema as well. The film was released in Sri Lanka on 7 April 2017 in CEL Theatres with the title Anuragini. Her next film was the action-comedy A Gentleman, with Siddharth Malhotra from the director duo Raj Nidimoru and Krishna D.K.. The film was poorly received by critics and was a box-office flop. Later that year, she appeared in David Dhawan's comedy film Judwaa 2, opposite Varun Dhawan and Taapsee Pannu. It was a sequel to the 1997 comedy film Judwaa. The film proved to be a box-office success earning worldwide. In 2018, she starred alongside Salman Khan in Race 3, the third addition to the Race Franchise. Race 3 was a box office success earning more than worldwide despite mixed reviews. Fernandez is filming Tarun Mansukhani's next, Drive opposite Sushant Singh Rajput. She is set to star in the Netflix original film, Mrs. Serial Killer, directed by Shirish Kunder. She is also set to feature with Akshay Kumar for the fourth time in a gangster drama Bachchan Pandey. Personal life and other work Fernandez shares a close bond with her family, and admits that she misses being around them. She says: "I miss them so much everyday. You don't realise when you live away from home how difficult life can be [...] At the same time, staying away from them has taught me to be more responsible. It has taught me so many things about myself, about priorities and time management." In 2008, Fernandez started dating Bahraini prince Hassan bin Rashid Al Khalifa, whom she met at a mutual friend's party; they separated in 2011. While filming Housefull 2 in 2011, Fernandez began a romantic relationship with director Sajid Khan. The relationship attracted media coverage in India and there was speculation of an impending wedding. However, the relationship ended in May 2013. Fernandez has supported charitable organisations and a number of causes. For advocating the welfare of animals, Fernandez was named "Woman Of The Year" by PETA (India) in 2014. Fernandez has participated in several concert tours and televised award ceremonies. In 2013, she performed at the Temptations Reloaded in Auckland, Perth, and Sydney alongside Shah Rukh Khan, Rani Mukerji, and Madhuri Dixit. She also performed at the live talent show "Got Talent World Stage Live" with Khan, Priyanka Chopra and Varun Dhawan the following year. In July 2014, Fernandez opened a restaurant in Colombo, Kaema Sutra, in collaboration with chef Dharshan Munidasa, which specialises in contemporary Sri Lankan cuisine. In July 2018, Fernandez co-founded her activewear clothing line-up, Just F. In the media In 2008 and 2011, Fernandez featured in the UK magazine Eastern Eye "World's Sexiest Asian Women" list, ranking twelfth. She was ranked third on The Times of India listing of the "Most Desirable Woman" in 2013 and 2014, after being ranked eighth, seventh and fourteenth, respectively, in the preceding three years. In 2013, Rediff.com placed her on their list of "Bollywood's Best Dressed Actresses". The following year, she held the sixty second position in the Indian edition of the Forbes Celebrity 100, a list based on the income and popularity of India's celebrities. In early 2013, Fernandez became the ambassador for HTC One, which she endorses in India. She was the face of Indian Bridal Fashion Week—IBFW of 2013. Later that year, she became the spokesperson for Gareth Pugh's designed Forevermark Diamonds in Mumbai, and was at the inaugural opening of the Forever 21 store in Mumbai. That year, she also launched Gillette Shaving System with Arbaaz Khan and Aditya Roy Kapur. While analysing Fernandez's career, India TV noted: "Slowly and steadily Jacqueline Fernandez is climbing up the ladder of success [...] Jacqueline is comfortably grasping every aspect of the work, which an actress is required to do and is accordingly giving results." On the contrary, Charu Thakur of India Today criticized her acting skills, but remarked that: "[she has] managed to find her feet in Bollywood now by banking on glamorous roles". In 2017, Fernandez invested in Rakyan Beverages' Raw Pressery. The company claim that with this investment, Fernandez became India's first celebrity to part-finance a consumer products firm. Money laundering case Since December 2021, Fernandez is subjected to an investigation into a money laundering case involving $200 million. The investigation is being carried out by the Enforcement Directorate (ED) who questioned Fernandez for 10 hours in relation to the case on 9 December 2021. On 22 December, ED rejected Fernandez’s request to downgrade the Lookout Circular (LOC) which was issued against her in the case which blocks her to travel outside India. Fernandez was removed from the upcoming movie The Ghost which will star Nagarjuna. It is speculated that the eviction from the movie happened due to the money laundering case. Filmography Films All films are in Hindi unless otherwise noted. Television Music videos Awards and nominations Fernandez has won numerous awards mainly for her works in Housefull 2, its sequel Housefull 3, Murder 2, and Race 3. References Further reading External links 1985 births Living people People from Manama Actresses in Hindi cinema Miss Universe 2006 contestants Sri Lankan beauty pageant winners Indian film actresses Sri Lankan film actresses Bahraini film actresses Sri Lankan female models Burgher models Bahraini female models Bahraini people of Sri Lankan descent Bahraini people of Malaysian descent Sri Lankan people of Malaysian descent Sri Lankan people of Canadian descent Sri Lankan people of Dutch descent Sri Lankan Malays Sri Lankan Roman Catholics University of Sydney alumni	false	[ "Do As I Say is a 2008 documentary film based on the novel by Peter Schweizer titled Do as I Say (Not as I Do): Profiles in Liberal Hypocrisy. The book, an eight-week New York Times bestseller, was adapted for the screen by writer and director Nick Tucker. As the book's title indicates, several outspoken left-wing politicians and other public figures are profiled, and evidence is presented for the alleged hypocrisy seen in the disparity between what the individuals do and what they advocate publicly.\n\nFilm content\nThe intent of the film is to expose the hypocrisy of left-wing public figures like Hillary Clinton, Noam Chomsky, Michael Moore, Ted Kennedy and Al Gore, by catching them in the act of doing things that they oppose.\n\nAl Gore, for example, who \"insists\" that Americans drastically reduce their carbon footprint, is shown to use nearly twenty times the amount of electricity as an average American household.\n\nMichael Moore, staunch anti-capitalist is shown to have significant investments in the stock market, including stock in companies like Halliburton, Pfizer, Merck, and \"other companies he vilifies in his films\". When Tucker brings a cake to Moore's residence to discuss the matter with him in person, Moore calls the police instead.\n\nWhile \"declaring war\" on mortgage lending abuses, Hillary Clinton is accused to have engaged in predatory lending scheme with her husband President Bill Clinton known as the Whitewater controversy, in which more than half the people bought land from the Clintons in the Whitewater development project never received a property deed.\n\nScreenings and reception\nThe film was an official selection of several film festivals upon its release in 2008, including the Sacramento Film and Music Festival, the Newport Beach Film Festival, and the Southern California Business Film Festival at USC, and received largely positive reviews from critics and viewers, being described as a \"hard-hitting documentary\" that still retains its humor, making it \"fun and fast-paced\".\n\nIn an interview with journalist and film critic Christian Toto, Tucker how influential Michael Moore's films were in his own development as a filmmaker, and comments on how the film uses Michael Moore-like guerrilla filmmaking to Michael Moore's disadvantage. Tucker calls the Michael Moore segment \"an homage\" to the master.\n\nReferences\n\nExternal links\n\nAmerican documentary films\nAmerican films\n2008 documentary films\n2008 films", "Beetle Queen Conquers Tokyo is a 2009 documentary directed by American filmmaker Jessica Oreck. The documentary shows how insects are entwined with Japan from past to present. A Japanese narrator reads poetry, reads legends, and give information about the insects. The film has shots of insects interspersed with shots of daily life in Japan. It has to do with how the Japanese treat insects of all types.\n\nThe film screened within the 2009 South by Southwest Film Conference & Festival and the 2009 Maryland Film Festival. It was nominated for the Truer Than Fiction Award at the 25th Independent Spirit Awards.\n\nReferences\n\nExternal links\n\nAmerican documentary films\nAmerican films\nFilms about insects\nDocumentary films about nature\nDocumentary films about Japan\n2009 films\n2009 documentary films" ]
[ "Jacqueline Fernandez", "2009-2013: Debut and breakthrough", "What is the debut all about?", "I don't know.", "what can you tell me about breakthrough?", "director Barry John, and successfully auditioned for Sujoy Ghosh's fantasy film Aladin (2009)", "what role did she play", "She played the love interest of Riteish Deshmukh's character,", "How did the film do with the public?", "she won the IIFA Award for Star Debut of the Year - Female." ]	C_7def29c0a1ed46c4b8f2617ae8005252_1	did she play i any other films?	5	did Jacueline Fernandez play in any other films aside from the breakthrough?	Jacqueline Fernandez	In 2009, Fernandez traveled to India for a modeling assignment. She studied acting under the mentorship of theatre director Barry John, and successfully auditioned for Sujoy Ghosh's fantasy film Aladin (2009) her acting debut. She played the love interest of Riteish Deshmukh's character, a role based on the character of Princess Jasmine. and Rajeev Masand of CNN-IBN felt that she was: "easy on the eyes and appears confident but has precious little to do". Although the film was a critical and commercial failure, she won the IIFA Award for Star Debut of the Year - Female. In 2010, Fernandez appeared opposite Deshmukh in the science fiction romantic comedy Jaane Kahan Se Aayi Hai. She was cast as a girl from Venus, who lands on Earth in search of love. The film, along with Fernandez's performance, received poor reviews; Rediff.com's Sukanya Verma noted: "She gamely makes a fool of herself whilst aping the actions of movie stars, ranging from Sridevi's Naagin dance, Mithun Chakravarthy's Disco Dancer moves, to Big B's violent headshake in Hum. Her Tara could be a keeper if only Jaane Kahan Se Aayi Hai wasn't so intent on turning her into a love-struck Barbie." Critic Anupama Chopra also criticized Fernandez, calling her "a pin-prick on a balloon". Later that year, she made a special appearance in the song "Dhanno" for Sajid Khan's comedy Housefull. Mahesh Bhatt's thriller Murder 2 was Fernandez's first commercial success and marked a turning point in her career. She took on the role of Priya, a lonely model who is in a confused relationship with Arjun Bhagwat (played by Emraan Hashmi). Fernandez was praised for her performance, and for the boldness and sex appeal she displayed in the film. Gaurav Malini of The Times of India stated that she was "tastefully tempting" but noted that her romance with Hashmi was "literally half-baked". The following year, Fernandez appeared in the ensemble comedy Housefull 2 alongside Akshay Kumar, John Abraham, and Asin. It became one of the top grossing productions of India that year and earned Rs1.86 billion (US$28 million) worldwide. Fernandez received mostly negative reviews for her performance. While Gaurav Malini praised her for her looks, NDTV called her a "blathering bimbo" who "find[s] no pleasure in [her role]". Despite the negative reviews, Fernandez received a Best Supporting Actress nomination at the 14th IIFA Awards for her performance. Fernandez's first release of 2013 was Race 2, an ensemble action thriller (alongside Saif Ali Khan, John Abraham and Deepika Padukone), described as the "cinematic equivalent of a trashy novel" by critic Rajeev Masand. She played Omisha, a femme fatale, a role which required her learn fencing and some acrobatics. The film emerged as a commercial success, with the domestic gross of more than Rs1 billion (US$15 million). In a particularly scathing review, Saibal Chatterjee of NDTV wrote that both Fernandez and Padukone "strut around like wound-up automatons that are all decked-up but have nowhere to go." Also that year, Fernandez appeared in an item number, titled, "Jaadu Ki Jhappi", for Prabhu Deva's romantic comedy Ramaiya Vasta Vaiya. CANNOTANSWER	Sujoy Ghosh's fantasy film Aladin (2009) her acting debut.	Jacqueline Fernandez (born 11 August 1985) is a Sri Lankan actress, model and the winner of the Miss Universe Sri Lanka pageant of 2006 who predominantly works in Hindi films. In 2009, she debuted with Aladin and since then has established a career in the Hindi film industry. Fernandez was born and raised in Bahrain to a multiracial Eurasian family of Sri Lankan, Canadian, and Malaysian descent. After graduating in mass communication from the University of Sydney and working as a television reporter in Sri Lanka, she joined the modeling industry. She was crowned Miss Universe Sri Lanka in 2006, and represented her country at Miss Universe 2006. While on a modelling assignment in India in 2009, Fernandez successfully auditioned for Sujoy Ghosh's fantasy drama Aladin, which marked her acting debut. Fernandez had her breakthrough role with the psychological thriller Murder 2 (2011), her first commercial success. This was followed by glamorous roles in the commercially successful ensemble-comedy Housefull 2 (2012) and the action thriller Race 2 (2013), which garnered her an IIFA Award for Best Supporting Actress nomination. Fernandez went on to star in the top-grossing action film Kick (2014) and the comedies Housefull 3 (2016) and Judwaa 2 (2017). Alongside her screen acting career, Fernandez has worked as a judge in the ninth season of the dance reality show Jhalak Dikhhla Jaa (2016–2017), is a popular celebrity endorser for various brands and products, has participated in stage shows, and is active in humanitarian work. Early life and modeling career Jacqueline Fernandez was born on 11 August 1985, in Manama, Bahrain, and was raised in a multi-ethnic family. Her father, Elroy Fernandez, is a Sri Lankan Burgher, and her mother, Kim, is of Malaysian and Canadian descent. Her maternal grandfather is Canadian. Her father, who was a musician in Sri Lanka, moved to Bahrain in the 1980s to escape civil unrest between the Sinhalese and Tamils and subsequently met her mother, who was an air hostess. She is the youngest of four children with one elder sister and two elder brothers. After receiving her early education in Bahrain at Sacred Heart School, she studied mass communication at the University of Sydney in Australia. After graduating she did a couple of television shows in Sri Lanka. She also attended the Berlitz school of languages, where she learned Spanish and improved her French and Arabic. According to Fernandez, she had aspired to become an actress at a young age and fantasized about becoming a Hollywood movie star. She received some training at the John School of Acting. Although, she was a television reporter, she accepted offers in the modeling industry, which came as a result of her pageant success. In 2006, she was crowned the winner of the Miss Universe Sri Lanka pageant and represented Sri Lanka at the world Miss Universe 2006 pageant held in Los Angeles. In a 2015 interview, Fernandez described the modeling industry as "a good training ground" and said: "It is a medium that is about shedding your inhibitions, knowing your body, confidence". In 2006, she appeared in a music video for the song "O Sathi" by music duo Bathiya and Santhush and young female singer Umaria Sinhawansa. Acting career 2009–2013: Debut and breakthrough In 2009, Fernandez traveled to India for a modeling assignment. She successfully auditioned for Sujoy Ghosh's fantasy film Aladin (2009) her acting debut. She played the love interest of Riteish Deshmukh's character, a role based on the character of Princess Jasmine. and Rajeev Masand of CNN-IBN felt that she was: "easy on the eyes and appears confident but has precious little to do". Although the film was a critical and commercial failure, she won the IIFA Award for Star Debut of the Year – Female. In 2010, Fernandez appeared opposite Deshmukh in the science fiction romantic comedy Jaane Kahan Se Aayi Hai. She was cast as a girl from Venus, who lands on Earth in search of love. The film, along with Fernandez's performance, received poor reviews; Rediff.com's Sukanya Verma noted: "She gamely makes a fool of herself whilst aping the actions of movie stars, ranging from Sridevi's Naagin dance, Mithun Chakravarthy's Disco Dancer moves, to Big B's violent headshake in Hum. Her Tara could be a keeper if only Jaane Kahan Se Aayi Hai wasn't so intent on turning her into a love-struck Barbie." Critic Anupama Chopra also criticized Fernandez, calling her "a pin-prick on a balloon". Later that year, she made a special appearance in the song "Dhanno" for Sajid Khan's comedy Housefull. Mahesh Bhatt's thriller Murder 2 was Fernandez's first commercial success and marked a turning point in her career. She took on the role of Priya, a lonely model who is in a confused relationship with Arjun Bhagwat (played by Emraan Hashmi). Fernandez was praised for her performance, and for the boldness and sex appeal she displayed in the film. Gaurav Malini of The Times of India stated that she was "tastefully tempting" but noted that her romance with Hashmi was "literally half-baked". The following year, Fernandez appeared in the ensemble comedy Housefull 2 alongside Akshay Kumar, John Abraham, and Asin. It became one of the top grossing productions of India that year and earned worldwide. Fernandez received mostly negative reviews for her performance. While Gaurav Malini praised her for her looks, NDTV called her a "blathering bimbo" who "find[s] no pleasure in [her role]". Despite the negative reviews, Fernandez received a Best Supporting Actress nomination at the 14th IIFA Awards for her performance. Fernandez's first release of 2013 was Race 2, an ensemble action thriller (alongside Saif Ali Khan, John Abraham and Deepika Padukone), described as the "cinematic equivalent of a trashy novel" by critic Rajeev Masand. She played Omisha, a femme fatale, a role which required her learn fencing and some acrobatics. The film emerged as a commercial success, with the worldwide gross of more than and a net domestically of over . In a particularly scathing review, Saibal Chatterjee of NDTV wrote that both Fernandez and Padukone "strut around like wound-up automatons that are all decked-up but have nowhere to go." Also that year, Fernandez appeared in an item number, titled, "Jaadu Ki Jhappi", for Prabhu Deva's romantic comedy Ramaiya Vasta Vaiya. 2014–present: Commercial success In 2014, Fernandez appeared in Sajid Nadiadwala's directorial debut—the action film Kick, a remake of a 2009 Telugu film of same name. She starred opposite Salman Khan, playing Shaina, a psychiatrist. She retained her real voice for the first time in Kick. While Sneha May Francis commented that she is: "incredibly dazzling, and moves like a magic", Raja Sen of Rediff.com was more critical of her dialogue delivery, calling it "unfortunate." The film received mixed reviews from critics, but with worldwide revenue of over , it became the fourth highest-grossing Bollywood film. The film established Fernandez as one of the most popular Bollywood actresses. In 2015, Fernandez featured in Vicky Singh's Roy, a romantic thriller, which critic Sarita A. Tanwar described as a "boring, exhausting and pretentious" film. Fernandez played dual roles, Ayesha Aamir, a filmmaker in a relationship with another filmmaker (played by Arjun Rampal) and Tia Desai, a girl in love with a thief (played by Ranbir Kapoor). While India TV called it "her best act till date", critic Rajeev Masand felt that she "appears miscast in a part that required greater range." Roy failed to meet its box-office expectations, and was a commercial failure. Later that year, she appeared in a guest appearance for the comedy-satire Bangistan. Karan Malhotra's action drama Brothers was Fernandez's next release. Co-starring alongside Akshay Kumar and Sidharth Malhotra, Fernandez played Jenny, a fearless mother struggling for her child, a role which she described as "challenging", "intense", and "difficult". The role marked a departure from the glamorous characters that she had a reputation for portraying. Dhriti Sharma of Zee News called her character "soft, timid and promising", and praised her for: "convincingly pull[ing] off a pleasing character of a street fighter's wife". Film critic Subhash K. Jha noted that she: "...in a limited role gives her finest emotive shot", while critic Raja Sen remarked: "[she] plays Kumar's long-sobbing wife who gets so deliriously happy on seeing a text message that it may well have contained news about a Kick sequel." Later that year, she starred in the horror thriller Definition of Fear, which marked her Hollywood debut. Fernandez began 2016 with a role in Housefull 3 which is the third installment to the Housefull Series's. The ensemble comedy film paired her with Akshay Kumar as her love interest. The critic for Firstpost was disappointed with the picture and criticized Fernandez for her inclination towards a film, where she is treated as nothing more than a "visual attraction". Nevertheless, the film was a commercial success, grossing worldwide. Her next film—the action adventure Dishoom—also grossed worldwide at the box-office. Later that year, she served as a judge to the ninth season of the dance show Jhalak Dikhhla Jaa. In 2017, Fernandez appeared in Chandran Rutnam's English-Sri Lankan crime-thriller According to Mathew. The film was her maiden cinematic appearance in Sri Lankan cinema as well. The film was released in Sri Lanka on 7 April 2017 in CEL Theatres with the title Anuragini. Her next film was the action-comedy A Gentleman, with Siddharth Malhotra from the director duo Raj Nidimoru and Krishna D.K.. The film was poorly received by critics and was a box-office flop. Later that year, she appeared in David Dhawan's comedy film Judwaa 2, opposite Varun Dhawan and Taapsee Pannu. It was a sequel to the 1997 comedy film Judwaa. The film proved to be a box-office success earning worldwide. In 2018, she starred alongside Salman Khan in Race 3, the third addition to the Race Franchise. Race 3 was a box office success earning more than worldwide despite mixed reviews. Fernandez is filming Tarun Mansukhani's next, Drive opposite Sushant Singh Rajput. She is set to star in the Netflix original film, Mrs. Serial Killer, directed by Shirish Kunder. She is also set to feature with Akshay Kumar for the fourth time in a gangster drama Bachchan Pandey. Personal life and other work Fernandez shares a close bond with her family, and admits that she misses being around them. She says: "I miss them so much everyday. You don't realise when you live away from home how difficult life can be [...] At the same time, staying away from them has taught me to be more responsible. It has taught me so many things about myself, about priorities and time management." In 2008, Fernandez started dating Bahraini prince Hassan bin Rashid Al Khalifa, whom she met at a mutual friend's party; they separated in 2011. While filming Housefull 2 in 2011, Fernandez began a romantic relationship with director Sajid Khan. The relationship attracted media coverage in India and there was speculation of an impending wedding. However, the relationship ended in May 2013. Fernandez has supported charitable organisations and a number of causes. For advocating the welfare of animals, Fernandez was named "Woman Of The Year" by PETA (India) in 2014. Fernandez has participated in several concert tours and televised award ceremonies. In 2013, she performed at the Temptations Reloaded in Auckland, Perth, and Sydney alongside Shah Rukh Khan, Rani Mukerji, and Madhuri Dixit. She also performed at the live talent show "Got Talent World Stage Live" with Khan, Priyanka Chopra and Varun Dhawan the following year. In July 2014, Fernandez opened a restaurant in Colombo, Kaema Sutra, in collaboration with chef Dharshan Munidasa, which specialises in contemporary Sri Lankan cuisine. In July 2018, Fernandez co-founded her activewear clothing line-up, Just F. In the media In 2008 and 2011, Fernandez featured in the UK magazine Eastern Eye "World's Sexiest Asian Women" list, ranking twelfth. She was ranked third on The Times of India listing of the "Most Desirable Woman" in 2013 and 2014, after being ranked eighth, seventh and fourteenth, respectively, in the preceding three years. In 2013, Rediff.com placed her on their list of "Bollywood's Best Dressed Actresses". The following year, she held the sixty second position in the Indian edition of the Forbes Celebrity 100, a list based on the income and popularity of India's celebrities. In early 2013, Fernandez became the ambassador for HTC One, which she endorses in India. She was the face of Indian Bridal Fashion Week—IBFW of 2013. Later that year, she became the spokesperson for Gareth Pugh's designed Forevermark Diamonds in Mumbai, and was at the inaugural opening of the Forever 21 store in Mumbai. That year, she also launched Gillette Shaving System with Arbaaz Khan and Aditya Roy Kapur. While analysing Fernandez's career, India TV noted: "Slowly and steadily Jacqueline Fernandez is climbing up the ladder of success [...] Jacqueline is comfortably grasping every aspect of the work, which an actress is required to do and is accordingly giving results." On the contrary, Charu Thakur of India Today criticized her acting skills, but remarked that: "[she has] managed to find her feet in Bollywood now by banking on glamorous roles". In 2017, Fernandez invested in Rakyan Beverages' Raw Pressery. The company claim that with this investment, Fernandez became India's first celebrity to part-finance a consumer products firm. Money laundering case Since December 2021, Fernandez is subjected to an investigation into a money laundering case involving $200 million. The investigation is being carried out by the Enforcement Directorate (ED) who questioned Fernandez for 10 hours in relation to the case on 9 December 2021. On 22 December, ED rejected Fernandez’s request to downgrade the Lookout Circular (LOC) which was issued against her in the case which blocks her to travel outside India. Fernandez was removed from the upcoming movie The Ghost which will star Nagarjuna. It is speculated that the eviction from the movie happened due to the money laundering case. Filmography Films All films are in Hindi unless otherwise noted. Television Music videos Awards and nominations Fernandez has won numerous awards mainly for her works in Housefull 2, its sequel Housefull 3, Murder 2, and Race 3. References Further reading External links 1985 births Living people People from Manama Actresses in Hindi cinema Miss Universe 2006 contestants Sri Lankan beauty pageant winners Indian film actresses Sri Lankan film actresses Bahraini film actresses Sri Lankan female models Burgher models Bahraini female models Bahraini people of Sri Lankan descent Bahraini people of Malaysian descent Sri Lankan people of Malaysian descent Sri Lankan people of Canadian descent Sri Lankan people of Dutch descent Sri Lankan Malays Sri Lankan Roman Catholics University of Sydney alumni	true	[ "Fair Play is a 2014 Czech drama film directed by Andrea Sedláčková. It was selected as the Czech entry for the Best Foreign Language Film at the 87th Academy Awards, but was not nominated.\n\nPlot\nSet in Czechoslovakia in 1983, the film tells the story of Anna, a sprinter who is hoping to compete in the Olympics, and is selected into the national team. She is placed in a special state-run medical treatment where she is given anabolic steroids (\"Stromba\") by her trainer. Her performance increases but later discovers the negative effect of taking the steroids, causing her to stop using them.\n\nAnna's father escaped Czechoslovakia for the West which takes a toll of her mother's career, as she is unable to find any decent job. Additionally, she is under frequent surveillance of the secret service. She sees her daughter's participation in the Olympic Games as the opportunity for Anna to emigrate, so she secretly continues to give her the injections of steroids. She also has contacts with her former love Marek, a political dissident for whom she types the essays which are considered hostile to the government, causing her more trouble with the secret service agents. Meanwhile, Anna falls in love and is more and more reluctant to emigrate.\n\nCast\n Vlastina Svátková as Nurse\n Berenika Kohoutová as Anna (voice)\n Anna Geislerová as Irena\n Roman Luknár as Bohdan (trainer)\n Judit Bárdos as Anna\n Eva Josefíková as Marina\n Michaela Pavlátová as Mother of Tomás\n\nProduction\nThe film was shot in Prague, Bratislava, and Vysoké Tatry and in Germany. The scenes in Karl-Marx-Stadt (now Chemnitz) were filmed in today's Chemnitz (Karl Marx Monument) and in Dresden (the Heinz-Steyer-Stadion was used as the film set for the stadium in Karl-Marx-Stadt). Judit Bárdos and Eva Josefíková went through athletic training for six months prior to filming, in order to be able to perform the running scenes realistically. Nonetheless, doubles replaced the main actors in certain scenes.\n\nThe title song was recorded by Miro Žbirka in the London Abbey Road Studios.\n\nAccolades\nFair Play was submitted by the Czech Film and Television Academy as an Oscar candidate, but did not get nominated.\n\nThe film received four nominations for the Czech Film Critics Award, but won none. It also received the largest number of nominations (15) for the 2014 Czech Lion Awards, but did not win any; however, it did receive the Film Fans Award and the non-statutory award for Best Film Poster.\n\nSee also\n List of submissions to the 87th Academy Awards for Best Foreign Language Film\n List of Czech submissions for the Academy Award for Best Foreign Language Film\n\nReferences\n\nExternal links\n \n\n2014 films\n2014 drama films\n2010s sports drama films\nCzech films\nCzech sports drama films\nSlovak films\nCroatian-language films\nFilms about the 1984 Summer Olympics\nFilms about Olympic track and field\nSlovak drama films", "Rita Irene Koys (July 1, 1929 – May 11, 2009), better known as Shanthi Lekha, was a Sri Lankan Film actress. She played the role of mother in more films than any other actress in Sinhala cinema.\n\nPersonal life\nLekha was born in Kalutara on July 1, 1929. She received her stage name from her first husband Shanthi Viraj. They had first met while she was attending Holy Family Convent in Kalutara.\n\nShe died in France May 11, 2009.\n\nCareer\nShe starred in composer D. T. Fernando's play Shantha Prabha (1942). She subsequently made a mark as a dancer in plays starring Dommie Jayawardena and Nona Subeda.\n\nWith Jayawardena, Lekha had her first film role in Sujatha (1953). Wearing a bathing suit, she danced along with Jayawardena to the song \"Pem Rella Nagi.\" The role came with a payment of Rs. 500 and a contract prohibiting her from doing films for other production companies. The producer K. Gunaratnam would subsequently offer her roles in Warada Kageda, Radala Piliruwa and Dosthara.\n\nLekha first played a mother in Sandesaya (1960). She would play this role in over 350 films.\n\nLekha won Best Supporting Actress Awards at the Sarasaviya Film Festival for Gamini Fonseka's Parasathu Mal (1968) and Mudalinayaka Somaratne's Binaramali (1969). She also won Presidential Awards for Mayurige Kathawa and Ridi Nimnaya.\n\nFilmography\n\nReferences\n\nExternal links\n\nSri Lankan film actresses\n1929 births\n2009 deaths\n20th-century Sri Lankan actresses" ]
[ "Jacqueline Fernandez", "2009-2013: Debut and breakthrough", "What is the debut all about?", "I don't know.", "what can you tell me about breakthrough?", "director Barry John, and successfully auditioned for Sujoy Ghosh's fantasy film Aladin (2009)", "what role did she play", "She played the love interest of Riteish Deshmukh's character,", "How did the film do with the public?", "she won the IIFA Award for Star Debut of the Year - Female.", "did she play i any other films?", "Sujoy Ghosh's fantasy film Aladin (2009) her acting debut." ]	C_7def29c0a1ed46c4b8f2617ae8005252_1	what other films did she play in?	6	what other films did Jacueline Fernandez play in besides the breakthrough?	Jacqueline Fernandez	In 2009, Fernandez traveled to India for a modeling assignment. She studied acting under the mentorship of theatre director Barry John, and successfully auditioned for Sujoy Ghosh's fantasy film Aladin (2009) her acting debut. She played the love interest of Riteish Deshmukh's character, a role based on the character of Princess Jasmine. and Rajeev Masand of CNN-IBN felt that she was: "easy on the eyes and appears confident but has precious little to do". Although the film was a critical and commercial failure, she won the IIFA Award for Star Debut of the Year - Female. In 2010, Fernandez appeared opposite Deshmukh in the science fiction romantic comedy Jaane Kahan Se Aayi Hai. She was cast as a girl from Venus, who lands on Earth in search of love. The film, along with Fernandez's performance, received poor reviews; Rediff.com's Sukanya Verma noted: "She gamely makes a fool of herself whilst aping the actions of movie stars, ranging from Sridevi's Naagin dance, Mithun Chakravarthy's Disco Dancer moves, to Big B's violent headshake in Hum. Her Tara could be a keeper if only Jaane Kahan Se Aayi Hai wasn't so intent on turning her into a love-struck Barbie." Critic Anupama Chopra also criticized Fernandez, calling her "a pin-prick on a balloon". Later that year, she made a special appearance in the song "Dhanno" for Sajid Khan's comedy Housefull. Mahesh Bhatt's thriller Murder 2 was Fernandez's first commercial success and marked a turning point in her career. She took on the role of Priya, a lonely model who is in a confused relationship with Arjun Bhagwat (played by Emraan Hashmi). Fernandez was praised for her performance, and for the boldness and sex appeal she displayed in the film. Gaurav Malini of The Times of India stated that she was "tastefully tempting" but noted that her romance with Hashmi was "literally half-baked". The following year, Fernandez appeared in the ensemble comedy Housefull 2 alongside Akshay Kumar, John Abraham, and Asin. It became one of the top grossing productions of India that year and earned Rs1.86 billion (US$28 million) worldwide. Fernandez received mostly negative reviews for her performance. While Gaurav Malini praised her for her looks, NDTV called her a "blathering bimbo" who "find[s] no pleasure in [her role]". Despite the negative reviews, Fernandez received a Best Supporting Actress nomination at the 14th IIFA Awards for her performance. Fernandez's first release of 2013 was Race 2, an ensemble action thriller (alongside Saif Ali Khan, John Abraham and Deepika Padukone), described as the "cinematic equivalent of a trashy novel" by critic Rajeev Masand. She played Omisha, a femme fatale, a role which required her learn fencing and some acrobatics. The film emerged as a commercial success, with the domestic gross of more than Rs1 billion (US$15 million). In a particularly scathing review, Saibal Chatterjee of NDTV wrote that both Fernandez and Padukone "strut around like wound-up automatons that are all decked-up but have nowhere to go." Also that year, Fernandez appeared in an item number, titled, "Jaadu Ki Jhappi", for Prabhu Deva's romantic comedy Ramaiya Vasta Vaiya. CANNOTANSWER	Mahesh Bhatt's thriller Murder 2 was Fernandez's first commercial success and marked a turning point in her career.	Jacqueline Fernandez (born 11 August 1985) is a Sri Lankan actress, model and the winner of the Miss Universe Sri Lanka pageant of 2006 who predominantly works in Hindi films. In 2009, she debuted with Aladin and since then has established a career in the Hindi film industry. Fernandez was born and raised in Bahrain to a multiracial Eurasian family of Sri Lankan, Canadian, and Malaysian descent. After graduating in mass communication from the University of Sydney and working as a television reporter in Sri Lanka, she joined the modeling industry. She was crowned Miss Universe Sri Lanka in 2006, and represented her country at Miss Universe 2006. While on a modelling assignment in India in 2009, Fernandez successfully auditioned for Sujoy Ghosh's fantasy drama Aladin, which marked her acting debut. Fernandez had her breakthrough role with the psychological thriller Murder 2 (2011), her first commercial success. This was followed by glamorous roles in the commercially successful ensemble-comedy Housefull 2 (2012) and the action thriller Race 2 (2013), which garnered her an IIFA Award for Best Supporting Actress nomination. Fernandez went on to star in the top-grossing action film Kick (2014) and the comedies Housefull 3 (2016) and Judwaa 2 (2017). Alongside her screen acting career, Fernandez has worked as a judge in the ninth season of the dance reality show Jhalak Dikhhla Jaa (2016–2017), is a popular celebrity endorser for various brands and products, has participated in stage shows, and is active in humanitarian work. Early life and modeling career Jacqueline Fernandez was born on 11 August 1985, in Manama, Bahrain, and was raised in a multi-ethnic family. Her father, Elroy Fernandez, is a Sri Lankan Burgher, and her mother, Kim, is of Malaysian and Canadian descent. Her maternal grandfather is Canadian. Her father, who was a musician in Sri Lanka, moved to Bahrain in the 1980s to escape civil unrest between the Sinhalese and Tamils and subsequently met her mother, who was an air hostess. She is the youngest of four children with one elder sister and two elder brothers. After receiving her early education in Bahrain at Sacred Heart School, she studied mass communication at the University of Sydney in Australia. After graduating she did a couple of television shows in Sri Lanka. She also attended the Berlitz school of languages, where she learned Spanish and improved her French and Arabic. According to Fernandez, she had aspired to become an actress at a young age and fantasized about becoming a Hollywood movie star. She received some training at the John School of Acting. Although, she was a television reporter, she accepted offers in the modeling industry, which came as a result of her pageant success. In 2006, she was crowned the winner of the Miss Universe Sri Lanka pageant and represented Sri Lanka at the world Miss Universe 2006 pageant held in Los Angeles. In a 2015 interview, Fernandez described the modeling industry as "a good training ground" and said: "It is a medium that is about shedding your inhibitions, knowing your body, confidence". In 2006, she appeared in a music video for the song "O Sathi" by music duo Bathiya and Santhush and young female singer Umaria Sinhawansa. Acting career 2009–2013: Debut and breakthrough In 2009, Fernandez traveled to India for a modeling assignment. She successfully auditioned for Sujoy Ghosh's fantasy film Aladin (2009) her acting debut. She played the love interest of Riteish Deshmukh's character, a role based on the character of Princess Jasmine. and Rajeev Masand of CNN-IBN felt that she was: "easy on the eyes and appears confident but has precious little to do". Although the film was a critical and commercial failure, she won the IIFA Award for Star Debut of the Year – Female. In 2010, Fernandez appeared opposite Deshmukh in the science fiction romantic comedy Jaane Kahan Se Aayi Hai. She was cast as a girl from Venus, who lands on Earth in search of love. The film, along with Fernandez's performance, received poor reviews; Rediff.com's Sukanya Verma noted: "She gamely makes a fool of herself whilst aping the actions of movie stars, ranging from Sridevi's Naagin dance, Mithun Chakravarthy's Disco Dancer moves, to Big B's violent headshake in Hum. Her Tara could be a keeper if only Jaane Kahan Se Aayi Hai wasn't so intent on turning her into a love-struck Barbie." Critic Anupama Chopra also criticized Fernandez, calling her "a pin-prick on a balloon". Later that year, she made a special appearance in the song "Dhanno" for Sajid Khan's comedy Housefull. Mahesh Bhatt's thriller Murder 2 was Fernandez's first commercial success and marked a turning point in her career. She took on the role of Priya, a lonely model who is in a confused relationship with Arjun Bhagwat (played by Emraan Hashmi). Fernandez was praised for her performance, and for the boldness and sex appeal she displayed in the film. Gaurav Malini of The Times of India stated that she was "tastefully tempting" but noted that her romance with Hashmi was "literally half-baked". The following year, Fernandez appeared in the ensemble comedy Housefull 2 alongside Akshay Kumar, John Abraham, and Asin. It became one of the top grossing productions of India that year and earned worldwide. Fernandez received mostly negative reviews for her performance. While Gaurav Malini praised her for her looks, NDTV called her a "blathering bimbo" who "find[s] no pleasure in [her role]". Despite the negative reviews, Fernandez received a Best Supporting Actress nomination at the 14th IIFA Awards for her performance. Fernandez's first release of 2013 was Race 2, an ensemble action thriller (alongside Saif Ali Khan, John Abraham and Deepika Padukone), described as the "cinematic equivalent of a trashy novel" by critic Rajeev Masand. She played Omisha, a femme fatale, a role which required her learn fencing and some acrobatics. The film emerged as a commercial success, with the worldwide gross of more than and a net domestically of over . In a particularly scathing review, Saibal Chatterjee of NDTV wrote that both Fernandez and Padukone "strut around like wound-up automatons that are all decked-up but have nowhere to go." Also that year, Fernandez appeared in an item number, titled, "Jaadu Ki Jhappi", for Prabhu Deva's romantic comedy Ramaiya Vasta Vaiya. 2014–present: Commercial success In 2014, Fernandez appeared in Sajid Nadiadwala's directorial debut—the action film Kick, a remake of a 2009 Telugu film of same name. She starred opposite Salman Khan, playing Shaina, a psychiatrist. She retained her real voice for the first time in Kick. While Sneha May Francis commented that she is: "incredibly dazzling, and moves like a magic", Raja Sen of Rediff.com was more critical of her dialogue delivery, calling it "unfortunate." The film received mixed reviews from critics, but with worldwide revenue of over , it became the fourth highest-grossing Bollywood film. The film established Fernandez as one of the most popular Bollywood actresses. In 2015, Fernandez featured in Vicky Singh's Roy, a romantic thriller, which critic Sarita A. Tanwar described as a "boring, exhausting and pretentious" film. Fernandez played dual roles, Ayesha Aamir, a filmmaker in a relationship with another filmmaker (played by Arjun Rampal) and Tia Desai, a girl in love with a thief (played by Ranbir Kapoor). While India TV called it "her best act till date", critic Rajeev Masand felt that she "appears miscast in a part that required greater range." Roy failed to meet its box-office expectations, and was a commercial failure. Later that year, she appeared in a guest appearance for the comedy-satire Bangistan. Karan Malhotra's action drama Brothers was Fernandez's next release. Co-starring alongside Akshay Kumar and Sidharth Malhotra, Fernandez played Jenny, a fearless mother struggling for her child, a role which she described as "challenging", "intense", and "difficult". The role marked a departure from the glamorous characters that she had a reputation for portraying. Dhriti Sharma of Zee News called her character "soft, timid and promising", and praised her for: "convincingly pull[ing] off a pleasing character of a street fighter's wife". Film critic Subhash K. Jha noted that she: "...in a limited role gives her finest emotive shot", while critic Raja Sen remarked: "[she] plays Kumar's long-sobbing wife who gets so deliriously happy on seeing a text message that it may well have contained news about a Kick sequel." Later that year, she starred in the horror thriller Definition of Fear, which marked her Hollywood debut. Fernandez began 2016 with a role in Housefull 3 which is the third installment to the Housefull Series's. The ensemble comedy film paired her with Akshay Kumar as her love interest. The critic for Firstpost was disappointed with the picture and criticized Fernandez for her inclination towards a film, where she is treated as nothing more than a "visual attraction". Nevertheless, the film was a commercial success, grossing worldwide. Her next film—the action adventure Dishoom—also grossed worldwide at the box-office. Later that year, she served as a judge to the ninth season of the dance show Jhalak Dikhhla Jaa. In 2017, Fernandez appeared in Chandran Rutnam's English-Sri Lankan crime-thriller According to Mathew. The film was her maiden cinematic appearance in Sri Lankan cinema as well. The film was released in Sri Lanka on 7 April 2017 in CEL Theatres with the title Anuragini. Her next film was the action-comedy A Gentleman, with Siddharth Malhotra from the director duo Raj Nidimoru and Krishna D.K.. The film was poorly received by critics and was a box-office flop. Later that year, she appeared in David Dhawan's comedy film Judwaa 2, opposite Varun Dhawan and Taapsee Pannu. It was a sequel to the 1997 comedy film Judwaa. The film proved to be a box-office success earning worldwide. In 2018, she starred alongside Salman Khan in Race 3, the third addition to the Race Franchise. Race 3 was a box office success earning more than worldwide despite mixed reviews. Fernandez is filming Tarun Mansukhani's next, Drive opposite Sushant Singh Rajput. She is set to star in the Netflix original film, Mrs. Serial Killer, directed by Shirish Kunder. She is also set to feature with Akshay Kumar for the fourth time in a gangster drama Bachchan Pandey. Personal life and other work Fernandez shares a close bond with her family, and admits that she misses being around them. She says: "I miss them so much everyday. You don't realise when you live away from home how difficult life can be [...] At the same time, staying away from them has taught me to be more responsible. It has taught me so many things about myself, about priorities and time management." In 2008, Fernandez started dating Bahraini prince Hassan bin Rashid Al Khalifa, whom she met at a mutual friend's party; they separated in 2011. While filming Housefull 2 in 2011, Fernandez began a romantic relationship with director Sajid Khan. The relationship attracted media coverage in India and there was speculation of an impending wedding. However, the relationship ended in May 2013. Fernandez has supported charitable organisations and a number of causes. For advocating the welfare of animals, Fernandez was named "Woman Of The Year" by PETA (India) in 2014. Fernandez has participated in several concert tours and televised award ceremonies. In 2013, she performed at the Temptations Reloaded in Auckland, Perth, and Sydney alongside Shah Rukh Khan, Rani Mukerji, and Madhuri Dixit. She also performed at the live talent show "Got Talent World Stage Live" with Khan, Priyanka Chopra and Varun Dhawan the following year. In July 2014, Fernandez opened a restaurant in Colombo, Kaema Sutra, in collaboration with chef Dharshan Munidasa, which specialises in contemporary Sri Lankan cuisine. In July 2018, Fernandez co-founded her activewear clothing line-up, Just F. In the media In 2008 and 2011, Fernandez featured in the UK magazine Eastern Eye "World's Sexiest Asian Women" list, ranking twelfth. She was ranked third on The Times of India listing of the "Most Desirable Woman" in 2013 and 2014, after being ranked eighth, seventh and fourteenth, respectively, in the preceding three years. In 2013, Rediff.com placed her on their list of "Bollywood's Best Dressed Actresses". The following year, she held the sixty second position in the Indian edition of the Forbes Celebrity 100, a list based on the income and popularity of India's celebrities. In early 2013, Fernandez became the ambassador for HTC One, which she endorses in India. She was the face of Indian Bridal Fashion Week—IBFW of 2013. Later that year, she became the spokesperson for Gareth Pugh's designed Forevermark Diamonds in Mumbai, and was at the inaugural opening of the Forever 21 store in Mumbai. That year, she also launched Gillette Shaving System with Arbaaz Khan and Aditya Roy Kapur. While analysing Fernandez's career, India TV noted: "Slowly and steadily Jacqueline Fernandez is climbing up the ladder of success [...] Jacqueline is comfortably grasping every aspect of the work, which an actress is required to do and is accordingly giving results." On the contrary, Charu Thakur of India Today criticized her acting skills, but remarked that: "[she has] managed to find her feet in Bollywood now by banking on glamorous roles". In 2017, Fernandez invested in Rakyan Beverages' Raw Pressery. The company claim that with this investment, Fernandez became India's first celebrity to part-finance a consumer products firm. Money laundering case Since December 2021, Fernandez is subjected to an investigation into a money laundering case involving $200 million. The investigation is being carried out by the Enforcement Directorate (ED) who questioned Fernandez for 10 hours in relation to the case on 9 December 2021. On 22 December, ED rejected Fernandez’s request to downgrade the Lookout Circular (LOC) which was issued against her in the case which blocks her to travel outside India. Fernandez was removed from the upcoming movie The Ghost which will star Nagarjuna. It is speculated that the eviction from the movie happened due to the money laundering case. Filmography Films All films are in Hindi unless otherwise noted. Television Music videos Awards and nominations Fernandez has won numerous awards mainly for her works in Housefull 2, its sequel Housefull 3, Murder 2, and Race 3. References Further reading External links 1985 births Living people People from Manama Actresses in Hindi cinema Miss Universe 2006 contestants Sri Lankan beauty pageant winners Indian film actresses Sri Lankan film actresses Bahraini film actresses Sri Lankan female models Burgher models Bahraini female models Bahraini people of Sri Lankan descent Bahraini people of Malaysian descent Sri Lankan people of Malaysian descent Sri Lankan people of Canadian descent Sri Lankan people of Dutch descent Sri Lankan Malays Sri Lankan Roman Catholics University of Sydney alumni	true	[ "The Big Cube is a 1969 American psychological-thriller film directed by Tito Davison and starring Lana Turner, Karin Mossberg, George Chakiris, Daniel O'Herlihy and Richard Egan. Its plot follows an aging former actress who is dosed with LSD by her malicious stepdaughter, seeking to drive her mad and obtain her fortune. It is notable for its aggressive portrayal of LSD use and the 1960s youth counterculture as vicious evils.\n\nPlot\nAdriana Roman, a successful stage actress, retires to marry Charles Winthrop, a wealthy tycoon. Winthrop's daughter, Lisa, is instantly distrustful of Adriana solely because she is \"the other woman\" taking her father's affection.\n\nCharles is killed in a boating accident, which also leads to Adriana suffering from a concussion. Lisa's new boyfriend Johnny Allen, a womanizing, fortune-hunting medical student, capitalizes on that distrust to persuade Lisa that her father's death was murder, a charge exacerbated by Adriana's threat—as per her late husband's instructions as laid out in his will, for which Adriana is executor—to disinherit Lisa if she marries Johnny.\n\nJohnny conspires with Lisa to lace Adriana's prescribed sedatives with enough LSD to drive her insane. During one of the episodes, Adriana hallucinates that Johnny and Lisa are attempting to throw her over a cliffside after taking her on a drive into the country. Later, while Adriana has further LSD-induced hallucinations at home, Johnny plays pre-recorded subliminal messages to further drive her crazy, one of which instructs Adriana to leap from a window—Lisa is unaware of this scheme. As Adriana is about to jump to her probable death, Lisa saves her. While still unaware of Johnny's true intent, Lisa continues with their plan and Adriana is committed to a mental hospital, where they have Adriana declared legally insane and thus unable to carry out her obligations in Charles' will.\n\nAfter their wedding, Johnny demonstrates that he doesn't really love Lisa by openly seducing other women, most notably Lisa's free-spirited best friend, Bibi. Johnny bribes Lisa to divorce him by providing a $100,000 settlement in return for keeping silent about what they did to Adriana. Lisa does divorce him, but instead of succumbing to Johnny's threats, she decides to come clean to Frederick Lansdale, a playwright friend of Adriana's who has always loved her himself, about what she and Johnny did. By this time, Adriana is suffering from amnesia, still believing that Charles is alive.\n\nFrederick decides to write a play detailing Adriana's traumatic experiences and casts her in the lead role. He hopes that replaying her experience on stage will cure her. By the opening performance, Adriana has glimpses from her memory of what has happened, not fully realizing what those fleeting thoughts are.\n\nBy the climactic third act of the play, which details the tape-recorded subliminal messages Lisa and Johnny played during Adriana's hallucinations, Frederick decides to play the actual recordings with Lisa and Johnny's voices. This brings Adriana back to reality. She recognizes the voices and the fact that Lisa and Johnny use her real name as opposed to her character's name in the play. Lisa rushes onto the stage, admitting to Adriana what she and Johnny did. In a rage, Adriana slaps Lisa in the face.\n\nThe play and Adriana's performance are a huge hit, Adriana and Frederick are about to be married, and Lisa has reconciled with Adriana. Meanwhile, Johnny has begun taking his own LSD while being shunned by his so-called friends. He is last seen on the floor in the midst of an LSD trip.\n\nCast\n\nProduction\n\nDevelopment\nThe film was based on a story by Tito Davison and Edmundo Báez, the latter of whom served as director. In January 1968, Motion Pictures International (MPI) negotiated a co-production agreement with the Mexico-based Producciones Anco to produce the film, based on a screenplay written by William Douglas Lansford.\n\nFilming\nThe film was shot on location in Mexico, primarily at the Studios Churbusco in Mexico City as well as on the coastal Acapulco Bay with a budget of US$560,000. The shooting schedule was scheduled to last approximately eight weeks. The decision to shoot the film abroad was to dually help bolster Mexico's film market, as well as help lower production costs, which were estimated to be $300,000 more if filmed in the United States.\n\nRelease\n\nBox office\nThe Big Cube was released theatrically in the United States on April 30, 1969, opening regionally in Cincinnati, Ohio. It continued to open in several U.S. cities throughout May 1969, including Philadelphia, Pennsylvania; Chicago, Illinois; Portland, Oregon; and Boston, Massachusetts. The film opened in Los Angeles on May 21, 1969, though New York City engagements did not begin until January 1970.\n\nHome media\nThe Big Cube was released on DVD in 2007 as part of Volume 2 of Warner Brothers' Cult Camp Classic's \"Women in Peril\" series, a three-part series that included John Cromwell's Caged (1950) and the film that gave Joan Crawford her last starring role, Freddie Francis' Trog (1970).\n\nSee also\n List of American films of 1969\n\nReferences\n\nExternal links\n \n \n \n \n \n\n1969 films\n1969 thriller films\n1960s exploitation films\nAmerican films\nAmerican exploitation films\nAmerican thriller films\nDrug culture\nEnglish-language films\nFilms about actors\nFilms about hallucinogens\nFilms about inheritances\nFilms directed by Tito Davison\nFilms shot in Mexico\nPsychedelic films\nWarner Bros. films\nEstudios Churubusco films", "They Knew What They Wanted is a 1940 film directed by Garson Kanin, written by Robert Ardrey, and starring Carole Lombard, Charles Laughton and William Gargan. It is based on the 1924 Pulitzer Prize winning play They Knew What They Wanted by Sidney Howard. For his performance Gargan was nominated for the Academy Award for Best Supporting Actor.\n\nPlot\nWhen visiting San Francisco, Tony Patucci, an aging illiterate winegrower from the Napa Valley, sees waitress Amy Peters and falls in love. Returning home, he persuades his foreman Joe, an incorrigible womanizer, to write her a letter in Tony's name. Tony's courtship by mail culminates with a proposal, and when she requests a picture of him, he sends one of Joe. Amy accepts and goes to Napa to be married. Although horrified to discover that her prospective husband is the portly Tony, she decides to go through with the marriage. However, while Tony is in bed after an accident, Amy and Joe have an affair. Two months later, as Tony plans the wedding, she discovers that she is pregnant. Upon learning this, Tony pummels Joe, who leaves the vineyards. but forgives Amy, and insists that they still be married, But she is unable to forgive herself, so she leaves with the priest who has come to marry them, while Tony looks on, hoping that she will return one day.\n\nMain cast\n Carole Lombard as Amy Peters\n Charles Laughton as Tony Patucci \n William Gargan as Joe\t \n Harry Carey as the Doctor\n Frank Fay as Father McKee \n Joe Bernard as the R.F.D.\n Janet Fox as Mildred\n Lee Tung Foo as Ah Gee\n Karl Malden as Red (his debut role)\n Victor Kilian as the Photographer\n\nReception\nThe film recorded a loss of $291,000.\nWilliam Gargan was nominated for an Academy Award for Best Supporting Actor.\n\nOther versions of the play\nThis marked the only time the play was filmed under its original title. Two previous film versions had been made: a silent film called The Secret Hour (1928), with Jean Hersholt in the Laughton role, and an early talkie entitled A Lady to Love (1930), with Edward G. Robinson in the role.\n\nYears later, in 1956, Frank Loesser turned the play into a semi-operatic musical entitled The Most Happy Fella. This was not filmed, but was videotaped in 1980 and shown on PBS.\n\nReferences\n\nExternal links\n \n \n \n\n1940 films\n1940 romantic drama films\nAmerican films\nAmerican black-and-white films\nRemakes of American films\nAmerican films based on plays\nAmerican romantic drama films\nEnglish-language films\nFilms about infidelity\nFilms directed by Garson Kanin\nFilms produced by Erich Pommer\nFilms scored by Alfred Newman\nFilms set in the San Francisco Bay Area\nFilms with screenplays by Robert Ardrey\nRKO Pictures films" ]
[ "Jusuf Kalla", "Presidential elections 2014" ]	C_cb1db69e7ea34ed592a8b45311a41bbb_0	What was the result of the 2014 elections?	1	What was the result of the 2014 presidental elections?	Jusuf Kalla	Kalla has been often mentioned as a possible nominee of the Golkar Party in the 2014 presidential race. In 2009 Kalla ran in the Indonesian presidential election with former Armed Forces Chief of Staff Wiranto as his running mate, finishing third with 12.4% of the vote. During a dedication ceremony of the Indonesian Red Cross headquarters in the Riau province on 3 February 2012 Kalla stated his willingness to run in the presidential election in 2014 should he receive sufficient public support. By May 2012 however, Kalla stated that he had no intention of running in the 2014 Presidential election. Kalla said he had no hard feelings about party chairman Aburizal Bakrie's upcoming inauguration as presidential candidate for the Golkar Party and that he had no intention of competing with him despite surveys that showed that Kalla was likely to be more electable than Bakrie. During Golkar's National Leadership meeting in Bogor on 29 June 2012, Bakrie was officially declared the Golkar Party's 2014 Presidential candidate. Nevertheless, in the changeable political scene in Indonesia the situation can be expected to evolve in the preparations for the 2014 presidential election. In late 2012 Jusuf Kalla indicated that he would be prepared to move away from Golkar and join a ticket sponsored by the Indonesian Democratic Party of Struggle (PDI-P) with former president Megawati as candidate for president and him as the vice-presidential candidate. "If I am not representing Golkar Party, then I have no objection ... Everything is possible in politics," Kalla said. CANNOTANSWER	Bakrie was officially declared the Golkar Party's 2014 Presidential candidate.	Muhammad Jusuf Kalla (; born 15 May 1942) is an Indonesian politician and businessman who served as the 10th and 12th Vice President of Indonesia, the only vice president in Indonesian history to serve two non-consecutive terms in office (2004–2009 and 2014–2019). He was unsuccessful as Golkar's presidential nominee in the 2009 presidential election. Before Kalla declared himself as the running mate for Joko Widodo in the 2014 presidential election, a 2012 poll placed his popularity among likely voters in the top three contenders for the presidency and ahead of his own party's nominee Aburizal Bakrie. Since 2009 Kalla serves as the chairman of the Indonesian Red Cross Society. Early life Kalla was born on 15 May 1942 in Watampone, now sits in South Sulawesi. His parents were Hadji Kalla, a local businessman and Athirah, a woman who sold Buginese silk for a living. He was the second of 10 children. After completing school, Kalla attended Hasanuddin University in Makassar. At university he became active in the Indonesian Student Action Front (KAMI), a student organization which supported General Suharto in his bid to gain power from president Sukarno. Kalla was elected as chair of South Sulawesi branch of KAMI. He showed interest in a political career, becoming a member of the Regional People's Representative Council (DPRD) and chairman of the Youth Division of Golkar when it was still organised under a Joint Secretariat (Sekretariat Bersama or Sekber) format. Businessman In 1967 Kalla graduated from the Economics Faculty at Hasanuddin University. The economic situation was bleak at the time and his father, Hadji Kalla, considered shutting down the family business, NV Hadji Kalla. Instead, Kalla decided to take over the firm. Putting aside his political activities, in 1968 Kalla became CEO of NV Hadji Kalla while his father became chairman. In the beginning the business only had one employee and business was slow. Kalla's mother assisted by trading silk and running a small transportation business with three buses. Over time the business grew and became quite successful. NV Hadji Kalla expanded from the export-import trading business into other sectors (hotels, infrastructure construction, car dealerships, aerobridges, shipping, real estate, transportation, a shrimp farm, oil palm, and telecommunications). In addition to being CEO of NV Hadji Kalla, Kalla was also CEO of various subsidiaries of the firm. In 1977, Kalla graduated from INSEAD, an international business school in Fontainebleau, south of Paris. "NV Hadji Kalla" is now known as the Kalla Group and is one of the leading business groups in Indonesia, especially in Eastern Indonesia. Affiliations Aside from his business career, Kalla has been active in numerous well-known organizations. From 1979 to 1989, he was chairman of the Indonesian Economics Graduates Association (ISEI) in Makassar (known as Ujung Pandang at the time) and continues to be an adviser for ISEI. Kalla was extensively involved with the Chamber of Commerce and Industry (KADIN). From 1985 to 1998 he was chairman for KADIN in South Sulawesi and was coordinator for KADIN in eastern Indonesia. In addition, Kalla is on the board of trustees for three universities in Makassar. Kalla has contributed socially by building the Al Markaz Mosque and becoming chairman of its Islamic centre. Former Vice President of Indonesia Jusuf Kalla acted as an ambassador for Komodo in the New 7 Wonders of Nature, a global voting campaign to elect the seven natural wonders of the world. The results of the campaign were released in 2011, and Komodo is now one of the New 7 Wonders of Nature. In 2015, the Jusuf Kalla School of Government at Muhammadiyah University of Yogyakarta was established, with the school being funded by Kalla. Kalla is seen in The Act of Killing film praising Pancasila Youth and encouraging them to commit violence. Political career Member of the People's Consultative Assembly Kalla returned to active politics in 1987 when he was appointed to the People's Consultative Assembly (MPR) as a regional representative for South Sulawesi. He was re-appointed to the MPR in 1992, 1997, and 1999. Wahid and Megawati Presidency When Kyai Haji Abdurrahman Wahid (often known as Gus Dur) was elected as president by the MPR in 1999, Kalla was included in the cabinet and became Minister of Industry and Trade. He had only been a minister for six months when in April 2000 Wahid removed him along with the Minister of State-Owned Enterprises. Wahid accused both Kalla and minister Laksamana of corruption, although he never produced evidence to support the charge, and Kalla denied the allegations. In July 2001, at a special session of the MPR, President Gus Dur was dismissed from office. Vice President Megawati Sukarnoputri took over the presidency and included Kalla in her cabinet, appointing him to the senior post of Coordinating Minister of People's Welfare. Although it was not part of his ministerial brief, Kalla helped solve the inter-religious conflict in Poso on his native island of Sulawesi. Kalla facilitated the negotiation which resulted in the signing of the Malino II Accord on 20 December 2001 and an end to the conflict which had gone on for three years. Two months later, Kalla helped solve another conflict in Sulawesi. On 12 February 2002, Kalla, together with Coordinating Minister of Politics and Society Susilo Bambang Yudhoyono, managed to solve a similar conflict on Ambon and Molucca through a second Malino Declaration. Road to Vice Presidency Now a popular figure for assisting with the peace process in Sulawesi, Kalla considered putting himself forward as a candidate in the 2004 presidential elections. In August 2003 he announced his candidacy and enlisted as a participant in Golkar's 2004 Convention which would choose the Golkar candidate for president. As the months went by, however, Kalla came to be seen more as a vice presidential candidate. He was expected to partner a Javanese presidential candidate and his non-Javanese background was seen as a means of attracting non-Javanese votes which a Javanese candidate might have trouble getting. Just days before the Golkar national convention, Kalla decided to withdraw from running under the Golkar banner. Rather, he accepted the offer from the Democratic Party's (PD) Yudhoyono to become his running mate. The pair also received the support of the Crescent Star Party (PBB), the Indonesian Justice and Unity Party (PKPI), and Reform Star Party (PBR). On 5 July 2004 the presidential election was held. Yudhoyono and Kalla won the popular vote with 33% of the votes but 50% of votes is required for election as president and vice president so a run-off was required. Yudhoyono and Megawati proceeded to the second election round held later in the year. In the second ground Yudhoyono faced a considerable challenge from Megawati who formed a national coalition consisting of her own Indonesian Democratic Party-Struggle (PDI-P) along with Golkar, the United Development Party, the Prosperous Peace Party (PDS), and the Indonesian National Party (PNI). Whilst Yudhoyono consolidated political support from other parties, Kalla turned to Golkar for support. Led by Fahmi Idris and ignoring the party line, pro-Kalla elements in Golkar declared their support for Kalla and Yudhoyono. On 20 September 2004 Yudhoyono and Kalla won the run-off with 60.1% of the vote. First vice-presidential term Although he had overwhelmingly won the Presidency, Yudhoyono was still weak in the People's Representative Council (DPR). PD with all of its coalition partners were still too weak to contend with the legislative muscles of Golkar and PDI-P who now intended to play the role of opposition. With a National Congress to be held in December 2004, Yudhoyono and Kalla had originally backed head of DPR Agung Laksono to become Golkar Chairman. When Agung was perceived to be too weak to run against Akbar, Yudhoyono and Kalla threw their weight behind Surya Paloh. Finally, when Paloh was also perceived to be too weak to run against Akbar, Yudhoyono gave the green light for Kalla to run for the Golkar Chairmanship. On 19 December 2004, Kalla was elected as the new Chairman of Golkar. Kalla's victory posed a dilemma for Yudhoyono. Although it now enabled Yudhoyono to pass legislation, Kalla's new position meant that in one sense, he was now more powerful than Yudhoyono. The first sign of rivalry came during the Indian Ocean tsunami when Kalla, apparently on his own initiative, assembled the ministers and signed a vice presidential decree ordering work to begin on rehabilitating Aceh. The legality of the Vice Presidential decree was questioned although Yudhoyono maintained that it was he who gave the orders for Kalla to proceed. The second sign was in September 2005 when Yudhoyono went to New York to attend the annual United Nations Summit. Although Yudhoyono had left Kalla to take charge of proceedings at Jakarta, he seemed to be bent on maintaining a watch on matters at home. Yudhoyono would hold a video conference from New York to receive reports from ministers. Critics suggested that such conduct was an expression of distrust by Yudhoyono The suggestion seemed to gain momentum when Kalla only showed up for one video conference and then spent the rest of the time taking care of Golkar matters. Although things calmed down, especially with Golkar gaining another cabinet position in the reshuffle, the alleged rivalry surfaced again in October 2006 when Yudhoyono established the Presidential Work Unit for the Organization of Reform Program (UKP3R). Critics questioned whether the establishment of the unit was an attempt by Yudhoyono to exclude Kalla from the government. Yudhoyono was quick to clarify that in supervising UKP3R, he would be assisted by Kalla. Potential presidential candidacy in 2014 Kalla has been often mentioned as a possible nominee of the Golkar Party in the 2014 presidential race. In 2009 Kalla ran in the Indonesian presidential election with former Armed Forces Chief of Staff Wiranto as his running mate, finishing third with 12.4% of the vote. During a dedication ceremony of the Indonesian Red Cross headquarters in the Riau province on 3 February 2012 Kalla stated his willingness to run in the presidential election in 2014 should he receive sufficient public support. By May 2012 however, Kalla stated that he had no intention of running in the 2014 Presidential election. Kalla said he had no hard feelings about party chairman Aburizal Bakrie's upcoming inauguration as presidential candidate for the Golkar Party and that he had no intention of competing with him despite surveys that showed that Kalla was likely to be more electable than Bakrie. During Golkar's National Leadership meeting in Bogor on 29 June 2012, Bakrie was officially declared the Golkar Party's 2014 Presidential candidate. Nevertheless, in the changeable political scene in Indonesia the situation can be expected to evolve in the preparations for the 2014 presidential election. In late 2012 Jusuf Kalla indicated that he would be prepared to move away from Golkar and join a ticket sponsored by the Indonesian Democratic Party of Struggle (PDI-P) with former president Megawati as candidate for president and him as the vice-presidential candidate. "If I am not representing Golkar Party, then I have no objection ... Everything is possible in politics," Kalla said. Jokowi's running mate Indonesian Democratic Party of Struggle (PDIP)'s presidential candidate Joko Widodo announced Jusuf Kalla as his vice presidential running mate at Gedung Juang, Jakarta, on 19 May 2014. Second vice-presidential term During his second term as vice president, Kalla criticized neighbor nations Malaysia and Singapore for airing their concerns about suffering from the repeated haze caused by Indonesian forest fires, stating in March 2015: "For 11 months, they enjoyed nice air from Indonesia and they never thanked us. They have suffered because of the haze for one month and they get upset." During the 2015 Southeast Asian haze crisis in September, Kalla restated a similar position, while further questioning "why should there be an apology" from Indonesia. It was also noted that Kalla had made similar comments between 2005 and 2007 during his first term of Vice Presidency. In what was interpreted as a response to Kalla, the Singaporean Minister for Foreign Affairs, K. Shanmugam, while noting that "PSI levels in parts of Indonesia are at almost 2,000", expressed disappointment at "shocking statements made, at senior levels, from Indonesia ... without any regard for their people, or ours, and without any embarrassment, or sense of responsibility". With Indonesia's pollution index by the Indonesian Agency for Meteorology, Climatology and Geophysics declaring values over 350 to be "hazardous", it was reported on 22 September 2015 that the index in Palangkaraya in Central Kalimantan had hit 1,986. Later in September, Kalla insisted that Indonesia is "open", and requested that "Singapore, please come if you want to help. Don't just talk"; this was in spite of earlier rejections (in that month) by Indonesia of Singapore's offers of assistance. In November, Kalla said that the destruction of Indonesian forests was "not only our problem" as "foreign people" were also responsible. He scolded foreign companies, saying "You take [Indonesian products], and pay $5, and you bring it here, and sell for $100. Indonesian companies just get $5 ... you have to pay, if not we will cut down all the trees, and let the world feel the heat ... The world has to pay for all of this. Don't always accuse Indonesia." He also reiterated that since Singapore and Malaysia did not thank Indonesia for "fresh air from Sumatra, Kalimantan", then there was no need for Indonesia to apologize for haze from Indonesian forest fires. In February 2016, Kalla told the United Nations Development Programme not to finance or carry out an LGBT (lesbian, gay, bisexual, and transgender) community program in Indonesia. Kalla previously stated opposition to LGBT campaigns in Indonesia, which he considered at that point as deviating from social values. In April 2016, Kalla reportedly criticized how Singapore, "never wants to sign" an extradition agreement with Indonesia, despite Singapore supposedly being the "country where the largest number of" Indonesian fugitives had fled. The Singaporean Ministry of Foreign Affairs responded by pointing out that an Indonesia-Singapore extradition treaty cum defence cooperation pact had been signed in 2007, while Kalla was also Vice President, but the treaty was still pending ratification by the Indonesian House of Representatives. The Indonesian House had rejected the dual agreement in 2013 as "not favourable to Indonesia", maintaining that "extradition and defence are two separate issues". In December 2018, the issue of China's Xinjiang re-education camps and human rights abuses against the Uyghur Muslim minority was brought up in parliament. Kalla said: "we don't want to intervene in the domestic affairs of another country." Personal life Kalla is married to Mufidah Miad Saad, with whom he has five children, Muchlisa, Muswira, Imelda, Solichin and Chaerani. His career after the vice presidency has included many community activities. On 22 December 2009, he was elected as chairman of Indonesian Red Cross Society (Palang Merah Indonesia, PMI). Kalla said that under his leadership the PMI would build up stocks in the national blood bank to prepare for any increased demand for blood by hospital patients and victims of natural disasters. He also holds an Advance class amateur radio license with call sign YC8HYK. Decorations As the vice president of Indonesia, Kalla is automatically bestowed the highest class of 6 out of 7 civilian Star Decorations (), namely: See also List of vice presidents of Indonesia Notes References External links Profile at TokohIndonesia Official Site of Jusuf Kalla Jusuf Kalla's Blog Official Site of Sahabat Muda Jusuf Kalla-Wiranto Official Site of Jusuf Kalla and Wiranto for Presidential Election 2009 1942 births Bugis people Hasanuddin University alumni INSEAD alumni Indonesian Muslims Living people Politicians from South Sulawesi Vice presidents of Indonesia Golkar politicians People from Bone Regency Government ministers of Indonesia Trade ministers of Indonesia Industry ministers of Indonesia	true	[ "Elections to West Lindsey District Council were held on 3 May 2007. One third of the council was up for election and the Liberal Democrat Party held overall control of the council after what was seen as a straight fight with the Conservative Party.\n\nThe election in Scotter ward was decided by the toss of a coin which the Conservative candidate won.\n\nAfter the election, the composition of the council was:\n Liberal Democrat 20\n Conservative 16\n Independent 1\n\nElection result\n\nOne Independent candidate was unopposed.\n\nWard results\n\nReferences\n\n 2007 West Lindsey election result\n Ward results\n\n2007\n2007 English local elections\n2000s in Lincolnshire", "Tanglin Single Member Constituency was a single member constituency (SMC) in the city area of Singapore. The constituency was formed in 1951 and was abolished in 1997.\n\nHistory \nIn 1951, the Tanglin Constituency was formed by carving up Municipal South-West Constituency. In 1955, parts of the constituency were divided to form Cairnhill, Havelock and Queenstown constituencies. In 1959, it was further divided to form River Valley and Ulu Pandan constituencies.\n\nIn 1988, it was renamed as Tanglin Single Member Constituency as part of Singapore's political reforms. In 1997, it was abolished and merged into Kreta Ayer–Tanglin Group Representation Constituency.\n\nMember of Parliament\n\nElections\n\nElections in the 1990s\n\nElections in the 1980s\n\nElections in the 1970s\n\nElections in the 1960s\n\nNote: Thio Chan Bee, the then incumbent of this ward had contested in the previous general election under Singapore People's Alliance's banner, which had subsequently joined with Singapore Alliance in this GE whereby another party, United Malays National Organisation is one of the alliance member who had stood against him in 1959 GE, Tanglin SMC as well.\n\nElections in the 1950s\n\nNote: UMNO, MCA and MIC together with Singapore People's Alliance was informally formed as an alliance in 1961, where it still within this term of election which was the reason for the elections department of Singapore to view Ahmad as a candidate for Singapore Alliance.\n\nHistorical maps\n\nReferences\n1984 GE's result\n1980 GE's result\n1976 GE's result\n1972 GE's result\n1968 GE's result\n1963 GE's result\n1959 GE's result\n1955 GE's result\n1951 GE's result\nBrief History on Singapore Alliance\n\nBedok" ]
[ "Jusuf Kalla", "Presidential elections 2014", "What was the result of the 2014 elections?", "Bakrie was officially declared the Golkar Party's 2014 Presidential candidate." ]	C_cb1db69e7ea34ed592a8b45311a41bbb_0	Was Kalla happy with the result?	2	Was Kalla happy with the result of Bakrie being declared the Golkar candidate?	Jusuf Kalla	Kalla has been often mentioned as a possible nominee of the Golkar Party in the 2014 presidential race. In 2009 Kalla ran in the Indonesian presidential election with former Armed Forces Chief of Staff Wiranto as his running mate, finishing third with 12.4% of the vote. During a dedication ceremony of the Indonesian Red Cross headquarters in the Riau province on 3 February 2012 Kalla stated his willingness to run in the presidential election in 2014 should he receive sufficient public support. By May 2012 however, Kalla stated that he had no intention of running in the 2014 Presidential election. Kalla said he had no hard feelings about party chairman Aburizal Bakrie's upcoming inauguration as presidential candidate for the Golkar Party and that he had no intention of competing with him despite surveys that showed that Kalla was likely to be more electable than Bakrie. During Golkar's National Leadership meeting in Bogor on 29 June 2012, Bakrie was officially declared the Golkar Party's 2014 Presidential candidate. Nevertheless, in the changeable political scene in Indonesia the situation can be expected to evolve in the preparations for the 2014 presidential election. In late 2012 Jusuf Kalla indicated that he would be prepared to move away from Golkar and join a ticket sponsored by the Indonesian Democratic Party of Struggle (PDI-P) with former president Megawati as candidate for president and him as the vice-presidential candidate. "If I am not representing Golkar Party, then I have no objection ... Everything is possible in politics," Kalla said. CANNOTANSWER	In 2009 Kalla ran in the Indonesian presidential election	Muhammad Jusuf Kalla (; born 15 May 1942) is an Indonesian politician and businessman who served as the 10th and 12th Vice President of Indonesia, the only vice president in Indonesian history to serve two non-consecutive terms in office (2004–2009 and 2014–2019). He was unsuccessful as Golkar's presidential nominee in the 2009 presidential election. Before Kalla declared himself as the running mate for Joko Widodo in the 2014 presidential election, a 2012 poll placed his popularity among likely voters in the top three contenders for the presidency and ahead of his own party's nominee Aburizal Bakrie. Since 2009 Kalla serves as the chairman of the Indonesian Red Cross Society. Early life Kalla was born on 15 May 1942 in Watampone, now sits in South Sulawesi. His parents were Hadji Kalla, a local businessman and Athirah, a woman who sold Buginese silk for a living. He was the second of 10 children. After completing school, Kalla attended Hasanuddin University in Makassar. At university he became active in the Indonesian Student Action Front (KAMI), a student organization which supported General Suharto in his bid to gain power from president Sukarno. Kalla was elected as chair of South Sulawesi branch of KAMI. He showed interest in a political career, becoming a member of the Regional People's Representative Council (DPRD) and chairman of the Youth Division of Golkar when it was still organised under a Joint Secretariat (Sekretariat Bersama or Sekber) format. Businessman In 1967 Kalla graduated from the Economics Faculty at Hasanuddin University. The economic situation was bleak at the time and his father, Hadji Kalla, considered shutting down the family business, NV Hadji Kalla. Instead, Kalla decided to take over the firm. Putting aside his political activities, in 1968 Kalla became CEO of NV Hadji Kalla while his father became chairman. In the beginning the business only had one employee and business was slow. Kalla's mother assisted by trading silk and running a small transportation business with three buses. Over time the business grew and became quite successful. NV Hadji Kalla expanded from the export-import trading business into other sectors (hotels, infrastructure construction, car dealerships, aerobridges, shipping, real estate, transportation, a shrimp farm, oil palm, and telecommunications). In addition to being CEO of NV Hadji Kalla, Kalla was also CEO of various subsidiaries of the firm. In 1977, Kalla graduated from INSEAD, an international business school in Fontainebleau, south of Paris. "NV Hadji Kalla" is now known as the Kalla Group and is one of the leading business groups in Indonesia, especially in Eastern Indonesia. Affiliations Aside from his business career, Kalla has been active in numerous well-known organizations. From 1979 to 1989, he was chairman of the Indonesian Economics Graduates Association (ISEI) in Makassar (known as Ujung Pandang at the time) and continues to be an adviser for ISEI. Kalla was extensively involved with the Chamber of Commerce and Industry (KADIN). From 1985 to 1998 he was chairman for KADIN in South Sulawesi and was coordinator for KADIN in eastern Indonesia. In addition, Kalla is on the board of trustees for three universities in Makassar. Kalla has contributed socially by building the Al Markaz Mosque and becoming chairman of its Islamic centre. Former Vice President of Indonesia Jusuf Kalla acted as an ambassador for Komodo in the New 7 Wonders of Nature, a global voting campaign to elect the seven natural wonders of the world. The results of the campaign were released in 2011, and Komodo is now one of the New 7 Wonders of Nature. In 2015, the Jusuf Kalla School of Government at Muhammadiyah University of Yogyakarta was established, with the school being funded by Kalla. Kalla is seen in The Act of Killing film praising Pancasila Youth and encouraging them to commit violence. Political career Member of the People's Consultative Assembly Kalla returned to active politics in 1987 when he was appointed to the People's Consultative Assembly (MPR) as a regional representative for South Sulawesi. He was re-appointed to the MPR in 1992, 1997, and 1999. Wahid and Megawati Presidency When Kyai Haji Abdurrahman Wahid (often known as Gus Dur) was elected as president by the MPR in 1999, Kalla was included in the cabinet and became Minister of Industry and Trade. He had only been a minister for six months when in April 2000 Wahid removed him along with the Minister of State-Owned Enterprises. Wahid accused both Kalla and minister Laksamana of corruption, although he never produced evidence to support the charge, and Kalla denied the allegations. In July 2001, at a special session of the MPR, President Gus Dur was dismissed from office. Vice President Megawati Sukarnoputri took over the presidency and included Kalla in her cabinet, appointing him to the senior post of Coordinating Minister of People's Welfare. Although it was not part of his ministerial brief, Kalla helped solve the inter-religious conflict in Poso on his native island of Sulawesi. Kalla facilitated the negotiation which resulted in the signing of the Malino II Accord on 20 December 2001 and an end to the conflict which had gone on for three years. Two months later, Kalla helped solve another conflict in Sulawesi. On 12 February 2002, Kalla, together with Coordinating Minister of Politics and Society Susilo Bambang Yudhoyono, managed to solve a similar conflict on Ambon and Molucca through a second Malino Declaration. Road to Vice Presidency Now a popular figure for assisting with the peace process in Sulawesi, Kalla considered putting himself forward as a candidate in the 2004 presidential elections. In August 2003 he announced his candidacy and enlisted as a participant in Golkar's 2004 Convention which would choose the Golkar candidate for president. As the months went by, however, Kalla came to be seen more as a vice presidential candidate. He was expected to partner a Javanese presidential candidate and his non-Javanese background was seen as a means of attracting non-Javanese votes which a Javanese candidate might have trouble getting. Just days before the Golkar national convention, Kalla decided to withdraw from running under the Golkar banner. Rather, he accepted the offer from the Democratic Party's (PD) Yudhoyono to become his running mate. The pair also received the support of the Crescent Star Party (PBB), the Indonesian Justice and Unity Party (PKPI), and Reform Star Party (PBR). On 5 July 2004 the presidential election was held. Yudhoyono and Kalla won the popular vote with 33% of the votes but 50% of votes is required for election as president and vice president so a run-off was required. Yudhoyono and Megawati proceeded to the second election round held later in the year. In the second ground Yudhoyono faced a considerable challenge from Megawati who formed a national coalition consisting of her own Indonesian Democratic Party-Struggle (PDI-P) along with Golkar, the United Development Party, the Prosperous Peace Party (PDS), and the Indonesian National Party (PNI). Whilst Yudhoyono consolidated political support from other parties, Kalla turned to Golkar for support. Led by Fahmi Idris and ignoring the party line, pro-Kalla elements in Golkar declared their support for Kalla and Yudhoyono. On 20 September 2004 Yudhoyono and Kalla won the run-off with 60.1% of the vote. First vice-presidential term Although he had overwhelmingly won the Presidency, Yudhoyono was still weak in the People's Representative Council (DPR). PD with all of its coalition partners were still too weak to contend with the legislative muscles of Golkar and PDI-P who now intended to play the role of opposition. With a National Congress to be held in December 2004, Yudhoyono and Kalla had originally backed head of DPR Agung Laksono to become Golkar Chairman. When Agung was perceived to be too weak to run against Akbar, Yudhoyono and Kalla threw their weight behind Surya Paloh. Finally, when Paloh was also perceived to be too weak to run against Akbar, Yudhoyono gave the green light for Kalla to run for the Golkar Chairmanship. On 19 December 2004, Kalla was elected as the new Chairman of Golkar. Kalla's victory posed a dilemma for Yudhoyono. Although it now enabled Yudhoyono to pass legislation, Kalla's new position meant that in one sense, he was now more powerful than Yudhoyono. The first sign of rivalry came during the Indian Ocean tsunami when Kalla, apparently on his own initiative, assembled the ministers and signed a vice presidential decree ordering work to begin on rehabilitating Aceh. The legality of the Vice Presidential decree was questioned although Yudhoyono maintained that it was he who gave the orders for Kalla to proceed. The second sign was in September 2005 when Yudhoyono went to New York to attend the annual United Nations Summit. Although Yudhoyono had left Kalla to take charge of proceedings at Jakarta, he seemed to be bent on maintaining a watch on matters at home. Yudhoyono would hold a video conference from New York to receive reports from ministers. Critics suggested that such conduct was an expression of distrust by Yudhoyono The suggestion seemed to gain momentum when Kalla only showed up for one video conference and then spent the rest of the time taking care of Golkar matters. Although things calmed down, especially with Golkar gaining another cabinet position in the reshuffle, the alleged rivalry surfaced again in October 2006 when Yudhoyono established the Presidential Work Unit for the Organization of Reform Program (UKP3R). Critics questioned whether the establishment of the unit was an attempt by Yudhoyono to exclude Kalla from the government. Yudhoyono was quick to clarify that in supervising UKP3R, he would be assisted by Kalla. Potential presidential candidacy in 2014 Kalla has been often mentioned as a possible nominee of the Golkar Party in the 2014 presidential race. In 2009 Kalla ran in the Indonesian presidential election with former Armed Forces Chief of Staff Wiranto as his running mate, finishing third with 12.4% of the vote. During a dedication ceremony of the Indonesian Red Cross headquarters in the Riau province on 3 February 2012 Kalla stated his willingness to run in the presidential election in 2014 should he receive sufficient public support. By May 2012 however, Kalla stated that he had no intention of running in the 2014 Presidential election. Kalla said he had no hard feelings about party chairman Aburizal Bakrie's upcoming inauguration as presidential candidate for the Golkar Party and that he had no intention of competing with him despite surveys that showed that Kalla was likely to be more electable than Bakrie. During Golkar's National Leadership meeting in Bogor on 29 June 2012, Bakrie was officially declared the Golkar Party's 2014 Presidential candidate. Nevertheless, in the changeable political scene in Indonesia the situation can be expected to evolve in the preparations for the 2014 presidential election. In late 2012 Jusuf Kalla indicated that he would be prepared to move away from Golkar and join a ticket sponsored by the Indonesian Democratic Party of Struggle (PDI-P) with former president Megawati as candidate for president and him as the vice-presidential candidate. "If I am not representing Golkar Party, then I have no objection ... Everything is possible in politics," Kalla said. Jokowi's running mate Indonesian Democratic Party of Struggle (PDIP)'s presidential candidate Joko Widodo announced Jusuf Kalla as his vice presidential running mate at Gedung Juang, Jakarta, on 19 May 2014. Second vice-presidential term During his second term as vice president, Kalla criticized neighbor nations Malaysia and Singapore for airing their concerns about suffering from the repeated haze caused by Indonesian forest fires, stating in March 2015: "For 11 months, they enjoyed nice air from Indonesia and they never thanked us. They have suffered because of the haze for one month and they get upset." During the 2015 Southeast Asian haze crisis in September, Kalla restated a similar position, while further questioning "why should there be an apology" from Indonesia. It was also noted that Kalla had made similar comments between 2005 and 2007 during his first term of Vice Presidency. In what was interpreted as a response to Kalla, the Singaporean Minister for Foreign Affairs, K. Shanmugam, while noting that "PSI levels in parts of Indonesia are at almost 2,000", expressed disappointment at "shocking statements made, at senior levels, from Indonesia ... without any regard for their people, or ours, and without any embarrassment, or sense of responsibility". With Indonesia's pollution index by the Indonesian Agency for Meteorology, Climatology and Geophysics declaring values over 350 to be "hazardous", it was reported on 22 September 2015 that the index in Palangkaraya in Central Kalimantan had hit 1,986. Later in September, Kalla insisted that Indonesia is "open", and requested that "Singapore, please come if you want to help. Don't just talk"; this was in spite of earlier rejections (in that month) by Indonesia of Singapore's offers of assistance. In November, Kalla said that the destruction of Indonesian forests was "not only our problem" as "foreign people" were also responsible. He scolded foreign companies, saying "You take [Indonesian products], and pay $5, and you bring it here, and sell for $100. Indonesian companies just get $5 ... you have to pay, if not we will cut down all the trees, and let the world feel the heat ... The world has to pay for all of this. Don't always accuse Indonesia." He also reiterated that since Singapore and Malaysia did not thank Indonesia for "fresh air from Sumatra, Kalimantan", then there was no need for Indonesia to apologize for haze from Indonesian forest fires. In February 2016, Kalla told the United Nations Development Programme not to finance or carry out an LGBT (lesbian, gay, bisexual, and transgender) community program in Indonesia. Kalla previously stated opposition to LGBT campaigns in Indonesia, which he considered at that point as deviating from social values. In April 2016, Kalla reportedly criticized how Singapore, "never wants to sign" an extradition agreement with Indonesia, despite Singapore supposedly being the "country where the largest number of" Indonesian fugitives had fled. The Singaporean Ministry of Foreign Affairs responded by pointing out that an Indonesia-Singapore extradition treaty cum defence cooperation pact had been signed in 2007, while Kalla was also Vice President, but the treaty was still pending ratification by the Indonesian House of Representatives. The Indonesian House had rejected the dual agreement in 2013 as "not favourable to Indonesia", maintaining that "extradition and defence are two separate issues". In December 2018, the issue of China's Xinjiang re-education camps and human rights abuses against the Uyghur Muslim minority was brought up in parliament. Kalla said: "we don't want to intervene in the domestic affairs of another country." Personal life Kalla is married to Mufidah Miad Saad, with whom he has five children, Muchlisa, Muswira, Imelda, Solichin and Chaerani. His career after the vice presidency has included many community activities. On 22 December 2009, he was elected as chairman of Indonesian Red Cross Society (Palang Merah Indonesia, PMI). Kalla said that under his leadership the PMI would build up stocks in the national blood bank to prepare for any increased demand for blood by hospital patients and victims of natural disasters. He also holds an Advance class amateur radio license with call sign YC8HYK. Decorations As the vice president of Indonesia, Kalla is automatically bestowed the highest class of 6 out of 7 civilian Star Decorations (), namely: See also List of vice presidents of Indonesia Notes References External links Profile at TokohIndonesia Official Site of Jusuf Kalla Jusuf Kalla's Blog Official Site of Sahabat Muda Jusuf Kalla-Wiranto Official Site of Jusuf Kalla and Wiranto for Presidential Election 2009 1942 births Bugis people Hasanuddin University alumni INSEAD alumni Indonesian Muslims Living people Politicians from South Sulawesi Vice presidents of Indonesia Golkar politicians People from Bone Regency Government ministers of Indonesia Trade ministers of Indonesia Industry ministers of Indonesia	true	[ "Marcel Kalla is a Congolese politician who has served as a Deputy in the National Assembly of Congo-Brazzaville since 2012.\n\nPolitical career\nIn the June–August 2007 parliamentary election, Kalla stood as an independent candidate in Mabombo constituency, located in Bouenza Region. In the first round of voting, Kalla placed first with 31.25% of the vote, ahead of Christophe Moukouéké, the candidate of the main opposition party, the Pan-African Union for Social Democracy (UPADS), who received 27.42%. Initial results for the second round showed that Kalla won the seat, defeating Moukouéké. However, UPADS contested the result in Mabombo and four other constituencies. On 13 August 2007, Francois Ibovi, the Minister of Territorial Administration, announced a correction in the results for Mabombo, stating that Moukouéké had actually won the seat with 59.01% of the vote; the previously announced result was attributed to a clerical error.\n\nIn the July–August 2012 parliamentary election, Kalla stood as the candidate of the Congolese Labour Party (PCT) in Mabombo and won the seat with 57.14% of the vote, defeating Moukouéké.\n\nStanding as a PCT candidate, Kalla was elected as a local councillor in Mabombo in the September 2014 local elections.\n\nIn the July 2017 parliamentary election, he was re-elected to the National Assembly as the PCT candidate in Mabombo, winning the seat in the first round with 57% of the vote.\n\nReferences\n\nLiving people\nMembers of the National Assembly (Republic of the Congo)\nYear of birth missing (living people)", "Kalla Pasha (born as Joseph T. Rickard; March 5, 1879 – June 10, 1933) was an American professional wrestler, vaudeville comedian, and film actor active during the silent era.\n\nBiography\nKalla Pasha was the stage name of Joseph T. Rickard, a native of Detroit. He was the professional wrestler Hamid Kalla Pasha, whom the press called \"The Crazy Turk\" before performing on vaudeville and appearing in 74 films between 1919 and 1931. Rickard's success with Mack Sennett enabled him to be a free-spender, claiming later he would often go about town with a 150 thousand dollars strapped around his waist. \n\nThe money did not last though, and not long afterward he was arrested for striking a man over the head with a milk bottle during a dust-up involving five cents. As a result, Rickard was sent to Mendocino State Hospital for psychiatric care, where he would die a little over a year later from heart disease.\n\nSelected filmography\n\n The Wicked Darling (1919)\n Love, Honor and Behave (1920)\n Down on the Farm (1920)\n Married Life (1920)\n A Small Town Idol (1921)\n The Dictator (1922)\n Ruggles of Red Gap (1923)\n Thirty Days (1922)\n Breaking Into Society (1923)\n A Million to Burn (1923)\n The Cat's Meow (1924)\n His Supreme Moment (1925)\n Heads Up (1925)\n Silken Shackles (1926)\n Don Juan's Three Nights (1926)\n When a Man Loves (1927)\n The Devil Dancer (1927)\n The Dove (1927)\n Tillie's Punctured Romance (1928)\n West of Zanzibar (1928)\n Seven Footprints to Satan (1929)\n The Show of Shows (1929)\n I Surrender Dear (1931)\n One More Chance'' (1931)\n\nReferences\n\nExternal links\n\n1879 births\n1933 deaths\nAmerican male film actors\nAmerican male silent film actors\nMale actors from Detroit\n20th-century American male actors" ]
[ "Jusuf Kalla", "Presidential elections 2014", "What was the result of the 2014 elections?", "Bakrie was officially declared the Golkar Party's 2014 Presidential candidate.", "Was Kalla happy with the result?", "In 2009 Kalla ran in the Indonesian presidential election" ]	C_cb1db69e7ea34ed592a8b45311a41bbb_0	What caused Kalla to lose?	3	What caused Kalla to lose the 2009 presidential election?	Jusuf Kalla	Kalla has been often mentioned as a possible nominee of the Golkar Party in the 2014 presidential race. In 2009 Kalla ran in the Indonesian presidential election with former Armed Forces Chief of Staff Wiranto as his running mate, finishing third with 12.4% of the vote. During a dedication ceremony of the Indonesian Red Cross headquarters in the Riau province on 3 February 2012 Kalla stated his willingness to run in the presidential election in 2014 should he receive sufficient public support. By May 2012 however, Kalla stated that he had no intention of running in the 2014 Presidential election. Kalla said he had no hard feelings about party chairman Aburizal Bakrie's upcoming inauguration as presidential candidate for the Golkar Party and that he had no intention of competing with him despite surveys that showed that Kalla was likely to be more electable than Bakrie. During Golkar's National Leadership meeting in Bogor on 29 June 2012, Bakrie was officially declared the Golkar Party's 2014 Presidential candidate. Nevertheless, in the changeable political scene in Indonesia the situation can be expected to evolve in the preparations for the 2014 presidential election. In late 2012 Jusuf Kalla indicated that he would be prepared to move away from Golkar and join a ticket sponsored by the Indonesian Democratic Party of Struggle (PDI-P) with former president Megawati as candidate for president and him as the vice-presidential candidate. "If I am not representing Golkar Party, then I have no objection ... Everything is possible in politics," Kalla said. CANNOTANSWER	CANNOTANSWER	Muhammad Jusuf Kalla (; born 15 May 1942) is an Indonesian politician and businessman who served as the 10th and 12th Vice President of Indonesia, the only vice president in Indonesian history to serve two non-consecutive terms in office (2004–2009 and 2014–2019). He was unsuccessful as Golkar's presidential nominee in the 2009 presidential election. Before Kalla declared himself as the running mate for Joko Widodo in the 2014 presidential election, a 2012 poll placed his popularity among likely voters in the top three contenders for the presidency and ahead of his own party's nominee Aburizal Bakrie. Since 2009 Kalla serves as the chairman of the Indonesian Red Cross Society. Early life Kalla was born on 15 May 1942 in Watampone, now sits in South Sulawesi. His parents were Hadji Kalla, a local businessman and Athirah, a woman who sold Buginese silk for a living. He was the second of 10 children. After completing school, Kalla attended Hasanuddin University in Makassar. At university he became active in the Indonesian Student Action Front (KAMI), a student organization which supported General Suharto in his bid to gain power from president Sukarno. Kalla was elected as chair of South Sulawesi branch of KAMI. He showed interest in a political career, becoming a member of the Regional People's Representative Council (DPRD) and chairman of the Youth Division of Golkar when it was still organised under a Joint Secretariat (Sekretariat Bersama or Sekber) format. Businessman In 1967 Kalla graduated from the Economics Faculty at Hasanuddin University. The economic situation was bleak at the time and his father, Hadji Kalla, considered shutting down the family business, NV Hadji Kalla. Instead, Kalla decided to take over the firm. Putting aside his political activities, in 1968 Kalla became CEO of NV Hadji Kalla while his father became chairman. In the beginning the business only had one employee and business was slow. Kalla's mother assisted by trading silk and running a small transportation business with three buses. Over time the business grew and became quite successful. NV Hadji Kalla expanded from the export-import trading business into other sectors (hotels, infrastructure construction, car dealerships, aerobridges, shipping, real estate, transportation, a shrimp farm, oil palm, and telecommunications). In addition to being CEO of NV Hadji Kalla, Kalla was also CEO of various subsidiaries of the firm. In 1977, Kalla graduated from INSEAD, an international business school in Fontainebleau, south of Paris. "NV Hadji Kalla" is now known as the Kalla Group and is one of the leading business groups in Indonesia, especially in Eastern Indonesia. Affiliations Aside from his business career, Kalla has been active in numerous well-known organizations. From 1979 to 1989, he was chairman of the Indonesian Economics Graduates Association (ISEI) in Makassar (known as Ujung Pandang at the time) and continues to be an adviser for ISEI. Kalla was extensively involved with the Chamber of Commerce and Industry (KADIN). From 1985 to 1998 he was chairman for KADIN in South Sulawesi and was coordinator for KADIN in eastern Indonesia. In addition, Kalla is on the board of trustees for three universities in Makassar. Kalla has contributed socially by building the Al Markaz Mosque and becoming chairman of its Islamic centre. Former Vice President of Indonesia Jusuf Kalla acted as an ambassador for Komodo in the New 7 Wonders of Nature, a global voting campaign to elect the seven natural wonders of the world. The results of the campaign were released in 2011, and Komodo is now one of the New 7 Wonders of Nature. In 2015, the Jusuf Kalla School of Government at Muhammadiyah University of Yogyakarta was established, with the school being funded by Kalla. Kalla is seen in The Act of Killing film praising Pancasila Youth and encouraging them to commit violence. Political career Member of the People's Consultative Assembly Kalla returned to active politics in 1987 when he was appointed to the People's Consultative Assembly (MPR) as a regional representative for South Sulawesi. He was re-appointed to the MPR in 1992, 1997, and 1999. Wahid and Megawati Presidency When Kyai Haji Abdurrahman Wahid (often known as Gus Dur) was elected as president by the MPR in 1999, Kalla was included in the cabinet and became Minister of Industry and Trade. He had only been a minister for six months when in April 2000 Wahid removed him along with the Minister of State-Owned Enterprises. Wahid accused both Kalla and minister Laksamana of corruption, although he never produced evidence to support the charge, and Kalla denied the allegations. In July 2001, at a special session of the MPR, President Gus Dur was dismissed from office. Vice President Megawati Sukarnoputri took over the presidency and included Kalla in her cabinet, appointing him to the senior post of Coordinating Minister of People's Welfare. Although it was not part of his ministerial brief, Kalla helped solve the inter-religious conflict in Poso on his native island of Sulawesi. Kalla facilitated the negotiation which resulted in the signing of the Malino II Accord on 20 December 2001 and an end to the conflict which had gone on for three years. Two months later, Kalla helped solve another conflict in Sulawesi. On 12 February 2002, Kalla, together with Coordinating Minister of Politics and Society Susilo Bambang Yudhoyono, managed to solve a similar conflict on Ambon and Molucca through a second Malino Declaration. Road to Vice Presidency Now a popular figure for assisting with the peace process in Sulawesi, Kalla considered putting himself forward as a candidate in the 2004 presidential elections. In August 2003 he announced his candidacy and enlisted as a participant in Golkar's 2004 Convention which would choose the Golkar candidate for president. As the months went by, however, Kalla came to be seen more as a vice presidential candidate. He was expected to partner a Javanese presidential candidate and his non-Javanese background was seen as a means of attracting non-Javanese votes which a Javanese candidate might have trouble getting. Just days before the Golkar national convention, Kalla decided to withdraw from running under the Golkar banner. Rather, he accepted the offer from the Democratic Party's (PD) Yudhoyono to become his running mate. The pair also received the support of the Crescent Star Party (PBB), the Indonesian Justice and Unity Party (PKPI), and Reform Star Party (PBR). On 5 July 2004 the presidential election was held. Yudhoyono and Kalla won the popular vote with 33% of the votes but 50% of votes is required for election as president and vice president so a run-off was required. Yudhoyono and Megawati proceeded to the second election round held later in the year. In the second ground Yudhoyono faced a considerable challenge from Megawati who formed a national coalition consisting of her own Indonesian Democratic Party-Struggle (PDI-P) along with Golkar, the United Development Party, the Prosperous Peace Party (PDS), and the Indonesian National Party (PNI). Whilst Yudhoyono consolidated political support from other parties, Kalla turned to Golkar for support. Led by Fahmi Idris and ignoring the party line, pro-Kalla elements in Golkar declared their support for Kalla and Yudhoyono. On 20 September 2004 Yudhoyono and Kalla won the run-off with 60.1% of the vote. First vice-presidential term Although he had overwhelmingly won the Presidency, Yudhoyono was still weak in the People's Representative Council (DPR). PD with all of its coalition partners were still too weak to contend with the legislative muscles of Golkar and PDI-P who now intended to play the role of opposition. With a National Congress to be held in December 2004, Yudhoyono and Kalla had originally backed head of DPR Agung Laksono to become Golkar Chairman. When Agung was perceived to be too weak to run against Akbar, Yudhoyono and Kalla threw their weight behind Surya Paloh. Finally, when Paloh was also perceived to be too weak to run against Akbar, Yudhoyono gave the green light for Kalla to run for the Golkar Chairmanship. On 19 December 2004, Kalla was elected as the new Chairman of Golkar. Kalla's victory posed a dilemma for Yudhoyono. Although it now enabled Yudhoyono to pass legislation, Kalla's new position meant that in one sense, he was now more powerful than Yudhoyono. The first sign of rivalry came during the Indian Ocean tsunami when Kalla, apparently on his own initiative, assembled the ministers and signed a vice presidential decree ordering work to begin on rehabilitating Aceh. The legality of the Vice Presidential decree was questioned although Yudhoyono maintained that it was he who gave the orders for Kalla to proceed. The second sign was in September 2005 when Yudhoyono went to New York to attend the annual United Nations Summit. Although Yudhoyono had left Kalla to take charge of proceedings at Jakarta, he seemed to be bent on maintaining a watch on matters at home. Yudhoyono would hold a video conference from New York to receive reports from ministers. Critics suggested that such conduct was an expression of distrust by Yudhoyono The suggestion seemed to gain momentum when Kalla only showed up for one video conference and then spent the rest of the time taking care of Golkar matters. Although things calmed down, especially with Golkar gaining another cabinet position in the reshuffle, the alleged rivalry surfaced again in October 2006 when Yudhoyono established the Presidential Work Unit for the Organization of Reform Program (UKP3R). Critics questioned whether the establishment of the unit was an attempt by Yudhoyono to exclude Kalla from the government. Yudhoyono was quick to clarify that in supervising UKP3R, he would be assisted by Kalla. Potential presidential candidacy in 2014 Kalla has been often mentioned as a possible nominee of the Golkar Party in the 2014 presidential race. In 2009 Kalla ran in the Indonesian presidential election with former Armed Forces Chief of Staff Wiranto as his running mate, finishing third with 12.4% of the vote. During a dedication ceremony of the Indonesian Red Cross headquarters in the Riau province on 3 February 2012 Kalla stated his willingness to run in the presidential election in 2014 should he receive sufficient public support. By May 2012 however, Kalla stated that he had no intention of running in the 2014 Presidential election. Kalla said he had no hard feelings about party chairman Aburizal Bakrie's upcoming inauguration as presidential candidate for the Golkar Party and that he had no intention of competing with him despite surveys that showed that Kalla was likely to be more electable than Bakrie. During Golkar's National Leadership meeting in Bogor on 29 June 2012, Bakrie was officially declared the Golkar Party's 2014 Presidential candidate. Nevertheless, in the changeable political scene in Indonesia the situation can be expected to evolve in the preparations for the 2014 presidential election. In late 2012 Jusuf Kalla indicated that he would be prepared to move away from Golkar and join a ticket sponsored by the Indonesian Democratic Party of Struggle (PDI-P) with former president Megawati as candidate for president and him as the vice-presidential candidate. "If I am not representing Golkar Party, then I have no objection ... Everything is possible in politics," Kalla said. Jokowi's running mate Indonesian Democratic Party of Struggle (PDIP)'s presidential candidate Joko Widodo announced Jusuf Kalla as his vice presidential running mate at Gedung Juang, Jakarta, on 19 May 2014. Second vice-presidential term During his second term as vice president, Kalla criticized neighbor nations Malaysia and Singapore for airing their concerns about suffering from the repeated haze caused by Indonesian forest fires, stating in March 2015: "For 11 months, they enjoyed nice air from Indonesia and they never thanked us. They have suffered because of the haze for one month and they get upset." During the 2015 Southeast Asian haze crisis in September, Kalla restated a similar position, while further questioning "why should there be an apology" from Indonesia. It was also noted that Kalla had made similar comments between 2005 and 2007 during his first term of Vice Presidency. In what was interpreted as a response to Kalla, the Singaporean Minister for Foreign Affairs, K. Shanmugam, while noting that "PSI levels in parts of Indonesia are at almost 2,000", expressed disappointment at "shocking statements made, at senior levels, from Indonesia ... without any regard for their people, or ours, and without any embarrassment, or sense of responsibility". With Indonesia's pollution index by the Indonesian Agency for Meteorology, Climatology and Geophysics declaring values over 350 to be "hazardous", it was reported on 22 September 2015 that the index in Palangkaraya in Central Kalimantan had hit 1,986. Later in September, Kalla insisted that Indonesia is "open", and requested that "Singapore, please come if you want to help. Don't just talk"; this was in spite of earlier rejections (in that month) by Indonesia of Singapore's offers of assistance. In November, Kalla said that the destruction of Indonesian forests was "not only our problem" as "foreign people" were also responsible. He scolded foreign companies, saying "You take [Indonesian products], and pay $5, and you bring it here, and sell for $100. Indonesian companies just get $5 ... you have to pay, if not we will cut down all the trees, and let the world feel the heat ... The world has to pay for all of this. Don't always accuse Indonesia." He also reiterated that since Singapore and Malaysia did not thank Indonesia for "fresh air from Sumatra, Kalimantan", then there was no need for Indonesia to apologize for haze from Indonesian forest fires. In February 2016, Kalla told the United Nations Development Programme not to finance or carry out an LGBT (lesbian, gay, bisexual, and transgender) community program in Indonesia. Kalla previously stated opposition to LGBT campaigns in Indonesia, which he considered at that point as deviating from social values. In April 2016, Kalla reportedly criticized how Singapore, "never wants to sign" an extradition agreement with Indonesia, despite Singapore supposedly being the "country where the largest number of" Indonesian fugitives had fled. The Singaporean Ministry of Foreign Affairs responded by pointing out that an Indonesia-Singapore extradition treaty cum defence cooperation pact had been signed in 2007, while Kalla was also Vice President, but the treaty was still pending ratification by the Indonesian House of Representatives. The Indonesian House had rejected the dual agreement in 2013 as "not favourable to Indonesia", maintaining that "extradition and defence are two separate issues". In December 2018, the issue of China's Xinjiang re-education camps and human rights abuses against the Uyghur Muslim minority was brought up in parliament. Kalla said: "we don't want to intervene in the domestic affairs of another country." Personal life Kalla is married to Mufidah Miad Saad, with whom he has five children, Muchlisa, Muswira, Imelda, Solichin and Chaerani. His career after the vice presidency has included many community activities. On 22 December 2009, he was elected as chairman of Indonesian Red Cross Society (Palang Merah Indonesia, PMI). Kalla said that under his leadership the PMI would build up stocks in the national blood bank to prepare for any increased demand for blood by hospital patients and victims of natural disasters. He also holds an Advance class amateur radio license with call sign YC8HYK. Decorations As the vice president of Indonesia, Kalla is automatically bestowed the highest class of 6 out of 7 civilian Star Decorations (), namely: See also List of vice presidents of Indonesia Notes References External links Profile at TokohIndonesia Official Site of Jusuf Kalla Jusuf Kalla's Blog Official Site of Sahabat Muda Jusuf Kalla-Wiranto Official Site of Jusuf Kalla and Wiranto for Presidential Election 2009 1942 births Bugis people Hasanuddin University alumni INSEAD alumni Indonesian Muslims Living people Politicians from South Sulawesi Vice presidents of Indonesia Golkar politicians People from Bone Regency Government ministers of Indonesia Trade ministers of Indonesia Industry ministers of Indonesia	false	[ "Bulaki Das Kalla (born 4 October 1949) or Dr. B.D. Kalla, is an Indian politician from Bikaner Rajasthan. He is Education(primary and secondary), sanskrit education,arts, literature and culture & ASI minister in Rajasthan government.\n\nFamily and Education \nHe has done B.Sc., M.A. (Economics), L.L.B and Ph.D. He is the son of Giridhari Lal Kalla. He got married to Shiv Kumari Kalla on 10 February 1971. They have two sons (Ashwani Kalla and Pawan Kalla) and two daughters (Radha & Rajani).\n\nCareer \nDr. B.D. Kalla began his career in 1974 as a lecturer in a B.J.S. Rampuriya College in Bikaner. Then he turned towards politics and served as an MLA from Bikaner city in the Rajasthan Legislative Assembly upon winning assembly elections for 5 times i.e. in 1980, 1985, 1990, 1998 and 2003.\n\nKalla served as the Minister for Secondary Education from 1990 and 2003 and did justice for his position with his previous experience in the education sector. Dr. B.D. Kalla was the Leader of the Opposition party from January 2004 to January 2006, as an active member of Indian National Congress in Rajasthan Legislative Assembly. He also served as President of Rajasthan Pradesh Congress Committee & Chairman of 4th Finance Commission.\n\nIn 2008 Rajasthan Legislative Assembly elections, the Bikaner constituency was split into Bikaner East (Rajasthan Assembly constituency) and Bikaner West (Rajasthan Assembly constituency) after the delimitation of boundaries by the Govt. BD Kalla lost 2008 & 2013 elections to BJP candidate Dr. Gopal Joshi (who is also Dr. Kalla's brother-in-law).\n\n2018 Rajasthan Assembly Elections \n\nIn November 2018, INC announced its first list of candidates & Dr. Kalla's name was not in it. His supporters took it offensively which caused political turmoil in Bikaner and Congress leadership took note of it, hence allocating ticket to Dr.Kalla from Bikaner West Constituency.\n\nIn December 2018, Dr BD Kalla won & become Minister in CM Ashok Gehlot's cabinet. He is one of the three ministers who have studied up to Ph.D., out of a total of 23 ministers in Gehlot's 2018 Cabinet. He was minister of Energy, Public Health Engineering, Ground Water, Art, Culture & Archeology departments till November 2021, and currently is the State Education Minister in Rajasthan Government.\n\nReferences\n\nExternal links\n Profile\n Personal website\n\nIndian National Congress politicians\n1949 births\nLiving people\nRajasthani politicians\nPeople from Bikaner\nLeaders of the Opposition in Rajasthan", "Muhammad Jusuf Kalla (; born 15 May 1942) is an Indonesian politician and businessman who served as the 10th and 12th Vice President of Indonesia, the only vice president in Indonesian history to serve two non-consecutive terms in office (2004–2009 and 2014–2019). He was unsuccessful as Golkar's presidential nominee in the 2009 presidential election. Before Kalla declared himself as the running mate for Joko Widodo in the 2014 presidential election, a 2012 poll placed his popularity among likely voters in the top three contenders for the presidency and ahead of his own party's nominee Aburizal Bakrie.\n\nSince 2009 Kalla serves as the chairman of the Indonesian Red Cross Society.\n\nEarly life\nKalla was born on 15 May 1942 in Watampone, now sits in South Sulawesi. His parents were Hadji Kalla, a local businessman and Athirah, a woman who sold Buginese silk for a living. He was the second of 10 children.\n\nAfter completing school, Kalla attended Hasanuddin University in Makassar. At university he became active in the Indonesian Student Action Front (KAMI), a student organization which supported General Suharto in his bid to gain power from president Sukarno. Kalla was elected as chair of South Sulawesi branch of KAMI. He showed interest in a political career, becoming a member of the Regional People's Representative Council (DPRD) and chairman of the Youth Division of Golkar when it was still organised under a Joint Secretariat (Sekretariat Bersama or Sekber) format.\n\nBusinessman\nIn 1967 Kalla graduated from the Economics Faculty at Hasanuddin University. The economic situation was bleak at the time and his father, Hadji Kalla, considered shutting down the family business, NV Hadji Kalla. Instead, Kalla decided to take over the firm. Putting aside his political activities, in 1968 Kalla became CEO of NV Hadji Kalla while his father became chairman. In the beginning the business only had one employee and business was slow. Kalla's mother assisted by trading silk and running a small transportation business with three buses. Over time the business grew and became quite successful. NV Hadji Kalla expanded from the export-import trading business into other sectors (hotels, infrastructure construction, car dealerships, aerobridges, shipping, real estate, transportation, a shrimp farm, oil palm, and telecommunications). In addition to being CEO of NV Hadji Kalla, Kalla was also CEO of various subsidiaries of the firm. In 1977, Kalla graduated from INSEAD, an international business school in Fontainebleau, south of Paris. \"NV Hadji Kalla\" is now known as the Kalla Group and is one of the leading business groups in Indonesia, especially in Eastern Indonesia.\n\nAffiliations\nAside from his business career, Kalla has been active in numerous well-known organizations. From 1979 to 1989, he was chairman of the Indonesian Economics Graduates Association (ISEI) in Makassar (known as Ujung Pandang at the time) and continues to be an adviser for ISEI. Kalla was extensively involved with the Chamber of Commerce and Industry (KADIN). From 1985 to 1998 he was chairman for KADIN in South Sulawesi and was coordinator for KADIN in eastern Indonesia. In addition, Kalla is on the board of trustees for three universities in Makassar. Kalla has contributed socially by building the Al Markaz Mosque and becoming chairman of its Islamic centre.\n\nFormer Vice President of Indonesia Jusuf Kalla acted as an ambassador for Komodo in the New 7 Wonders of Nature, a global voting campaign to elect the seven natural wonders of the world. The results of the campaign were released in 2011, and Komodo is now one of the New 7 Wonders of Nature.\n\nIn 2015, the Jusuf Kalla School of Government at Muhammadiyah University of Yogyakarta was established, with the school being funded by Kalla.\n\nKalla is seen in The Act of Killing film praising Pancasila Youth and encouraging them to commit violence.\n\nPolitical career\n\nMember of the People's Consultative Assembly\nKalla returned to active politics in 1987 when he was appointed to the People's Consultative Assembly (MPR) as a regional representative for South Sulawesi. He was re-appointed to the MPR in 1992, 1997, and 1999.\n\nWahid and Megawati Presidency\nWhen Kyai Haji Abdurrahman Wahid (often known as Gus Dur) was elected as president by the MPR in 1999, Kalla was included in the cabinet and became Minister of Industry and Trade. He had only been a minister for six months when in April 2000 Wahid removed him along with the Minister of State-Owned Enterprises. Wahid accused both Kalla and minister Laksamana of corruption, although he never produced evidence to support the charge, and Kalla denied the allegations.\n\nIn July 2001, at a special session of the MPR, President Gus Dur was dismissed from office. Vice President Megawati Sukarnoputri took over the presidency and included Kalla in her cabinet, appointing him to the senior post of Coordinating Minister of People's Welfare. Although it was not part of his ministerial brief, Kalla helped solve the inter-religious conflict in Poso on his native island of Sulawesi. Kalla facilitated the negotiation which resulted in the signing of the Malino II Accord on 20 December 2001 and an end to the conflict which had gone on for three years. Two months later, Kalla helped solve another conflict in Sulawesi. On 12 February 2002, Kalla, together with Coordinating Minister of Politics and Society Susilo Bambang Yudhoyono, managed to solve a similar conflict on Ambon and Molucca through a second Malino Declaration.\n\nRoad to Vice Presidency\nNow a popular figure for assisting with the peace process in Sulawesi, Kalla considered putting himself forward as a candidate in the 2004 presidential elections. In August 2003 he announced his candidacy and enlisted as a participant in Golkar's 2004 Convention which would choose the Golkar candidate for president. As the months went by, however, Kalla came to be seen more as a vice presidential candidate. He was expected to partner a Javanese presidential candidate and his non-Javanese background was seen as a means of attracting non-Javanese votes which a Javanese candidate might have trouble getting.\n\nJust days before the Golkar national convention, Kalla decided to withdraw from running under the Golkar banner. Rather, he accepted the offer from the Democratic Party's (PD) Yudhoyono to become his running mate. The pair also received the support of the Crescent Star Party (PBB), the Indonesian Justice and Unity Party (PKPI), and Reform Star Party (PBR).\n\nOn 5 July 2004 the presidential election was held. Yudhoyono and Kalla won the popular vote with 33% of the votes but 50% of votes is required for election as president and vice president so a run-off was required. Yudhoyono and Megawati proceeded to the second election round held later in the year.\n\nIn the second ground Yudhoyono faced a considerable challenge from Megawati who formed a national coalition consisting of her own Indonesian Democratic Party-Struggle (PDI-P) along with Golkar, the United Development Party, the Prosperous Peace Party (PDS), and the Indonesian National Party (PNI). Whilst Yudhoyono consolidated political support from other parties, Kalla turned to Golkar for support. Led by Fahmi Idris and ignoring the party line, pro-Kalla elements in Golkar declared their support for Kalla and Yudhoyono. On 20 September 2004 Yudhoyono and Kalla won the run-off with 60.1% of the vote.\n\nFirst vice-presidential term\n\nAlthough he had overwhelmingly won the Presidency, Yudhoyono was still weak in the People's Representative Council (DPR). PD with all of its coalition partners were still too weak to contend with the legislative muscles of Golkar and PDI-P who now intended to play the role of opposition.\n\nWith a National Congress to be held in December 2004, Yudhoyono and Kalla had originally backed head of DPR Agung Laksono to become Golkar Chairman. When Agung was perceived to be too weak to run against Akbar, Yudhoyono and Kalla threw their weight behind Surya Paloh. Finally, when Paloh was also perceived to be too weak to run against Akbar, Yudhoyono gave the green light for Kalla to run for the Golkar Chairmanship. On 19 December 2004, Kalla was elected as the new Chairman of Golkar.\n\nKalla's victory posed a dilemma for Yudhoyono. Although it now enabled Yudhoyono to pass legislation, Kalla's new position meant that in one sense, he was now more powerful than Yudhoyono.\n\nThe first sign of rivalry came during the Indian Ocean tsunami when Kalla, apparently on his own initiative, assembled the ministers and signed a vice presidential decree ordering work to begin on rehabilitating Aceh. The legality of the Vice Presidential decree was questioned although Yudhoyono maintained that it was he who gave the orders for Kalla to proceed.\n\nThe second sign was in September 2005 when Yudhoyono went to New York to attend the annual United Nations Summit. Although Yudhoyono had left Kalla to take charge of proceedings at Jakarta, he seemed to be bent on maintaining a watch on matters at home. Yudhoyono would hold a video conference from New York to receive reports from ministers. Critics suggested that such conduct was an expression of distrust by Yudhoyono The suggestion seemed to gain momentum when Kalla only showed up for one video conference and then spent the rest of the time taking care of Golkar matters.\n\nAlthough things calmed down, especially with Golkar gaining another cabinet position in the reshuffle, the alleged rivalry surfaced again in October 2006 when Yudhoyono established the Presidential Work Unit for the Organization of Reform Program (UKP3R). Critics questioned whether the establishment of the unit was an attempt by Yudhoyono to exclude Kalla from the government. Yudhoyono was quick to clarify that in supervising UKP3R, he would be assisted by Kalla.\n\nPotential presidential candidacy in 2014\nKalla has been often mentioned as a possible nominee of the Golkar Party in the 2014 presidential race. In 2009 Kalla ran in the Indonesian presidential election with former Armed Forces Chief of Staff Wiranto as his running mate, finishing third with 12.4% of the vote.\n\nDuring a dedication ceremony of the Indonesian Red Cross headquarters in the Riau province on 3 February 2012 Kalla stated his willingness to run in the presidential election in 2014 should he receive sufficient public support. By May 2012 however, Kalla stated that he had no intention of running in the 2014 Presidential election. Kalla said he had no hard feelings about party chairman Aburizal Bakrie's upcoming inauguration as presidential candidate for the Golkar Party and that he had no intention of competing with him despite surveys that showed that Kalla was likely to be more electable than Bakrie. During Golkar's National Leadership meeting in Bogor on 29 June 2012, Bakrie was officially declared the Golkar Party's 2014 Presidential candidate.\n\nNevertheless, in the changeable political scene in Indonesia the situation can be expected to evolve in the preparations for the 2014 presidential election. In late 2012 Jusuf Kalla indicated that he would be prepared to move away from Golkar and join a ticket sponsored by the Indonesian Democratic Party of Struggle (PDI-P) with former president Megawati as candidate for president and him as the vice-presidential candidate. \"If I am not representing Golkar Party, then I have no objection ... Everything is possible in politics,\" Kalla said.\n\nJokowi's running mate\n\nIndonesian Democratic Party of Struggle (PDIP)'s presidential candidate Joko Widodo announced Jusuf Kalla as his vice presidential running mate at Gedung Juang, Jakarta, on 19 May 2014.\n\nSecond vice-presidential term\n\nDuring his second term as vice president, Kalla criticized neighbor nations Malaysia and Singapore for airing their concerns about suffering from the repeated haze caused by Indonesian forest fires, stating in March 2015: \"For 11 months, they enjoyed nice air from Indonesia and they never thanked us. They have suffered because of the haze for one month and they get upset.\" During the 2015 Southeast Asian haze crisis in September, Kalla restated a similar position, while further questioning \"why should there be an apology\" from Indonesia. It was also noted that Kalla had made similar comments between 2005 and 2007 during his first term of Vice Presidency. In what was interpreted as a response to Kalla, the Singaporean Minister for Foreign Affairs, K. Shanmugam, while noting that \"PSI levels in parts of Indonesia are at almost 2,000\", expressed disappointment at \"shocking statements made, at senior levels, from Indonesia ... without any regard for their people, or ours, and without any embarrassment, or sense of responsibility\". With Indonesia's pollution index by the Indonesian Agency for Meteorology, Climatology and Geophysics declaring values over 350 to be \"hazardous\", it was reported on 22 September 2015 that the index in Palangkaraya in Central Kalimantan had hit 1,986. Later in September, Kalla insisted that Indonesia is \"open\", and requested that \"Singapore, please come if you want to help. Don't just talk\"; this was in spite of earlier rejections (in that month) by Indonesia of Singapore's offers of assistance. In November, Kalla said that the destruction of Indonesian forests was \"not only our problem\" as \"foreign people\" were also responsible. He scolded foreign companies, saying \"You take [Indonesian products], and pay $5, and you bring it here, and sell for $100. Indonesian companies just get $5 ... you have to pay, if not we will cut down all the trees, and let the world feel the heat ... The world has to pay for all of this. Don't always accuse Indonesia.\" He also reiterated that since Singapore and Malaysia did not thank Indonesia for \"fresh air from Sumatra, Kalimantan\", then there was no need for Indonesia to apologize for haze from Indonesian forest fires.\n\nIn February 2016, Kalla told the United Nations Development Programme not to finance or carry out an LGBT (lesbian, gay, bisexual, and transgender) community program in Indonesia. Kalla previously stated opposition to LGBT campaigns in Indonesia, which he considered at that point as deviating from social values.\n\nIn April 2016, Kalla reportedly criticized how Singapore, \"never wants to sign\" an extradition agreement with Indonesia, despite Singapore supposedly being the \"country where the largest number of\" Indonesian fugitives had fled. The Singaporean Ministry of Foreign Affairs responded by pointing out that an Indonesia-Singapore extradition treaty cum defence cooperation pact had been signed in 2007, while Kalla was also Vice President, but the treaty was still pending ratification by the Indonesian House of Representatives. The Indonesian House had rejected the dual agreement in 2013 as \"not favourable to Indonesia\", maintaining that \"extradition and defence are two separate issues\".\n\nIn December 2018, the issue of China's Xinjiang re-education camps and human rights abuses against the Uyghur Muslim minority was brought up in parliament. Kalla said: \"we don't want to intervene in the domestic affairs of another country.\"\n\nPersonal life\n\nKalla is married to Mufidah Miad Saad, with whom he has five children, Muchlisa, Muswira, Imelda, Solichin and Chaerani.\n\nHis career after the vice presidency has included many community activities. On 22 December 2009, he was elected as chairman of Indonesian Red Cross Society (Palang Merah Indonesia, PMI). Kalla said that under his leadership the PMI would build up stocks in the national blood bank to prepare for any increased demand for blood by hospital patients and victims of natural disasters.\n\nHe also holds an Advance class amateur radio license with call sign YC8HYK.\n\nDecorations \nAs the vice president of Indonesia, Kalla is automatically bestowed the highest class of 6 out of 7 civilian Star Decorations (), namely:\n\nSee also\n\nList of vice presidents of Indonesia\n\nNotes\n\nReferences\n\nExternal links\n\n Profile at TokohIndonesia\n Official Site of Jusuf Kalla\n Jusuf Kalla's Blog\n Official Site of Sahabat Muda Jusuf Kalla-Wiranto\n Official Site of Jusuf Kalla and Wiranto for Presidential Election 2009\n\n1942 births\nBugis people\nHasanuddin University alumni\nINSEAD alumni\nIndonesian Muslims\nLiving people\nPoliticians from South Sulawesi\nVice presidents of Indonesia\nGolkar politicians\nPeople from Bone Regency\nGovernment ministers of Indonesia\nTrade ministers of Indonesia\nIndustry ministers of Indonesia" ]
[ "Jusuf Kalla", "Presidential elections 2014", "What was the result of the 2014 elections?", "Bakrie was officially declared the Golkar Party's 2014 Presidential candidate.", "Was Kalla happy with the result?", "In 2009 Kalla ran in the Indonesian presidential election", "What caused Kalla to lose?", "I don't know." ]	C_cb1db69e7ea34ed592a8b45311a41bbb_0	Any other interesting information?	4	Any other interesting information besides Kalla running for president in 2009?	Jusuf Kalla	Kalla has been often mentioned as a possible nominee of the Golkar Party in the 2014 presidential race. In 2009 Kalla ran in the Indonesian presidential election with former Armed Forces Chief of Staff Wiranto as his running mate, finishing third with 12.4% of the vote. During a dedication ceremony of the Indonesian Red Cross headquarters in the Riau province on 3 February 2012 Kalla stated his willingness to run in the presidential election in 2014 should he receive sufficient public support. By May 2012 however, Kalla stated that he had no intention of running in the 2014 Presidential election. Kalla said he had no hard feelings about party chairman Aburizal Bakrie's upcoming inauguration as presidential candidate for the Golkar Party and that he had no intention of competing with him despite surveys that showed that Kalla was likely to be more electable than Bakrie. During Golkar's National Leadership meeting in Bogor on 29 June 2012, Bakrie was officially declared the Golkar Party's 2014 Presidential candidate. Nevertheless, in the changeable political scene in Indonesia the situation can be expected to evolve in the preparations for the 2014 presidential election. In late 2012 Jusuf Kalla indicated that he would be prepared to move away from Golkar and join a ticket sponsored by the Indonesian Democratic Party of Struggle (PDI-P) with former president Megawati as candidate for president and him as the vice-presidential candidate. "If I am not representing Golkar Party, then I have no objection ... Everything is possible in politics," Kalla said. CANNOTANSWER	During a dedication ceremony of the Indonesian Red Cross headquarters in the Riau province on 3 February 2012 Kalla stated his willingness to run in the presidential election	Muhammad Jusuf Kalla (; born 15 May 1942) is an Indonesian politician and businessman who served as the 10th and 12th Vice President of Indonesia, the only vice president in Indonesian history to serve two non-consecutive terms in office (2004–2009 and 2014–2019). He was unsuccessful as Golkar's presidential nominee in the 2009 presidential election. Before Kalla declared himself as the running mate for Joko Widodo in the 2014 presidential election, a 2012 poll placed his popularity among likely voters in the top three contenders for the presidency and ahead of his own party's nominee Aburizal Bakrie. Since 2009 Kalla serves as the chairman of the Indonesian Red Cross Society. Early life Kalla was born on 15 May 1942 in Watampone, now sits in South Sulawesi. His parents were Hadji Kalla, a local businessman and Athirah, a woman who sold Buginese silk for a living. He was the second of 10 children. After completing school, Kalla attended Hasanuddin University in Makassar. At university he became active in the Indonesian Student Action Front (KAMI), a student organization which supported General Suharto in his bid to gain power from president Sukarno. Kalla was elected as chair of South Sulawesi branch of KAMI. He showed interest in a political career, becoming a member of the Regional People's Representative Council (DPRD) and chairman of the Youth Division of Golkar when it was still organised under a Joint Secretariat (Sekretariat Bersama or Sekber) format. Businessman In 1967 Kalla graduated from the Economics Faculty at Hasanuddin University. The economic situation was bleak at the time and his father, Hadji Kalla, considered shutting down the family business, NV Hadji Kalla. Instead, Kalla decided to take over the firm. Putting aside his political activities, in 1968 Kalla became CEO of NV Hadji Kalla while his father became chairman. In the beginning the business only had one employee and business was slow. Kalla's mother assisted by trading silk and running a small transportation business with three buses. Over time the business grew and became quite successful. NV Hadji Kalla expanded from the export-import trading business into other sectors (hotels, infrastructure construction, car dealerships, aerobridges, shipping, real estate, transportation, a shrimp farm, oil palm, and telecommunications). In addition to being CEO of NV Hadji Kalla, Kalla was also CEO of various subsidiaries of the firm. In 1977, Kalla graduated from INSEAD, an international business school in Fontainebleau, south of Paris. "NV Hadji Kalla" is now known as the Kalla Group and is one of the leading business groups in Indonesia, especially in Eastern Indonesia. Affiliations Aside from his business career, Kalla has been active in numerous well-known organizations. From 1979 to 1989, he was chairman of the Indonesian Economics Graduates Association (ISEI) in Makassar (known as Ujung Pandang at the time) and continues to be an adviser for ISEI. Kalla was extensively involved with the Chamber of Commerce and Industry (KADIN). From 1985 to 1998 he was chairman for KADIN in South Sulawesi and was coordinator for KADIN in eastern Indonesia. In addition, Kalla is on the board of trustees for three universities in Makassar. Kalla has contributed socially by building the Al Markaz Mosque and becoming chairman of its Islamic centre. Former Vice President of Indonesia Jusuf Kalla acted as an ambassador for Komodo in the New 7 Wonders of Nature, a global voting campaign to elect the seven natural wonders of the world. The results of the campaign were released in 2011, and Komodo is now one of the New 7 Wonders of Nature. In 2015, the Jusuf Kalla School of Government at Muhammadiyah University of Yogyakarta was established, with the school being funded by Kalla. Kalla is seen in The Act of Killing film praising Pancasila Youth and encouraging them to commit violence. Political career Member of the People's Consultative Assembly Kalla returned to active politics in 1987 when he was appointed to the People's Consultative Assembly (MPR) as a regional representative for South Sulawesi. He was re-appointed to the MPR in 1992, 1997, and 1999. Wahid and Megawati Presidency When Kyai Haji Abdurrahman Wahid (often known as Gus Dur) was elected as president by the MPR in 1999, Kalla was included in the cabinet and became Minister of Industry and Trade. He had only been a minister for six months when in April 2000 Wahid removed him along with the Minister of State-Owned Enterprises. Wahid accused both Kalla and minister Laksamana of corruption, although he never produced evidence to support the charge, and Kalla denied the allegations. In July 2001, at a special session of the MPR, President Gus Dur was dismissed from office. Vice President Megawati Sukarnoputri took over the presidency and included Kalla in her cabinet, appointing him to the senior post of Coordinating Minister of People's Welfare. Although it was not part of his ministerial brief, Kalla helped solve the inter-religious conflict in Poso on his native island of Sulawesi. Kalla facilitated the negotiation which resulted in the signing of the Malino II Accord on 20 December 2001 and an end to the conflict which had gone on for three years. Two months later, Kalla helped solve another conflict in Sulawesi. On 12 February 2002, Kalla, together with Coordinating Minister of Politics and Society Susilo Bambang Yudhoyono, managed to solve a similar conflict on Ambon and Molucca through a second Malino Declaration. Road to Vice Presidency Now a popular figure for assisting with the peace process in Sulawesi, Kalla considered putting himself forward as a candidate in the 2004 presidential elections. In August 2003 he announced his candidacy and enlisted as a participant in Golkar's 2004 Convention which would choose the Golkar candidate for president. As the months went by, however, Kalla came to be seen more as a vice presidential candidate. He was expected to partner a Javanese presidential candidate and his non-Javanese background was seen as a means of attracting non-Javanese votes which a Javanese candidate might have trouble getting. Just days before the Golkar national convention, Kalla decided to withdraw from running under the Golkar banner. Rather, he accepted the offer from the Democratic Party's (PD) Yudhoyono to become his running mate. The pair also received the support of the Crescent Star Party (PBB), the Indonesian Justice and Unity Party (PKPI), and Reform Star Party (PBR). On 5 July 2004 the presidential election was held. Yudhoyono and Kalla won the popular vote with 33% of the votes but 50% of votes is required for election as president and vice president so a run-off was required. Yudhoyono and Megawati proceeded to the second election round held later in the year. In the second ground Yudhoyono faced a considerable challenge from Megawati who formed a national coalition consisting of her own Indonesian Democratic Party-Struggle (PDI-P) along with Golkar, the United Development Party, the Prosperous Peace Party (PDS), and the Indonesian National Party (PNI). Whilst Yudhoyono consolidated political support from other parties, Kalla turned to Golkar for support. Led by Fahmi Idris and ignoring the party line, pro-Kalla elements in Golkar declared their support for Kalla and Yudhoyono. On 20 September 2004 Yudhoyono and Kalla won the run-off with 60.1% of the vote. First vice-presidential term Although he had overwhelmingly won the Presidency, Yudhoyono was still weak in the People's Representative Council (DPR). PD with all of its coalition partners were still too weak to contend with the legislative muscles of Golkar and PDI-P who now intended to play the role of opposition. With a National Congress to be held in December 2004, Yudhoyono and Kalla had originally backed head of DPR Agung Laksono to become Golkar Chairman. When Agung was perceived to be too weak to run against Akbar, Yudhoyono and Kalla threw their weight behind Surya Paloh. Finally, when Paloh was also perceived to be too weak to run against Akbar, Yudhoyono gave the green light for Kalla to run for the Golkar Chairmanship. On 19 December 2004, Kalla was elected as the new Chairman of Golkar. Kalla's victory posed a dilemma for Yudhoyono. Although it now enabled Yudhoyono to pass legislation, Kalla's new position meant that in one sense, he was now more powerful than Yudhoyono. The first sign of rivalry came during the Indian Ocean tsunami when Kalla, apparently on his own initiative, assembled the ministers and signed a vice presidential decree ordering work to begin on rehabilitating Aceh. The legality of the Vice Presidential decree was questioned although Yudhoyono maintained that it was he who gave the orders for Kalla to proceed. The second sign was in September 2005 when Yudhoyono went to New York to attend the annual United Nations Summit. Although Yudhoyono had left Kalla to take charge of proceedings at Jakarta, he seemed to be bent on maintaining a watch on matters at home. Yudhoyono would hold a video conference from New York to receive reports from ministers. Critics suggested that such conduct was an expression of distrust by Yudhoyono The suggestion seemed to gain momentum when Kalla only showed up for one video conference and then spent the rest of the time taking care of Golkar matters. Although things calmed down, especially with Golkar gaining another cabinet position in the reshuffle, the alleged rivalry surfaced again in October 2006 when Yudhoyono established the Presidential Work Unit for the Organization of Reform Program (UKP3R). Critics questioned whether the establishment of the unit was an attempt by Yudhoyono to exclude Kalla from the government. Yudhoyono was quick to clarify that in supervising UKP3R, he would be assisted by Kalla. Potential presidential candidacy in 2014 Kalla has been often mentioned as a possible nominee of the Golkar Party in the 2014 presidential race. In 2009 Kalla ran in the Indonesian presidential election with former Armed Forces Chief of Staff Wiranto as his running mate, finishing third with 12.4% of the vote. During a dedication ceremony of the Indonesian Red Cross headquarters in the Riau province on 3 February 2012 Kalla stated his willingness to run in the presidential election in 2014 should he receive sufficient public support. By May 2012 however, Kalla stated that he had no intention of running in the 2014 Presidential election. Kalla said he had no hard feelings about party chairman Aburizal Bakrie's upcoming inauguration as presidential candidate for the Golkar Party and that he had no intention of competing with him despite surveys that showed that Kalla was likely to be more electable than Bakrie. During Golkar's National Leadership meeting in Bogor on 29 June 2012, Bakrie was officially declared the Golkar Party's 2014 Presidential candidate. Nevertheless, in the changeable political scene in Indonesia the situation can be expected to evolve in the preparations for the 2014 presidential election. In late 2012 Jusuf Kalla indicated that he would be prepared to move away from Golkar and join a ticket sponsored by the Indonesian Democratic Party of Struggle (PDI-P) with former president Megawati as candidate for president and him as the vice-presidential candidate. "If I am not representing Golkar Party, then I have no objection ... Everything is possible in politics," Kalla said. Jokowi's running mate Indonesian Democratic Party of Struggle (PDIP)'s presidential candidate Joko Widodo announced Jusuf Kalla as his vice presidential running mate at Gedung Juang, Jakarta, on 19 May 2014. Second vice-presidential term During his second term as vice president, Kalla criticized neighbor nations Malaysia and Singapore for airing their concerns about suffering from the repeated haze caused by Indonesian forest fires, stating in March 2015: "For 11 months, they enjoyed nice air from Indonesia and they never thanked us. They have suffered because of the haze for one month and they get upset." During the 2015 Southeast Asian haze crisis in September, Kalla restated a similar position, while further questioning "why should there be an apology" from Indonesia. It was also noted that Kalla had made similar comments between 2005 and 2007 during his first term of Vice Presidency. In what was interpreted as a response to Kalla, the Singaporean Minister for Foreign Affairs, K. Shanmugam, while noting that "PSI levels in parts of Indonesia are at almost 2,000", expressed disappointment at "shocking statements made, at senior levels, from Indonesia ... without any regard for their people, or ours, and without any embarrassment, or sense of responsibility". With Indonesia's pollution index by the Indonesian Agency for Meteorology, Climatology and Geophysics declaring values over 350 to be "hazardous", it was reported on 22 September 2015 that the index in Palangkaraya in Central Kalimantan had hit 1,986. Later in September, Kalla insisted that Indonesia is "open", and requested that "Singapore, please come if you want to help. Don't just talk"; this was in spite of earlier rejections (in that month) by Indonesia of Singapore's offers of assistance. In November, Kalla said that the destruction of Indonesian forests was "not only our problem" as "foreign people" were also responsible. He scolded foreign companies, saying "You take [Indonesian products], and pay $5, and you bring it here, and sell for $100. Indonesian companies just get $5 ... you have to pay, if not we will cut down all the trees, and let the world feel the heat ... The world has to pay for all of this. Don't always accuse Indonesia." He also reiterated that since Singapore and Malaysia did not thank Indonesia for "fresh air from Sumatra, Kalimantan", then there was no need for Indonesia to apologize for haze from Indonesian forest fires. In February 2016, Kalla told the United Nations Development Programme not to finance or carry out an LGBT (lesbian, gay, bisexual, and transgender) community program in Indonesia. Kalla previously stated opposition to LGBT campaigns in Indonesia, which he considered at that point as deviating from social values. In April 2016, Kalla reportedly criticized how Singapore, "never wants to sign" an extradition agreement with Indonesia, despite Singapore supposedly being the "country where the largest number of" Indonesian fugitives had fled. The Singaporean Ministry of Foreign Affairs responded by pointing out that an Indonesia-Singapore extradition treaty cum defence cooperation pact had been signed in 2007, while Kalla was also Vice President, but the treaty was still pending ratification by the Indonesian House of Representatives. The Indonesian House had rejected the dual agreement in 2013 as "not favourable to Indonesia", maintaining that "extradition and defence are two separate issues". In December 2018, the issue of China's Xinjiang re-education camps and human rights abuses against the Uyghur Muslim minority was brought up in parliament. Kalla said: "we don't want to intervene in the domestic affairs of another country." Personal life Kalla is married to Mufidah Miad Saad, with whom he has five children, Muchlisa, Muswira, Imelda, Solichin and Chaerani. His career after the vice presidency has included many community activities. On 22 December 2009, he was elected as chairman of Indonesian Red Cross Society (Palang Merah Indonesia, PMI). Kalla said that under his leadership the PMI would build up stocks in the national blood bank to prepare for any increased demand for blood by hospital patients and victims of natural disasters. He also holds an Advance class amateur radio license with call sign YC8HYK. Decorations As the vice president of Indonesia, Kalla is automatically bestowed the highest class of 6 out of 7 civilian Star Decorations (), namely: See also List of vice presidents of Indonesia Notes References External links Profile at TokohIndonesia Official Site of Jusuf Kalla Jusuf Kalla's Blog Official Site of Sahabat Muda Jusuf Kalla-Wiranto Official Site of Jusuf Kalla and Wiranto for Presidential Election 2009 1942 births Bugis people Hasanuddin University alumni INSEAD alumni Indonesian Muslims Living people Politicians from South Sulawesi Vice presidents of Indonesia Golkar politicians People from Bone Regency Government ministers of Indonesia Trade ministers of Indonesia Industry ministers of Indonesia	true	[ "A narrative technique (known for literary fictional narratives as a literary technique, literary device, or fictional device) is any of several specific methods the creator of a narrative uses to convey what they want—in other words, a strategy used in the making of a narrative to relay information to the audience and particularly to develop the narrative, usually in order to make it more complete, complex, or interesting. Literary techniques are distinguished from literary elements, which exist inherently in works of writing.\n\nSetting\n\nPlots\n\nPerspective\n\nStyle\n\nTheme\n\nCharacter\n\nSee also \n Plot device\n\nNotes\n\nReferences \n \n\n \nNarratology\nPoetic devices\nStyle (fiction)", "SYSTAT was a command on the DEC TOPS-10 and RSTS/E computer operating systems by which one obtained the current general status of the running operating system. The commands showed the logged-on users, processes, I/O, and other interesting system management information.\n\nReferences\n\nDigital Equipment Corporation" ]
[ "Jusuf Kalla", "Presidential elections 2014", "What was the result of the 2014 elections?", "Bakrie was officially declared the Golkar Party's 2014 Presidential candidate.", "Was Kalla happy with the result?", "In 2009 Kalla ran in the Indonesian presidential election", "What caused Kalla to lose?", "I don't know.", "Any other interesting information?", "During a dedication ceremony of the Indonesian Red Cross headquarters in the Riau province on 3 February 2012 Kalla stated his willingness to run in the presidential election" ]	C_cb1db69e7ea34ed592a8b45311a41bbb_0	Was he asked to run or did he decide on his own?	5	Was Kalla asked to run in the 2012 presidential election or did he decide on his own?	Jusuf Kalla	Kalla has been often mentioned as a possible nominee of the Golkar Party in the 2014 presidential race. In 2009 Kalla ran in the Indonesian presidential election with former Armed Forces Chief of Staff Wiranto as his running mate, finishing third with 12.4% of the vote. During a dedication ceremony of the Indonesian Red Cross headquarters in the Riau province on 3 February 2012 Kalla stated his willingness to run in the presidential election in 2014 should he receive sufficient public support. By May 2012 however, Kalla stated that he had no intention of running in the 2014 Presidential election. Kalla said he had no hard feelings about party chairman Aburizal Bakrie's upcoming inauguration as presidential candidate for the Golkar Party and that he had no intention of competing with him despite surveys that showed that Kalla was likely to be more electable than Bakrie. During Golkar's National Leadership meeting in Bogor on 29 June 2012, Bakrie was officially declared the Golkar Party's 2014 Presidential candidate. Nevertheless, in the changeable political scene in Indonesia the situation can be expected to evolve in the preparations for the 2014 presidential election. In late 2012 Jusuf Kalla indicated that he would be prepared to move away from Golkar and join a ticket sponsored by the Indonesian Democratic Party of Struggle (PDI-P) with former president Megawati as candidate for president and him as the vice-presidential candidate. "If I am not representing Golkar Party, then I have no objection ... Everything is possible in politics," Kalla said. CANNOTANSWER	Kalla stated his willingness to run	Muhammad Jusuf Kalla (; born 15 May 1942) is an Indonesian politician and businessman who served as the 10th and 12th Vice President of Indonesia, the only vice president in Indonesian history to serve two non-consecutive terms in office (2004–2009 and 2014–2019). He was unsuccessful as Golkar's presidential nominee in the 2009 presidential election. Before Kalla declared himself as the running mate for Joko Widodo in the 2014 presidential election, a 2012 poll placed his popularity among likely voters in the top three contenders for the presidency and ahead of his own party's nominee Aburizal Bakrie. Since 2009 Kalla serves as the chairman of the Indonesian Red Cross Society. Early life Kalla was born on 15 May 1942 in Watampone, now sits in South Sulawesi. His parents were Hadji Kalla, a local businessman and Athirah, a woman who sold Buginese silk for a living. He was the second of 10 children. After completing school, Kalla attended Hasanuddin University in Makassar. At university he became active in the Indonesian Student Action Front (KAMI), a student organization which supported General Suharto in his bid to gain power from president Sukarno. Kalla was elected as chair of South Sulawesi branch of KAMI. He showed interest in a political career, becoming a member of the Regional People's Representative Council (DPRD) and chairman of the Youth Division of Golkar when it was still organised under a Joint Secretariat (Sekretariat Bersama or Sekber) format. Businessman In 1967 Kalla graduated from the Economics Faculty at Hasanuddin University. The economic situation was bleak at the time and his father, Hadji Kalla, considered shutting down the family business, NV Hadji Kalla. Instead, Kalla decided to take over the firm. Putting aside his political activities, in 1968 Kalla became CEO of NV Hadji Kalla while his father became chairman. In the beginning the business only had one employee and business was slow. Kalla's mother assisted by trading silk and running a small transportation business with three buses. Over time the business grew and became quite successful. NV Hadji Kalla expanded from the export-import trading business into other sectors (hotels, infrastructure construction, car dealerships, aerobridges, shipping, real estate, transportation, a shrimp farm, oil palm, and telecommunications). In addition to being CEO of NV Hadji Kalla, Kalla was also CEO of various subsidiaries of the firm. In 1977, Kalla graduated from INSEAD, an international business school in Fontainebleau, south of Paris. "NV Hadji Kalla" is now known as the Kalla Group and is one of the leading business groups in Indonesia, especially in Eastern Indonesia. Affiliations Aside from his business career, Kalla has been active in numerous well-known organizations. From 1979 to 1989, he was chairman of the Indonesian Economics Graduates Association (ISEI) in Makassar (known as Ujung Pandang at the time) and continues to be an adviser for ISEI. Kalla was extensively involved with the Chamber of Commerce and Industry (KADIN). From 1985 to 1998 he was chairman for KADIN in South Sulawesi and was coordinator for KADIN in eastern Indonesia. In addition, Kalla is on the board of trustees for three universities in Makassar. Kalla has contributed socially by building the Al Markaz Mosque and becoming chairman of its Islamic centre. Former Vice President of Indonesia Jusuf Kalla acted as an ambassador for Komodo in the New 7 Wonders of Nature, a global voting campaign to elect the seven natural wonders of the world. The results of the campaign were released in 2011, and Komodo is now one of the New 7 Wonders of Nature. In 2015, the Jusuf Kalla School of Government at Muhammadiyah University of Yogyakarta was established, with the school being funded by Kalla. Kalla is seen in The Act of Killing film praising Pancasila Youth and encouraging them to commit violence. Political career Member of the People's Consultative Assembly Kalla returned to active politics in 1987 when he was appointed to the People's Consultative Assembly (MPR) as a regional representative for South Sulawesi. He was re-appointed to the MPR in 1992, 1997, and 1999. Wahid and Megawati Presidency When Kyai Haji Abdurrahman Wahid (often known as Gus Dur) was elected as president by the MPR in 1999, Kalla was included in the cabinet and became Minister of Industry and Trade. He had only been a minister for six months when in April 2000 Wahid removed him along with the Minister of State-Owned Enterprises. Wahid accused both Kalla and minister Laksamana of corruption, although he never produced evidence to support the charge, and Kalla denied the allegations. In July 2001, at a special session of the MPR, President Gus Dur was dismissed from office. Vice President Megawati Sukarnoputri took over the presidency and included Kalla in her cabinet, appointing him to the senior post of Coordinating Minister of People's Welfare. Although it was not part of his ministerial brief, Kalla helped solve the inter-religious conflict in Poso on his native island of Sulawesi. Kalla facilitated the negotiation which resulted in the signing of the Malino II Accord on 20 December 2001 and an end to the conflict which had gone on for three years. Two months later, Kalla helped solve another conflict in Sulawesi. On 12 February 2002, Kalla, together with Coordinating Minister of Politics and Society Susilo Bambang Yudhoyono, managed to solve a similar conflict on Ambon and Molucca through a second Malino Declaration. Road to Vice Presidency Now a popular figure for assisting with the peace process in Sulawesi, Kalla considered putting himself forward as a candidate in the 2004 presidential elections. In August 2003 he announced his candidacy and enlisted as a participant in Golkar's 2004 Convention which would choose the Golkar candidate for president. As the months went by, however, Kalla came to be seen more as a vice presidential candidate. He was expected to partner a Javanese presidential candidate and his non-Javanese background was seen as a means of attracting non-Javanese votes which a Javanese candidate might have trouble getting. Just days before the Golkar national convention, Kalla decided to withdraw from running under the Golkar banner. Rather, he accepted the offer from the Democratic Party's (PD) Yudhoyono to become his running mate. The pair also received the support of the Crescent Star Party (PBB), the Indonesian Justice and Unity Party (PKPI), and Reform Star Party (PBR). On 5 July 2004 the presidential election was held. Yudhoyono and Kalla won the popular vote with 33% of the votes but 50% of votes is required for election as president and vice president so a run-off was required. Yudhoyono and Megawati proceeded to the second election round held later in the year. In the second ground Yudhoyono faced a considerable challenge from Megawati who formed a national coalition consisting of her own Indonesian Democratic Party-Struggle (PDI-P) along with Golkar, the United Development Party, the Prosperous Peace Party (PDS), and the Indonesian National Party (PNI). Whilst Yudhoyono consolidated political support from other parties, Kalla turned to Golkar for support. Led by Fahmi Idris and ignoring the party line, pro-Kalla elements in Golkar declared their support for Kalla and Yudhoyono. On 20 September 2004 Yudhoyono and Kalla won the run-off with 60.1% of the vote. First vice-presidential term Although he had overwhelmingly won the Presidency, Yudhoyono was still weak in the People's Representative Council (DPR). PD with all of its coalition partners were still too weak to contend with the legislative muscles of Golkar and PDI-P who now intended to play the role of opposition. With a National Congress to be held in December 2004, Yudhoyono and Kalla had originally backed head of DPR Agung Laksono to become Golkar Chairman. When Agung was perceived to be too weak to run against Akbar, Yudhoyono and Kalla threw their weight behind Surya Paloh. Finally, when Paloh was also perceived to be too weak to run against Akbar, Yudhoyono gave the green light for Kalla to run for the Golkar Chairmanship. On 19 December 2004, Kalla was elected as the new Chairman of Golkar. Kalla's victory posed a dilemma for Yudhoyono. Although it now enabled Yudhoyono to pass legislation, Kalla's new position meant that in one sense, he was now more powerful than Yudhoyono. The first sign of rivalry came during the Indian Ocean tsunami when Kalla, apparently on his own initiative, assembled the ministers and signed a vice presidential decree ordering work to begin on rehabilitating Aceh. The legality of the Vice Presidential decree was questioned although Yudhoyono maintained that it was he who gave the orders for Kalla to proceed. The second sign was in September 2005 when Yudhoyono went to New York to attend the annual United Nations Summit. Although Yudhoyono had left Kalla to take charge of proceedings at Jakarta, he seemed to be bent on maintaining a watch on matters at home. Yudhoyono would hold a video conference from New York to receive reports from ministers. Critics suggested that such conduct was an expression of distrust by Yudhoyono The suggestion seemed to gain momentum when Kalla only showed up for one video conference and then spent the rest of the time taking care of Golkar matters. Although things calmed down, especially with Golkar gaining another cabinet position in the reshuffle, the alleged rivalry surfaced again in October 2006 when Yudhoyono established the Presidential Work Unit for the Organization of Reform Program (UKP3R). Critics questioned whether the establishment of the unit was an attempt by Yudhoyono to exclude Kalla from the government. Yudhoyono was quick to clarify that in supervising UKP3R, he would be assisted by Kalla. Potential presidential candidacy in 2014 Kalla has been often mentioned as a possible nominee of the Golkar Party in the 2014 presidential race. In 2009 Kalla ran in the Indonesian presidential election with former Armed Forces Chief of Staff Wiranto as his running mate, finishing third with 12.4% of the vote. During a dedication ceremony of the Indonesian Red Cross headquarters in the Riau province on 3 February 2012 Kalla stated his willingness to run in the presidential election in 2014 should he receive sufficient public support. By May 2012 however, Kalla stated that he had no intention of running in the 2014 Presidential election. Kalla said he had no hard feelings about party chairman Aburizal Bakrie's upcoming inauguration as presidential candidate for the Golkar Party and that he had no intention of competing with him despite surveys that showed that Kalla was likely to be more electable than Bakrie. During Golkar's National Leadership meeting in Bogor on 29 June 2012, Bakrie was officially declared the Golkar Party's 2014 Presidential candidate. Nevertheless, in the changeable political scene in Indonesia the situation can be expected to evolve in the preparations for the 2014 presidential election. In late 2012 Jusuf Kalla indicated that he would be prepared to move away from Golkar and join a ticket sponsored by the Indonesian Democratic Party of Struggle (PDI-P) with former president Megawati as candidate for president and him as the vice-presidential candidate. "If I am not representing Golkar Party, then I have no objection ... Everything is possible in politics," Kalla said. Jokowi's running mate Indonesian Democratic Party of Struggle (PDIP)'s presidential candidate Joko Widodo announced Jusuf Kalla as his vice presidential running mate at Gedung Juang, Jakarta, on 19 May 2014. Second vice-presidential term During his second term as vice president, Kalla criticized neighbor nations Malaysia and Singapore for airing their concerns about suffering from the repeated haze caused by Indonesian forest fires, stating in March 2015: "For 11 months, they enjoyed nice air from Indonesia and they never thanked us. They have suffered because of the haze for one month and they get upset." During the 2015 Southeast Asian haze crisis in September, Kalla restated a similar position, while further questioning "why should there be an apology" from Indonesia. It was also noted that Kalla had made similar comments between 2005 and 2007 during his first term of Vice Presidency. In what was interpreted as a response to Kalla, the Singaporean Minister for Foreign Affairs, K. Shanmugam, while noting that "PSI levels in parts of Indonesia are at almost 2,000", expressed disappointment at "shocking statements made, at senior levels, from Indonesia ... without any regard for their people, or ours, and without any embarrassment, or sense of responsibility". With Indonesia's pollution index by the Indonesian Agency for Meteorology, Climatology and Geophysics declaring values over 350 to be "hazardous", it was reported on 22 September 2015 that the index in Palangkaraya in Central Kalimantan had hit 1,986. Later in September, Kalla insisted that Indonesia is "open", and requested that "Singapore, please come if you want to help. Don't just talk"; this was in spite of earlier rejections (in that month) by Indonesia of Singapore's offers of assistance. In November, Kalla said that the destruction of Indonesian forests was "not only our problem" as "foreign people" were also responsible. He scolded foreign companies, saying "You take [Indonesian products], and pay $5, and you bring it here, and sell for $100. Indonesian companies just get $5 ... you have to pay, if not we will cut down all the trees, and let the world feel the heat ... The world has to pay for all of this. Don't always accuse Indonesia." He also reiterated that since Singapore and Malaysia did not thank Indonesia for "fresh air from Sumatra, Kalimantan", then there was no need for Indonesia to apologize for haze from Indonesian forest fires. In February 2016, Kalla told the United Nations Development Programme not to finance or carry out an LGBT (lesbian, gay, bisexual, and transgender) community program in Indonesia. Kalla previously stated opposition to LGBT campaigns in Indonesia, which he considered at that point as deviating from social values. In April 2016, Kalla reportedly criticized how Singapore, "never wants to sign" an extradition agreement with Indonesia, despite Singapore supposedly being the "country where the largest number of" Indonesian fugitives had fled. The Singaporean Ministry of Foreign Affairs responded by pointing out that an Indonesia-Singapore extradition treaty cum defence cooperation pact had been signed in 2007, while Kalla was also Vice President, but the treaty was still pending ratification by the Indonesian House of Representatives. The Indonesian House had rejected the dual agreement in 2013 as "not favourable to Indonesia", maintaining that "extradition and defence are two separate issues". In December 2018, the issue of China's Xinjiang re-education camps and human rights abuses against the Uyghur Muslim minority was brought up in parliament. Kalla said: "we don't want to intervene in the domestic affairs of another country." Personal life Kalla is married to Mufidah Miad Saad, with whom he has five children, Muchlisa, Muswira, Imelda, Solichin and Chaerani. His career after the vice presidency has included many community activities. On 22 December 2009, he was elected as chairman of Indonesian Red Cross Society (Palang Merah Indonesia, PMI). Kalla said that under his leadership the PMI would build up stocks in the national blood bank to prepare for any increased demand for blood by hospital patients and victims of natural disasters. He also holds an Advance class amateur radio license with call sign YC8HYK. Decorations As the vice president of Indonesia, Kalla is automatically bestowed the highest class of 6 out of 7 civilian Star Decorations (), namely: See also List of vice presidents of Indonesia Notes References External links Profile at TokohIndonesia Official Site of Jusuf Kalla Jusuf Kalla's Blog Official Site of Sahabat Muda Jusuf Kalla-Wiranto Official Site of Jusuf Kalla and Wiranto for Presidential Election 2009 1942 births Bugis people Hasanuddin University alumni INSEAD alumni Indonesian Muslims Living people Politicians from South Sulawesi Vice presidents of Indonesia Golkar politicians People from Bone Regency Government ministers of Indonesia Trade ministers of Indonesia Industry ministers of Indonesia	true	[ "A leadership election for Christian and Democratic Union – Czechoslovak People's Party (KDU-ČSL) was held on 29 March 2019.\n\nCandidates\nJan Bartošek, leader of party's MPs didn't rule out candidacy. He announced his candidacy on 22 October 2018.\nMarian Jurečka, the Deputy leader of the party announced his intention to run on 23 September 2018. He officially announced his candidacy on 27 November 2018.\nJaroslav Vlach, announced his candidacy on 29 March 2019.\nMarek Výborný, MP. His candidacy was suggested by some prominent members of the party. He himself admitted interest in candidacy. He announced his candidacy on 6 November 2018.\n\nDeclined\nPavel Bělobrádek, the incumbent leader of KDU-ČSL stated he will decide whether he runs for another term after 2018 local and senate elections.\nJiří Čunek, Senator and former leader. After his success in 2018 Senate election he stated that he thinks about candidacy. He decided to not run. He announced his decision on 18 February 2019.\n\nCampaign\nChristian Democrats decided to hold a series of debates to help decide who will become the new leader. The first debate was held on 25 February 2019. Bartošek, Jurečka and Výborný participated. All candidates agreed that it was a good choice to not join government coalition led by ANO 2011.\n\nSouth Bohemian KDU-ČSL held conference on 9 March 2019 and gave its nomination to Bartošek. Jurečka on the other hand received nomination from Olomouc regional organisation.\n\nResult\n\nVoting\n\nReferences\n\nKDU-ČSL leadership elections\n2019 elections in the Czech Republic\nIndirect elections\nChristian and Democratic Union - Czechoslovak People's Party leadership election", "René François Gautier (25 April 1851 – 30 August 1936) was a French Bonapartiste politician. He was twice deputy of Charente during the French Third Republic.\n\nLife\n\nRené-François Gautier was born on 25 April 1851 in Aigre, Charente.\nHis father was Louis Gautier, deputy of Charente.\n\nAfter his father resigned, René-François Gautier was elected in his place for the district of Ruffec on 29 February 1880.\nHe won by 7,277 votes to 6,876 for his republican opponent. \nIn the Chamber he joined the Appel au peuple parliamentary group, and voted with the conservative minority.\nHe voted against the amnesty for the members of the Paris Commune, against the new laws on the press and the right of assembly.\nHe was reelected on 21 August 1881.\nHe spoke out against the ministries of Léon Gambetta and Jules Ferry, and against the colonial policy.\nHe did not run for reelection on 4 October 1885.\nHe left office on 14 October 1885.\n\nGautier was elected to the General Council of Charente for the canton of Aigre.\nHe ran in the by-election in Ruffec on 27 April 1890 after the death of John de Champvallier(fr), but was defeated in the second round by the republican candidate Eugène Duportal(fr).\nHe ran again in the general elections of 1893 against Duportal and was elected on 3 September 1893.\nDuring the session that followed he did not participate in debates but submitted a draft proposal to revise the constitutional laws to allow direct election by universal suffrage of the President and the two Chambers and to let the people to decide by vote on the constitutional laws.\nHe held office until 31 May 1898.\n\nGautier did not run for reelection until 1910, when he was defeated in the second round by the incumbent Maurice Raynaud(fr).\nHe died on 30 August 1936 in Paris.\n\nNotes\n\nSources\n\n1851 births\n1936 deaths\nPeople from Charente\nPoliticians from Nouvelle-Aquitaine\nAppel au peuple\nMembers of the 2nd Chamber of Deputies of the French Third Republic\nMembers of the 3rd Chamber of Deputies of the French Third Republic\nMembers of the 6th Chamber of Deputies of the French Third Republic" ]
[ "Jusuf Kalla", "Presidential elections 2014", "What was the result of the 2014 elections?", "Bakrie was officially declared the Golkar Party's 2014 Presidential candidate.", "Was Kalla happy with the result?", "In 2009 Kalla ran in the Indonesian presidential election", "What caused Kalla to lose?", "I don't know.", "Any other interesting information?", "During a dedication ceremony of the Indonesian Red Cross headquarters in the Riau province on 3 February 2012 Kalla stated his willingness to run in the presidential election", "Was he asked to run or did he decide on his own?", "Kalla stated his willingness to run" ]	C_cb1db69e7ea34ed592a8b45311a41bbb_0	What did Kalla do after the elections?	6	What did Kalla do after the 2012 presidential elections?	Jusuf Kalla	Kalla has been often mentioned as a possible nominee of the Golkar Party in the 2014 presidential race. In 2009 Kalla ran in the Indonesian presidential election with former Armed Forces Chief of Staff Wiranto as his running mate, finishing third with 12.4% of the vote. During a dedication ceremony of the Indonesian Red Cross headquarters in the Riau province on 3 February 2012 Kalla stated his willingness to run in the presidential election in 2014 should he receive sufficient public support. By May 2012 however, Kalla stated that he had no intention of running in the 2014 Presidential election. Kalla said he had no hard feelings about party chairman Aburizal Bakrie's upcoming inauguration as presidential candidate for the Golkar Party and that he had no intention of competing with him despite surveys that showed that Kalla was likely to be more electable than Bakrie. During Golkar's National Leadership meeting in Bogor on 29 June 2012, Bakrie was officially declared the Golkar Party's 2014 Presidential candidate. Nevertheless, in the changeable political scene in Indonesia the situation can be expected to evolve in the preparations for the 2014 presidential election. In late 2012 Jusuf Kalla indicated that he would be prepared to move away from Golkar and join a ticket sponsored by the Indonesian Democratic Party of Struggle (PDI-P) with former president Megawati as candidate for president and him as the vice-presidential candidate. "If I am not representing Golkar Party, then I have no objection ... Everything is possible in politics," Kalla said. CANNOTANSWER	Kalla said he had no hard feelings about party chairman Aburizal Bakrie's upcoming inauguration as presidential candidate	Muhammad Jusuf Kalla (; born 15 May 1942) is an Indonesian politician and businessman who served as the 10th and 12th Vice President of Indonesia, the only vice president in Indonesian history to serve two non-consecutive terms in office (2004–2009 and 2014–2019). He was unsuccessful as Golkar's presidential nominee in the 2009 presidential election. Before Kalla declared himself as the running mate for Joko Widodo in the 2014 presidential election, a 2012 poll placed his popularity among likely voters in the top three contenders for the presidency and ahead of his own party's nominee Aburizal Bakrie. Since 2009 Kalla serves as the chairman of the Indonesian Red Cross Society. Early life Kalla was born on 15 May 1942 in Watampone, now sits in South Sulawesi. His parents were Hadji Kalla, a local businessman and Athirah, a woman who sold Buginese silk for a living. He was the second of 10 children. After completing school, Kalla attended Hasanuddin University in Makassar. At university he became active in the Indonesian Student Action Front (KAMI), a student organization which supported General Suharto in his bid to gain power from president Sukarno. Kalla was elected as chair of South Sulawesi branch of KAMI. He showed interest in a political career, becoming a member of the Regional People's Representative Council (DPRD) and chairman of the Youth Division of Golkar when it was still organised under a Joint Secretariat (Sekretariat Bersama or Sekber) format. Businessman In 1967 Kalla graduated from the Economics Faculty at Hasanuddin University. The economic situation was bleak at the time and his father, Hadji Kalla, considered shutting down the family business, NV Hadji Kalla. Instead, Kalla decided to take over the firm. Putting aside his political activities, in 1968 Kalla became CEO of NV Hadji Kalla while his father became chairman. In the beginning the business only had one employee and business was slow. Kalla's mother assisted by trading silk and running a small transportation business with three buses. Over time the business grew and became quite successful. NV Hadji Kalla expanded from the export-import trading business into other sectors (hotels, infrastructure construction, car dealerships, aerobridges, shipping, real estate, transportation, a shrimp farm, oil palm, and telecommunications). In addition to being CEO of NV Hadji Kalla, Kalla was also CEO of various subsidiaries of the firm. In 1977, Kalla graduated from INSEAD, an international business school in Fontainebleau, south of Paris. "NV Hadji Kalla" is now known as the Kalla Group and is one of the leading business groups in Indonesia, especially in Eastern Indonesia. Affiliations Aside from his business career, Kalla has been active in numerous well-known organizations. From 1979 to 1989, he was chairman of the Indonesian Economics Graduates Association (ISEI) in Makassar (known as Ujung Pandang at the time) and continues to be an adviser for ISEI. Kalla was extensively involved with the Chamber of Commerce and Industry (KADIN). From 1985 to 1998 he was chairman for KADIN in South Sulawesi and was coordinator for KADIN in eastern Indonesia. In addition, Kalla is on the board of trustees for three universities in Makassar. Kalla has contributed socially by building the Al Markaz Mosque and becoming chairman of its Islamic centre. Former Vice President of Indonesia Jusuf Kalla acted as an ambassador for Komodo in the New 7 Wonders of Nature, a global voting campaign to elect the seven natural wonders of the world. The results of the campaign were released in 2011, and Komodo is now one of the New 7 Wonders of Nature. In 2015, the Jusuf Kalla School of Government at Muhammadiyah University of Yogyakarta was established, with the school being funded by Kalla. Kalla is seen in The Act of Killing film praising Pancasila Youth and encouraging them to commit violence. Political career Member of the People's Consultative Assembly Kalla returned to active politics in 1987 when he was appointed to the People's Consultative Assembly (MPR) as a regional representative for South Sulawesi. He was re-appointed to the MPR in 1992, 1997, and 1999. Wahid and Megawati Presidency When Kyai Haji Abdurrahman Wahid (often known as Gus Dur) was elected as president by the MPR in 1999, Kalla was included in the cabinet and became Minister of Industry and Trade. He had only been a minister for six months when in April 2000 Wahid removed him along with the Minister of State-Owned Enterprises. Wahid accused both Kalla and minister Laksamana of corruption, although he never produced evidence to support the charge, and Kalla denied the allegations. In July 2001, at a special session of the MPR, President Gus Dur was dismissed from office. Vice President Megawati Sukarnoputri took over the presidency and included Kalla in her cabinet, appointing him to the senior post of Coordinating Minister of People's Welfare. Although it was not part of his ministerial brief, Kalla helped solve the inter-religious conflict in Poso on his native island of Sulawesi. Kalla facilitated the negotiation which resulted in the signing of the Malino II Accord on 20 December 2001 and an end to the conflict which had gone on for three years. Two months later, Kalla helped solve another conflict in Sulawesi. On 12 February 2002, Kalla, together with Coordinating Minister of Politics and Society Susilo Bambang Yudhoyono, managed to solve a similar conflict on Ambon and Molucca through a second Malino Declaration. Road to Vice Presidency Now a popular figure for assisting with the peace process in Sulawesi, Kalla considered putting himself forward as a candidate in the 2004 presidential elections. In August 2003 he announced his candidacy and enlisted as a participant in Golkar's 2004 Convention which would choose the Golkar candidate for president. As the months went by, however, Kalla came to be seen more as a vice presidential candidate. He was expected to partner a Javanese presidential candidate and his non-Javanese background was seen as a means of attracting non-Javanese votes which a Javanese candidate might have trouble getting. Just days before the Golkar national convention, Kalla decided to withdraw from running under the Golkar banner. Rather, he accepted the offer from the Democratic Party's (PD) Yudhoyono to become his running mate. The pair also received the support of the Crescent Star Party (PBB), the Indonesian Justice and Unity Party (PKPI), and Reform Star Party (PBR). On 5 July 2004 the presidential election was held. Yudhoyono and Kalla won the popular vote with 33% of the votes but 50% of votes is required for election as president and vice president so a run-off was required. Yudhoyono and Megawati proceeded to the second election round held later in the year. In the second ground Yudhoyono faced a considerable challenge from Megawati who formed a national coalition consisting of her own Indonesian Democratic Party-Struggle (PDI-P) along with Golkar, the United Development Party, the Prosperous Peace Party (PDS), and the Indonesian National Party (PNI). Whilst Yudhoyono consolidated political support from other parties, Kalla turned to Golkar for support. Led by Fahmi Idris and ignoring the party line, pro-Kalla elements in Golkar declared their support for Kalla and Yudhoyono. On 20 September 2004 Yudhoyono and Kalla won the run-off with 60.1% of the vote. First vice-presidential term Although he had overwhelmingly won the Presidency, Yudhoyono was still weak in the People's Representative Council (DPR). PD with all of its coalition partners were still too weak to contend with the legislative muscles of Golkar and PDI-P who now intended to play the role of opposition. With a National Congress to be held in December 2004, Yudhoyono and Kalla had originally backed head of DPR Agung Laksono to become Golkar Chairman. When Agung was perceived to be too weak to run against Akbar, Yudhoyono and Kalla threw their weight behind Surya Paloh. Finally, when Paloh was also perceived to be too weak to run against Akbar, Yudhoyono gave the green light for Kalla to run for the Golkar Chairmanship. On 19 December 2004, Kalla was elected as the new Chairman of Golkar. Kalla's victory posed a dilemma for Yudhoyono. Although it now enabled Yudhoyono to pass legislation, Kalla's new position meant that in one sense, he was now more powerful than Yudhoyono. The first sign of rivalry came during the Indian Ocean tsunami when Kalla, apparently on his own initiative, assembled the ministers and signed a vice presidential decree ordering work to begin on rehabilitating Aceh. The legality of the Vice Presidential decree was questioned although Yudhoyono maintained that it was he who gave the orders for Kalla to proceed. The second sign was in September 2005 when Yudhoyono went to New York to attend the annual United Nations Summit. Although Yudhoyono had left Kalla to take charge of proceedings at Jakarta, he seemed to be bent on maintaining a watch on matters at home. Yudhoyono would hold a video conference from New York to receive reports from ministers. Critics suggested that such conduct was an expression of distrust by Yudhoyono The suggestion seemed to gain momentum when Kalla only showed up for one video conference and then spent the rest of the time taking care of Golkar matters. Although things calmed down, especially with Golkar gaining another cabinet position in the reshuffle, the alleged rivalry surfaced again in October 2006 when Yudhoyono established the Presidential Work Unit for the Organization of Reform Program (UKP3R). Critics questioned whether the establishment of the unit was an attempt by Yudhoyono to exclude Kalla from the government. Yudhoyono was quick to clarify that in supervising UKP3R, he would be assisted by Kalla. Potential presidential candidacy in 2014 Kalla has been often mentioned as a possible nominee of the Golkar Party in the 2014 presidential race. In 2009 Kalla ran in the Indonesian presidential election with former Armed Forces Chief of Staff Wiranto as his running mate, finishing third with 12.4% of the vote. During a dedication ceremony of the Indonesian Red Cross headquarters in the Riau province on 3 February 2012 Kalla stated his willingness to run in the presidential election in 2014 should he receive sufficient public support. By May 2012 however, Kalla stated that he had no intention of running in the 2014 Presidential election. Kalla said he had no hard feelings about party chairman Aburizal Bakrie's upcoming inauguration as presidential candidate for the Golkar Party and that he had no intention of competing with him despite surveys that showed that Kalla was likely to be more electable than Bakrie. During Golkar's National Leadership meeting in Bogor on 29 June 2012, Bakrie was officially declared the Golkar Party's 2014 Presidential candidate. Nevertheless, in the changeable political scene in Indonesia the situation can be expected to evolve in the preparations for the 2014 presidential election. In late 2012 Jusuf Kalla indicated that he would be prepared to move away from Golkar and join a ticket sponsored by the Indonesian Democratic Party of Struggle (PDI-P) with former president Megawati as candidate for president and him as the vice-presidential candidate. "If I am not representing Golkar Party, then I have no objection ... Everything is possible in politics," Kalla said. Jokowi's running mate Indonesian Democratic Party of Struggle (PDIP)'s presidential candidate Joko Widodo announced Jusuf Kalla as his vice presidential running mate at Gedung Juang, Jakarta, on 19 May 2014. Second vice-presidential term During his second term as vice president, Kalla criticized neighbor nations Malaysia and Singapore for airing their concerns about suffering from the repeated haze caused by Indonesian forest fires, stating in March 2015: "For 11 months, they enjoyed nice air from Indonesia and they never thanked us. They have suffered because of the haze for one month and they get upset." During the 2015 Southeast Asian haze crisis in September, Kalla restated a similar position, while further questioning "why should there be an apology" from Indonesia. It was also noted that Kalla had made similar comments between 2005 and 2007 during his first term of Vice Presidency. In what was interpreted as a response to Kalla, the Singaporean Minister for Foreign Affairs, K. Shanmugam, while noting that "PSI levels in parts of Indonesia are at almost 2,000", expressed disappointment at "shocking statements made, at senior levels, from Indonesia ... without any regard for their people, or ours, and without any embarrassment, or sense of responsibility". With Indonesia's pollution index by the Indonesian Agency for Meteorology, Climatology and Geophysics declaring values over 350 to be "hazardous", it was reported on 22 September 2015 that the index in Palangkaraya in Central Kalimantan had hit 1,986. Later in September, Kalla insisted that Indonesia is "open", and requested that "Singapore, please come if you want to help. Don't just talk"; this was in spite of earlier rejections (in that month) by Indonesia of Singapore's offers of assistance. In November, Kalla said that the destruction of Indonesian forests was "not only our problem" as "foreign people" were also responsible. He scolded foreign companies, saying "You take [Indonesian products], and pay $5, and you bring it here, and sell for $100. Indonesian companies just get $5 ... you have to pay, if not we will cut down all the trees, and let the world feel the heat ... The world has to pay for all of this. Don't always accuse Indonesia." He also reiterated that since Singapore and Malaysia did not thank Indonesia for "fresh air from Sumatra, Kalimantan", then there was no need for Indonesia to apologize for haze from Indonesian forest fires. In February 2016, Kalla told the United Nations Development Programme not to finance or carry out an LGBT (lesbian, gay, bisexual, and transgender) community program in Indonesia. Kalla previously stated opposition to LGBT campaigns in Indonesia, which he considered at that point as deviating from social values. In April 2016, Kalla reportedly criticized how Singapore, "never wants to sign" an extradition agreement with Indonesia, despite Singapore supposedly being the "country where the largest number of" Indonesian fugitives had fled. The Singaporean Ministry of Foreign Affairs responded by pointing out that an Indonesia-Singapore extradition treaty cum defence cooperation pact had been signed in 2007, while Kalla was also Vice President, but the treaty was still pending ratification by the Indonesian House of Representatives. The Indonesian House had rejected the dual agreement in 2013 as "not favourable to Indonesia", maintaining that "extradition and defence are two separate issues". In December 2018, the issue of China's Xinjiang re-education camps and human rights abuses against the Uyghur Muslim minority was brought up in parliament. Kalla said: "we don't want to intervene in the domestic affairs of another country." Personal life Kalla is married to Mufidah Miad Saad, with whom he has five children, Muchlisa, Muswira, Imelda, Solichin and Chaerani. His career after the vice presidency has included many community activities. On 22 December 2009, he was elected as chairman of Indonesian Red Cross Society (Palang Merah Indonesia, PMI). Kalla said that under his leadership the PMI would build up stocks in the national blood bank to prepare for any increased demand for blood by hospital patients and victims of natural disasters. He also holds an Advance class amateur radio license with call sign YC8HYK. Decorations As the vice president of Indonesia, Kalla is automatically bestowed the highest class of 6 out of 7 civilian Star Decorations (), namely: See also List of vice presidents of Indonesia Notes References External links Profile at TokohIndonesia Official Site of Jusuf Kalla Jusuf Kalla's Blog Official Site of Sahabat Muda Jusuf Kalla-Wiranto Official Site of Jusuf Kalla and Wiranto for Presidential Election 2009 1942 births Bugis people Hasanuddin University alumni INSEAD alumni Indonesian Muslims Living people Politicians from South Sulawesi Vice presidents of Indonesia Golkar politicians People from Bone Regency Government ministers of Indonesia Trade ministers of Indonesia Industry ministers of Indonesia	true	[ "Bulaki Das Kalla (born 4 October 1949) or Dr. B.D. Kalla, is an Indian politician from Bikaner Rajasthan. He is Education(primary and secondary), sanskrit education,arts, literature and culture & ASI minister in Rajasthan government.\n\nFamily and Education \nHe has done B.Sc., M.A. (Economics), L.L.B and Ph.D. He is the son of Giridhari Lal Kalla. He got married to Shiv Kumari Kalla on 10 February 1971. They have two sons (Ashwani Kalla and Pawan Kalla) and two daughters (Radha & Rajani).\n\nCareer \nDr. B.D. Kalla began his career in 1974 as a lecturer in a B.J.S. Rampuriya College in Bikaner. Then he turned towards politics and served as an MLA from Bikaner city in the Rajasthan Legislative Assembly upon winning assembly elections for 5 times i.e. in 1980, 1985, 1990, 1998 and 2003.\n\nKalla served as the Minister for Secondary Education from 1990 and 2003 and did justice for his position with his previous experience in the education sector. Dr. B.D. Kalla was the Leader of the Opposition party from January 2004 to January 2006, as an active member of Indian National Congress in Rajasthan Legislative Assembly. He also served as President of Rajasthan Pradesh Congress Committee & Chairman of 4th Finance Commission.\n\nIn 2008 Rajasthan Legislative Assembly elections, the Bikaner constituency was split into Bikaner East (Rajasthan Assembly constituency) and Bikaner West (Rajasthan Assembly constituency) after the delimitation of boundaries by the Govt. BD Kalla lost 2008 & 2013 elections to BJP candidate Dr. Gopal Joshi (who is also Dr. Kalla's brother-in-law).\n\n2018 Rajasthan Assembly Elections \n\nIn November 2018, INC announced its first list of candidates & Dr. Kalla's name was not in it. His supporters took it offensively which caused political turmoil in Bikaner and Congress leadership took note of it, hence allocating ticket to Dr.Kalla from Bikaner West Constituency.\n\nIn December 2018, Dr BD Kalla won & become Minister in CM Ashok Gehlot's cabinet. He is one of the three ministers who have studied up to Ph.D., out of a total of 23 ministers in Gehlot's 2018 Cabinet. He was minister of Energy, Public Health Engineering, Ground Water, Art, Culture & Archeology departments till November 2021, and currently is the State Education Minister in Rajasthan Government.\n\nReferences\n\nExternal links\n Profile\n Personal website\n\nIndian National Congress politicians\n1949 births\nLiving people\nRajasthani politicians\nPeople from Bikaner\nLeaders of the Opposition in Rajasthan", "On Wednesday, 20 October 2004, President-elect Susilo Bambang Yudhoyono (better known by his initials as \"SBY\") was Inaugurated as the 6th President of Indonesia. Yudhoyono was the first democratically direct-elected President of Indonesia, after previous presidents was elected by the People's Consultative Assembly. \n\nYudhoyono took his oath in the MPR/DPR buildings in Jakarta. This ceremony marked the commencement of the first five-year term of Susilo Bambang Yudhoyono as president and second non-consecutive and final term of Jusuf Kalla as vice president. Both were sworn in after winning the second round of the presidential election on September 20, 2004.\n\nBackground\n\nSusilo Bambang Yudhoyono was nominated for vice president after the MPR selected Megawati to succeed Abdurrahman Wahid by F-KKI, but he lost the election to PPP Chairman Hamzah Haz and DPR Speaker Akbar Tanjung. He reprised his prior cabinet position in Megawati's administration but resigned on 1 March 2004 to join the race for the presidency. The Democratic Party, established as a vehicle for Yudhoyono's political career by secular nationalists who saw the potential of his leadership, received 7.45% of votes and 10% of DPR seats in the April legislative election.\n\nYudhoyono's running mate was Jusuf Kalla, a Buginese businessman and member of Golkar who served as Coordinating Minister for People's Welfare under Megawati. Kalla joined Golkar's selection process for the party's presidential nominee in August 2003 but withdrew his candidacy days before the party convention the following April. Several days later, he resigned his cabinet position and announced his alliance with Yudhoyono.\n\nSecond Round of the election\nYudhoyono-Kalla gained 33,57% votes in the first round of the election. However, the requirements for winning the election is to gain at least 50% of the votes, this made Yudhoyono and Kalla must participate in the second round. On 20 September 2004, Yudhoyono-Kalla won 69,266,350 votes or 60.62% in the second round of the election beating Megawati-Hasyim. Yudhoyono and Kalla was Inaugurated on 20 October 2004.\n\nInaugural event\nThe People's Consultative Assembly (MPR) session with the agenda for the Inauguration of the elected President and Vice President for the 2004-2009 period was held at 10:20 Western Indonesia Time (UTC +7). The session was chaired by the Chairperson of the MPR, Hidayat Nur Wahid. Susilo Bambang Yudhoyono and Jusuf Kalla were sworn in at the DPR/MPR Building, on October 20, 2004. Yudhoyono and Kalla read out his oath of office in front of 611 out of 678 MPR RI members who were present. President Megawati Sukarnoputri and Vice-president Hamzah Haz did not attend the inaugural event.\n\nForeign guests\nIt was the first time that foreign leaders had witnessed the swearing in of a new Indonesian president and vice-president. This is the list of foreign leaders who attended Yudhoyono's inauguration:\n Lee Hsien Loong\n Abdullah Badawi\n John Howard\n Sultan Hassanal Bolkiah\n Mari Alkatiri\n\nReferences\n\nBibliography\n \n \n \n\nPost-Suharto era\n2004 in Indonesia\n2004 elections in Indonesia\nSusilo Bambang Yudhoyono" ]
[ "Jusuf Kalla", "Presidential elections 2014", "What was the result of the 2014 elections?", "Bakrie was officially declared the Golkar Party's 2014 Presidential candidate.", "Was Kalla happy with the result?", "In 2009 Kalla ran in the Indonesian presidential election", "What caused Kalla to lose?", "I don't know.", "Any other interesting information?", "During a dedication ceremony of the Indonesian Red Cross headquarters in the Riau province on 3 February 2012 Kalla stated his willingness to run in the presidential election", "Was he asked to run or did he decide on his own?", "Kalla stated his willingness to run", "What did Kalla do after the elections?", "Kalla said he had no hard feelings about party chairman Aburizal Bakrie's upcoming inauguration as presidential candidate" ]	C_cb1db69e7ea34ed592a8b45311a41bbb_0	Did he plan to run again?	7	Did Kalla plan to run for president again?	Jusuf Kalla	Kalla has been often mentioned as a possible nominee of the Golkar Party in the 2014 presidential race. In 2009 Kalla ran in the Indonesian presidential election with former Armed Forces Chief of Staff Wiranto as his running mate, finishing third with 12.4% of the vote. During a dedication ceremony of the Indonesian Red Cross headquarters in the Riau province on 3 February 2012 Kalla stated his willingness to run in the presidential election in 2014 should he receive sufficient public support. By May 2012 however, Kalla stated that he had no intention of running in the 2014 Presidential election. Kalla said he had no hard feelings about party chairman Aburizal Bakrie's upcoming inauguration as presidential candidate for the Golkar Party and that he had no intention of competing with him despite surveys that showed that Kalla was likely to be more electable than Bakrie. During Golkar's National Leadership meeting in Bogor on 29 June 2012, Bakrie was officially declared the Golkar Party's 2014 Presidential candidate. Nevertheless, in the changeable political scene in Indonesia the situation can be expected to evolve in the preparations for the 2014 presidential election. In late 2012 Jusuf Kalla indicated that he would be prepared to move away from Golkar and join a ticket sponsored by the Indonesian Democratic Party of Struggle (PDI-P) with former president Megawati as candidate for president and him as the vice-presidential candidate. "If I am not representing Golkar Party, then I have no objection ... Everything is possible in politics," Kalla said. CANNOTANSWER	In late 2012 Jusuf Kalla indicated that he would be prepared to move away from Golkar and join a ticket sponsored by the Indonesian Democratic Party	Muhammad Jusuf Kalla (; born 15 May 1942) is an Indonesian politician and businessman who served as the 10th and 12th Vice President of Indonesia, the only vice president in Indonesian history to serve two non-consecutive terms in office (2004–2009 and 2014–2019). He was unsuccessful as Golkar's presidential nominee in the 2009 presidential election. Before Kalla declared himself as the running mate for Joko Widodo in the 2014 presidential election, a 2012 poll placed his popularity among likely voters in the top three contenders for the presidency and ahead of his own party's nominee Aburizal Bakrie. Since 2009 Kalla serves as the chairman of the Indonesian Red Cross Society. Early life Kalla was born on 15 May 1942 in Watampone, now sits in South Sulawesi. His parents were Hadji Kalla, a local businessman and Athirah, a woman who sold Buginese silk for a living. He was the second of 10 children. After completing school, Kalla attended Hasanuddin University in Makassar. At university he became active in the Indonesian Student Action Front (KAMI), a student organization which supported General Suharto in his bid to gain power from president Sukarno. Kalla was elected as chair of South Sulawesi branch of KAMI. He showed interest in a political career, becoming a member of the Regional People's Representative Council (DPRD) and chairman of the Youth Division of Golkar when it was still organised under a Joint Secretariat (Sekretariat Bersama or Sekber) format. Businessman In 1967 Kalla graduated from the Economics Faculty at Hasanuddin University. The economic situation was bleak at the time and his father, Hadji Kalla, considered shutting down the family business, NV Hadji Kalla. Instead, Kalla decided to take over the firm. Putting aside his political activities, in 1968 Kalla became CEO of NV Hadji Kalla while his father became chairman. In the beginning the business only had one employee and business was slow. Kalla's mother assisted by trading silk and running a small transportation business with three buses. Over time the business grew and became quite successful. NV Hadji Kalla expanded from the export-import trading business into other sectors (hotels, infrastructure construction, car dealerships, aerobridges, shipping, real estate, transportation, a shrimp farm, oil palm, and telecommunications). In addition to being CEO of NV Hadji Kalla, Kalla was also CEO of various subsidiaries of the firm. In 1977, Kalla graduated from INSEAD, an international business school in Fontainebleau, south of Paris. "NV Hadji Kalla" is now known as the Kalla Group and is one of the leading business groups in Indonesia, especially in Eastern Indonesia. Affiliations Aside from his business career, Kalla has been active in numerous well-known organizations. From 1979 to 1989, he was chairman of the Indonesian Economics Graduates Association (ISEI) in Makassar (known as Ujung Pandang at the time) and continues to be an adviser for ISEI. Kalla was extensively involved with the Chamber of Commerce and Industry (KADIN). From 1985 to 1998 he was chairman for KADIN in South Sulawesi and was coordinator for KADIN in eastern Indonesia. In addition, Kalla is on the board of trustees for three universities in Makassar. Kalla has contributed socially by building the Al Markaz Mosque and becoming chairman of its Islamic centre. Former Vice President of Indonesia Jusuf Kalla acted as an ambassador for Komodo in the New 7 Wonders of Nature, a global voting campaign to elect the seven natural wonders of the world. The results of the campaign were released in 2011, and Komodo is now one of the New 7 Wonders of Nature. In 2015, the Jusuf Kalla School of Government at Muhammadiyah University of Yogyakarta was established, with the school being funded by Kalla. Kalla is seen in The Act of Killing film praising Pancasila Youth and encouraging them to commit violence. Political career Member of the People's Consultative Assembly Kalla returned to active politics in 1987 when he was appointed to the People's Consultative Assembly (MPR) as a regional representative for South Sulawesi. He was re-appointed to the MPR in 1992, 1997, and 1999. Wahid and Megawati Presidency When Kyai Haji Abdurrahman Wahid (often known as Gus Dur) was elected as president by the MPR in 1999, Kalla was included in the cabinet and became Minister of Industry and Trade. He had only been a minister for six months when in April 2000 Wahid removed him along with the Minister of State-Owned Enterprises. Wahid accused both Kalla and minister Laksamana of corruption, although he never produced evidence to support the charge, and Kalla denied the allegations. In July 2001, at a special session of the MPR, President Gus Dur was dismissed from office. Vice President Megawati Sukarnoputri took over the presidency and included Kalla in her cabinet, appointing him to the senior post of Coordinating Minister of People's Welfare. Although it was not part of his ministerial brief, Kalla helped solve the inter-religious conflict in Poso on his native island of Sulawesi. Kalla facilitated the negotiation which resulted in the signing of the Malino II Accord on 20 December 2001 and an end to the conflict which had gone on for three years. Two months later, Kalla helped solve another conflict in Sulawesi. On 12 February 2002, Kalla, together with Coordinating Minister of Politics and Society Susilo Bambang Yudhoyono, managed to solve a similar conflict on Ambon and Molucca through a second Malino Declaration. Road to Vice Presidency Now a popular figure for assisting with the peace process in Sulawesi, Kalla considered putting himself forward as a candidate in the 2004 presidential elections. In August 2003 he announced his candidacy and enlisted as a participant in Golkar's 2004 Convention which would choose the Golkar candidate for president. As the months went by, however, Kalla came to be seen more as a vice presidential candidate. He was expected to partner a Javanese presidential candidate and his non-Javanese background was seen as a means of attracting non-Javanese votes which a Javanese candidate might have trouble getting. Just days before the Golkar national convention, Kalla decided to withdraw from running under the Golkar banner. Rather, he accepted the offer from the Democratic Party's (PD) Yudhoyono to become his running mate. The pair also received the support of the Crescent Star Party (PBB), the Indonesian Justice and Unity Party (PKPI), and Reform Star Party (PBR). On 5 July 2004 the presidential election was held. Yudhoyono and Kalla won the popular vote with 33% of the votes but 50% of votes is required for election as president and vice president so a run-off was required. Yudhoyono and Megawati proceeded to the second election round held later in the year. In the second ground Yudhoyono faced a considerable challenge from Megawati who formed a national coalition consisting of her own Indonesian Democratic Party-Struggle (PDI-P) along with Golkar, the United Development Party, the Prosperous Peace Party (PDS), and the Indonesian National Party (PNI). Whilst Yudhoyono consolidated political support from other parties, Kalla turned to Golkar for support. Led by Fahmi Idris and ignoring the party line, pro-Kalla elements in Golkar declared their support for Kalla and Yudhoyono. On 20 September 2004 Yudhoyono and Kalla won the run-off with 60.1% of the vote. First vice-presidential term Although he had overwhelmingly won the Presidency, Yudhoyono was still weak in the People's Representative Council (DPR). PD with all of its coalition partners were still too weak to contend with the legislative muscles of Golkar and PDI-P who now intended to play the role of opposition. With a National Congress to be held in December 2004, Yudhoyono and Kalla had originally backed head of DPR Agung Laksono to become Golkar Chairman. When Agung was perceived to be too weak to run against Akbar, Yudhoyono and Kalla threw their weight behind Surya Paloh. Finally, when Paloh was also perceived to be too weak to run against Akbar, Yudhoyono gave the green light for Kalla to run for the Golkar Chairmanship. On 19 December 2004, Kalla was elected as the new Chairman of Golkar. Kalla's victory posed a dilemma for Yudhoyono. Although it now enabled Yudhoyono to pass legislation, Kalla's new position meant that in one sense, he was now more powerful than Yudhoyono. The first sign of rivalry came during the Indian Ocean tsunami when Kalla, apparently on his own initiative, assembled the ministers and signed a vice presidential decree ordering work to begin on rehabilitating Aceh. The legality of the Vice Presidential decree was questioned although Yudhoyono maintained that it was he who gave the orders for Kalla to proceed. The second sign was in September 2005 when Yudhoyono went to New York to attend the annual United Nations Summit. Although Yudhoyono had left Kalla to take charge of proceedings at Jakarta, he seemed to be bent on maintaining a watch on matters at home. Yudhoyono would hold a video conference from New York to receive reports from ministers. Critics suggested that such conduct was an expression of distrust by Yudhoyono The suggestion seemed to gain momentum when Kalla only showed up for one video conference and then spent the rest of the time taking care of Golkar matters. Although things calmed down, especially with Golkar gaining another cabinet position in the reshuffle, the alleged rivalry surfaced again in October 2006 when Yudhoyono established the Presidential Work Unit for the Organization of Reform Program (UKP3R). Critics questioned whether the establishment of the unit was an attempt by Yudhoyono to exclude Kalla from the government. Yudhoyono was quick to clarify that in supervising UKP3R, he would be assisted by Kalla. Potential presidential candidacy in 2014 Kalla has been often mentioned as a possible nominee of the Golkar Party in the 2014 presidential race. In 2009 Kalla ran in the Indonesian presidential election with former Armed Forces Chief of Staff Wiranto as his running mate, finishing third with 12.4% of the vote. During a dedication ceremony of the Indonesian Red Cross headquarters in the Riau province on 3 February 2012 Kalla stated his willingness to run in the presidential election in 2014 should he receive sufficient public support. By May 2012 however, Kalla stated that he had no intention of running in the 2014 Presidential election. Kalla said he had no hard feelings about party chairman Aburizal Bakrie's upcoming inauguration as presidential candidate for the Golkar Party and that he had no intention of competing with him despite surveys that showed that Kalla was likely to be more electable than Bakrie. During Golkar's National Leadership meeting in Bogor on 29 June 2012, Bakrie was officially declared the Golkar Party's 2014 Presidential candidate. Nevertheless, in the changeable political scene in Indonesia the situation can be expected to evolve in the preparations for the 2014 presidential election. In late 2012 Jusuf Kalla indicated that he would be prepared to move away from Golkar and join a ticket sponsored by the Indonesian Democratic Party of Struggle (PDI-P) with former president Megawati as candidate for president and him as the vice-presidential candidate. "If I am not representing Golkar Party, then I have no objection ... Everything is possible in politics," Kalla said. Jokowi's running mate Indonesian Democratic Party of Struggle (PDIP)'s presidential candidate Joko Widodo announced Jusuf Kalla as his vice presidential running mate at Gedung Juang, Jakarta, on 19 May 2014. Second vice-presidential term During his second term as vice president, Kalla criticized neighbor nations Malaysia and Singapore for airing their concerns about suffering from the repeated haze caused by Indonesian forest fires, stating in March 2015: "For 11 months, they enjoyed nice air from Indonesia and they never thanked us. They have suffered because of the haze for one month and they get upset." During the 2015 Southeast Asian haze crisis in September, Kalla restated a similar position, while further questioning "why should there be an apology" from Indonesia. It was also noted that Kalla had made similar comments between 2005 and 2007 during his first term of Vice Presidency. In what was interpreted as a response to Kalla, the Singaporean Minister for Foreign Affairs, K. Shanmugam, while noting that "PSI levels in parts of Indonesia are at almost 2,000", expressed disappointment at "shocking statements made, at senior levels, from Indonesia ... without any regard for their people, or ours, and without any embarrassment, or sense of responsibility". With Indonesia's pollution index by the Indonesian Agency for Meteorology, Climatology and Geophysics declaring values over 350 to be "hazardous", it was reported on 22 September 2015 that the index in Palangkaraya in Central Kalimantan had hit 1,986. Later in September, Kalla insisted that Indonesia is "open", and requested that "Singapore, please come if you want to help. Don't just talk"; this was in spite of earlier rejections (in that month) by Indonesia of Singapore's offers of assistance. In November, Kalla said that the destruction of Indonesian forests was "not only our problem" as "foreign people" were also responsible. He scolded foreign companies, saying "You take [Indonesian products], and pay $5, and you bring it here, and sell for $100. Indonesian companies just get $5 ... you have to pay, if not we will cut down all the trees, and let the world feel the heat ... The world has to pay for all of this. Don't always accuse Indonesia." He also reiterated that since Singapore and Malaysia did not thank Indonesia for "fresh air from Sumatra, Kalimantan", then there was no need for Indonesia to apologize for haze from Indonesian forest fires. In February 2016, Kalla told the United Nations Development Programme not to finance or carry out an LGBT (lesbian, gay, bisexual, and transgender) community program in Indonesia. Kalla previously stated opposition to LGBT campaigns in Indonesia, which he considered at that point as deviating from social values. In April 2016, Kalla reportedly criticized how Singapore, "never wants to sign" an extradition agreement with Indonesia, despite Singapore supposedly being the "country where the largest number of" Indonesian fugitives had fled. The Singaporean Ministry of Foreign Affairs responded by pointing out that an Indonesia-Singapore extradition treaty cum defence cooperation pact had been signed in 2007, while Kalla was also Vice President, but the treaty was still pending ratification by the Indonesian House of Representatives. The Indonesian House had rejected the dual agreement in 2013 as "not favourable to Indonesia", maintaining that "extradition and defence are two separate issues". In December 2018, the issue of China's Xinjiang re-education camps and human rights abuses against the Uyghur Muslim minority was brought up in parliament. Kalla said: "we don't want to intervene in the domestic affairs of another country." Personal life Kalla is married to Mufidah Miad Saad, with whom he has five children, Muchlisa, Muswira, Imelda, Solichin and Chaerani. His career after the vice presidency has included many community activities. On 22 December 2009, he was elected as chairman of Indonesian Red Cross Society (Palang Merah Indonesia, PMI). Kalla said that under his leadership the PMI would build up stocks in the national blood bank to prepare for any increased demand for blood by hospital patients and victims of natural disasters. He also holds an Advance class amateur radio license with call sign YC8HYK. Decorations As the vice president of Indonesia, Kalla is automatically bestowed the highest class of 6 out of 7 civilian Star Decorations (), namely: See also List of vice presidents of Indonesia Notes References External links Profile at TokohIndonesia Official Site of Jusuf Kalla Jusuf Kalla's Blog Official Site of Sahabat Muda Jusuf Kalla-Wiranto Official Site of Jusuf Kalla and Wiranto for Presidential Election 2009 1942 births Bugis people Hasanuddin University alumni INSEAD alumni Indonesian Muslims Living people Politicians from South Sulawesi Vice presidents of Indonesia Golkar politicians People from Bone Regency Government ministers of Indonesia Trade ministers of Indonesia Industry ministers of Indonesia	true	[ "Pete Rios was a member of the Arizona House of Representatives and the Arizona Senate, serving two stretches in the Senate and a single term in the House. He first ran, unsuccessfully, for the House in 1980. In 1982 he ran for the State Senate, winning the seat from Arizona's 7th District. He won re-election in 1984, 1986, 1988, 1990, and 1992. He served as the Senate President during the 40th Legislature from 1991–1992. In 1994, he did not run for re-election to the Senate, instead choosing to run for the Arizona Secretary of State, a bid for which he was unsuccessful. In 1996 Rios once again ran for the Senate, regaining his seat in District 7. He won election three times, the first two in 1998 and 2000 to District, and then to District 23 in 2002, after re-districting. In 2004, due to Arizona's term limit laws, Rios was unable to run again for the Senate, and chose to run for the House seat from District 23, which he won. He won re-election in 2006. He did not run for re-election in 2008.\n\nReferences\n\n \n\nArizona Democrats\nMembers of the Arizona House of Representatives\nArizona state senators\nLiving people\nYear of birth missing (living people)\nPresidents of the Arizona State Senate", "Middleton (1822 – after 1833), also known as Chestnut Middleton, was a British Thoroughbred racehorse and sire. His racing career consisted of a single race: a win in the 1825 Epsom Derby. Training problems prevented him from racing again, and he was retired undefeated to stud. He was exported to Russia in 1833.\n\nBackground\nMiddleton was a big, heavily built chestnut horse with a white blaze bred by his owner George Child Villiers, 5th Earl of Jersey at his stud at Middleton Stoney in Oxfordshire. His sire, Phantom won the Derby in 1811 and went on to be Champion sire on two occasions. Middleton’s dam, Web, was a half-sister of the Derby winner Whisker and became an extremely successful broodmare, her descendants including the Classic winners Glencoe, Cobweb (Epsom Oaks), Charlotte West (1000 Guineas) and Riddlesworth (2000 Guineas).\n\nRacing career\nMiddleton was slow to mature and did not run as a two-year-old. In early 1825, however, he performed well in private trial races.\nDespite never having raced in public, he became the leading fancy for The Derby and was the subject of much heavy betting for the race, with Lord Jersey and the Duke of Wellington among the biggest gamblers.\n\nOn the morning of the race, Middleton was the target of a plan by bookmakers to prevent him winning the race. A stable lad was bribed to allow the colt to drink several buckets of water, leaving him bloated. Edwards responded by giving Middleton a four-mile exercise walk after which he professed himself satisfied with the colt's condition. Middleton started at odds of 7/4 against seventeen opponents and won cleverly, from Rufus, with Hogarth third. Both Jersey and Wellington reportedly claimed over £1,000 in winning bets.\n\nIn autumn, Middleton was entered in several match races but did not run after either he or his opponent was withdrawn.\nMiddleton began to suffer from Navicular Disease which caused chronic lameness. It proved impossible to run him again, and he was retired to stud with an unbeaten record.\n\nStud career\nMiddleton stood as a stallion at the Horse Bazaar, Portman Square, London, where he had little success. In 1833, he was sold and exported to Russia.\n\nPedigree\n\nReferences\n\n1822 racehorse births\nEpsom Derby winners\nUndefeated racehorses\nRacehorses bred in the United Kingdom\nRacehorses trained in the United Kingdom\nThoroughbred family 1-s\nByerley Turk sire line" ]
[ "Jusuf Kalla", "Presidential elections 2014", "What was the result of the 2014 elections?", "Bakrie was officially declared the Golkar Party's 2014 Presidential candidate.", "Was Kalla happy with the result?", "In 2009 Kalla ran in the Indonesian presidential election", "What caused Kalla to lose?", "I don't know.", "Any other interesting information?", "During a dedication ceremony of the Indonesian Red Cross headquarters in the Riau province on 3 February 2012 Kalla stated his willingness to run in the presidential election", "Was he asked to run or did he decide on his own?", "Kalla stated his willingness to run", "What did Kalla do after the elections?", "Kalla said he had no hard feelings about party chairman Aburizal Bakrie's upcoming inauguration as presidential candidate", "Did he plan to run again?", "In late 2012 Jusuf Kalla indicated that he would be prepared to move away from Golkar and join a ticket sponsored by the Indonesian Democratic Party" ]	C_cb1db69e7ea34ed592a8b45311a41bbb_0	Did he gain any other office?	8	Did Kalla gain any other office besides President?	Jusuf Kalla	Kalla has been often mentioned as a possible nominee of the Golkar Party in the 2014 presidential race. In 2009 Kalla ran in the Indonesian presidential election with former Armed Forces Chief of Staff Wiranto as his running mate, finishing third with 12.4% of the vote. During a dedication ceremony of the Indonesian Red Cross headquarters in the Riau province on 3 February 2012 Kalla stated his willingness to run in the presidential election in 2014 should he receive sufficient public support. By May 2012 however, Kalla stated that he had no intention of running in the 2014 Presidential election. Kalla said he had no hard feelings about party chairman Aburizal Bakrie's upcoming inauguration as presidential candidate for the Golkar Party and that he had no intention of competing with him despite surveys that showed that Kalla was likely to be more electable than Bakrie. During Golkar's National Leadership meeting in Bogor on 29 June 2012, Bakrie was officially declared the Golkar Party's 2014 Presidential candidate. Nevertheless, in the changeable political scene in Indonesia the situation can be expected to evolve in the preparations for the 2014 presidential election. In late 2012 Jusuf Kalla indicated that he would be prepared to move away from Golkar and join a ticket sponsored by the Indonesian Democratic Party of Struggle (PDI-P) with former president Megawati as candidate for president and him as the vice-presidential candidate. "If I am not representing Golkar Party, then I have no objection ... Everything is possible in politics," Kalla said. CANNOTANSWER	By May 2012 however, Kalla stated that he had no intention of running in the 2014 Presidential election.	Muhammad Jusuf Kalla (; born 15 May 1942) is an Indonesian politician and businessman who served as the 10th and 12th Vice President of Indonesia, the only vice president in Indonesian history to serve two non-consecutive terms in office (2004–2009 and 2014–2019). He was unsuccessful as Golkar's presidential nominee in the 2009 presidential election. Before Kalla declared himself as the running mate for Joko Widodo in the 2014 presidential election, a 2012 poll placed his popularity among likely voters in the top three contenders for the presidency and ahead of his own party's nominee Aburizal Bakrie. Since 2009 Kalla serves as the chairman of the Indonesian Red Cross Society. Early life Kalla was born on 15 May 1942 in Watampone, now sits in South Sulawesi. His parents were Hadji Kalla, a local businessman and Athirah, a woman who sold Buginese silk for a living. He was the second of 10 children. After completing school, Kalla attended Hasanuddin University in Makassar. At university he became active in the Indonesian Student Action Front (KAMI), a student organization which supported General Suharto in his bid to gain power from president Sukarno. Kalla was elected as chair of South Sulawesi branch of KAMI. He showed interest in a political career, becoming a member of the Regional People's Representative Council (DPRD) and chairman of the Youth Division of Golkar when it was still organised under a Joint Secretariat (Sekretariat Bersama or Sekber) format. Businessman In 1967 Kalla graduated from the Economics Faculty at Hasanuddin University. The economic situation was bleak at the time and his father, Hadji Kalla, considered shutting down the family business, NV Hadji Kalla. Instead, Kalla decided to take over the firm. Putting aside his political activities, in 1968 Kalla became CEO of NV Hadji Kalla while his father became chairman. In the beginning the business only had one employee and business was slow. Kalla's mother assisted by trading silk and running a small transportation business with three buses. Over time the business grew and became quite successful. NV Hadji Kalla expanded from the export-import trading business into other sectors (hotels, infrastructure construction, car dealerships, aerobridges, shipping, real estate, transportation, a shrimp farm, oil palm, and telecommunications). In addition to being CEO of NV Hadji Kalla, Kalla was also CEO of various subsidiaries of the firm. In 1977, Kalla graduated from INSEAD, an international business school in Fontainebleau, south of Paris. "NV Hadji Kalla" is now known as the Kalla Group and is one of the leading business groups in Indonesia, especially in Eastern Indonesia. Affiliations Aside from his business career, Kalla has been active in numerous well-known organizations. From 1979 to 1989, he was chairman of the Indonesian Economics Graduates Association (ISEI) in Makassar (known as Ujung Pandang at the time) and continues to be an adviser for ISEI. Kalla was extensively involved with the Chamber of Commerce and Industry (KADIN). From 1985 to 1998 he was chairman for KADIN in South Sulawesi and was coordinator for KADIN in eastern Indonesia. In addition, Kalla is on the board of trustees for three universities in Makassar. Kalla has contributed socially by building the Al Markaz Mosque and becoming chairman of its Islamic centre. Former Vice President of Indonesia Jusuf Kalla acted as an ambassador for Komodo in the New 7 Wonders of Nature, a global voting campaign to elect the seven natural wonders of the world. The results of the campaign were released in 2011, and Komodo is now one of the New 7 Wonders of Nature. In 2015, the Jusuf Kalla School of Government at Muhammadiyah University of Yogyakarta was established, with the school being funded by Kalla. Kalla is seen in The Act of Killing film praising Pancasila Youth and encouraging them to commit violence. Political career Member of the People's Consultative Assembly Kalla returned to active politics in 1987 when he was appointed to the People's Consultative Assembly (MPR) as a regional representative for South Sulawesi. He was re-appointed to the MPR in 1992, 1997, and 1999. Wahid and Megawati Presidency When Kyai Haji Abdurrahman Wahid (often known as Gus Dur) was elected as president by the MPR in 1999, Kalla was included in the cabinet and became Minister of Industry and Trade. He had only been a minister for six months when in April 2000 Wahid removed him along with the Minister of State-Owned Enterprises. Wahid accused both Kalla and minister Laksamana of corruption, although he never produced evidence to support the charge, and Kalla denied the allegations. In July 2001, at a special session of the MPR, President Gus Dur was dismissed from office. Vice President Megawati Sukarnoputri took over the presidency and included Kalla in her cabinet, appointing him to the senior post of Coordinating Minister of People's Welfare. Although it was not part of his ministerial brief, Kalla helped solve the inter-religious conflict in Poso on his native island of Sulawesi. Kalla facilitated the negotiation which resulted in the signing of the Malino II Accord on 20 December 2001 and an end to the conflict which had gone on for three years. Two months later, Kalla helped solve another conflict in Sulawesi. On 12 February 2002, Kalla, together with Coordinating Minister of Politics and Society Susilo Bambang Yudhoyono, managed to solve a similar conflict on Ambon and Molucca through a second Malino Declaration. Road to Vice Presidency Now a popular figure for assisting with the peace process in Sulawesi, Kalla considered putting himself forward as a candidate in the 2004 presidential elections. In August 2003 he announced his candidacy and enlisted as a participant in Golkar's 2004 Convention which would choose the Golkar candidate for president. As the months went by, however, Kalla came to be seen more as a vice presidential candidate. He was expected to partner a Javanese presidential candidate and his non-Javanese background was seen as a means of attracting non-Javanese votes which a Javanese candidate might have trouble getting. Just days before the Golkar national convention, Kalla decided to withdraw from running under the Golkar banner. Rather, he accepted the offer from the Democratic Party's (PD) Yudhoyono to become his running mate. The pair also received the support of the Crescent Star Party (PBB), the Indonesian Justice and Unity Party (PKPI), and Reform Star Party (PBR). On 5 July 2004 the presidential election was held. Yudhoyono and Kalla won the popular vote with 33% of the votes but 50% of votes is required for election as president and vice president so a run-off was required. Yudhoyono and Megawati proceeded to the second election round held later in the year. In the second ground Yudhoyono faced a considerable challenge from Megawati who formed a national coalition consisting of her own Indonesian Democratic Party-Struggle (PDI-P) along with Golkar, the United Development Party, the Prosperous Peace Party (PDS), and the Indonesian National Party (PNI). Whilst Yudhoyono consolidated political support from other parties, Kalla turned to Golkar for support. Led by Fahmi Idris and ignoring the party line, pro-Kalla elements in Golkar declared their support for Kalla and Yudhoyono. On 20 September 2004 Yudhoyono and Kalla won the run-off with 60.1% of the vote. First vice-presidential term Although he had overwhelmingly won the Presidency, Yudhoyono was still weak in the People's Representative Council (DPR). PD with all of its coalition partners were still too weak to contend with the legislative muscles of Golkar and PDI-P who now intended to play the role of opposition. With a National Congress to be held in December 2004, Yudhoyono and Kalla had originally backed head of DPR Agung Laksono to become Golkar Chairman. When Agung was perceived to be too weak to run against Akbar, Yudhoyono and Kalla threw their weight behind Surya Paloh. Finally, when Paloh was also perceived to be too weak to run against Akbar, Yudhoyono gave the green light for Kalla to run for the Golkar Chairmanship. On 19 December 2004, Kalla was elected as the new Chairman of Golkar. Kalla's victory posed a dilemma for Yudhoyono. Although it now enabled Yudhoyono to pass legislation, Kalla's new position meant that in one sense, he was now more powerful than Yudhoyono. The first sign of rivalry came during the Indian Ocean tsunami when Kalla, apparently on his own initiative, assembled the ministers and signed a vice presidential decree ordering work to begin on rehabilitating Aceh. The legality of the Vice Presidential decree was questioned although Yudhoyono maintained that it was he who gave the orders for Kalla to proceed. The second sign was in September 2005 when Yudhoyono went to New York to attend the annual United Nations Summit. Although Yudhoyono had left Kalla to take charge of proceedings at Jakarta, he seemed to be bent on maintaining a watch on matters at home. Yudhoyono would hold a video conference from New York to receive reports from ministers. Critics suggested that such conduct was an expression of distrust by Yudhoyono The suggestion seemed to gain momentum when Kalla only showed up for one video conference and then spent the rest of the time taking care of Golkar matters. Although things calmed down, especially with Golkar gaining another cabinet position in the reshuffle, the alleged rivalry surfaced again in October 2006 when Yudhoyono established the Presidential Work Unit for the Organization of Reform Program (UKP3R). Critics questioned whether the establishment of the unit was an attempt by Yudhoyono to exclude Kalla from the government. Yudhoyono was quick to clarify that in supervising UKP3R, he would be assisted by Kalla. Potential presidential candidacy in 2014 Kalla has been often mentioned as a possible nominee of the Golkar Party in the 2014 presidential race. In 2009 Kalla ran in the Indonesian presidential election with former Armed Forces Chief of Staff Wiranto as his running mate, finishing third with 12.4% of the vote. During a dedication ceremony of the Indonesian Red Cross headquarters in the Riau province on 3 February 2012 Kalla stated his willingness to run in the presidential election in 2014 should he receive sufficient public support. By May 2012 however, Kalla stated that he had no intention of running in the 2014 Presidential election. Kalla said he had no hard feelings about party chairman Aburizal Bakrie's upcoming inauguration as presidential candidate for the Golkar Party and that he had no intention of competing with him despite surveys that showed that Kalla was likely to be more electable than Bakrie. During Golkar's National Leadership meeting in Bogor on 29 June 2012, Bakrie was officially declared the Golkar Party's 2014 Presidential candidate. Nevertheless, in the changeable political scene in Indonesia the situation can be expected to evolve in the preparations for the 2014 presidential election. In late 2012 Jusuf Kalla indicated that he would be prepared to move away from Golkar and join a ticket sponsored by the Indonesian Democratic Party of Struggle (PDI-P) with former president Megawati as candidate for president and him as the vice-presidential candidate. "If I am not representing Golkar Party, then I have no objection ... Everything is possible in politics," Kalla said. Jokowi's running mate Indonesian Democratic Party of Struggle (PDIP)'s presidential candidate Joko Widodo announced Jusuf Kalla as his vice presidential running mate at Gedung Juang, Jakarta, on 19 May 2014. Second vice-presidential term During his second term as vice president, Kalla criticized neighbor nations Malaysia and Singapore for airing their concerns about suffering from the repeated haze caused by Indonesian forest fires, stating in March 2015: "For 11 months, they enjoyed nice air from Indonesia and they never thanked us. They have suffered because of the haze for one month and they get upset." During the 2015 Southeast Asian haze crisis in September, Kalla restated a similar position, while further questioning "why should there be an apology" from Indonesia. It was also noted that Kalla had made similar comments between 2005 and 2007 during his first term of Vice Presidency. In what was interpreted as a response to Kalla, the Singaporean Minister for Foreign Affairs, K. Shanmugam, while noting that "PSI levels in parts of Indonesia are at almost 2,000", expressed disappointment at "shocking statements made, at senior levels, from Indonesia ... without any regard for their people, or ours, and without any embarrassment, or sense of responsibility". With Indonesia's pollution index by the Indonesian Agency for Meteorology, Climatology and Geophysics declaring values over 350 to be "hazardous", it was reported on 22 September 2015 that the index in Palangkaraya in Central Kalimantan had hit 1,986. Later in September, Kalla insisted that Indonesia is "open", and requested that "Singapore, please come if you want to help. Don't just talk"; this was in spite of earlier rejections (in that month) by Indonesia of Singapore's offers of assistance. In November, Kalla said that the destruction of Indonesian forests was "not only our problem" as "foreign people" were also responsible. He scolded foreign companies, saying "You take [Indonesian products], and pay $5, and you bring it here, and sell for $100. Indonesian companies just get $5 ... you have to pay, if not we will cut down all the trees, and let the world feel the heat ... The world has to pay for all of this. Don't always accuse Indonesia." He also reiterated that since Singapore and Malaysia did not thank Indonesia for "fresh air from Sumatra, Kalimantan", then there was no need for Indonesia to apologize for haze from Indonesian forest fires. In February 2016, Kalla told the United Nations Development Programme not to finance or carry out an LGBT (lesbian, gay, bisexual, and transgender) community program in Indonesia. Kalla previously stated opposition to LGBT campaigns in Indonesia, which he considered at that point as deviating from social values. In April 2016, Kalla reportedly criticized how Singapore, "never wants to sign" an extradition agreement with Indonesia, despite Singapore supposedly being the "country where the largest number of" Indonesian fugitives had fled. The Singaporean Ministry of Foreign Affairs responded by pointing out that an Indonesia-Singapore extradition treaty cum defence cooperation pact had been signed in 2007, while Kalla was also Vice President, but the treaty was still pending ratification by the Indonesian House of Representatives. The Indonesian House had rejected the dual agreement in 2013 as "not favourable to Indonesia", maintaining that "extradition and defence are two separate issues". In December 2018, the issue of China's Xinjiang re-education camps and human rights abuses against the Uyghur Muslim minority was brought up in parliament. Kalla said: "we don't want to intervene in the domestic affairs of another country." Personal life Kalla is married to Mufidah Miad Saad, with whom he has five children, Muchlisa, Muswira, Imelda, Solichin and Chaerani. His career after the vice presidency has included many community activities. On 22 December 2009, he was elected as chairman of Indonesian Red Cross Society (Palang Merah Indonesia, PMI). Kalla said that under his leadership the PMI would build up stocks in the national blood bank to prepare for any increased demand for blood by hospital patients and victims of natural disasters. He also holds an Advance class amateur radio license with call sign YC8HYK. Decorations As the vice president of Indonesia, Kalla is automatically bestowed the highest class of 6 out of 7 civilian Star Decorations (), namely: See also List of vice presidents of Indonesia Notes References External links Profile at TokohIndonesia Official Site of Jusuf Kalla Jusuf Kalla's Blog Official Site of Sahabat Muda Jusuf Kalla-Wiranto Official Site of Jusuf Kalla and Wiranto for Presidential Election 2009 1942 births Bugis people Hasanuddin University alumni INSEAD alumni Indonesian Muslims Living people Politicians from South Sulawesi Vice presidents of Indonesia Golkar politicians People from Bone Regency Government ministers of Indonesia Trade ministers of Indonesia Industry ministers of Indonesia	true	[ "Byram v. United States, 705 F.2d 1418 (5th Cir. 1983) is a Fifth Circuit Court of Appeals decision that helps determine when a sale of land will result in a capital gain for purpose of the U.S. Federal income tax.\n\nFacts \n\nTaxpayer John D. Byram sold seven pieces of real estate in 1973. All transactions were initiated by the purchases; he did not subdivide the land, and spent minimal time and effort. From 1971–1973 Byram sold 22 parcels of real estate for a gross return of over $9 million and a net profit of $3.4 million.\n\nIssue \n\nWere the properties held for investment purposes (allowing capital gains treatment) and not primarily for sale to customers in the ordinary course of his trade or business?\n\nHolding \n\nThe Court of Appeals for the Fifth Circuit affirmed the holding of the District Court. The properties were held for investment purposes and not primarily for sale to customers in the ordinary course of his trade or business and therefore warranted capital gains treatment under Internal Revenue Code sections 1201 and 1202.\n\nThe Fifth Circuit Court's reasoning \n•\tByram made no personal effort to initiate the sales, he did not advertise, he did not have a sales office, he did not enlist the aid of brokers, he did not improve or develop the land, and he devoted minimal time and effort to the transactions.\n•\tThe court determined that the standard for review from the district court’s finding must be accepted unless it is clearly erroneous \n•\tThe district court did not clearly err in determining that 22 sales in 3 years were not sufficiently frequent or continuous to compel an inference of intent to hold the property for sale rather than investment \n•\tSubstantial and frequent sales activity standing alone has never been held to be automatically sufficient to trigger ordinary income treatment\n•\tA court should avoid placing too much weight on duration of ownership where other indicia of intent to hold the property for sale are minimal in order to follow Congressional intent.\n\nNotes \n\n•\tCapital Asset: property held by the taxpayer not including property held primarily for sale to customers in the ordinary course of the taxpayer's trade or business\n\n7 Pillars of Capital Gain Treatment \n(1) the nature and purpose of the acquisition of the property and the duration of the ownership; \n(2) the extent and nature of the taxpayer's efforts to sell the property; \n(3) the number, extent, continuity and substantiality of the sales; \n(4) the extent of subdividing, developing, and advertising to increase sales;\n(5) the use of a business office for the sale of the property; \n(6) the character and degree of supervision or control exercised by the taxpayer over any representative selling the property; and\n(7) the time and effort the taxpayer habitually devoted to the sales.\n\nImportance \n\nThe takeaway from this case, and the reason it is important to everyday investors, is that Byram demonstrated that if you want to sell property AND obtain favorable capital gains treatment, it is essential that you consider the 7 Pillars of Capital Gain Treatment and attempt to stay on the “Byram” Side of the line. If you begin to deviate, such as having a business office, or subdividing the land, or spending a significant amount of time and effort on sales, the court may disallow capital gains treatment on the sale of property.\n\nSee also capital gain\n\nSources \n\n1983 in United States case law\nUnited States taxation and revenue case law\nUnited States property case law\nUnited States Court of Appeals for the Fifth Circuit cases", "This is a list of parliamentary by-elections in the United Kingdom held between 1931 and 1950, with the names of the incumbent and victor and their respective parties. Where seats changed political party at the election, the result is highlighted: red for a Labour gain, blue for a Conservative gain, orange for a Liberal gain, yellow for a SNP gain and grey for any other gain. A grand total of 333 by-elections were held during this period.\n\nResignations \n\nWhere the cause of by-election is given as \"resignation\" or \"seeks re-election\", this indicates that the incumbent was appointed on his or her own request to an \"office of profit under the Crown\", either the Steward of the Chiltern Hundreds or the Steward of the Manor of Northstead. These appointments are made as a constitutional device for leaving the House of Commons, whose Members are not permitted to resign.\n\nBy-elections\n\nReferences\n\nBibliography\nBritish Parliamentary By-Elections since 1945\nList of MPs since 1660\nF. W. S. Craig, British Parliamentary Election Statistics 1832-1987\nF. W. S. Craig, British Parliamentary Election Results 1918-49\nF. W. S. Craig, Chronology of British Parliamentary By-elections 1833-1987\n\n1931\n20th century in the United Kingdom" ]
[ "Jusuf Kalla", "Presidential elections 2014", "What was the result of the 2014 elections?", "Bakrie was officially declared the Golkar Party's 2014 Presidential candidate.", "Was Kalla happy with the result?", "In 2009 Kalla ran in the Indonesian presidential election", "What caused Kalla to lose?", "I don't know.", "Any other interesting information?", "During a dedication ceremony of the Indonesian Red Cross headquarters in the Riau province on 3 February 2012 Kalla stated his willingness to run in the presidential election", "Was he asked to run or did he decide on his own?", "Kalla stated his willingness to run", "What did Kalla do after the elections?", "Kalla said he had no hard feelings about party chairman Aburizal Bakrie's upcoming inauguration as presidential candidate", "Did he plan to run again?", "In late 2012 Jusuf Kalla indicated that he would be prepared to move away from Golkar and join a ticket sponsored by the Indonesian Democratic Party", "Did he gain any other office?", "By May 2012 however, Kalla stated that he had no intention of running in the 2014 Presidential election." ]	C_cb1db69e7ea34ed592a8b45311a41bbb_0	Any other interesting points in the article?	9	Any other interesting points in the article besides Kalla's 2012 presidential run?	Jusuf Kalla	Kalla has been often mentioned as a possible nominee of the Golkar Party in the 2014 presidential race. In 2009 Kalla ran in the Indonesian presidential election with former Armed Forces Chief of Staff Wiranto as his running mate, finishing third with 12.4% of the vote. During a dedication ceremony of the Indonesian Red Cross headquarters in the Riau province on 3 February 2012 Kalla stated his willingness to run in the presidential election in 2014 should he receive sufficient public support. By May 2012 however, Kalla stated that he had no intention of running in the 2014 Presidential election. Kalla said he had no hard feelings about party chairman Aburizal Bakrie's upcoming inauguration as presidential candidate for the Golkar Party and that he had no intention of competing with him despite surveys that showed that Kalla was likely to be more electable than Bakrie. During Golkar's National Leadership meeting in Bogor on 29 June 2012, Bakrie was officially declared the Golkar Party's 2014 Presidential candidate. Nevertheless, in the changeable political scene in Indonesia the situation can be expected to evolve in the preparations for the 2014 presidential election. In late 2012 Jusuf Kalla indicated that he would be prepared to move away from Golkar and join a ticket sponsored by the Indonesian Democratic Party of Struggle (PDI-P) with former president Megawati as candidate for president and him as the vice-presidential candidate. "If I am not representing Golkar Party, then I have no objection ... Everything is possible in politics," Kalla said. CANNOTANSWER	in the changeable political scene in Indonesia the situation can be expected to evolve in the preparations for the 2014 presidential election.	Muhammad Jusuf Kalla (; born 15 May 1942) is an Indonesian politician and businessman who served as the 10th and 12th Vice President of Indonesia, the only vice president in Indonesian history to serve two non-consecutive terms in office (2004–2009 and 2014–2019). He was unsuccessful as Golkar's presidential nominee in the 2009 presidential election. Before Kalla declared himself as the running mate for Joko Widodo in the 2014 presidential election, a 2012 poll placed his popularity among likely voters in the top three contenders for the presidency and ahead of his own party's nominee Aburizal Bakrie. Since 2009 Kalla serves as the chairman of the Indonesian Red Cross Society. Early life Kalla was born on 15 May 1942 in Watampone, now sits in South Sulawesi. His parents were Hadji Kalla, a local businessman and Athirah, a woman who sold Buginese silk for a living. He was the second of 10 children. After completing school, Kalla attended Hasanuddin University in Makassar. At university he became active in the Indonesian Student Action Front (KAMI), a student organization which supported General Suharto in his bid to gain power from president Sukarno. Kalla was elected as chair of South Sulawesi branch of KAMI. He showed interest in a political career, becoming a member of the Regional People's Representative Council (DPRD) and chairman of the Youth Division of Golkar when it was still organised under a Joint Secretariat (Sekretariat Bersama or Sekber) format. Businessman In 1967 Kalla graduated from the Economics Faculty at Hasanuddin University. The economic situation was bleak at the time and his father, Hadji Kalla, considered shutting down the family business, NV Hadji Kalla. Instead, Kalla decided to take over the firm. Putting aside his political activities, in 1968 Kalla became CEO of NV Hadji Kalla while his father became chairman. In the beginning the business only had one employee and business was slow. Kalla's mother assisted by trading silk and running a small transportation business with three buses. Over time the business grew and became quite successful. NV Hadji Kalla expanded from the export-import trading business into other sectors (hotels, infrastructure construction, car dealerships, aerobridges, shipping, real estate, transportation, a shrimp farm, oil palm, and telecommunications). In addition to being CEO of NV Hadji Kalla, Kalla was also CEO of various subsidiaries of the firm. In 1977, Kalla graduated from INSEAD, an international business school in Fontainebleau, south of Paris. "NV Hadji Kalla" is now known as the Kalla Group and is one of the leading business groups in Indonesia, especially in Eastern Indonesia. Affiliations Aside from his business career, Kalla has been active in numerous well-known organizations. From 1979 to 1989, he was chairman of the Indonesian Economics Graduates Association (ISEI) in Makassar (known as Ujung Pandang at the time) and continues to be an adviser for ISEI. Kalla was extensively involved with the Chamber of Commerce and Industry (KADIN). From 1985 to 1998 he was chairman for KADIN in South Sulawesi and was coordinator for KADIN in eastern Indonesia. In addition, Kalla is on the board of trustees for three universities in Makassar. Kalla has contributed socially by building the Al Markaz Mosque and becoming chairman of its Islamic centre. Former Vice President of Indonesia Jusuf Kalla acted as an ambassador for Komodo in the New 7 Wonders of Nature, a global voting campaign to elect the seven natural wonders of the world. The results of the campaign were released in 2011, and Komodo is now one of the New 7 Wonders of Nature. In 2015, the Jusuf Kalla School of Government at Muhammadiyah University of Yogyakarta was established, with the school being funded by Kalla. Kalla is seen in The Act of Killing film praising Pancasila Youth and encouraging them to commit violence. Political career Member of the People's Consultative Assembly Kalla returned to active politics in 1987 when he was appointed to the People's Consultative Assembly (MPR) as a regional representative for South Sulawesi. He was re-appointed to the MPR in 1992, 1997, and 1999. Wahid and Megawati Presidency When Kyai Haji Abdurrahman Wahid (often known as Gus Dur) was elected as president by the MPR in 1999, Kalla was included in the cabinet and became Minister of Industry and Trade. He had only been a minister for six months when in April 2000 Wahid removed him along with the Minister of State-Owned Enterprises. Wahid accused both Kalla and minister Laksamana of corruption, although he never produced evidence to support the charge, and Kalla denied the allegations. In July 2001, at a special session of the MPR, President Gus Dur was dismissed from office. Vice President Megawati Sukarnoputri took over the presidency and included Kalla in her cabinet, appointing him to the senior post of Coordinating Minister of People's Welfare. Although it was not part of his ministerial brief, Kalla helped solve the inter-religious conflict in Poso on his native island of Sulawesi. Kalla facilitated the negotiation which resulted in the signing of the Malino II Accord on 20 December 2001 and an end to the conflict which had gone on for three years. Two months later, Kalla helped solve another conflict in Sulawesi. On 12 February 2002, Kalla, together with Coordinating Minister of Politics and Society Susilo Bambang Yudhoyono, managed to solve a similar conflict on Ambon and Molucca through a second Malino Declaration. Road to Vice Presidency Now a popular figure for assisting with the peace process in Sulawesi, Kalla considered putting himself forward as a candidate in the 2004 presidential elections. In August 2003 he announced his candidacy and enlisted as a participant in Golkar's 2004 Convention which would choose the Golkar candidate for president. As the months went by, however, Kalla came to be seen more as a vice presidential candidate. He was expected to partner a Javanese presidential candidate and his non-Javanese background was seen as a means of attracting non-Javanese votes which a Javanese candidate might have trouble getting. Just days before the Golkar national convention, Kalla decided to withdraw from running under the Golkar banner. Rather, he accepted the offer from the Democratic Party's (PD) Yudhoyono to become his running mate. The pair also received the support of the Crescent Star Party (PBB), the Indonesian Justice and Unity Party (PKPI), and Reform Star Party (PBR). On 5 July 2004 the presidential election was held. Yudhoyono and Kalla won the popular vote with 33% of the votes but 50% of votes is required for election as president and vice president so a run-off was required. Yudhoyono and Megawati proceeded to the second election round held later in the year. In the second ground Yudhoyono faced a considerable challenge from Megawati who formed a national coalition consisting of her own Indonesian Democratic Party-Struggle (PDI-P) along with Golkar, the United Development Party, the Prosperous Peace Party (PDS), and the Indonesian National Party (PNI). Whilst Yudhoyono consolidated political support from other parties, Kalla turned to Golkar for support. Led by Fahmi Idris and ignoring the party line, pro-Kalla elements in Golkar declared their support for Kalla and Yudhoyono. On 20 September 2004 Yudhoyono and Kalla won the run-off with 60.1% of the vote. First vice-presidential term Although he had overwhelmingly won the Presidency, Yudhoyono was still weak in the People's Representative Council (DPR). PD with all of its coalition partners were still too weak to contend with the legislative muscles of Golkar and PDI-P who now intended to play the role of opposition. With a National Congress to be held in December 2004, Yudhoyono and Kalla had originally backed head of DPR Agung Laksono to become Golkar Chairman. When Agung was perceived to be too weak to run against Akbar, Yudhoyono and Kalla threw their weight behind Surya Paloh. Finally, when Paloh was also perceived to be too weak to run against Akbar, Yudhoyono gave the green light for Kalla to run for the Golkar Chairmanship. On 19 December 2004, Kalla was elected as the new Chairman of Golkar. Kalla's victory posed a dilemma for Yudhoyono. Although it now enabled Yudhoyono to pass legislation, Kalla's new position meant that in one sense, he was now more powerful than Yudhoyono. The first sign of rivalry came during the Indian Ocean tsunami when Kalla, apparently on his own initiative, assembled the ministers and signed a vice presidential decree ordering work to begin on rehabilitating Aceh. The legality of the Vice Presidential decree was questioned although Yudhoyono maintained that it was he who gave the orders for Kalla to proceed. The second sign was in September 2005 when Yudhoyono went to New York to attend the annual United Nations Summit. Although Yudhoyono had left Kalla to take charge of proceedings at Jakarta, he seemed to be bent on maintaining a watch on matters at home. Yudhoyono would hold a video conference from New York to receive reports from ministers. Critics suggested that such conduct was an expression of distrust by Yudhoyono The suggestion seemed to gain momentum when Kalla only showed up for one video conference and then spent the rest of the time taking care of Golkar matters. Although things calmed down, especially with Golkar gaining another cabinet position in the reshuffle, the alleged rivalry surfaced again in October 2006 when Yudhoyono established the Presidential Work Unit for the Organization of Reform Program (UKP3R). Critics questioned whether the establishment of the unit was an attempt by Yudhoyono to exclude Kalla from the government. Yudhoyono was quick to clarify that in supervising UKP3R, he would be assisted by Kalla. Potential presidential candidacy in 2014 Kalla has been often mentioned as a possible nominee of the Golkar Party in the 2014 presidential race. In 2009 Kalla ran in the Indonesian presidential election with former Armed Forces Chief of Staff Wiranto as his running mate, finishing third with 12.4% of the vote. During a dedication ceremony of the Indonesian Red Cross headquarters in the Riau province on 3 February 2012 Kalla stated his willingness to run in the presidential election in 2014 should he receive sufficient public support. By May 2012 however, Kalla stated that he had no intention of running in the 2014 Presidential election. Kalla said he had no hard feelings about party chairman Aburizal Bakrie's upcoming inauguration as presidential candidate for the Golkar Party and that he had no intention of competing with him despite surveys that showed that Kalla was likely to be more electable than Bakrie. During Golkar's National Leadership meeting in Bogor on 29 June 2012, Bakrie was officially declared the Golkar Party's 2014 Presidential candidate. Nevertheless, in the changeable political scene in Indonesia the situation can be expected to evolve in the preparations for the 2014 presidential election. In late 2012 Jusuf Kalla indicated that he would be prepared to move away from Golkar and join a ticket sponsored by the Indonesian Democratic Party of Struggle (PDI-P) with former president Megawati as candidate for president and him as the vice-presidential candidate. "If I am not representing Golkar Party, then I have no objection ... Everything is possible in politics," Kalla said. Jokowi's running mate Indonesian Democratic Party of Struggle (PDIP)'s presidential candidate Joko Widodo announced Jusuf Kalla as his vice presidential running mate at Gedung Juang, Jakarta, on 19 May 2014. Second vice-presidential term During his second term as vice president, Kalla criticized neighbor nations Malaysia and Singapore for airing their concerns about suffering from the repeated haze caused by Indonesian forest fires, stating in March 2015: "For 11 months, they enjoyed nice air from Indonesia and they never thanked us. They have suffered because of the haze for one month and they get upset." During the 2015 Southeast Asian haze crisis in September, Kalla restated a similar position, while further questioning "why should there be an apology" from Indonesia. It was also noted that Kalla had made similar comments between 2005 and 2007 during his first term of Vice Presidency. In what was interpreted as a response to Kalla, the Singaporean Minister for Foreign Affairs, K. Shanmugam, while noting that "PSI levels in parts of Indonesia are at almost 2,000", expressed disappointment at "shocking statements made, at senior levels, from Indonesia ... without any regard for their people, or ours, and without any embarrassment, or sense of responsibility". With Indonesia's pollution index by the Indonesian Agency for Meteorology, Climatology and Geophysics declaring values over 350 to be "hazardous", it was reported on 22 September 2015 that the index in Palangkaraya in Central Kalimantan had hit 1,986. Later in September, Kalla insisted that Indonesia is "open", and requested that "Singapore, please come if you want to help. Don't just talk"; this was in spite of earlier rejections (in that month) by Indonesia of Singapore's offers of assistance. In November, Kalla said that the destruction of Indonesian forests was "not only our problem" as "foreign people" were also responsible. He scolded foreign companies, saying "You take [Indonesian products], and pay $5, and you bring it here, and sell for $100. Indonesian companies just get $5 ... you have to pay, if not we will cut down all the trees, and let the world feel the heat ... The world has to pay for all of this. Don't always accuse Indonesia." He also reiterated that since Singapore and Malaysia did not thank Indonesia for "fresh air from Sumatra, Kalimantan", then there was no need for Indonesia to apologize for haze from Indonesian forest fires. In February 2016, Kalla told the United Nations Development Programme not to finance or carry out an LGBT (lesbian, gay, bisexual, and transgender) community program in Indonesia. Kalla previously stated opposition to LGBT campaigns in Indonesia, which he considered at that point as deviating from social values. In April 2016, Kalla reportedly criticized how Singapore, "never wants to sign" an extradition agreement with Indonesia, despite Singapore supposedly being the "country where the largest number of" Indonesian fugitives had fled. The Singaporean Ministry of Foreign Affairs responded by pointing out that an Indonesia-Singapore extradition treaty cum defence cooperation pact had been signed in 2007, while Kalla was also Vice President, but the treaty was still pending ratification by the Indonesian House of Representatives. The Indonesian House had rejected the dual agreement in 2013 as "not favourable to Indonesia", maintaining that "extradition and defence are two separate issues". In December 2018, the issue of China's Xinjiang re-education camps and human rights abuses against the Uyghur Muslim minority was brought up in parliament. Kalla said: "we don't want to intervene in the domestic affairs of another country." Personal life Kalla is married to Mufidah Miad Saad, with whom he has five children, Muchlisa, Muswira, Imelda, Solichin and Chaerani. His career after the vice presidency has included many community activities. On 22 December 2009, he was elected as chairman of Indonesian Red Cross Society (Palang Merah Indonesia, PMI). Kalla said that under his leadership the PMI would build up stocks in the national blood bank to prepare for any increased demand for blood by hospital patients and victims of natural disasters. He also holds an Advance class amateur radio license with call sign YC8HYK. Decorations As the vice president of Indonesia, Kalla is automatically bestowed the highest class of 6 out of 7 civilian Star Decorations (), namely: See also List of vice presidents of Indonesia Notes References External links Profile at TokohIndonesia Official Site of Jusuf Kalla Jusuf Kalla's Blog Official Site of Sahabat Muda Jusuf Kalla-Wiranto Official Site of Jusuf Kalla and Wiranto for Presidential Election 2009 1942 births Bugis people Hasanuddin University alumni INSEAD alumni Indonesian Muslims Living people Politicians from South Sulawesi Vice presidents of Indonesia Golkar politicians People from Bone Regency Government ministers of Indonesia Trade ministers of Indonesia Industry ministers of Indonesia	true	[ "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", "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" ]
[ "Matthew Paris", "Paris as an artist" ]	C_90b59744f071414bb128d11a7e2d0661_1	When was Paris an artist?	1	When was Matthew Paris an artist?	Matthew Paris	In some of Paris' manuscripts, a framed miniature occupies the upper half of the page, and in others they are "marginal" - unframed and occupying the bottom quarter (approximately) of the page. Tinted drawings were an established style well before Paris, and became especially popular in the first half of the 13th century. They were certainly much cheaper and quicker than fully painted illuminations. The tradition of tinted drawings or outline drawings with ink supplemented by coloured wash was distinctively English, dating back to the Anglo-Saxon art of the mid-10th century, and connected with the English Benedictine Reform of the period. A strong influence on one branch of the style was the Carolingian Utrecht Psalter, which was at Canterbury from about 1000 to 1640. This was copied in the 1020s in the Harley Psalter, and in the Eadwine Psalter of the mid-12th century. Recent scholarship, notably that of Nigel Morgan, suggests that Paris' influence on other artists of the period has been exaggerated. This is likely because so much more is known about him than other English illuminators of the period, who are mostly anonymous. Most manuscripts seem to have been produced by lay artists in this period. William de Brailes is shown with a clerical tonsure, but he was married, which suggests he had minor orders only. The manuscripts produced by Paris show few signs of collaboration, but art historians detect a School of St Albans' surviving after Paris' death, influenced by him. Paris' style suggests that it was formed by works from around 1200. He was somewhat old-fashioned in retaining a roundness in his figures, rather than adopting the thin angularity of most of his artist contemporaries, especially those in London. His compositions are very inventive; his position as a well-connected monk may have given him more confidence in creating new compositions, whereas a lay artist would prefer to stick to traditional formulae. It may also reflect the lack of full training in the art of the period. His colouring emphasises green and blue, and together with his characteristic layout of a picture in the top half of a page, is relatively distinctive. What are probably his final sketches are found in Vitae duorum Offarum in BL MS Cotton Nero D I. CANNOTANSWER	first half of the 13th century.	Matthew Paris, also known as Matthew of Paris (; c. 1200 – 1259), was an English Benedictine monk, chronicler, artist in illuminated manuscripts and cartographer, based at St Albans Abbey in Hertfordshire. He wrote a number of works, mostly historical, which he scribed and illuminated himself, typically in drawings partly coloured with watercolour washes, sometimes called "tinted drawings". Some were written in Latin, some in Anglo-Norman or French verse. His Chronica Majora is an oft-cited source, though modern historians recognise that Paris was not always reliable. He tended to glorify Holy Roman Emperor Frederick II and denigrate the Pope. However, in his Historia Anglorum, Paris displays a highly negative view of Frederick, going as far as to describe him as a "tyrant" who "committed disgraceful crimes". Life and work In spite of his surname and knowledge of the French language, Paris was of English birth, and is believed by some chroniclers to be of the Paris family of Hildersham, Cambridgeshire. He may have studied at Paris in his youth after early education at St Albans School. The first we know of Matthew Paris (from his own writings) is that he was admitted as a monk to St Albans in 1217. It is on the assumption that he was in his teens on admission that his birth date is estimated; some scholars suspect he may have been ten years or more older; many monks only entered monastic life after pursuing a career in the world outside. He was clearly at ease with the nobility and even royalty, which may indicate that he came from a family of some status, although it also seems an indication of his personality. His life was mainly spent in this religious house. In 1248, Paris was sent to Norway as the bearer of a message from Louis IX to Haakon IV; he made himself so agreeable to the Norwegian sovereign that he was invited to superintend the reformation of the Benedictine Nidarholm Abbey outside Trondheim. Apart from these missions, his known activities were devoted to the composition of history, a pursuit for which the monks of St Albans had long been famous. After admission to the order in 1217, he inherited the mantle of Roger of Wendover, the abbey's official recorder of events, in 1236. Paris revised Roger's work, adding new material to cover his own tenure. This Chronica Majora is an important historical source document, especially for the period between 1235 and 1259. Equally interesting are the illustrations Paris created for his work. The Dublin MS (see below) contains interesting notes, which shed light on Paris' involvement in other manuscripts, and on the way his own were used. They are in French and in his handwriting: "If you please you can keep this book till Easter" "G, please send to the Lady Countess of Arundel, Isabel, that she is to send you the book about St Thomas the Martyr and St Edward which I copied (translated?) and illustrated, and which the Lady Countess of Cornwall may keep until Whitsuntide" some verses "In the Countess of Winchester's book let there be a pair of images on each page thus": (verses follow describing thirteen saints) It is presumed the last relates to Paris acting as commissioning agent and iconographical consultant for the Countess with another artist. The lending of his manuscripts to aristocratic households, apparently for periods of weeks or months at a time, suggests why he made several different illustrated versions of his Chronicle. Manuscripts by Matthew Paris Paris' manuscripts mostly contain more than one text, and often begin with a rather random assortment of prefatory full-page miniatures. Some have survived incomplete, and the various elements now bound together may not have been intended to be so by Paris. Unless stated otherwise, all were given by Paris to his monastery (from some inscriptions it seems they were regarded as his property to dispose of). The monastic libraries were broken up at the Dissolution. These MSS seem to have been appreciated, and were quickly collected by bibliophiles. Many of his manuscripts in the British Library are from the Cotton Library. Chronica Majora. Corpus Christi College, Cambridge, Mss 26 and 16, 362 x 244/248 mm. ff 141 + 281, composed 1240–53. His major historical work (see below), but less heavily illustrated per page than others. These two volumes contain annals from the creation of the world up to the year 1253. The content up to 1234 or 1235 is based in the main on Roger of Wendover's Flores Historiarum, with additions; after that date the material is Paris' own, and written in his own hand from the annal for 1213 onward. There are 100 marginal drawings (25 + 75), some fragmentary maps and an itinerary, and full-page drawings of William I. MS 16 has very recently had all prefatory matter re-bound separately. A continuation of the Chronica, from 1254 until Paris' death in 1259, is bound with the Historia Anglorum in the British Library volume below. An unillustrated copy of the material from 1189 to 1250, with much of his sharper commentary about Henry III toned down or removed, was supervised by Paris himself and now exists as British Library Cotton MS Nero D V, fol. 162–393. Flores Historiarum. Chetham's Hospital and Library, Manchester, MS 6712. Only part of the text, covering 1241 to 1249, is in Paris' hand, though he is credited with the authorship of the whole text, which is an abridgement of the Chronica with additions from the annals of Reading and of Southwark. Additional interpolations to the text make it clear the volume was created for Westminster Abbey. It was apparently started there, copying another MS of Paris' text that went up to 1240. Later it was sent back to the author for him to update; Vaughan argues this was in 1251-2. The illustrations are similar to Paris' style but not by him. Later additions took the chronicle up to 1327. Historia Anglorum. British Library, Royal MS 14 C VII, fols. 8v–156v. 358 x 250 mm, ff 232 in all. A history of England, begun in 1250 and perhaps completed around 1255, covering the years 1070–1253. The text is an abridgement of the Chronica, also drawing on Wendover's Flores Historiarum and Paris' earlier edited version of the Chronica. Bound with it is the final part of Paris' Chronica Majora, covering the years 1254–1259 (folios 157–218), and prefatory material including an itinerary from London to Jerusalem and tinted drawings of the kings of England. All is in Paris' own hand, apart from folios 210–218 and 154v-156v, which are in a hand of the scribe who has added a note of Matthew Paris' death (f. 218v). The Chronica concludes with a portrait of Paris on his death-bed, presumably not by him. By the 15th century this volume belonged to Humphrey, Duke of Gloucester, son of Henry IV, who inscribed it "Ceste livre est a moy Homffrey Duc de Gloucestre". Later it was held by the bishop of Lincoln, who wrote a note that if the monks of St Albans could prove the book was a loan, they should have it back. Otherwise it was bequeathed to New College, Oxford. The fact that the book was acquired by a 16th-century Earl of Arundel suggests that Duke Humphrey's inscription was not entirely accurate, as New College would probably not have disposed of it. Abbreviatio chronicorum (or Historia minor), British Library Cotton MS Claudius D VI, fols. 5–100. Another shortened history, mainly covering 1067 to 1253. Probably begun circa 1255, it remained unfinished at Paris' death. Illustrated with thirty-three seated figures of English kings illustrating a genealogy. It also contains the most developed of Paris' four maps of Great Britain. Chronica excerpta a magnis cronicis. British Library Cotton MS Vitellius A XX, folios 77r–108v. Covers from 1066 to 1246. Written at some point between 1246 and 1259. Not definitely by Paris, but evidently written under his supervision, with some of the text in his own hand. Book of Additions (Liber additamentorum) British Library Cotton MS Nero D I, ff202 in all, contains maps, Vitae duorum Offarum (illustrated), Gesta abbatum, the lives of the first 23 abbots of St Albans with a miniature portrait of each, coats of arms, as well as copies of original documents. A version of his well-known drawing of an elephant is in this volume, as is a large drawing of Christ, not by Paris. Life of St Alban etc., dating controversial (1230–1250), Trinity College, Dublin Library, Ms 177 (former Ms E.I.40) 77 ff with 54 miniatures, mostly half-page. 240 x 165 mm. Also contains a Life of St Amphibalus, and various other works relating to the history of St Albans Abbey, both also illustrated. The Life of St Alban is in French verse, adapted from a Latin Life of St Alban by William of St Albans, ca. 1178. The manuscript also contains notes in Paris' hand (see above) showing that his manuscripts were lent to various aristocratic ladies for periods, and that he probably acted as an intermediary between commissioners of manuscripts and the (probably) lay artists who produced them, advising on the calendars and iconography. Life of King Edward the Confessor 1230s or 40s, Cambridge University Library MS. Ee.3.59. This is the only surviving copy of this work, but is believed to be a slightly later copy made in London, probably by court artists, of Paris' text and framed illustrations. Based on the Latin Life of Edward the Confessor by Aelred of Rievaulx, c. 1162. Life of St Thomas of Canterbury, British Library, Loan MS 88 – Four leaves (the "Becket Leaves") survive from a French-verse history of the life of Thomas Becket with large illuminations. Based on the Latin Quadrilogus compiled by Elias of Evesham at Crowland Abbey in 1198. The illuminations are attributed to Paris by Janet Backhouse, but not by Nigel Morgan. Vaughan had previously noted that the leaves from the Life of St Thomas and the Life of King Edward are of different sizes, and written by different scribes, neither of them Paris himself, so they are not likely to be part of the manuscript that Paris wrote of having lent to the Countess of Arundel; but that, "to judge from the script and the style of illumination" they are "very close copies of Matthew [Paris]'s original". Life of St Edmund, a French-verse history of the life of Edmund Rich, Archbishop of Canterbury from 1233 to 1240. Based on Paris' own Latin prose life of Rich, composed in the late 1240s, which drew on a collection of materials made at Pontigny, statements from Robert Bacon and Richard Wych, Bishop of Chichester, and other materials including from Paris' own histories. A 14th-century copy of the prose life has survived in British Library Cotton MS Julius D VI, folios 123–156v. One copy of the verse life that was in Cotton MS Vitellius D VIII was destroyed in the fire of 1731; but another copy was discovered in the early 1900s at Welbeck Abbey and is now in the British Library. Liber Experimentarius of Bernardus Silvestris, and other fortune-telling tracts. Bodleian Library, Oxford, Ms. Ashmole 304, 176 x 128 mm, ff72. Many illustrations: author portraits (many of ancient Greeks – Socrates, Plato, Euclid, Pythagoras), birds, tables and diagrams of geomantic significance. Several later copies of the text and illustrations survive. Provenance before 1602 unknown. Miscellaneous writings by John of Wallingford (the Younger), British Library, MS Cotton Julius D VII, 188 × 130 mm, ff. 134. 1247–58. Mostly scribed by John of Wallingford, another monk of St Albans, who also probably did some drawings. A portrait of John, a map of the British Isles, and a Christ in Majesty are all accepted as by Paris. The main text is a chronicle, highly derivative of Paris's. This was John's property, left to his final monastery at Wymondham. Also, fragments of a Latin biography of Stephen Langton. Various other works, especially maps. A panel painting on oak of St Peter, the only surviving part of a tabernacle shrine (1850 x 750 mm), in the Museum of Oslo University has been attributed to Paris, presumably dating from his visit in 1248. Local paintings are usually on pine, so he may have brought this with him, or sent it later. Paris as an artist In some of Paris' manuscripts, a framed miniature occupies the upper half of the page, and in others they are "marginal" – unframed and occupying the bottom quarter (approximately) of the page. Tinted drawings were an established style well before Paris, and became especially popular in the first half of the 13th century. They were certainly much cheaper and quicker than fully painted illuminations. The tradition of tinted drawings or outline drawings with ink supplemented by coloured wash was distinctively English, dating back to the Anglo-Saxon art of the mid-10th century, and connected with the English Benedictine Reform of the period. A strong influence on one branch of the style was the Carolingian Utrecht Psalter, which was at Canterbury from about 1000 to 1640. This was copied in the 1020s in the Harley Psalter, and in the Eadwine Psalter of the mid-12th century. Recent scholarship, notably that of Nigel Morgan, suggests that Paris' influence on other artists of the period has been exaggerated. This is likely because so much more is known about him than other English illuminators of the period, who are mostly anonymous. Most manuscripts seem to have been produced by lay artists in this period. William de Brailes is shown with a clerical tonsure, but he was married, which suggests he had minor orders only. The manuscripts produced by Paris show few signs of collaboration, but art historians detect a School of St Albans' surviving after Paris' death, influenced by him. Paris' style suggests that it was formed by works from around 1200. He was somewhat old-fashioned in retaining a roundness in his figures, rather than adopting the thin angularity of most of his artist contemporaries, especially those in London. His compositions are very inventive; his position as a well-connected monk may have given him more confidence in creating new compositions, whereas a lay artist would prefer to stick to traditional formulae. It may also reflect the lack of full training in the art of the period. His colouring emphasises green and blue, and together with his characteristic layout of a picture in the top half of a page, is relatively distinctive. What are probably his final sketches are found in Vitae duorum Offarum in BL MS Cotton Nero D I. Paris as a historian From 1235, the point at which Wendover dropped his pen, Paris continued the history on the plan which his predecessors had followed. He derived much of his information from the letters of important people, which he sometimes inserts, but much more from conversation with the eyewitnesses of events. Among his informants were Richard, Earl of Cornwall and King Henry III, with whom he appears to have been on intimate terms. The king knew that Paris was writing a history, and wanted it to be as exact as possible. In 1257, in the course of a week's visit to St Albans, Henry kept the chronicler beside him night and day, "and guided my pen," says Paris, "with much goodwill and diligence." It is curious that the Chronica Majora gives so unfavourable an account of the king's policy. Henry Richards Luard supposes that Paris never intended his work to be read in its present form. Many passages of the autograph have written next to them, the note offendiculum, which shows that the writer understood the danger which he ran. On the other hand, unexpurgated copies were made in Paris's lifetime. Although the offending passages are duly omitted or softened in his abridgment of his longer work, the Historia Anglorum (written about 1253), Paris's real feelings must have been an open secret. There is no ground for the old theory that he was an official historiographer. Naturalists have praised his descriptions of the English wildlife of his time, brief though they are: in particular his valuable description of the first irruption into England in 1254 of the common crossbill. Paris as cartographer Outstanding among his other maps were (four versions of) a pilgrim itinerary charting the route from London to Rome in graphic form. A sequence of pictures of towns on the route marked the terminus of each day's travel, enabling the viewer to envisage and follow the whole journey rather like a comic strip – an achievement unprecedented elsewhere in the medieval world. Studies of Matthew Paris The relation of Matthew Paris's work to those of John de Celia (John of Wallingford) and Roger of Wendover may be studied in Henry Richards Luard's edition of the Chronica Majora (7 vols., Rolls series, 1872–1881), which contains valuable prefaces. The Historia Anglorum sive historia minor (1067–1253) has been edited by Frederic Madden (3 vols., Rolls series, 1866–1869). Matthew Paris is sometimes confused with Matthew of Westminster, the reputed author of the Flores historiarum edited by Luard (3 vols., Rolls series, 1890). This work, compiled by various hands, is an edition of Matthew Paris, with continuations extending to 1326. He wrote a life of St Edmund of Abingdon, sometime Archbishop of Canterbury. He also wrote the Anglo-Norman La Estoire de Seint Aedward le Rei (the History of Saint Edward the King), which survives in a beautifully illuminated manuscript version, Cambridge, Cambridge University Library MS. Ee.3.59. The manuscript has had a varied publication history. Sections were printed in Francisque Michel's Chroniques Anglo-Normandes. Luard's edition for the Rolls series was severely criticized; it was re-edited for the Anglo-Norman Text Society by K. Y. Wallace. A facsimile for the Roxburghe Club was edited by M. R. James, and the whole manuscript has been digitalized and can be seen online. Paris House at St Albans High School for Girls is named after him. Notes Bibliography (on manuscripts, and artistic style) External links Images Stanford Digitized texts – Works by and about Paris, including Vaughan etc, in huge pdf files JSTOR review of Vaughan book Matthew Paris' Jerusalem pilgrim's travel guide: information, zoomable image British Library website Art Bulletin article on his maps;Imagined Pilgrimage in the Itinerary Maps of Matthew Paris. 12/1/1999 by Connolly, Daniel K Latin Chroniclers from the Eleventh to the Thirteenth Centuries:Matthew Paris from The Cambridge History of English and American Literature, Volume I, 1907–21. Life of St Edward the Confessor, Cambridge Digital Library Fully annotated copy of Matthew Paris's Claudius Map, with translations and transcriptions 1200 births 1259 deaths Year of birth uncertain People from St Albans English Benedictines English Christian monks English chroniclers English cartographers English historians Historians of the Catholic Church Heraldists Manuscript illuminators Writers who illustrated their own writing Medieval European scribes People educated at St Albans School, Hertfordshire Artist authors Medieval English painters 13th-century Christian monks 13th-century painters 13th-century English artists 13th-century Latin writers 13th-century English writers 13th-century English people 13th-century historians	true	[ "Jean-Baptiste-François de Montullé (3 February 1721 – 26 August 1787) was a French magistrate, who was born and died in Paris. His daughter Émilie-Sophie became an artist, whilst Jean-Baptiste himself was an art collector, though he had to sell off his collection thanks to financial difficulties at the end of 1783 - it included five paintings by Antoine Watteau. He was also executor to the collector Jean de Jullienne.\n\nSources\nNotes prises aux archives de l'État-civil de Paris, par le comte de Chastellux, Paris, 1875, p. 443.\n\nArt collectors from Paris\nFrench judges\n1721 births\n1787 deaths", "Angelika Schatz (1897 – May 1975) was an Israeli artist.\n\nThe daughter of Boris Schatz, a well-known Israeli artist, and Zhenia Zhermovsky, his first wife, she was born in Sofia, Bulgaria. When she was six, her mother left her father to go to Paris with , one of her father's students, and took her daughter with her. Schatz went on to study art at an academy in Germany.\n\nIn 1919, Schatz married Robert Meerson. The couple lived in Hamburg, later moving to Paris. In 1923, they moved to Berlin; they had their only child, a son, there. In 1925, the couple moved to Prague, where they stayed for ten years. She spent some time in Paris in 1928. In 1932, she won a gold medal at the Grand Prix, an art show in Paris. Schatz also had exhibitions in Bulgaria and Czechoslovakia. The family later moved to Sofia, where Schatz was part of a group of female artists and also published articles as an art critic. Around 1940, Schatz and her husband divorced. During World War II, both Schatz and her son were interned for a time in labor camps. In January 1948, she went to Israel with her son. Schatz married Dan Schneider in 1951; the couple and her son lived in Tel Aviv. She joined the Association of Painters and Sculptors there and continued to paint but was not otherwise well-connected with the local art scene.\n\nShe died in Tel Aviv at the age of 78 and was buried in Kiryat Shaul Cemetery.\n\nReferences \n\n1897 births\n1975 deaths\n20th-century women artists\nIsraeli women artists\nArtists from Sofia\nArtists from Paris" ]
[ "Matthew Paris", "Paris as an artist", "When was Paris an artist?", "first half of the 13th century." ]	C_90b59744f071414bb128d11a7e2d0661_1	What did he paint?	2	What did Matthew Paris paint?	Matthew Paris	In some of Paris' manuscripts, a framed miniature occupies the upper half of the page, and in others they are "marginal" - unframed and occupying the bottom quarter (approximately) of the page. Tinted drawings were an established style well before Paris, and became especially popular in the first half of the 13th century. They were certainly much cheaper and quicker than fully painted illuminations. The tradition of tinted drawings or outline drawings with ink supplemented by coloured wash was distinctively English, dating back to the Anglo-Saxon art of the mid-10th century, and connected with the English Benedictine Reform of the period. A strong influence on one branch of the style was the Carolingian Utrecht Psalter, which was at Canterbury from about 1000 to 1640. This was copied in the 1020s in the Harley Psalter, and in the Eadwine Psalter of the mid-12th century. Recent scholarship, notably that of Nigel Morgan, suggests that Paris' influence on other artists of the period has been exaggerated. This is likely because so much more is known about him than other English illuminators of the period, who are mostly anonymous. Most manuscripts seem to have been produced by lay artists in this period. William de Brailes is shown with a clerical tonsure, but he was married, which suggests he had minor orders only. The manuscripts produced by Paris show few signs of collaboration, but art historians detect a School of St Albans' surviving after Paris' death, influenced by him. Paris' style suggests that it was formed by works from around 1200. He was somewhat old-fashioned in retaining a roundness in his figures, rather than adopting the thin angularity of most of his artist contemporaries, especially those in London. His compositions are very inventive; his position as a well-connected monk may have given him more confidence in creating new compositions, whereas a lay artist would prefer to stick to traditional formulae. It may also reflect the lack of full training in the art of the period. His colouring emphasises green and blue, and together with his characteristic layout of a picture in the top half of a page, is relatively distinctive. What are probably his final sketches are found in Vitae duorum Offarum in BL MS Cotton Nero D I. CANNOTANSWER	He was somewhat old-fashioned in retaining a roundness in his figures,	Matthew Paris, also known as Matthew of Paris (; c. 1200 – 1259), was an English Benedictine monk, chronicler, artist in illuminated manuscripts and cartographer, based at St Albans Abbey in Hertfordshire. He wrote a number of works, mostly historical, which he scribed and illuminated himself, typically in drawings partly coloured with watercolour washes, sometimes called "tinted drawings". Some were written in Latin, some in Anglo-Norman or French verse. His Chronica Majora is an oft-cited source, though modern historians recognise that Paris was not always reliable. He tended to glorify Holy Roman Emperor Frederick II and denigrate the Pope. However, in his Historia Anglorum, Paris displays a highly negative view of Frederick, going as far as to describe him as a "tyrant" who "committed disgraceful crimes". Life and work In spite of his surname and knowledge of the French language, Paris was of English birth, and is believed by some chroniclers to be of the Paris family of Hildersham, Cambridgeshire. He may have studied at Paris in his youth after early education at St Albans School. The first we know of Matthew Paris (from his own writings) is that he was admitted as a monk to St Albans in 1217. It is on the assumption that he was in his teens on admission that his birth date is estimated; some scholars suspect he may have been ten years or more older; many monks only entered monastic life after pursuing a career in the world outside. He was clearly at ease with the nobility and even royalty, which may indicate that he came from a family of some status, although it also seems an indication of his personality. His life was mainly spent in this religious house. In 1248, Paris was sent to Norway as the bearer of a message from Louis IX to Haakon IV; he made himself so agreeable to the Norwegian sovereign that he was invited to superintend the reformation of the Benedictine Nidarholm Abbey outside Trondheim. Apart from these missions, his known activities were devoted to the composition of history, a pursuit for which the monks of St Albans had long been famous. After admission to the order in 1217, he inherited the mantle of Roger of Wendover, the abbey's official recorder of events, in 1236. Paris revised Roger's work, adding new material to cover his own tenure. This Chronica Majora is an important historical source document, especially for the period between 1235 and 1259. Equally interesting are the illustrations Paris created for his work. The Dublin MS (see below) contains interesting notes, which shed light on Paris' involvement in other manuscripts, and on the way his own were used. They are in French and in his handwriting: "If you please you can keep this book till Easter" "G, please send to the Lady Countess of Arundel, Isabel, that she is to send you the book about St Thomas the Martyr and St Edward which I copied (translated?) and illustrated, and which the Lady Countess of Cornwall may keep until Whitsuntide" some verses "In the Countess of Winchester's book let there be a pair of images on each page thus": (verses follow describing thirteen saints) It is presumed the last relates to Paris acting as commissioning agent and iconographical consultant for the Countess with another artist. The lending of his manuscripts to aristocratic households, apparently for periods of weeks or months at a time, suggests why he made several different illustrated versions of his Chronicle. Manuscripts by Matthew Paris Paris' manuscripts mostly contain more than one text, and often begin with a rather random assortment of prefatory full-page miniatures. Some have survived incomplete, and the various elements now bound together may not have been intended to be so by Paris. Unless stated otherwise, all were given by Paris to his monastery (from some inscriptions it seems they were regarded as his property to dispose of). The monastic libraries were broken up at the Dissolution. These MSS seem to have been appreciated, and were quickly collected by bibliophiles. Many of his manuscripts in the British Library are from the Cotton Library. Chronica Majora. Corpus Christi College, Cambridge, Mss 26 and 16, 362 x 244/248 mm. ff 141 + 281, composed 1240–53. His major historical work (see below), but less heavily illustrated per page than others. These two volumes contain annals from the creation of the world up to the year 1253. The content up to 1234 or 1235 is based in the main on Roger of Wendover's Flores Historiarum, with additions; after that date the material is Paris' own, and written in his own hand from the annal for 1213 onward. There are 100 marginal drawings (25 + 75), some fragmentary maps and an itinerary, and full-page drawings of William I. MS 16 has very recently had all prefatory matter re-bound separately. A continuation of the Chronica, from 1254 until Paris' death in 1259, is bound with the Historia Anglorum in the British Library volume below. An unillustrated copy of the material from 1189 to 1250, with much of his sharper commentary about Henry III toned down or removed, was supervised by Paris himself and now exists as British Library Cotton MS Nero D V, fol. 162–393. Flores Historiarum. Chetham's Hospital and Library, Manchester, MS 6712. Only part of the text, covering 1241 to 1249, is in Paris' hand, though he is credited with the authorship of the whole text, which is an abridgement of the Chronica with additions from the annals of Reading and of Southwark. Additional interpolations to the text make it clear the volume was created for Westminster Abbey. It was apparently started there, copying another MS of Paris' text that went up to 1240. Later it was sent back to the author for him to update; Vaughan argues this was in 1251-2. The illustrations are similar to Paris' style but not by him. Later additions took the chronicle up to 1327. Historia Anglorum. British Library, Royal MS 14 C VII, fols. 8v–156v. 358 x 250 mm, ff 232 in all. A history of England, begun in 1250 and perhaps completed around 1255, covering the years 1070–1253. The text is an abridgement of the Chronica, also drawing on Wendover's Flores Historiarum and Paris' earlier edited version of the Chronica. Bound with it is the final part of Paris' Chronica Majora, covering the years 1254–1259 (folios 157–218), and prefatory material including an itinerary from London to Jerusalem and tinted drawings of the kings of England. All is in Paris' own hand, apart from folios 210–218 and 154v-156v, which are in a hand of the scribe who has added a note of Matthew Paris' death (f. 218v). The Chronica concludes with a portrait of Paris on his death-bed, presumably not by him. By the 15th century this volume belonged to Humphrey, Duke of Gloucester, son of Henry IV, who inscribed it "Ceste livre est a moy Homffrey Duc de Gloucestre". Later it was held by the bishop of Lincoln, who wrote a note that if the monks of St Albans could prove the book was a loan, they should have it back. Otherwise it was bequeathed to New College, Oxford. The fact that the book was acquired by a 16th-century Earl of Arundel suggests that Duke Humphrey's inscription was not entirely accurate, as New College would probably not have disposed of it. Abbreviatio chronicorum (or Historia minor), British Library Cotton MS Claudius D VI, fols. 5–100. Another shortened history, mainly covering 1067 to 1253. Probably begun circa 1255, it remained unfinished at Paris' death. Illustrated with thirty-three seated figures of English kings illustrating a genealogy. It also contains the most developed of Paris' four maps of Great Britain. Chronica excerpta a magnis cronicis. British Library Cotton MS Vitellius A XX, folios 77r–108v. Covers from 1066 to 1246. Written at some point between 1246 and 1259. Not definitely by Paris, but evidently written under his supervision, with some of the text in his own hand. Book of Additions (Liber additamentorum) British Library Cotton MS Nero D I, ff202 in all, contains maps, Vitae duorum Offarum (illustrated), Gesta abbatum, the lives of the first 23 abbots of St Albans with a miniature portrait of each, coats of arms, as well as copies of original documents. A version of his well-known drawing of an elephant is in this volume, as is a large drawing of Christ, not by Paris. Life of St Alban etc., dating controversial (1230–1250), Trinity College, Dublin Library, Ms 177 (former Ms E.I.40) 77 ff with 54 miniatures, mostly half-page. 240 x 165 mm. Also contains a Life of St Amphibalus, and various other works relating to the history of St Albans Abbey, both also illustrated. The Life of St Alban is in French verse, adapted from a Latin Life of St Alban by William of St Albans, ca. 1178. The manuscript also contains notes in Paris' hand (see above) showing that his manuscripts were lent to various aristocratic ladies for periods, and that he probably acted as an intermediary between commissioners of manuscripts and the (probably) lay artists who produced them, advising on the calendars and iconography. Life of King Edward the Confessor 1230s or 40s, Cambridge University Library MS. Ee.3.59. This is the only surviving copy of this work, but is believed to be a slightly later copy made in London, probably by court artists, of Paris' text and framed illustrations. Based on the Latin Life of Edward the Confessor by Aelred of Rievaulx, c. 1162. Life of St Thomas of Canterbury, British Library, Loan MS 88 – Four leaves (the "Becket Leaves") survive from a French-verse history of the life of Thomas Becket with large illuminations. Based on the Latin Quadrilogus compiled by Elias of Evesham at Crowland Abbey in 1198. The illuminations are attributed to Paris by Janet Backhouse, but not by Nigel Morgan. Vaughan had previously noted that the leaves from the Life of St Thomas and the Life of King Edward are of different sizes, and written by different scribes, neither of them Paris himself, so they are not likely to be part of the manuscript that Paris wrote of having lent to the Countess of Arundel; but that, "to judge from the script and the style of illumination" they are "very close copies of Matthew [Paris]'s original". Life of St Edmund, a French-verse history of the life of Edmund Rich, Archbishop of Canterbury from 1233 to 1240. Based on Paris' own Latin prose life of Rich, composed in the late 1240s, which drew on a collection of materials made at Pontigny, statements from Robert Bacon and Richard Wych, Bishop of Chichester, and other materials including from Paris' own histories. A 14th-century copy of the prose life has survived in British Library Cotton MS Julius D VI, folios 123–156v. One copy of the verse life that was in Cotton MS Vitellius D VIII was destroyed in the fire of 1731; but another copy was discovered in the early 1900s at Welbeck Abbey and is now in the British Library. Liber Experimentarius of Bernardus Silvestris, and other fortune-telling tracts. Bodleian Library, Oxford, Ms. Ashmole 304, 176 x 128 mm, ff72. Many illustrations: author portraits (many of ancient Greeks – Socrates, Plato, Euclid, Pythagoras), birds, tables and diagrams of geomantic significance. Several later copies of the text and illustrations survive. Provenance before 1602 unknown. Miscellaneous writings by John of Wallingford (the Younger), British Library, MS Cotton Julius D VII, 188 × 130 mm, ff. 134. 1247–58. Mostly scribed by John of Wallingford, another monk of St Albans, who also probably did some drawings. A portrait of John, a map of the British Isles, and a Christ in Majesty are all accepted as by Paris. The main text is a chronicle, highly derivative of Paris's. This was John's property, left to his final monastery at Wymondham. Also, fragments of a Latin biography of Stephen Langton. Various other works, especially maps. A panel painting on oak of St Peter, the only surviving part of a tabernacle shrine (1850 x 750 mm), in the Museum of Oslo University has been attributed to Paris, presumably dating from his visit in 1248. Local paintings are usually on pine, so he may have brought this with him, or sent it later. Paris as an artist In some of Paris' manuscripts, a framed miniature occupies the upper half of the page, and in others they are "marginal" – unframed and occupying the bottom quarter (approximately) of the page. Tinted drawings were an established style well before Paris, and became especially popular in the first half of the 13th century. They were certainly much cheaper and quicker than fully painted illuminations. The tradition of tinted drawings or outline drawings with ink supplemented by coloured wash was distinctively English, dating back to the Anglo-Saxon art of the mid-10th century, and connected with the English Benedictine Reform of the period. A strong influence on one branch of the style was the Carolingian Utrecht Psalter, which was at Canterbury from about 1000 to 1640. This was copied in the 1020s in the Harley Psalter, and in the Eadwine Psalter of the mid-12th century. Recent scholarship, notably that of Nigel Morgan, suggests that Paris' influence on other artists of the period has been exaggerated. This is likely because so much more is known about him than other English illuminators of the period, who are mostly anonymous. Most manuscripts seem to have been produced by lay artists in this period. William de Brailes is shown with a clerical tonsure, but he was married, which suggests he had minor orders only. The manuscripts produced by Paris show few signs of collaboration, but art historians detect a School of St Albans' surviving after Paris' death, influenced by him. Paris' style suggests that it was formed by works from around 1200. He was somewhat old-fashioned in retaining a roundness in his figures, rather than adopting the thin angularity of most of his artist contemporaries, especially those in London. His compositions are very inventive; his position as a well-connected monk may have given him more confidence in creating new compositions, whereas a lay artist would prefer to stick to traditional formulae. It may also reflect the lack of full training in the art of the period. His colouring emphasises green and blue, and together with his characteristic layout of a picture in the top half of a page, is relatively distinctive. What are probably his final sketches are found in Vitae duorum Offarum in BL MS Cotton Nero D I. Paris as a historian From 1235, the point at which Wendover dropped his pen, Paris continued the history on the plan which his predecessors had followed. He derived much of his information from the letters of important people, which he sometimes inserts, but much more from conversation with the eyewitnesses of events. Among his informants were Richard, Earl of Cornwall and King Henry III, with whom he appears to have been on intimate terms. The king knew that Paris was writing a history, and wanted it to be as exact as possible. In 1257, in the course of a week's visit to St Albans, Henry kept the chronicler beside him night and day, "and guided my pen," says Paris, "with much goodwill and diligence." It is curious that the Chronica Majora gives so unfavourable an account of the king's policy. Henry Richards Luard supposes that Paris never intended his work to be read in its present form. Many passages of the autograph have written next to them, the note offendiculum, which shows that the writer understood the danger which he ran. On the other hand, unexpurgated copies were made in Paris's lifetime. Although the offending passages are duly omitted or softened in his abridgment of his longer work, the Historia Anglorum (written about 1253), Paris's real feelings must have been an open secret. There is no ground for the old theory that he was an official historiographer. Naturalists have praised his descriptions of the English wildlife of his time, brief though they are: in particular his valuable description of the first irruption into England in 1254 of the common crossbill. Paris as cartographer Outstanding among his other maps were (four versions of) a pilgrim itinerary charting the route from London to Rome in graphic form. A sequence of pictures of towns on the route marked the terminus of each day's travel, enabling the viewer to envisage and follow the whole journey rather like a comic strip – an achievement unprecedented elsewhere in the medieval world. Studies of Matthew Paris The relation of Matthew Paris's work to those of John de Celia (John of Wallingford) and Roger of Wendover may be studied in Henry Richards Luard's edition of the Chronica Majora (7 vols., Rolls series, 1872–1881), which contains valuable prefaces. The Historia Anglorum sive historia minor (1067–1253) has been edited by Frederic Madden (3 vols., Rolls series, 1866–1869). Matthew Paris is sometimes confused with Matthew of Westminster, the reputed author of the Flores historiarum edited by Luard (3 vols., Rolls series, 1890). This work, compiled by various hands, is an edition of Matthew Paris, with continuations extending to 1326. He wrote a life of St Edmund of Abingdon, sometime Archbishop of Canterbury. He also wrote the Anglo-Norman La Estoire de Seint Aedward le Rei (the History of Saint Edward the King), which survives in a beautifully illuminated manuscript version, Cambridge, Cambridge University Library MS. Ee.3.59. The manuscript has had a varied publication history. Sections were printed in Francisque Michel's Chroniques Anglo-Normandes. Luard's edition for the Rolls series was severely criticized; it was re-edited for the Anglo-Norman Text Society by K. Y. Wallace. A facsimile for the Roxburghe Club was edited by M. R. James, and the whole manuscript has been digitalized and can be seen online. Paris House at St Albans High School for Girls is named after him. Notes Bibliography (on manuscripts, and artistic style) External links Images Stanford Digitized texts – Works by and about Paris, including Vaughan etc, in huge pdf files JSTOR review of Vaughan book Matthew Paris' Jerusalem pilgrim's travel guide: information, zoomable image British Library website Art Bulletin article on his maps;Imagined Pilgrimage in the Itinerary Maps of Matthew Paris. 12/1/1999 by Connolly, Daniel K Latin Chroniclers from the Eleventh to the Thirteenth Centuries:Matthew Paris from The Cambridge History of English and American Literature, Volume I, 1907–21. Life of St Edward the Confessor, Cambridge Digital Library Fully annotated copy of Matthew Paris's Claudius Map, with translations and transcriptions 1200 births 1259 deaths Year of birth uncertain People from St Albans English Benedictines English Christian monks English chroniclers English cartographers English historians Historians of the Catholic Church Heraldists Manuscript illuminators Writers who illustrated their own writing Medieval European scribes People educated at St Albans School, Hertfordshire Artist authors Medieval English painters 13th-century Christian monks 13th-century painters 13th-century English artists 13th-century Latin writers 13th-century English writers 13th-century English people 13th-century historians	true	[ "War paint is paint ritually applied to the face and/or body prior to going into a battle.\nWar Paint or Warpaint may also refer to:\n\nMusic\n Warpaint (band), an American indie rock band from Los Angeles\nWarpaint (Warpaint album), 2014 album by Warpaint\n\"Warpaint\", song by Warpaint from The Fool (2010)\n\nAlbums\n Warpaint (The Black Crowes album) (2008)\n War Paint (The Dangerous Summer album), or the title song (2011)\n War Paint (Lorrie Morgan album), or the title song (1994)\n Warpaint (Happy Rhodes album), or the title song (1991)\n\nSongs\n \"War Paint\" (Fletcher song) (2015)\n \"War Paint\" (Madeline Merlo song) (2016)\n \"War Paint\", by Gwen Stefani from This Is What the Truth Feels Like (2016)\n \"Warpaint\", by Ivory Hours (2015)\n \"War Paint\", by Kelly Clarkson from Piece by Piece (2015)\n \"War Paint\", by Rush from Presto (1989)\n \"War Paint\" , by Jonah Marais\n\nFilms\n War Paint (1926 film), a western by W. S. Van Dyke\n War Paint (1953 film), a western starring Robert Stack and Joan Taylor\n Iliza Shlesinger: War Paint, a 2013 stand-up comedy film\n\nOther uses\nWar Paint (horse), (c. 1945) a ProRodeo Hall of Fame bucking horse\n Warpaint (mascot), a mascot of the Kansas City Chiefs NFL team\n War Paint (musical), a Broadway musical based on the rivalry between Elizabeth Arden and Helena Rubinstein\n Luxilus coccogenis or warpaint shiner\n War Paint, a Disney comic by Carl Barks\n Military camouflage", "Lucas Mlambo (born 28 December 1959 in Sidvwashini, Mbabane) is a Swazi painter.\n\nBiography\nThe only boy of eight children, his father died when he was very young and was raised by his mother whilst attending Lozita Secondary School. In 1984, the Mlambo family were forced to relocate by the government to make way for roads and he began drawing to remember his childhood home. He got a job in Beral and developed his skills in painting at the weekends and selling them to his colleagues. In 1985, a man named Dori whom he met at the Indingilizi Gallery recognized his talent and encouraged him to exhibit. The following year he did so at the gallery, with Lisa Forslund from Sweden.\n\nIn 1991, Mlambo painted five murals at Indingilizi to depict the Reed Dance Ceremony. He has since showcased his works in Total Gallery in Johannesburg and University of Zululand in KwaZulu-Natal, South Africa, Grahamstown Arts Festival, at the Swaziland Arts Society, and in Denmark and the United States. His paintings are noted for their bright colours, often in lively scenes, and generally capture every day life and landmarks in the country. Mlambo has said “Many people like my paintings. I like to use bright colours. In my work, you can see how people in Swaziland live and what they do. I like Mbabane very much because when I see the mountains I see something to paint. When I see the streets, people and buildings, I see something to paint. Even in the location where I stay, I find many stories to paint to show how the people live and what they do.” Notable works include After the Storm, Washing Day - Manzini, Nhlangano Town Mshengu St and Nhlangano - Old Bus Rank. Mlambo is married with a son and a daughter.\n\nReferences\n\nSwazi painters\nPeople from Mbabane\n1959 births\nLiving people\n20th-century painters\n21st-century painters" ]
[ "Matthew Paris", "Paris as an artist", "When was Paris an artist?", "first half of the 13th century.", "What did he paint?", "He was somewhat old-fashioned in retaining a roundness in his figures," ]	C_90b59744f071414bb128d11a7e2d0661_1	Was he a popular artist?	3	Was Matthew Paris a popular artist?	Matthew Paris	In some of Paris' manuscripts, a framed miniature occupies the upper half of the page, and in others they are "marginal" - unframed and occupying the bottom quarter (approximately) of the page. Tinted drawings were an established style well before Paris, and became especially popular in the first half of the 13th century. They were certainly much cheaper and quicker than fully painted illuminations. The tradition of tinted drawings or outline drawings with ink supplemented by coloured wash was distinctively English, dating back to the Anglo-Saxon art of the mid-10th century, and connected with the English Benedictine Reform of the period. A strong influence on one branch of the style was the Carolingian Utrecht Psalter, which was at Canterbury from about 1000 to 1640. This was copied in the 1020s in the Harley Psalter, and in the Eadwine Psalter of the mid-12th century. Recent scholarship, notably that of Nigel Morgan, suggests that Paris' influence on other artists of the period has been exaggerated. This is likely because so much more is known about him than other English illuminators of the period, who are mostly anonymous. Most manuscripts seem to have been produced by lay artists in this period. William de Brailes is shown with a clerical tonsure, but he was married, which suggests he had minor orders only. The manuscripts produced by Paris show few signs of collaboration, but art historians detect a School of St Albans' surviving after Paris' death, influenced by him. Paris' style suggests that it was formed by works from around 1200. He was somewhat old-fashioned in retaining a roundness in his figures, rather than adopting the thin angularity of most of his artist contemporaries, especially those in London. His compositions are very inventive; his position as a well-connected monk may have given him more confidence in creating new compositions, whereas a lay artist would prefer to stick to traditional formulae. It may also reflect the lack of full training in the art of the period. His colouring emphasises green and blue, and together with his characteristic layout of a picture in the top half of a page, is relatively distinctive. What are probably his final sketches are found in Vitae duorum Offarum in BL MS Cotton Nero D I. CANNOTANSWER	became especially popular in the first half of the 13th century.	Matthew Paris, also known as Matthew of Paris (; c. 1200 – 1259), was an English Benedictine monk, chronicler, artist in illuminated manuscripts and cartographer, based at St Albans Abbey in Hertfordshire. He wrote a number of works, mostly historical, which he scribed and illuminated himself, typically in drawings partly coloured with watercolour washes, sometimes called "tinted drawings". Some were written in Latin, some in Anglo-Norman or French verse. His Chronica Majora is an oft-cited source, though modern historians recognise that Paris was not always reliable. He tended to glorify Holy Roman Emperor Frederick II and denigrate the Pope. However, in his Historia Anglorum, Paris displays a highly negative view of Frederick, going as far as to describe him as a "tyrant" who "committed disgraceful crimes". Life and work In spite of his surname and knowledge of the French language, Paris was of English birth, and is believed by some chroniclers to be of the Paris family of Hildersham, Cambridgeshire. He may have studied at Paris in his youth after early education at St Albans School. The first we know of Matthew Paris (from his own writings) is that he was admitted as a monk to St Albans in 1217. It is on the assumption that he was in his teens on admission that his birth date is estimated; some scholars suspect he may have been ten years or more older; many monks only entered monastic life after pursuing a career in the world outside. He was clearly at ease with the nobility and even royalty, which may indicate that he came from a family of some status, although it also seems an indication of his personality. His life was mainly spent in this religious house. In 1248, Paris was sent to Norway as the bearer of a message from Louis IX to Haakon IV; he made himself so agreeable to the Norwegian sovereign that he was invited to superintend the reformation of the Benedictine Nidarholm Abbey outside Trondheim. Apart from these missions, his known activities were devoted to the composition of history, a pursuit for which the monks of St Albans had long been famous. After admission to the order in 1217, he inherited the mantle of Roger of Wendover, the abbey's official recorder of events, in 1236. Paris revised Roger's work, adding new material to cover his own tenure. This Chronica Majora is an important historical source document, especially for the period between 1235 and 1259. Equally interesting are the illustrations Paris created for his work. The Dublin MS (see below) contains interesting notes, which shed light on Paris' involvement in other manuscripts, and on the way his own were used. They are in French and in his handwriting: "If you please you can keep this book till Easter" "G, please send to the Lady Countess of Arundel, Isabel, that she is to send you the book about St Thomas the Martyr and St Edward which I copied (translated?) and illustrated, and which the Lady Countess of Cornwall may keep until Whitsuntide" some verses "In the Countess of Winchester's book let there be a pair of images on each page thus": (verses follow describing thirteen saints) It is presumed the last relates to Paris acting as commissioning agent and iconographical consultant for the Countess with another artist. The lending of his manuscripts to aristocratic households, apparently for periods of weeks or months at a time, suggests why he made several different illustrated versions of his Chronicle. Manuscripts by Matthew Paris Paris' manuscripts mostly contain more than one text, and often begin with a rather random assortment of prefatory full-page miniatures. Some have survived incomplete, and the various elements now bound together may not have been intended to be so by Paris. Unless stated otherwise, all were given by Paris to his monastery (from some inscriptions it seems they were regarded as his property to dispose of). The monastic libraries were broken up at the Dissolution. These MSS seem to have been appreciated, and were quickly collected by bibliophiles. Many of his manuscripts in the British Library are from the Cotton Library. Chronica Majora. Corpus Christi College, Cambridge, Mss 26 and 16, 362 x 244/248 mm. ff 141 + 281, composed 1240–53. His major historical work (see below), but less heavily illustrated per page than others. These two volumes contain annals from the creation of the world up to the year 1253. The content up to 1234 or 1235 is based in the main on Roger of Wendover's Flores Historiarum, with additions; after that date the material is Paris' own, and written in his own hand from the annal for 1213 onward. There are 100 marginal drawings (25 + 75), some fragmentary maps and an itinerary, and full-page drawings of William I. MS 16 has very recently had all prefatory matter re-bound separately. A continuation of the Chronica, from 1254 until Paris' death in 1259, is bound with the Historia Anglorum in the British Library volume below. An unillustrated copy of the material from 1189 to 1250, with much of his sharper commentary about Henry III toned down or removed, was supervised by Paris himself and now exists as British Library Cotton MS Nero D V, fol. 162–393. Flores Historiarum. Chetham's Hospital and Library, Manchester, MS 6712. Only part of the text, covering 1241 to 1249, is in Paris' hand, though he is credited with the authorship of the whole text, which is an abridgement of the Chronica with additions from the annals of Reading and of Southwark. Additional interpolations to the text make it clear the volume was created for Westminster Abbey. It was apparently started there, copying another MS of Paris' text that went up to 1240. Later it was sent back to the author for him to update; Vaughan argues this was in 1251-2. The illustrations are similar to Paris' style but not by him. Later additions took the chronicle up to 1327. Historia Anglorum. British Library, Royal MS 14 C VII, fols. 8v–156v. 358 x 250 mm, ff 232 in all. A history of England, begun in 1250 and perhaps completed around 1255, covering the years 1070–1253. The text is an abridgement of the Chronica, also drawing on Wendover's Flores Historiarum and Paris' earlier edited version of the Chronica. Bound with it is the final part of Paris' Chronica Majora, covering the years 1254–1259 (folios 157–218), and prefatory material including an itinerary from London to Jerusalem and tinted drawings of the kings of England. All is in Paris' own hand, apart from folios 210–218 and 154v-156v, which are in a hand of the scribe who has added a note of Matthew Paris' death (f. 218v). The Chronica concludes with a portrait of Paris on his death-bed, presumably not by him. By the 15th century this volume belonged to Humphrey, Duke of Gloucester, son of Henry IV, who inscribed it "Ceste livre est a moy Homffrey Duc de Gloucestre". Later it was held by the bishop of Lincoln, who wrote a note that if the monks of St Albans could prove the book was a loan, they should have it back. Otherwise it was bequeathed to New College, Oxford. The fact that the book was acquired by a 16th-century Earl of Arundel suggests that Duke Humphrey's inscription was not entirely accurate, as New College would probably not have disposed of it. Abbreviatio chronicorum (or Historia minor), British Library Cotton MS Claudius D VI, fols. 5–100. Another shortened history, mainly covering 1067 to 1253. Probably begun circa 1255, it remained unfinished at Paris' death. Illustrated with thirty-three seated figures of English kings illustrating a genealogy. It also contains the most developed of Paris' four maps of Great Britain. Chronica excerpta a magnis cronicis. British Library Cotton MS Vitellius A XX, folios 77r–108v. Covers from 1066 to 1246. Written at some point between 1246 and 1259. Not definitely by Paris, but evidently written under his supervision, with some of the text in his own hand. Book of Additions (Liber additamentorum) British Library Cotton MS Nero D I, ff202 in all, contains maps, Vitae duorum Offarum (illustrated), Gesta abbatum, the lives of the first 23 abbots of St Albans with a miniature portrait of each, coats of arms, as well as copies of original documents. A version of his well-known drawing of an elephant is in this volume, as is a large drawing of Christ, not by Paris. Life of St Alban etc., dating controversial (1230–1250), Trinity College, Dublin Library, Ms 177 (former Ms E.I.40) 77 ff with 54 miniatures, mostly half-page. 240 x 165 mm. Also contains a Life of St Amphibalus, and various other works relating to the history of St Albans Abbey, both also illustrated. The Life of St Alban is in French verse, adapted from a Latin Life of St Alban by William of St Albans, ca. 1178. The manuscript also contains notes in Paris' hand (see above) showing that his manuscripts were lent to various aristocratic ladies for periods, and that he probably acted as an intermediary between commissioners of manuscripts and the (probably) lay artists who produced them, advising on the calendars and iconography. Life of King Edward the Confessor 1230s or 40s, Cambridge University Library MS. Ee.3.59. This is the only surviving copy of this work, but is believed to be a slightly later copy made in London, probably by court artists, of Paris' text and framed illustrations. Based on the Latin Life of Edward the Confessor by Aelred of Rievaulx, c. 1162. Life of St Thomas of Canterbury, British Library, Loan MS 88 – Four leaves (the "Becket Leaves") survive from a French-verse history of the life of Thomas Becket with large illuminations. Based on the Latin Quadrilogus compiled by Elias of Evesham at Crowland Abbey in 1198. The illuminations are attributed to Paris by Janet Backhouse, but not by Nigel Morgan. Vaughan had previously noted that the leaves from the Life of St Thomas and the Life of King Edward are of different sizes, and written by different scribes, neither of them Paris himself, so they are not likely to be part of the manuscript that Paris wrote of having lent to the Countess of Arundel; but that, "to judge from the script and the style of illumination" they are "very close copies of Matthew [Paris]'s original". Life of St Edmund, a French-verse history of the life of Edmund Rich, Archbishop of Canterbury from 1233 to 1240. Based on Paris' own Latin prose life of Rich, composed in the late 1240s, which drew on a collection of materials made at Pontigny, statements from Robert Bacon and Richard Wych, Bishop of Chichester, and other materials including from Paris' own histories. A 14th-century copy of the prose life has survived in British Library Cotton MS Julius D VI, folios 123–156v. One copy of the verse life that was in Cotton MS Vitellius D VIII was destroyed in the fire of 1731; but another copy was discovered in the early 1900s at Welbeck Abbey and is now in the British Library. Liber Experimentarius of Bernardus Silvestris, and other fortune-telling tracts. Bodleian Library, Oxford, Ms. Ashmole 304, 176 x 128 mm, ff72. Many illustrations: author portraits (many of ancient Greeks – Socrates, Plato, Euclid, Pythagoras), birds, tables and diagrams of geomantic significance. Several later copies of the text and illustrations survive. Provenance before 1602 unknown. Miscellaneous writings by John of Wallingford (the Younger), British Library, MS Cotton Julius D VII, 188 × 130 mm, ff. 134. 1247–58. Mostly scribed by John of Wallingford, another monk of St Albans, who also probably did some drawings. A portrait of John, a map of the British Isles, and a Christ in Majesty are all accepted as by Paris. The main text is a chronicle, highly derivative of Paris's. This was John's property, left to his final monastery at Wymondham. Also, fragments of a Latin biography of Stephen Langton. Various other works, especially maps. A panel painting on oak of St Peter, the only surviving part of a tabernacle shrine (1850 x 750 mm), in the Museum of Oslo University has been attributed to Paris, presumably dating from his visit in 1248. Local paintings are usually on pine, so he may have brought this with him, or sent it later. Paris as an artist In some of Paris' manuscripts, a framed miniature occupies the upper half of the page, and in others they are "marginal" – unframed and occupying the bottom quarter (approximately) of the page. Tinted drawings were an established style well before Paris, and became especially popular in the first half of the 13th century. They were certainly much cheaper and quicker than fully painted illuminations. The tradition of tinted drawings or outline drawings with ink supplemented by coloured wash was distinctively English, dating back to the Anglo-Saxon art of the mid-10th century, and connected with the English Benedictine Reform of the period. A strong influence on one branch of the style was the Carolingian Utrecht Psalter, which was at Canterbury from about 1000 to 1640. This was copied in the 1020s in the Harley Psalter, and in the Eadwine Psalter of the mid-12th century. Recent scholarship, notably that of Nigel Morgan, suggests that Paris' influence on other artists of the period has been exaggerated. This is likely because so much more is known about him than other English illuminators of the period, who are mostly anonymous. Most manuscripts seem to have been produced by lay artists in this period. William de Brailes is shown with a clerical tonsure, but he was married, which suggests he had minor orders only. The manuscripts produced by Paris show few signs of collaboration, but art historians detect a School of St Albans' surviving after Paris' death, influenced by him. Paris' style suggests that it was formed by works from around 1200. He was somewhat old-fashioned in retaining a roundness in his figures, rather than adopting the thin angularity of most of his artist contemporaries, especially those in London. His compositions are very inventive; his position as a well-connected monk may have given him more confidence in creating new compositions, whereas a lay artist would prefer to stick to traditional formulae. It may also reflect the lack of full training in the art of the period. His colouring emphasises green and blue, and together with his characteristic layout of a picture in the top half of a page, is relatively distinctive. What are probably his final sketches are found in Vitae duorum Offarum in BL MS Cotton Nero D I. Paris as a historian From 1235, the point at which Wendover dropped his pen, Paris continued the history on the plan which his predecessors had followed. He derived much of his information from the letters of important people, which he sometimes inserts, but much more from conversation with the eyewitnesses of events. Among his informants were Richard, Earl of Cornwall and King Henry III, with whom he appears to have been on intimate terms. The king knew that Paris was writing a history, and wanted it to be as exact as possible. In 1257, in the course of a week's visit to St Albans, Henry kept the chronicler beside him night and day, "and guided my pen," says Paris, "with much goodwill and diligence." It is curious that the Chronica Majora gives so unfavourable an account of the king's policy. Henry Richards Luard supposes that Paris never intended his work to be read in its present form. Many passages of the autograph have written next to them, the note offendiculum, which shows that the writer understood the danger which he ran. On the other hand, unexpurgated copies were made in Paris's lifetime. Although the offending passages are duly omitted or softened in his abridgment of his longer work, the Historia Anglorum (written about 1253), Paris's real feelings must have been an open secret. There is no ground for the old theory that he was an official historiographer. Naturalists have praised his descriptions of the English wildlife of his time, brief though they are: in particular his valuable description of the first irruption into England in 1254 of the common crossbill. Paris as cartographer Outstanding among his other maps were (four versions of) a pilgrim itinerary charting the route from London to Rome in graphic form. A sequence of pictures of towns on the route marked the terminus of each day's travel, enabling the viewer to envisage and follow the whole journey rather like a comic strip – an achievement unprecedented elsewhere in the medieval world. Studies of Matthew Paris The relation of Matthew Paris's work to those of John de Celia (John of Wallingford) and Roger of Wendover may be studied in Henry Richards Luard's edition of the Chronica Majora (7 vols., Rolls series, 1872–1881), which contains valuable prefaces. The Historia Anglorum sive historia minor (1067–1253) has been edited by Frederic Madden (3 vols., Rolls series, 1866–1869). Matthew Paris is sometimes confused with Matthew of Westminster, the reputed author of the Flores historiarum edited by Luard (3 vols., Rolls series, 1890). This work, compiled by various hands, is an edition of Matthew Paris, with continuations extending to 1326. He wrote a life of St Edmund of Abingdon, sometime Archbishop of Canterbury. He also wrote the Anglo-Norman La Estoire de Seint Aedward le Rei (the History of Saint Edward the King), which survives in a beautifully illuminated manuscript version, Cambridge, Cambridge University Library MS. Ee.3.59. The manuscript has had a varied publication history. Sections were printed in Francisque Michel's Chroniques Anglo-Normandes. Luard's edition for the Rolls series was severely criticized; it was re-edited for the Anglo-Norman Text Society by K. Y. Wallace. A facsimile for the Roxburghe Club was edited by M. R. James, and the whole manuscript has been digitalized and can be seen online. Paris House at St Albans High School for Girls is named after him. Notes Bibliography (on manuscripts, and artistic style) External links Images Stanford Digitized texts – Works by and about Paris, including Vaughan etc, in huge pdf files JSTOR review of Vaughan book Matthew Paris' Jerusalem pilgrim's travel guide: information, zoomable image British Library website Art Bulletin article on his maps;Imagined Pilgrimage in the Itinerary Maps of Matthew Paris. 12/1/1999 by Connolly, Daniel K Latin Chroniclers from the Eleventh to the Thirteenth Centuries:Matthew Paris from The Cambridge History of English and American Literature, Volume I, 1907–21. Life of St Edward the Confessor, Cambridge Digital Library Fully annotated copy of Matthew Paris's Claudius Map, with translations and transcriptions 1200 births 1259 deaths Year of birth uncertain People from St Albans English Benedictines English Christian monks English chroniclers English cartographers English historians Historians of the Catholic Church Heraldists Manuscript illuminators Writers who illustrated their own writing Medieval European scribes People educated at St Albans School, Hertfordshire Artist authors Medieval English painters 13th-century Christian monks 13th-century painters 13th-century English artists 13th-century Latin writers 13th-century English writers 13th-century English people 13th-century historians	true	[ "Wilt \"Tallpree\" Cambridge (born 29 July 1973) is a Grenadian soca artist.\n\nHe initially began performing as a reggae dancehall artist in the late 1980s and made the switch to becoming a soca artist the late 90s. His first stage name was Mr. Evilus, but by the time he began singing the popular \"Jab Jab\" – infused music soca enthusiasts have come to expect from him, he changed his name to Tallpree.\n\nIn 2000, Tallpree built a massive audience in the Spicemas Grenada Carnival season with the soca song \"Grave, Jail, Hospital,\" which was named the Road March (most popular/played song) that year.\n\nTallpree continues to perform popular soca tunes all around the world, and in 2011, he was named Grenadian Cultural Ambassador.\n\nEPs\n\n Jab Love (FOX FUSE, 2017)\n\nReferences \n\nSoca musicians\n1973 births\nLiving people", "Chin Faithes ( b. April 1, 1946), known professionally as Chinakorn Krailat (), was a Thai Luk thung singer, and was named National Artist of Thailand in 1999.\n\nEarly life \nHe was born in Sukhothai Province.\n\nCareer \nBeginning as a singer from \"Cheer Ramwong band\", he started performing on stage during the 1950s. His first album was \"Luk thung Ram Luek\" followed by many popular songs including \"Phet Luang Nai Salam\" (), \"Phet Cha Kad Jai\" (), \"Thee Rak Rao Rak Kan Mai Dai\" (), etc including his most popular one \"Yor Yot Pra Lor\" ().\n\nHe was awarded National Artist of Thailand award, for performing arts (International music) in 1999.\n\nHe died from colon cancer on May 18, 2017, at age 70.\n\nReferences\n\nChin Faithes\n1946 births\n2017 deaths\nChin Faithes\nChin Faithes\nChin Faithes\nChin Faithes" ]
[ "Matthew Paris", "Paris as an artist", "When was Paris an artist?", "first half of the 13th century.", "What did he paint?", "He was somewhat old-fashioned in retaining a roundness in his figures,", "Was he a popular artist?", "became especially popular in the first half of the 13th century." ]	C_90b59744f071414bb128d11a7e2d0661_1	Was he a painter?	4	Was the artist Matthew Paris a painter?	Matthew Paris	In some of Paris' manuscripts, a framed miniature occupies the upper half of the page, and in others they are "marginal" - unframed and occupying the bottom quarter (approximately) of the page. Tinted drawings were an established style well before Paris, and became especially popular in the first half of the 13th century. They were certainly much cheaper and quicker than fully painted illuminations. The tradition of tinted drawings or outline drawings with ink supplemented by coloured wash was distinctively English, dating back to the Anglo-Saxon art of the mid-10th century, and connected with the English Benedictine Reform of the period. A strong influence on one branch of the style was the Carolingian Utrecht Psalter, which was at Canterbury from about 1000 to 1640. This was copied in the 1020s in the Harley Psalter, and in the Eadwine Psalter of the mid-12th century. Recent scholarship, notably that of Nigel Morgan, suggests that Paris' influence on other artists of the period has been exaggerated. This is likely because so much more is known about him than other English illuminators of the period, who are mostly anonymous. Most manuscripts seem to have been produced by lay artists in this period. William de Brailes is shown with a clerical tonsure, but he was married, which suggests he had minor orders only. The manuscripts produced by Paris show few signs of collaboration, but art historians detect a School of St Albans' surviving after Paris' death, influenced by him. Paris' style suggests that it was formed by works from around 1200. He was somewhat old-fashioned in retaining a roundness in his figures, rather than adopting the thin angularity of most of his artist contemporaries, especially those in London. His compositions are very inventive; his position as a well-connected monk may have given him more confidence in creating new compositions, whereas a lay artist would prefer to stick to traditional formulae. It may also reflect the lack of full training in the art of the period. His colouring emphasises green and blue, and together with his characteristic layout of a picture in the top half of a page, is relatively distinctive. What are probably his final sketches are found in Vitae duorum Offarum in BL MS Cotton Nero D I. CANNOTANSWER	Tinted drawings	Matthew Paris, also known as Matthew of Paris (; c. 1200 – 1259), was an English Benedictine monk, chronicler, artist in illuminated manuscripts and cartographer, based at St Albans Abbey in Hertfordshire. He wrote a number of works, mostly historical, which he scribed and illuminated himself, typically in drawings partly coloured with watercolour washes, sometimes called "tinted drawings". Some were written in Latin, some in Anglo-Norman or French verse. His Chronica Majora is an oft-cited source, though modern historians recognise that Paris was not always reliable. He tended to glorify Holy Roman Emperor Frederick II and denigrate the Pope. However, in his Historia Anglorum, Paris displays a highly negative view of Frederick, going as far as to describe him as a "tyrant" who "committed disgraceful crimes". Life and work In spite of his surname and knowledge of the French language, Paris was of English birth, and is believed by some chroniclers to be of the Paris family of Hildersham, Cambridgeshire. He may have studied at Paris in his youth after early education at St Albans School. The first we know of Matthew Paris (from his own writings) is that he was admitted as a monk to St Albans in 1217. It is on the assumption that he was in his teens on admission that his birth date is estimated; some scholars suspect he may have been ten years or more older; many monks only entered monastic life after pursuing a career in the world outside. He was clearly at ease with the nobility and even royalty, which may indicate that he came from a family of some status, although it also seems an indication of his personality. His life was mainly spent in this religious house. In 1248, Paris was sent to Norway as the bearer of a message from Louis IX to Haakon IV; he made himself so agreeable to the Norwegian sovereign that he was invited to superintend the reformation of the Benedictine Nidarholm Abbey outside Trondheim. Apart from these missions, his known activities were devoted to the composition of history, a pursuit for which the monks of St Albans had long been famous. After admission to the order in 1217, he inherited the mantle of Roger of Wendover, the abbey's official recorder of events, in 1236. Paris revised Roger's work, adding new material to cover his own tenure. This Chronica Majora is an important historical source document, especially for the period between 1235 and 1259. Equally interesting are the illustrations Paris created for his work. The Dublin MS (see below) contains interesting notes, which shed light on Paris' involvement in other manuscripts, and on the way his own were used. They are in French and in his handwriting: "If you please you can keep this book till Easter" "G, please send to the Lady Countess of Arundel, Isabel, that she is to send you the book about St Thomas the Martyr and St Edward which I copied (translated?) and illustrated, and which the Lady Countess of Cornwall may keep until Whitsuntide" some verses "In the Countess of Winchester's book let there be a pair of images on each page thus": (verses follow describing thirteen saints) It is presumed the last relates to Paris acting as commissioning agent and iconographical consultant for the Countess with another artist. The lending of his manuscripts to aristocratic households, apparently for periods of weeks or months at a time, suggests why he made several different illustrated versions of his Chronicle. Manuscripts by Matthew Paris Paris' manuscripts mostly contain more than one text, and often begin with a rather random assortment of prefatory full-page miniatures. Some have survived incomplete, and the various elements now bound together may not have been intended to be so by Paris. Unless stated otherwise, all were given by Paris to his monastery (from some inscriptions it seems they were regarded as his property to dispose of). The monastic libraries were broken up at the Dissolution. These MSS seem to have been appreciated, and were quickly collected by bibliophiles. Many of his manuscripts in the British Library are from the Cotton Library. Chronica Majora. Corpus Christi College, Cambridge, Mss 26 and 16, 362 x 244/248 mm. ff 141 + 281, composed 1240–53. His major historical work (see below), but less heavily illustrated per page than others. These two volumes contain annals from the creation of the world up to the year 1253. The content up to 1234 or 1235 is based in the main on Roger of Wendover's Flores Historiarum, with additions; after that date the material is Paris' own, and written in his own hand from the annal for 1213 onward. There are 100 marginal drawings (25 + 75), some fragmentary maps and an itinerary, and full-page drawings of William I. MS 16 has very recently had all prefatory matter re-bound separately. A continuation of the Chronica, from 1254 until Paris' death in 1259, is bound with the Historia Anglorum in the British Library volume below. An unillustrated copy of the material from 1189 to 1250, with much of his sharper commentary about Henry III toned down or removed, was supervised by Paris himself and now exists as British Library Cotton MS Nero D V, fol. 162–393. Flores Historiarum. Chetham's Hospital and Library, Manchester, MS 6712. Only part of the text, covering 1241 to 1249, is in Paris' hand, though he is credited with the authorship of the whole text, which is an abridgement of the Chronica with additions from the annals of Reading and of Southwark. Additional interpolations to the text make it clear the volume was created for Westminster Abbey. It was apparently started there, copying another MS of Paris' text that went up to 1240. Later it was sent back to the author for him to update; Vaughan argues this was in 1251-2. The illustrations are similar to Paris' style but not by him. Later additions took the chronicle up to 1327. Historia Anglorum. British Library, Royal MS 14 C VII, fols. 8v–156v. 358 x 250 mm, ff 232 in all. A history of England, begun in 1250 and perhaps completed around 1255, covering the years 1070–1253. The text is an abridgement of the Chronica, also drawing on Wendover's Flores Historiarum and Paris' earlier edited version of the Chronica. Bound with it is the final part of Paris' Chronica Majora, covering the years 1254–1259 (folios 157–218), and prefatory material including an itinerary from London to Jerusalem and tinted drawings of the kings of England. All is in Paris' own hand, apart from folios 210–218 and 154v-156v, which are in a hand of the scribe who has added a note of Matthew Paris' death (f. 218v). The Chronica concludes with a portrait of Paris on his death-bed, presumably not by him. By the 15th century this volume belonged to Humphrey, Duke of Gloucester, son of Henry IV, who inscribed it "Ceste livre est a moy Homffrey Duc de Gloucestre". Later it was held by the bishop of Lincoln, who wrote a note that if the monks of St Albans could prove the book was a loan, they should have it back. Otherwise it was bequeathed to New College, Oxford. The fact that the book was acquired by a 16th-century Earl of Arundel suggests that Duke Humphrey's inscription was not entirely accurate, as New College would probably not have disposed of it. Abbreviatio chronicorum (or Historia minor), British Library Cotton MS Claudius D VI, fols. 5–100. Another shortened history, mainly covering 1067 to 1253. Probably begun circa 1255, it remained unfinished at Paris' death. Illustrated with thirty-three seated figures of English kings illustrating a genealogy. It also contains the most developed of Paris' four maps of Great Britain. Chronica excerpta a magnis cronicis. British Library Cotton MS Vitellius A XX, folios 77r–108v. Covers from 1066 to 1246. Written at some point between 1246 and 1259. Not definitely by Paris, but evidently written under his supervision, with some of the text in his own hand. Book of Additions (Liber additamentorum) British Library Cotton MS Nero D I, ff202 in all, contains maps, Vitae duorum Offarum (illustrated), Gesta abbatum, the lives of the first 23 abbots of St Albans with a miniature portrait of each, coats of arms, as well as copies of original documents. A version of his well-known drawing of an elephant is in this volume, as is a large drawing of Christ, not by Paris. Life of St Alban etc., dating controversial (1230–1250), Trinity College, Dublin Library, Ms 177 (former Ms E.I.40) 77 ff with 54 miniatures, mostly half-page. 240 x 165 mm. Also contains a Life of St Amphibalus, and various other works relating to the history of St Albans Abbey, both also illustrated. The Life of St Alban is in French verse, adapted from a Latin Life of St Alban by William of St Albans, ca. 1178. The manuscript also contains notes in Paris' hand (see above) showing that his manuscripts were lent to various aristocratic ladies for periods, and that he probably acted as an intermediary between commissioners of manuscripts and the (probably) lay artists who produced them, advising on the calendars and iconography. Life of King Edward the Confessor 1230s or 40s, Cambridge University Library MS. Ee.3.59. This is the only surviving copy of this work, but is believed to be a slightly later copy made in London, probably by court artists, of Paris' text and framed illustrations. Based on the Latin Life of Edward the Confessor by Aelred of Rievaulx, c. 1162. Life of St Thomas of Canterbury, British Library, Loan MS 88 – Four leaves (the "Becket Leaves") survive from a French-verse history of the life of Thomas Becket with large illuminations. Based on the Latin Quadrilogus compiled by Elias of Evesham at Crowland Abbey in 1198. The illuminations are attributed to Paris by Janet Backhouse, but not by Nigel Morgan. Vaughan had previously noted that the leaves from the Life of St Thomas and the Life of King Edward are of different sizes, and written by different scribes, neither of them Paris himself, so they are not likely to be part of the manuscript that Paris wrote of having lent to the Countess of Arundel; but that, "to judge from the script and the style of illumination" they are "very close copies of Matthew [Paris]'s original". Life of St Edmund, a French-verse history of the life of Edmund Rich, Archbishop of Canterbury from 1233 to 1240. Based on Paris' own Latin prose life of Rich, composed in the late 1240s, which drew on a collection of materials made at Pontigny, statements from Robert Bacon and Richard Wych, Bishop of Chichester, and other materials including from Paris' own histories. A 14th-century copy of the prose life has survived in British Library Cotton MS Julius D VI, folios 123–156v. One copy of the verse life that was in Cotton MS Vitellius D VIII was destroyed in the fire of 1731; but another copy was discovered in the early 1900s at Welbeck Abbey and is now in the British Library. Liber Experimentarius of Bernardus Silvestris, and other fortune-telling tracts. Bodleian Library, Oxford, Ms. Ashmole 304, 176 x 128 mm, ff72. Many illustrations: author portraits (many of ancient Greeks – Socrates, Plato, Euclid, Pythagoras), birds, tables and diagrams of geomantic significance. Several later copies of the text and illustrations survive. Provenance before 1602 unknown. Miscellaneous writings by John of Wallingford (the Younger), British Library, MS Cotton Julius D VII, 188 × 130 mm, ff. 134. 1247–58. Mostly scribed by John of Wallingford, another monk of St Albans, who also probably did some drawings. A portrait of John, a map of the British Isles, and a Christ in Majesty are all accepted as by Paris. The main text is a chronicle, highly derivative of Paris's. This was John's property, left to his final monastery at Wymondham. Also, fragments of a Latin biography of Stephen Langton. Various other works, especially maps. A panel painting on oak of St Peter, the only surviving part of a tabernacle shrine (1850 x 750 mm), in the Museum of Oslo University has been attributed to Paris, presumably dating from his visit in 1248. Local paintings are usually on pine, so he may have brought this with him, or sent it later. Paris as an artist In some of Paris' manuscripts, a framed miniature occupies the upper half of the page, and in others they are "marginal" – unframed and occupying the bottom quarter (approximately) of the page. Tinted drawings were an established style well before Paris, and became especially popular in the first half of the 13th century. They were certainly much cheaper and quicker than fully painted illuminations. The tradition of tinted drawings or outline drawings with ink supplemented by coloured wash was distinctively English, dating back to the Anglo-Saxon art of the mid-10th century, and connected with the English Benedictine Reform of the period. A strong influence on one branch of the style was the Carolingian Utrecht Psalter, which was at Canterbury from about 1000 to 1640. This was copied in the 1020s in the Harley Psalter, and in the Eadwine Psalter of the mid-12th century. Recent scholarship, notably that of Nigel Morgan, suggests that Paris' influence on other artists of the period has been exaggerated. This is likely because so much more is known about him than other English illuminators of the period, who are mostly anonymous. Most manuscripts seem to have been produced by lay artists in this period. William de Brailes is shown with a clerical tonsure, but he was married, which suggests he had minor orders only. The manuscripts produced by Paris show few signs of collaboration, but art historians detect a School of St Albans' surviving after Paris' death, influenced by him. Paris' style suggests that it was formed by works from around 1200. He was somewhat old-fashioned in retaining a roundness in his figures, rather than adopting the thin angularity of most of his artist contemporaries, especially those in London. His compositions are very inventive; his position as a well-connected monk may have given him more confidence in creating new compositions, whereas a lay artist would prefer to stick to traditional formulae. It may also reflect the lack of full training in the art of the period. His colouring emphasises green and blue, and together with his characteristic layout of a picture in the top half of a page, is relatively distinctive. What are probably his final sketches are found in Vitae duorum Offarum in BL MS Cotton Nero D I. Paris as a historian From 1235, the point at which Wendover dropped his pen, Paris continued the history on the plan which his predecessors had followed. He derived much of his information from the letters of important people, which he sometimes inserts, but much more from conversation with the eyewitnesses of events. Among his informants were Richard, Earl of Cornwall and King Henry III, with whom he appears to have been on intimate terms. The king knew that Paris was writing a history, and wanted it to be as exact as possible. In 1257, in the course of a week's visit to St Albans, Henry kept the chronicler beside him night and day, "and guided my pen," says Paris, "with much goodwill and diligence." It is curious that the Chronica Majora gives so unfavourable an account of the king's policy. Henry Richards Luard supposes that Paris never intended his work to be read in its present form. Many passages of the autograph have written next to them, the note offendiculum, which shows that the writer understood the danger which he ran. On the other hand, unexpurgated copies were made in Paris's lifetime. Although the offending passages are duly omitted or softened in his abridgment of his longer work, the Historia Anglorum (written about 1253), Paris's real feelings must have been an open secret. There is no ground for the old theory that he was an official historiographer. Naturalists have praised his descriptions of the English wildlife of his time, brief though they are: in particular his valuable description of the first irruption into England in 1254 of the common crossbill. Paris as cartographer Outstanding among his other maps were (four versions of) a pilgrim itinerary charting the route from London to Rome in graphic form. A sequence of pictures of towns on the route marked the terminus of each day's travel, enabling the viewer to envisage and follow the whole journey rather like a comic strip – an achievement unprecedented elsewhere in the medieval world. Studies of Matthew Paris The relation of Matthew Paris's work to those of John de Celia (John of Wallingford) and Roger of Wendover may be studied in Henry Richards Luard's edition of the Chronica Majora (7 vols., Rolls series, 1872–1881), which contains valuable prefaces. The Historia Anglorum sive historia minor (1067–1253) has been edited by Frederic Madden (3 vols., Rolls series, 1866–1869). Matthew Paris is sometimes confused with Matthew of Westminster, the reputed author of the Flores historiarum edited by Luard (3 vols., Rolls series, 1890). This work, compiled by various hands, is an edition of Matthew Paris, with continuations extending to 1326. He wrote a life of St Edmund of Abingdon, sometime Archbishop of Canterbury. He also wrote the Anglo-Norman La Estoire de Seint Aedward le Rei (the History of Saint Edward the King), which survives in a beautifully illuminated manuscript version, Cambridge, Cambridge University Library MS. Ee.3.59. The manuscript has had a varied publication history. Sections were printed in Francisque Michel's Chroniques Anglo-Normandes. Luard's edition for the Rolls series was severely criticized; it was re-edited for the Anglo-Norman Text Society by K. Y. Wallace. A facsimile for the Roxburghe Club was edited by M. R. James, and the whole manuscript has been digitalized and can be seen online. Paris House at St Albans High School for Girls is named after him. Notes Bibliography (on manuscripts, and artistic style) External links Images Stanford Digitized texts – Works by and about Paris, including Vaughan etc, in huge pdf files JSTOR review of Vaughan book Matthew Paris' Jerusalem pilgrim's travel guide: information, zoomable image British Library website Art Bulletin article on his maps;Imagined Pilgrimage in the Itinerary Maps of Matthew Paris. 12/1/1999 by Connolly, Daniel K Latin Chroniclers from the Eleventh to the Thirteenth Centuries:Matthew Paris from The Cambridge History of English and American Literature, Volume I, 1907–21. Life of St Edward the Confessor, Cambridge Digital Library Fully annotated copy of Matthew Paris's Claudius Map, with translations and transcriptions 1200 births 1259 deaths Year of birth uncertain People from St Albans English Benedictines English Christian monks English chroniclers English cartographers English historians Historians of the Catholic Church Heraldists Manuscript illuminators Writers who illustrated their own writing Medieval European scribes People educated at St Albans School, Hertfordshire Artist authors Medieval English painters 13th-century Christian monks 13th-century painters 13th-century English artists 13th-century Latin writers 13th-century English writers 13th-century English people 13th-century historians	true	[ "Vinston Eric Painter (born October 11, 1989) is a former American football offensive tackle. He was drafted by the Denver Broncos in the sixth round of the 2013 NFL Draft out of Virginia Tech.\n\nProfessional career\n\nDenver Broncos\nPainter was drafted in the sixth round, 173rd overall, by the Denver Broncos in the 2013 NFL Draft. On August 31, 2013, he was released and was signed to the practice squad. He was promoted to the active roster on January 14, 2014.\n\nOn August 30, 2014, Painter was released by the Broncos and was signed to the practice squad the next day.\n\nCleveland Browns\nOn September 1, 2014, Painter was signed by the Cleveland Browns off the Broncos' practice squad.\n\nOn September 5, 2015, he was waived by the Browns.\n\nNew York Giants\nOn September 16, 2015, Painter was signed to the New York Giants' practice squad. On September 30, 2015, he was released by the Giants.\n\nMiami Dolphins\nOn January 5, 2016, Painter signed with the Dolphins. On August 27, 2016, Painter was waived by the Dolphins.\n\nWashington Redskins\nPainter was claimed off waivers by the Washington Redskins on August 29, 2016. He was released by the team on September 3, 2016. The next day, the team signed him to their practice squad. On September 27, 2016, he was promoted to the active roster.\n\nOn February 28, 2017, Painter was tendered by the Redskins. He officially re-signed with the team on March 15. He was waived on September 2, 2017.\n\nArizona Cardinals\nOn September 14, 2017, Painter was signed to the Arizona Cardinals' practice squad. He was promoted to the active roster on September 30, 2017, but was waived three days later and re-signed back to the practice squad. He was promoted back to the active roster on November 16, 2017. He was waived on November 28, 2017 and was re-signed to the practice squad. On December 11, 2017, he was promoted to the active roster after Jared Veldheer suffered a season-ending ankle injury that resulted him being placed on injured reserve.\n\nOn September 1, 2018, Painter was released by the Cardinals.\n\nHamilton Tiger-Cats\nPainter signed with the Hamilton Tiger-Cats of the Canadian Football League on March 20, 2019. He retired from professional football on May 15, 2019.\n\nReferences\n\nExternal links\nWashington Redskins bio\nVirginia Tech Hokies bio\n\n1989 births\nLiving people\nPlayers of American football from Norfolk, Virginia\nPlayers of Canadian football from Norfolk, Virginia\nAmerican football offensive tackles\nAmerican football offensive guards\nVirginia Tech Hokies football players\nDenver Broncos players\nCleveland Browns players\nNew York Giants players\nMiami Dolphins players\nWashington Redskins players\nArizona Cardinals players\nHamilton Tiger-Cats players", "The KY Painter was an Attic black-figure vase painter. He was active between 585 and 570 BC.\n\nBesides the KX Painter, the KY Painter was the main representative of the Komast Group, which succeeded the Gorgon Painter. His conventional name was allocated by John Beazley. He is considered the less talented and chronologically somewhat later representative of the group. Komasts are one of his favourite motifs. He mainly painted skyphoi, lekanes, kothones and Komast cups. He was the first artist to paint a column krater, which was to become a popular wine-mixing vessel.\n\nBibliography \n John D. Beazley: Attic Black-figure Vase-painters. Oxford 1956, p. 31-33\n \n\nAncient Greek vase painters" ]
[ "Matthew Paris", "Paris as an artist", "When was Paris an artist?", "first half of the 13th century.", "What did he paint?", "He was somewhat old-fashioned in retaining a roundness in his figures,", "Was he a popular artist?", "became especially popular in the first half of the 13th century.", "Was he a painter?", "Tinted drawings" ]	C_90b59744f071414bb128d11a7e2d0661_1	What did he draw?	5	What did Matthew Paris draw?	Matthew Paris	In some of Paris' manuscripts, a framed miniature occupies the upper half of the page, and in others they are "marginal" - unframed and occupying the bottom quarter (approximately) of the page. Tinted drawings were an established style well before Paris, and became especially popular in the first half of the 13th century. They were certainly much cheaper and quicker than fully painted illuminations. The tradition of tinted drawings or outline drawings with ink supplemented by coloured wash was distinctively English, dating back to the Anglo-Saxon art of the mid-10th century, and connected with the English Benedictine Reform of the period. A strong influence on one branch of the style was the Carolingian Utrecht Psalter, which was at Canterbury from about 1000 to 1640. This was copied in the 1020s in the Harley Psalter, and in the Eadwine Psalter of the mid-12th century. Recent scholarship, notably that of Nigel Morgan, suggests that Paris' influence on other artists of the period has been exaggerated. This is likely because so much more is known about him than other English illuminators of the period, who are mostly anonymous. Most manuscripts seem to have been produced by lay artists in this period. William de Brailes is shown with a clerical tonsure, but he was married, which suggests he had minor orders only. The manuscripts produced by Paris show few signs of collaboration, but art historians detect a School of St Albans' surviving after Paris' death, influenced by him. Paris' style suggests that it was formed by works from around 1200. He was somewhat old-fashioned in retaining a roundness in his figures, rather than adopting the thin angularity of most of his artist contemporaries, especially those in London. His compositions are very inventive; his position as a well-connected monk may have given him more confidence in creating new compositions, whereas a lay artist would prefer to stick to traditional formulae. It may also reflect the lack of full training in the art of the period. His colouring emphasises green and blue, and together with his characteristic layout of a picture in the top half of a page, is relatively distinctive. What are probably his final sketches are found in Vitae duorum Offarum in BL MS Cotton Nero D I. CANNOTANSWER	His compositions are very inventive; his position as a well-connected monk may have given him more confidence in creating new compositions,	Matthew Paris, also known as Matthew of Paris (; c. 1200 – 1259), was an English Benedictine monk, chronicler, artist in illuminated manuscripts and cartographer, based at St Albans Abbey in Hertfordshire. He wrote a number of works, mostly historical, which he scribed and illuminated himself, typically in drawings partly coloured with watercolour washes, sometimes called "tinted drawings". Some were written in Latin, some in Anglo-Norman or French verse. His Chronica Majora is an oft-cited source, though modern historians recognise that Paris was not always reliable. He tended to glorify Holy Roman Emperor Frederick II and denigrate the Pope. However, in his Historia Anglorum, Paris displays a highly negative view of Frederick, going as far as to describe him as a "tyrant" who "committed disgraceful crimes". Life and work In spite of his surname and knowledge of the French language, Paris was of English birth, and is believed by some chroniclers to be of the Paris family of Hildersham, Cambridgeshire. He may have studied at Paris in his youth after early education at St Albans School. The first we know of Matthew Paris (from his own writings) is that he was admitted as a monk to St Albans in 1217. It is on the assumption that he was in his teens on admission that his birth date is estimated; some scholars suspect he may have been ten years or more older; many monks only entered monastic life after pursuing a career in the world outside. He was clearly at ease with the nobility and even royalty, which may indicate that he came from a family of some status, although it also seems an indication of his personality. His life was mainly spent in this religious house. In 1248, Paris was sent to Norway as the bearer of a message from Louis IX to Haakon IV; he made himself so agreeable to the Norwegian sovereign that he was invited to superintend the reformation of the Benedictine Nidarholm Abbey outside Trondheim. Apart from these missions, his known activities were devoted to the composition of history, a pursuit for which the monks of St Albans had long been famous. After admission to the order in 1217, he inherited the mantle of Roger of Wendover, the abbey's official recorder of events, in 1236. Paris revised Roger's work, adding new material to cover his own tenure. This Chronica Majora is an important historical source document, especially for the period between 1235 and 1259. Equally interesting are the illustrations Paris created for his work. The Dublin MS (see below) contains interesting notes, which shed light on Paris' involvement in other manuscripts, and on the way his own were used. They are in French and in his handwriting: "If you please you can keep this book till Easter" "G, please send to the Lady Countess of Arundel, Isabel, that she is to send you the book about St Thomas the Martyr and St Edward which I copied (translated?) and illustrated, and which the Lady Countess of Cornwall may keep until Whitsuntide" some verses "In the Countess of Winchester's book let there be a pair of images on each page thus": (verses follow describing thirteen saints) It is presumed the last relates to Paris acting as commissioning agent and iconographical consultant for the Countess with another artist. The lending of his manuscripts to aristocratic households, apparently for periods of weeks or months at a time, suggests why he made several different illustrated versions of his Chronicle. Manuscripts by Matthew Paris Paris' manuscripts mostly contain more than one text, and often begin with a rather random assortment of prefatory full-page miniatures. Some have survived incomplete, and the various elements now bound together may not have been intended to be so by Paris. Unless stated otherwise, all were given by Paris to his monastery (from some inscriptions it seems they were regarded as his property to dispose of). The monastic libraries were broken up at the Dissolution. These MSS seem to have been appreciated, and were quickly collected by bibliophiles. Many of his manuscripts in the British Library are from the Cotton Library. Chronica Majora. Corpus Christi College, Cambridge, Mss 26 and 16, 362 x 244/248 mm. ff 141 + 281, composed 1240–53. His major historical work (see below), but less heavily illustrated per page than others. These two volumes contain annals from the creation of the world up to the year 1253. The content up to 1234 or 1235 is based in the main on Roger of Wendover's Flores Historiarum, with additions; after that date the material is Paris' own, and written in his own hand from the annal for 1213 onward. There are 100 marginal drawings (25 + 75), some fragmentary maps and an itinerary, and full-page drawings of William I. MS 16 has very recently had all prefatory matter re-bound separately. A continuation of the Chronica, from 1254 until Paris' death in 1259, is bound with the Historia Anglorum in the British Library volume below. An unillustrated copy of the material from 1189 to 1250, with much of his sharper commentary about Henry III toned down or removed, was supervised by Paris himself and now exists as British Library Cotton MS Nero D V, fol. 162–393. Flores Historiarum. Chetham's Hospital and Library, Manchester, MS 6712. Only part of the text, covering 1241 to 1249, is in Paris' hand, though he is credited with the authorship of the whole text, which is an abridgement of the Chronica with additions from the annals of Reading and of Southwark. Additional interpolations to the text make it clear the volume was created for Westminster Abbey. It was apparently started there, copying another MS of Paris' text that went up to 1240. Later it was sent back to the author for him to update; Vaughan argues this was in 1251-2. The illustrations are similar to Paris' style but not by him. Later additions took the chronicle up to 1327. Historia Anglorum. British Library, Royal MS 14 C VII, fols. 8v–156v. 358 x 250 mm, ff 232 in all. A history of England, begun in 1250 and perhaps completed around 1255, covering the years 1070–1253. The text is an abridgement of the Chronica, also drawing on Wendover's Flores Historiarum and Paris' earlier edited version of the Chronica. Bound with it is the final part of Paris' Chronica Majora, covering the years 1254–1259 (folios 157–218), and prefatory material including an itinerary from London to Jerusalem and tinted drawings of the kings of England. All is in Paris' own hand, apart from folios 210–218 and 154v-156v, which are in a hand of the scribe who has added a note of Matthew Paris' death (f. 218v). The Chronica concludes with a portrait of Paris on his death-bed, presumably not by him. By the 15th century this volume belonged to Humphrey, Duke of Gloucester, son of Henry IV, who inscribed it "Ceste livre est a moy Homffrey Duc de Gloucestre". Later it was held by the bishop of Lincoln, who wrote a note that if the monks of St Albans could prove the book was a loan, they should have it back. Otherwise it was bequeathed to New College, Oxford. The fact that the book was acquired by a 16th-century Earl of Arundel suggests that Duke Humphrey's inscription was not entirely accurate, as New College would probably not have disposed of it. Abbreviatio chronicorum (or Historia minor), British Library Cotton MS Claudius D VI, fols. 5–100. Another shortened history, mainly covering 1067 to 1253. Probably begun circa 1255, it remained unfinished at Paris' death. Illustrated with thirty-three seated figures of English kings illustrating a genealogy. It also contains the most developed of Paris' four maps of Great Britain. Chronica excerpta a magnis cronicis. British Library Cotton MS Vitellius A XX, folios 77r–108v. Covers from 1066 to 1246. Written at some point between 1246 and 1259. Not definitely by Paris, but evidently written under his supervision, with some of the text in his own hand. Book of Additions (Liber additamentorum) British Library Cotton MS Nero D I, ff202 in all, contains maps, Vitae duorum Offarum (illustrated), Gesta abbatum, the lives of the first 23 abbots of St Albans with a miniature portrait of each, coats of arms, as well as copies of original documents. A version of his well-known drawing of an elephant is in this volume, as is a large drawing of Christ, not by Paris. Life of St Alban etc., dating controversial (1230–1250), Trinity College, Dublin Library, Ms 177 (former Ms E.I.40) 77 ff with 54 miniatures, mostly half-page. 240 x 165 mm. Also contains a Life of St Amphibalus, and various other works relating to the history of St Albans Abbey, both also illustrated. The Life of St Alban is in French verse, adapted from a Latin Life of St Alban by William of St Albans, ca. 1178. The manuscript also contains notes in Paris' hand (see above) showing that his manuscripts were lent to various aristocratic ladies for periods, and that he probably acted as an intermediary between commissioners of manuscripts and the (probably) lay artists who produced them, advising on the calendars and iconography. Life of King Edward the Confessor 1230s or 40s, Cambridge University Library MS. Ee.3.59. This is the only surviving copy of this work, but is believed to be a slightly later copy made in London, probably by court artists, of Paris' text and framed illustrations. Based on the Latin Life of Edward the Confessor by Aelred of Rievaulx, c. 1162. Life of St Thomas of Canterbury, British Library, Loan MS 88 – Four leaves (the "Becket Leaves") survive from a French-verse history of the life of Thomas Becket with large illuminations. Based on the Latin Quadrilogus compiled by Elias of Evesham at Crowland Abbey in 1198. The illuminations are attributed to Paris by Janet Backhouse, but not by Nigel Morgan. Vaughan had previously noted that the leaves from the Life of St Thomas and the Life of King Edward are of different sizes, and written by different scribes, neither of them Paris himself, so they are not likely to be part of the manuscript that Paris wrote of having lent to the Countess of Arundel; but that, "to judge from the script and the style of illumination" they are "very close copies of Matthew [Paris]'s original". Life of St Edmund, a French-verse history of the life of Edmund Rich, Archbishop of Canterbury from 1233 to 1240. Based on Paris' own Latin prose life of Rich, composed in the late 1240s, which drew on a collection of materials made at Pontigny, statements from Robert Bacon and Richard Wych, Bishop of Chichester, and other materials including from Paris' own histories. A 14th-century copy of the prose life has survived in British Library Cotton MS Julius D VI, folios 123–156v. One copy of the verse life that was in Cotton MS Vitellius D VIII was destroyed in the fire of 1731; but another copy was discovered in the early 1900s at Welbeck Abbey and is now in the British Library. Liber Experimentarius of Bernardus Silvestris, and other fortune-telling tracts. Bodleian Library, Oxford, Ms. Ashmole 304, 176 x 128 mm, ff72. Many illustrations: author portraits (many of ancient Greeks – Socrates, Plato, Euclid, Pythagoras), birds, tables and diagrams of geomantic significance. Several later copies of the text and illustrations survive. Provenance before 1602 unknown. Miscellaneous writings by John of Wallingford (the Younger), British Library, MS Cotton Julius D VII, 188 × 130 mm, ff. 134. 1247–58. Mostly scribed by John of Wallingford, another monk of St Albans, who also probably did some drawings. A portrait of John, a map of the British Isles, and a Christ in Majesty are all accepted as by Paris. The main text is a chronicle, highly derivative of Paris's. This was John's property, left to his final monastery at Wymondham. Also, fragments of a Latin biography of Stephen Langton. Various other works, especially maps. A panel painting on oak of St Peter, the only surviving part of a tabernacle shrine (1850 x 750 mm), in the Museum of Oslo University has been attributed to Paris, presumably dating from his visit in 1248. Local paintings are usually on pine, so he may have brought this with him, or sent it later. Paris as an artist In some of Paris' manuscripts, a framed miniature occupies the upper half of the page, and in others they are "marginal" – unframed and occupying the bottom quarter (approximately) of the page. Tinted drawings were an established style well before Paris, and became especially popular in the first half of the 13th century. They were certainly much cheaper and quicker than fully painted illuminations. The tradition of tinted drawings or outline drawings with ink supplemented by coloured wash was distinctively English, dating back to the Anglo-Saxon art of the mid-10th century, and connected with the English Benedictine Reform of the period. A strong influence on one branch of the style was the Carolingian Utrecht Psalter, which was at Canterbury from about 1000 to 1640. This was copied in the 1020s in the Harley Psalter, and in the Eadwine Psalter of the mid-12th century. Recent scholarship, notably that of Nigel Morgan, suggests that Paris' influence on other artists of the period has been exaggerated. This is likely because so much more is known about him than other English illuminators of the period, who are mostly anonymous. Most manuscripts seem to have been produced by lay artists in this period. William de Brailes is shown with a clerical tonsure, but he was married, which suggests he had minor orders only. The manuscripts produced by Paris show few signs of collaboration, but art historians detect a School of St Albans' surviving after Paris' death, influenced by him. Paris' style suggests that it was formed by works from around 1200. He was somewhat old-fashioned in retaining a roundness in his figures, rather than adopting the thin angularity of most of his artist contemporaries, especially those in London. His compositions are very inventive; his position as a well-connected monk may have given him more confidence in creating new compositions, whereas a lay artist would prefer to stick to traditional formulae. It may also reflect the lack of full training in the art of the period. His colouring emphasises green and blue, and together with his characteristic layout of a picture in the top half of a page, is relatively distinctive. What are probably his final sketches are found in Vitae duorum Offarum in BL MS Cotton Nero D I. Paris as a historian From 1235, the point at which Wendover dropped his pen, Paris continued the history on the plan which his predecessors had followed. He derived much of his information from the letters of important people, which he sometimes inserts, but much more from conversation with the eyewitnesses of events. Among his informants were Richard, Earl of Cornwall and King Henry III, with whom he appears to have been on intimate terms. The king knew that Paris was writing a history, and wanted it to be as exact as possible. In 1257, in the course of a week's visit to St Albans, Henry kept the chronicler beside him night and day, "and guided my pen," says Paris, "with much goodwill and diligence." It is curious that the Chronica Majora gives so unfavourable an account of the king's policy. Henry Richards Luard supposes that Paris never intended his work to be read in its present form. Many passages of the autograph have written next to them, the note offendiculum, which shows that the writer understood the danger which he ran. On the other hand, unexpurgated copies were made in Paris's lifetime. Although the offending passages are duly omitted or softened in his abridgment of his longer work, the Historia Anglorum (written about 1253), Paris's real feelings must have been an open secret. There is no ground for the old theory that he was an official historiographer. Naturalists have praised his descriptions of the English wildlife of his time, brief though they are: in particular his valuable description of the first irruption into England in 1254 of the common crossbill. Paris as cartographer Outstanding among his other maps were (four versions of) a pilgrim itinerary charting the route from London to Rome in graphic form. A sequence of pictures of towns on the route marked the terminus of each day's travel, enabling the viewer to envisage and follow the whole journey rather like a comic strip – an achievement unprecedented elsewhere in the medieval world. Studies of Matthew Paris The relation of Matthew Paris's work to those of John de Celia (John of Wallingford) and Roger of Wendover may be studied in Henry Richards Luard's edition of the Chronica Majora (7 vols., Rolls series, 1872–1881), which contains valuable prefaces. The Historia Anglorum sive historia minor (1067–1253) has been edited by Frederic Madden (3 vols., Rolls series, 1866–1869). Matthew Paris is sometimes confused with Matthew of Westminster, the reputed author of the Flores historiarum edited by Luard (3 vols., Rolls series, 1890). This work, compiled by various hands, is an edition of Matthew Paris, with continuations extending to 1326. He wrote a life of St Edmund of Abingdon, sometime Archbishop of Canterbury. He also wrote the Anglo-Norman La Estoire de Seint Aedward le Rei (the History of Saint Edward the King), which survives in a beautifully illuminated manuscript version, Cambridge, Cambridge University Library MS. Ee.3.59. The manuscript has had a varied publication history. Sections were printed in Francisque Michel's Chroniques Anglo-Normandes. Luard's edition for the Rolls series was severely criticized; it was re-edited for the Anglo-Norman Text Society by K. Y. Wallace. A facsimile for the Roxburghe Club was edited by M. R. James, and the whole manuscript has been digitalized and can be seen online. Paris House at St Albans High School for Girls is named after him. Notes Bibliography (on manuscripts, and artistic style) External links Images Stanford Digitized texts – Works by and about Paris, including Vaughan etc, in huge pdf files JSTOR review of Vaughan book Matthew Paris' Jerusalem pilgrim's travel guide: information, zoomable image British Library website Art Bulletin article on his maps;Imagined Pilgrimage in the Itinerary Maps of Matthew Paris. 12/1/1999 by Connolly, Daniel K Latin Chroniclers from the Eleventh to the Thirteenth Centuries:Matthew Paris from The Cambridge History of English and American Literature, Volume I, 1907–21. Life of St Edward the Confessor, Cambridge Digital Library Fully annotated copy of Matthew Paris's Claudius Map, with translations and transcriptions 1200 births 1259 deaths Year of birth uncertain People from St Albans English Benedictines English Christian monks English chroniclers English cartographers English historians Historians of the Catholic Church Heraldists Manuscript illuminators Writers who illustrated their own writing Medieval European scribes People educated at St Albans School, Hertfordshire Artist authors Medieval English painters 13th-century Christian monks 13th-century painters 13th-century English artists 13th-century Latin writers 13th-century English writers 13th-century English people 13th-century historians	true	[ "Nick Kyrgios was the defending champion, but he did not participate this year. He played in Barcelona during this week.\n\nChung Hyeon won the title, defeating James McGee in the final, 6–3, 6–2.\n\nSeeds\n\nDraw\n\nFinals\n\nTop half\n\nBottom half\n\nReferences\n Main Draw\n Qualifying Draw\n\nSavannah Challenger - Singles", "Gilles Müller was the defending champion, but he did not participate this year. He played in Estoril instead.\n\nSam Groth won the tournament, defeating Konstantin Kravchuk in the final.\n\nSeeds\n\nDraw\n\nFinals\n\nTop half\n\nBottom half\n\nReferences\n Main Draw\n Qualifying Draw\n\nSantaizi ATP Challenger - Singles\n2015 Singles" ]
[ "Matthew Paris", "Paris as an artist", "When was Paris an artist?", "first half of the 13th century.", "What did he paint?", "He was somewhat old-fashioned in retaining a roundness in his figures,", "Was he a popular artist?", "became especially popular in the first half of the 13th century.", "Was he a painter?", "Tinted drawings", "What did he draw?", "His compositions are very inventive; his position as a well-connected monk may have given him more confidence in creating new compositions," ]	C_90b59744f071414bb128d11a7e2d0661_1	What were the new compositions?	6	What were Matthew Paris' new compositions?	Matthew Paris	In some of Paris' manuscripts, a framed miniature occupies the upper half of the page, and in others they are "marginal" - unframed and occupying the bottom quarter (approximately) of the page. Tinted drawings were an established style well before Paris, and became especially popular in the first half of the 13th century. They were certainly much cheaper and quicker than fully painted illuminations. The tradition of tinted drawings or outline drawings with ink supplemented by coloured wash was distinctively English, dating back to the Anglo-Saxon art of the mid-10th century, and connected with the English Benedictine Reform of the period. A strong influence on one branch of the style was the Carolingian Utrecht Psalter, which was at Canterbury from about 1000 to 1640. This was copied in the 1020s in the Harley Psalter, and in the Eadwine Psalter of the mid-12th century. Recent scholarship, notably that of Nigel Morgan, suggests that Paris' influence on other artists of the period has been exaggerated. This is likely because so much more is known about him than other English illuminators of the period, who are mostly anonymous. Most manuscripts seem to have been produced by lay artists in this period. William de Brailes is shown with a clerical tonsure, but he was married, which suggests he had minor orders only. The manuscripts produced by Paris show few signs of collaboration, but art historians detect a School of St Albans' surviving after Paris' death, influenced by him. Paris' style suggests that it was formed by works from around 1200. He was somewhat old-fashioned in retaining a roundness in his figures, rather than adopting the thin angularity of most of his artist contemporaries, especially those in London. His compositions are very inventive; his position as a well-connected monk may have given him more confidence in creating new compositions, whereas a lay artist would prefer to stick to traditional formulae. It may also reflect the lack of full training in the art of the period. His colouring emphasises green and blue, and together with his characteristic layout of a picture in the top half of a page, is relatively distinctive. What are probably his final sketches are found in Vitae duorum Offarum in BL MS Cotton Nero D I. CANNOTANSWER	His colouring emphasises green and blue, and together with his characteristic layout of a picture in the top half of a page, is relatively distinctive.	Matthew Paris, also known as Matthew of Paris (; c. 1200 – 1259), was an English Benedictine monk, chronicler, artist in illuminated manuscripts and cartographer, based at St Albans Abbey in Hertfordshire. He wrote a number of works, mostly historical, which he scribed and illuminated himself, typically in drawings partly coloured with watercolour washes, sometimes called "tinted drawings". Some were written in Latin, some in Anglo-Norman or French verse. His Chronica Majora is an oft-cited source, though modern historians recognise that Paris was not always reliable. He tended to glorify Holy Roman Emperor Frederick II and denigrate the Pope. However, in his Historia Anglorum, Paris displays a highly negative view of Frederick, going as far as to describe him as a "tyrant" who "committed disgraceful crimes". Life and work In spite of his surname and knowledge of the French language, Paris was of English birth, and is believed by some chroniclers to be of the Paris family of Hildersham, Cambridgeshire. He may have studied at Paris in his youth after early education at St Albans School. The first we know of Matthew Paris (from his own writings) is that he was admitted as a monk to St Albans in 1217. It is on the assumption that he was in his teens on admission that his birth date is estimated; some scholars suspect he may have been ten years or more older; many monks only entered monastic life after pursuing a career in the world outside. He was clearly at ease with the nobility and even royalty, which may indicate that he came from a family of some status, although it also seems an indication of his personality. His life was mainly spent in this religious house. In 1248, Paris was sent to Norway as the bearer of a message from Louis IX to Haakon IV; he made himself so agreeable to the Norwegian sovereign that he was invited to superintend the reformation of the Benedictine Nidarholm Abbey outside Trondheim. Apart from these missions, his known activities were devoted to the composition of history, a pursuit for which the monks of St Albans had long been famous. After admission to the order in 1217, he inherited the mantle of Roger of Wendover, the abbey's official recorder of events, in 1236. Paris revised Roger's work, adding new material to cover his own tenure. This Chronica Majora is an important historical source document, especially for the period between 1235 and 1259. Equally interesting are the illustrations Paris created for his work. The Dublin MS (see below) contains interesting notes, which shed light on Paris' involvement in other manuscripts, and on the way his own were used. They are in French and in his handwriting: "If you please you can keep this book till Easter" "G, please send to the Lady Countess of Arundel, Isabel, that she is to send you the book about St Thomas the Martyr and St Edward which I copied (translated?) and illustrated, and which the Lady Countess of Cornwall may keep until Whitsuntide" some verses "In the Countess of Winchester's book let there be a pair of images on each page thus": (verses follow describing thirteen saints) It is presumed the last relates to Paris acting as commissioning agent and iconographical consultant for the Countess with another artist. The lending of his manuscripts to aristocratic households, apparently for periods of weeks or months at a time, suggests why he made several different illustrated versions of his Chronicle. Manuscripts by Matthew Paris Paris' manuscripts mostly contain more than one text, and often begin with a rather random assortment of prefatory full-page miniatures. Some have survived incomplete, and the various elements now bound together may not have been intended to be so by Paris. Unless stated otherwise, all were given by Paris to his monastery (from some inscriptions it seems they were regarded as his property to dispose of). The monastic libraries were broken up at the Dissolution. These MSS seem to have been appreciated, and were quickly collected by bibliophiles. Many of his manuscripts in the British Library are from the Cotton Library. Chronica Majora. Corpus Christi College, Cambridge, Mss 26 and 16, 362 x 244/248 mm. ff 141 + 281, composed 1240–53. His major historical work (see below), but less heavily illustrated per page than others. These two volumes contain annals from the creation of the world up to the year 1253. The content up to 1234 or 1235 is based in the main on Roger of Wendover's Flores Historiarum, with additions; after that date the material is Paris' own, and written in his own hand from the annal for 1213 onward. There are 100 marginal drawings (25 + 75), some fragmentary maps and an itinerary, and full-page drawings of William I. MS 16 has very recently had all prefatory matter re-bound separately. A continuation of the Chronica, from 1254 until Paris' death in 1259, is bound with the Historia Anglorum in the British Library volume below. An unillustrated copy of the material from 1189 to 1250, with much of his sharper commentary about Henry III toned down or removed, was supervised by Paris himself and now exists as British Library Cotton MS Nero D V, fol. 162–393. Flores Historiarum. Chetham's Hospital and Library, Manchester, MS 6712. Only part of the text, covering 1241 to 1249, is in Paris' hand, though he is credited with the authorship of the whole text, which is an abridgement of the Chronica with additions from the annals of Reading and of Southwark. Additional interpolations to the text make it clear the volume was created for Westminster Abbey. It was apparently started there, copying another MS of Paris' text that went up to 1240. Later it was sent back to the author for him to update; Vaughan argues this was in 1251-2. The illustrations are similar to Paris' style but not by him. Later additions took the chronicle up to 1327. Historia Anglorum. British Library, Royal MS 14 C VII, fols. 8v–156v. 358 x 250 mm, ff 232 in all. A history of England, begun in 1250 and perhaps completed around 1255, covering the years 1070–1253. The text is an abridgement of the Chronica, also drawing on Wendover's Flores Historiarum and Paris' earlier edited version of the Chronica. Bound with it is the final part of Paris' Chronica Majora, covering the years 1254–1259 (folios 157–218), and prefatory material including an itinerary from London to Jerusalem and tinted drawings of the kings of England. All is in Paris' own hand, apart from folios 210–218 and 154v-156v, which are in a hand of the scribe who has added a note of Matthew Paris' death (f. 218v). The Chronica concludes with a portrait of Paris on his death-bed, presumably not by him. By the 15th century this volume belonged to Humphrey, Duke of Gloucester, son of Henry IV, who inscribed it "Ceste livre est a moy Homffrey Duc de Gloucestre". Later it was held by the bishop of Lincoln, who wrote a note that if the monks of St Albans could prove the book was a loan, they should have it back. Otherwise it was bequeathed to New College, Oxford. The fact that the book was acquired by a 16th-century Earl of Arundel suggests that Duke Humphrey's inscription was not entirely accurate, as New College would probably not have disposed of it. Abbreviatio chronicorum (or Historia minor), British Library Cotton MS Claudius D VI, fols. 5–100. Another shortened history, mainly covering 1067 to 1253. Probably begun circa 1255, it remained unfinished at Paris' death. Illustrated with thirty-three seated figures of English kings illustrating a genealogy. It also contains the most developed of Paris' four maps of Great Britain. Chronica excerpta a magnis cronicis. British Library Cotton MS Vitellius A XX, folios 77r–108v. Covers from 1066 to 1246. Written at some point between 1246 and 1259. Not definitely by Paris, but evidently written under his supervision, with some of the text in his own hand. Book of Additions (Liber additamentorum) British Library Cotton MS Nero D I, ff202 in all, contains maps, Vitae duorum Offarum (illustrated), Gesta abbatum, the lives of the first 23 abbots of St Albans with a miniature portrait of each, coats of arms, as well as copies of original documents. A version of his well-known drawing of an elephant is in this volume, as is a large drawing of Christ, not by Paris. Life of St Alban etc., dating controversial (1230–1250), Trinity College, Dublin Library, Ms 177 (former Ms E.I.40) 77 ff with 54 miniatures, mostly half-page. 240 x 165 mm. Also contains a Life of St Amphibalus, and various other works relating to the history of St Albans Abbey, both also illustrated. The Life of St Alban is in French verse, adapted from a Latin Life of St Alban by William of St Albans, ca. 1178. The manuscript also contains notes in Paris' hand (see above) showing that his manuscripts were lent to various aristocratic ladies for periods, and that he probably acted as an intermediary between commissioners of manuscripts and the (probably) lay artists who produced them, advising on the calendars and iconography. Life of King Edward the Confessor 1230s or 40s, Cambridge University Library MS. Ee.3.59. This is the only surviving copy of this work, but is believed to be a slightly later copy made in London, probably by court artists, of Paris' text and framed illustrations. Based on the Latin Life of Edward the Confessor by Aelred of Rievaulx, c. 1162. Life of St Thomas of Canterbury, British Library, Loan MS 88 – Four leaves (the "Becket Leaves") survive from a French-verse history of the life of Thomas Becket with large illuminations. Based on the Latin Quadrilogus compiled by Elias of Evesham at Crowland Abbey in 1198. The illuminations are attributed to Paris by Janet Backhouse, but not by Nigel Morgan. Vaughan had previously noted that the leaves from the Life of St Thomas and the Life of King Edward are of different sizes, and written by different scribes, neither of them Paris himself, so they are not likely to be part of the manuscript that Paris wrote of having lent to the Countess of Arundel; but that, "to judge from the script and the style of illumination" they are "very close copies of Matthew [Paris]'s original". Life of St Edmund, a French-verse history of the life of Edmund Rich, Archbishop of Canterbury from 1233 to 1240. Based on Paris' own Latin prose life of Rich, composed in the late 1240s, which drew on a collection of materials made at Pontigny, statements from Robert Bacon and Richard Wych, Bishop of Chichester, and other materials including from Paris' own histories. A 14th-century copy of the prose life has survived in British Library Cotton MS Julius D VI, folios 123–156v. One copy of the verse life that was in Cotton MS Vitellius D VIII was destroyed in the fire of 1731; but another copy was discovered in the early 1900s at Welbeck Abbey and is now in the British Library. Liber Experimentarius of Bernardus Silvestris, and other fortune-telling tracts. Bodleian Library, Oxford, Ms. Ashmole 304, 176 x 128 mm, ff72. Many illustrations: author portraits (many of ancient Greeks – Socrates, Plato, Euclid, Pythagoras), birds, tables and diagrams of geomantic significance. Several later copies of the text and illustrations survive. Provenance before 1602 unknown. Miscellaneous writings by John of Wallingford (the Younger), British Library, MS Cotton Julius D VII, 188 × 130 mm, ff. 134. 1247–58. Mostly scribed by John of Wallingford, another monk of St Albans, who also probably did some drawings. A portrait of John, a map of the British Isles, and a Christ in Majesty are all accepted as by Paris. The main text is a chronicle, highly derivative of Paris's. This was John's property, left to his final monastery at Wymondham. Also, fragments of a Latin biography of Stephen Langton. Various other works, especially maps. A panel painting on oak of St Peter, the only surviving part of a tabernacle shrine (1850 x 750 mm), in the Museum of Oslo University has been attributed to Paris, presumably dating from his visit in 1248. Local paintings are usually on pine, so he may have brought this with him, or sent it later. Paris as an artist In some of Paris' manuscripts, a framed miniature occupies the upper half of the page, and in others they are "marginal" – unframed and occupying the bottom quarter (approximately) of the page. Tinted drawings were an established style well before Paris, and became especially popular in the first half of the 13th century. They were certainly much cheaper and quicker than fully painted illuminations. The tradition of tinted drawings or outline drawings with ink supplemented by coloured wash was distinctively English, dating back to the Anglo-Saxon art of the mid-10th century, and connected with the English Benedictine Reform of the period. A strong influence on one branch of the style was the Carolingian Utrecht Psalter, which was at Canterbury from about 1000 to 1640. This was copied in the 1020s in the Harley Psalter, and in the Eadwine Psalter of the mid-12th century. Recent scholarship, notably that of Nigel Morgan, suggests that Paris' influence on other artists of the period has been exaggerated. This is likely because so much more is known about him than other English illuminators of the period, who are mostly anonymous. Most manuscripts seem to have been produced by lay artists in this period. William de Brailes is shown with a clerical tonsure, but he was married, which suggests he had minor orders only. The manuscripts produced by Paris show few signs of collaboration, but art historians detect a School of St Albans' surviving after Paris' death, influenced by him. Paris' style suggests that it was formed by works from around 1200. He was somewhat old-fashioned in retaining a roundness in his figures, rather than adopting the thin angularity of most of his artist contemporaries, especially those in London. His compositions are very inventive; his position as a well-connected monk may have given him more confidence in creating new compositions, whereas a lay artist would prefer to stick to traditional formulae. It may also reflect the lack of full training in the art of the period. His colouring emphasises green and blue, and together with his characteristic layout of a picture in the top half of a page, is relatively distinctive. What are probably his final sketches are found in Vitae duorum Offarum in BL MS Cotton Nero D I. Paris as a historian From 1235, the point at which Wendover dropped his pen, Paris continued the history on the plan which his predecessors had followed. He derived much of his information from the letters of important people, which he sometimes inserts, but much more from conversation with the eyewitnesses of events. Among his informants were Richard, Earl of Cornwall and King Henry III, with whom he appears to have been on intimate terms. The king knew that Paris was writing a history, and wanted it to be as exact as possible. In 1257, in the course of a week's visit to St Albans, Henry kept the chronicler beside him night and day, "and guided my pen," says Paris, "with much goodwill and diligence." It is curious that the Chronica Majora gives so unfavourable an account of the king's policy. Henry Richards Luard supposes that Paris never intended his work to be read in its present form. Many passages of the autograph have written next to them, the note offendiculum, which shows that the writer understood the danger which he ran. On the other hand, unexpurgated copies were made in Paris's lifetime. Although the offending passages are duly omitted or softened in his abridgment of his longer work, the Historia Anglorum (written about 1253), Paris's real feelings must have been an open secret. There is no ground for the old theory that he was an official historiographer. Naturalists have praised his descriptions of the English wildlife of his time, brief though they are: in particular his valuable description of the first irruption into England in 1254 of the common crossbill. Paris as cartographer Outstanding among his other maps were (four versions of) a pilgrim itinerary charting the route from London to Rome in graphic form. A sequence of pictures of towns on the route marked the terminus of each day's travel, enabling the viewer to envisage and follow the whole journey rather like a comic strip – an achievement unprecedented elsewhere in the medieval world. Studies of Matthew Paris The relation of Matthew Paris's work to those of John de Celia (John of Wallingford) and Roger of Wendover may be studied in Henry Richards Luard's edition of the Chronica Majora (7 vols., Rolls series, 1872–1881), which contains valuable prefaces. The Historia Anglorum sive historia minor (1067–1253) has been edited by Frederic Madden (3 vols., Rolls series, 1866–1869). Matthew Paris is sometimes confused with Matthew of Westminster, the reputed author of the Flores historiarum edited by Luard (3 vols., Rolls series, 1890). This work, compiled by various hands, is an edition of Matthew Paris, with continuations extending to 1326. He wrote a life of St Edmund of Abingdon, sometime Archbishop of Canterbury. He also wrote the Anglo-Norman La Estoire de Seint Aedward le Rei (the History of Saint Edward the King), which survives in a beautifully illuminated manuscript version, Cambridge, Cambridge University Library MS. Ee.3.59. The manuscript has had a varied publication history. Sections were printed in Francisque Michel's Chroniques Anglo-Normandes. Luard's edition for the Rolls series was severely criticized; it was re-edited for the Anglo-Norman Text Society by K. Y. Wallace. A facsimile for the Roxburghe Club was edited by M. R. James, and the whole manuscript has been digitalized and can be seen online. Paris House at St Albans High School for Girls is named after him. Notes Bibliography (on manuscripts, and artistic style) External links Images Stanford Digitized texts – Works by and about Paris, including Vaughan etc, in huge pdf files JSTOR review of Vaughan book Matthew Paris' Jerusalem pilgrim's travel guide: information, zoomable image British Library website Art Bulletin article on his maps;Imagined Pilgrimage in the Itinerary Maps of Matthew Paris. 12/1/1999 by Connolly, Daniel K Latin Chroniclers from the Eleventh to the Thirteenth Centuries:Matthew Paris from The Cambridge History of English and American Literature, Volume I, 1907–21. Life of St Edward the Confessor, Cambridge Digital Library Fully annotated copy of Matthew Paris's Claudius Map, with translations and transcriptions 1200 births 1259 deaths Year of birth uncertain People from St Albans English Benedictines English Christian monks English chroniclers English cartographers English historians Historians of the Catholic Church Heraldists Manuscript illuminators Writers who illustrated their own writing Medieval European scribes People educated at St Albans School, Hertfordshire Artist authors Medieval English painters 13th-century Christian monks 13th-century painters 13th-century English artists 13th-century Latin writers 13th-century English writers 13th-century English people 13th-century historians	true	[ "Carl Czerny's Rondino on a Theme of Auber for Piano Quintet, Op. 127 () was published by Diabelli around 1826. Scored for a standard piano quintet (Piano, 2 Violins, Viola, Cello), the composition is what the composer would have dubbed a \"brilliant\" piece, intended to show off the skills of the piano soloist in a concert setting.\n\nStructure\n\nThe composition consists of a single multi-tempo movement divided into two sections, the F major Introduction (Marked: Andante) and the A major Rondino (Marked: Allegretto grazioso - Allegro vivace).\n\nReferences\n\nNotes\n\nSources\n\nExternal links\n \n\nCompositions by Carl Czerny\nCzerny\n1826 compositions\nCompositions in F major\nCompositions in A major", "Tempest Fantasy is a 2003 chamber music composition in five movements for cello, clarinet, violin, and piano by the American composer Paul Moravec. The piece is dedicated to clarinetist David Krakauer and the piano trio Trio Solisti, who premiered the work May 2, 2003 at Morgan Library & Museum in New York City. The title of the work comes from the play The Tempest by William Shakespeare. The work won the 2004 Pulitzer Prize for Music.\n\nComposition\n\nStructure\nTempest Fantasy has a duration of approximately thirty minutes and is composed in five movements:\nAriel\nProspero\nCaliban\nSweet Airs\nFantasia\n\nStyle and inspiration\nMoravec commented on the composition in the program notes for the work, saying:\nMoravec has also suggested that the piece was an allegory for his own struggle with depression, commenting: \"Coming back from depression, I identified with Prospero and his melancholy and his downcast state. Through the power of imagination he improves his condition, and so that’s what I did as a composer.\"\n\nSee also\nList of compositions by Paul Moravec\n\nReferences\n\nCompositions by Paul Moravec\n2003 compositions\nPulitzer Prize for Music-winning works\nChamber music compositions\n21st-century classical music\nMusic based on works by William Shakespeare\nWorks based on The Tempest" ]
[ "Matthew Paris", "Paris as an artist", "When was Paris an artist?", "first half of the 13th century.", "What did he paint?", "He was somewhat old-fashioned in retaining a roundness in his figures,", "Was he a popular artist?", "became especially popular in the first half of the 13th century.", "Was he a painter?", "Tinted drawings", "What did he draw?", "His compositions are very inventive; his position as a well-connected monk may have given him more confidence in creating new compositions,", "What were the new compositions?", "His colouring emphasises green and blue, and together with his characteristic layout of a picture in the top half of a page, is relatively distinctive." ]	C_90b59744f071414bb128d11a7e2d0661_1	Did he go to school for this?	7	Did Matthew Paris go to school to learn his art?	Matthew Paris	In some of Paris' manuscripts, a framed miniature occupies the upper half of the page, and in others they are "marginal" - unframed and occupying the bottom quarter (approximately) of the page. Tinted drawings were an established style well before Paris, and became especially popular in the first half of the 13th century. They were certainly much cheaper and quicker than fully painted illuminations. The tradition of tinted drawings or outline drawings with ink supplemented by coloured wash was distinctively English, dating back to the Anglo-Saxon art of the mid-10th century, and connected with the English Benedictine Reform of the period. A strong influence on one branch of the style was the Carolingian Utrecht Psalter, which was at Canterbury from about 1000 to 1640. This was copied in the 1020s in the Harley Psalter, and in the Eadwine Psalter of the mid-12th century. Recent scholarship, notably that of Nigel Morgan, suggests that Paris' influence on other artists of the period has been exaggerated. This is likely because so much more is known about him than other English illuminators of the period, who are mostly anonymous. Most manuscripts seem to have been produced by lay artists in this period. William de Brailes is shown with a clerical tonsure, but he was married, which suggests he had minor orders only. The manuscripts produced by Paris show few signs of collaboration, but art historians detect a School of St Albans' surviving after Paris' death, influenced by him. Paris' style suggests that it was formed by works from around 1200. He was somewhat old-fashioned in retaining a roundness in his figures, rather than adopting the thin angularity of most of his artist contemporaries, especially those in London. His compositions are very inventive; his position as a well-connected monk may have given him more confidence in creating new compositions, whereas a lay artist would prefer to stick to traditional formulae. It may also reflect the lack of full training in the art of the period. His colouring emphasises green and blue, and together with his characteristic layout of a picture in the top half of a page, is relatively distinctive. What are probably his final sketches are found in Vitae duorum Offarum in BL MS Cotton Nero D I. CANNOTANSWER	CANNOTANSWER	Matthew Paris, also known as Matthew of Paris (; c. 1200 – 1259), was an English Benedictine monk, chronicler, artist in illuminated manuscripts and cartographer, based at St Albans Abbey in Hertfordshire. He wrote a number of works, mostly historical, which he scribed and illuminated himself, typically in drawings partly coloured with watercolour washes, sometimes called "tinted drawings". Some were written in Latin, some in Anglo-Norman or French verse. His Chronica Majora is an oft-cited source, though modern historians recognise that Paris was not always reliable. He tended to glorify Holy Roman Emperor Frederick II and denigrate the Pope. However, in his Historia Anglorum, Paris displays a highly negative view of Frederick, going as far as to describe him as a "tyrant" who "committed disgraceful crimes". Life and work In spite of his surname and knowledge of the French language, Paris was of English birth, and is believed by some chroniclers to be of the Paris family of Hildersham, Cambridgeshire. He may have studied at Paris in his youth after early education at St Albans School. The first we know of Matthew Paris (from his own writings) is that he was admitted as a monk to St Albans in 1217. It is on the assumption that he was in his teens on admission that his birth date is estimated; some scholars suspect he may have been ten years or more older; many monks only entered monastic life after pursuing a career in the world outside. He was clearly at ease with the nobility and even royalty, which may indicate that he came from a family of some status, although it also seems an indication of his personality. His life was mainly spent in this religious house. In 1248, Paris was sent to Norway as the bearer of a message from Louis IX to Haakon IV; he made himself so agreeable to the Norwegian sovereign that he was invited to superintend the reformation of the Benedictine Nidarholm Abbey outside Trondheim. Apart from these missions, his known activities were devoted to the composition of history, a pursuit for which the monks of St Albans had long been famous. After admission to the order in 1217, he inherited the mantle of Roger of Wendover, the abbey's official recorder of events, in 1236. Paris revised Roger's work, adding new material to cover his own tenure. This Chronica Majora is an important historical source document, especially for the period between 1235 and 1259. Equally interesting are the illustrations Paris created for his work. The Dublin MS (see below) contains interesting notes, which shed light on Paris' involvement in other manuscripts, and on the way his own were used. They are in French and in his handwriting: "If you please you can keep this book till Easter" "G, please send to the Lady Countess of Arundel, Isabel, that she is to send you the book about St Thomas the Martyr and St Edward which I copied (translated?) and illustrated, and which the Lady Countess of Cornwall may keep until Whitsuntide" some verses "In the Countess of Winchester's book let there be a pair of images on each page thus": (verses follow describing thirteen saints) It is presumed the last relates to Paris acting as commissioning agent and iconographical consultant for the Countess with another artist. The lending of his manuscripts to aristocratic households, apparently for periods of weeks or months at a time, suggests why he made several different illustrated versions of his Chronicle. Manuscripts by Matthew Paris Paris' manuscripts mostly contain more than one text, and often begin with a rather random assortment of prefatory full-page miniatures. Some have survived incomplete, and the various elements now bound together may not have been intended to be so by Paris. Unless stated otherwise, all were given by Paris to his monastery (from some inscriptions it seems they were regarded as his property to dispose of). The monastic libraries were broken up at the Dissolution. These MSS seem to have been appreciated, and were quickly collected by bibliophiles. Many of his manuscripts in the British Library are from the Cotton Library. Chronica Majora. Corpus Christi College, Cambridge, Mss 26 and 16, 362 x 244/248 mm. ff 141 + 281, composed 1240–53. His major historical work (see below), but less heavily illustrated per page than others. These two volumes contain annals from the creation of the world up to the year 1253. The content up to 1234 or 1235 is based in the main on Roger of Wendover's Flores Historiarum, with additions; after that date the material is Paris' own, and written in his own hand from the annal for 1213 onward. There are 100 marginal drawings (25 + 75), some fragmentary maps and an itinerary, and full-page drawings of William I. MS 16 has very recently had all prefatory matter re-bound separately. A continuation of the Chronica, from 1254 until Paris' death in 1259, is bound with the Historia Anglorum in the British Library volume below. An unillustrated copy of the material from 1189 to 1250, with much of his sharper commentary about Henry III toned down or removed, was supervised by Paris himself and now exists as British Library Cotton MS Nero D V, fol. 162–393. Flores Historiarum. Chetham's Hospital and Library, Manchester, MS 6712. Only part of the text, covering 1241 to 1249, is in Paris' hand, though he is credited with the authorship of the whole text, which is an abridgement of the Chronica with additions from the annals of Reading and of Southwark. Additional interpolations to the text make it clear the volume was created for Westminster Abbey. It was apparently started there, copying another MS of Paris' text that went up to 1240. Later it was sent back to the author for him to update; Vaughan argues this was in 1251-2. The illustrations are similar to Paris' style but not by him. Later additions took the chronicle up to 1327. Historia Anglorum. British Library, Royal MS 14 C VII, fols. 8v–156v. 358 x 250 mm, ff 232 in all. A history of England, begun in 1250 and perhaps completed around 1255, covering the years 1070–1253. The text is an abridgement of the Chronica, also drawing on Wendover's Flores Historiarum and Paris' earlier edited version of the Chronica. Bound with it is the final part of Paris' Chronica Majora, covering the years 1254–1259 (folios 157–218), and prefatory material including an itinerary from London to Jerusalem and tinted drawings of the kings of England. All is in Paris' own hand, apart from folios 210–218 and 154v-156v, which are in a hand of the scribe who has added a note of Matthew Paris' death (f. 218v). The Chronica concludes with a portrait of Paris on his death-bed, presumably not by him. By the 15th century this volume belonged to Humphrey, Duke of Gloucester, son of Henry IV, who inscribed it "Ceste livre est a moy Homffrey Duc de Gloucestre". Later it was held by the bishop of Lincoln, who wrote a note that if the monks of St Albans could prove the book was a loan, they should have it back. Otherwise it was bequeathed to New College, Oxford. The fact that the book was acquired by a 16th-century Earl of Arundel suggests that Duke Humphrey's inscription was not entirely accurate, as New College would probably not have disposed of it. Abbreviatio chronicorum (or Historia minor), British Library Cotton MS Claudius D VI, fols. 5–100. Another shortened history, mainly covering 1067 to 1253. Probably begun circa 1255, it remained unfinished at Paris' death. Illustrated with thirty-three seated figures of English kings illustrating a genealogy. It also contains the most developed of Paris' four maps of Great Britain. Chronica excerpta a magnis cronicis. British Library Cotton MS Vitellius A XX, folios 77r–108v. Covers from 1066 to 1246. Written at some point between 1246 and 1259. Not definitely by Paris, but evidently written under his supervision, with some of the text in his own hand. Book of Additions (Liber additamentorum) British Library Cotton MS Nero D I, ff202 in all, contains maps, Vitae duorum Offarum (illustrated), Gesta abbatum, the lives of the first 23 abbots of St Albans with a miniature portrait of each, coats of arms, as well as copies of original documents. A version of his well-known drawing of an elephant is in this volume, as is a large drawing of Christ, not by Paris. Life of St Alban etc., dating controversial (1230–1250), Trinity College, Dublin Library, Ms 177 (former Ms E.I.40) 77 ff with 54 miniatures, mostly half-page. 240 x 165 mm. Also contains a Life of St Amphibalus, and various other works relating to the history of St Albans Abbey, both also illustrated. The Life of St Alban is in French verse, adapted from a Latin Life of St Alban by William of St Albans, ca. 1178. The manuscript also contains notes in Paris' hand (see above) showing that his manuscripts were lent to various aristocratic ladies for periods, and that he probably acted as an intermediary between commissioners of manuscripts and the (probably) lay artists who produced them, advising on the calendars and iconography. Life of King Edward the Confessor 1230s or 40s, Cambridge University Library MS. Ee.3.59. This is the only surviving copy of this work, but is believed to be a slightly later copy made in London, probably by court artists, of Paris' text and framed illustrations. Based on the Latin Life of Edward the Confessor by Aelred of Rievaulx, c. 1162. Life of St Thomas of Canterbury, British Library, Loan MS 88 – Four leaves (the "Becket Leaves") survive from a French-verse history of the life of Thomas Becket with large illuminations. Based on the Latin Quadrilogus compiled by Elias of Evesham at Crowland Abbey in 1198. The illuminations are attributed to Paris by Janet Backhouse, but not by Nigel Morgan. Vaughan had previously noted that the leaves from the Life of St Thomas and the Life of King Edward are of different sizes, and written by different scribes, neither of them Paris himself, so they are not likely to be part of the manuscript that Paris wrote of having lent to the Countess of Arundel; but that, "to judge from the script and the style of illumination" they are "very close copies of Matthew [Paris]'s original". Life of St Edmund, a French-verse history of the life of Edmund Rich, Archbishop of Canterbury from 1233 to 1240. Based on Paris' own Latin prose life of Rich, composed in the late 1240s, which drew on a collection of materials made at Pontigny, statements from Robert Bacon and Richard Wych, Bishop of Chichester, and other materials including from Paris' own histories. A 14th-century copy of the prose life has survived in British Library Cotton MS Julius D VI, folios 123–156v. One copy of the verse life that was in Cotton MS Vitellius D VIII was destroyed in the fire of 1731; but another copy was discovered in the early 1900s at Welbeck Abbey and is now in the British Library. Liber Experimentarius of Bernardus Silvestris, and other fortune-telling tracts. Bodleian Library, Oxford, Ms. Ashmole 304, 176 x 128 mm, ff72. Many illustrations: author portraits (many of ancient Greeks – Socrates, Plato, Euclid, Pythagoras), birds, tables and diagrams of geomantic significance. Several later copies of the text and illustrations survive. Provenance before 1602 unknown. Miscellaneous writings by John of Wallingford (the Younger), British Library, MS Cotton Julius D VII, 188 × 130 mm, ff. 134. 1247–58. Mostly scribed by John of Wallingford, another monk of St Albans, who also probably did some drawings. A portrait of John, a map of the British Isles, and a Christ in Majesty are all accepted as by Paris. The main text is a chronicle, highly derivative of Paris's. This was John's property, left to his final monastery at Wymondham. Also, fragments of a Latin biography of Stephen Langton. Various other works, especially maps. A panel painting on oak of St Peter, the only surviving part of a tabernacle shrine (1850 x 750 mm), in the Museum of Oslo University has been attributed to Paris, presumably dating from his visit in 1248. Local paintings are usually on pine, so he may have brought this with him, or sent it later. Paris as an artist In some of Paris' manuscripts, a framed miniature occupies the upper half of the page, and in others they are "marginal" – unframed and occupying the bottom quarter (approximately) of the page. Tinted drawings were an established style well before Paris, and became especially popular in the first half of the 13th century. They were certainly much cheaper and quicker than fully painted illuminations. The tradition of tinted drawings or outline drawings with ink supplemented by coloured wash was distinctively English, dating back to the Anglo-Saxon art of the mid-10th century, and connected with the English Benedictine Reform of the period. A strong influence on one branch of the style was the Carolingian Utrecht Psalter, which was at Canterbury from about 1000 to 1640. This was copied in the 1020s in the Harley Psalter, and in the Eadwine Psalter of the mid-12th century. Recent scholarship, notably that of Nigel Morgan, suggests that Paris' influence on other artists of the period has been exaggerated. This is likely because so much more is known about him than other English illuminators of the period, who are mostly anonymous. Most manuscripts seem to have been produced by lay artists in this period. William de Brailes is shown with a clerical tonsure, but he was married, which suggests he had minor orders only. The manuscripts produced by Paris show few signs of collaboration, but art historians detect a School of St Albans' surviving after Paris' death, influenced by him. Paris' style suggests that it was formed by works from around 1200. He was somewhat old-fashioned in retaining a roundness in his figures, rather than adopting the thin angularity of most of his artist contemporaries, especially those in London. His compositions are very inventive; his position as a well-connected monk may have given him more confidence in creating new compositions, whereas a lay artist would prefer to stick to traditional formulae. It may also reflect the lack of full training in the art of the period. His colouring emphasises green and blue, and together with his characteristic layout of a picture in the top half of a page, is relatively distinctive. What are probably his final sketches are found in Vitae duorum Offarum in BL MS Cotton Nero D I. Paris as a historian From 1235, the point at which Wendover dropped his pen, Paris continued the history on the plan which his predecessors had followed. He derived much of his information from the letters of important people, which he sometimes inserts, but much more from conversation with the eyewitnesses of events. Among his informants were Richard, Earl of Cornwall and King Henry III, with whom he appears to have been on intimate terms. The king knew that Paris was writing a history, and wanted it to be as exact as possible. In 1257, in the course of a week's visit to St Albans, Henry kept the chronicler beside him night and day, "and guided my pen," says Paris, "with much goodwill and diligence." It is curious that the Chronica Majora gives so unfavourable an account of the king's policy. Henry Richards Luard supposes that Paris never intended his work to be read in its present form. Many passages of the autograph have written next to them, the note offendiculum, which shows that the writer understood the danger which he ran. On the other hand, unexpurgated copies were made in Paris's lifetime. Although the offending passages are duly omitted or softened in his abridgment of his longer work, the Historia Anglorum (written about 1253), Paris's real feelings must have been an open secret. There is no ground for the old theory that he was an official historiographer. Naturalists have praised his descriptions of the English wildlife of his time, brief though they are: in particular his valuable description of the first irruption into England in 1254 of the common crossbill. Paris as cartographer Outstanding among his other maps were (four versions of) a pilgrim itinerary charting the route from London to Rome in graphic form. A sequence of pictures of towns on the route marked the terminus of each day's travel, enabling the viewer to envisage and follow the whole journey rather like a comic strip – an achievement unprecedented elsewhere in the medieval world. Studies of Matthew Paris The relation of Matthew Paris's work to those of John de Celia (John of Wallingford) and Roger of Wendover may be studied in Henry Richards Luard's edition of the Chronica Majora (7 vols., Rolls series, 1872–1881), which contains valuable prefaces. The Historia Anglorum sive historia minor (1067–1253) has been edited by Frederic Madden (3 vols., Rolls series, 1866–1869). Matthew Paris is sometimes confused with Matthew of Westminster, the reputed author of the Flores historiarum edited by Luard (3 vols., Rolls series, 1890). This work, compiled by various hands, is an edition of Matthew Paris, with continuations extending to 1326. He wrote a life of St Edmund of Abingdon, sometime Archbishop of Canterbury. He also wrote the Anglo-Norman La Estoire de Seint Aedward le Rei (the History of Saint Edward the King), which survives in a beautifully illuminated manuscript version, Cambridge, Cambridge University Library MS. Ee.3.59. The manuscript has had a varied publication history. Sections were printed in Francisque Michel's Chroniques Anglo-Normandes. Luard's edition for the Rolls series was severely criticized; it was re-edited for the Anglo-Norman Text Society by K. Y. Wallace. A facsimile for the Roxburghe Club was edited by M. R. James, and the whole manuscript has been digitalized and can be seen online. Paris House at St Albans High School for Girls is named after him. Notes Bibliography (on manuscripts, and artistic style) External links Images Stanford Digitized texts – Works by and about Paris, including Vaughan etc, in huge pdf files JSTOR review of Vaughan book Matthew Paris' Jerusalem pilgrim's travel guide: information, zoomable image British Library website Art Bulletin article on his maps;Imagined Pilgrimage in the Itinerary Maps of Matthew Paris. 12/1/1999 by Connolly, Daniel K Latin Chroniclers from the Eleventh to the Thirteenth Centuries:Matthew Paris from The Cambridge History of English and American Literature, Volume I, 1907–21. Life of St Edward the Confessor, Cambridge Digital Library Fully annotated copy of Matthew Paris's Claudius Map, with translations and transcriptions 1200 births 1259 deaths Year of birth uncertain People from St Albans English Benedictines English Christian monks English chroniclers English cartographers English historians Historians of the Catholic Church Heraldists Manuscript illuminators Writers who illustrated their own writing Medieval European scribes People educated at St Albans School, Hertfordshire Artist authors Medieval English painters 13th-century Christian monks 13th-century painters 13th-century English artists 13th-century Latin writers 13th-century English writers 13th-century English people 13th-century historians	false	[ "\"What I Go to School For\" is the debut single of English pop punk band Busted. It was written by James Bourne, Charlie Simpson, Matt Willis, Steve Robson, and John McLaughlin and produced by Steve Robson. The song was inspired by a teacher that Matt Willis had a crush on at school.\n\nThe song was released on 16 September 2002 and reached number three on the UK Singles Chart. A young Jade Ewen (who would later join girl group Sugababes) appears in the music video.\n\nBackground\nMatt Willis told the Essex Chronicle that the song came about after a night out in TOTs 2000 (now known as Talk nightclub) in James Bourne's hometown of Southend-on-Sea. \"We were too young, we got drunk and went to TOTs,\" Willis said. \"Then we walked home and continued drinking on the way – it took us ages. When we got back to James' house, we went to his bedroom and just picked up the guitar and that’s when we started writing What I Go to School For.\"\n\nIn 2003, the real-life inspiration for the song was revealed to be Willis' former teacher Michelle Blair, who made a surprise appearance on The Frank Skinner Show on ITV during an interview with Willis. Blair, who was 28 and had been married for three years at the time of her appearance on The Frank Skinner Show, was Willis' dance teacher at the Sylvia Young Theatre School when Willis was 15. Speaking about the surprise appearance with Willis on the show, Blair said: \"It was hilarious – he looked like he wanted the ground to swallow him up. I only found out the song was about me after it came out – it's really flattering.\" Blair said that at the time she was not aware of her pupil's crush on her, but that she did remember him from the dance classes: \"He was quite cheeky and charming and always had something to say in class. He used to tell us he was in a band, but I never dreamed they were going to be this big and I certainly hadn't a clue I was going to feature in one of their songs!\"\n\nCommenting on the veracity of these events as portrayed in the song, Blair said: \"I think he's used a bit of artistic licence in the song. It was a dance class so we never used any pencils but I suppose he had ample opportunity to look at my bum. There was never any tree outside my bedroom window though – I think I might have noticed a Peeping Tom.\" Reflecting on his time under the tutelage of Miss Blair, Willis said, \"She was kind of nice and there was always something really sexy about her.\" Being identified as the object of adolescent lust, and the subject of a pop song, hasn't caused any friction with her husband, according to Blair: \"My husband thinks its (sic) hilarious and takes the mickey. I don't think he's really worried I'm going to run off with a pop star. I'm proud of them. Looking back it was obvious Matt had what it takes.\"\n\nOn 29 October 2012, Michelle Blair appeared as the correct answer in the \"line-up\" section of BBC Two panel Never Mind the Buzzcocks.\n\nMusical\nWhat I Go to School For became the title of a musical theatre production produced by Youth Music Theatre UK following the story of Busted from their origins in Southend-on-Sea, Essex, through to their break-up in 2005. The musical was written by Elliot Davis with songs from the Busted albums and new music by James Bourne. It was directed by Steven Dexter and played at the Theatre Royal, Brighton in 2016.\n\nMusic video\nThe video for the song features model Lorna Roberts as Miss McKenzie, the object of the band's desire. Then 14-year-old Jade Ewen, who later joined the Sugababes, appears in the video as a schoolgirl. The filming of the What I Go To School For video was later parodied in the video for the Busted song Nineties.\n\nTrack listings\n\nUK CD1 and Australian CD single\n \"What I Go to School For\" (single version) – 3:30\n \"What I Go to School For\" (acoustic version) – 3:26\n \"What I Go to School For\" (alternative version) – 3:31\n \"What I Go to School For\" (instrumental mix) – 3:28\n \"What I Go to School For\" (CD-ROM video)\n\nUK CD2\n \"What I Go to School For\" (single version)\n \"Brown Eyed Girl\"\n Interactvie interview (CD-ROM video)\n\nUK cassette single\n \"What I Go to School For\"\n \"Dawson's Geek\"\n \"What I Go to School For\" (acoustic version)\n\nUS enhanced CD single\n \"What I Go to School For\" (radio version)\n \"What I Go to School For\" (album version)\n \"What I Go to School For\" (CD-ROM video)\n\nCharts and certifications\n\nWeekly charts\n\nYear-end charts\n\nCertifications\n\nRelease history\n\nCover versions\n \"What I Go to School For\" was parodied by the Amateur Transplants on their 2004 album Fitness to Practice.\n The Jonas Brothers covered the song for their 2006 album It's About Time.\n\nReferences\n\n2002 debut singles\n2002 songs\nBusted (band) songs\nIsland Records singles\nSongs about school\nSongs written by Charlie Simpson\nSongs written by James Bourne\nSongs written by Matt Willis\nSongs written by Steve Robson\nUniversal Records singles", "Kyree Walker (born November 20, 2000) is an American professional basketball player for the Capital City Go-Go of the NBA G League. At the high school level, he played for Moreau Catholic High School in Hayward, California before transferring to Hillcrest Prep Academy. A former MaxPreps National Freshman of the Year, Walker was a five-star recruit.\n\nEarly life and high school career\nIn eighth grade, Walker drew national attention for his slam dunks in highlight videos. He often faced older competition, including high school seniors, in middle school with his Amateur Athletic Union (AAU) team Oakland Soldiers. As a high school freshman, Walker played basketball for Moreau Catholic High School in Hayward, California, averaging 21.3 points, 6.5 rebounds and four assists per game. After leading his team to a California Interscholastic Federation Division II runner-up finish, he was named MaxPreps National Freshman of the Year. Entering his sophomore season, Walker transferred to Hillcrest Prep, a basketball program in Phoenix, Arizona, with his father, Khari, joining the coaching staff. On October 25, 2019, during his senior year, he left Hillcrest Prep, intending to move to the college or professional level. In December 2019, Walker graduated from high school but did not play high school basketball while weighing his options.\n\nRecruiting\nOn June 30, 2017, Walker committed to play college basketball for Arizona State over several other NCAA Division I offers. At the time, he was considered a five-star recruit and a top five player in the 2020 class by major recruiting services. On October 21, 2018, Walker decommitted from Arizona State. On April 20, 2020, as a four-star recruit, he announced that he would forego college basketball.\n\nProfessional career\n\nCapital City Go-Go (2021–present)\nWalker joined Chameleon BX to prepare for the 2021 NBA draft. For the 2021-22 season, he signed with the Capital City Go-Go of the NBA G League, joining the team after a successful tryout.\n\nPersonal life\nIn 2018, Walker's mother, Barrissa Gardner, was diagnosed with breast cancer but achieved remission in the following months.\n\nReferences\n\n2000 births\nLiving people\n21st-century African-American sportspeople\nAfrican-American basketball players\nAmerican men's basketball players\nBasketball players from Oakland, California\nCapital City Go-Go players\nSmall forwards\nTwitch (service) streamers" ]
[ "Matthew Paris", "Paris as an artist", "When was Paris an artist?", "first half of the 13th century.", "What did he paint?", "He was somewhat old-fashioned in retaining a roundness in his figures,", "Was he a popular artist?", "became especially popular in the first half of the 13th century.", "Was he a painter?", "Tinted drawings", "What did he draw?", "His compositions are very inventive; his position as a well-connected monk may have given him more confidence in creating new compositions,", "What were the new compositions?", "His colouring emphasises green and blue, and together with his characteristic layout of a picture in the top half of a page, is relatively distinctive.", "Did he go to school for this?", "I don't know." ]	C_90b59744f071414bb128d11a7e2d0661_1	What are his famous works?	8	What are Matthew Paris' famous works?	Matthew Paris	In some of Paris' manuscripts, a framed miniature occupies the upper half of the page, and in others they are "marginal" - unframed and occupying the bottom quarter (approximately) of the page. Tinted drawings were an established style well before Paris, and became especially popular in the first half of the 13th century. They were certainly much cheaper and quicker than fully painted illuminations. The tradition of tinted drawings or outline drawings with ink supplemented by coloured wash was distinctively English, dating back to the Anglo-Saxon art of the mid-10th century, and connected with the English Benedictine Reform of the period. A strong influence on one branch of the style was the Carolingian Utrecht Psalter, which was at Canterbury from about 1000 to 1640. This was copied in the 1020s in the Harley Psalter, and in the Eadwine Psalter of the mid-12th century. Recent scholarship, notably that of Nigel Morgan, suggests that Paris' influence on other artists of the period has been exaggerated. This is likely because so much more is known about him than other English illuminators of the period, who are mostly anonymous. Most manuscripts seem to have been produced by lay artists in this period. William de Brailes is shown with a clerical tonsure, but he was married, which suggests he had minor orders only. The manuscripts produced by Paris show few signs of collaboration, but art historians detect a School of St Albans' surviving after Paris' death, influenced by him. Paris' style suggests that it was formed by works from around 1200. He was somewhat old-fashioned in retaining a roundness in his figures, rather than adopting the thin angularity of most of his artist contemporaries, especially those in London. His compositions are very inventive; his position as a well-connected monk may have given him more confidence in creating new compositions, whereas a lay artist would prefer to stick to traditional formulae. It may also reflect the lack of full training in the art of the period. His colouring emphasises green and blue, and together with his characteristic layout of a picture in the top half of a page, is relatively distinctive. What are probably his final sketches are found in Vitae duorum Offarum in BL MS Cotton Nero D I. CANNOTANSWER	What are probably his final sketches are found in Vitae duorum Offarum in BL MS Cotton Nero D I.	Matthew Paris, also known as Matthew of Paris (; c. 1200 – 1259), was an English Benedictine monk, chronicler, artist in illuminated manuscripts and cartographer, based at St Albans Abbey in Hertfordshire. He wrote a number of works, mostly historical, which he scribed and illuminated himself, typically in drawings partly coloured with watercolour washes, sometimes called "tinted drawings". Some were written in Latin, some in Anglo-Norman or French verse. His Chronica Majora is an oft-cited source, though modern historians recognise that Paris was not always reliable. He tended to glorify Holy Roman Emperor Frederick II and denigrate the Pope. However, in his Historia Anglorum, Paris displays a highly negative view of Frederick, going as far as to describe him as a "tyrant" who "committed disgraceful crimes". Life and work In spite of his surname and knowledge of the French language, Paris was of English birth, and is believed by some chroniclers to be of the Paris family of Hildersham, Cambridgeshire. He may have studied at Paris in his youth after early education at St Albans School. The first we know of Matthew Paris (from his own writings) is that he was admitted as a monk to St Albans in 1217. It is on the assumption that he was in his teens on admission that his birth date is estimated; some scholars suspect he may have been ten years or more older; many monks only entered monastic life after pursuing a career in the world outside. He was clearly at ease with the nobility and even royalty, which may indicate that he came from a family of some status, although it also seems an indication of his personality. His life was mainly spent in this religious house. In 1248, Paris was sent to Norway as the bearer of a message from Louis IX to Haakon IV; he made himself so agreeable to the Norwegian sovereign that he was invited to superintend the reformation of the Benedictine Nidarholm Abbey outside Trondheim. Apart from these missions, his known activities were devoted to the composition of history, a pursuit for which the monks of St Albans had long been famous. After admission to the order in 1217, he inherited the mantle of Roger of Wendover, the abbey's official recorder of events, in 1236. Paris revised Roger's work, adding new material to cover his own tenure. This Chronica Majora is an important historical source document, especially for the period between 1235 and 1259. Equally interesting are the illustrations Paris created for his work. The Dublin MS (see below) contains interesting notes, which shed light on Paris' involvement in other manuscripts, and on the way his own were used. They are in French and in his handwriting: "If you please you can keep this book till Easter" "G, please send to the Lady Countess of Arundel, Isabel, that she is to send you the book about St Thomas the Martyr and St Edward which I copied (translated?) and illustrated, and which the Lady Countess of Cornwall may keep until Whitsuntide" some verses "In the Countess of Winchester's book let there be a pair of images on each page thus": (verses follow describing thirteen saints) It is presumed the last relates to Paris acting as commissioning agent and iconographical consultant for the Countess with another artist. The lending of his manuscripts to aristocratic households, apparently for periods of weeks or months at a time, suggests why he made several different illustrated versions of his Chronicle. Manuscripts by Matthew Paris Paris' manuscripts mostly contain more than one text, and often begin with a rather random assortment of prefatory full-page miniatures. Some have survived incomplete, and the various elements now bound together may not have been intended to be so by Paris. Unless stated otherwise, all were given by Paris to his monastery (from some inscriptions it seems they were regarded as his property to dispose of). The monastic libraries were broken up at the Dissolution. These MSS seem to have been appreciated, and were quickly collected by bibliophiles. Many of his manuscripts in the British Library are from the Cotton Library. Chronica Majora. Corpus Christi College, Cambridge, Mss 26 and 16, 362 x 244/248 mm. ff 141 + 281, composed 1240–53. His major historical work (see below), but less heavily illustrated per page than others. These two volumes contain annals from the creation of the world up to the year 1253. The content up to 1234 or 1235 is based in the main on Roger of Wendover's Flores Historiarum, with additions; after that date the material is Paris' own, and written in his own hand from the annal for 1213 onward. There are 100 marginal drawings (25 + 75), some fragmentary maps and an itinerary, and full-page drawings of William I. MS 16 has very recently had all prefatory matter re-bound separately. A continuation of the Chronica, from 1254 until Paris' death in 1259, is bound with the Historia Anglorum in the British Library volume below. An unillustrated copy of the material from 1189 to 1250, with much of his sharper commentary about Henry III toned down or removed, was supervised by Paris himself and now exists as British Library Cotton MS Nero D V, fol. 162–393. Flores Historiarum. Chetham's Hospital and Library, Manchester, MS 6712. Only part of the text, covering 1241 to 1249, is in Paris' hand, though he is credited with the authorship of the whole text, which is an abridgement of the Chronica with additions from the annals of Reading and of Southwark. Additional interpolations to the text make it clear the volume was created for Westminster Abbey. It was apparently started there, copying another MS of Paris' text that went up to 1240. Later it was sent back to the author for him to update; Vaughan argues this was in 1251-2. The illustrations are similar to Paris' style but not by him. Later additions took the chronicle up to 1327. Historia Anglorum. British Library, Royal MS 14 C VII, fols. 8v–156v. 358 x 250 mm, ff 232 in all. A history of England, begun in 1250 and perhaps completed around 1255, covering the years 1070–1253. The text is an abridgement of the Chronica, also drawing on Wendover's Flores Historiarum and Paris' earlier edited version of the Chronica. Bound with it is the final part of Paris' Chronica Majora, covering the years 1254–1259 (folios 157–218), and prefatory material including an itinerary from London to Jerusalem and tinted drawings of the kings of England. All is in Paris' own hand, apart from folios 210–218 and 154v-156v, which are in a hand of the scribe who has added a note of Matthew Paris' death (f. 218v). The Chronica concludes with a portrait of Paris on his death-bed, presumably not by him. By the 15th century this volume belonged to Humphrey, Duke of Gloucester, son of Henry IV, who inscribed it "Ceste livre est a moy Homffrey Duc de Gloucestre". Later it was held by the bishop of Lincoln, who wrote a note that if the monks of St Albans could prove the book was a loan, they should have it back. Otherwise it was bequeathed to New College, Oxford. The fact that the book was acquired by a 16th-century Earl of Arundel suggests that Duke Humphrey's inscription was not entirely accurate, as New College would probably not have disposed of it. Abbreviatio chronicorum (or Historia minor), British Library Cotton MS Claudius D VI, fols. 5–100. Another shortened history, mainly covering 1067 to 1253. Probably begun circa 1255, it remained unfinished at Paris' death. Illustrated with thirty-three seated figures of English kings illustrating a genealogy. It also contains the most developed of Paris' four maps of Great Britain. Chronica excerpta a magnis cronicis. British Library Cotton MS Vitellius A XX, folios 77r–108v. Covers from 1066 to 1246. Written at some point between 1246 and 1259. Not definitely by Paris, but evidently written under his supervision, with some of the text in his own hand. Book of Additions (Liber additamentorum) British Library Cotton MS Nero D I, ff202 in all, contains maps, Vitae duorum Offarum (illustrated), Gesta abbatum, the lives of the first 23 abbots of St Albans with a miniature portrait of each, coats of arms, as well as copies of original documents. A version of his well-known drawing of an elephant is in this volume, as is a large drawing of Christ, not by Paris. Life of St Alban etc., dating controversial (1230–1250), Trinity College, Dublin Library, Ms 177 (former Ms E.I.40) 77 ff with 54 miniatures, mostly half-page. 240 x 165 mm. Also contains a Life of St Amphibalus, and various other works relating to the history of St Albans Abbey, both also illustrated. The Life of St Alban is in French verse, adapted from a Latin Life of St Alban by William of St Albans, ca. 1178. The manuscript also contains notes in Paris' hand (see above) showing that his manuscripts were lent to various aristocratic ladies for periods, and that he probably acted as an intermediary between commissioners of manuscripts and the (probably) lay artists who produced them, advising on the calendars and iconography. Life of King Edward the Confessor 1230s or 40s, Cambridge University Library MS. Ee.3.59. This is the only surviving copy of this work, but is believed to be a slightly later copy made in London, probably by court artists, of Paris' text and framed illustrations. Based on the Latin Life of Edward the Confessor by Aelred of Rievaulx, c. 1162. Life of St Thomas of Canterbury, British Library, Loan MS 88 – Four leaves (the "Becket Leaves") survive from a French-verse history of the life of Thomas Becket with large illuminations. Based on the Latin Quadrilogus compiled by Elias of Evesham at Crowland Abbey in 1198. The illuminations are attributed to Paris by Janet Backhouse, but not by Nigel Morgan. Vaughan had previously noted that the leaves from the Life of St Thomas and the Life of King Edward are of different sizes, and written by different scribes, neither of them Paris himself, so they are not likely to be part of the manuscript that Paris wrote of having lent to the Countess of Arundel; but that, "to judge from the script and the style of illumination" they are "very close copies of Matthew [Paris]'s original". Life of St Edmund, a French-verse history of the life of Edmund Rich, Archbishop of Canterbury from 1233 to 1240. Based on Paris' own Latin prose life of Rich, composed in the late 1240s, which drew on a collection of materials made at Pontigny, statements from Robert Bacon and Richard Wych, Bishop of Chichester, and other materials including from Paris' own histories. A 14th-century copy of the prose life has survived in British Library Cotton MS Julius D VI, folios 123–156v. One copy of the verse life that was in Cotton MS Vitellius D VIII was destroyed in the fire of 1731; but another copy was discovered in the early 1900s at Welbeck Abbey and is now in the British Library. Liber Experimentarius of Bernardus Silvestris, and other fortune-telling tracts. Bodleian Library, Oxford, Ms. Ashmole 304, 176 x 128 mm, ff72. Many illustrations: author portraits (many of ancient Greeks – Socrates, Plato, Euclid, Pythagoras), birds, tables and diagrams of geomantic significance. Several later copies of the text and illustrations survive. Provenance before 1602 unknown. Miscellaneous writings by John of Wallingford (the Younger), British Library, MS Cotton Julius D VII, 188 × 130 mm, ff. 134. 1247–58. Mostly scribed by John of Wallingford, another monk of St Albans, who also probably did some drawings. A portrait of John, a map of the British Isles, and a Christ in Majesty are all accepted as by Paris. The main text is a chronicle, highly derivative of Paris's. This was John's property, left to his final monastery at Wymondham. Also, fragments of a Latin biography of Stephen Langton. Various other works, especially maps. A panel painting on oak of St Peter, the only surviving part of a tabernacle shrine (1850 x 750 mm), in the Museum of Oslo University has been attributed to Paris, presumably dating from his visit in 1248. Local paintings are usually on pine, so he may have brought this with him, or sent it later. Paris as an artist In some of Paris' manuscripts, a framed miniature occupies the upper half of the page, and in others they are "marginal" – unframed and occupying the bottom quarter (approximately) of the page. Tinted drawings were an established style well before Paris, and became especially popular in the first half of the 13th century. They were certainly much cheaper and quicker than fully painted illuminations. The tradition of tinted drawings or outline drawings with ink supplemented by coloured wash was distinctively English, dating back to the Anglo-Saxon art of the mid-10th century, and connected with the English Benedictine Reform of the period. A strong influence on one branch of the style was the Carolingian Utrecht Psalter, which was at Canterbury from about 1000 to 1640. This was copied in the 1020s in the Harley Psalter, and in the Eadwine Psalter of the mid-12th century. Recent scholarship, notably that of Nigel Morgan, suggests that Paris' influence on other artists of the period has been exaggerated. This is likely because so much more is known about him than other English illuminators of the period, who are mostly anonymous. Most manuscripts seem to have been produced by lay artists in this period. William de Brailes is shown with a clerical tonsure, but he was married, which suggests he had minor orders only. The manuscripts produced by Paris show few signs of collaboration, but art historians detect a School of St Albans' surviving after Paris' death, influenced by him. Paris' style suggests that it was formed by works from around 1200. He was somewhat old-fashioned in retaining a roundness in his figures, rather than adopting the thin angularity of most of his artist contemporaries, especially those in London. His compositions are very inventive; his position as a well-connected monk may have given him more confidence in creating new compositions, whereas a lay artist would prefer to stick to traditional formulae. It may also reflect the lack of full training in the art of the period. His colouring emphasises green and blue, and together with his characteristic layout of a picture in the top half of a page, is relatively distinctive. What are probably his final sketches are found in Vitae duorum Offarum in BL MS Cotton Nero D I. Paris as a historian From 1235, the point at which Wendover dropped his pen, Paris continued the history on the plan which his predecessors had followed. He derived much of his information from the letters of important people, which he sometimes inserts, but much more from conversation with the eyewitnesses of events. Among his informants were Richard, Earl of Cornwall and King Henry III, with whom he appears to have been on intimate terms. The king knew that Paris was writing a history, and wanted it to be as exact as possible. In 1257, in the course of a week's visit to St Albans, Henry kept the chronicler beside him night and day, "and guided my pen," says Paris, "with much goodwill and diligence." It is curious that the Chronica Majora gives so unfavourable an account of the king's policy. Henry Richards Luard supposes that Paris never intended his work to be read in its present form. Many passages of the autograph have written next to them, the note offendiculum, which shows that the writer understood the danger which he ran. On the other hand, unexpurgated copies were made in Paris's lifetime. Although the offending passages are duly omitted or softened in his abridgment of his longer work, the Historia Anglorum (written about 1253), Paris's real feelings must have been an open secret. There is no ground for the old theory that he was an official historiographer. Naturalists have praised his descriptions of the English wildlife of his time, brief though they are: in particular his valuable description of the first irruption into England in 1254 of the common crossbill. Paris as cartographer Outstanding among his other maps were (four versions of) a pilgrim itinerary charting the route from London to Rome in graphic form. A sequence of pictures of towns on the route marked the terminus of each day's travel, enabling the viewer to envisage and follow the whole journey rather like a comic strip – an achievement unprecedented elsewhere in the medieval world. Studies of Matthew Paris The relation of Matthew Paris's work to those of John de Celia (John of Wallingford) and Roger of Wendover may be studied in Henry Richards Luard's edition of the Chronica Majora (7 vols., Rolls series, 1872–1881), which contains valuable prefaces. The Historia Anglorum sive historia minor (1067–1253) has been edited by Frederic Madden (3 vols., Rolls series, 1866–1869). Matthew Paris is sometimes confused with Matthew of Westminster, the reputed author of the Flores historiarum edited by Luard (3 vols., Rolls series, 1890). This work, compiled by various hands, is an edition of Matthew Paris, with continuations extending to 1326. He wrote a life of St Edmund of Abingdon, sometime Archbishop of Canterbury. He also wrote the Anglo-Norman La Estoire de Seint Aedward le Rei (the History of Saint Edward the King), which survives in a beautifully illuminated manuscript version, Cambridge, Cambridge University Library MS. Ee.3.59. The manuscript has had a varied publication history. Sections were printed in Francisque Michel's Chroniques Anglo-Normandes. Luard's edition for the Rolls series was severely criticized; it was re-edited for the Anglo-Norman Text Society by K. Y. Wallace. A facsimile for the Roxburghe Club was edited by M. R. James, and the whole manuscript has been digitalized and can be seen online. Paris House at St Albans High School for Girls is named after him. Notes Bibliography (on manuscripts, and artistic style) External links Images Stanford Digitized texts – Works by and about Paris, including Vaughan etc, in huge pdf files JSTOR review of Vaughan book Matthew Paris' Jerusalem pilgrim's travel guide: information, zoomable image British Library website Art Bulletin article on his maps;Imagined Pilgrimage in the Itinerary Maps of Matthew Paris. 12/1/1999 by Connolly, Daniel K Latin Chroniclers from the Eleventh to the Thirteenth Centuries:Matthew Paris from The Cambridge History of English and American Literature, Volume I, 1907–21. Life of St Edward the Confessor, Cambridge Digital Library Fully annotated copy of Matthew Paris's Claudius Map, with translations and transcriptions 1200 births 1259 deaths Year of birth uncertain People from St Albans English Benedictines English Christian monks English chroniclers English cartographers English historians Historians of the Catholic Church Heraldists Manuscript illuminators Writers who illustrated their own writing Medieval European scribes People educated at St Albans School, Hertfordshire Artist authors Medieval English painters 13th-century Christian monks 13th-century painters 13th-century English artists 13th-century Latin writers 13th-century English writers 13th-century English people 13th-century historians	true	[ "Richard C. Muhlberger (born 1938 in New Jersey, United States died March 23, 2019) was an American art critic, and museum curator. He was Curator of Education for the Worcester Art Museum. He later became a professor of art history at Western New England College, and the vice-director for the Metropolitan Museum of Art, but he is best recognized for his analysis of many famous art pieces.\n\nCareer\nSome of the most famous pieces Mühlberger has critiqued are done by Rembrandt, Leonardo da Vinci, and Pablo Picasso. Along with being a critic, Muhlberger was also a writer. He was known for a series containing critiques of illustrious authors. This series is made up of several books, \"What makes a Rembrandt a Rembrandt?\", \"What makes a Van Gogh a Van Gogh?\", \"What makes a Monet a Monet?\", \"What makes a Degas a Degas?\", \"What makes a Cassatt a Cassatt?\", \"What makes a Goya a Goya?\", \"What makes a Bruegel a Bruegel?\", What makes a Leonardo a Leonardo?\", \"What makes a Raphael a Raphael?\", and \"What makes a Picasso a Picasso?\". More of his written works included a series titled \"The Bible in Art\". It contains the following books \"Bible in Art: The Old Testament\" and, \"Bible in Art: The New Testament\". Mühlberger's latest work was called \"Charles Webster Hawthorne: Paintings drawings,and Watercolors\".\n\nWorks\n\nDeath\nRichard Muhlberger passed away in June age 2019, age 81\n\nReferences\n\n1938 births\nWestern New England University faculty\nPeople associated with the Metropolitan Museum of Art\nLiving people\nPeople associated with the Worcester Art Museum", "Okuda Genso (奥田元宋) (6 July 1912 – 15 February 2003) was one of the most famous Nihonga painters of the Showa era. He gave his name to a red pigment \"Genso red\".\n\nBiography \nOkuda was born in Hiroshima prefecture, in what is now Miyoshi City. His original name used the characters 厳三.\n\nTimeline\n\nFamous works\nMatsushima Twilight 松島暮色, 1 panel, 77.6 x 167.1 cm (1976)\n \n Lakeshore Spring Glittering 湖畔春耀, 1 panel, 89.0 x 105.6 cm (1986)\n\nReferences \n\n1912 births\n2003 deaths\nNihonga painters\nArtists from Hiroshima Prefecture\n20th-century Japanese painters" ]
[ "Matthew Paris", "Paris as an artist", "When was Paris an artist?", "first half of the 13th century.", "What did he paint?", "He was somewhat old-fashioned in retaining a roundness in his figures,", "Was he a popular artist?", "became especially popular in the first half of the 13th century.", "Was he a painter?", "Tinted drawings", "What did he draw?", "His compositions are very inventive; his position as a well-connected monk may have given him more confidence in creating new compositions,", "What were the new compositions?", "His colouring emphasises green and blue, and together with his characteristic layout of a picture in the top half of a page, is relatively distinctive.", "Did he go to school for this?", "I don't know.", "What are his famous works?", "What are probably his final sketches are found in Vitae duorum Offarum in BL MS Cotton Nero D I." ]	C_90b59744f071414bb128d11a7e2d0661_1	Did he do any other color works?	9	Besides his green and blue tinted works, did Matthew Paris do any other color works?	Matthew Paris	In some of Paris' manuscripts, a framed miniature occupies the upper half of the page, and in others they are "marginal" - unframed and occupying the bottom quarter (approximately) of the page. Tinted drawings were an established style well before Paris, and became especially popular in the first half of the 13th century. They were certainly much cheaper and quicker than fully painted illuminations. The tradition of tinted drawings or outline drawings with ink supplemented by coloured wash was distinctively English, dating back to the Anglo-Saxon art of the mid-10th century, and connected with the English Benedictine Reform of the period. A strong influence on one branch of the style was the Carolingian Utrecht Psalter, which was at Canterbury from about 1000 to 1640. This was copied in the 1020s in the Harley Psalter, and in the Eadwine Psalter of the mid-12th century. Recent scholarship, notably that of Nigel Morgan, suggests that Paris' influence on other artists of the period has been exaggerated. This is likely because so much more is known about him than other English illuminators of the period, who are mostly anonymous. Most manuscripts seem to have been produced by lay artists in this period. William de Brailes is shown with a clerical tonsure, but he was married, which suggests he had minor orders only. The manuscripts produced by Paris show few signs of collaboration, but art historians detect a School of St Albans' surviving after Paris' death, influenced by him. Paris' style suggests that it was formed by works from around 1200. He was somewhat old-fashioned in retaining a roundness in his figures, rather than adopting the thin angularity of most of his artist contemporaries, especially those in London. His compositions are very inventive; his position as a well-connected monk may have given him more confidence in creating new compositions, whereas a lay artist would prefer to stick to traditional formulae. It may also reflect the lack of full training in the art of the period. His colouring emphasises green and blue, and together with his characteristic layout of a picture in the top half of a page, is relatively distinctive. What are probably his final sketches are found in Vitae duorum Offarum in BL MS Cotton Nero D I. CANNOTANSWER	His colouring emphasises green and blue, and together with his characteristic layout of a picture in the top half of a page, is	Matthew Paris, also known as Matthew of Paris (; c. 1200 – 1259), was an English Benedictine monk, chronicler, artist in illuminated manuscripts and cartographer, based at St Albans Abbey in Hertfordshire. He wrote a number of works, mostly historical, which he scribed and illuminated himself, typically in drawings partly coloured with watercolour washes, sometimes called "tinted drawings". Some were written in Latin, some in Anglo-Norman or French verse. His Chronica Majora is an oft-cited source, though modern historians recognise that Paris was not always reliable. He tended to glorify Holy Roman Emperor Frederick II and denigrate the Pope. However, in his Historia Anglorum, Paris displays a highly negative view of Frederick, going as far as to describe him as a "tyrant" who "committed disgraceful crimes". Life and work In spite of his surname and knowledge of the French language, Paris was of English birth, and is believed by some chroniclers to be of the Paris family of Hildersham, Cambridgeshire. He may have studied at Paris in his youth after early education at St Albans School. The first we know of Matthew Paris (from his own writings) is that he was admitted as a monk to St Albans in 1217. It is on the assumption that he was in his teens on admission that his birth date is estimated; some scholars suspect he may have been ten years or more older; many monks only entered monastic life after pursuing a career in the world outside. He was clearly at ease with the nobility and even royalty, which may indicate that he came from a family of some status, although it also seems an indication of his personality. His life was mainly spent in this religious house. In 1248, Paris was sent to Norway as the bearer of a message from Louis IX to Haakon IV; he made himself so agreeable to the Norwegian sovereign that he was invited to superintend the reformation of the Benedictine Nidarholm Abbey outside Trondheim. Apart from these missions, his known activities were devoted to the composition of history, a pursuit for which the monks of St Albans had long been famous. After admission to the order in 1217, he inherited the mantle of Roger of Wendover, the abbey's official recorder of events, in 1236. Paris revised Roger's work, adding new material to cover his own tenure. This Chronica Majora is an important historical source document, especially for the period between 1235 and 1259. Equally interesting are the illustrations Paris created for his work. The Dublin MS (see below) contains interesting notes, which shed light on Paris' involvement in other manuscripts, and on the way his own were used. They are in French and in his handwriting: "If you please you can keep this book till Easter" "G, please send to the Lady Countess of Arundel, Isabel, that she is to send you the book about St Thomas the Martyr and St Edward which I copied (translated?) and illustrated, and which the Lady Countess of Cornwall may keep until Whitsuntide" some verses "In the Countess of Winchester's book let there be a pair of images on each page thus": (verses follow describing thirteen saints) It is presumed the last relates to Paris acting as commissioning agent and iconographical consultant for the Countess with another artist. The lending of his manuscripts to aristocratic households, apparently for periods of weeks or months at a time, suggests why he made several different illustrated versions of his Chronicle. Manuscripts by Matthew Paris Paris' manuscripts mostly contain more than one text, and often begin with a rather random assortment of prefatory full-page miniatures. Some have survived incomplete, and the various elements now bound together may not have been intended to be so by Paris. Unless stated otherwise, all were given by Paris to his monastery (from some inscriptions it seems they were regarded as his property to dispose of). The monastic libraries were broken up at the Dissolution. These MSS seem to have been appreciated, and were quickly collected by bibliophiles. Many of his manuscripts in the British Library are from the Cotton Library. Chronica Majora. Corpus Christi College, Cambridge, Mss 26 and 16, 362 x 244/248 mm. ff 141 + 281, composed 1240–53. His major historical work (see below), but less heavily illustrated per page than others. These two volumes contain annals from the creation of the world up to the year 1253. The content up to 1234 or 1235 is based in the main on Roger of Wendover's Flores Historiarum, with additions; after that date the material is Paris' own, and written in his own hand from the annal for 1213 onward. There are 100 marginal drawings (25 + 75), some fragmentary maps and an itinerary, and full-page drawings of William I. MS 16 has very recently had all prefatory matter re-bound separately. A continuation of the Chronica, from 1254 until Paris' death in 1259, is bound with the Historia Anglorum in the British Library volume below. An unillustrated copy of the material from 1189 to 1250, with much of his sharper commentary about Henry III toned down or removed, was supervised by Paris himself and now exists as British Library Cotton MS Nero D V, fol. 162–393. Flores Historiarum. Chetham's Hospital and Library, Manchester, MS 6712. Only part of the text, covering 1241 to 1249, is in Paris' hand, though he is credited with the authorship of the whole text, which is an abridgement of the Chronica with additions from the annals of Reading and of Southwark. Additional interpolations to the text make it clear the volume was created for Westminster Abbey. It was apparently started there, copying another MS of Paris' text that went up to 1240. Later it was sent back to the author for him to update; Vaughan argues this was in 1251-2. The illustrations are similar to Paris' style but not by him. Later additions took the chronicle up to 1327. Historia Anglorum. British Library, Royal MS 14 C VII, fols. 8v–156v. 358 x 250 mm, ff 232 in all. A history of England, begun in 1250 and perhaps completed around 1255, covering the years 1070–1253. The text is an abridgement of the Chronica, also drawing on Wendover's Flores Historiarum and Paris' earlier edited version of the Chronica. Bound with it is the final part of Paris' Chronica Majora, covering the years 1254–1259 (folios 157–218), and prefatory material including an itinerary from London to Jerusalem and tinted drawings of the kings of England. All is in Paris' own hand, apart from folios 210–218 and 154v-156v, which are in a hand of the scribe who has added a note of Matthew Paris' death (f. 218v). The Chronica concludes with a portrait of Paris on his death-bed, presumably not by him. By the 15th century this volume belonged to Humphrey, Duke of Gloucester, son of Henry IV, who inscribed it "Ceste livre est a moy Homffrey Duc de Gloucestre". Later it was held by the bishop of Lincoln, who wrote a note that if the monks of St Albans could prove the book was a loan, they should have it back. Otherwise it was bequeathed to New College, Oxford. The fact that the book was acquired by a 16th-century Earl of Arundel suggests that Duke Humphrey's inscription was not entirely accurate, as New College would probably not have disposed of it. Abbreviatio chronicorum (or Historia minor), British Library Cotton MS Claudius D VI, fols. 5–100. Another shortened history, mainly covering 1067 to 1253. Probably begun circa 1255, it remained unfinished at Paris' death. Illustrated with thirty-three seated figures of English kings illustrating a genealogy. It also contains the most developed of Paris' four maps of Great Britain. Chronica excerpta a magnis cronicis. British Library Cotton MS Vitellius A XX, folios 77r–108v. Covers from 1066 to 1246. Written at some point between 1246 and 1259. Not definitely by Paris, but evidently written under his supervision, with some of the text in his own hand. Book of Additions (Liber additamentorum) British Library Cotton MS Nero D I, ff202 in all, contains maps, Vitae duorum Offarum (illustrated), Gesta abbatum, the lives of the first 23 abbots of St Albans with a miniature portrait of each, coats of arms, as well as copies of original documents. A version of his well-known drawing of an elephant is in this volume, as is a large drawing of Christ, not by Paris. Life of St Alban etc., dating controversial (1230–1250), Trinity College, Dublin Library, Ms 177 (former Ms E.I.40) 77 ff with 54 miniatures, mostly half-page. 240 x 165 mm. Also contains a Life of St Amphibalus, and various other works relating to the history of St Albans Abbey, both also illustrated. The Life of St Alban is in French verse, adapted from a Latin Life of St Alban by William of St Albans, ca. 1178. The manuscript also contains notes in Paris' hand (see above) showing that his manuscripts were lent to various aristocratic ladies for periods, and that he probably acted as an intermediary between commissioners of manuscripts and the (probably) lay artists who produced them, advising on the calendars and iconography. Life of King Edward the Confessor 1230s or 40s, Cambridge University Library MS. Ee.3.59. This is the only surviving copy of this work, but is believed to be a slightly later copy made in London, probably by court artists, of Paris' text and framed illustrations. Based on the Latin Life of Edward the Confessor by Aelred of Rievaulx, c. 1162. Life of St Thomas of Canterbury, British Library, Loan MS 88 – Four leaves (the "Becket Leaves") survive from a French-verse history of the life of Thomas Becket with large illuminations. Based on the Latin Quadrilogus compiled by Elias of Evesham at Crowland Abbey in 1198. The illuminations are attributed to Paris by Janet Backhouse, but not by Nigel Morgan. Vaughan had previously noted that the leaves from the Life of St Thomas and the Life of King Edward are of different sizes, and written by different scribes, neither of them Paris himself, so they are not likely to be part of the manuscript that Paris wrote of having lent to the Countess of Arundel; but that, "to judge from the script and the style of illumination" they are "very close copies of Matthew [Paris]'s original". Life of St Edmund, a French-verse history of the life of Edmund Rich, Archbishop of Canterbury from 1233 to 1240. Based on Paris' own Latin prose life of Rich, composed in the late 1240s, which drew on a collection of materials made at Pontigny, statements from Robert Bacon and Richard Wych, Bishop of Chichester, and other materials including from Paris' own histories. A 14th-century copy of the prose life has survived in British Library Cotton MS Julius D VI, folios 123–156v. One copy of the verse life that was in Cotton MS Vitellius D VIII was destroyed in the fire of 1731; but another copy was discovered in the early 1900s at Welbeck Abbey and is now in the British Library. Liber Experimentarius of Bernardus Silvestris, and other fortune-telling tracts. Bodleian Library, Oxford, Ms. Ashmole 304, 176 x 128 mm, ff72. Many illustrations: author portraits (many of ancient Greeks – Socrates, Plato, Euclid, Pythagoras), birds, tables and diagrams of geomantic significance. Several later copies of the text and illustrations survive. Provenance before 1602 unknown. Miscellaneous writings by John of Wallingford (the Younger), British Library, MS Cotton Julius D VII, 188 × 130 mm, ff. 134. 1247–58. Mostly scribed by John of Wallingford, another monk of St Albans, who also probably did some drawings. A portrait of John, a map of the British Isles, and a Christ in Majesty are all accepted as by Paris. The main text is a chronicle, highly derivative of Paris's. This was John's property, left to his final monastery at Wymondham. Also, fragments of a Latin biography of Stephen Langton. Various other works, especially maps. A panel painting on oak of St Peter, the only surviving part of a tabernacle shrine (1850 x 750 mm), in the Museum of Oslo University has been attributed to Paris, presumably dating from his visit in 1248. Local paintings are usually on pine, so he may have brought this with him, or sent it later. Paris as an artist In some of Paris' manuscripts, a framed miniature occupies the upper half of the page, and in others they are "marginal" – unframed and occupying the bottom quarter (approximately) of the page. Tinted drawings were an established style well before Paris, and became especially popular in the first half of the 13th century. They were certainly much cheaper and quicker than fully painted illuminations. The tradition of tinted drawings or outline drawings with ink supplemented by coloured wash was distinctively English, dating back to the Anglo-Saxon art of the mid-10th century, and connected with the English Benedictine Reform of the period. A strong influence on one branch of the style was the Carolingian Utrecht Psalter, which was at Canterbury from about 1000 to 1640. This was copied in the 1020s in the Harley Psalter, and in the Eadwine Psalter of the mid-12th century. Recent scholarship, notably that of Nigel Morgan, suggests that Paris' influence on other artists of the period has been exaggerated. This is likely because so much more is known about him than other English illuminators of the period, who are mostly anonymous. Most manuscripts seem to have been produced by lay artists in this period. William de Brailes is shown with a clerical tonsure, but he was married, which suggests he had minor orders only. The manuscripts produced by Paris show few signs of collaboration, but art historians detect a School of St Albans' surviving after Paris' death, influenced by him. Paris' style suggests that it was formed by works from around 1200. He was somewhat old-fashioned in retaining a roundness in his figures, rather than adopting the thin angularity of most of his artist contemporaries, especially those in London. His compositions are very inventive; his position as a well-connected monk may have given him more confidence in creating new compositions, whereas a lay artist would prefer to stick to traditional formulae. It may also reflect the lack of full training in the art of the period. His colouring emphasises green and blue, and together with his characteristic layout of a picture in the top half of a page, is relatively distinctive. What are probably his final sketches are found in Vitae duorum Offarum in BL MS Cotton Nero D I. Paris as a historian From 1235, the point at which Wendover dropped his pen, Paris continued the history on the plan which his predecessors had followed. He derived much of his information from the letters of important people, which he sometimes inserts, but much more from conversation with the eyewitnesses of events. Among his informants were Richard, Earl of Cornwall and King Henry III, with whom he appears to have been on intimate terms. The king knew that Paris was writing a history, and wanted it to be as exact as possible. In 1257, in the course of a week's visit to St Albans, Henry kept the chronicler beside him night and day, "and guided my pen," says Paris, "with much goodwill and diligence." It is curious that the Chronica Majora gives so unfavourable an account of the king's policy. Henry Richards Luard supposes that Paris never intended his work to be read in its present form. Many passages of the autograph have written next to them, the note offendiculum, which shows that the writer understood the danger which he ran. On the other hand, unexpurgated copies were made in Paris's lifetime. Although the offending passages are duly omitted or softened in his abridgment of his longer work, the Historia Anglorum (written about 1253), Paris's real feelings must have been an open secret. There is no ground for the old theory that he was an official historiographer. Naturalists have praised his descriptions of the English wildlife of his time, brief though they are: in particular his valuable description of the first irruption into England in 1254 of the common crossbill. Paris as cartographer Outstanding among his other maps were (four versions of) a pilgrim itinerary charting the route from London to Rome in graphic form. A sequence of pictures of towns on the route marked the terminus of each day's travel, enabling the viewer to envisage and follow the whole journey rather like a comic strip – an achievement unprecedented elsewhere in the medieval world. Studies of Matthew Paris The relation of Matthew Paris's work to those of John de Celia (John of Wallingford) and Roger of Wendover may be studied in Henry Richards Luard's edition of the Chronica Majora (7 vols., Rolls series, 1872–1881), which contains valuable prefaces. The Historia Anglorum sive historia minor (1067–1253) has been edited by Frederic Madden (3 vols., Rolls series, 1866–1869). Matthew Paris is sometimes confused with Matthew of Westminster, the reputed author of the Flores historiarum edited by Luard (3 vols., Rolls series, 1890). This work, compiled by various hands, is an edition of Matthew Paris, with continuations extending to 1326. He wrote a life of St Edmund of Abingdon, sometime Archbishop of Canterbury. He also wrote the Anglo-Norman La Estoire de Seint Aedward le Rei (the History of Saint Edward the King), which survives in a beautifully illuminated manuscript version, Cambridge, Cambridge University Library MS. Ee.3.59. The manuscript has had a varied publication history. Sections were printed in Francisque Michel's Chroniques Anglo-Normandes. Luard's edition for the Rolls series was severely criticized; it was re-edited for the Anglo-Norman Text Society by K. Y. Wallace. A facsimile for the Roxburghe Club was edited by M. R. James, and the whole manuscript has been digitalized and can be seen online. Paris House at St Albans High School for Girls is named after him. Notes Bibliography (on manuscripts, and artistic style) External links Images Stanford Digitized texts – Works by and about Paris, including Vaughan etc, in huge pdf files JSTOR review of Vaughan book Matthew Paris' Jerusalem pilgrim's travel guide: information, zoomable image British Library website Art Bulletin article on his maps;Imagined Pilgrimage in the Itinerary Maps of Matthew Paris. 12/1/1999 by Connolly, Daniel K Latin Chroniclers from the Eleventh to the Thirteenth Centuries:Matthew Paris from The Cambridge History of English and American Literature, Volume I, 1907–21. Life of St Edward the Confessor, Cambridge Digital Library Fully annotated copy of Matthew Paris's Claudius Map, with translations and transcriptions 1200 births 1259 deaths Year of birth uncertain People from St Albans English Benedictines English Christian monks English chroniclers English cartographers English historians Historians of the Catholic Church Heraldists Manuscript illuminators Writers who illustrated their own writing Medieval European scribes People educated at St Albans School, Hertfordshire Artist authors Medieval English painters 13th-century Christian monks 13th-century painters 13th-century English artists 13th-century Latin writers 13th-century English writers 13th-century English people 13th-century historians	true	[ "Dan Margulis (born 21 December 1951) is an expert on color correction and reproduction of photographs, using Adobe Photoshop or similar software.\n\nHis Professional Photoshop series (first edition 1994, currently in its fifth edition, 2006) is widely viewed as an authoritative work in the field of digital color correction of photographs. His Photoshop LAB Color: The Canyon Conundrum and Other Adventures in the Most Powerful Colorspace (first edition 2005, second edition 2015) established the usage of Lab* as a standard part of the repertory of high-end retouchers. His magazine column, Makeready, which ran from 1993 to 2006, introduced many concepts in color handling that have since become accepted practice in the industry. The column appeared in several publications worldwide. In its later years, it was carried simultaneously by Electronic Publishing and Photoshop User magazines in the United States.\n\nBody of work\nThe work of Margulis is associated with the concept that digital color correction should seek to correspond to what a human observer would see if placed in the position of the camera. He popularized, but did not originate, a method he described as \"color by the numbers\", which requires the retoucher to verify that certain values in the digital file agree with known standards.\n\nHis techniques attempt to emulate certain well-known reactions/attributes of the human visual system, such as chromatic adaptation and simultaneous contrast. He has identified several other characteristics of human perception that he states should be taken into account when processing a digital image. These include assertions that humans prefer fuller and richer tonality in the quartertone region than cameras customarily provide, that humans subconsciously use saturation as a measure of an object's distance, and that humans do not focus on strongly colored objects as intensely as on more neutral ones.\n\nOther theoretical suggestions made by Margulis include:\n In conversions from color to black and white, the objective is to identify areas of contrasting color and adjust them to substitute contrast in luminosity.\n Identification of the A channel of Lab* (usually written as LAB by imaging professionals) as operating on a magenta-green axis, as opposed to the red-green axis described in previous technical works.\n\nImage-processing techniques published or authored by Margulis include:\n The concept of assigning important image regions to the steepest parts of input-output channel curves (\"the steeper the curve, the more the contrast\").\n Use of channel blending to enhance detail in weaker channels.\n Overlay blending to enhance highlight and/or shadow detail.\n Using different styles of black generation (gray component replacement, or GCR) to avoid press problems or to make color correction easier.\nUnsharp masking by channel rather than overall.\nEmphasizing the darkening function of sharpening at the expense of lightening.\nThe \"Man from Mars Method\" of driving colors apart without regard to whether gray balance is altered.\nLAB as a primary tool in color correction.\nBlurring the AB channels of LAB to reduce colored noise.\nAssigning a \"false profile\" to an RGB image so that it will be interpreted as lighter during subsequent conversions.\nHigh Radius, Low Amount (\"hiraloam\") method of unsharp masking.\nUniting separate versions of the same image through use of masks that, although based on the original photograph, have been blurred beyond recognition.\n\nAt a presentation to MIT faculty and graduate students in 2007, Margulis introduced the \"picture-postcard workflow\", which he claimed to yield better correction results in shorter times than did traditional methods of image enhancement. He proposed a three-stage approach. First, any obvious problems with color are corrected. Second, contrast is enhanced without changing the color of the first step. Third, more pleasing color is incorporated, usually in LAB. The proposal suggested replacing the traditional method of color correction, where one step is intended to solve color and contrast problems simultaneously. The new workflow was set out in detail, with accompanying video presentations, in his 2013 book Modern Photoshop Color Workflow.\n\nIn 2020, Margulis released a new translation, with substantial supporting material and graphics, of the classic 1839 text On the Law of Simultaneous Contrast of Colors by M.E. Chevreul.\n\nIn 2001, Margulis was one of the first three members, and the only writer, inducted into the Photoshop Hall of Fame. In the United States, his small-group, hands-on courses in these subjects are sponsored by Sterling Ledet & Associates, Inc. In Europe, he has taught in German, Italian, Spanish and English.\n\nBibliography\n 2020 On the Law of Simultaneous Contrast of Colors, \n 2015 Photoshop LAB Color Second Edition: The Canyon Conundrum and Other Adventures in the Most Powerful Colorspace, \n 2013 Modern Photoshop Color Workflow: The Quartertone Quandary, the PPW, and Other Ideas for Speedy Image Enhancement, \n 2006 Professional Photoshop Fifth Edition: The Classic Guide to Color Correction, \n 2005 Photoshop LAB Color: The Canyon Conundrum and Other Adventures in the Most Powerful Colorspace, \n 2002 Professional Photoshop Fourth Edition: The Classic Guide to Color Correction, \n 2000 Professional Photoshop 6: The Classic Guide to Color Correction, \n 1998 Professional Photoshop 5: The Classic Guide to Color Correction, \n 1996 Makeready: A Prepress Resource, \n 1994 Professional Photoshop: Color Correction, Retouching, and Image Manipulation With Adobe Photoshop,\n\nReferences\n\nExternal links \n The Makeready Archive, 1993–2006 – abstract for all columns, with links to PDFs of some\n Photoshop Training with Dan Margulis – Articles – assorted articles\n\n1951 births\nLiving people", "A continuous tone image (contone for short, or CT even shorter) is one where each color at any point in the image is reproduced as a single tone, and not as discrete halftones, such as one single color for monochromatic prints, or a combination of halftones for color prints.\n\nThe most common continuous tone images are film photographs (digital latitude is not continuous!) Also see film latitude. Every single dot of which can take a continuous range of colors depending on the quantity of captured radiance. On the other hand, at a microscopic level, developed black-and-white photographic film consists of only two colors, and not an infinite range of continuous tones. For details, see film grain. \n\nAn example of a continuous-tone device is a CRT computer screen. Here, any pixel can represent any color, because the color components of the pixel are analog and can vary in infinite steps, and hence do not need halftones to make the colors. Of course, because the computer is a digital device, it cannot provide the CRT with infinite tone variations. In 24-bit color mode, it provides the monitor with 256 discrete steps for each channel (red, green, and blue), for a total of 16,777,216 (2563) discrete colors. A purely analog video signal (one that has not been manipulated by a computer of any kind) can provide infinite tone variations inside its own gamut.\n\nA halftone device, in contrast, uses discrete dots of color, which at a certain distance look closely like the intended color. Examples of this are inkjet printers. Magazines and most printed material also use this technique to create the colors.\n\nSee also\nHalftone\n\nPrinting terminology" ]
[ "Matthew Paris", "Paris as an artist", "When was Paris an artist?", "first half of the 13th century.", "What did he paint?", "He was somewhat old-fashioned in retaining a roundness in his figures,", "Was he a popular artist?", "became especially popular in the first half of the 13th century.", "Was he a painter?", "Tinted drawings", "What did he draw?", "His compositions are very inventive; his position as a well-connected monk may have given him more confidence in creating new compositions,", "What were the new compositions?", "His colouring emphasises green and blue, and together with his characteristic layout of a picture in the top half of a page, is relatively distinctive.", "Did he go to school for this?", "I don't know.", "What are his famous works?", "What are probably his final sketches are found in Vitae duorum Offarum in BL MS Cotton Nero D I.", "Did he do any other color works?", "His colouring emphasises green and blue, and together with his characteristic layout of a picture in the top half of a page, is" ]	C_90b59744f071414bb128d11a7e2d0661_1	Did he follow any artistic movements?	10	Did Matthew Paris follow any artistic movements?	Matthew Paris	In some of Paris' manuscripts, a framed miniature occupies the upper half of the page, and in others they are "marginal" - unframed and occupying the bottom quarter (approximately) of the page. Tinted drawings were an established style well before Paris, and became especially popular in the first half of the 13th century. They were certainly much cheaper and quicker than fully painted illuminations. The tradition of tinted drawings or outline drawings with ink supplemented by coloured wash was distinctively English, dating back to the Anglo-Saxon art of the mid-10th century, and connected with the English Benedictine Reform of the period. A strong influence on one branch of the style was the Carolingian Utrecht Psalter, which was at Canterbury from about 1000 to 1640. This was copied in the 1020s in the Harley Psalter, and in the Eadwine Psalter of the mid-12th century. Recent scholarship, notably that of Nigel Morgan, suggests that Paris' influence on other artists of the period has been exaggerated. This is likely because so much more is known about him than other English illuminators of the period, who are mostly anonymous. Most manuscripts seem to have been produced by lay artists in this period. William de Brailes is shown with a clerical tonsure, but he was married, which suggests he had minor orders only. The manuscripts produced by Paris show few signs of collaboration, but art historians detect a School of St Albans' surviving after Paris' death, influenced by him. Paris' style suggests that it was formed by works from around 1200. He was somewhat old-fashioned in retaining a roundness in his figures, rather than adopting the thin angularity of most of his artist contemporaries, especially those in London. His compositions are very inventive; his position as a well-connected monk may have given him more confidence in creating new compositions, whereas a lay artist would prefer to stick to traditional formulae. It may also reflect the lack of full training in the art of the period. His colouring emphasises green and blue, and together with his characteristic layout of a picture in the top half of a page, is relatively distinctive. What are probably his final sketches are found in Vitae duorum Offarum in BL MS Cotton Nero D I. CANNOTANSWER	In some of Paris' manuscripts, a framed miniature occupies the upper half of the page, and in others they are "marginal" -	Matthew Paris, also known as Matthew of Paris (; c. 1200 – 1259), was an English Benedictine monk, chronicler, artist in illuminated manuscripts and cartographer, based at St Albans Abbey in Hertfordshire. He wrote a number of works, mostly historical, which he scribed and illuminated himself, typically in drawings partly coloured with watercolour washes, sometimes called "tinted drawings". Some were written in Latin, some in Anglo-Norman or French verse. His Chronica Majora is an oft-cited source, though modern historians recognise that Paris was not always reliable. He tended to glorify Holy Roman Emperor Frederick II and denigrate the Pope. However, in his Historia Anglorum, Paris displays a highly negative view of Frederick, going as far as to describe him as a "tyrant" who "committed disgraceful crimes". Life and work In spite of his surname and knowledge of the French language, Paris was of English birth, and is believed by some chroniclers to be of the Paris family of Hildersham, Cambridgeshire. He may have studied at Paris in his youth after early education at St Albans School. The first we know of Matthew Paris (from his own writings) is that he was admitted as a monk to St Albans in 1217. It is on the assumption that he was in his teens on admission that his birth date is estimated; some scholars suspect he may have been ten years or more older; many monks only entered monastic life after pursuing a career in the world outside. He was clearly at ease with the nobility and even royalty, which may indicate that he came from a family of some status, although it also seems an indication of his personality. His life was mainly spent in this religious house. In 1248, Paris was sent to Norway as the bearer of a message from Louis IX to Haakon IV; he made himself so agreeable to the Norwegian sovereign that he was invited to superintend the reformation of the Benedictine Nidarholm Abbey outside Trondheim. Apart from these missions, his known activities were devoted to the composition of history, a pursuit for which the monks of St Albans had long been famous. After admission to the order in 1217, he inherited the mantle of Roger of Wendover, the abbey's official recorder of events, in 1236. Paris revised Roger's work, adding new material to cover his own tenure. This Chronica Majora is an important historical source document, especially for the period between 1235 and 1259. Equally interesting are the illustrations Paris created for his work. The Dublin MS (see below) contains interesting notes, which shed light on Paris' involvement in other manuscripts, and on the way his own were used. They are in French and in his handwriting: "If you please you can keep this book till Easter" "G, please send to the Lady Countess of Arundel, Isabel, that she is to send you the book about St Thomas the Martyr and St Edward which I copied (translated?) and illustrated, and which the Lady Countess of Cornwall may keep until Whitsuntide" some verses "In the Countess of Winchester's book let there be a pair of images on each page thus": (verses follow describing thirteen saints) It is presumed the last relates to Paris acting as commissioning agent and iconographical consultant for the Countess with another artist. The lending of his manuscripts to aristocratic households, apparently for periods of weeks or months at a time, suggests why he made several different illustrated versions of his Chronicle. Manuscripts by Matthew Paris Paris' manuscripts mostly contain more than one text, and often begin with a rather random assortment of prefatory full-page miniatures. Some have survived incomplete, and the various elements now bound together may not have been intended to be so by Paris. Unless stated otherwise, all were given by Paris to his monastery (from some inscriptions it seems they were regarded as his property to dispose of). The monastic libraries were broken up at the Dissolution. These MSS seem to have been appreciated, and were quickly collected by bibliophiles. Many of his manuscripts in the British Library are from the Cotton Library. Chronica Majora. Corpus Christi College, Cambridge, Mss 26 and 16, 362 x 244/248 mm. ff 141 + 281, composed 1240–53. His major historical work (see below), but less heavily illustrated per page than others. These two volumes contain annals from the creation of the world up to the year 1253. The content up to 1234 or 1235 is based in the main on Roger of Wendover's Flores Historiarum, with additions; after that date the material is Paris' own, and written in his own hand from the annal for 1213 onward. There are 100 marginal drawings (25 + 75), some fragmentary maps and an itinerary, and full-page drawings of William I. MS 16 has very recently had all prefatory matter re-bound separately. A continuation of the Chronica, from 1254 until Paris' death in 1259, is bound with the Historia Anglorum in the British Library volume below. An unillustrated copy of the material from 1189 to 1250, with much of his sharper commentary about Henry III toned down or removed, was supervised by Paris himself and now exists as British Library Cotton MS Nero D V, fol. 162–393. Flores Historiarum. Chetham's Hospital and Library, Manchester, MS 6712. Only part of the text, covering 1241 to 1249, is in Paris' hand, though he is credited with the authorship of the whole text, which is an abridgement of the Chronica with additions from the annals of Reading and of Southwark. Additional interpolations to the text make it clear the volume was created for Westminster Abbey. It was apparently started there, copying another MS of Paris' text that went up to 1240. Later it was sent back to the author for him to update; Vaughan argues this was in 1251-2. The illustrations are similar to Paris' style but not by him. Later additions took the chronicle up to 1327. Historia Anglorum. British Library, Royal MS 14 C VII, fols. 8v–156v. 358 x 250 mm, ff 232 in all. A history of England, begun in 1250 and perhaps completed around 1255, covering the years 1070–1253. The text is an abridgement of the Chronica, also drawing on Wendover's Flores Historiarum and Paris' earlier edited version of the Chronica. Bound with it is the final part of Paris' Chronica Majora, covering the years 1254–1259 (folios 157–218), and prefatory material including an itinerary from London to Jerusalem and tinted drawings of the kings of England. All is in Paris' own hand, apart from folios 210–218 and 154v-156v, which are in a hand of the scribe who has added a note of Matthew Paris' death (f. 218v). The Chronica concludes with a portrait of Paris on his death-bed, presumably not by him. By the 15th century this volume belonged to Humphrey, Duke of Gloucester, son of Henry IV, who inscribed it "Ceste livre est a moy Homffrey Duc de Gloucestre". Later it was held by the bishop of Lincoln, who wrote a note that if the monks of St Albans could prove the book was a loan, they should have it back. Otherwise it was bequeathed to New College, Oxford. The fact that the book was acquired by a 16th-century Earl of Arundel suggests that Duke Humphrey's inscription was not entirely accurate, as New College would probably not have disposed of it. Abbreviatio chronicorum (or Historia minor), British Library Cotton MS Claudius D VI, fols. 5–100. Another shortened history, mainly covering 1067 to 1253. Probably begun circa 1255, it remained unfinished at Paris' death. Illustrated with thirty-three seated figures of English kings illustrating a genealogy. It also contains the most developed of Paris' four maps of Great Britain. Chronica excerpta a magnis cronicis. British Library Cotton MS Vitellius A XX, folios 77r–108v. Covers from 1066 to 1246. Written at some point between 1246 and 1259. Not definitely by Paris, but evidently written under his supervision, with some of the text in his own hand. Book of Additions (Liber additamentorum) British Library Cotton MS Nero D I, ff202 in all, contains maps, Vitae duorum Offarum (illustrated), Gesta abbatum, the lives of the first 23 abbots of St Albans with a miniature portrait of each, coats of arms, as well as copies of original documents. A version of his well-known drawing of an elephant is in this volume, as is a large drawing of Christ, not by Paris. Life of St Alban etc., dating controversial (1230–1250), Trinity College, Dublin Library, Ms 177 (former Ms E.I.40) 77 ff with 54 miniatures, mostly half-page. 240 x 165 mm. Also contains a Life of St Amphibalus, and various other works relating to the history of St Albans Abbey, both also illustrated. The Life of St Alban is in French verse, adapted from a Latin Life of St Alban by William of St Albans, ca. 1178. The manuscript also contains notes in Paris' hand (see above) showing that his manuscripts were lent to various aristocratic ladies for periods, and that he probably acted as an intermediary between commissioners of manuscripts and the (probably) lay artists who produced them, advising on the calendars and iconography. Life of King Edward the Confessor 1230s or 40s, Cambridge University Library MS. Ee.3.59. This is the only surviving copy of this work, but is believed to be a slightly later copy made in London, probably by court artists, of Paris' text and framed illustrations. Based on the Latin Life of Edward the Confessor by Aelred of Rievaulx, c. 1162. Life of St Thomas of Canterbury, British Library, Loan MS 88 – Four leaves (the "Becket Leaves") survive from a French-verse history of the life of Thomas Becket with large illuminations. Based on the Latin Quadrilogus compiled by Elias of Evesham at Crowland Abbey in 1198. The illuminations are attributed to Paris by Janet Backhouse, but not by Nigel Morgan. Vaughan had previously noted that the leaves from the Life of St Thomas and the Life of King Edward are of different sizes, and written by different scribes, neither of them Paris himself, so they are not likely to be part of the manuscript that Paris wrote of having lent to the Countess of Arundel; but that, "to judge from the script and the style of illumination" they are "very close copies of Matthew [Paris]'s original". Life of St Edmund, a French-verse history of the life of Edmund Rich, Archbishop of Canterbury from 1233 to 1240. Based on Paris' own Latin prose life of Rich, composed in the late 1240s, which drew on a collection of materials made at Pontigny, statements from Robert Bacon and Richard Wych, Bishop of Chichester, and other materials including from Paris' own histories. A 14th-century copy of the prose life has survived in British Library Cotton MS Julius D VI, folios 123–156v. One copy of the verse life that was in Cotton MS Vitellius D VIII was destroyed in the fire of 1731; but another copy was discovered in the early 1900s at Welbeck Abbey and is now in the British Library. Liber Experimentarius of Bernardus Silvestris, and other fortune-telling tracts. Bodleian Library, Oxford, Ms. Ashmole 304, 176 x 128 mm, ff72. Many illustrations: author portraits (many of ancient Greeks – Socrates, Plato, Euclid, Pythagoras), birds, tables and diagrams of geomantic significance. Several later copies of the text and illustrations survive. Provenance before 1602 unknown. Miscellaneous writings by John of Wallingford (the Younger), British Library, MS Cotton Julius D VII, 188 × 130 mm, ff. 134. 1247–58. Mostly scribed by John of Wallingford, another monk of St Albans, who also probably did some drawings. A portrait of John, a map of the British Isles, and a Christ in Majesty are all accepted as by Paris. The main text is a chronicle, highly derivative of Paris's. This was John's property, left to his final monastery at Wymondham. Also, fragments of a Latin biography of Stephen Langton. Various other works, especially maps. A panel painting on oak of St Peter, the only surviving part of a tabernacle shrine (1850 x 750 mm), in the Museum of Oslo University has been attributed to Paris, presumably dating from his visit in 1248. Local paintings are usually on pine, so he may have brought this with him, or sent it later. Paris as an artist In some of Paris' manuscripts, a framed miniature occupies the upper half of the page, and in others they are "marginal" – unframed and occupying the bottom quarter (approximately) of the page. Tinted drawings were an established style well before Paris, and became especially popular in the first half of the 13th century. They were certainly much cheaper and quicker than fully painted illuminations. The tradition of tinted drawings or outline drawings with ink supplemented by coloured wash was distinctively English, dating back to the Anglo-Saxon art of the mid-10th century, and connected with the English Benedictine Reform of the period. A strong influence on one branch of the style was the Carolingian Utrecht Psalter, which was at Canterbury from about 1000 to 1640. This was copied in the 1020s in the Harley Psalter, and in the Eadwine Psalter of the mid-12th century. Recent scholarship, notably that of Nigel Morgan, suggests that Paris' influence on other artists of the period has been exaggerated. This is likely because so much more is known about him than other English illuminators of the period, who are mostly anonymous. Most manuscripts seem to have been produced by lay artists in this period. William de Brailes is shown with a clerical tonsure, but he was married, which suggests he had minor orders only. The manuscripts produced by Paris show few signs of collaboration, but art historians detect a School of St Albans' surviving after Paris' death, influenced by him. Paris' style suggests that it was formed by works from around 1200. He was somewhat old-fashioned in retaining a roundness in his figures, rather than adopting the thin angularity of most of his artist contemporaries, especially those in London. His compositions are very inventive; his position as a well-connected monk may have given him more confidence in creating new compositions, whereas a lay artist would prefer to stick to traditional formulae. It may also reflect the lack of full training in the art of the period. His colouring emphasises green and blue, and together with his characteristic layout of a picture in the top half of a page, is relatively distinctive. What are probably his final sketches are found in Vitae duorum Offarum in BL MS Cotton Nero D I. Paris as a historian From 1235, the point at which Wendover dropped his pen, Paris continued the history on the plan which his predecessors had followed. He derived much of his information from the letters of important people, which he sometimes inserts, but much more from conversation with the eyewitnesses of events. Among his informants were Richard, Earl of Cornwall and King Henry III, with whom he appears to have been on intimate terms. The king knew that Paris was writing a history, and wanted it to be as exact as possible. In 1257, in the course of a week's visit to St Albans, Henry kept the chronicler beside him night and day, "and guided my pen," says Paris, "with much goodwill and diligence." It is curious that the Chronica Majora gives so unfavourable an account of the king's policy. Henry Richards Luard supposes that Paris never intended his work to be read in its present form. Many passages of the autograph have written next to them, the note offendiculum, which shows that the writer understood the danger which he ran. On the other hand, unexpurgated copies were made in Paris's lifetime. Although the offending passages are duly omitted or softened in his abridgment of his longer work, the Historia Anglorum (written about 1253), Paris's real feelings must have been an open secret. There is no ground for the old theory that he was an official historiographer. Naturalists have praised his descriptions of the English wildlife of his time, brief though they are: in particular his valuable description of the first irruption into England in 1254 of the common crossbill. Paris as cartographer Outstanding among his other maps were (four versions of) a pilgrim itinerary charting the route from London to Rome in graphic form. A sequence of pictures of towns on the route marked the terminus of each day's travel, enabling the viewer to envisage and follow the whole journey rather like a comic strip – an achievement unprecedented elsewhere in the medieval world. Studies of Matthew Paris The relation of Matthew Paris's work to those of John de Celia (John of Wallingford) and Roger of Wendover may be studied in Henry Richards Luard's edition of the Chronica Majora (7 vols., Rolls series, 1872–1881), which contains valuable prefaces. The Historia Anglorum sive historia minor (1067–1253) has been edited by Frederic Madden (3 vols., Rolls series, 1866–1869). Matthew Paris is sometimes confused with Matthew of Westminster, the reputed author of the Flores historiarum edited by Luard (3 vols., Rolls series, 1890). This work, compiled by various hands, is an edition of Matthew Paris, with continuations extending to 1326. He wrote a life of St Edmund of Abingdon, sometime Archbishop of Canterbury. He also wrote the Anglo-Norman La Estoire de Seint Aedward le Rei (the History of Saint Edward the King), which survives in a beautifully illuminated manuscript version, Cambridge, Cambridge University Library MS. Ee.3.59. The manuscript has had a varied publication history. Sections were printed in Francisque Michel's Chroniques Anglo-Normandes. Luard's edition for the Rolls series was severely criticized; it was re-edited for the Anglo-Norman Text Society by K. Y. Wallace. A facsimile for the Roxburghe Club was edited by M. R. James, and the whole manuscript has been digitalized and can be seen online. Paris House at St Albans High School for Girls is named after him. Notes Bibliography (on manuscripts, and artistic style) External links Images Stanford Digitized texts – Works by and about Paris, including Vaughan etc, in huge pdf files JSTOR review of Vaughan book Matthew Paris' Jerusalem pilgrim's travel guide: information, zoomable image British Library website Art Bulletin article on his maps;Imagined Pilgrimage in the Itinerary Maps of Matthew Paris. 12/1/1999 by Connolly, Daniel K Latin Chroniclers from the Eleventh to the Thirteenth Centuries:Matthew Paris from The Cambridge History of English and American Literature, Volume I, 1907–21. Life of St Edward the Confessor, Cambridge Digital Library Fully annotated copy of Matthew Paris's Claudius Map, with translations and transcriptions 1200 births 1259 deaths Year of birth uncertain People from St Albans English Benedictines English Christian monks English chroniclers English cartographers English historians Historians of the Catholic Church Heraldists Manuscript illuminators Writers who illustrated their own writing Medieval European scribes People educated at St Albans School, Hertfordshire Artist authors Medieval English painters 13th-century Christian monks 13th-century painters 13th-century English artists 13th-century Latin writers 13th-century English writers 13th-century English people 13th-century historians	false	[ "Pholage is an artistic technique and method of graphic reproduction invented by Manuel Bennett in 1959.\n\nAn extension of collage, instead of consisting of mounting numerous pieces of colored paper or other material to make one original, pholage consists of taking positive or negative photographic film images, cutting out sections called \"masks\", and reassembling them to create a varied reproduction of the original. Additional drawings can be added to the color-separated original to further manipulate the original.\n\nWhile collage yields a single piece of art, pholage can be reproduced by exposing photosensitive paper through the mask, or any other reproductive technique.\n\nSee also\n Art movement\n Creativity techniques\n List of art media\n List of artistic media\n List of art movements\n List of most expensive paintings\n List of most expensive sculptures\n List of art techniques\n List of sculptors\n Scanner art (scanner collage)\n\nArtistic techniques\nDecorative arts", "Artistic, mosaic or architectural video walls are video walls that do not follow a more traditional grid or matrix pattern. Instead of the more common configuration of 2x2 or 3x3, artistic video walls allow users to display a single image, video or display canvas across displays arranged ad hoc and at different angles. This allows users to design unusual configurations: EX. layouts that attract attention, or serve as a unique artistic feature in a public space.\n\nSource rotation \n\nThe simplest approach to a 'unique' video wall is to rotate the source content which allows end users to rotate the actual displays. By using a mix of portrait and landscape displays this allows users to deploy a video wall that is not a simple matrix, however this approach is limited to keeping all displays at the same angle.\n\nAny angle rotation \n\nAny angle rotation allows individual displays to rotate to any angle allowing greater flexibility in the video wall lay out.\n\nMix of display types and sizes \n\nAn additional feature of some video walls is the ability to mix display sizes and types. Instead of requiring a set of uniform displays, users can mix and match displays of different sizes and aspect ratio.\n\nArtistic video wall comparison\n\nReferences\n\nVideo art" ]
[ "Matthew Paris", "Paris as an artist", "When was Paris an artist?", "first half of the 13th century.", "What did he paint?", "He was somewhat old-fashioned in retaining a roundness in his figures,", "Was he a popular artist?", "became especially popular in the first half of the 13th century.", "Was he a painter?", "Tinted drawings", "What did he draw?", "His compositions are very inventive; his position as a well-connected monk may have given him more confidence in creating new compositions,", "What were the new compositions?", "His colouring emphasises green and blue, and together with his characteristic layout of a picture in the top half of a page, is relatively distinctive.", "Did he go to school for this?", "I don't know.", "What are his famous works?", "What are probably his final sketches are found in Vitae duorum Offarum in BL MS Cotton Nero D I.", "Did he do any other color works?", "His colouring emphasises green and blue, and together with his characteristic layout of a picture in the top half of a page, is", "Did he follow any artistic movements?", "In some of Paris' manuscripts, a framed miniature occupies the upper half of the page, and in others they are \"marginal\" -" ]	C_90b59744f071414bb128d11a7e2d0661_1	Was he recognized for his talent?	11	Was Matthew Paris recognized for his talent?	Matthew Paris	In some of Paris' manuscripts, a framed miniature occupies the upper half of the page, and in others they are "marginal" - unframed and occupying the bottom quarter (approximately) of the page. Tinted drawings were an established style well before Paris, and became especially popular in the first half of the 13th century. They were certainly much cheaper and quicker than fully painted illuminations. The tradition of tinted drawings or outline drawings with ink supplemented by coloured wash was distinctively English, dating back to the Anglo-Saxon art of the mid-10th century, and connected with the English Benedictine Reform of the period. A strong influence on one branch of the style was the Carolingian Utrecht Psalter, which was at Canterbury from about 1000 to 1640. This was copied in the 1020s in the Harley Psalter, and in the Eadwine Psalter of the mid-12th century. Recent scholarship, notably that of Nigel Morgan, suggests that Paris' influence on other artists of the period has been exaggerated. This is likely because so much more is known about him than other English illuminators of the period, who are mostly anonymous. Most manuscripts seem to have been produced by lay artists in this period. William de Brailes is shown with a clerical tonsure, but he was married, which suggests he had minor orders only. The manuscripts produced by Paris show few signs of collaboration, but art historians detect a School of St Albans' surviving after Paris' death, influenced by him. Paris' style suggests that it was formed by works from around 1200. He was somewhat old-fashioned in retaining a roundness in his figures, rather than adopting the thin angularity of most of his artist contemporaries, especially those in London. His compositions are very inventive; his position as a well-connected monk may have given him more confidence in creating new compositions, whereas a lay artist would prefer to stick to traditional formulae. It may also reflect the lack of full training in the art of the period. His colouring emphasises green and blue, and together with his characteristic layout of a picture in the top half of a page, is relatively distinctive. What are probably his final sketches are found in Vitae duorum Offarum in BL MS Cotton Nero D I. CANNOTANSWER	CANNOTANSWER	Matthew Paris, also known as Matthew of Paris (; c. 1200 – 1259), was an English Benedictine monk, chronicler, artist in illuminated manuscripts and cartographer, based at St Albans Abbey in Hertfordshire. He wrote a number of works, mostly historical, which he scribed and illuminated himself, typically in drawings partly coloured with watercolour washes, sometimes called "tinted drawings". Some were written in Latin, some in Anglo-Norman or French verse. His Chronica Majora is an oft-cited source, though modern historians recognise that Paris was not always reliable. He tended to glorify Holy Roman Emperor Frederick II and denigrate the Pope. However, in his Historia Anglorum, Paris displays a highly negative view of Frederick, going as far as to describe him as a "tyrant" who "committed disgraceful crimes". Life and work In spite of his surname and knowledge of the French language, Paris was of English birth, and is believed by some chroniclers to be of the Paris family of Hildersham, Cambridgeshire. He may have studied at Paris in his youth after early education at St Albans School. The first we know of Matthew Paris (from his own writings) is that he was admitted as a monk to St Albans in 1217. It is on the assumption that he was in his teens on admission that his birth date is estimated; some scholars suspect he may have been ten years or more older; many monks only entered monastic life after pursuing a career in the world outside. He was clearly at ease with the nobility and even royalty, which may indicate that he came from a family of some status, although it also seems an indication of his personality. His life was mainly spent in this religious house. In 1248, Paris was sent to Norway as the bearer of a message from Louis IX to Haakon IV; he made himself so agreeable to the Norwegian sovereign that he was invited to superintend the reformation of the Benedictine Nidarholm Abbey outside Trondheim. Apart from these missions, his known activities were devoted to the composition of history, a pursuit for which the monks of St Albans had long been famous. After admission to the order in 1217, he inherited the mantle of Roger of Wendover, the abbey's official recorder of events, in 1236. Paris revised Roger's work, adding new material to cover his own tenure. This Chronica Majora is an important historical source document, especially for the period between 1235 and 1259. Equally interesting are the illustrations Paris created for his work. The Dublin MS (see below) contains interesting notes, which shed light on Paris' involvement in other manuscripts, and on the way his own were used. They are in French and in his handwriting: "If you please you can keep this book till Easter" "G, please send to the Lady Countess of Arundel, Isabel, that she is to send you the book about St Thomas the Martyr and St Edward which I copied (translated?) and illustrated, and which the Lady Countess of Cornwall may keep until Whitsuntide" some verses "In the Countess of Winchester's book let there be a pair of images on each page thus": (verses follow describing thirteen saints) It is presumed the last relates to Paris acting as commissioning agent and iconographical consultant for the Countess with another artist. The lending of his manuscripts to aristocratic households, apparently for periods of weeks or months at a time, suggests why he made several different illustrated versions of his Chronicle. Manuscripts by Matthew Paris Paris' manuscripts mostly contain more than one text, and often begin with a rather random assortment of prefatory full-page miniatures. Some have survived incomplete, and the various elements now bound together may not have been intended to be so by Paris. Unless stated otherwise, all were given by Paris to his monastery (from some inscriptions it seems they were regarded as his property to dispose of). The monastic libraries were broken up at the Dissolution. These MSS seem to have been appreciated, and were quickly collected by bibliophiles. Many of his manuscripts in the British Library are from the Cotton Library. Chronica Majora. Corpus Christi College, Cambridge, Mss 26 and 16, 362 x 244/248 mm. ff 141 + 281, composed 1240–53. His major historical work (see below), but less heavily illustrated per page than others. These two volumes contain annals from the creation of the world up to the year 1253. The content up to 1234 or 1235 is based in the main on Roger of Wendover's Flores Historiarum, with additions; after that date the material is Paris' own, and written in his own hand from the annal for 1213 onward. There are 100 marginal drawings (25 + 75), some fragmentary maps and an itinerary, and full-page drawings of William I. MS 16 has very recently had all prefatory matter re-bound separately. A continuation of the Chronica, from 1254 until Paris' death in 1259, is bound with the Historia Anglorum in the British Library volume below. An unillustrated copy of the material from 1189 to 1250, with much of his sharper commentary about Henry III toned down or removed, was supervised by Paris himself and now exists as British Library Cotton MS Nero D V, fol. 162–393. Flores Historiarum. Chetham's Hospital and Library, Manchester, MS 6712. Only part of the text, covering 1241 to 1249, is in Paris' hand, though he is credited with the authorship of the whole text, which is an abridgement of the Chronica with additions from the annals of Reading and of Southwark. Additional interpolations to the text make it clear the volume was created for Westminster Abbey. It was apparently started there, copying another MS of Paris' text that went up to 1240. Later it was sent back to the author for him to update; Vaughan argues this was in 1251-2. The illustrations are similar to Paris' style but not by him. Later additions took the chronicle up to 1327. Historia Anglorum. British Library, Royal MS 14 C VII, fols. 8v–156v. 358 x 250 mm, ff 232 in all. A history of England, begun in 1250 and perhaps completed around 1255, covering the years 1070–1253. The text is an abridgement of the Chronica, also drawing on Wendover's Flores Historiarum and Paris' earlier edited version of the Chronica. Bound with it is the final part of Paris' Chronica Majora, covering the years 1254–1259 (folios 157–218), and prefatory material including an itinerary from London to Jerusalem and tinted drawings of the kings of England. All is in Paris' own hand, apart from folios 210–218 and 154v-156v, which are in a hand of the scribe who has added a note of Matthew Paris' death (f. 218v). The Chronica concludes with a portrait of Paris on his death-bed, presumably not by him. By the 15th century this volume belonged to Humphrey, Duke of Gloucester, son of Henry IV, who inscribed it "Ceste livre est a moy Homffrey Duc de Gloucestre". Later it was held by the bishop of Lincoln, who wrote a note that if the monks of St Albans could prove the book was a loan, they should have it back. Otherwise it was bequeathed to New College, Oxford. The fact that the book was acquired by a 16th-century Earl of Arundel suggests that Duke Humphrey's inscription was not entirely accurate, as New College would probably not have disposed of it. Abbreviatio chronicorum (or Historia minor), British Library Cotton MS Claudius D VI, fols. 5–100. Another shortened history, mainly covering 1067 to 1253. Probably begun circa 1255, it remained unfinished at Paris' death. Illustrated with thirty-three seated figures of English kings illustrating a genealogy. It also contains the most developed of Paris' four maps of Great Britain. Chronica excerpta a magnis cronicis. British Library Cotton MS Vitellius A XX, folios 77r–108v. Covers from 1066 to 1246. Written at some point between 1246 and 1259. Not definitely by Paris, but evidently written under his supervision, with some of the text in his own hand. Book of Additions (Liber additamentorum) British Library Cotton MS Nero D I, ff202 in all, contains maps, Vitae duorum Offarum (illustrated), Gesta abbatum, the lives of the first 23 abbots of St Albans with a miniature portrait of each, coats of arms, as well as copies of original documents. A version of his well-known drawing of an elephant is in this volume, as is a large drawing of Christ, not by Paris. Life of St Alban etc., dating controversial (1230–1250), Trinity College, Dublin Library, Ms 177 (former Ms E.I.40) 77 ff with 54 miniatures, mostly half-page. 240 x 165 mm. Also contains a Life of St Amphibalus, and various other works relating to the history of St Albans Abbey, both also illustrated. The Life of St Alban is in French verse, adapted from a Latin Life of St Alban by William of St Albans, ca. 1178. The manuscript also contains notes in Paris' hand (see above) showing that his manuscripts were lent to various aristocratic ladies for periods, and that he probably acted as an intermediary between commissioners of manuscripts and the (probably) lay artists who produced them, advising on the calendars and iconography. Life of King Edward the Confessor 1230s or 40s, Cambridge University Library MS. Ee.3.59. This is the only surviving copy of this work, but is believed to be a slightly later copy made in London, probably by court artists, of Paris' text and framed illustrations. Based on the Latin Life of Edward the Confessor by Aelred of Rievaulx, c. 1162. Life of St Thomas of Canterbury, British Library, Loan MS 88 – Four leaves (the "Becket Leaves") survive from a French-verse history of the life of Thomas Becket with large illuminations. Based on the Latin Quadrilogus compiled by Elias of Evesham at Crowland Abbey in 1198. The illuminations are attributed to Paris by Janet Backhouse, but not by Nigel Morgan. Vaughan had previously noted that the leaves from the Life of St Thomas and the Life of King Edward are of different sizes, and written by different scribes, neither of them Paris himself, so they are not likely to be part of the manuscript that Paris wrote of having lent to the Countess of Arundel; but that, "to judge from the script and the style of illumination" they are "very close copies of Matthew [Paris]'s original". Life of St Edmund, a French-verse history of the life of Edmund Rich, Archbishop of Canterbury from 1233 to 1240. Based on Paris' own Latin prose life of Rich, composed in the late 1240s, which drew on a collection of materials made at Pontigny, statements from Robert Bacon and Richard Wych, Bishop of Chichester, and other materials including from Paris' own histories. A 14th-century copy of the prose life has survived in British Library Cotton MS Julius D VI, folios 123–156v. One copy of the verse life that was in Cotton MS Vitellius D VIII was destroyed in the fire of 1731; but another copy was discovered in the early 1900s at Welbeck Abbey and is now in the British Library. Liber Experimentarius of Bernardus Silvestris, and other fortune-telling tracts. Bodleian Library, Oxford, Ms. Ashmole 304, 176 x 128 mm, ff72. Many illustrations: author portraits (many of ancient Greeks – Socrates, Plato, Euclid, Pythagoras), birds, tables and diagrams of geomantic significance. Several later copies of the text and illustrations survive. Provenance before 1602 unknown. Miscellaneous writings by John of Wallingford (the Younger), British Library, MS Cotton Julius D VII, 188 × 130 mm, ff. 134. 1247–58. Mostly scribed by John of Wallingford, another monk of St Albans, who also probably did some drawings. A portrait of John, a map of the British Isles, and a Christ in Majesty are all accepted as by Paris. The main text is a chronicle, highly derivative of Paris's. This was John's property, left to his final monastery at Wymondham. Also, fragments of a Latin biography of Stephen Langton. Various other works, especially maps. A panel painting on oak of St Peter, the only surviving part of a tabernacle shrine (1850 x 750 mm), in the Museum of Oslo University has been attributed to Paris, presumably dating from his visit in 1248. Local paintings are usually on pine, so he may have brought this with him, or sent it later. Paris as an artist In some of Paris' manuscripts, a framed miniature occupies the upper half of the page, and in others they are "marginal" – unframed and occupying the bottom quarter (approximately) of the page. Tinted drawings were an established style well before Paris, and became especially popular in the first half of the 13th century. They were certainly much cheaper and quicker than fully painted illuminations. The tradition of tinted drawings or outline drawings with ink supplemented by coloured wash was distinctively English, dating back to the Anglo-Saxon art of the mid-10th century, and connected with the English Benedictine Reform of the period. A strong influence on one branch of the style was the Carolingian Utrecht Psalter, which was at Canterbury from about 1000 to 1640. This was copied in the 1020s in the Harley Psalter, and in the Eadwine Psalter of the mid-12th century. Recent scholarship, notably that of Nigel Morgan, suggests that Paris' influence on other artists of the period has been exaggerated. This is likely because so much more is known about him than other English illuminators of the period, who are mostly anonymous. Most manuscripts seem to have been produced by lay artists in this period. William de Brailes is shown with a clerical tonsure, but he was married, which suggests he had minor orders only. The manuscripts produced by Paris show few signs of collaboration, but art historians detect a School of St Albans' surviving after Paris' death, influenced by him. Paris' style suggests that it was formed by works from around 1200. He was somewhat old-fashioned in retaining a roundness in his figures, rather than adopting the thin angularity of most of his artist contemporaries, especially those in London. His compositions are very inventive; his position as a well-connected monk may have given him more confidence in creating new compositions, whereas a lay artist would prefer to stick to traditional formulae. It may also reflect the lack of full training in the art of the period. His colouring emphasises green and blue, and together with his characteristic layout of a picture in the top half of a page, is relatively distinctive. What are probably his final sketches are found in Vitae duorum Offarum in BL MS Cotton Nero D I. Paris as a historian From 1235, the point at which Wendover dropped his pen, Paris continued the history on the plan which his predecessors had followed. He derived much of his information from the letters of important people, which he sometimes inserts, but much more from conversation with the eyewitnesses of events. Among his informants were Richard, Earl of Cornwall and King Henry III, with whom he appears to have been on intimate terms. The king knew that Paris was writing a history, and wanted it to be as exact as possible. In 1257, in the course of a week's visit to St Albans, Henry kept the chronicler beside him night and day, "and guided my pen," says Paris, "with much goodwill and diligence." It is curious that the Chronica Majora gives so unfavourable an account of the king's policy. Henry Richards Luard supposes that Paris never intended his work to be read in its present form. Many passages of the autograph have written next to them, the note offendiculum, which shows that the writer understood the danger which he ran. On the other hand, unexpurgated copies were made in Paris's lifetime. Although the offending passages are duly omitted or softened in his abridgment of his longer work, the Historia Anglorum (written about 1253), Paris's real feelings must have been an open secret. There is no ground for the old theory that he was an official historiographer. Naturalists have praised his descriptions of the English wildlife of his time, brief though they are: in particular his valuable description of the first irruption into England in 1254 of the common crossbill. Paris as cartographer Outstanding among his other maps were (four versions of) a pilgrim itinerary charting the route from London to Rome in graphic form. A sequence of pictures of towns on the route marked the terminus of each day's travel, enabling the viewer to envisage and follow the whole journey rather like a comic strip – an achievement unprecedented elsewhere in the medieval world. Studies of Matthew Paris The relation of Matthew Paris's work to those of John de Celia (John of Wallingford) and Roger of Wendover may be studied in Henry Richards Luard's edition of the Chronica Majora (7 vols., Rolls series, 1872–1881), which contains valuable prefaces. The Historia Anglorum sive historia minor (1067–1253) has been edited by Frederic Madden (3 vols., Rolls series, 1866–1869). Matthew Paris is sometimes confused with Matthew of Westminster, the reputed author of the Flores historiarum edited by Luard (3 vols., Rolls series, 1890). This work, compiled by various hands, is an edition of Matthew Paris, with continuations extending to 1326. He wrote a life of St Edmund of Abingdon, sometime Archbishop of Canterbury. He also wrote the Anglo-Norman La Estoire de Seint Aedward le Rei (the History of Saint Edward the King), which survives in a beautifully illuminated manuscript version, Cambridge, Cambridge University Library MS. Ee.3.59. The manuscript has had a varied publication history. Sections were printed in Francisque Michel's Chroniques Anglo-Normandes. Luard's edition for the Rolls series was severely criticized; it was re-edited for the Anglo-Norman Text Society by K. Y. Wallace. A facsimile for the Roxburghe Club was edited by M. R. James, and the whole manuscript has been digitalized and can be seen online. Paris House at St Albans High School for Girls is named after him. Notes Bibliography (on manuscripts, and artistic style) External links Images Stanford Digitized texts – Works by and about Paris, including Vaughan etc, in huge pdf files JSTOR review of Vaughan book Matthew Paris' Jerusalem pilgrim's travel guide: information, zoomable image British Library website Art Bulletin article on his maps;Imagined Pilgrimage in the Itinerary Maps of Matthew Paris. 12/1/1999 by Connolly, Daniel K Latin Chroniclers from the Eleventh to the Thirteenth Centuries:Matthew Paris from The Cambridge History of English and American Literature, Volume I, 1907–21. Life of St Edward the Confessor, Cambridge Digital Library Fully annotated copy of Matthew Paris's Claudius Map, with translations and transcriptions 1200 births 1259 deaths Year of birth uncertain People from St Albans English Benedictines English Christian monks English chroniclers English cartographers English historians Historians of the Catholic Church Heraldists Manuscript illuminators Writers who illustrated their own writing Medieval European scribes People educated at St Albans School, Hertfordshire Artist authors Medieval English painters 13th-century Christian monks 13th-century painters 13th-century English artists 13th-century Latin writers 13th-century English writers 13th-century English people 13th-century historians	false	[ "Mike Amiri () is an American fashion designer of Iranian descent. He began his career handcrafting stage pieces for iconic hard rock artists such as Axl Rose and Steven Tyler. His rock ‘n’ rock aesthetic led him to design an exclusive capsule collection in Dubai for the LA-concept store, Maxfield, marking the launch of his eponymous luxury fashion line, AMIRI, in 2014. He was 38 when he launched his brand so its never too late.\n\nWith that debut collection, Amiri established a distinct design signature with his deconstructed, hand-embellished denim jeans, leather jackets, grungy flannel shirting and graphic tee-shirts. The designer's early DIY sensibility evolved into a studied and distinct savoir-faire, and today, his menswear and womenswear lines are revered for their refined sense of craftsmanship and recognized for embodying the glamorous ethos of LA's authentic streetwear culture.\n\nAmiri currently presents a collection bi-annually at Paris Fashion Week and the ready-to-wear, shoes and accessories are available from some of the most renowned retailers worldwide, such as Bergdorf Goodman in New York, Galeries Lafayette in Paris, Selfridges in London and Joyce in Hong Kong.\n\nSince 2018, Mike Amiri has been a member of the CFDA, when he was nominated for the Swarovski Award for Emerging Talent at the CFDA Fashion Awards. That same year, he was honored with the Emerging Talent Award at the Footwear News Achievement Awards.\nIn 2019, Mike Amiri was nominated for the Menswear Designer of the Year at the CFDA Fashion Awards.\n\nTributes\nLate American Rapper, Pop Smoke was a big fan of the Amiri brand which he often mentioned in his lyrics most especially in his Dior single, a very popular and one of the most streamed song the artist released before his passing in February 2020.\n\nAwards and nominations\n2018, Council of Fashion Designers of America (CFDA), Mike Amiri was nominated for the Swarovski Award for Emerging Talent at the CFDA Fashion Awards.\n\n2018, Mike Amiri was honored with the Emerging Talent Award at the Footwear News Achievement Awards.\n\n2019, Council of Fashion Designers of America (CFDA), Mike Amiri was nominated for the Menswear Designer of the Year at the CFDA Fashion Awards.\n\n2019, Renzo Rosso's, OTB Group takes a minority stake in AMIRI.\n\nReferences\n\nLiving people\nPeople from Los Angeles\nAmerican fashion designers\nAmerican people of Iranian descent\n1976 births", "DJ Talent (real name Anthony Ghosh) (born 1978 in London) is a British part-time DJ from Peterborough, England, most widely known for his appearance as a semi-finalist on third series of the ITV television show Britain's Got Talent. He is noted for the excessive amount of bling that he wears, which includes several gold chains and rings (one infused with a blue stone), and a full set of gold teeth costing £7000 in total.\n\nPrior to his appearance on Britain's Got Talent, he has appeared on TV programmes including Homemade on T4 where he appeared with celebrity blogger and TV presenter Mark Boardman, The Jeremy Kyle Show, Vanessa's Real Lives, Ann Widdecombe Versus The Diet Industry, Charlie Brooker's Screenwipe and The Friday Night Project where he performed a rap for guest host Kanye West, as well as appearing on \"Best Guest Week\" on the Scott Mills Show for Radio 1. He also appeared in the marketing campaign for UK Bingo website, BOGOF Bingo, circa 2009.\n\nPersonal life\nAnthony Ghosh / DJ Talent lives in his birth city, London, with his Indian father Sujit, 69, and his English mother Patricia, 59. He is based and lives in Eastbourne, England.\n\nIn 2005, he appeared on The Jeremy Kyle Show with his mother, who was questioning his respect for women and his lifestyle as a DJ. He was ridiculed as he bragged about his apparent fame and was mocked by numerous members of the studio audience.\n\nIn late 2008, as a direct result of the credit crunch and its associated economic downturn, Talent attempted to raise cash by selling off his 28 gold teeth for £14,000, although ultimately this was never seen through.\nDJ Talent also goes under alias production names Cyber Headz Crew/ MR T.\n\nBritain's Got Talent\nHis act as part of Britain's Got Talent for the auditions stage solely consisted of a one verse rap. The lyrics are as follows:\n\nI say Britain\nYou say Talent\nBritain's got talent!\nIt's the DJ Talent!\n\nDespite apparent criticism, and receiving four buzzes from the judging panel, albeit one operated incorrectly after Kelly Brook pressed Piers Morgan's buzzer (although she claimed that it was not DJ Talent, but Piers's dancing), Talent made it past the opening stage to the semi-finals. After performing and being put through, Talent proceeded to invite judge Kelly Brook out to dinner, which was accepted on her behalf by Simon Cowell. \nHe was previously set on dating Kelly Brook. \n\nThe popularised Talent theme was used in the Britain's Got Talent show in subsequent episodes between acts as one of several jingles.\n\nReferences\n\nExternal links\n Official home page\n\n1978 births\nLiving people\nBritain's Got Talent contestants\nEnglish people of Indian descent\nPeople from Penge" ]
[ "Leonardo da Vinci", "Verrocchio's workshop, 1466-1476" ]	C_e9fd1aa07b684a6698373397ebd79adc_0	What was his first love	1	What was Leonardo da Vinci's first love	Leonardo da Vinci	In 1466, at the age of fourteen, Leonardo was apprenticed to the artist Andrea di Cione, known as Verrocchio, whose bottega (workshop) was "one of the finest in Florence". He apprenticed as a garzone (studio boy) to Andrea del Verrocchio, the leading Florentine painter and sculptor of his day (and would do so for 7 years). Other famous painters apprenticed or associated with the workshop include Domenico Ghirlandaio, Perugino, Botticelli, and Lorenzo di Credi. Leonardo would have been exposed to both theoretical training and a vast range of technical skills, including drafting, chemistry, metallurgy, metal working, plaster casting, leather working, mechanics and carpentry as well as the artistic skills of drawing, painting, sculpting and modelling. Much of the painted production of Verrocchio's workshop was done by his employees. According to Vasari, Leonardo collaborated with Verrocchio on his The Baptism of Christ, painting the young angel holding Jesus' robe in a manner that was so far superior to his master's that Verrocchio put down his brush and never painted again, although this is believed to be apocryphal. Close examination reveals areas that have been painted or touched-up over the tempera using the new technique of oil paint; the landscape, the rocks seen through the brown mountain stream and much of the figure of Jesus bearing witness to the hand of Leonardo. Leonardo may have been the model for two works by Verrocchio: the bronze statue of David in the Bargello and the Archangel Raphael in Tobias and the Angel. By 1472, at the age of twenty, Leonardo qualified as a master in the Guild of Saint Luke, the guild of artists and doctors of medicine, but even after his father set him up in his own workshop, his attachment to Verrocchio was such that he continued to collaborate with him. Leonardo's earliest known dated work is a drawing in pen and ink of the Arno valley, drawn on 5 August 1473. CANNOTANSWER	Leonardo was apprenticed to the artist Andrea di Cione,	Leonardo di ser Piero da Vinci (15 April 14522 May 1519) was an Italian polymath of the High Renaissance who was active as a painter, draughtsman, engineer, scientist, theorist, sculptor and architect. While his fame initially rested on his achievements as a painter, he also became known for his notebooks, in which he made drawings and notes on a variety of subjects, including anatomy, astronomy, botany, cartography, painting, and paleontology. Leonardo's genius epitomized the Renaissance humanist ideal, and his collective works compose a contribution to later generations of artists matched only by that of his younger contemporary, Michelangelo. Born out of wedlock to a successful notary and a lower-class woman in, or near, Vinci, he was educated in Florence by the Italian painter and sculptor Andrea del Verrocchio. He began his career in the city, but then spent much time in the service of Ludovico Sforza in Milan. Later, he worked in Florence and Milan again, as well as briefly in Rome, all while attracting a large following of imitators and students. Upon the invitation of Francis I, he spent his last three years in France, where he died in 1519. Since his death, there has not been a time where his achievements, diverse interests, personal life, and empirical thinking have failed to incite interest and admiration, making him a frequent namesake and subject in culture. Leonardo is among the greatest painters in the history of art and is often credited as the founder of the High Renaissance. Despite having many lost works and less than 25 attributed major works—including numerous unfinished works—he created some of the most influential paintings in Western art. His magnum opus, the Mona Lisa, is his best known work and often regarded as the world's most famous painting. The Last Supper is the most reproduced religious painting of all time and his Vitruvian Man drawing is also regarded as a cultural icon. In 2017, Salvator Mundi, attributed in whole or part to Leonardo, was sold at auction for , setting a new record for the most expensive painting ever sold at public auction. Revered for his technological ingenuity, he conceptualized flying machines, a type of armored fighting vehicle, concentrated solar power, an adding machine, and the double hull. Relatively few of his designs were constructed or even feasible during his lifetime, as the modern scientific approaches to metallurgy and engineering were only in their infancy during the Renaissance. Some of his smaller inventions, however, entered the world of manufacturing unheralded, such as an automated bobbin winder and a machine for testing the tensile strength of wire. He made substantial discoveries in anatomy, civil engineering, hydrodynamics, geology, optics, and tribology, but he did not publish his findings and they had little to no direct influence on subsequent science. Biography Early life (1452–1472) Birth and background Leonardo da Vinci, properly named Leonardo di ser Piero da Vinci (Leonardo, son of ser Piero from Vinci), was born on 15 April 1452 in, or close to, the Tuscan hill town of Vinci; Florence was 20 miles away. He was born out of wedlock to (Ser Piero di Antonio di Ser Piero di Ser Guido da Vinci; 1426–1504), a Florentine legal notary, and ( – 1494), from the lower-class. It remains uncertain where Leonardo was born; the traditional account, from a local oral tradition recorded by the historian Emanuele Repetti, is that he was born in Anchiano, a country hamlet that would have offered sufficient privacy for the illegitimate birth, though it is still possible he was born in a house in Florence that Ser Piero almost certainly had. Leonardo's parents both married separately the year after his birth. Caterina—who later appears in Leonardo's notes as only "Caterina" or "Catelina"—is usually identified as the Caterina Buti del Vacca who married the local artisan Antonio di Piero Buti del Vacca, nicknamed "L'Accattabriga" ("the quarrelsome one"). Other theories have been proposed, particularly that of art historian Martin Kemp, who suggested Caterina di Meo Lippi, an orphan that married purportedly with aid from Ser Piero and his family. Ser Piero married Albiera Amadori—having been betrothed to her the previous year—and after her death in 1462, went on to have three subsequent marriages. From all the marriages, Leonardo eventually had 12 half-siblings who were much younger than he was (the last was born when Leonardo was 40 years old) and with whom he had very little contact. Very little is known about Leonardo's childhood and much is shrouded in myth, partially because of his biography in the frequently apocryphal Lives of the Most Excellent Painters, Sculptors, and Architects (1550) from the 16th-century art historian Giorgio Vasari. Tax records indicate that by at least 1457 he lived in the household of his paternal grandfather, Antonio da Vinci, but it is possible that he spent the years before then in the care of his mother in Vinci, either Anchiano or Campo Zeppi in the parish of San Pantaleone. He is thought to have been close to his uncle, Francesco da Vinci, but his father was likely in Florence most of the time. Ser Piero, who was the descendant of a long line of notaries, established an official residence in Florence by at least 1469 and led a successful career. Despite his family history, Leonardo only received a basic and informal education in (vernacular) writing, reading and mathematics, possibly because his artistic talents were recognised early, so his family decided to focus their attention there. Later in life, Leonardo recorded his earliest memory, now in the Codex Atlanticus. While writing on the flight of birds, he recalled as an infant when a kite came to his cradle and opened his mouth with its tail; commentators still debate whether the anecdote was an actual memory or a fantasy. Verrocchio's workshop In the mid-1460s, Leonardo's family moved to Florence, which at the time was the centre of Christian Humanist thought and culture. Around the age of 14, he became a garzone (studio boy) in the workshop of Andrea del Verrocchio, who was the leading Florentine painter and sculptor of his time. This was about the time of the death of Verrocchio's master, the great sculptor Donatello. Leonardo became an apprentice by the age of 17 and remained in training for seven years. Other famous painters apprenticed in the workshop or associated with it include Ghirlandaio, Perugino, Botticelli, and Lorenzo di Credi. Leonardo was exposed to both theoretical training and a wide range of technical skills, including drafting, chemistry, metallurgy, metal working, plaster casting, leather working, mechanics, and woodwork, as well as the artistic skills of drawing, painting, sculpting, and modelling. Leonardo was a contemporary of Botticelli, Ghirlandaio and Perugino, who were all slightly older than he was. He would have met them at the workshop of Verrocchio or at the Platonic Academy of the Medici. Florence was ornamented by the works of artists such as Donatello's contemporaries Masaccio, whose figurative frescoes were imbued with realism and emotion, and Ghiberti, whose Gates of Paradise, gleaming with gold leaf, displayed the art of combining complex figure compositions with detailed architectural backgrounds. Piero della Francesca had made a detailed study of perspective, and was the first painter to make a scientific study of light. These studies and Leon Battista Alberti's treatise De pictura were to have a profound effect on younger artists and in particular on Leonardo's own observations and artworks. Much of the painting in Verrocchio's workshop was done by his assistants. According to Vasari, Leonardo collaborated with Verrocchio on his The Baptism of Christ, painting the young angel holding Jesus' robe in a manner that was so far superior to his master's that Verrocchio put down his brush and never painted again, although this is believed to be an apocryphal story. Close examination reveals areas of the work that have been painted or touched-up over the tempera, using the new technique of oil paint, including the landscape, the rocks seen through the brown mountain stream, and much of the figure of Jesus, bearing witness to the hand of Leonardo. Leonardo may have been the model for two works by Verrocchio: the bronze statue of David in the Bargello, and the Archangel Raphael in Tobias and the Angel. Vasari tells a story of Leonardo as a very young man: a local peasant made himself a round shield and requested that Ser Piero have it painted for him. Leonardo, inspired by the story of Medusa, responded with a painting of a monster spitting fire that was so terrifying that his father bought a different shield to give to the peasant and sold Leonardo's to a Florentine art dealer for 100 ducats, who in turn sold it to the Duke of Milan. First Florentine period (1472–c. 1482) By 1472, at the age of 20, Leonardo qualified as a master in the Guild of Saint Luke, the guild of artists and doctors of medicine, but even after his father set him up in his own workshop, his attachment to Verrocchio was such that he continued to collaborate and live with him. Leonardo's earliest known dated work is a 1473 pen-and-ink drawing of the Arno valley. According to Vasari, the young Leonardo was the first to suggest making the Arno river a navigable channel between Florence and Pisa. In January 1478, Leonardo received an independent commission to paint an altarpiece for the Chapel of St. Bernard in the Palazzo Vecchio, an indication of his independence from Verrocchio's studio. An anonymous early biographer, known as Anonimo Gaddiano, claims that in 1480 Leonardo was living with the Medici and often worked in the garden of the Piazza San Marco, Florence, where a Neoplatonic academy of artists, poets and philosophers organized by the Medici met. In March 1481, he received a commission from the monks of San Donato in Scopeto for The Adoration of the Magi. Neither of these initial commissions were completed, being abandoned when Leonardo went to offer his services to Duke of Milan Ludovico Sforza. Leonardo wrote Sforza a letter which described the diverse things that he could achieve in the fields of engineering and weapon design, and mentioned that he could paint. He brought with him a silver string instrument—either a lute or lyre—in the form of a horse's head. With Alberti, Leonardo visited the home of the Medici and through them came to know the older Humanist philosophers of whom Marsiglio Ficino, proponent of Neoplatonism; Cristoforo Landino, writer of commentaries on Classical writings, and John Argyropoulos, teacher of Greek and translator of Aristotle were the foremost. Also associated with the Platonic Academy of the Medici was Leonardo's contemporary, the brilliant young poet and philosopher Pico della Mirandola. In 1482, Leonardo was sent as an ambassador by Lorenzo de' Medici to Ludovico il Moro, who ruled Milan between 1479 and 1499. First Milanese period (c. 1482–1499) Leonardo worked in Milan from 1482 until 1499. He was commissioned to paint the Virgin of the Rocks for the Confraternity of the Immaculate Conception and The Last Supper for the monastery of Santa Maria delle Grazie. In the spring of 1485, Leonardo travelled to Hungary on behalf of Sforza to meet king Matthias Corvinus, and was commissioned by him to paint a Madonna. Leonardo was employed on many other projects for Sforza, including the preparation of floats and pageants for special occasions, a drawing and wooden model for a competition to design the cupola for Milan Cathedral (which he withdrew), and a model for a huge equestrian monument to Ludovico's predecessor Francesco Sforza. This would have surpassed in size the only two large equestrian statues of the Renaissance, Donatello's Gattamelata in Padua and Verrocchio's Bartolomeo Colleoni in Venice, and became known as the Gran Cavallo. Leonardo completed a model for the horse and made detailed plans for its casting, but in November 1494, Ludovico gave the bronze to his brother-in-law to be used for a cannon to defend the city from Charles VIII of France. Contemporary correspondence records that Leonardo and his assistants were commissioned by the Duke of Milan to paint the Sala delle Asse in the Sforza Castle. The decoration was completed in 1498. The project became a trompe-l'œil decoration that made the great hall appear to be a pergola created by the interwoven limbs of sixteen mulberry trees, whose canopy included an intricate labyrinth of leaves and knots on the ceiling. Second Florentine period (1500–1508) When Ludovico Sforza was overthrown by France in 1500, Leonardo fled Milan for Venice, accompanied by his assistant Salaì and friend, the mathematician Luca Pacioli. In Venice, Leonardo was employed as a military architect and engineer, devising methods to defend the city from naval attack. On his return to Florence in 1500, he and his household were guests of the Servite monks at the monastery of Santissima Annunziata and were provided with a workshop where, according to Vasari, Leonardo created the cartoon of The Virgin and Child with St Anne and St John the Baptist, a work that won such admiration that "men [and] women, young and old" flocked to see it "as if they were going to a solemn festival." In Cesena in 1502, Leonardo entered the service of Cesare Borgia, the son of Pope Alexander VI, acting as a military architect and engineer and travelling throughout Italy with his patron. Leonardo created a map of Cesare Borgia's stronghold, a town plan of Imola in order to win his patronage. Upon seeing it, Cesare hired Leonardo as his chief military engineer and architect. Later in the year, Leonardo produced another map for his patron, one of Chiana Valley, Tuscany, so as to give his patron a better overlay of the land and greater strategic position. He created this map in conjunction with his other project of constructing a dam from the sea to Florence, in order to allow a supply of water to sustain the canal during all seasons. Leonardo had left Borgia's service and returned to Florence by early 1503, where he rejoined the Guild of Saint Luke on 18 October of that year. By this same month, Leonardo had begun working on a portrait of Lisa del Giocondo, the model for the Mona Lisa, which he would continue working on until his twilight years. In January 1504, he was part of a committee formed to recommend where Michelangelo's statue of David should be placed. He then spent two years in Florence designing and painting a mural of The Battle of Anghiari for the Signoria, with Michelangelo designing its companion piece, The Battle of Cascina. In 1506, Leonardo was summoned to Milan by Charles II d'Amboise, the acting French governor of the city. There, Leonardo took on another pupil, Count Francesco Melzi, the son of a Lombard aristocrat, who is considered to have been his favourite student. The Council of Florence wished Leonardo to return promptly to finish The Battle of Anghiari, but he was given leave at the behest of Louis XII, who considered commissioning the artist to make some portraits. Leonardo may have commenced a project for an equestrian figure of d'Amboise; a wax model survives and, if genuine, is the only extant example of Leonardo's sculpture. Leonardo was otherwise free to pursue his scientific interests. Many of Leonardo's most prominent pupils either knew or worked with him in Milan, including Bernardino Luini, Giovanni Antonio Boltraffio, and Marco d'Oggiono. In 1507, Leonardo was in Florence sorting out a dispute with his brothers over the estate of his father, who had died in 1504. Second Milanese period (1508–1513) By 1508, Leonardo was back in Milan, living in his own house in Porta Orientale in the parish of Santa Babila. In 1512, Leonardo was working on plans for an equestrian monument for Gian Giacomo Trivulzio, but this was prevented by an invasion of a confederation of Swiss, Spanish and Venetian forces, which drove the French from Milan. Leonardo stayed in the city, spending several months in 1513 at the Medici's Vaprio d'Adda villa. Rome and France (1513–1519) In March of 1513, Lorenzo de' Medici's son Giovanni assumed the papacy (as Leo X); Leonardo went to Rome that September, where he was received by the pope's brother Giuliano. From September 1513 to 1516, Leonardo spent much of his time living in the Belvedere Courtyard in the Apostolic Palace, where Michelangelo and Raphael were both active. Leonardo was given an allowance of 33 ducats a month, and according to Vasari, decorated a lizard with scales dipped in quicksilver. The pope gave him a painting commission of unknown subject matter, but cancelled it when the artist set about developing a new kind of varnish. Leonardo became ill, in what may have been the first of multiple strokes leading to his death. He practiced botany in the Gardens of Vatican City, and was commissioned to make plans for the pope's proposed draining of the Pontine Marshes. He also dissected cadavers, making notes for a treatise on vocal cords; these he gave to an official in hopes of regaining the pope's favor, but was unsuccessful. In October 1515, King Francis I of France recaptured Milan. Leonardo was present at the 19 December meeting of Francis I and Leo X, which took place in Bologna. In 1516, Leonardo entered Francis' service, being given the use of the manor house Clos Lucé, near the king's residence at the royal Château d'Amboise. Being frequently visited by Francis, he drew plans for an immense castle town the king intended to erect at Romorantin, and made a mechanical lion, which during a pageant walked toward the king and—upon being struck by a wand—opened its chest to reveal a cluster of lilies. Leonardo was accompanied during this time by his friend and apprentice Francesco Melzi, and supported by a pension totalling 10,000 scudi. At some point, Melzi drew a portrait of Leonardo; the only others known from his lifetime were a sketch by an unknown assistant on the back of one of Leonardo's studies () and a drawing by Giovanni Ambrogio Figino depicting an elderly Leonardo with his right arm assuaged by cloth. The latter, in addition to the record of an October 1517 visit by Louis d'Aragon, confirms an account of Leonardo's right hand being paralytic at the age of 65, which may indicate why he left works such as the Mona Lisa unfinished. He continued to work at some capacity until eventually becoming ill and bedridden for several months. Death Leonardo died at Clos Lucé on 2 May 1519 at the age of 67, possibly of a stroke. Francis I had become a close friend. Vasari describes Leonardo as lamenting on his deathbed, full of repentance, that "he had offended against God and men by failing to practice his art as he should have done." Vasari states that in his last days, Leonardo sent for a priest to make his confession and to receive the Holy Sacrament. Vasari also records that the king held Leonardo's head in his arms as he died, although this story may be legend rather than fact. In accordance with his will, sixty beggars carrying tapers followed Leonardo's casket. Melzi was the principal heir and executor, receiving, as well as money, Leonardo's paintings, tools, library and personal effects. Leonardo's other long-time pupil and companion, Salaì, and his servant Baptista de Vilanis, each received half of Leonardo's vineyards. His brothers received land, and his serving woman received a fur-lined cloak. On 12 August 1519, Leonardo's remains were interred in the Collegiate Church of Saint Florentin at the Château d'Amboise. Salaì, or Il Salaino ("The Little Unclean One," i.e., the devil), entered Leonardo's household in 1490 as an assistant. After only a year, Leonardo made a list of his misdemeanours, calling him "a thief, a liar, stubborn, and a glutton," after he had made off with money and valuables on at least five occasions and spent a fortune on clothes. Nevertheless, Leonardo treated him with great indulgence, and he remained in Leonardo's household for the next thirty years. Salaì executed a number of paintings under the name of Andrea Salaì, but although Vasari claims that Leonardo "taught him many things about painting," his work is generally considered to be of less artistic merit than others among Leonardo's pupils, such as Marco d'Oggiono and Boltraffio. Salaì owned the Mona Lisa at the time of Leonardo's death in 1524, and in his will it was assessed at 505 lire, an exceptionally high valuation for a small panel portrait. Some 20 years after Leonardo's death, Francis was reported by the goldsmith and sculptor Benvenuto Cellini as saying: "There had never been another man born in the world who knew as much as Leonardo, not so much about painting, sculpture and architecture, as that he was a very great philosopher." Personal life Despite the thousands of pages Leonardo left in notebooks and manuscripts, he scarcely made reference to his personal life. Within Leonardo's lifetime, his extraordinary powers of invention, his "great physical beauty" and "infinite grace," as described by Vasari, as well as all other aspects of his life, attracted the curiosity of others. One such aspect was his love for animals, likely including vegetarianism and according to Vasari, a habit of purchasing caged birds and releasing them. Leonardo had many friends who are now notable either in their fields or for their historical significance, including mathematician Luca Pacioli, with whom he collaborated on the book Divina proportione in the 1490s. Leonardo appears to have had no close relationships with women except for his friendship with Cecilia Gallerani and the two Este sisters, Beatrice and Isabella. While on a journey that took him through Mantua, he drew a portrait of Isabella that appears to have been used to create a painted portrait, now lost. Beyond friendship, Leonardo kept his private life secret. His sexuality has been the subject of satire, analysis, and speculation. This trend began in the mid-16th century and was revived in the 19th and 20th centuries, most notably by Sigmund Freud in his Leonardo da Vinci, A Memory of His Childhood. Leonardo's most intimate relationships were perhaps with his pupils Salaì and Melzi. Melzi, writing to inform Leonardo's brothers of his death, described Leonardo's feelings for his pupils as both loving and passionate. It has been claimed since the 16th century that these relationships were of a sexual or erotic nature. Court records of 1476, when he was aged twenty-four, show that Leonardo and three other young men were charged with sodomy in an incident involving a well-known male prostitute. The charges were dismissed for lack of evidence, and there is speculation that since one of the accused, Lionardo de Tornabuoni, was related to Lorenzo de' Medici, the family exerted its influence to secure the dismissal. Since that date much has been written about his presumed homosexuality and its role in his art, particularly in the androgyny and eroticism manifested in Saint John the Baptist and Bacchus and more explicitly in a number of erotic drawings. Paintings Despite the recent awareness and admiration of Leonardo as a scientist and inventor, for the better part of four hundred years his fame rested on his achievements as a painter. A handful of works that are either authenticated or attributed to him have been regarded as among the great masterpieces. These paintings are famous for a variety of qualities that have been much imitated by students and discussed at great length by connoisseurs and critics. By the 1490s Leonardo had already been described as a "Divine" painter. Among the qualities that make Leonardo's work unique are his innovative techniques for laying on the paint; his detailed knowledge of anatomy, light, botany and geology; his interest in physiognomy and the way humans register emotion in expression and gesture; his innovative use of the human form in figurative composition; and his use of subtle gradation of tone. All these qualities come together in his most famous painted works, the Mona Lisa, the Last Supper, and the Virgin of the Rocks. Early works Leonardo first gained attention for his work on the Baptism of Christ, painted in conjunction with Verrocchio. Two other paintings appear to date from his time at Verrocchio's workshop, both of which are Annunciations. One is small, long and high. It is a "predella" to go at the base of a larger composition, a painting by Lorenzo di Credi from which it has become separated. The other is a much larger work, long. In both Annunciations, Leonardo used a formal arrangement, like two well-known pictures by Fra Angelico of the same subject, of the Virgin Mary sitting or kneeling to the right of the picture, approached from the left by an angel in profile, with a rich flowing garment, raised wings and bearing a lily. Although previously attributed to Ghirlandaio, the larger work is now generally attributed to Leonardo. In the smaller painting, Mary averts her eyes and folds her hands in a gesture that symbolised submission to God's will. Mary is not submissive, however, in the larger piece. The girl, interrupted in her reading by this unexpected messenger, puts a finger in her bible to mark the place and raises her hand in a formal gesture of greeting or surprise. This calm young woman appears to accept her role as the Mother of God, not with resignation but with confidence. In this painting, the young Leonardo presents the humanist face of the Virgin Mary, recognising humanity's role in God's incarnation. Paintings of the 1480s In the 1480s, Leonardo received two very important commissions and commenced another work that was of ground-breaking importance in terms of composition. Two of the three were never finished, and the third took so long that it was subject to lengthy negotiations over completion and payment. One of these paintings was Saint Jerome in the Wilderness, which Bortolon associates with a difficult period of Leonardo's life, as evidenced in his diary: "I thought I was learning to live; I was only learning to die." Although the painting is barely begun, the composition can be seen and is very unusual. Jerome, as a penitent, occupies the middle of the picture, set on a slight diagonal and viewed somewhat from above. His kneeling form takes on a trapezoid shape, with one arm stretched to the outer edge of the painting and his gaze looking in the opposite direction. J. Wasserman points out the link between this painting and Leonardo's anatomical studies. Across the foreground sprawls his symbol, a great lion whose body and tail make a double spiral across the base of the picture space. The other remarkable feature is the sketchy landscape of craggy rocks against which the figure is silhouetted. The daring display of figure composition, the landscape elements and personal drama also appear in the great unfinished masterpiece, the Adoration of the Magi, a commission from the Monks of San Donato a Scopeto. It is a complex composition, of about Leonardo did numerous drawings and preparatory studies, including a detailed one in linear perspective of the ruined classical architecture that forms part of the background. In 1482 Leonardo went to Milan at the behest of Lorenzo de' Medici in order to win favour with Ludovico il Moro, and the painting was abandoned. The third important work of this period is the Virgin of the Rocks, commissioned in Milan for the Confraternity of the Immaculate Conception. The painting, to be done with the assistance of the de Predis brothers, was to fill a large complex altarpiece. Leonardo chose to paint an apocryphal moment of the infancy of Christ when the infant John the Baptist, in protection of an angel, met the Holy Family on the road to Egypt. The painting demonstrates an eerie beauty as the graceful figures kneel in adoration around the infant Christ in a wild landscape of tumbling rock and whirling water. While the painting is quite large, about , it is not nearly as complex as the painting ordered by the monks of St Donato, having only four figures rather than about fifty and a rocky landscape rather than architectural details. The painting was eventually finished; in fact, two versions of the painting were finished: one remained at the chapel of the Confraternity, while Leonardo took the other to France. The Brothers did not get their painting, however, nor the de Predis their payment, until the next century. Leonardo's most remarkable portrait of this period is the Lady with an Ermine, presumed to be Cecilia Gallerani (), lover of Ludovico Sforza. The painting is characterised by the pose of the figure with the head turned at a very different angle to the torso, unusual at a date when many portraits were still rigidly in profile. The ermine plainly carries symbolic meaning, relating either to the sitter, or to Ludovico who belonged to the prestigious Order of the Ermine. Paintings of the 1490s Leonardo's most famous painting of the 1490s is The Last Supper, commissioned for the refectory of the Convent of Santa Maria della Grazie in Milan. It represents the last meal shared by Jesus with his disciples before his capture and death, and shows the moment when Jesus has just said "one of you will betray me", and the consternation that this statement caused. The writer Matteo Bandello observed Leonardo at work and wrote that some days he would paint from dawn till dusk without stopping to eat and then not paint for three or four days at a time. This was beyond the comprehension of the prior of the convent, who hounded him until Leonardo asked Ludovico to intervene. Vasari describes how Leonardo, troubled over his ability to adequately depict the faces of Christ and the traitor Judas, told the duke that he might be obliged to use the prior as his model. The painting was acclaimed as a masterpiece of design and characterization, but it deteriorated rapidly, so that within a hundred years it was described by one viewer as "completely ruined." Leonardo, instead of using the reliable technique of fresco, had used tempera over a ground that was mainly gesso, resulting in a surface subject to mould and to flaking. Despite this, the painting remains one of the most reproduced works of art; countless copies have been made in various mediums. Toward the end of this period, in 1498 da Vinci's trompe-l'œil decoration of the Sala delle Asse was painted for the Duke of Milan in the Castello Sforzesco. Paintings of the 1500s In 1505, Leonardo was commissioned to paint The Battle of Anghiari in the Salone dei Cinquecento (Hall of the Five Hundred) in the Palazzo Vecchio, Florence. Leonardo devised a dynamic composition depicting four men riding raging war horses engaged in a battle for possession of a standard, at the Battle of Anghiari in 1440. Michelangelo was assigned the opposite wall to depict the Battle of Cascina. Leonardo's painting deteriorated rapidly and is now known from a copy by Rubens. Among the works created by Leonardo in the 16th century is the small portrait known as the Mona Lisa or La Gioconda, the laughing one. In the present era, it is arguably the most famous painting in the world. Its fame rests, in particular, on the elusive smile on the woman's face, its mysterious quality perhaps due to the subtly shadowed corners of the mouth and eyes such that the exact nature of the smile cannot be determined. The shadowy quality for which the work is renowned came to be called "sfumato," or Leonardo's smoke. Vasari wrote that the smile was "so pleasing that it seems more divine than human, and it was considered a wondrous thing that it was as lively as the smile of the living original." Other characteristics of the painting are the unadorned dress, in which the eyes and hands have no competition from other details; the dramatic landscape background, in which the world seems to be in a state of flux; the subdued colouring; and the extremely smooth nature of the painterly technique, employing oils laid on much like tempera, and blended on the surface so that the brushstrokes are indistinguishable. Vasari expressed that the painting's quality would make even "the most confident master ... despair and lose heart." The perfect state of preservation and the fact that there is no sign of repair or overpainting is rare in a panel painting of this date. In the painting Virgin and Child with St. Anne, the composition again picks up the theme of figures in a landscape, which Wasserman describes as "breathtakingly beautiful" and harkens back to the St Jerome picture with the figure set at an oblique angle. What makes this painting unusual is that there are two obliquely set figures superimposed. Mary is seated on the knee of her mother, St Anne. She leans forward to restrain the Christ Child as he plays roughly with a lamb, the sign of his own impending sacrifice. This painting, which was copied many times, influenced Michelangelo, Raphael, and Andrea del Sarto, and through them Pontormo and Correggio. The trends in composition were adopted in particular by the Venetian painters Tintoretto and Veronese. Drawings Leonardo was a prolific draughtsman, keeping journals full of small sketches and detailed drawings recording all manner of things that took his attention. As well as the journals there exist many studies for paintings, some of which can be identified as preparatory to particular works such as The Adoration of the Magi, The Virgin of the Rocks and The Last Supper. His earliest dated drawing is a Landscape of the Arno Valley, 1473, which shows the river, the mountains, Montelupo Castle and the farmlands beyond it in great detail. Among his famous drawings are the Vitruvian Man, a study of the proportions of the human body; the Head of an Angel, for The Virgin of the Rocks in the Louvre; a botanical study of Star of Bethlehem; and a large drawing (160×100 cm) in black chalk on coloured paper of The Virgin and Child with Saint Anne and Saint John the Baptist in the National Gallery, London. This drawing employs the subtle sfumato technique of shading, in the manner of the Mona Lisa. It is thought that Leonardo never made a painting from it, the closest similarity being to The Virgin and Child with Saint Anne in the Louvre. Other drawings of interest include numerous studies generally referred to as "caricatures" because, although exaggerated, they appear to be based upon observation of live models. Vasari relates that Leonardo would look for interesting faces in public to use as models for some of his work. There are numerous studies of beautiful young men, often associated with Salaì, with the rare and much admired facial feature, the so-called "Grecian profile." These faces are often contrasted with that of a warrior. Salaì is often depicted in fancy-dress costume. Leonardo is known to have designed sets for pageants with which these may be associated. Other, often meticulous, drawings show studies of drapery. A marked development in Leonardo's ability to draw drapery occurred in his early works. Another often-reproduced drawing is a macabre sketch that was done by Leonardo in Florence in 1479 showing the body of Bernardo Baroncelli, hanged in connection with the murder of Giuliano, brother of Lorenzo de' Medici, in the Pazzi conspiracy. In his notes, Leonardo recorded the colours of the robes that Baroncelli was wearing when he died. Like the two contemporary architects Donato Bramante (who designed the Belvedere Courtyard) and Antonio da Sangallo the Elder, Leonardo experimented with designs for centrally planned churches, a number of which appear in his journals, as both plans and views, although none was ever realised. Journals and notes Renaissance humanism recognised no mutually exclusive polarities between the sciences and the arts, and Leonardo's studies in science and engineering are sometimes considered as impressive and innovative as his artistic work. These studies were recorded in 13,000 pages of notes and drawings, which fuse art and natural philosophy (the forerunner of modern science). They were made and maintained daily throughout Leonardo's life and travels, as he made continual observations of the world around him. Leonardo's notes and drawings display an enormous range of interests and preoccupations, some as mundane as lists of groceries and people who owed him money and some as intriguing as designs for wings and shoes for walking on water. There are compositions for paintings, studies of details and drapery, studies of faces and emotions, of animals, babies, dissections, plant studies, rock formations, whirlpools, war machines, flying machines and architecture. These notebooks—originally loose papers of different types and sizes—were largely entrusted to Leonardo's pupil and heir Francesco Melzi after the master's death. These were to be published, a task of overwhelming difficulty because of its scope and Leonardo's idiosyncratic writing. Some of Leonardo's drawings were copied by an anonymous Milanese artist for a planned treatise on art . After Melzi's death in 1570, the collection passed to his son, the lawyer Orazio, who initially took little interest in the journals. In 1587, a Melzi household tutor named Lelio Gavardi took 13 of the manuscripts to Pisa; there, the architect Giovanni Magenta reproached Gavardi for having taken the manuscripts illicitly and returned them to Orazio. Having many more such works in his possession, Orazio gifted the volumes to Magenta. News spread of these lost works of Leonardo's, and Orazio retrieved seven of the 13 manuscripts, which he then gave to Pompeo Leoni for publication in two volumes; one of these was the Codex Atlanticus. The other six works had been distributed to a few others. After Orazio's death, his heirs sold the rest of Leonardo's possessions, and thus began their dispersal. Some works have found their way into major collections such as the Royal Library at Windsor Castle, the Louvre, the Biblioteca Nacional de España, the Victoria and Albert Museum, the Biblioteca Ambrosiana in Milan, which holds the 12-volume Codex Atlanticus, and the British Library in London, which has put a selection from the Codex Arundel (BL Arundel MS 263) online. Works have also been at Holkham Hall, the Metropolitan Museum of Art, and in the private hands of John Nicholas Brown I and Robert Lehman. The Codex Leicester is the only privately owned major scientific work of Leonardo; it is owned by Bill Gates and displayed once a year in different cities around the world. Most of Leonardo's writings are in mirror-image cursive. Since Leonardo wrote with his left hand, it was probably easier for him to write from right to left. Leonardo used a variety of shorthand and symbols, and states in his notes that he intended to prepare them for publication. In many cases a single topic is covered in detail in both words and pictures on a single sheet, together conveying information that would not be lost if the pages were published out of order. Why they were not published during Leonardo's lifetime is unknown. Science and inventions Leonardo's approach to science was observational: he tried to understand a phenomenon by describing and depicting it in utmost detail and did not emphasise experiments or theoretical explanation. Since he lacked formal education in Latin and mathematics, contemporary scholars mostly ignored Leonardo the scientist, although he did teach himself Latin. His keen observations in many areas were noted, such as when he wrote "Il sole non si move." ("The Sun does not move.") In the 1490s he studied mathematics under Luca Pacioli and prepared a series of drawings of regular solids in a skeletal form to be engraved as plates for Pacioli's book Divina proportione, published in 1509. While living in Milan, he studied light from the summit of Monte Rosa. Scientific writings in his notebook on fossils have been considered as influential on early palaeontology. The content of his journals suggest that he was planning a series of treatises on a variety of subjects. A coherent treatise on anatomy is said to have been observed during a visit by Cardinal Louis d'Aragon's secretary in 1517. Aspects of his work on the studies of anatomy, light and the landscape were assembled for publication by Melzi and eventually published as A Treatise on Painting in France and Italy in 1651 and Germany in 1724, with engravings based upon drawings by the Classical painter Nicolas Poussin. According to Arasse, the treatise, which in France went into 62 editions in fifty years, caused Leonardo to be seen as "the precursor of French academic thought on art." While Leonardo's experimentation followed scientific methods, a recent and exhaustive analysis of Leonardo as a scientist by Fritjof Capra argues that Leonardo was a fundamentally different kind of scientist from Galileo, Newton and other scientists who followed him in that, as a "Renaissance Man", his theorising and hypothesising integrated the arts and particularly painting. Anatomy and physiology Leonardo started his study in the anatomy of the human body under the apprenticeship of Verrocchio, who demanded that his students develop a deep knowledge of the subject. As an artist, he quickly became master of topographic anatomy, drawing many studies of muscles, tendons and other visible anatomical features. As a successful artist, Leonardo was given permission to dissect human corpses at the Hospital of Santa Maria Nuova in Florence and later at hospitals in Milan and Rome. From 1510 to 1511 he collaborated in his studies with the doctor Marcantonio della Torre. Leonardo made over 240 detailed drawings and wrote about 13,000 words toward a treatise on anatomy. Only a small amount of the material on anatomy was published in Leonardo's Treatise on painting. During the time that Melzi was ordering the material into chapters for publication, they were examined by a number of anatomists and artists, including Vasari, Cellini and Albrecht Dürer, who made a number of drawings from them. Leonardo's anatomical drawings include many studies of the human skeleton and its parts, and of muscles and sinews. He studied the mechanical functions of the skeleton and the muscular forces that are applied to it in a manner that prefigured the modern science of biomechanics. He drew the heart and vascular system, the sex organs and other internal organs, making one of the first scientific drawings of a fetus in utero. The drawings and notation are far ahead of their time, and if published would undoubtedly have made a major contribution to medical science. Leonardo also closely observed and recorded the effects of age and of human emotion on the physiology, studying in particular the effects of rage. He drew many figures who had significant facial deformities or signs of illness. Leonardo also studied and drew the anatomy of many animals, dissecting cows, birds, monkeys, bears, and frogs, and comparing in his drawings their anatomical structure with that of humans. He also made a number of studies of horses. Leonardo's dissections and documentation of muscles, nerves, and vessels helped to describe the physiology and mechanics of movement. He attempted to identify the source of 'emotions' and their expression. He found it difficult to incorporate the prevailing system and theories of bodily humours, but eventually he abandoned these physiological explanations of bodily functions. He made the observations that humours were not located in cerebral spaces or ventricles. He documented that the humours were not contained in the heart or the liver, and that it was the heart that defined the circulatory system. He was the first to define atherosclerosis and liver cirrhosis. He created models of the cerebral ventricles with the use of melted wax and constructed a glass aorta to observe the circulation of blood through the aortic valve by using water and grass seed to watch flow patterns. Vesalius published his work on anatomy and physiology in De humani corporis fabrica in 1543. Engineering and inventions During his lifetime, Leonardo was also valued as an engineer. With the same rational and analytical approach that moved him to represent the human body and to investigate anatomy, Leonardo studied and designed many machines and devices. He drew their “anatomy” with unparalleled mastery, producing the first form of the modern technical drawing, including a perfected "exploded view" technique, to represent internal components. Those studies and projects collected in his codices fill more than 5,000 pages. In a letter of 1482 to the lord of Milan Ludovico il Moro, he wrote that he could create all sorts of machines both for the protection of a city and for siege. When he fled from Milan to Venice in 1499, he found employment as an engineer and devised a system of moveable barricades to protect the city from attack. In 1502, he created a scheme for diverting the flow of the Arno river, a project on which Niccolò Machiavelli also worked. He continued to contemplate the canalization of Lombardy's plains while in Louis XII's company and of the Loire and its tributaries in the company of Francis I. Leonardo's journals include a vast number of inventions, both practical and impractical. They include musical instruments, a mechanical knight, hydraulic pumps, reversible crank mechanisms, finned mortar shells, and a steam cannon. Leonardo was fascinated by the phenomenon of flight for much of his life, producing many studies, including Codex on the Flight of Birds (), as well as plans for several flying machines, such as a flapping ornithopter and a machine with a helical rotor. A 2003 documentary by British television station Channel Four, titled Leonardo's Dream Machines, various designs by Leonardo, such as a parachute and a giant crossbow, were interpreted and constructed. Some of those designs proved successful, whilst others fared less well when tested. Research performed by Marc van den Broek revealed older prototypes for more than 100 inventions that are ascribed to Leonardo. Similarities between Leonardo's illustrations and drawings from the Middle Ages and from Ancient Greece and Rome, the Chinese and Persian Empires, and Egypt suggest that a large portion of Leonardo's inventions had been conceived before his lifetime. Leonardo's innovation was to combine different functions from existing drafts and set them into scenes that illustrated their utility. By reconstituting technical inventions he created something new. In his notebooks, Leonardo first stated the ‘laws’ of sliding friction in 1493. His inspiration for investigating friction came about in part from his study of perpetual motion, which he correctly concluded was not possible. His results were never published and the friction laws were not rediscovered until 1699 by Guillaume Amontons, with whose name they are now usually associated. For this contribution, Leonardo was named as the first of the 23 "Men of Tribology" by Duncan Dowson. Legacy Although he had no formal academic training, many historians and scholars regard Leonardo as the prime exemplar of the "Universal Genius" or "Renaissance Man", an individual of "unquenchable curiosity" and "feverishly inventive imagination." He is widely considered one of the most diversely talented individuals ever to have lived. According to art historian Helen Gardner, the scope and depth of his interests were without precedent in recorded history, and "his mind and personality seem to us superhuman, while the man himself mysterious and remote." Scholars interpret his view of the world as being based in logic, though the empirical methods he used were unorthodox for his time. Leonardo's fame within his own lifetime was such that the King of France carried him away like a trophy, and was claimed to have supported him in his old age and held him in his arms as he died. Interest in Leonardo and his work has never diminished. Crowds still queue to see his best-known artworks, T-shirts still bear his most famous drawing, and writers continue to hail him as a genius while speculating about his private life, as well as about what one so intelligent actually believed in. The continued admiration that Leonardo commanded from painters, critics and historians is reflected in many other written tributes. Baldassare Castiglione, author of Il Cortegiano (The Courtier), wrote in 1528: "...Another of the greatest painters in this world looks down on this art in which he is unequalled..." while the biographer known as "Anonimo Gaddiano" wrote, : "His genius was so rare and universal that it can be said that nature worked a miracle on his behalf..." Vasari, in his Lives of the Artists (1568), opens his chapter on Leonardo: In the normal course of events many men and women are born with remarkable talents; but occasionally, in a way that transcends nature, a single person is marvellously endowed by Heaven with beauty, grace and talent in such abundance that he leaves other men far behind, all his actions seem inspired and indeed everything he does clearly comes from God rather than from human skill. Everyone acknowledged that this was true of Leonardo da Vinci, an artist of outstanding physical beauty, who displayed infinite grace in everything that he did and who cultivated his genius so brilliantly that all problems he studied he solved with ease. The 19th century brought a particular admiration for Leonardo's genius, causing Henry Fuseli to write in 1801: "Such was the dawn of modern art, when Leonardo da Vinci broke forth with a splendour that distanced former excellence: made up of all the elements that constitute the essence of genius..." This is echoed by A.E. Rio who wrote in 1861: "He towered above all other artists through the strength and the nobility of his talents." By the 19th century, the scope of Leonardo's notebooks was known, as well as his paintings. Hippolyte Taine wrote in 1866: "There may not be in the world an example of another genius so universal, so incapable of fulfilment, so full of yearning for the infinite, so naturally refined, so far ahead of his own century and the following centuries." Art historian Bernard Berenson wrote in 1896: "Leonardo is the one artist of whom it may be said with perfect literalness: Nothing that he touched but turned into a thing of eternal beauty. Whether it be the cross section of a skull, the structure of a weed, or a study of muscles, he, with his feeling for line and for light and shade, forever transmuted it into life-communicating values." The interest in Leonardo's genius has continued unabated; experts study and translate his writings, analyse his paintings using scientific techniques, argue over attributions and search for works which have been recorded but never found. Liana Bortolon, writing in 1967, said: "Because of the multiplicity of interests that spurred him to pursue every field of knowledge...Leonardo can be considered, quite rightly, to have been the universal genius par excellence, and with all the disquieting overtones inherent in that term. Man is as uncomfortable today, faced with a genius, as he was in the 16th century. Five centuries have passed, yet we still view Leonardo with awe." The Elmer Belt Library of Vinciana is a special collection at the University of California, Los Angeles. Twenty-first-century author Walter Isaacson based much of his biography of Leonardo on thousands of notebook entries, studying the personal notes, sketches, budget notations, and musings of the man whom he considers the greatest of innovators. Isaacson was surprised to discover a "fun, joyous" side of Leonardo in addition to his limitless curiosity and creative genius. On the 500th anniversary of Leonardo's death, the Louvre in Paris arranged for the largest ever single exhibit of his work, called Leonardo, between November 2019 and February 2020. The exhibit includes over 100 paintings, drawings and notebooks. Eleven of the paintings that Leonardo completed in his lifetime were included. Five of these are owned by the Louvre, but the Mona Lisa was not included because it is in such great demand among general visitors to the Louvre; it remains on display in its gallery. Vitruvian Man, however, is on display following a legal battle with its owner, the Gallerie dell'Accademia in Venice. Salvator Mundi was also not included because its Saudi owner did not agree to lease the work. The Mona Lisa, considered Leonardo's magnum opus, is often regarded as the most famous portrait ever made. The Last Supper is the most reproduced religious painting of all time, and Leonardo's Vitruvian Man drawing is also considered a cultural icon. More than a decade of analysis of Leonardo's genetic genealogy, conducted by Alessandro Vezzosi and Agnese Sabato, came to a conclusion in mid-2021. It was determined that the artist has 14 living male relatives. The work could also help determine the authenticity of remains thought to belong to Leonardo. Location of remains While Leonardo was certainly buried in the collegiate church of Saint Florentin at the Château d'Amboise in 12 August 1519, the current location of his remains is unclear. Much of Château d'Amboise was damaged during the French Revolution, leading to the church's demolition in 1802. Some of the graves were destroyed in the process, scattering the bones interred there and thereby leaving the whereabouts of Leonardo's remains subject to dispute; a gardener may have even buried some in the corner of the courtyard. In 1863, fine-arts inspector general Arsène Houssaye received an imperial commission to excavate the site and discovered a partially complete skeleton with a bronze ring on one finger, white hair, and stone fragments bearing the inscriptions "EO", "AR", "DUS", and "VINC"—interpreted as forming "Leonardus Vinci". The skull's eight teeth corresponds to someone of approximately the appropriate age and a silver shield found near the bones depicts a beardless Francis I, corresponding to the king's appearance during Leonardo's time in France. Houssaye postulated that the unusually large skull was an indicator of Leonardo's intelligence; author Charles Nicholl describes this as a "dubious phrenological deduction." At the same time, Houssaye noted some issues with his observations, including that the feet were turned toward the high altar, a practice generally reserved for laymen, and that the skeleton of seemed too short. Art historian Mary Margaret Heaton wrote in 1874 that the height would be appropriate for Leonardo. The skull was allegedly presented to Napoleon III before being returned to the Château d'Amboise, where they were in the chapel of Saint Hubert in 1874. A plaque above the tomb states that its contents are only presumed to be those of Leonardo. It has since been theorized that the folding of the skeleton's right arm over the head may correspond to the paralysis of Leonardo's right hand. In 2016, it was announced that DNA tests would be conducted to determine whether the attribution is correct. The DNA of the remains will be compared to that of samples collected from Leonardo's work and his half-brother Domenico's descendants; it may also be sequenced. In 2019, documents were published revealing that Houssaye had kept the ring and a lock of hair. In 1925, his great-grandson sold these to an American collector. Sixty years later, another American acquired them, leading to their being displayed at the Leonardo Museum in Vinci beginning on 2 May 2019, the 500th anniversary of the artist's death. Notes General Dates of works References Citations Early Modern Works cited Early in in Modern Books volume 2: . A reprint of the original 1883 edition Journals and encyclopedia articles Further reading See and for extensive bibliographies External links General Universal Leonardo, a database of Leonardo's life and works maintained by Martin Kemp and Marina Wallace Leonardo da Vinci on the National Gallery website Works Biblioteca Leonardiana, online bibliography (in Italian) e-Leo: Archivio digitale di storia della tecnica e della scienza, archive of drawings, notes and manuscripts Complete text and images of Richter's translation of the Notebooks The Notebooks of Leonardo da Vinci 1452 births 1519 deaths 15th-century Italian mathematicians 15th-century Italian painters 15th-century Italian scientists 15th-century Italian sculptors 15th-century people of the Republic of Florence 16th-century Italian mathematicians 16th-century Italian painters 16th-century Italian scientists 16th-century Italian sculptors 16th-century people of the Republic of Florence Ambassadors of the Republic of Florence Ballistics experts Fabulists Painters from Florence Botanical illustrators Fluid dynamicists History of anatomy Italian anatomists Italian caricaturists Italian civil engineers 16th-century Italian inventors Italian male painters Italian male sculptors Italian military engineers Italian physiologists Italian Renaissance humanists Italian Renaissance painters Italian Renaissance sculptors Italian Roman Catholics Mathematical artists Painters by city People prosecuted under anti-homosexuality laws Philosophical theists Physiognomists Renaissance architects Renaissance painters Renaissance scientists Painters from Tuscany Burials in France Writers who illustrated their own writing	false	[ "\"What's Love\" is the third and final single from rapper Shaggy's seventh studio album, Intoxication. The song features guest vocals from Akon. The song was released on November 14, 2008. A French version of the song was recorded, featuring vocals from Lord Kossity. It was released in France in September 2008. The video for the song was directed by Hype Williams.\n\nReception\nAllMusic stated that in his crossover songs, like this one, \"Shaggy is more discerning than ever and makes sure the radio-friendly material is right in line with his skill set.\"\n\nTrack listing\n CD Single\n \"What's Love\" (Original Album Edit) – 3:08\n \"What's Love\" (New Radio Edit) - 3:08\n \"What's Love\" (Extended Version) – 4:03'''''\n\n \"What's Love\" (Big Room Mix) – 6:33\n \"Feel The Rush\" (Extended Mix) - 5:00\n \"What's Love\" (Video - New Radio Edit Version) - 3:08\n\n French CD Single\n \"What's Love\" (Remix Feat. Lord Kossity) – 2:54\n \"What's Love\" (Extended Remix Feat. Lord Kossity) – 3:52\n\nCharts\n\nWeekly charts\n\nYear-end charts\n\nReferences\n\n2007 singles\nShaggy (musician) songs\nAkon songs\nMusic videos directed by Hype Williams\nSongs written by Akon\n2007 songs\nSongs written by Shaggy (musician)\nVP Records singles", "\"I Love What Love Is Doing to Me\" is a song written by Johnny Cunningham. It was recorded by American country music artist Lynn Anderson and released as a single in 1977 via Columbia Records, becoming a top 40 hit that year.\n\nBackground and release\n\"I Love What Love Is Doing to Me\" was recorded in April 1977 at the Columbia Studio, located in Nashville, Tennessee. The sessions was produced by Glenn Sutton, Anderson's longtime production collaborator at the label and her first husband. It was co-produced by Steve Gibson, making the session Anderson's first experience under the co-production of Gibson. Nine additional tracks were recorded at this particular session, including the major hit \"He Ain't You.\"\n\n\"I Love What Love Is Doing to Me\" was released as a single in May 1977 via Columbia Records. The song spent ten weeks on the Billboard Hot Country Singles chart before reaching number 22 in July 1977. The song was issued on Anderson's 1977 studio album I Love What Love Is Doing to Me/He Ain't You.\n\nTrack listings \n7\" vinyl single\n \"I Love What Love Is Doing to Me\" – 2:10\n \"Will I Ever Hear Those Churchbells Ring?\" – 3:32\n\nChart performance\n\nReferences\n\n1977 singles\n1977 songs\nColumbia Records singles\nLynn Anderson songs\nSong recordings produced by Glenn Sutton" ]
[ "Leonardo da Vinci", "Verrocchio's workshop, 1466-1476", "What was his first love", "Leonardo was apprenticed to the artist Andrea di Cione," ]	C_e9fd1aa07b684a6698373397ebd79adc_0	WHat year was this	2	WHat year was Leonardo da Vinci apprenticed to the artist Andrea di Cione?	Leonardo da Vinci	In 1466, at the age of fourteen, Leonardo was apprenticed to the artist Andrea di Cione, known as Verrocchio, whose bottega (workshop) was "one of the finest in Florence". He apprenticed as a garzone (studio boy) to Andrea del Verrocchio, the leading Florentine painter and sculptor of his day (and would do so for 7 years). Other famous painters apprenticed or associated with the workshop include Domenico Ghirlandaio, Perugino, Botticelli, and Lorenzo di Credi. Leonardo would have been exposed to both theoretical training and a vast range of technical skills, including drafting, chemistry, metallurgy, metal working, plaster casting, leather working, mechanics and carpentry as well as the artistic skills of drawing, painting, sculpting and modelling. Much of the painted production of Verrocchio's workshop was done by his employees. According to Vasari, Leonardo collaborated with Verrocchio on his The Baptism of Christ, painting the young angel holding Jesus' robe in a manner that was so far superior to his master's that Verrocchio put down his brush and never painted again, although this is believed to be apocryphal. Close examination reveals areas that have been painted or touched-up over the tempera using the new technique of oil paint; the landscape, the rocks seen through the brown mountain stream and much of the figure of Jesus bearing witness to the hand of Leonardo. Leonardo may have been the model for two works by Verrocchio: the bronze statue of David in the Bargello and the Archangel Raphael in Tobias and the Angel. By 1472, at the age of twenty, Leonardo qualified as a master in the Guild of Saint Luke, the guild of artists and doctors of medicine, but even after his father set him up in his own workshop, his attachment to Verrocchio was such that he continued to collaborate with him. Leonardo's earliest known dated work is a drawing in pen and ink of the Arno valley, drawn on 5 August 1473. CANNOTANSWER	1466,	Leonardo di ser Piero da Vinci (15 April 14522 May 1519) was an Italian polymath of the High Renaissance who was active as a painter, draughtsman, engineer, scientist, theorist, sculptor and architect. While his fame initially rested on his achievements as a painter, he also became known for his notebooks, in which he made drawings and notes on a variety of subjects, including anatomy, astronomy, botany, cartography, painting, and paleontology. Leonardo's genius epitomized the Renaissance humanist ideal, and his collective works compose a contribution to later generations of artists matched only by that of his younger contemporary, Michelangelo. Born out of wedlock to a successful notary and a lower-class woman in, or near, Vinci, he was educated in Florence by the Italian painter and sculptor Andrea del Verrocchio. He began his career in the city, but then spent much time in the service of Ludovico Sforza in Milan. Later, he worked in Florence and Milan again, as well as briefly in Rome, all while attracting a large following of imitators and students. Upon the invitation of Francis I, he spent his last three years in France, where he died in 1519. Since his death, there has not been a time where his achievements, diverse interests, personal life, and empirical thinking have failed to incite interest and admiration, making him a frequent namesake and subject in culture. Leonardo is among the greatest painters in the history of art and is often credited as the founder of the High Renaissance. Despite having many lost works and less than 25 attributed major works—including numerous unfinished works—he created some of the most influential paintings in Western art. His magnum opus, the Mona Lisa, is his best known work and often regarded as the world's most famous painting. The Last Supper is the most reproduced religious painting of all time and his Vitruvian Man drawing is also regarded as a cultural icon. In 2017, Salvator Mundi, attributed in whole or part to Leonardo, was sold at auction for , setting a new record for the most expensive painting ever sold at public auction. Revered for his technological ingenuity, he conceptualized flying machines, a type of armored fighting vehicle, concentrated solar power, an adding machine, and the double hull. Relatively few of his designs were constructed or even feasible during his lifetime, as the modern scientific approaches to metallurgy and engineering were only in their infancy during the Renaissance. Some of his smaller inventions, however, entered the world of manufacturing unheralded, such as an automated bobbin winder and a machine for testing the tensile strength of wire. He made substantial discoveries in anatomy, civil engineering, hydrodynamics, geology, optics, and tribology, but he did not publish his findings and they had little to no direct influence on subsequent science. Biography Early life (1452–1472) Birth and background Leonardo da Vinci, properly named Leonardo di ser Piero da Vinci (Leonardo, son of ser Piero from Vinci), was born on 15 April 1452 in, or close to, the Tuscan hill town of Vinci; Florence was 20 miles away. He was born out of wedlock to (Ser Piero di Antonio di Ser Piero di Ser Guido da Vinci; 1426–1504), a Florentine legal notary, and ( – 1494), from the lower-class. It remains uncertain where Leonardo was born; the traditional account, from a local oral tradition recorded by the historian Emanuele Repetti, is that he was born in Anchiano, a country hamlet that would have offered sufficient privacy for the illegitimate birth, though it is still possible he was born in a house in Florence that Ser Piero almost certainly had. Leonardo's parents both married separately the year after his birth. Caterina—who later appears in Leonardo's notes as only "Caterina" or "Catelina"—is usually identified as the Caterina Buti del Vacca who married the local artisan Antonio di Piero Buti del Vacca, nicknamed "L'Accattabriga" ("the quarrelsome one"). Other theories have been proposed, particularly that of art historian Martin Kemp, who suggested Caterina di Meo Lippi, an orphan that married purportedly with aid from Ser Piero and his family. Ser Piero married Albiera Amadori—having been betrothed to her the previous year—and after her death in 1462, went on to have three subsequent marriages. From all the marriages, Leonardo eventually had 12 half-siblings who were much younger than he was (the last was born when Leonardo was 40 years old) and with whom he had very little contact. Very little is known about Leonardo's childhood and much is shrouded in myth, partially because of his biography in the frequently apocryphal Lives of the Most Excellent Painters, Sculptors, and Architects (1550) from the 16th-century art historian Giorgio Vasari. Tax records indicate that by at least 1457 he lived in the household of his paternal grandfather, Antonio da Vinci, but it is possible that he spent the years before then in the care of his mother in Vinci, either Anchiano or Campo Zeppi in the parish of San Pantaleone. He is thought to have been close to his uncle, Francesco da Vinci, but his father was likely in Florence most of the time. Ser Piero, who was the descendant of a long line of notaries, established an official residence in Florence by at least 1469 and led a successful career. Despite his family history, Leonardo only received a basic and informal education in (vernacular) writing, reading and mathematics, possibly because his artistic talents were recognised early, so his family decided to focus their attention there. Later in life, Leonardo recorded his earliest memory, now in the Codex Atlanticus. While writing on the flight of birds, he recalled as an infant when a kite came to his cradle and opened his mouth with its tail; commentators still debate whether the anecdote was an actual memory or a fantasy. Verrocchio's workshop In the mid-1460s, Leonardo's family moved to Florence, which at the time was the centre of Christian Humanist thought and culture. Around the age of 14, he became a garzone (studio boy) in the workshop of Andrea del Verrocchio, who was the leading Florentine painter and sculptor of his time. This was about the time of the death of Verrocchio's master, the great sculptor Donatello. Leonardo became an apprentice by the age of 17 and remained in training for seven years. Other famous painters apprenticed in the workshop or associated with it include Ghirlandaio, Perugino, Botticelli, and Lorenzo di Credi. Leonardo was exposed to both theoretical training and a wide range of technical skills, including drafting, chemistry, metallurgy, metal working, plaster casting, leather working, mechanics, and woodwork, as well as the artistic skills of drawing, painting, sculpting, and modelling. Leonardo was a contemporary of Botticelli, Ghirlandaio and Perugino, who were all slightly older than he was. He would have met them at the workshop of Verrocchio or at the Platonic Academy of the Medici. Florence was ornamented by the works of artists such as Donatello's contemporaries Masaccio, whose figurative frescoes were imbued with realism and emotion, and Ghiberti, whose Gates of Paradise, gleaming with gold leaf, displayed the art of combining complex figure compositions with detailed architectural backgrounds. Piero della Francesca had made a detailed study of perspective, and was the first painter to make a scientific study of light. These studies and Leon Battista Alberti's treatise De pictura were to have a profound effect on younger artists and in particular on Leonardo's own observations and artworks. Much of the painting in Verrocchio's workshop was done by his assistants. According to Vasari, Leonardo collaborated with Verrocchio on his The Baptism of Christ, painting the young angel holding Jesus' robe in a manner that was so far superior to his master's that Verrocchio put down his brush and never painted again, although this is believed to be an apocryphal story. Close examination reveals areas of the work that have been painted or touched-up over the tempera, using the new technique of oil paint, including the landscape, the rocks seen through the brown mountain stream, and much of the figure of Jesus, bearing witness to the hand of Leonardo. Leonardo may have been the model for two works by Verrocchio: the bronze statue of David in the Bargello, and the Archangel Raphael in Tobias and the Angel. Vasari tells a story of Leonardo as a very young man: a local peasant made himself a round shield and requested that Ser Piero have it painted for him. Leonardo, inspired by the story of Medusa, responded with a painting of a monster spitting fire that was so terrifying that his father bought a different shield to give to the peasant and sold Leonardo's to a Florentine art dealer for 100 ducats, who in turn sold it to the Duke of Milan. First Florentine period (1472–c. 1482) By 1472, at the age of 20, Leonardo qualified as a master in the Guild of Saint Luke, the guild of artists and doctors of medicine, but even after his father set him up in his own workshop, his attachment to Verrocchio was such that he continued to collaborate and live with him. Leonardo's earliest known dated work is a 1473 pen-and-ink drawing of the Arno valley. According to Vasari, the young Leonardo was the first to suggest making the Arno river a navigable channel between Florence and Pisa. In January 1478, Leonardo received an independent commission to paint an altarpiece for the Chapel of St. Bernard in the Palazzo Vecchio, an indication of his independence from Verrocchio's studio. An anonymous early biographer, known as Anonimo Gaddiano, claims that in 1480 Leonardo was living with the Medici and often worked in the garden of the Piazza San Marco, Florence, where a Neoplatonic academy of artists, poets and philosophers organized by the Medici met. In March 1481, he received a commission from the monks of San Donato in Scopeto for The Adoration of the Magi. Neither of these initial commissions were completed, being abandoned when Leonardo went to offer his services to Duke of Milan Ludovico Sforza. Leonardo wrote Sforza a letter which described the diverse things that he could achieve in the fields of engineering and weapon design, and mentioned that he could paint. He brought with him a silver string instrument—either a lute or lyre—in the form of a horse's head. With Alberti, Leonardo visited the home of the Medici and through them came to know the older Humanist philosophers of whom Marsiglio Ficino, proponent of Neoplatonism; Cristoforo Landino, writer of commentaries on Classical writings, and John Argyropoulos, teacher of Greek and translator of Aristotle were the foremost. Also associated with the Platonic Academy of the Medici was Leonardo's contemporary, the brilliant young poet and philosopher Pico della Mirandola. In 1482, Leonardo was sent as an ambassador by Lorenzo de' Medici to Ludovico il Moro, who ruled Milan between 1479 and 1499. First Milanese period (c. 1482–1499) Leonardo worked in Milan from 1482 until 1499. He was commissioned to paint the Virgin of the Rocks for the Confraternity of the Immaculate Conception and The Last Supper for the monastery of Santa Maria delle Grazie. In the spring of 1485, Leonardo travelled to Hungary on behalf of Sforza to meet king Matthias Corvinus, and was commissioned by him to paint a Madonna. Leonardo was employed on many other projects for Sforza, including the preparation of floats and pageants for special occasions, a drawing and wooden model for a competition to design the cupola for Milan Cathedral (which he withdrew), and a model for a huge equestrian monument to Ludovico's predecessor Francesco Sforza. This would have surpassed in size the only two large equestrian statues of the Renaissance, Donatello's Gattamelata in Padua and Verrocchio's Bartolomeo Colleoni in Venice, and became known as the Gran Cavallo. Leonardo completed a model for the horse and made detailed plans for its casting, but in November 1494, Ludovico gave the bronze to his brother-in-law to be used for a cannon to defend the city from Charles VIII of France. Contemporary correspondence records that Leonardo and his assistants were commissioned by the Duke of Milan to paint the Sala delle Asse in the Sforza Castle. The decoration was completed in 1498. The project became a trompe-l'œil decoration that made the great hall appear to be a pergola created by the interwoven limbs of sixteen mulberry trees, whose canopy included an intricate labyrinth of leaves and knots on the ceiling. Second Florentine period (1500–1508) When Ludovico Sforza was overthrown by France in 1500, Leonardo fled Milan for Venice, accompanied by his assistant Salaì and friend, the mathematician Luca Pacioli. In Venice, Leonardo was employed as a military architect and engineer, devising methods to defend the city from naval attack. On his return to Florence in 1500, he and his household were guests of the Servite monks at the monastery of Santissima Annunziata and were provided with a workshop where, according to Vasari, Leonardo created the cartoon of The Virgin and Child with St Anne and St John the Baptist, a work that won such admiration that "men [and] women, young and old" flocked to see it "as if they were going to a solemn festival." In Cesena in 1502, Leonardo entered the service of Cesare Borgia, the son of Pope Alexander VI, acting as a military architect and engineer and travelling throughout Italy with his patron. Leonardo created a map of Cesare Borgia's stronghold, a town plan of Imola in order to win his patronage. Upon seeing it, Cesare hired Leonardo as his chief military engineer and architect. Later in the year, Leonardo produced another map for his patron, one of Chiana Valley, Tuscany, so as to give his patron a better overlay of the land and greater strategic position. He created this map in conjunction with his other project of constructing a dam from the sea to Florence, in order to allow a supply of water to sustain the canal during all seasons. Leonardo had left Borgia's service and returned to Florence by early 1503, where he rejoined the Guild of Saint Luke on 18 October of that year. By this same month, Leonardo had begun working on a portrait of Lisa del Giocondo, the model for the Mona Lisa, which he would continue working on until his twilight years. In January 1504, he was part of a committee formed to recommend where Michelangelo's statue of David should be placed. He then spent two years in Florence designing and painting a mural of The Battle of Anghiari for the Signoria, with Michelangelo designing its companion piece, The Battle of Cascina. In 1506, Leonardo was summoned to Milan by Charles II d'Amboise, the acting French governor of the city. There, Leonardo took on another pupil, Count Francesco Melzi, the son of a Lombard aristocrat, who is considered to have been his favourite student. The Council of Florence wished Leonardo to return promptly to finish The Battle of Anghiari, but he was given leave at the behest of Louis XII, who considered commissioning the artist to make some portraits. Leonardo may have commenced a project for an equestrian figure of d'Amboise; a wax model survives and, if genuine, is the only extant example of Leonardo's sculpture. Leonardo was otherwise free to pursue his scientific interests. Many of Leonardo's most prominent pupils either knew or worked with him in Milan, including Bernardino Luini, Giovanni Antonio Boltraffio, and Marco d'Oggiono. In 1507, Leonardo was in Florence sorting out a dispute with his brothers over the estate of his father, who had died in 1504. Second Milanese period (1508–1513) By 1508, Leonardo was back in Milan, living in his own house in Porta Orientale in the parish of Santa Babila. In 1512, Leonardo was working on plans for an equestrian monument for Gian Giacomo Trivulzio, but this was prevented by an invasion of a confederation of Swiss, Spanish and Venetian forces, which drove the French from Milan. Leonardo stayed in the city, spending several months in 1513 at the Medici's Vaprio d'Adda villa. Rome and France (1513–1519) In March of 1513, Lorenzo de' Medici's son Giovanni assumed the papacy (as Leo X); Leonardo went to Rome that September, where he was received by the pope's brother Giuliano. From September 1513 to 1516, Leonardo spent much of his time living in the Belvedere Courtyard in the Apostolic Palace, where Michelangelo and Raphael were both active. Leonardo was given an allowance of 33 ducats a month, and according to Vasari, decorated a lizard with scales dipped in quicksilver. The pope gave him a painting commission of unknown subject matter, but cancelled it when the artist set about developing a new kind of varnish. Leonardo became ill, in what may have been the first of multiple strokes leading to his death. He practiced botany in the Gardens of Vatican City, and was commissioned to make plans for the pope's proposed draining of the Pontine Marshes. He also dissected cadavers, making notes for a treatise on vocal cords; these he gave to an official in hopes of regaining the pope's favor, but was unsuccessful. In October 1515, King Francis I of France recaptured Milan. Leonardo was present at the 19 December meeting of Francis I and Leo X, which took place in Bologna. In 1516, Leonardo entered Francis' service, being given the use of the manor house Clos Lucé, near the king's residence at the royal Château d'Amboise. Being frequently visited by Francis, he drew plans for an immense castle town the king intended to erect at Romorantin, and made a mechanical lion, which during a pageant walked toward the king and—upon being struck by a wand—opened its chest to reveal a cluster of lilies. Leonardo was accompanied during this time by his friend and apprentice Francesco Melzi, and supported by a pension totalling 10,000 scudi. At some point, Melzi drew a portrait of Leonardo; the only others known from his lifetime were a sketch by an unknown assistant on the back of one of Leonardo's studies () and a drawing by Giovanni Ambrogio Figino depicting an elderly Leonardo with his right arm assuaged by cloth. The latter, in addition to the record of an October 1517 visit by Louis d'Aragon, confirms an account of Leonardo's right hand being paralytic at the age of 65, which may indicate why he left works such as the Mona Lisa unfinished. He continued to work at some capacity until eventually becoming ill and bedridden for several months. Death Leonardo died at Clos Lucé on 2 May 1519 at the age of 67, possibly of a stroke. Francis I had become a close friend. Vasari describes Leonardo as lamenting on his deathbed, full of repentance, that "he had offended against God and men by failing to practice his art as he should have done." Vasari states that in his last days, Leonardo sent for a priest to make his confession and to receive the Holy Sacrament. Vasari also records that the king held Leonardo's head in his arms as he died, although this story may be legend rather than fact. In accordance with his will, sixty beggars carrying tapers followed Leonardo's casket. Melzi was the principal heir and executor, receiving, as well as money, Leonardo's paintings, tools, library and personal effects. Leonardo's other long-time pupil and companion, Salaì, and his servant Baptista de Vilanis, each received half of Leonardo's vineyards. His brothers received land, and his serving woman received a fur-lined cloak. On 12 August 1519, Leonardo's remains were interred in the Collegiate Church of Saint Florentin at the Château d'Amboise. Salaì, or Il Salaino ("The Little Unclean One," i.e., the devil), entered Leonardo's household in 1490 as an assistant. After only a year, Leonardo made a list of his misdemeanours, calling him "a thief, a liar, stubborn, and a glutton," after he had made off with money and valuables on at least five occasions and spent a fortune on clothes. Nevertheless, Leonardo treated him with great indulgence, and he remained in Leonardo's household for the next thirty years. Salaì executed a number of paintings under the name of Andrea Salaì, but although Vasari claims that Leonardo "taught him many things about painting," his work is generally considered to be of less artistic merit than others among Leonardo's pupils, such as Marco d'Oggiono and Boltraffio. Salaì owned the Mona Lisa at the time of Leonardo's death in 1524, and in his will it was assessed at 505 lire, an exceptionally high valuation for a small panel portrait. Some 20 years after Leonardo's death, Francis was reported by the goldsmith and sculptor Benvenuto Cellini as saying: "There had never been another man born in the world who knew as much as Leonardo, not so much about painting, sculpture and architecture, as that he was a very great philosopher." Personal life Despite the thousands of pages Leonardo left in notebooks and manuscripts, he scarcely made reference to his personal life. Within Leonardo's lifetime, his extraordinary powers of invention, his "great physical beauty" and "infinite grace," as described by Vasari, as well as all other aspects of his life, attracted the curiosity of others. One such aspect was his love for animals, likely including vegetarianism and according to Vasari, a habit of purchasing caged birds and releasing them. Leonardo had many friends who are now notable either in their fields or for their historical significance, including mathematician Luca Pacioli, with whom he collaborated on the book Divina proportione in the 1490s. Leonardo appears to have had no close relationships with women except for his friendship with Cecilia Gallerani and the two Este sisters, Beatrice and Isabella. While on a journey that took him through Mantua, he drew a portrait of Isabella that appears to have been used to create a painted portrait, now lost. Beyond friendship, Leonardo kept his private life secret. His sexuality has been the subject of satire, analysis, and speculation. This trend began in the mid-16th century and was revived in the 19th and 20th centuries, most notably by Sigmund Freud in his Leonardo da Vinci, A Memory of His Childhood. Leonardo's most intimate relationships were perhaps with his pupils Salaì and Melzi. Melzi, writing to inform Leonardo's brothers of his death, described Leonardo's feelings for his pupils as both loving and passionate. It has been claimed since the 16th century that these relationships were of a sexual or erotic nature. Court records of 1476, when he was aged twenty-four, show that Leonardo and three other young men were charged with sodomy in an incident involving a well-known male prostitute. The charges were dismissed for lack of evidence, and there is speculation that since one of the accused, Lionardo de Tornabuoni, was related to Lorenzo de' Medici, the family exerted its influence to secure the dismissal. Since that date much has been written about his presumed homosexuality and its role in his art, particularly in the androgyny and eroticism manifested in Saint John the Baptist and Bacchus and more explicitly in a number of erotic drawings. Paintings Despite the recent awareness and admiration of Leonardo as a scientist and inventor, for the better part of four hundred years his fame rested on his achievements as a painter. A handful of works that are either authenticated or attributed to him have been regarded as among the great masterpieces. These paintings are famous for a variety of qualities that have been much imitated by students and discussed at great length by connoisseurs and critics. By the 1490s Leonardo had already been described as a "Divine" painter. Among the qualities that make Leonardo's work unique are his innovative techniques for laying on the paint; his detailed knowledge of anatomy, light, botany and geology; his interest in physiognomy and the way humans register emotion in expression and gesture; his innovative use of the human form in figurative composition; and his use of subtle gradation of tone. All these qualities come together in his most famous painted works, the Mona Lisa, the Last Supper, and the Virgin of the Rocks. Early works Leonardo first gained attention for his work on the Baptism of Christ, painted in conjunction with Verrocchio. Two other paintings appear to date from his time at Verrocchio's workshop, both of which are Annunciations. One is small, long and high. It is a "predella" to go at the base of a larger composition, a painting by Lorenzo di Credi from which it has become separated. The other is a much larger work, long. In both Annunciations, Leonardo used a formal arrangement, like two well-known pictures by Fra Angelico of the same subject, of the Virgin Mary sitting or kneeling to the right of the picture, approached from the left by an angel in profile, with a rich flowing garment, raised wings and bearing a lily. Although previously attributed to Ghirlandaio, the larger work is now generally attributed to Leonardo. In the smaller painting, Mary averts her eyes and folds her hands in a gesture that symbolised submission to God's will. Mary is not submissive, however, in the larger piece. The girl, interrupted in her reading by this unexpected messenger, puts a finger in her bible to mark the place and raises her hand in a formal gesture of greeting or surprise. This calm young woman appears to accept her role as the Mother of God, not with resignation but with confidence. In this painting, the young Leonardo presents the humanist face of the Virgin Mary, recognising humanity's role in God's incarnation. Paintings of the 1480s In the 1480s, Leonardo received two very important commissions and commenced another work that was of ground-breaking importance in terms of composition. Two of the three were never finished, and the third took so long that it was subject to lengthy negotiations over completion and payment. One of these paintings was Saint Jerome in the Wilderness, which Bortolon associates with a difficult period of Leonardo's life, as evidenced in his diary: "I thought I was learning to live; I was only learning to die." Although the painting is barely begun, the composition can be seen and is very unusual. Jerome, as a penitent, occupies the middle of the picture, set on a slight diagonal and viewed somewhat from above. His kneeling form takes on a trapezoid shape, with one arm stretched to the outer edge of the painting and his gaze looking in the opposite direction. J. Wasserman points out the link between this painting and Leonardo's anatomical studies. Across the foreground sprawls his symbol, a great lion whose body and tail make a double spiral across the base of the picture space. The other remarkable feature is the sketchy landscape of craggy rocks against which the figure is silhouetted. The daring display of figure composition, the landscape elements and personal drama also appear in the great unfinished masterpiece, the Adoration of the Magi, a commission from the Monks of San Donato a Scopeto. It is a complex composition, of about Leonardo did numerous drawings and preparatory studies, including a detailed one in linear perspective of the ruined classical architecture that forms part of the background. In 1482 Leonardo went to Milan at the behest of Lorenzo de' Medici in order to win favour with Ludovico il Moro, and the painting was abandoned. The third important work of this period is the Virgin of the Rocks, commissioned in Milan for the Confraternity of the Immaculate Conception. The painting, to be done with the assistance of the de Predis brothers, was to fill a large complex altarpiece. Leonardo chose to paint an apocryphal moment of the infancy of Christ when the infant John the Baptist, in protection of an angel, met the Holy Family on the road to Egypt. The painting demonstrates an eerie beauty as the graceful figures kneel in adoration around the infant Christ in a wild landscape of tumbling rock and whirling water. While the painting is quite large, about , it is not nearly as complex as the painting ordered by the monks of St Donato, having only four figures rather than about fifty and a rocky landscape rather than architectural details. The painting was eventually finished; in fact, two versions of the painting were finished: one remained at the chapel of the Confraternity, while Leonardo took the other to France. The Brothers did not get their painting, however, nor the de Predis their payment, until the next century. Leonardo's most remarkable portrait of this period is the Lady with an Ermine, presumed to be Cecilia Gallerani (), lover of Ludovico Sforza. The painting is characterised by the pose of the figure with the head turned at a very different angle to the torso, unusual at a date when many portraits were still rigidly in profile. The ermine plainly carries symbolic meaning, relating either to the sitter, or to Ludovico who belonged to the prestigious Order of the Ermine. Paintings of the 1490s Leonardo's most famous painting of the 1490s is The Last Supper, commissioned for the refectory of the Convent of Santa Maria della Grazie in Milan. It represents the last meal shared by Jesus with his disciples before his capture and death, and shows the moment when Jesus has just said "one of you will betray me", and the consternation that this statement caused. The writer Matteo Bandello observed Leonardo at work and wrote that some days he would paint from dawn till dusk without stopping to eat and then not paint for three or four days at a time. This was beyond the comprehension of the prior of the convent, who hounded him until Leonardo asked Ludovico to intervene. Vasari describes how Leonardo, troubled over his ability to adequately depict the faces of Christ and the traitor Judas, told the duke that he might be obliged to use the prior as his model. The painting was acclaimed as a masterpiece of design and characterization, but it deteriorated rapidly, so that within a hundred years it was described by one viewer as "completely ruined." Leonardo, instead of using the reliable technique of fresco, had used tempera over a ground that was mainly gesso, resulting in a surface subject to mould and to flaking. Despite this, the painting remains one of the most reproduced works of art; countless copies have been made in various mediums. Toward the end of this period, in 1498 da Vinci's trompe-l'œil decoration of the Sala delle Asse was painted for the Duke of Milan in the Castello Sforzesco. Paintings of the 1500s In 1505, Leonardo was commissioned to paint The Battle of Anghiari in the Salone dei Cinquecento (Hall of the Five Hundred) in the Palazzo Vecchio, Florence. Leonardo devised a dynamic composition depicting four men riding raging war horses engaged in a battle for possession of a standard, at the Battle of Anghiari in 1440. Michelangelo was assigned the opposite wall to depict the Battle of Cascina. Leonardo's painting deteriorated rapidly and is now known from a copy by Rubens. Among the works created by Leonardo in the 16th century is the small portrait known as the Mona Lisa or La Gioconda, the laughing one. In the present era, it is arguably the most famous painting in the world. Its fame rests, in particular, on the elusive smile on the woman's face, its mysterious quality perhaps due to the subtly shadowed corners of the mouth and eyes such that the exact nature of the smile cannot be determined. The shadowy quality for which the work is renowned came to be called "sfumato," or Leonardo's smoke. Vasari wrote that the smile was "so pleasing that it seems more divine than human, and it was considered a wondrous thing that it was as lively as the smile of the living original." Other characteristics of the painting are the unadorned dress, in which the eyes and hands have no competition from other details; the dramatic landscape background, in which the world seems to be in a state of flux; the subdued colouring; and the extremely smooth nature of the painterly technique, employing oils laid on much like tempera, and blended on the surface so that the brushstrokes are indistinguishable. Vasari expressed that the painting's quality would make even "the most confident master ... despair and lose heart." The perfect state of preservation and the fact that there is no sign of repair or overpainting is rare in a panel painting of this date. In the painting Virgin and Child with St. Anne, the composition again picks up the theme of figures in a landscape, which Wasserman describes as "breathtakingly beautiful" and harkens back to the St Jerome picture with the figure set at an oblique angle. What makes this painting unusual is that there are two obliquely set figures superimposed. Mary is seated on the knee of her mother, St Anne. She leans forward to restrain the Christ Child as he plays roughly with a lamb, the sign of his own impending sacrifice. This painting, which was copied many times, influenced Michelangelo, Raphael, and Andrea del Sarto, and through them Pontormo and Correggio. The trends in composition were adopted in particular by the Venetian painters Tintoretto and Veronese. Drawings Leonardo was a prolific draughtsman, keeping journals full of small sketches and detailed drawings recording all manner of things that took his attention. As well as the journals there exist many studies for paintings, some of which can be identified as preparatory to particular works such as The Adoration of the Magi, The Virgin of the Rocks and The Last Supper. His earliest dated drawing is a Landscape of the Arno Valley, 1473, which shows the river, the mountains, Montelupo Castle and the farmlands beyond it in great detail. Among his famous drawings are the Vitruvian Man, a study of the proportions of the human body; the Head of an Angel, for The Virgin of the Rocks in the Louvre; a botanical study of Star of Bethlehem; and a large drawing (160×100 cm) in black chalk on coloured paper of The Virgin and Child with Saint Anne and Saint John the Baptist in the National Gallery, London. This drawing employs the subtle sfumato technique of shading, in the manner of the Mona Lisa. It is thought that Leonardo never made a painting from it, the closest similarity being to The Virgin and Child with Saint Anne in the Louvre. Other drawings of interest include numerous studies generally referred to as "caricatures" because, although exaggerated, they appear to be based upon observation of live models. Vasari relates that Leonardo would look for interesting faces in public to use as models for some of his work. There are numerous studies of beautiful young men, often associated with Salaì, with the rare and much admired facial feature, the so-called "Grecian profile." These faces are often contrasted with that of a warrior. Salaì is often depicted in fancy-dress costume. Leonardo is known to have designed sets for pageants with which these may be associated. Other, often meticulous, drawings show studies of drapery. A marked development in Leonardo's ability to draw drapery occurred in his early works. Another often-reproduced drawing is a macabre sketch that was done by Leonardo in Florence in 1479 showing the body of Bernardo Baroncelli, hanged in connection with the murder of Giuliano, brother of Lorenzo de' Medici, in the Pazzi conspiracy. In his notes, Leonardo recorded the colours of the robes that Baroncelli was wearing when he died. Like the two contemporary architects Donato Bramante (who designed the Belvedere Courtyard) and Antonio da Sangallo the Elder, Leonardo experimented with designs for centrally planned churches, a number of which appear in his journals, as both plans and views, although none was ever realised. Journals and notes Renaissance humanism recognised no mutually exclusive polarities between the sciences and the arts, and Leonardo's studies in science and engineering are sometimes considered as impressive and innovative as his artistic work. These studies were recorded in 13,000 pages of notes and drawings, which fuse art and natural philosophy (the forerunner of modern science). They were made and maintained daily throughout Leonardo's life and travels, as he made continual observations of the world around him. Leonardo's notes and drawings display an enormous range of interests and preoccupations, some as mundane as lists of groceries and people who owed him money and some as intriguing as designs for wings and shoes for walking on water. There are compositions for paintings, studies of details and drapery, studies of faces and emotions, of animals, babies, dissections, plant studies, rock formations, whirlpools, war machines, flying machines and architecture. These notebooks—originally loose papers of different types and sizes—were largely entrusted to Leonardo's pupil and heir Francesco Melzi after the master's death. These were to be published, a task of overwhelming difficulty because of its scope and Leonardo's idiosyncratic writing. Some of Leonardo's drawings were copied by an anonymous Milanese artist for a planned treatise on art . After Melzi's death in 1570, the collection passed to his son, the lawyer Orazio, who initially took little interest in the journals. In 1587, a Melzi household tutor named Lelio Gavardi took 13 of the manuscripts to Pisa; there, the architect Giovanni Magenta reproached Gavardi for having taken the manuscripts illicitly and returned them to Orazio. Having many more such works in his possession, Orazio gifted the volumes to Magenta. News spread of these lost works of Leonardo's, and Orazio retrieved seven of the 13 manuscripts, which he then gave to Pompeo Leoni for publication in two volumes; one of these was the Codex Atlanticus. The other six works had been distributed to a few others. After Orazio's death, his heirs sold the rest of Leonardo's possessions, and thus began their dispersal. Some works have found their way into major collections such as the Royal Library at Windsor Castle, the Louvre, the Biblioteca Nacional de España, the Victoria and Albert Museum, the Biblioteca Ambrosiana in Milan, which holds the 12-volume Codex Atlanticus, and the British Library in London, which has put a selection from the Codex Arundel (BL Arundel MS 263) online. Works have also been at Holkham Hall, the Metropolitan Museum of Art, and in the private hands of John Nicholas Brown I and Robert Lehman. The Codex Leicester is the only privately owned major scientific work of Leonardo; it is owned by Bill Gates and displayed once a year in different cities around the world. Most of Leonardo's writings are in mirror-image cursive. Since Leonardo wrote with his left hand, it was probably easier for him to write from right to left. Leonardo used a variety of shorthand and symbols, and states in his notes that he intended to prepare them for publication. In many cases a single topic is covered in detail in both words and pictures on a single sheet, together conveying information that would not be lost if the pages were published out of order. Why they were not published during Leonardo's lifetime is unknown. Science and inventions Leonardo's approach to science was observational: he tried to understand a phenomenon by describing and depicting it in utmost detail and did not emphasise experiments or theoretical explanation. Since he lacked formal education in Latin and mathematics, contemporary scholars mostly ignored Leonardo the scientist, although he did teach himself Latin. His keen observations in many areas were noted, such as when he wrote "Il sole non si move." ("The Sun does not move.") In the 1490s he studied mathematics under Luca Pacioli and prepared a series of drawings of regular solids in a skeletal form to be engraved as plates for Pacioli's book Divina proportione, published in 1509. While living in Milan, he studied light from the summit of Monte Rosa. Scientific writings in his notebook on fossils have been considered as influential on early palaeontology. The content of his journals suggest that he was planning a series of treatises on a variety of subjects. A coherent treatise on anatomy is said to have been observed during a visit by Cardinal Louis d'Aragon's secretary in 1517. Aspects of his work on the studies of anatomy, light and the landscape were assembled for publication by Melzi and eventually published as A Treatise on Painting in France and Italy in 1651 and Germany in 1724, with engravings based upon drawings by the Classical painter Nicolas Poussin. According to Arasse, the treatise, which in France went into 62 editions in fifty years, caused Leonardo to be seen as "the precursor of French academic thought on art." While Leonardo's experimentation followed scientific methods, a recent and exhaustive analysis of Leonardo as a scientist by Fritjof Capra argues that Leonardo was a fundamentally different kind of scientist from Galileo, Newton and other scientists who followed him in that, as a "Renaissance Man", his theorising and hypothesising integrated the arts and particularly painting. Anatomy and physiology Leonardo started his study in the anatomy of the human body under the apprenticeship of Verrocchio, who demanded that his students develop a deep knowledge of the subject. As an artist, he quickly became master of topographic anatomy, drawing many studies of muscles, tendons and other visible anatomical features. As a successful artist, Leonardo was given permission to dissect human corpses at the Hospital of Santa Maria Nuova in Florence and later at hospitals in Milan and Rome. From 1510 to 1511 he collaborated in his studies with the doctor Marcantonio della Torre. Leonardo made over 240 detailed drawings and wrote about 13,000 words toward a treatise on anatomy. Only a small amount of the material on anatomy was published in Leonardo's Treatise on painting. During the time that Melzi was ordering the material into chapters for publication, they were examined by a number of anatomists and artists, including Vasari, Cellini and Albrecht Dürer, who made a number of drawings from them. Leonardo's anatomical drawings include many studies of the human skeleton and its parts, and of muscles and sinews. He studied the mechanical functions of the skeleton and the muscular forces that are applied to it in a manner that prefigured the modern science of biomechanics. He drew the heart and vascular system, the sex organs and other internal organs, making one of the first scientific drawings of a fetus in utero. The drawings and notation are far ahead of their time, and if published would undoubtedly have made a major contribution to medical science. Leonardo also closely observed and recorded the effects of age and of human emotion on the physiology, studying in particular the effects of rage. He drew many figures who had significant facial deformities or signs of illness. Leonardo also studied and drew the anatomy of many animals, dissecting cows, birds, monkeys, bears, and frogs, and comparing in his drawings their anatomical structure with that of humans. He also made a number of studies of horses. Leonardo's dissections and documentation of muscles, nerves, and vessels helped to describe the physiology and mechanics of movement. He attempted to identify the source of 'emotions' and their expression. He found it difficult to incorporate the prevailing system and theories of bodily humours, but eventually he abandoned these physiological explanations of bodily functions. He made the observations that humours were not located in cerebral spaces or ventricles. He documented that the humours were not contained in the heart or the liver, and that it was the heart that defined the circulatory system. He was the first to define atherosclerosis and liver cirrhosis. He created models of the cerebral ventricles with the use of melted wax and constructed a glass aorta to observe the circulation of blood through the aortic valve by using water and grass seed to watch flow patterns. Vesalius published his work on anatomy and physiology in De humani corporis fabrica in 1543. Engineering and inventions During his lifetime, Leonardo was also valued as an engineer. With the same rational and analytical approach that moved him to represent the human body and to investigate anatomy, Leonardo studied and designed many machines and devices. He drew their “anatomy” with unparalleled mastery, producing the first form of the modern technical drawing, including a perfected "exploded view" technique, to represent internal components. Those studies and projects collected in his codices fill more than 5,000 pages. In a letter of 1482 to the lord of Milan Ludovico il Moro, he wrote that he could create all sorts of machines both for the protection of a city and for siege. When he fled from Milan to Venice in 1499, he found employment as an engineer and devised a system of moveable barricades to protect the city from attack. In 1502, he created a scheme for diverting the flow of the Arno river, a project on which Niccolò Machiavelli also worked. He continued to contemplate the canalization of Lombardy's plains while in Louis XII's company and of the Loire and its tributaries in the company of Francis I. Leonardo's journals include a vast number of inventions, both practical and impractical. They include musical instruments, a mechanical knight, hydraulic pumps, reversible crank mechanisms, finned mortar shells, and a steam cannon. Leonardo was fascinated by the phenomenon of flight for much of his life, producing many studies, including Codex on the Flight of Birds (), as well as plans for several flying machines, such as a flapping ornithopter and a machine with a helical rotor. A 2003 documentary by British television station Channel Four, titled Leonardo's Dream Machines, various designs by Leonardo, such as a parachute and a giant crossbow, were interpreted and constructed. Some of those designs proved successful, whilst others fared less well when tested. Research performed by Marc van den Broek revealed older prototypes for more than 100 inventions that are ascribed to Leonardo. Similarities between Leonardo's illustrations and drawings from the Middle Ages and from Ancient Greece and Rome, the Chinese and Persian Empires, and Egypt suggest that a large portion of Leonardo's inventions had been conceived before his lifetime. Leonardo's innovation was to combine different functions from existing drafts and set them into scenes that illustrated their utility. By reconstituting technical inventions he created something new. In his notebooks, Leonardo first stated the ‘laws’ of sliding friction in 1493. His inspiration for investigating friction came about in part from his study of perpetual motion, which he correctly concluded was not possible. His results were never published and the friction laws were not rediscovered until 1699 by Guillaume Amontons, with whose name they are now usually associated. For this contribution, Leonardo was named as the first of the 23 "Men of Tribology" by Duncan Dowson. Legacy Although he had no formal academic training, many historians and scholars regard Leonardo as the prime exemplar of the "Universal Genius" or "Renaissance Man", an individual of "unquenchable curiosity" and "feverishly inventive imagination." He is widely considered one of the most diversely talented individuals ever to have lived. According to art historian Helen Gardner, the scope and depth of his interests were without precedent in recorded history, and "his mind and personality seem to us superhuman, while the man himself mysterious and remote." Scholars interpret his view of the world as being based in logic, though the empirical methods he used were unorthodox for his time. Leonardo's fame within his own lifetime was such that the King of France carried him away like a trophy, and was claimed to have supported him in his old age and held him in his arms as he died. Interest in Leonardo and his work has never diminished. Crowds still queue to see his best-known artworks, T-shirts still bear his most famous drawing, and writers continue to hail him as a genius while speculating about his private life, as well as about what one so intelligent actually believed in. The continued admiration that Leonardo commanded from painters, critics and historians is reflected in many other written tributes. Baldassare Castiglione, author of Il Cortegiano (The Courtier), wrote in 1528: "...Another of the greatest painters in this world looks down on this art in which he is unequalled..." while the biographer known as "Anonimo Gaddiano" wrote, : "His genius was so rare and universal that it can be said that nature worked a miracle on his behalf..." Vasari, in his Lives of the Artists (1568), opens his chapter on Leonardo: In the normal course of events many men and women are born with remarkable talents; but occasionally, in a way that transcends nature, a single person is marvellously endowed by Heaven with beauty, grace and talent in such abundance that he leaves other men far behind, all his actions seem inspired and indeed everything he does clearly comes from God rather than from human skill. Everyone acknowledged that this was true of Leonardo da Vinci, an artist of outstanding physical beauty, who displayed infinite grace in everything that he did and who cultivated his genius so brilliantly that all problems he studied he solved with ease. The 19th century brought a particular admiration for Leonardo's genius, causing Henry Fuseli to write in 1801: "Such was the dawn of modern art, when Leonardo da Vinci broke forth with a splendour that distanced former excellence: made up of all the elements that constitute the essence of genius..." This is echoed by A.E. Rio who wrote in 1861: "He towered above all other artists through the strength and the nobility of his talents." By the 19th century, the scope of Leonardo's notebooks was known, as well as his paintings. Hippolyte Taine wrote in 1866: "There may not be in the world an example of another genius so universal, so incapable of fulfilment, so full of yearning for the infinite, so naturally refined, so far ahead of his own century and the following centuries." Art historian Bernard Berenson wrote in 1896: "Leonardo is the one artist of whom it may be said with perfect literalness: Nothing that he touched but turned into a thing of eternal beauty. Whether it be the cross section of a skull, the structure of a weed, or a study of muscles, he, with his feeling for line and for light and shade, forever transmuted it into life-communicating values." The interest in Leonardo's genius has continued unabated; experts study and translate his writings, analyse his paintings using scientific techniques, argue over attributions and search for works which have been recorded but never found. Liana Bortolon, writing in 1967, said: "Because of the multiplicity of interests that spurred him to pursue every field of knowledge...Leonardo can be considered, quite rightly, to have been the universal genius par excellence, and with all the disquieting overtones inherent in that term. Man is as uncomfortable today, faced with a genius, as he was in the 16th century. Five centuries have passed, yet we still view Leonardo with awe." The Elmer Belt Library of Vinciana is a special collection at the University of California, Los Angeles. Twenty-first-century author Walter Isaacson based much of his biography of Leonardo on thousands of notebook entries, studying the personal notes, sketches, budget notations, and musings of the man whom he considers the greatest of innovators. Isaacson was surprised to discover a "fun, joyous" side of Leonardo in addition to his limitless curiosity and creative genius. On the 500th anniversary of Leonardo's death, the Louvre in Paris arranged for the largest ever single exhibit of his work, called Leonardo, between November 2019 and February 2020. The exhibit includes over 100 paintings, drawings and notebooks. Eleven of the paintings that Leonardo completed in his lifetime were included. Five of these are owned by the Louvre, but the Mona Lisa was not included because it is in such great demand among general visitors to the Louvre; it remains on display in its gallery. Vitruvian Man, however, is on display following a legal battle with its owner, the Gallerie dell'Accademia in Venice. Salvator Mundi was also not included because its Saudi owner did not agree to lease the work. The Mona Lisa, considered Leonardo's magnum opus, is often regarded as the most famous portrait ever made. The Last Supper is the most reproduced religious painting of all time, and Leonardo's Vitruvian Man drawing is also considered a cultural icon. More than a decade of analysis of Leonardo's genetic genealogy, conducted by Alessandro Vezzosi and Agnese Sabato, came to a conclusion in mid-2021. It was determined that the artist has 14 living male relatives. The work could also help determine the authenticity of remains thought to belong to Leonardo. Location of remains While Leonardo was certainly buried in the collegiate church of Saint Florentin at the Château d'Amboise in 12 August 1519, the current location of his remains is unclear. Much of Château d'Amboise was damaged during the French Revolution, leading to the church's demolition in 1802. Some of the graves were destroyed in the process, scattering the bones interred there and thereby leaving the whereabouts of Leonardo's remains subject to dispute; a gardener may have even buried some in the corner of the courtyard. In 1863, fine-arts inspector general Arsène Houssaye received an imperial commission to excavate the site and discovered a partially complete skeleton with a bronze ring on one finger, white hair, and stone fragments bearing the inscriptions "EO", "AR", "DUS", and "VINC"—interpreted as forming "Leonardus Vinci". The skull's eight teeth corresponds to someone of approximately the appropriate age and a silver shield found near the bones depicts a beardless Francis I, corresponding to the king's appearance during Leonardo's time in France. Houssaye postulated that the unusually large skull was an indicator of Leonardo's intelligence; author Charles Nicholl describes this as a "dubious phrenological deduction." At the same time, Houssaye noted some issues with his observations, including that the feet were turned toward the high altar, a practice generally reserved for laymen, and that the skeleton of seemed too short. Art historian Mary Margaret Heaton wrote in 1874 that the height would be appropriate for Leonardo. The skull was allegedly presented to Napoleon III before being returned to the Château d'Amboise, where they were in the chapel of Saint Hubert in 1874. A plaque above the tomb states that its contents are only presumed to be those of Leonardo. It has since been theorized that the folding of the skeleton's right arm over the head may correspond to the paralysis of Leonardo's right hand. In 2016, it was announced that DNA tests would be conducted to determine whether the attribution is correct. The DNA of the remains will be compared to that of samples collected from Leonardo's work and his half-brother Domenico's descendants; it may also be sequenced. In 2019, documents were published revealing that Houssaye had kept the ring and a lock of hair. In 1925, his great-grandson sold these to an American collector. Sixty years later, another American acquired them, leading to their being displayed at the Leonardo Museum in Vinci beginning on 2 May 2019, the 500th anniversary of the artist's death. Notes General Dates of works References Citations Early Modern Works cited Early in in Modern Books volume 2: . A reprint of the original 1883 edition Journals and encyclopedia articles Further reading See and for extensive bibliographies External links General Universal Leonardo, a database of Leonardo's life and works maintained by Martin Kemp and Marina Wallace Leonardo da Vinci on the National Gallery website Works Biblioteca Leonardiana, online bibliography (in Italian) e-Leo: Archivio digitale di storia della tecnica e della scienza, archive of drawings, notes and manuscripts Complete text and images of Richter's translation of the Notebooks The Notebooks of Leonardo da Vinci 1452 births 1519 deaths 15th-century Italian mathematicians 15th-century Italian painters 15th-century Italian scientists 15th-century Italian sculptors 15th-century people of the Republic of Florence 16th-century Italian mathematicians 16th-century Italian painters 16th-century Italian scientists 16th-century Italian sculptors 16th-century people of the Republic of Florence Ambassadors of the Republic of Florence Ballistics experts Fabulists Painters from Florence Botanical illustrators Fluid dynamicists History of anatomy Italian anatomists Italian caricaturists Italian civil engineers 16th-century Italian inventors Italian male painters Italian male sculptors Italian military engineers Italian physiologists Italian Renaissance humanists Italian Renaissance painters Italian Renaissance sculptors Italian Roman Catholics Mathematical artists Painters by city People prosecuted under anti-homosexuality laws Philosophical theists Physiognomists Renaissance architects Renaissance painters Renaissance scientists Painters from Tuscany Burials in France Writers who illustrated their own writing	false	[ "\"This Is What It Feels Like\" is a song by Dutch DJ and record producer Armin van Buuren, featuring Canadian singer, songwriter and former soulDecision frontman Trevor Guthrie, released in the Netherlands by Armada Music on 29 April 2013 as the second single from van Buuren's fifth studio album, Intense (2013).\n\n\"This Is What It Feels Like\" peaked at number three on the Dutch Top 40. Outside the Netherlands, \"This Is What It Feels Like\" peaked within the top ten of the charts in ten countries, including Austria, Belgium (Flanders), Canada, Israel and the United Kingdom.\n\nThe song was written by Armin van Buuren, Benno de Goeij, Jenson Vaughan, Trevor Guthrie and John Ewbank. Van Buuren wrote the instrumental with de Goeij and Ewbank in 2012. Trevor Guthrie wrote the lyrics with Jenson Vaughan, and it was inspired by Guthrie's neighbour who was diagnosed with a brain tumor. \"This Is What It Feels Like\" was nominated for the 2014 Grammy Award for Best Dance Recording. The song was featured in the intro for a 2019 episode of America's Got Talent.\n\nMusic video\nA music video to accompany the release of \"This is What It Feels Like\" was first released onto YouTube on 17 March 2013. The video also features a guest appearance by Ron Jeremy. As of September 2017, it has received over 100 million views, making it the fifth most viewed video on Armada Music's YouTube channel.\n\nTrack listing\n Digital downloads\n \"This Is What It Feels Like\" – 3:25\n \"This Is What It Feels Like\" (extended mix) – 5:16\n \"This Is What It Feels Like\" (W&W remix) – 6:16\n \"This Is What It Feels Like\" (David Guetta remix) – 5:28\n \"This Is What It Feels Like\" (Antillas and Dankann remix) – 5:44\n \"This Is What It Feels Like\" (Antillas and Dankann radio edit) – 3:34\n \"This Is What It Feels Like\" (Giuseppe Ottaviani remix) – 6:38\n \"This Is What It Feels Like\" (Giuseppe Ottaviani radio edit) – 3:55\n \"This Is What It Feels Like\" (John Ewbank classical remix) – 3:12\n UK CD single\n \"This Is What It Feels Like\" – 3:25\n \"This Is What It Feels Like\" (extended mix) – 5:16\n \"This Is What It Feels Like\" (W&W remix) – 6:16\n \"Waiting for the Night\" – 3:03\n German CD single\n \"This Is What It Feels Like\" – 3:25\n \"This Is What It Feels Like\" (David Guetta remix) – 5:28\n\n Maddix remix\n \"This Is What It Feels Like\" (Maddix remix) – 3:50\n \"This Is What It Feels Like\" (Maddix extended mix) – 4:50\n\nCharts\n\nWeekly charts\n\nYear-end charts\n\nCertifications\n\nRelease history\n\nJason Benoit version\n\n\"This Is What It Feels Like\" was covered by Canadian country music artist Jason Benoit and released through Sky Hit Records, under license to Sony Music Canada, as Benoit's debut single on 10 September 2013. His rendition reached number 46 on the Billboard Canada Country chart. It received positive reviews for Benoit's \"strong vocal performance\" was also included on the compilation album, Country Heat 2014.\n\nMusic video\nAn official lyric video was uploaded to Benoit's Vevo channel on 4 October 2013.\n\nChart performance\n\nReferences\n\n2013 singles\n2013 songs\nArmin van Buuren songs\nArmada Music singles\nJuno Award for Dance Recording of the Year recordings\nSongs written by Armin van Buuren\nSongs written by Benno de Goeij\nSongs written by Jenson Vaughan\nSongs written by Trevor Guthrie\nTrevor Guthrie songs", "The What A Summer Stakes is an American Thoroughbred horse race held annually in January at Laurel Park Racecourse in Laurel, Maryland. The race is open to fillies and mares four years old and up and is run at six furlongs on the dirt.\n\nAn ungraded stakes race, it offers a purse of $100,000. The race was restricted to Maryland-breds between 1978 and 1992. It was run for fillies and mares from age three and up from 1978 through 1985 and was run under handicap conditions during that same time. The race was restricted to two-year-olds from 1985 to 1992.\n\nThe race was named in honor of What A Summer, a gray mare by What Luck. She was an Eclipse Award winner and was named American Champion Sprint Horse in 1977. She was bred in Maryland by Milton Polinger. What A Summer was a foal in 1973 and won 18 of 31 starts in her career. She won the de facto second leg of the filly Triple Crown, the Black-Eyed Susan Stakes, won the Fall Highweight Handicap twice (carrying 134 pounds each time), the Silver Spoon Handicap twice, the Maskette Handicap and four other stakes. In addition to her 18 wins, she placed nine times with earnings of $479,161. That record of 27 first or second finishes in 31 starts at 87% is among the best in history.\n\nWhat A Summer was trained by Bud Delp while racing for Polinger. She was bought by Diana Firestone following Polinger's death in 1976. Mrs. Firestone turned the mare over to trainer LeRoy Jolley. She was named Maryland-bred horse of the year in 1977 and twice was named champion older mare. What A Summer was retired in 1878 and as a broodmare produced several graded stakes winners.\n\nA venue of 1994 race was Gulfstream Park.\n\nRecords \n\nSpeed record: \n 6 furlongs – 1:09.20 – Xtra Heat (2003) \n 7 furlongs – 1:23.60 – Sea Siren (1983)\n\nMost wins by an horse:\n 2 – Silmaril (2006 & 2007)\n 2 – Sweet on Smokey (2016 & 2017)\n\nMost wins by an owner:\n 3 – Stephen E. Quick (1982, 2007 & 2008)\n\nMost wins by a jockey:\n 2 – five different jockeys share this record with 2 wins each\n\nMost wins by a trainer:\n 3 – Christopher W. Grove (2007, 2008 & 2010)\n\nWinners of the What A Summer Stakes since 1978\n\nSee also \n\n What A Summer Stakes top three finishers\n\nReferences\n\nExternal links\n Laurel Park website\n\n1978 establishments in Maryland\nLaurel Park Racecourse\nHorse races in Maryland\nRecurring sporting events established in 1978" ]
[ "Leonardo da Vinci", "Verrocchio's workshop, 1466-1476", "What was his first love", "Leonardo was apprenticed to the artist Andrea di Cione,", "WHat year was this", "1466," ]	C_e9fd1aa07b684a6698373397ebd79adc_0	Whatwas he known for	3	What was Leonardo da Vinci known for?	Leonardo da Vinci	In 1466, at the age of fourteen, Leonardo was apprenticed to the artist Andrea di Cione, known as Verrocchio, whose bottega (workshop) was "one of the finest in Florence". He apprenticed as a garzone (studio boy) to Andrea del Verrocchio, the leading Florentine painter and sculptor of his day (and would do so for 7 years). Other famous painters apprenticed or associated with the workshop include Domenico Ghirlandaio, Perugino, Botticelli, and Lorenzo di Credi. Leonardo would have been exposed to both theoretical training and a vast range of technical skills, including drafting, chemistry, metallurgy, metal working, plaster casting, leather working, mechanics and carpentry as well as the artistic skills of drawing, painting, sculpting and modelling. Much of the painted production of Verrocchio's workshop was done by his employees. According to Vasari, Leonardo collaborated with Verrocchio on his The Baptism of Christ, painting the young angel holding Jesus' robe in a manner that was so far superior to his master's that Verrocchio put down his brush and never painted again, although this is believed to be apocryphal. Close examination reveals areas that have been painted or touched-up over the tempera using the new technique of oil paint; the landscape, the rocks seen through the brown mountain stream and much of the figure of Jesus bearing witness to the hand of Leonardo. Leonardo may have been the model for two works by Verrocchio: the bronze statue of David in the Bargello and the Archangel Raphael in Tobias and the Angel. By 1472, at the age of twenty, Leonardo qualified as a master in the Guild of Saint Luke, the guild of artists and doctors of medicine, but even after his father set him up in his own workshop, his attachment to Verrocchio was such that he continued to collaborate with him. Leonardo's earliest known dated work is a drawing in pen and ink of the Arno valley, drawn on 5 August 1473. CANNOTANSWER	known as Verrocchio,	Leonardo di ser Piero da Vinci (15 April 14522 May 1519) was an Italian polymath of the High Renaissance who was active as a painter, draughtsman, engineer, scientist, theorist, sculptor and architect. While his fame initially rested on his achievements as a painter, he also became known for his notebooks, in which he made drawings and notes on a variety of subjects, including anatomy, astronomy, botany, cartography, painting, and paleontology. Leonardo's genius epitomized the Renaissance humanist ideal, and his collective works compose a contribution to later generations of artists matched only by that of his younger contemporary, Michelangelo. Born out of wedlock to a successful notary and a lower-class woman in, or near, Vinci, he was educated in Florence by the Italian painter and sculptor Andrea del Verrocchio. He began his career in the city, but then spent much time in the service of Ludovico Sforza in Milan. Later, he worked in Florence and Milan again, as well as briefly in Rome, all while attracting a large following of imitators and students. Upon the invitation of Francis I, he spent his last three years in France, where he died in 1519. Since his death, there has not been a time where his achievements, diverse interests, personal life, and empirical thinking have failed to incite interest and admiration, making him a frequent namesake and subject in culture. Leonardo is among the greatest painters in the history of art and is often credited as the founder of the High Renaissance. Despite having many lost works and less than 25 attributed major works—including numerous unfinished works—he created some of the most influential paintings in Western art. His magnum opus, the Mona Lisa, is his best known work and often regarded as the world's most famous painting. The Last Supper is the most reproduced religious painting of all time and his Vitruvian Man drawing is also regarded as a cultural icon. In 2017, Salvator Mundi, attributed in whole or part to Leonardo, was sold at auction for , setting a new record for the most expensive painting ever sold at public auction. Revered for his technological ingenuity, he conceptualized flying machines, a type of armored fighting vehicle, concentrated solar power, an adding machine, and the double hull. Relatively few of his designs were constructed or even feasible during his lifetime, as the modern scientific approaches to metallurgy and engineering were only in their infancy during the Renaissance. Some of his smaller inventions, however, entered the world of manufacturing unheralded, such as an automated bobbin winder and a machine for testing the tensile strength of wire. He made substantial discoveries in anatomy, civil engineering, hydrodynamics, geology, optics, and tribology, but he did not publish his findings and they had little to no direct influence on subsequent science. Biography Early life (1452–1472) Birth and background Leonardo da Vinci, properly named Leonardo di ser Piero da Vinci (Leonardo, son of ser Piero from Vinci), was born on 15 April 1452 in, or close to, the Tuscan hill town of Vinci; Florence was 20 miles away. He was born out of wedlock to (Ser Piero di Antonio di Ser Piero di Ser Guido da Vinci; 1426–1504), a Florentine legal notary, and ( – 1494), from the lower-class. It remains uncertain where Leonardo was born; the traditional account, from a local oral tradition recorded by the historian Emanuele Repetti, is that he was born in Anchiano, a country hamlet that would have offered sufficient privacy for the illegitimate birth, though it is still possible he was born in a house in Florence that Ser Piero almost certainly had. Leonardo's parents both married separately the year after his birth. Caterina—who later appears in Leonardo's notes as only "Caterina" or "Catelina"—is usually identified as the Caterina Buti del Vacca who married the local artisan Antonio di Piero Buti del Vacca, nicknamed "L'Accattabriga" ("the quarrelsome one"). Other theories have been proposed, particularly that of art historian Martin Kemp, who suggested Caterina di Meo Lippi, an orphan that married purportedly with aid from Ser Piero and his family. Ser Piero married Albiera Amadori—having been betrothed to her the previous year—and after her death in 1462, went on to have three subsequent marriages. From all the marriages, Leonardo eventually had 12 half-siblings who were much younger than he was (the last was born when Leonardo was 40 years old) and with whom he had very little contact. Very little is known about Leonardo's childhood and much is shrouded in myth, partially because of his biography in the frequently apocryphal Lives of the Most Excellent Painters, Sculptors, and Architects (1550) from the 16th-century art historian Giorgio Vasari. Tax records indicate that by at least 1457 he lived in the household of his paternal grandfather, Antonio da Vinci, but it is possible that he spent the years before then in the care of his mother in Vinci, either Anchiano or Campo Zeppi in the parish of San Pantaleone. He is thought to have been close to his uncle, Francesco da Vinci, but his father was likely in Florence most of the time. Ser Piero, who was the descendant of a long line of notaries, established an official residence in Florence by at least 1469 and led a successful career. Despite his family history, Leonardo only received a basic and informal education in (vernacular) writing, reading and mathematics, possibly because his artistic talents were recognised early, so his family decided to focus their attention there. Later in life, Leonardo recorded his earliest memory, now in the Codex Atlanticus. While writing on the flight of birds, he recalled as an infant when a kite came to his cradle and opened his mouth with its tail; commentators still debate whether the anecdote was an actual memory or a fantasy. Verrocchio's workshop In the mid-1460s, Leonardo's family moved to Florence, which at the time was the centre of Christian Humanist thought and culture. Around the age of 14, he became a garzone (studio boy) in the workshop of Andrea del Verrocchio, who was the leading Florentine painter and sculptor of his time. This was about the time of the death of Verrocchio's master, the great sculptor Donatello. Leonardo became an apprentice by the age of 17 and remained in training for seven years. Other famous painters apprenticed in the workshop or associated with it include Ghirlandaio, Perugino, Botticelli, and Lorenzo di Credi. Leonardo was exposed to both theoretical training and a wide range of technical skills, including drafting, chemistry, metallurgy, metal working, plaster casting, leather working, mechanics, and woodwork, as well as the artistic skills of drawing, painting, sculpting, and modelling. Leonardo was a contemporary of Botticelli, Ghirlandaio and Perugino, who were all slightly older than he was. He would have met them at the workshop of Verrocchio or at the Platonic Academy of the Medici. Florence was ornamented by the works of artists such as Donatello's contemporaries Masaccio, whose figurative frescoes were imbued with realism and emotion, and Ghiberti, whose Gates of Paradise, gleaming with gold leaf, displayed the art of combining complex figure compositions with detailed architectural backgrounds. Piero della Francesca had made a detailed study of perspective, and was the first painter to make a scientific study of light. These studies and Leon Battista Alberti's treatise De pictura were to have a profound effect on younger artists and in particular on Leonardo's own observations and artworks. Much of the painting in Verrocchio's workshop was done by his assistants. According to Vasari, Leonardo collaborated with Verrocchio on his The Baptism of Christ, painting the young angel holding Jesus' robe in a manner that was so far superior to his master's that Verrocchio put down his brush and never painted again, although this is believed to be an apocryphal story. Close examination reveals areas of the work that have been painted or touched-up over the tempera, using the new technique of oil paint, including the landscape, the rocks seen through the brown mountain stream, and much of the figure of Jesus, bearing witness to the hand of Leonardo. Leonardo may have been the model for two works by Verrocchio: the bronze statue of David in the Bargello, and the Archangel Raphael in Tobias and the Angel. Vasari tells a story of Leonardo as a very young man: a local peasant made himself a round shield and requested that Ser Piero have it painted for him. Leonardo, inspired by the story of Medusa, responded with a painting of a monster spitting fire that was so terrifying that his father bought a different shield to give to the peasant and sold Leonardo's to a Florentine art dealer for 100 ducats, who in turn sold it to the Duke of Milan. First Florentine period (1472–c. 1482) By 1472, at the age of 20, Leonardo qualified as a master in the Guild of Saint Luke, the guild of artists and doctors of medicine, but even after his father set him up in his own workshop, his attachment to Verrocchio was such that he continued to collaborate and live with him. Leonardo's earliest known dated work is a 1473 pen-and-ink drawing of the Arno valley. According to Vasari, the young Leonardo was the first to suggest making the Arno river a navigable channel between Florence and Pisa. In January 1478, Leonardo received an independent commission to paint an altarpiece for the Chapel of St. Bernard in the Palazzo Vecchio, an indication of his independence from Verrocchio's studio. An anonymous early biographer, known as Anonimo Gaddiano, claims that in 1480 Leonardo was living with the Medici and often worked in the garden of the Piazza San Marco, Florence, where a Neoplatonic academy of artists, poets and philosophers organized by the Medici met. In March 1481, he received a commission from the monks of San Donato in Scopeto for The Adoration of the Magi. Neither of these initial commissions were completed, being abandoned when Leonardo went to offer his services to Duke of Milan Ludovico Sforza. Leonardo wrote Sforza a letter which described the diverse things that he could achieve in the fields of engineering and weapon design, and mentioned that he could paint. He brought with him a silver string instrument—either a lute or lyre—in the form of a horse's head. With Alberti, Leonardo visited the home of the Medici and through them came to know the older Humanist philosophers of whom Marsiglio Ficino, proponent of Neoplatonism; Cristoforo Landino, writer of commentaries on Classical writings, and John Argyropoulos, teacher of Greek and translator of Aristotle were the foremost. Also associated with the Platonic Academy of the Medici was Leonardo's contemporary, the brilliant young poet and philosopher Pico della Mirandola. In 1482, Leonardo was sent as an ambassador by Lorenzo de' Medici to Ludovico il Moro, who ruled Milan between 1479 and 1499. First Milanese period (c. 1482–1499) Leonardo worked in Milan from 1482 until 1499. He was commissioned to paint the Virgin of the Rocks for the Confraternity of the Immaculate Conception and The Last Supper for the monastery of Santa Maria delle Grazie. In the spring of 1485, Leonardo travelled to Hungary on behalf of Sforza to meet king Matthias Corvinus, and was commissioned by him to paint a Madonna. Leonardo was employed on many other projects for Sforza, including the preparation of floats and pageants for special occasions, a drawing and wooden model for a competition to design the cupola for Milan Cathedral (which he withdrew), and a model for a huge equestrian monument to Ludovico's predecessor Francesco Sforza. This would have surpassed in size the only two large equestrian statues of the Renaissance, Donatello's Gattamelata in Padua and Verrocchio's Bartolomeo Colleoni in Venice, and became known as the Gran Cavallo. Leonardo completed a model for the horse and made detailed plans for its casting, but in November 1494, Ludovico gave the bronze to his brother-in-law to be used for a cannon to defend the city from Charles VIII of France. Contemporary correspondence records that Leonardo and his assistants were commissioned by the Duke of Milan to paint the Sala delle Asse in the Sforza Castle. The decoration was completed in 1498. The project became a trompe-l'œil decoration that made the great hall appear to be a pergola created by the interwoven limbs of sixteen mulberry trees, whose canopy included an intricate labyrinth of leaves and knots on the ceiling. Second Florentine period (1500–1508) When Ludovico Sforza was overthrown by France in 1500, Leonardo fled Milan for Venice, accompanied by his assistant Salaì and friend, the mathematician Luca Pacioli. In Venice, Leonardo was employed as a military architect and engineer, devising methods to defend the city from naval attack. On his return to Florence in 1500, he and his household were guests of the Servite monks at the monastery of Santissima Annunziata and were provided with a workshop where, according to Vasari, Leonardo created the cartoon of The Virgin and Child with St Anne and St John the Baptist, a work that won such admiration that "men [and] women, young and old" flocked to see it "as if they were going to a solemn festival." In Cesena in 1502, Leonardo entered the service of Cesare Borgia, the son of Pope Alexander VI, acting as a military architect and engineer and travelling throughout Italy with his patron. Leonardo created a map of Cesare Borgia's stronghold, a town plan of Imola in order to win his patronage. Upon seeing it, Cesare hired Leonardo as his chief military engineer and architect. Later in the year, Leonardo produced another map for his patron, one of Chiana Valley, Tuscany, so as to give his patron a better overlay of the land and greater strategic position. He created this map in conjunction with his other project of constructing a dam from the sea to Florence, in order to allow a supply of water to sustain the canal during all seasons. Leonardo had left Borgia's service and returned to Florence by early 1503, where he rejoined the Guild of Saint Luke on 18 October of that year. By this same month, Leonardo had begun working on a portrait of Lisa del Giocondo, the model for the Mona Lisa, which he would continue working on until his twilight years. In January 1504, he was part of a committee formed to recommend where Michelangelo's statue of David should be placed. He then spent two years in Florence designing and painting a mural of The Battle of Anghiari for the Signoria, with Michelangelo designing its companion piece, The Battle of Cascina. In 1506, Leonardo was summoned to Milan by Charles II d'Amboise, the acting French governor of the city. There, Leonardo took on another pupil, Count Francesco Melzi, the son of a Lombard aristocrat, who is considered to have been his favourite student. The Council of Florence wished Leonardo to return promptly to finish The Battle of Anghiari, but he was given leave at the behest of Louis XII, who considered commissioning the artist to make some portraits. Leonardo may have commenced a project for an equestrian figure of d'Amboise; a wax model survives and, if genuine, is the only extant example of Leonardo's sculpture. Leonardo was otherwise free to pursue his scientific interests. Many of Leonardo's most prominent pupils either knew or worked with him in Milan, including Bernardino Luini, Giovanni Antonio Boltraffio, and Marco d'Oggiono. In 1507, Leonardo was in Florence sorting out a dispute with his brothers over the estate of his father, who had died in 1504. Second Milanese period (1508–1513) By 1508, Leonardo was back in Milan, living in his own house in Porta Orientale in the parish of Santa Babila. In 1512, Leonardo was working on plans for an equestrian monument for Gian Giacomo Trivulzio, but this was prevented by an invasion of a confederation of Swiss, Spanish and Venetian forces, which drove the French from Milan. Leonardo stayed in the city, spending several months in 1513 at the Medici's Vaprio d'Adda villa. Rome and France (1513–1519) In March of 1513, Lorenzo de' Medici's son Giovanni assumed the papacy (as Leo X); Leonardo went to Rome that September, where he was received by the pope's brother Giuliano. From September 1513 to 1516, Leonardo spent much of his time living in the Belvedere Courtyard in the Apostolic Palace, where Michelangelo and Raphael were both active. Leonardo was given an allowance of 33 ducats a month, and according to Vasari, decorated a lizard with scales dipped in quicksilver. The pope gave him a painting commission of unknown subject matter, but cancelled it when the artist set about developing a new kind of varnish. Leonardo became ill, in what may have been the first of multiple strokes leading to his death. He practiced botany in the Gardens of Vatican City, and was commissioned to make plans for the pope's proposed draining of the Pontine Marshes. He also dissected cadavers, making notes for a treatise on vocal cords; these he gave to an official in hopes of regaining the pope's favor, but was unsuccessful. In October 1515, King Francis I of France recaptured Milan. Leonardo was present at the 19 December meeting of Francis I and Leo X, which took place in Bologna. In 1516, Leonardo entered Francis' service, being given the use of the manor house Clos Lucé, near the king's residence at the royal Château d'Amboise. Being frequently visited by Francis, he drew plans for an immense castle town the king intended to erect at Romorantin, and made a mechanical lion, which during a pageant walked toward the king and—upon being struck by a wand—opened its chest to reveal a cluster of lilies. Leonardo was accompanied during this time by his friend and apprentice Francesco Melzi, and supported by a pension totalling 10,000 scudi. At some point, Melzi drew a portrait of Leonardo; the only others known from his lifetime were a sketch by an unknown assistant on the back of one of Leonardo's studies () and a drawing by Giovanni Ambrogio Figino depicting an elderly Leonardo with his right arm assuaged by cloth. The latter, in addition to the record of an October 1517 visit by Louis d'Aragon, confirms an account of Leonardo's right hand being paralytic at the age of 65, which may indicate why he left works such as the Mona Lisa unfinished. He continued to work at some capacity until eventually becoming ill and bedridden for several months. Death Leonardo died at Clos Lucé on 2 May 1519 at the age of 67, possibly of a stroke. Francis I had become a close friend. Vasari describes Leonardo as lamenting on his deathbed, full of repentance, that "he had offended against God and men by failing to practice his art as he should have done." Vasari states that in his last days, Leonardo sent for a priest to make his confession and to receive the Holy Sacrament. Vasari also records that the king held Leonardo's head in his arms as he died, although this story may be legend rather than fact. In accordance with his will, sixty beggars carrying tapers followed Leonardo's casket. Melzi was the principal heir and executor, receiving, as well as money, Leonardo's paintings, tools, library and personal effects. Leonardo's other long-time pupil and companion, Salaì, and his servant Baptista de Vilanis, each received half of Leonardo's vineyards. His brothers received land, and his serving woman received a fur-lined cloak. On 12 August 1519, Leonardo's remains were interred in the Collegiate Church of Saint Florentin at the Château d'Amboise. Salaì, or Il Salaino ("The Little Unclean One," i.e., the devil), entered Leonardo's household in 1490 as an assistant. After only a year, Leonardo made a list of his misdemeanours, calling him "a thief, a liar, stubborn, and a glutton," after he had made off with money and valuables on at least five occasions and spent a fortune on clothes. Nevertheless, Leonardo treated him with great indulgence, and he remained in Leonardo's household for the next thirty years. Salaì executed a number of paintings under the name of Andrea Salaì, but although Vasari claims that Leonardo "taught him many things about painting," his work is generally considered to be of less artistic merit than others among Leonardo's pupils, such as Marco d'Oggiono and Boltraffio. Salaì owned the Mona Lisa at the time of Leonardo's death in 1524, and in his will it was assessed at 505 lire, an exceptionally high valuation for a small panel portrait. Some 20 years after Leonardo's death, Francis was reported by the goldsmith and sculptor Benvenuto Cellini as saying: "There had never been another man born in the world who knew as much as Leonardo, not so much about painting, sculpture and architecture, as that he was a very great philosopher." Personal life Despite the thousands of pages Leonardo left in notebooks and manuscripts, he scarcely made reference to his personal life. Within Leonardo's lifetime, his extraordinary powers of invention, his "great physical beauty" and "infinite grace," as described by Vasari, as well as all other aspects of his life, attracted the curiosity of others. One such aspect was his love for animals, likely including vegetarianism and according to Vasari, a habit of purchasing caged birds and releasing them. Leonardo had many friends who are now notable either in their fields or for their historical significance, including mathematician Luca Pacioli, with whom he collaborated on the book Divina proportione in the 1490s. Leonardo appears to have had no close relationships with women except for his friendship with Cecilia Gallerani and the two Este sisters, Beatrice and Isabella. While on a journey that took him through Mantua, he drew a portrait of Isabella that appears to have been used to create a painted portrait, now lost. Beyond friendship, Leonardo kept his private life secret. His sexuality has been the subject of satire, analysis, and speculation. This trend began in the mid-16th century and was revived in the 19th and 20th centuries, most notably by Sigmund Freud in his Leonardo da Vinci, A Memory of His Childhood. Leonardo's most intimate relationships were perhaps with his pupils Salaì and Melzi. Melzi, writing to inform Leonardo's brothers of his death, described Leonardo's feelings for his pupils as both loving and passionate. It has been claimed since the 16th century that these relationships were of a sexual or erotic nature. Court records of 1476, when he was aged twenty-four, show that Leonardo and three other young men were charged with sodomy in an incident involving a well-known male prostitute. The charges were dismissed for lack of evidence, and there is speculation that since one of the accused, Lionardo de Tornabuoni, was related to Lorenzo de' Medici, the family exerted its influence to secure the dismissal. Since that date much has been written about his presumed homosexuality and its role in his art, particularly in the androgyny and eroticism manifested in Saint John the Baptist and Bacchus and more explicitly in a number of erotic drawings. Paintings Despite the recent awareness and admiration of Leonardo as a scientist and inventor, for the better part of four hundred years his fame rested on his achievements as a painter. A handful of works that are either authenticated or attributed to him have been regarded as among the great masterpieces. These paintings are famous for a variety of qualities that have been much imitated by students and discussed at great length by connoisseurs and critics. By the 1490s Leonardo had already been described as a "Divine" painter. Among the qualities that make Leonardo's work unique are his innovative techniques for laying on the paint; his detailed knowledge of anatomy, light, botany and geology; his interest in physiognomy and the way humans register emotion in expression and gesture; his innovative use of the human form in figurative composition; and his use of subtle gradation of tone. All these qualities come together in his most famous painted works, the Mona Lisa, the Last Supper, and the Virgin of the Rocks. Early works Leonardo first gained attention for his work on the Baptism of Christ, painted in conjunction with Verrocchio. Two other paintings appear to date from his time at Verrocchio's workshop, both of which are Annunciations. One is small, long and high. It is a "predella" to go at the base of a larger composition, a painting by Lorenzo di Credi from which it has become separated. The other is a much larger work, long. In both Annunciations, Leonardo used a formal arrangement, like two well-known pictures by Fra Angelico of the same subject, of the Virgin Mary sitting or kneeling to the right of the picture, approached from the left by an angel in profile, with a rich flowing garment, raised wings and bearing a lily. Although previously attributed to Ghirlandaio, the larger work is now generally attributed to Leonardo. In the smaller painting, Mary averts her eyes and folds her hands in a gesture that symbolised submission to God's will. Mary is not submissive, however, in the larger piece. The girl, interrupted in her reading by this unexpected messenger, puts a finger in her bible to mark the place and raises her hand in a formal gesture of greeting or surprise. This calm young woman appears to accept her role as the Mother of God, not with resignation but with confidence. In this painting, the young Leonardo presents the humanist face of the Virgin Mary, recognising humanity's role in God's incarnation. Paintings of the 1480s In the 1480s, Leonardo received two very important commissions and commenced another work that was of ground-breaking importance in terms of composition. Two of the three were never finished, and the third took so long that it was subject to lengthy negotiations over completion and payment. One of these paintings was Saint Jerome in the Wilderness, which Bortolon associates with a difficult period of Leonardo's life, as evidenced in his diary: "I thought I was learning to live; I was only learning to die." Although the painting is barely begun, the composition can be seen and is very unusual. Jerome, as a penitent, occupies the middle of the picture, set on a slight diagonal and viewed somewhat from above. His kneeling form takes on a trapezoid shape, with one arm stretched to the outer edge of the painting and his gaze looking in the opposite direction. J. Wasserman points out the link between this painting and Leonardo's anatomical studies. Across the foreground sprawls his symbol, a great lion whose body and tail make a double spiral across the base of the picture space. The other remarkable feature is the sketchy landscape of craggy rocks against which the figure is silhouetted. The daring display of figure composition, the landscape elements and personal drama also appear in the great unfinished masterpiece, the Adoration of the Magi, a commission from the Monks of San Donato a Scopeto. It is a complex composition, of about Leonardo did numerous drawings and preparatory studies, including a detailed one in linear perspective of the ruined classical architecture that forms part of the background. In 1482 Leonardo went to Milan at the behest of Lorenzo de' Medici in order to win favour with Ludovico il Moro, and the painting was abandoned. The third important work of this period is the Virgin of the Rocks, commissioned in Milan for the Confraternity of the Immaculate Conception. The painting, to be done with the assistance of the de Predis brothers, was to fill a large complex altarpiece. Leonardo chose to paint an apocryphal moment of the infancy of Christ when the infant John the Baptist, in protection of an angel, met the Holy Family on the road to Egypt. The painting demonstrates an eerie beauty as the graceful figures kneel in adoration around the infant Christ in a wild landscape of tumbling rock and whirling water. While the painting is quite large, about , it is not nearly as complex as the painting ordered by the monks of St Donato, having only four figures rather than about fifty and a rocky landscape rather than architectural details. The painting was eventually finished; in fact, two versions of the painting were finished: one remained at the chapel of the Confraternity, while Leonardo took the other to France. The Brothers did not get their painting, however, nor the de Predis their payment, until the next century. Leonardo's most remarkable portrait of this period is the Lady with an Ermine, presumed to be Cecilia Gallerani (), lover of Ludovico Sforza. The painting is characterised by the pose of the figure with the head turned at a very different angle to the torso, unusual at a date when many portraits were still rigidly in profile. The ermine plainly carries symbolic meaning, relating either to the sitter, or to Ludovico who belonged to the prestigious Order of the Ermine. Paintings of the 1490s Leonardo's most famous painting of the 1490s is The Last Supper, commissioned for the refectory of the Convent of Santa Maria della Grazie in Milan. It represents the last meal shared by Jesus with his disciples before his capture and death, and shows the moment when Jesus has just said "one of you will betray me", and the consternation that this statement caused. The writer Matteo Bandello observed Leonardo at work and wrote that some days he would paint from dawn till dusk without stopping to eat and then not paint for three or four days at a time. This was beyond the comprehension of the prior of the convent, who hounded him until Leonardo asked Ludovico to intervene. Vasari describes how Leonardo, troubled over his ability to adequately depict the faces of Christ and the traitor Judas, told the duke that he might be obliged to use the prior as his model. The painting was acclaimed as a masterpiece of design and characterization, but it deteriorated rapidly, so that within a hundred years it was described by one viewer as "completely ruined." Leonardo, instead of using the reliable technique of fresco, had used tempera over a ground that was mainly gesso, resulting in a surface subject to mould and to flaking. Despite this, the painting remains one of the most reproduced works of art; countless copies have been made in various mediums. Toward the end of this period, in 1498 da Vinci's trompe-l'œil decoration of the Sala delle Asse was painted for the Duke of Milan in the Castello Sforzesco. Paintings of the 1500s In 1505, Leonardo was commissioned to paint The Battle of Anghiari in the Salone dei Cinquecento (Hall of the Five Hundred) in the Palazzo Vecchio, Florence. Leonardo devised a dynamic composition depicting four men riding raging war horses engaged in a battle for possession of a standard, at the Battle of Anghiari in 1440. Michelangelo was assigned the opposite wall to depict the Battle of Cascina. Leonardo's painting deteriorated rapidly and is now known from a copy by Rubens. Among the works created by Leonardo in the 16th century is the small portrait known as the Mona Lisa or La Gioconda, the laughing one. In the present era, it is arguably the most famous painting in the world. Its fame rests, in particular, on the elusive smile on the woman's face, its mysterious quality perhaps due to the subtly shadowed corners of the mouth and eyes such that the exact nature of the smile cannot be determined. The shadowy quality for which the work is renowned came to be called "sfumato," or Leonardo's smoke. Vasari wrote that the smile was "so pleasing that it seems more divine than human, and it was considered a wondrous thing that it was as lively as the smile of the living original." Other characteristics of the painting are the unadorned dress, in which the eyes and hands have no competition from other details; the dramatic landscape background, in which the world seems to be in a state of flux; the subdued colouring; and the extremely smooth nature of the painterly technique, employing oils laid on much like tempera, and blended on the surface so that the brushstrokes are indistinguishable. Vasari expressed that the painting's quality would make even "the most confident master ... despair and lose heart." The perfect state of preservation and the fact that there is no sign of repair or overpainting is rare in a panel painting of this date. In the painting Virgin and Child with St. Anne, the composition again picks up the theme of figures in a landscape, which Wasserman describes as "breathtakingly beautiful" and harkens back to the St Jerome picture with the figure set at an oblique angle. What makes this painting unusual is that there are two obliquely set figures superimposed. Mary is seated on the knee of her mother, St Anne. She leans forward to restrain the Christ Child as he plays roughly with a lamb, the sign of his own impending sacrifice. This painting, which was copied many times, influenced Michelangelo, Raphael, and Andrea del Sarto, and through them Pontormo and Correggio. The trends in composition were adopted in particular by the Venetian painters Tintoretto and Veronese. Drawings Leonardo was a prolific draughtsman, keeping journals full of small sketches and detailed drawings recording all manner of things that took his attention. As well as the journals there exist many studies for paintings, some of which can be identified as preparatory to particular works such as The Adoration of the Magi, The Virgin of the Rocks and The Last Supper. His earliest dated drawing is a Landscape of the Arno Valley, 1473, which shows the river, the mountains, Montelupo Castle and the farmlands beyond it in great detail. Among his famous drawings are the Vitruvian Man, a study of the proportions of the human body; the Head of an Angel, for The Virgin of the Rocks in the Louvre; a botanical study of Star of Bethlehem; and a large drawing (160×100 cm) in black chalk on coloured paper of The Virgin and Child with Saint Anne and Saint John the Baptist in the National Gallery, London. This drawing employs the subtle sfumato technique of shading, in the manner of the Mona Lisa. It is thought that Leonardo never made a painting from it, the closest similarity being to The Virgin and Child with Saint Anne in the Louvre. Other drawings of interest include numerous studies generally referred to as "caricatures" because, although exaggerated, they appear to be based upon observation of live models. Vasari relates that Leonardo would look for interesting faces in public to use as models for some of his work. There are numerous studies of beautiful young men, often associated with Salaì, with the rare and much admired facial feature, the so-called "Grecian profile." These faces are often contrasted with that of a warrior. Salaì is often depicted in fancy-dress costume. Leonardo is known to have designed sets for pageants with which these may be associated. Other, often meticulous, drawings show studies of drapery. A marked development in Leonardo's ability to draw drapery occurred in his early works. Another often-reproduced drawing is a macabre sketch that was done by Leonardo in Florence in 1479 showing the body of Bernardo Baroncelli, hanged in connection with the murder of Giuliano, brother of Lorenzo de' Medici, in the Pazzi conspiracy. In his notes, Leonardo recorded the colours of the robes that Baroncelli was wearing when he died. Like the two contemporary architects Donato Bramante (who designed the Belvedere Courtyard) and Antonio da Sangallo the Elder, Leonardo experimented with designs for centrally planned churches, a number of which appear in his journals, as both plans and views, although none was ever realised. Journals and notes Renaissance humanism recognised no mutually exclusive polarities between the sciences and the arts, and Leonardo's studies in science and engineering are sometimes considered as impressive and innovative as his artistic work. These studies were recorded in 13,000 pages of notes and drawings, which fuse art and natural philosophy (the forerunner of modern science). They were made and maintained daily throughout Leonardo's life and travels, as he made continual observations of the world around him. Leonardo's notes and drawings display an enormous range of interests and preoccupations, some as mundane as lists of groceries and people who owed him money and some as intriguing as designs for wings and shoes for walking on water. There are compositions for paintings, studies of details and drapery, studies of faces and emotions, of animals, babies, dissections, plant studies, rock formations, whirlpools, war machines, flying machines and architecture. These notebooks—originally loose papers of different types and sizes—were largely entrusted to Leonardo's pupil and heir Francesco Melzi after the master's death. These were to be published, a task of overwhelming difficulty because of its scope and Leonardo's idiosyncratic writing. Some of Leonardo's drawings were copied by an anonymous Milanese artist for a planned treatise on art . After Melzi's death in 1570, the collection passed to his son, the lawyer Orazio, who initially took little interest in the journals. In 1587, a Melzi household tutor named Lelio Gavardi took 13 of the manuscripts to Pisa; there, the architect Giovanni Magenta reproached Gavardi for having taken the manuscripts illicitly and returned them to Orazio. Having many more such works in his possession, Orazio gifted the volumes to Magenta. News spread of these lost works of Leonardo's, and Orazio retrieved seven of the 13 manuscripts, which he then gave to Pompeo Leoni for publication in two volumes; one of these was the Codex Atlanticus. The other six works had been distributed to a few others. After Orazio's death, his heirs sold the rest of Leonardo's possessions, and thus began their dispersal. Some works have found their way into major collections such as the Royal Library at Windsor Castle, the Louvre, the Biblioteca Nacional de España, the Victoria and Albert Museum, the Biblioteca Ambrosiana in Milan, which holds the 12-volume Codex Atlanticus, and the British Library in London, which has put a selection from the Codex Arundel (BL Arundel MS 263) online. Works have also been at Holkham Hall, the Metropolitan Museum of Art, and in the private hands of John Nicholas Brown I and Robert Lehman. The Codex Leicester is the only privately owned major scientific work of Leonardo; it is owned by Bill Gates and displayed once a year in different cities around the world. Most of Leonardo's writings are in mirror-image cursive. Since Leonardo wrote with his left hand, it was probably easier for him to write from right to left. Leonardo used a variety of shorthand and symbols, and states in his notes that he intended to prepare them for publication. In many cases a single topic is covered in detail in both words and pictures on a single sheet, together conveying information that would not be lost if the pages were published out of order. Why they were not published during Leonardo's lifetime is unknown. Science and inventions Leonardo's approach to science was observational: he tried to understand a phenomenon by describing and depicting it in utmost detail and did not emphasise experiments or theoretical explanation. Since he lacked formal education in Latin and mathematics, contemporary scholars mostly ignored Leonardo the scientist, although he did teach himself Latin. His keen observations in many areas were noted, such as when he wrote "Il sole non si move." ("The Sun does not move.") In the 1490s he studied mathematics under Luca Pacioli and prepared a series of drawings of regular solids in a skeletal form to be engraved as plates for Pacioli's book Divina proportione, published in 1509. While living in Milan, he studied light from the summit of Monte Rosa. Scientific writings in his notebook on fossils have been considered as influential on early palaeontology. The content of his journals suggest that he was planning a series of treatises on a variety of subjects. A coherent treatise on anatomy is said to have been observed during a visit by Cardinal Louis d'Aragon's secretary in 1517. Aspects of his work on the studies of anatomy, light and the landscape were assembled for publication by Melzi and eventually published as A Treatise on Painting in France and Italy in 1651 and Germany in 1724, with engravings based upon drawings by the Classical painter Nicolas Poussin. According to Arasse, the treatise, which in France went into 62 editions in fifty years, caused Leonardo to be seen as "the precursor of French academic thought on art." While Leonardo's experimentation followed scientific methods, a recent and exhaustive analysis of Leonardo as a scientist by Fritjof Capra argues that Leonardo was a fundamentally different kind of scientist from Galileo, Newton and other scientists who followed him in that, as a "Renaissance Man", his theorising and hypothesising integrated the arts and particularly painting. Anatomy and physiology Leonardo started his study in the anatomy of the human body under the apprenticeship of Verrocchio, who demanded that his students develop a deep knowledge of the subject. As an artist, he quickly became master of topographic anatomy, drawing many studies of muscles, tendons and other visible anatomical features. As a successful artist, Leonardo was given permission to dissect human corpses at the Hospital of Santa Maria Nuova in Florence and later at hospitals in Milan and Rome. From 1510 to 1511 he collaborated in his studies with the doctor Marcantonio della Torre. Leonardo made over 240 detailed drawings and wrote about 13,000 words toward a treatise on anatomy. Only a small amount of the material on anatomy was published in Leonardo's Treatise on painting. During the time that Melzi was ordering the material into chapters for publication, they were examined by a number of anatomists and artists, including Vasari, Cellini and Albrecht Dürer, who made a number of drawings from them. Leonardo's anatomical drawings include many studies of the human skeleton and its parts, and of muscles and sinews. He studied the mechanical functions of the skeleton and the muscular forces that are applied to it in a manner that prefigured the modern science of biomechanics. He drew the heart and vascular system, the sex organs and other internal organs, making one of the first scientific drawings of a fetus in utero. The drawings and notation are far ahead of their time, and if published would undoubtedly have made a major contribution to medical science. Leonardo also closely observed and recorded the effects of age and of human emotion on the physiology, studying in particular the effects of rage. He drew many figures who had significant facial deformities or signs of illness. Leonardo also studied and drew the anatomy of many animals, dissecting cows, birds, monkeys, bears, and frogs, and comparing in his drawings their anatomical structure with that of humans. He also made a number of studies of horses. Leonardo's dissections and documentation of muscles, nerves, and vessels helped to describe the physiology and mechanics of movement. He attempted to identify the source of 'emotions' and their expression. He found it difficult to incorporate the prevailing system and theories of bodily humours, but eventually he abandoned these physiological explanations of bodily functions. He made the observations that humours were not located in cerebral spaces or ventricles. He documented that the humours were not contained in the heart or the liver, and that it was the heart that defined the circulatory system. He was the first to define atherosclerosis and liver cirrhosis. He created models of the cerebral ventricles with the use of melted wax and constructed a glass aorta to observe the circulation of blood through the aortic valve by using water and grass seed to watch flow patterns. Vesalius published his work on anatomy and physiology in De humani corporis fabrica in 1543. Engineering and inventions During his lifetime, Leonardo was also valued as an engineer. With the same rational and analytical approach that moved him to represent the human body and to investigate anatomy, Leonardo studied and designed many machines and devices. He drew their “anatomy” with unparalleled mastery, producing the first form of the modern technical drawing, including a perfected "exploded view" technique, to represent internal components. Those studies and projects collected in his codices fill more than 5,000 pages. In a letter of 1482 to the lord of Milan Ludovico il Moro, he wrote that he could create all sorts of machines both for the protection of a city and for siege. When he fled from Milan to Venice in 1499, he found employment as an engineer and devised a system of moveable barricades to protect the city from attack. In 1502, he created a scheme for diverting the flow of the Arno river, a project on which Niccolò Machiavelli also worked. He continued to contemplate the canalization of Lombardy's plains while in Louis XII's company and of the Loire and its tributaries in the company of Francis I. Leonardo's journals include a vast number of inventions, both practical and impractical. They include musical instruments, a mechanical knight, hydraulic pumps, reversible crank mechanisms, finned mortar shells, and a steam cannon. Leonardo was fascinated by the phenomenon of flight for much of his life, producing many studies, including Codex on the Flight of Birds (), as well as plans for several flying machines, such as a flapping ornithopter and a machine with a helical rotor. A 2003 documentary by British television station Channel Four, titled Leonardo's Dream Machines, various designs by Leonardo, such as a parachute and a giant crossbow, were interpreted and constructed. Some of those designs proved successful, whilst others fared less well when tested. Research performed by Marc van den Broek revealed older prototypes for more than 100 inventions that are ascribed to Leonardo. Similarities between Leonardo's illustrations and drawings from the Middle Ages and from Ancient Greece and Rome, the Chinese and Persian Empires, and Egypt suggest that a large portion of Leonardo's inventions had been conceived before his lifetime. Leonardo's innovation was to combine different functions from existing drafts and set them into scenes that illustrated their utility. By reconstituting technical inventions he created something new. In his notebooks, Leonardo first stated the ‘laws’ of sliding friction in 1493. His inspiration for investigating friction came about in part from his study of perpetual motion, which he correctly concluded was not possible. His results were never published and the friction laws were not rediscovered until 1699 by Guillaume Amontons, with whose name they are now usually associated. For this contribution, Leonardo was named as the first of the 23 "Men of Tribology" by Duncan Dowson. Legacy Although he had no formal academic training, many historians and scholars regard Leonardo as the prime exemplar of the "Universal Genius" or "Renaissance Man", an individual of "unquenchable curiosity" and "feverishly inventive imagination." He is widely considered one of the most diversely talented individuals ever to have lived. According to art historian Helen Gardner, the scope and depth of his interests were without precedent in recorded history, and "his mind and personality seem to us superhuman, while the man himself mysterious and remote." Scholars interpret his view of the world as being based in logic, though the empirical methods he used were unorthodox for his time. Leonardo's fame within his own lifetime was such that the King of France carried him away like a trophy, and was claimed to have supported him in his old age and held him in his arms as he died. Interest in Leonardo and his work has never diminished. Crowds still queue to see his best-known artworks, T-shirts still bear his most famous drawing, and writers continue to hail him as a genius while speculating about his private life, as well as about what one so intelligent actually believed in. The continued admiration that Leonardo commanded from painters, critics and historians is reflected in many other written tributes. Baldassare Castiglione, author of Il Cortegiano (The Courtier), wrote in 1528: "...Another of the greatest painters in this world looks down on this art in which he is unequalled..." while the biographer known as "Anonimo Gaddiano" wrote, : "His genius was so rare and universal that it can be said that nature worked a miracle on his behalf..." Vasari, in his Lives of the Artists (1568), opens his chapter on Leonardo: In the normal course of events many men and women are born with remarkable talents; but occasionally, in a way that transcends nature, a single person is marvellously endowed by Heaven with beauty, grace and talent in such abundance that he leaves other men far behind, all his actions seem inspired and indeed everything he does clearly comes from God rather than from human skill. Everyone acknowledged that this was true of Leonardo da Vinci, an artist of outstanding physical beauty, who displayed infinite grace in everything that he did and who cultivated his genius so brilliantly that all problems he studied he solved with ease. The 19th century brought a particular admiration for Leonardo's genius, causing Henry Fuseli to write in 1801: "Such was the dawn of modern art, when Leonardo da Vinci broke forth with a splendour that distanced former excellence: made up of all the elements that constitute the essence of genius..." This is echoed by A.E. Rio who wrote in 1861: "He towered above all other artists through the strength and the nobility of his talents." By the 19th century, the scope of Leonardo's notebooks was known, as well as his paintings. Hippolyte Taine wrote in 1866: "There may not be in the world an example of another genius so universal, so incapable of fulfilment, so full of yearning for the infinite, so naturally refined, so far ahead of his own century and the following centuries." Art historian Bernard Berenson wrote in 1896: "Leonardo is the one artist of whom it may be said with perfect literalness: Nothing that he touched but turned into a thing of eternal beauty. Whether it be the cross section of a skull, the structure of a weed, or a study of muscles, he, with his feeling for line and for light and shade, forever transmuted it into life-communicating values." The interest in Leonardo's genius has continued unabated; experts study and translate his writings, analyse his paintings using scientific techniques, argue over attributions and search for works which have been recorded but never found. Liana Bortolon, writing in 1967, said: "Because of the multiplicity of interests that spurred him to pursue every field of knowledge...Leonardo can be considered, quite rightly, to have been the universal genius par excellence, and with all the disquieting overtones inherent in that term. Man is as uncomfortable today, faced with a genius, as he was in the 16th century. Five centuries have passed, yet we still view Leonardo with awe." The Elmer Belt Library of Vinciana is a special collection at the University of California, Los Angeles. Twenty-first-century author Walter Isaacson based much of his biography of Leonardo on thousands of notebook entries, studying the personal notes, sketches, budget notations, and musings of the man whom he considers the greatest of innovators. Isaacson was surprised to discover a "fun, joyous" side of Leonardo in addition to his limitless curiosity and creative genius. On the 500th anniversary of Leonardo's death, the Louvre in Paris arranged for the largest ever single exhibit of his work, called Leonardo, between November 2019 and February 2020. The exhibit includes over 100 paintings, drawings and notebooks. Eleven of the paintings that Leonardo completed in his lifetime were included. Five of these are owned by the Louvre, but the Mona Lisa was not included because it is in such great demand among general visitors to the Louvre; it remains on display in its gallery. Vitruvian Man, however, is on display following a legal battle with its owner, the Gallerie dell'Accademia in Venice. Salvator Mundi was also not included because its Saudi owner did not agree to lease the work. The Mona Lisa, considered Leonardo's magnum opus, is often regarded as the most famous portrait ever made. The Last Supper is the most reproduced religious painting of all time, and Leonardo's Vitruvian Man drawing is also considered a cultural icon. More than a decade of analysis of Leonardo's genetic genealogy, conducted by Alessandro Vezzosi and Agnese Sabato, came to a conclusion in mid-2021. It was determined that the artist has 14 living male relatives. The work could also help determine the authenticity of remains thought to belong to Leonardo. Location of remains While Leonardo was certainly buried in the collegiate church of Saint Florentin at the Château d'Amboise in 12 August 1519, the current location of his remains is unclear. Much of Château d'Amboise was damaged during the French Revolution, leading to the church's demolition in 1802. Some of the graves were destroyed in the process, scattering the bones interred there and thereby leaving the whereabouts of Leonardo's remains subject to dispute; a gardener may have even buried some in the corner of the courtyard. In 1863, fine-arts inspector general Arsène Houssaye received an imperial commission to excavate the site and discovered a partially complete skeleton with a bronze ring on one finger, white hair, and stone fragments bearing the inscriptions "EO", "AR", "DUS", and "VINC"—interpreted as forming "Leonardus Vinci". The skull's eight teeth corresponds to someone of approximately the appropriate age and a silver shield found near the bones depicts a beardless Francis I, corresponding to the king's appearance during Leonardo's time in France. Houssaye postulated that the unusually large skull was an indicator of Leonardo's intelligence; author Charles Nicholl describes this as a "dubious phrenological deduction." At the same time, Houssaye noted some issues with his observations, including that the feet were turned toward the high altar, a practice generally reserved for laymen, and that the skeleton of seemed too short. Art historian Mary Margaret Heaton wrote in 1874 that the height would be appropriate for Leonardo. The skull was allegedly presented to Napoleon III before being returned to the Château d'Amboise, where they were in the chapel of Saint Hubert in 1874. A plaque above the tomb states that its contents are only presumed to be those of Leonardo. It has since been theorized that the folding of the skeleton's right arm over the head may correspond to the paralysis of Leonardo's right hand. In 2016, it was announced that DNA tests would be conducted to determine whether the attribution is correct. The DNA of the remains will be compared to that of samples collected from Leonardo's work and his half-brother Domenico's descendants; it may also be sequenced. In 2019, documents were published revealing that Houssaye had kept the ring and a lock of hair. In 1925, his great-grandson sold these to an American collector. Sixty years later, another American acquired them, leading to their being displayed at the Leonardo Museum in Vinci beginning on 2 May 2019, the 500th anniversary of the artist's death. Notes General Dates of works References Citations Early Modern Works cited Early in in Modern Books volume 2: . A reprint of the original 1883 edition Journals and encyclopedia articles Further reading See and for extensive bibliographies External links General Universal Leonardo, a database of Leonardo's life and works maintained by Martin Kemp and Marina Wallace Leonardo da Vinci on the National Gallery website Works Biblioteca Leonardiana, online bibliography (in Italian) e-Leo: Archivio digitale di storia della tecnica e della scienza, archive of drawings, notes and manuscripts Complete text and images of Richter's translation of the Notebooks The Notebooks of Leonardo da Vinci 1452 births 1519 deaths 15th-century Italian mathematicians 15th-century Italian painters 15th-century Italian scientists 15th-century Italian sculptors 15th-century people of the Republic of Florence 16th-century Italian mathematicians 16th-century Italian painters 16th-century Italian scientists 16th-century Italian sculptors 16th-century people of the Republic of Florence Ambassadors of the Republic of Florence Ballistics experts Fabulists Painters from Florence Botanical illustrators Fluid dynamicists History of anatomy Italian anatomists Italian caricaturists Italian civil engineers 16th-century Italian inventors Italian male painters Italian male sculptors Italian military engineers Italian physiologists Italian Renaissance humanists Italian Renaissance painters Italian Renaissance sculptors Italian Roman Catholics Mathematical artists Painters by city People prosecuted under anti-homosexuality laws Philosophical theists Physiognomists Renaissance architects Renaissance painters Renaissance scientists Painters from Tuscany Burials in France Writers who illustrated their own writing	false	[ "Andy Hamilton is an English writer of four books, The Selfsufficientish Bible Booze for Free, Brewing Britain (reprinted as The Perfect Pint) and Fermenting Everything. He has written for Wired, The Guardian and The Ecologist. He was born in Northampton and now lives in Bristol.\n\nHamilton is known for the foraging walks he leads in Castle Park, Bristol and in other parts of Britain.\n\nCareer\nHamilton won the award for best non-practical gardening book in 2011 for Booze for Free. He works as an author, forager, journalist and broadcaster. He appeared as the Autumnwatch forager for two years in 2011 and 2012. He is best known for his book Booze for Free, a home brewed recipe book for wines, soft drinks and beers.\n\nHamilton teaches foraging and has foraged (with his brother Dave Hamilton) for The Eden Project and Ways with Words Dartington Literary festival. He is a survivalist expert and has written a column for wired.co.uk and a wild drinks blog for The Guardian online.\n\nBibliography\nThe Self-Sufficient-ish Bible Co-authored with Dave Hamilton (2008)\nBooze for Free (2011)\nBrewing Britain (2013)\n\nReferences\n\n1974 births\nLiving people\nPeople from Northampton\nEnglish male journalists", "Erik Whittington was the American lead and rhythm guitarist for the Christian rock band, Tragedy Ann, signed to Organic Records. Whittington recorded with Tragedy Ann for all three of their albums. In 1998, he appeared on Lesser; in 1999 he appeared on the release One Nation Under God and in 2000 he appeared on the final Tragedy Ann release, Viva la Revolucion. He is also known for his work as the touring guitarist for Tooth & Nail Records recording artist Sometime Sunday, and Star Wars tribute band, Twin Sister. The lead singer for all three of Whittington's band was Mikee Bridges, known for starting TOMFest where Tragedy Ann played a reunion concert in 2000 and 2009. Tragedy Ann gained controversy as they became the front men for an organization known as Rock for Life, a pro-life organization, during their tours. Whittington left the music industry to run Rock for Life full-time. Both Tragedy Ann and Sometime Sunday appeared on Rock for Life compilation CDs.\n\nWhittington's work with Rock for Life has been mentioned in two nationally published books, Righteous: Dispatches from the Evangelical Youth Movement by Lauren Sandler, and Body Piercing Saved My Life: Inside the Phenomenon of Christian Rock by Andrew Beaujon (a senior contributing writer for SPIN and known for his music project Eggs).\n\nReferences\n\nExternal links\n Rockforlife.org\n Erikwhittington.com\n\nDate of birth missing (living people)\nLiving people\nAmerican male guitarists\nYear of birth missing (living people)" ]
[ "Leonardo da Vinci", "Verrocchio's workshop, 1466-1476", "What was his first love", "Leonardo was apprenticed to the artist Andrea di Cione,", "WHat year was this", "1466,", "Whatwas he known for", "known as Verrocchio," ]	C_e9fd1aa07b684a6698373397ebd79adc_0	What did he teach him	4	What did Leonardo da Vinci teach him	Leonardo da Vinci	In 1466, at the age of fourteen, Leonardo was apprenticed to the artist Andrea di Cione, known as Verrocchio, whose bottega (workshop) was "one of the finest in Florence". He apprenticed as a garzone (studio boy) to Andrea del Verrocchio, the leading Florentine painter and sculptor of his day (and would do so for 7 years). Other famous painters apprenticed or associated with the workshop include Domenico Ghirlandaio, Perugino, Botticelli, and Lorenzo di Credi. Leonardo would have been exposed to both theoretical training and a vast range of technical skills, including drafting, chemistry, metallurgy, metal working, plaster casting, leather working, mechanics and carpentry as well as the artistic skills of drawing, painting, sculpting and modelling. Much of the painted production of Verrocchio's workshop was done by his employees. According to Vasari, Leonardo collaborated with Verrocchio on his The Baptism of Christ, painting the young angel holding Jesus' robe in a manner that was so far superior to his master's that Verrocchio put down his brush and never painted again, although this is believed to be apocryphal. Close examination reveals areas that have been painted or touched-up over the tempera using the new technique of oil paint; the landscape, the rocks seen through the brown mountain stream and much of the figure of Jesus bearing witness to the hand of Leonardo. Leonardo may have been the model for two works by Verrocchio: the bronze statue of David in the Bargello and the Archangel Raphael in Tobias and the Angel. By 1472, at the age of twenty, Leonardo qualified as a master in the Guild of Saint Luke, the guild of artists and doctors of medicine, but even after his father set him up in his own workshop, his attachment to Verrocchio was such that he continued to collaborate with him. Leonardo's earliest known dated work is a drawing in pen and ink of the Arno valley, drawn on 5 August 1473. CANNOTANSWER	whose bottega (workshop) was "one of the finest in Florence". He apprenticed as a garzone	Leonardo di ser Piero da Vinci (15 April 14522 May 1519) was an Italian polymath of the High Renaissance who was active as a painter, draughtsman, engineer, scientist, theorist, sculptor and architect. While his fame initially rested on his achievements as a painter, he also became known for his notebooks, in which he made drawings and notes on a variety of subjects, including anatomy, astronomy, botany, cartography, painting, and paleontology. Leonardo's genius epitomized the Renaissance humanist ideal, and his collective works compose a contribution to later generations of artists matched only by that of his younger contemporary, Michelangelo. Born out of wedlock to a successful notary and a lower-class woman in, or near, Vinci, he was educated in Florence by the Italian painter and sculptor Andrea del Verrocchio. He began his career in the city, but then spent much time in the service of Ludovico Sforza in Milan. Later, he worked in Florence and Milan again, as well as briefly in Rome, all while attracting a large following of imitators and students. Upon the invitation of Francis I, he spent his last three years in France, where he died in 1519. Since his death, there has not been a time where his achievements, diverse interests, personal life, and empirical thinking have failed to incite interest and admiration, making him a frequent namesake and subject in culture. Leonardo is among the greatest painters in the history of art and is often credited as the founder of the High Renaissance. Despite having many lost works and less than 25 attributed major works—including numerous unfinished works—he created some of the most influential paintings in Western art. His magnum opus, the Mona Lisa, is his best known work and often regarded as the world's most famous painting. The Last Supper is the most reproduced religious painting of all time and his Vitruvian Man drawing is also regarded as a cultural icon. In 2017, Salvator Mundi, attributed in whole or part to Leonardo, was sold at auction for , setting a new record for the most expensive painting ever sold at public auction. Revered for his technological ingenuity, he conceptualized flying machines, a type of armored fighting vehicle, concentrated solar power, an adding machine, and the double hull. Relatively few of his designs were constructed or even feasible during his lifetime, as the modern scientific approaches to metallurgy and engineering were only in their infancy during the Renaissance. Some of his smaller inventions, however, entered the world of manufacturing unheralded, such as an automated bobbin winder and a machine for testing the tensile strength of wire. He made substantial discoveries in anatomy, civil engineering, hydrodynamics, geology, optics, and tribology, but he did not publish his findings and they had little to no direct influence on subsequent science. Biography Early life (1452–1472) Birth and background Leonardo da Vinci, properly named Leonardo di ser Piero da Vinci (Leonardo, son of ser Piero from Vinci), was born on 15 April 1452 in, or close to, the Tuscan hill town of Vinci; Florence was 20 miles away. He was born out of wedlock to (Ser Piero di Antonio di Ser Piero di Ser Guido da Vinci; 1426–1504), a Florentine legal notary, and ( – 1494), from the lower-class. It remains uncertain where Leonardo was born; the traditional account, from a local oral tradition recorded by the historian Emanuele Repetti, is that he was born in Anchiano, a country hamlet that would have offered sufficient privacy for the illegitimate birth, though it is still possible he was born in a house in Florence that Ser Piero almost certainly had. Leonardo's parents both married separately the year after his birth. Caterina—who later appears in Leonardo's notes as only "Caterina" or "Catelina"—is usually identified as the Caterina Buti del Vacca who married the local artisan Antonio di Piero Buti del Vacca, nicknamed "L'Accattabriga" ("the quarrelsome one"). Other theories have been proposed, particularly that of art historian Martin Kemp, who suggested Caterina di Meo Lippi, an orphan that married purportedly with aid from Ser Piero and his family. Ser Piero married Albiera Amadori—having been betrothed to her the previous year—and after her death in 1462, went on to have three subsequent marriages. From all the marriages, Leonardo eventually had 12 half-siblings who were much younger than he was (the last was born when Leonardo was 40 years old) and with whom he had very little contact. Very little is known about Leonardo's childhood and much is shrouded in myth, partially because of his biography in the frequently apocryphal Lives of the Most Excellent Painters, Sculptors, and Architects (1550) from the 16th-century art historian Giorgio Vasari. Tax records indicate that by at least 1457 he lived in the household of his paternal grandfather, Antonio da Vinci, but it is possible that he spent the years before then in the care of his mother in Vinci, either Anchiano or Campo Zeppi in the parish of San Pantaleone. He is thought to have been close to his uncle, Francesco da Vinci, but his father was likely in Florence most of the time. Ser Piero, who was the descendant of a long line of notaries, established an official residence in Florence by at least 1469 and led a successful career. Despite his family history, Leonardo only received a basic and informal education in (vernacular) writing, reading and mathematics, possibly because his artistic talents were recognised early, so his family decided to focus their attention there. Later in life, Leonardo recorded his earliest memory, now in the Codex Atlanticus. While writing on the flight of birds, he recalled as an infant when a kite came to his cradle and opened his mouth with its tail; commentators still debate whether the anecdote was an actual memory or a fantasy. Verrocchio's workshop In the mid-1460s, Leonardo's family moved to Florence, which at the time was the centre of Christian Humanist thought and culture. Around the age of 14, he became a garzone (studio boy) in the workshop of Andrea del Verrocchio, who was the leading Florentine painter and sculptor of his time. This was about the time of the death of Verrocchio's master, the great sculptor Donatello. Leonardo became an apprentice by the age of 17 and remained in training for seven years. Other famous painters apprenticed in the workshop or associated with it include Ghirlandaio, Perugino, Botticelli, and Lorenzo di Credi. Leonardo was exposed to both theoretical training and a wide range of technical skills, including drafting, chemistry, metallurgy, metal working, plaster casting, leather working, mechanics, and woodwork, as well as the artistic skills of drawing, painting, sculpting, and modelling. Leonardo was a contemporary of Botticelli, Ghirlandaio and Perugino, who were all slightly older than he was. He would have met them at the workshop of Verrocchio or at the Platonic Academy of the Medici. Florence was ornamented by the works of artists such as Donatello's contemporaries Masaccio, whose figurative frescoes were imbued with realism and emotion, and Ghiberti, whose Gates of Paradise, gleaming with gold leaf, displayed the art of combining complex figure compositions with detailed architectural backgrounds. Piero della Francesca had made a detailed study of perspective, and was the first painter to make a scientific study of light. These studies and Leon Battista Alberti's treatise De pictura were to have a profound effect on younger artists and in particular on Leonardo's own observations and artworks. Much of the painting in Verrocchio's workshop was done by his assistants. According to Vasari, Leonardo collaborated with Verrocchio on his The Baptism of Christ, painting the young angel holding Jesus' robe in a manner that was so far superior to his master's that Verrocchio put down his brush and never painted again, although this is believed to be an apocryphal story. Close examination reveals areas of the work that have been painted or touched-up over the tempera, using the new technique of oil paint, including the landscape, the rocks seen through the brown mountain stream, and much of the figure of Jesus, bearing witness to the hand of Leonardo. Leonardo may have been the model for two works by Verrocchio: the bronze statue of David in the Bargello, and the Archangel Raphael in Tobias and the Angel. Vasari tells a story of Leonardo as a very young man: a local peasant made himself a round shield and requested that Ser Piero have it painted for him. Leonardo, inspired by the story of Medusa, responded with a painting of a monster spitting fire that was so terrifying that his father bought a different shield to give to the peasant and sold Leonardo's to a Florentine art dealer for 100 ducats, who in turn sold it to the Duke of Milan. First Florentine period (1472–c. 1482) By 1472, at the age of 20, Leonardo qualified as a master in the Guild of Saint Luke, the guild of artists and doctors of medicine, but even after his father set him up in his own workshop, his attachment to Verrocchio was such that he continued to collaborate and live with him. Leonardo's earliest known dated work is a 1473 pen-and-ink drawing of the Arno valley. According to Vasari, the young Leonardo was the first to suggest making the Arno river a navigable channel between Florence and Pisa. In January 1478, Leonardo received an independent commission to paint an altarpiece for the Chapel of St. Bernard in the Palazzo Vecchio, an indication of his independence from Verrocchio's studio. An anonymous early biographer, known as Anonimo Gaddiano, claims that in 1480 Leonardo was living with the Medici and often worked in the garden of the Piazza San Marco, Florence, where a Neoplatonic academy of artists, poets and philosophers organized by the Medici met. In March 1481, he received a commission from the monks of San Donato in Scopeto for The Adoration of the Magi. Neither of these initial commissions were completed, being abandoned when Leonardo went to offer his services to Duke of Milan Ludovico Sforza. Leonardo wrote Sforza a letter which described the diverse things that he could achieve in the fields of engineering and weapon design, and mentioned that he could paint. He brought with him a silver string instrument—either a lute or lyre—in the form of a horse's head. With Alberti, Leonardo visited the home of the Medici and through them came to know the older Humanist philosophers of whom Marsiglio Ficino, proponent of Neoplatonism; Cristoforo Landino, writer of commentaries on Classical writings, and John Argyropoulos, teacher of Greek and translator of Aristotle were the foremost. Also associated with the Platonic Academy of the Medici was Leonardo's contemporary, the brilliant young poet and philosopher Pico della Mirandola. In 1482, Leonardo was sent as an ambassador by Lorenzo de' Medici to Ludovico il Moro, who ruled Milan between 1479 and 1499. First Milanese period (c. 1482–1499) Leonardo worked in Milan from 1482 until 1499. He was commissioned to paint the Virgin of the Rocks for the Confraternity of the Immaculate Conception and The Last Supper for the monastery of Santa Maria delle Grazie. In the spring of 1485, Leonardo travelled to Hungary on behalf of Sforza to meet king Matthias Corvinus, and was commissioned by him to paint a Madonna. Leonardo was employed on many other projects for Sforza, including the preparation of floats and pageants for special occasions, a drawing and wooden model for a competition to design the cupola for Milan Cathedral (which he withdrew), and a model for a huge equestrian monument to Ludovico's predecessor Francesco Sforza. This would have surpassed in size the only two large equestrian statues of the Renaissance, Donatello's Gattamelata in Padua and Verrocchio's Bartolomeo Colleoni in Venice, and became known as the Gran Cavallo. Leonardo completed a model for the horse and made detailed plans for its casting, but in November 1494, Ludovico gave the bronze to his brother-in-law to be used for a cannon to defend the city from Charles VIII of France. Contemporary correspondence records that Leonardo and his assistants were commissioned by the Duke of Milan to paint the Sala delle Asse in the Sforza Castle. The decoration was completed in 1498. The project became a trompe-l'œil decoration that made the great hall appear to be a pergola created by the interwoven limbs of sixteen mulberry trees, whose canopy included an intricate labyrinth of leaves and knots on the ceiling. Second Florentine period (1500–1508) When Ludovico Sforza was overthrown by France in 1500, Leonardo fled Milan for Venice, accompanied by his assistant Salaì and friend, the mathematician Luca Pacioli. In Venice, Leonardo was employed as a military architect and engineer, devising methods to defend the city from naval attack. On his return to Florence in 1500, he and his household were guests of the Servite monks at the monastery of Santissima Annunziata and were provided with a workshop where, according to Vasari, Leonardo created the cartoon of The Virgin and Child with St Anne and St John the Baptist, a work that won such admiration that "men [and] women, young and old" flocked to see it "as if they were going to a solemn festival." In Cesena in 1502, Leonardo entered the service of Cesare Borgia, the son of Pope Alexander VI, acting as a military architect and engineer and travelling throughout Italy with his patron. Leonardo created a map of Cesare Borgia's stronghold, a town plan of Imola in order to win his patronage. Upon seeing it, Cesare hired Leonardo as his chief military engineer and architect. Later in the year, Leonardo produced another map for his patron, one of Chiana Valley, Tuscany, so as to give his patron a better overlay of the land and greater strategic position. He created this map in conjunction with his other project of constructing a dam from the sea to Florence, in order to allow a supply of water to sustain the canal during all seasons. Leonardo had left Borgia's service and returned to Florence by early 1503, where he rejoined the Guild of Saint Luke on 18 October of that year. By this same month, Leonardo had begun working on a portrait of Lisa del Giocondo, the model for the Mona Lisa, which he would continue working on until his twilight years. In January 1504, he was part of a committee formed to recommend where Michelangelo's statue of David should be placed. He then spent two years in Florence designing and painting a mural of The Battle of Anghiari for the Signoria, with Michelangelo designing its companion piece, The Battle of Cascina. In 1506, Leonardo was summoned to Milan by Charles II d'Amboise, the acting French governor of the city. There, Leonardo took on another pupil, Count Francesco Melzi, the son of a Lombard aristocrat, who is considered to have been his favourite student. The Council of Florence wished Leonardo to return promptly to finish The Battle of Anghiari, but he was given leave at the behest of Louis XII, who considered commissioning the artist to make some portraits. Leonardo may have commenced a project for an equestrian figure of d'Amboise; a wax model survives and, if genuine, is the only extant example of Leonardo's sculpture. Leonardo was otherwise free to pursue his scientific interests. Many of Leonardo's most prominent pupils either knew or worked with him in Milan, including Bernardino Luini, Giovanni Antonio Boltraffio, and Marco d'Oggiono. In 1507, Leonardo was in Florence sorting out a dispute with his brothers over the estate of his father, who had died in 1504. Second Milanese period (1508–1513) By 1508, Leonardo was back in Milan, living in his own house in Porta Orientale in the parish of Santa Babila. In 1512, Leonardo was working on plans for an equestrian monument for Gian Giacomo Trivulzio, but this was prevented by an invasion of a confederation of Swiss, Spanish and Venetian forces, which drove the French from Milan. Leonardo stayed in the city, spending several months in 1513 at the Medici's Vaprio d'Adda villa. Rome and France (1513–1519) In March of 1513, Lorenzo de' Medici's son Giovanni assumed the papacy (as Leo X); Leonardo went to Rome that September, where he was received by the pope's brother Giuliano. From September 1513 to 1516, Leonardo spent much of his time living in the Belvedere Courtyard in the Apostolic Palace, where Michelangelo and Raphael were both active. Leonardo was given an allowance of 33 ducats a month, and according to Vasari, decorated a lizard with scales dipped in quicksilver. The pope gave him a painting commission of unknown subject matter, but cancelled it when the artist set about developing a new kind of varnish. Leonardo became ill, in what may have been the first of multiple strokes leading to his death. He practiced botany in the Gardens of Vatican City, and was commissioned to make plans for the pope's proposed draining of the Pontine Marshes. He also dissected cadavers, making notes for a treatise on vocal cords; these he gave to an official in hopes of regaining the pope's favor, but was unsuccessful. In October 1515, King Francis I of France recaptured Milan. Leonardo was present at the 19 December meeting of Francis I and Leo X, which took place in Bologna. In 1516, Leonardo entered Francis' service, being given the use of the manor house Clos Lucé, near the king's residence at the royal Château d'Amboise. Being frequently visited by Francis, he drew plans for an immense castle town the king intended to erect at Romorantin, and made a mechanical lion, which during a pageant walked toward the king and—upon being struck by a wand—opened its chest to reveal a cluster of lilies. Leonardo was accompanied during this time by his friend and apprentice Francesco Melzi, and supported by a pension totalling 10,000 scudi. At some point, Melzi drew a portrait of Leonardo; the only others known from his lifetime were a sketch by an unknown assistant on the back of one of Leonardo's studies () and a drawing by Giovanni Ambrogio Figino depicting an elderly Leonardo with his right arm assuaged by cloth. The latter, in addition to the record of an October 1517 visit by Louis d'Aragon, confirms an account of Leonardo's right hand being paralytic at the age of 65, which may indicate why he left works such as the Mona Lisa unfinished. He continued to work at some capacity until eventually becoming ill and bedridden for several months. Death Leonardo died at Clos Lucé on 2 May 1519 at the age of 67, possibly of a stroke. Francis I had become a close friend. Vasari describes Leonardo as lamenting on his deathbed, full of repentance, that "he had offended against God and men by failing to practice his art as he should have done." Vasari states that in his last days, Leonardo sent for a priest to make his confession and to receive the Holy Sacrament. Vasari also records that the king held Leonardo's head in his arms as he died, although this story may be legend rather than fact. In accordance with his will, sixty beggars carrying tapers followed Leonardo's casket. Melzi was the principal heir and executor, receiving, as well as money, Leonardo's paintings, tools, library and personal effects. Leonardo's other long-time pupil and companion, Salaì, and his servant Baptista de Vilanis, each received half of Leonardo's vineyards. His brothers received land, and his serving woman received a fur-lined cloak. On 12 August 1519, Leonardo's remains were interred in the Collegiate Church of Saint Florentin at the Château d'Amboise. Salaì, or Il Salaino ("The Little Unclean One," i.e., the devil), entered Leonardo's household in 1490 as an assistant. After only a year, Leonardo made a list of his misdemeanours, calling him "a thief, a liar, stubborn, and a glutton," after he had made off with money and valuables on at least five occasions and spent a fortune on clothes. Nevertheless, Leonardo treated him with great indulgence, and he remained in Leonardo's household for the next thirty years. Salaì executed a number of paintings under the name of Andrea Salaì, but although Vasari claims that Leonardo "taught him many things about painting," his work is generally considered to be of less artistic merit than others among Leonardo's pupils, such as Marco d'Oggiono and Boltraffio. Salaì owned the Mona Lisa at the time of Leonardo's death in 1524, and in his will it was assessed at 505 lire, an exceptionally high valuation for a small panel portrait. Some 20 years after Leonardo's death, Francis was reported by the goldsmith and sculptor Benvenuto Cellini as saying: "There had never been another man born in the world who knew as much as Leonardo, not so much about painting, sculpture and architecture, as that he was a very great philosopher." Personal life Despite the thousands of pages Leonardo left in notebooks and manuscripts, he scarcely made reference to his personal life. Within Leonardo's lifetime, his extraordinary powers of invention, his "great physical beauty" and "infinite grace," as described by Vasari, as well as all other aspects of his life, attracted the curiosity of others. One such aspect was his love for animals, likely including vegetarianism and according to Vasari, a habit of purchasing caged birds and releasing them. Leonardo had many friends who are now notable either in their fields or for their historical significance, including mathematician Luca Pacioli, with whom he collaborated on the book Divina proportione in the 1490s. Leonardo appears to have had no close relationships with women except for his friendship with Cecilia Gallerani and the two Este sisters, Beatrice and Isabella. While on a journey that took him through Mantua, he drew a portrait of Isabella that appears to have been used to create a painted portrait, now lost. Beyond friendship, Leonardo kept his private life secret. His sexuality has been the subject of satire, analysis, and speculation. This trend began in the mid-16th century and was revived in the 19th and 20th centuries, most notably by Sigmund Freud in his Leonardo da Vinci, A Memory of His Childhood. Leonardo's most intimate relationships were perhaps with his pupils Salaì and Melzi. Melzi, writing to inform Leonardo's brothers of his death, described Leonardo's feelings for his pupils as both loving and passionate. It has been claimed since the 16th century that these relationships were of a sexual or erotic nature. Court records of 1476, when he was aged twenty-four, show that Leonardo and three other young men were charged with sodomy in an incident involving a well-known male prostitute. The charges were dismissed for lack of evidence, and there is speculation that since one of the accused, Lionardo de Tornabuoni, was related to Lorenzo de' Medici, the family exerted its influence to secure the dismissal. Since that date much has been written about his presumed homosexuality and its role in his art, particularly in the androgyny and eroticism manifested in Saint John the Baptist and Bacchus and more explicitly in a number of erotic drawings. Paintings Despite the recent awareness and admiration of Leonardo as a scientist and inventor, for the better part of four hundred years his fame rested on his achievements as a painter. A handful of works that are either authenticated or attributed to him have been regarded as among the great masterpieces. These paintings are famous for a variety of qualities that have been much imitated by students and discussed at great length by connoisseurs and critics. By the 1490s Leonardo had already been described as a "Divine" painter. Among the qualities that make Leonardo's work unique are his innovative techniques for laying on the paint; his detailed knowledge of anatomy, light, botany and geology; his interest in physiognomy and the way humans register emotion in expression and gesture; his innovative use of the human form in figurative composition; and his use of subtle gradation of tone. All these qualities come together in his most famous painted works, the Mona Lisa, the Last Supper, and the Virgin of the Rocks. Early works Leonardo first gained attention for his work on the Baptism of Christ, painted in conjunction with Verrocchio. Two other paintings appear to date from his time at Verrocchio's workshop, both of which are Annunciations. One is small, long and high. It is a "predella" to go at the base of a larger composition, a painting by Lorenzo di Credi from which it has become separated. The other is a much larger work, long. In both Annunciations, Leonardo used a formal arrangement, like two well-known pictures by Fra Angelico of the same subject, of the Virgin Mary sitting or kneeling to the right of the picture, approached from the left by an angel in profile, with a rich flowing garment, raised wings and bearing a lily. Although previously attributed to Ghirlandaio, the larger work is now generally attributed to Leonardo. In the smaller painting, Mary averts her eyes and folds her hands in a gesture that symbolised submission to God's will. Mary is not submissive, however, in the larger piece. The girl, interrupted in her reading by this unexpected messenger, puts a finger in her bible to mark the place and raises her hand in a formal gesture of greeting or surprise. This calm young woman appears to accept her role as the Mother of God, not with resignation but with confidence. In this painting, the young Leonardo presents the humanist face of the Virgin Mary, recognising humanity's role in God's incarnation. Paintings of the 1480s In the 1480s, Leonardo received two very important commissions and commenced another work that was of ground-breaking importance in terms of composition. Two of the three were never finished, and the third took so long that it was subject to lengthy negotiations over completion and payment. One of these paintings was Saint Jerome in the Wilderness, which Bortolon associates with a difficult period of Leonardo's life, as evidenced in his diary: "I thought I was learning to live; I was only learning to die." Although the painting is barely begun, the composition can be seen and is very unusual. Jerome, as a penitent, occupies the middle of the picture, set on a slight diagonal and viewed somewhat from above. His kneeling form takes on a trapezoid shape, with one arm stretched to the outer edge of the painting and his gaze looking in the opposite direction. J. Wasserman points out the link between this painting and Leonardo's anatomical studies. Across the foreground sprawls his symbol, a great lion whose body and tail make a double spiral across the base of the picture space. The other remarkable feature is the sketchy landscape of craggy rocks against which the figure is silhouetted. The daring display of figure composition, the landscape elements and personal drama also appear in the great unfinished masterpiece, the Adoration of the Magi, a commission from the Monks of San Donato a Scopeto. It is a complex composition, of about Leonardo did numerous drawings and preparatory studies, including a detailed one in linear perspective of the ruined classical architecture that forms part of the background. In 1482 Leonardo went to Milan at the behest of Lorenzo de' Medici in order to win favour with Ludovico il Moro, and the painting was abandoned. The third important work of this period is the Virgin of the Rocks, commissioned in Milan for the Confraternity of the Immaculate Conception. The painting, to be done with the assistance of the de Predis brothers, was to fill a large complex altarpiece. Leonardo chose to paint an apocryphal moment of the infancy of Christ when the infant John the Baptist, in protection of an angel, met the Holy Family on the road to Egypt. The painting demonstrates an eerie beauty as the graceful figures kneel in adoration around the infant Christ in a wild landscape of tumbling rock and whirling water. While the painting is quite large, about , it is not nearly as complex as the painting ordered by the monks of St Donato, having only four figures rather than about fifty and a rocky landscape rather than architectural details. The painting was eventually finished; in fact, two versions of the painting were finished: one remained at the chapel of the Confraternity, while Leonardo took the other to France. The Brothers did not get their painting, however, nor the de Predis their payment, until the next century. Leonardo's most remarkable portrait of this period is the Lady with an Ermine, presumed to be Cecilia Gallerani (), lover of Ludovico Sforza. The painting is characterised by the pose of the figure with the head turned at a very different angle to the torso, unusual at a date when many portraits were still rigidly in profile. The ermine plainly carries symbolic meaning, relating either to the sitter, or to Ludovico who belonged to the prestigious Order of the Ermine. Paintings of the 1490s Leonardo's most famous painting of the 1490s is The Last Supper, commissioned for the refectory of the Convent of Santa Maria della Grazie in Milan. It represents the last meal shared by Jesus with his disciples before his capture and death, and shows the moment when Jesus has just said "one of you will betray me", and the consternation that this statement caused. The writer Matteo Bandello observed Leonardo at work and wrote that some days he would paint from dawn till dusk without stopping to eat and then not paint for three or four days at a time. This was beyond the comprehension of the prior of the convent, who hounded him until Leonardo asked Ludovico to intervene. Vasari describes how Leonardo, troubled over his ability to adequately depict the faces of Christ and the traitor Judas, told the duke that he might be obliged to use the prior as his model. The painting was acclaimed as a masterpiece of design and characterization, but it deteriorated rapidly, so that within a hundred years it was described by one viewer as "completely ruined." Leonardo, instead of using the reliable technique of fresco, had used tempera over a ground that was mainly gesso, resulting in a surface subject to mould and to flaking. Despite this, the painting remains one of the most reproduced works of art; countless copies have been made in various mediums. Toward the end of this period, in 1498 da Vinci's trompe-l'œil decoration of the Sala delle Asse was painted for the Duke of Milan in the Castello Sforzesco. Paintings of the 1500s In 1505, Leonardo was commissioned to paint The Battle of Anghiari in the Salone dei Cinquecento (Hall of the Five Hundred) in the Palazzo Vecchio, Florence. Leonardo devised a dynamic composition depicting four men riding raging war horses engaged in a battle for possession of a standard, at the Battle of Anghiari in 1440. Michelangelo was assigned the opposite wall to depict the Battle of Cascina. Leonardo's painting deteriorated rapidly and is now known from a copy by Rubens. Among the works created by Leonardo in the 16th century is the small portrait known as the Mona Lisa or La Gioconda, the laughing one. In the present era, it is arguably the most famous painting in the world. Its fame rests, in particular, on the elusive smile on the woman's face, its mysterious quality perhaps due to the subtly shadowed corners of the mouth and eyes such that the exact nature of the smile cannot be determined. The shadowy quality for which the work is renowned came to be called "sfumato," or Leonardo's smoke. Vasari wrote that the smile was "so pleasing that it seems more divine than human, and it was considered a wondrous thing that it was as lively as the smile of the living original." Other characteristics of the painting are the unadorned dress, in which the eyes and hands have no competition from other details; the dramatic landscape background, in which the world seems to be in a state of flux; the subdued colouring; and the extremely smooth nature of the painterly technique, employing oils laid on much like tempera, and blended on the surface so that the brushstrokes are indistinguishable. Vasari expressed that the painting's quality would make even "the most confident master ... despair and lose heart." The perfect state of preservation and the fact that there is no sign of repair or overpainting is rare in a panel painting of this date. In the painting Virgin and Child with St. Anne, the composition again picks up the theme of figures in a landscape, which Wasserman describes as "breathtakingly beautiful" and harkens back to the St Jerome picture with the figure set at an oblique angle. What makes this painting unusual is that there are two obliquely set figures superimposed. Mary is seated on the knee of her mother, St Anne. She leans forward to restrain the Christ Child as he plays roughly with a lamb, the sign of his own impending sacrifice. This painting, which was copied many times, influenced Michelangelo, Raphael, and Andrea del Sarto, and through them Pontormo and Correggio. The trends in composition were adopted in particular by the Venetian painters Tintoretto and Veronese. Drawings Leonardo was a prolific draughtsman, keeping journals full of small sketches and detailed drawings recording all manner of things that took his attention. As well as the journals there exist many studies for paintings, some of which can be identified as preparatory to particular works such as The Adoration of the Magi, The Virgin of the Rocks and The Last Supper. His earliest dated drawing is a Landscape of the Arno Valley, 1473, which shows the river, the mountains, Montelupo Castle and the farmlands beyond it in great detail. Among his famous drawings are the Vitruvian Man, a study of the proportions of the human body; the Head of an Angel, for The Virgin of the Rocks in the Louvre; a botanical study of Star of Bethlehem; and a large drawing (160×100 cm) in black chalk on coloured paper of The Virgin and Child with Saint Anne and Saint John the Baptist in the National Gallery, London. This drawing employs the subtle sfumato technique of shading, in the manner of the Mona Lisa. It is thought that Leonardo never made a painting from it, the closest similarity being to The Virgin and Child with Saint Anne in the Louvre. Other drawings of interest include numerous studies generally referred to as "caricatures" because, although exaggerated, they appear to be based upon observation of live models. Vasari relates that Leonardo would look for interesting faces in public to use as models for some of his work. There are numerous studies of beautiful young men, often associated with Salaì, with the rare and much admired facial feature, the so-called "Grecian profile." These faces are often contrasted with that of a warrior. Salaì is often depicted in fancy-dress costume. Leonardo is known to have designed sets for pageants with which these may be associated. Other, often meticulous, drawings show studies of drapery. A marked development in Leonardo's ability to draw drapery occurred in his early works. Another often-reproduced drawing is a macabre sketch that was done by Leonardo in Florence in 1479 showing the body of Bernardo Baroncelli, hanged in connection with the murder of Giuliano, brother of Lorenzo de' Medici, in the Pazzi conspiracy. In his notes, Leonardo recorded the colours of the robes that Baroncelli was wearing when he died. Like the two contemporary architects Donato Bramante (who designed the Belvedere Courtyard) and Antonio da Sangallo the Elder, Leonardo experimented with designs for centrally planned churches, a number of which appear in his journals, as both plans and views, although none was ever realised. Journals and notes Renaissance humanism recognised no mutually exclusive polarities between the sciences and the arts, and Leonardo's studies in science and engineering are sometimes considered as impressive and innovative as his artistic work. These studies were recorded in 13,000 pages of notes and drawings, which fuse art and natural philosophy (the forerunner of modern science). They were made and maintained daily throughout Leonardo's life and travels, as he made continual observations of the world around him. Leonardo's notes and drawings display an enormous range of interests and preoccupations, some as mundane as lists of groceries and people who owed him money and some as intriguing as designs for wings and shoes for walking on water. There are compositions for paintings, studies of details and drapery, studies of faces and emotions, of animals, babies, dissections, plant studies, rock formations, whirlpools, war machines, flying machines and architecture. These notebooks—originally loose papers of different types and sizes—were largely entrusted to Leonardo's pupil and heir Francesco Melzi after the master's death. These were to be published, a task of overwhelming difficulty because of its scope and Leonardo's idiosyncratic writing. Some of Leonardo's drawings were copied by an anonymous Milanese artist for a planned treatise on art . After Melzi's death in 1570, the collection passed to his son, the lawyer Orazio, who initially took little interest in the journals. In 1587, a Melzi household tutor named Lelio Gavardi took 13 of the manuscripts to Pisa; there, the architect Giovanni Magenta reproached Gavardi for having taken the manuscripts illicitly and returned them to Orazio. Having many more such works in his possession, Orazio gifted the volumes to Magenta. News spread of these lost works of Leonardo's, and Orazio retrieved seven of the 13 manuscripts, which he then gave to Pompeo Leoni for publication in two volumes; one of these was the Codex Atlanticus. The other six works had been distributed to a few others. After Orazio's death, his heirs sold the rest of Leonardo's possessions, and thus began their dispersal. Some works have found their way into major collections such as the Royal Library at Windsor Castle, the Louvre, the Biblioteca Nacional de España, the Victoria and Albert Museum, the Biblioteca Ambrosiana in Milan, which holds the 12-volume Codex Atlanticus, and the British Library in London, which has put a selection from the Codex Arundel (BL Arundel MS 263) online. Works have also been at Holkham Hall, the Metropolitan Museum of Art, and in the private hands of John Nicholas Brown I and Robert Lehman. The Codex Leicester is the only privately owned major scientific work of Leonardo; it is owned by Bill Gates and displayed once a year in different cities around the world. Most of Leonardo's writings are in mirror-image cursive. Since Leonardo wrote with his left hand, it was probably easier for him to write from right to left. Leonardo used a variety of shorthand and symbols, and states in his notes that he intended to prepare them for publication. In many cases a single topic is covered in detail in both words and pictures on a single sheet, together conveying information that would not be lost if the pages were published out of order. Why they were not published during Leonardo's lifetime is unknown. Science and inventions Leonardo's approach to science was observational: he tried to understand a phenomenon by describing and depicting it in utmost detail and did not emphasise experiments or theoretical explanation. Since he lacked formal education in Latin and mathematics, contemporary scholars mostly ignored Leonardo the scientist, although he did teach himself Latin. His keen observations in many areas were noted, such as when he wrote "Il sole non si move." ("The Sun does not move.") In the 1490s he studied mathematics under Luca Pacioli and prepared a series of drawings of regular solids in a skeletal form to be engraved as plates for Pacioli's book Divina proportione, published in 1509. While living in Milan, he studied light from the summit of Monte Rosa. Scientific writings in his notebook on fossils have been considered as influential on early palaeontology. The content of his journals suggest that he was planning a series of treatises on a variety of subjects. A coherent treatise on anatomy is said to have been observed during a visit by Cardinal Louis d'Aragon's secretary in 1517. Aspects of his work on the studies of anatomy, light and the landscape were assembled for publication by Melzi and eventually published as A Treatise on Painting in France and Italy in 1651 and Germany in 1724, with engravings based upon drawings by the Classical painter Nicolas Poussin. According to Arasse, the treatise, which in France went into 62 editions in fifty years, caused Leonardo to be seen as "the precursor of French academic thought on art." While Leonardo's experimentation followed scientific methods, a recent and exhaustive analysis of Leonardo as a scientist by Fritjof Capra argues that Leonardo was a fundamentally different kind of scientist from Galileo, Newton and other scientists who followed him in that, as a "Renaissance Man", his theorising and hypothesising integrated the arts and particularly painting. Anatomy and physiology Leonardo started his study in the anatomy of the human body under the apprenticeship of Verrocchio, who demanded that his students develop a deep knowledge of the subject. As an artist, he quickly became master of topographic anatomy, drawing many studies of muscles, tendons and other visible anatomical features. As a successful artist, Leonardo was given permission to dissect human corpses at the Hospital of Santa Maria Nuova in Florence and later at hospitals in Milan and Rome. From 1510 to 1511 he collaborated in his studies with the doctor Marcantonio della Torre. Leonardo made over 240 detailed drawings and wrote about 13,000 words toward a treatise on anatomy. Only a small amount of the material on anatomy was published in Leonardo's Treatise on painting. During the time that Melzi was ordering the material into chapters for publication, they were examined by a number of anatomists and artists, including Vasari, Cellini and Albrecht Dürer, who made a number of drawings from them. Leonardo's anatomical drawings include many studies of the human skeleton and its parts, and of muscles and sinews. He studied the mechanical functions of the skeleton and the muscular forces that are applied to it in a manner that prefigured the modern science of biomechanics. He drew the heart and vascular system, the sex organs and other internal organs, making one of the first scientific drawings of a fetus in utero. The drawings and notation are far ahead of their time, and if published would undoubtedly have made a major contribution to medical science. Leonardo also closely observed and recorded the effects of age and of human emotion on the physiology, studying in particular the effects of rage. He drew many figures who had significant facial deformities or signs of illness. Leonardo also studied and drew the anatomy of many animals, dissecting cows, birds, monkeys, bears, and frogs, and comparing in his drawings their anatomical structure with that of humans. He also made a number of studies of horses. Leonardo's dissections and documentation of muscles, nerves, and vessels helped to describe the physiology and mechanics of movement. He attempted to identify the source of 'emotions' and their expression. He found it difficult to incorporate the prevailing system and theories of bodily humours, but eventually he abandoned these physiological explanations of bodily functions. He made the observations that humours were not located in cerebral spaces or ventricles. He documented that the humours were not contained in the heart or the liver, and that it was the heart that defined the circulatory system. He was the first to define atherosclerosis and liver cirrhosis. He created models of the cerebral ventricles with the use of melted wax and constructed a glass aorta to observe the circulation of blood through the aortic valve by using water and grass seed to watch flow patterns. Vesalius published his work on anatomy and physiology in De humani corporis fabrica in 1543. Engineering and inventions During his lifetime, Leonardo was also valued as an engineer. With the same rational and analytical approach that moved him to represent the human body and to investigate anatomy, Leonardo studied and designed many machines and devices. He drew their “anatomy” with unparalleled mastery, producing the first form of the modern technical drawing, including a perfected "exploded view" technique, to represent internal components. Those studies and projects collected in his codices fill more than 5,000 pages. In a letter of 1482 to the lord of Milan Ludovico il Moro, he wrote that he could create all sorts of machines both for the protection of a city and for siege. When he fled from Milan to Venice in 1499, he found employment as an engineer and devised a system of moveable barricades to protect the city from attack. In 1502, he created a scheme for diverting the flow of the Arno river, a project on which Niccolò Machiavelli also worked. He continued to contemplate the canalization of Lombardy's plains while in Louis XII's company and of the Loire and its tributaries in the company of Francis I. Leonardo's journals include a vast number of inventions, both practical and impractical. They include musical instruments, a mechanical knight, hydraulic pumps, reversible crank mechanisms, finned mortar shells, and a steam cannon. Leonardo was fascinated by the phenomenon of flight for much of his life, producing many studies, including Codex on the Flight of Birds (), as well as plans for several flying machines, such as a flapping ornithopter and a machine with a helical rotor. A 2003 documentary by British television station Channel Four, titled Leonardo's Dream Machines, various designs by Leonardo, such as a parachute and a giant crossbow, were interpreted and constructed. Some of those designs proved successful, whilst others fared less well when tested. Research performed by Marc van den Broek revealed older prototypes for more than 100 inventions that are ascribed to Leonardo. Similarities between Leonardo's illustrations and drawings from the Middle Ages and from Ancient Greece and Rome, the Chinese and Persian Empires, and Egypt suggest that a large portion of Leonardo's inventions had been conceived before his lifetime. Leonardo's innovation was to combine different functions from existing drafts and set them into scenes that illustrated their utility. By reconstituting technical inventions he created something new. In his notebooks, Leonardo first stated the ‘laws’ of sliding friction in 1493. His inspiration for investigating friction came about in part from his study of perpetual motion, which he correctly concluded was not possible. His results were never published and the friction laws were not rediscovered until 1699 by Guillaume Amontons, with whose name they are now usually associated. For this contribution, Leonardo was named as the first of the 23 "Men of Tribology" by Duncan Dowson. Legacy Although he had no formal academic training, many historians and scholars regard Leonardo as the prime exemplar of the "Universal Genius" or "Renaissance Man", an individual of "unquenchable curiosity" and "feverishly inventive imagination." He is widely considered one of the most diversely talented individuals ever to have lived. According to art historian Helen Gardner, the scope and depth of his interests were without precedent in recorded history, and "his mind and personality seem to us superhuman, while the man himself mysterious and remote." Scholars interpret his view of the world as being based in logic, though the empirical methods he used were unorthodox for his time. Leonardo's fame within his own lifetime was such that the King of France carried him away like a trophy, and was claimed to have supported him in his old age and held him in his arms as he died. Interest in Leonardo and his work has never diminished. Crowds still queue to see his best-known artworks, T-shirts still bear his most famous drawing, and writers continue to hail him as a genius while speculating about his private life, as well as about what one so intelligent actually believed in. The continued admiration that Leonardo commanded from painters, critics and historians is reflected in many other written tributes. Baldassare Castiglione, author of Il Cortegiano (The Courtier), wrote in 1528: "...Another of the greatest painters in this world looks down on this art in which he is unequalled..." while the biographer known as "Anonimo Gaddiano" wrote, : "His genius was so rare and universal that it can be said that nature worked a miracle on his behalf..." Vasari, in his Lives of the Artists (1568), opens his chapter on Leonardo: In the normal course of events many men and women are born with remarkable talents; but occasionally, in a way that transcends nature, a single person is marvellously endowed by Heaven with beauty, grace and talent in such abundance that he leaves other men far behind, all his actions seem inspired and indeed everything he does clearly comes from God rather than from human skill. Everyone acknowledged that this was true of Leonardo da Vinci, an artist of outstanding physical beauty, who displayed infinite grace in everything that he did and who cultivated his genius so brilliantly that all problems he studied he solved with ease. The 19th century brought a particular admiration for Leonardo's genius, causing Henry Fuseli to write in 1801: "Such was the dawn of modern art, when Leonardo da Vinci broke forth with a splendour that distanced former excellence: made up of all the elements that constitute the essence of genius..." This is echoed by A.E. Rio who wrote in 1861: "He towered above all other artists through the strength and the nobility of his talents." By the 19th century, the scope of Leonardo's notebooks was known, as well as his paintings. Hippolyte Taine wrote in 1866: "There may not be in the world an example of another genius so universal, so incapable of fulfilment, so full of yearning for the infinite, so naturally refined, so far ahead of his own century and the following centuries." Art historian Bernard Berenson wrote in 1896: "Leonardo is the one artist of whom it may be said with perfect literalness: Nothing that he touched but turned into a thing of eternal beauty. Whether it be the cross section of a skull, the structure of a weed, or a study of muscles, he, with his feeling for line and for light and shade, forever transmuted it into life-communicating values." The interest in Leonardo's genius has continued unabated; experts study and translate his writings, analyse his paintings using scientific techniques, argue over attributions and search for works which have been recorded but never found. Liana Bortolon, writing in 1967, said: "Because of the multiplicity of interests that spurred him to pursue every field of knowledge...Leonardo can be considered, quite rightly, to have been the universal genius par excellence, and with all the disquieting overtones inherent in that term. Man is as uncomfortable today, faced with a genius, as he was in the 16th century. Five centuries have passed, yet we still view Leonardo with awe." The Elmer Belt Library of Vinciana is a special collection at the University of California, Los Angeles. Twenty-first-century author Walter Isaacson based much of his biography of Leonardo on thousands of notebook entries, studying the personal notes, sketches, budget notations, and musings of the man whom he considers the greatest of innovators. Isaacson was surprised to discover a "fun, joyous" side of Leonardo in addition to his limitless curiosity and creative genius. On the 500th anniversary of Leonardo's death, the Louvre in Paris arranged for the largest ever single exhibit of his work, called Leonardo, between November 2019 and February 2020. The exhibit includes over 100 paintings, drawings and notebooks. Eleven of the paintings that Leonardo completed in his lifetime were included. Five of these are owned by the Louvre, but the Mona Lisa was not included because it is in such great demand among general visitors to the Louvre; it remains on display in its gallery. Vitruvian Man, however, is on display following a legal battle with its owner, the Gallerie dell'Accademia in Venice. Salvator Mundi was also not included because its Saudi owner did not agree to lease the work. The Mona Lisa, considered Leonardo's magnum opus, is often regarded as the most famous portrait ever made. The Last Supper is the most reproduced religious painting of all time, and Leonardo's Vitruvian Man drawing is also considered a cultural icon. More than a decade of analysis of Leonardo's genetic genealogy, conducted by Alessandro Vezzosi and Agnese Sabato, came to a conclusion in mid-2021. It was determined that the artist has 14 living male relatives. The work could also help determine the authenticity of remains thought to belong to Leonardo. Location of remains While Leonardo was certainly buried in the collegiate church of Saint Florentin at the Château d'Amboise in 12 August 1519, the current location of his remains is unclear. Much of Château d'Amboise was damaged during the French Revolution, leading to the church's demolition in 1802. Some of the graves were destroyed in the process, scattering the bones interred there and thereby leaving the whereabouts of Leonardo's remains subject to dispute; a gardener may have even buried some in the corner of the courtyard. In 1863, fine-arts inspector general Arsène Houssaye received an imperial commission to excavate the site and discovered a partially complete skeleton with a bronze ring on one finger, white hair, and stone fragments bearing the inscriptions "EO", "AR", "DUS", and "VINC"—interpreted as forming "Leonardus Vinci". The skull's eight teeth corresponds to someone of approximately the appropriate age and a silver shield found near the bones depicts a beardless Francis I, corresponding to the king's appearance during Leonardo's time in France. Houssaye postulated that the unusually large skull was an indicator of Leonardo's intelligence; author Charles Nicholl describes this as a "dubious phrenological deduction." At the same time, Houssaye noted some issues with his observations, including that the feet were turned toward the high altar, a practice generally reserved for laymen, and that the skeleton of seemed too short. Art historian Mary Margaret Heaton wrote in 1874 that the height would be appropriate for Leonardo. The skull was allegedly presented to Napoleon III before being returned to the Château d'Amboise, where they were in the chapel of Saint Hubert in 1874. A plaque above the tomb states that its contents are only presumed to be those of Leonardo. It has since been theorized that the folding of the skeleton's right arm over the head may correspond to the paralysis of Leonardo's right hand. In 2016, it was announced that DNA tests would be conducted to determine whether the attribution is correct. The DNA of the remains will be compared to that of samples collected from Leonardo's work and his half-brother Domenico's descendants; it may also be sequenced. In 2019, documents were published revealing that Houssaye had kept the ring and a lock of hair. In 1925, his great-grandson sold these to an American collector. Sixty years later, another American acquired them, leading to their being displayed at the Leonardo Museum in Vinci beginning on 2 May 2019, the 500th anniversary of the artist's death. Notes General Dates of works References Citations Early Modern Works cited Early in in Modern Books volume 2: . A reprint of the original 1883 edition Journals and encyclopedia articles Further reading See and for extensive bibliographies External links General Universal Leonardo, a database of Leonardo's life and works maintained by Martin Kemp and Marina Wallace Leonardo da Vinci on the National Gallery website Works Biblioteca Leonardiana, online bibliography (in Italian) e-Leo: Archivio digitale di storia della tecnica e della scienza, archive of drawings, notes and manuscripts Complete text and images of Richter's translation of the Notebooks The Notebooks of Leonardo da Vinci 1452 births 1519 deaths 15th-century Italian mathematicians 15th-century Italian painters 15th-century Italian scientists 15th-century Italian sculptors 15th-century people of the Republic of Florence 16th-century Italian mathematicians 16th-century Italian painters 16th-century Italian scientists 16th-century Italian sculptors 16th-century people of the Republic of Florence Ambassadors of the Republic of Florence Ballistics experts Fabulists Painters from Florence Botanical illustrators Fluid dynamicists History of anatomy Italian anatomists Italian caricaturists Italian civil engineers 16th-century Italian inventors Italian male painters Italian male sculptors Italian military engineers Italian physiologists Italian Renaissance humanists Italian Renaissance painters Italian Renaissance sculptors Italian Roman Catholics Mathematical artists Painters by city People prosecuted under anti-homosexuality laws Philosophical theists Physiognomists Renaissance architects Renaissance painters Renaissance scientists Painters from Tuscany Burials in France Writers who illustrated their own writing	false	[ "Wesley Alba Sturges (1893-1962) was a professor of law at the Yale Law School from 1924 to 1961, and served as dean of the law school from 1945 to 1954. He received his LL.B. from Yale in 1923. He retired from Yale in 1961 to become dean of the University of Miami School of Law. He was a prominent figure in Yale's Legal Realism movement. In his article (with Samuel Clark), Legal Theory and Real Property Mortgages, 37 Yale L. J. 691 (1928), he sought to make the Legal Realist point that doctrinal distinctions between \"lien theory\" and \"title theory\" did not have any actual effect on how courts ruled in litigation about mortgage disputes. His casebook, Cases and Materials on the Law of Credit Transactions, emphasized the contradictions in judicial decision-making and sought to dispel the view that \"what judges said in one case with its setting can be used to [predict] what they will decide in another case\" with a different factual setting.\n\nFrom 22 Oct 1938, Sturges fulfilled the role of Executive Director of the Distilled Spirits Institute and gave evidence to the US Congress Investigation of Concentration of Economic Power (Parts 6-8 Liquor Industry) between 14 and 17 March 1939. As 'czar' of the nation's distilled liquor industry, Sturges drew up a code of practice to reform commercial practices, maintain an open competitive market, to end the system of secret rebates and other corner-cutting dodges, and to balance the field between larger and smaller operations.\n\nAfter he stepped down from the deanship, Sturges taught only three courses, annually in rotation, one semester each year—arbitration, real-property credit transactions, and chattel credit transactions. Using an advanced form of the Socratic method, he sought in these courses to teach students rhetoric and advocacy rather than substantive law—what he termed \"learning to stand up on your hind legs and make noises like a lawyer.\" He was famous at Yale for his technique of calling upon a student to recite what a case held, asking him whether he agreed or disagreed with the court's ruling, and regardless of how the student replied, slowly forcing him by pointing out difficulties in that position, to adopt the contrary view, whereupon Sturges would by the same technique then argue the student back to conceding the validity of his original position. The point was to teach students both how to make noises like a lawyer and not to get led down the primrose path by an adversary.\n\nProfessor Grant Gilmore said of Wesley Sturges:\n\nWhat did Wesley teach us?...He taught us forever to be on our guard against the slippery generality, the received principle, the authoritative proposition. He taught us to trust no one's judgment except our own--and not to be too sure of that. He taught us how to live by our wits. He taught us, in a word, how to be lawyers.\n\nProfessor Ralph S. Brown said of Sturges:\n\nSturges was the most compelling teacher of my time. He was just a master of the Socratic method. You never knew what ball was under that shell. . . .\n\nReferences \n\n1893 births\n1962 deaths\nAmerican legal scholars\nYale Law School alumni\nYale Law School faculty\nDeans of Yale Law School\nPhilosophers of law", "Edward Teach (alternatively spelled Edward Thatch, – 22 November 1718), better known as Blackbeard, was an English pirate who operated around the West Indies and the eastern coast of Britain's North American colonies. Little is known about his early life, but he may have been a sailor on privateer ships during Queen Anne's War before he settled on the Bahamian island of New Providence, a base for Captain Benjamin Hornigold, whose crew Teach joined around 1716. Hornigold placed him in command of a sloop that he had captured, and the two engaged in numerous acts of piracy. Their numbers were boosted by the addition to their fleet of two more ships, one of which was commanded by Stede Bonnet; but Hornigold retired from piracy toward the end of 1717, taking two vessels with him.\n\nTeach captured a French slave ship known as La Concorde, renamed her Queen Anne's Revenge, equipped her with 40 guns, and crewed her with over 300 men. He became a renowned pirate, his nickname derived from his thick black beard and fearsome appearance; he was reported to have tied lit fuses (slow matches) under his hat to frighten his enemies. He formed an alliance of pirates and blockaded the port of Charles Town, South Carolina, ransoming the port's inhabitants. He then ran Queen Anne's Revenge aground on a sandbar near Beaufort, North Carolina. He parted company with Bonnet and settled in Bath, North Carolina, also known as Bath Town, where he accepted a royal pardon. But he was soon back at sea, where he attracted the attention of Alexander Spotswood, the Governor of Virginia. Spotswood arranged for a party of soldiers and sailors to capture him; on 22 November 1718 following a ferocious battle Teach and several of his crew were killed by a small force of sailors led by Lieutenant Robert Maynard.\n\nTeach was a shrewd and calculating leader who spurned the use of violence, relying instead on his fearsome image to elicit the response that he desired from those whom he robbed. He was romanticized after his death and became the inspiration for an archetypal pirate in works of fiction across many genres.\n\nEarly life\nLittle is known about Blackbeard's early life. It is commonly believed that at the time of his death he was between 35 and 40 years old and thus born in about 1680. In contemporary records his name is most often given as Blackbeard, Edward Thatch or Edward Teach; the latter is most often used. Several spellings of his surname exist—Thatch, Thach, Thache, Thack, Tack, Thatche and Theach. One early source claims that his surname was Drummond, but the lack of any supporting documentation makes this unlikely. Pirates habitually used fictitious surnames while engaged in piracy, so as not to tarnish the family name, and this makes it unlikely that Teach's real name will ever be known.\n\nThe 17th-century rise of Britain's American colonies and the rapid 18th-century expansion of the Atlantic slave trade had made Bristol an important international sea port, and Teach was most likely raised in what was then the second-largest city in England. He could almost certainly read and write; he communicated with merchants and when killed had in his possession a letter addressed to him by the Chief Justice and Secretary of the Province of Carolina, Tobias Knight. The author Robert Lee speculated that Teach may therefore have been born into a respectable, wealthy family. He may have arrived in the Caribbean in the last years of the 17th century, on a merchant vessel (possibly a slave ship). The 18th-century author Charles Johnson claimed that Teach was for some time a sailor operating from Jamaica on privateer ships during the War of the Spanish Succession, and that \"he had often distinguished himself for his uncommon boldness and personal courage\". At what point during the war Teach joined the fighting is, in keeping with the record of most of his life before he became a pirate, unknown.\n\nNew Providence\n\nWith its history of colonialism, trade and piracy, the West Indies was the setting for many 17th- and 18th-century maritime incidents. The privateer-turned-pirate Henry Jennings and his followers decided, early in the 18th century, to use the uninhabited island of New Providence as a base for their operations; it was within easy reach of the Florida Strait and its busy shipping lanes, which were filled with European vessels crossing the Atlantic. New Providence's harbour could easily accommodate hundreds of ships but was too shallow for the Royal Navy's larger vessels. The author George Woodbury described New Providence as \"no city of homes; it was a place of temporary sojourn and refreshment for a literally floating population,\" continuing, \"The only permanent residents were the piratical camp followers, the traders, and the hangers-on; all others were transient.\" In New Providence, pirates found a welcome respite from the law.\n\nTeach was one of those who came to enjoy the island's benefits. Probably shortly after the signing of the Treaty of Utrecht, he moved there from Jamaica, and, along with most privateers once involved in the war, became involved in piracy. Possibly about 1716, he joined the crew of Captain Benjamin Hornigold, a renowned pirate who operated from New Providence's safe waters. In 1716 Hornigold placed Teach in charge of a sloop he had taken as a prize. In early 1717, Hornigold and Teach, each captaining a sloop, set out for the mainland. They captured a boat carrying 120 barrels of flour out of Havana, and shortly thereafter took 100 barrels of wine from a sloop out of Bermuda. A few days later they stopped a vessel sailing from Madeira to Charles Town, South Carolina. Teach and his quartermaster, William Howard, may at this time have struggled to control their crews. By then they had probably developed a taste for Madeira wine, and on 29 September near Cape Charles all they took from the Betty of Virginia was her cargo of Madeira, before they scuttled her with the remaining cargo.\n\nIt was during this cruise with Hornigold that the earliest known report of Teach was made, in which he is recorded as a pirate in his own right, in command of a large crew. In a report made by a Captain Mathew Munthe on an anti-piracy patrol for North Carolina, \"Thatch\" was described as operating \"a sloop 6 gunns and about 70 men\". In September Teach and Hornigold encountered Stede Bonnet, a landowner and military officer from a wealthy family who had turned to piracy earlier that year. Bonnet's crew of about 70 were reportedly dissatisfied with his command, so with Bonnet's permission, Teach took control of his ship Revenge. The pirates' flotilla now consisted of three ships; Teach on Revenge, Teach's old sloop and Hornigold's Ranger. By October, another vessel had been captured and added to the small fleet. The sloops Robert of Philadelphia and Good Intent of Dublin were stopped on 22 October 1717, and their cargo holds emptied.\n\nAs a former British privateer, Hornigold attacked only his old enemies, but for his crew, the sight of British vessels filled with valuable cargo passing by unharmed became too much, and at some point toward the end of 1717 he was demoted. Whether Teach had any involvement in this decision is unknown, but Hornigold quickly retired from piracy. He took Ranger and one of the sloops, leaving Teach with Revenge and the remaining sloop. The two never met again and, as did many other occupants of New Providence, Hornigold accepted the King's pardon.\n\nBlackbeard\n\nOn 28 November 1717 Teach's two ships attacked a French merchant vessel off the coast of Saint Vincent. They each fired a broadside across its bulwarks, killing several of its crew, and forcing its captain to surrender. The ship was La Concorde, a large French Guineaman registered in Saint-Malo and carrying a cargo of slaves. This ship had originally been the English merchantman Concord, captured in 1711 by a French squadron, and then changed hands several times by 1717. Teach and his crews sailed the vessel south along Saint Vincent and the Grenadines to Bequia, where they disembarked her crew and cargo, and converted the ship for their own use. The crew of La Concorde were given the smaller of Teach's two sloops, which they renamed Mauvaise Rencontre (Bad Meeting), and sailed for Martinique. Teach may have recruited some of their slaves, but the remainder were left on the island and were later recaptured by the returning crew of Mauvaise Rencontre.\n\nTeach immediately renamed La Concorde as Queen Anne's Revenge and equipped her with 40 guns. By this time Teach had placed his lieutenant Richards in command of Bonnet's Revenge. In late November, near Saint Vincent, he attacked the Great Allen. After a lengthy engagement, he forced the large and well-armed merchant ship to surrender. He ordered her to move closer to the shore, disembarked her crew and emptied her cargo holds, and then burned and sank the vessel. The incident was chronicled in the Boston News-Letter, which called Teach the commander of a \"French ship of 32 Guns, a Briganteen of 10 guns and a Sloop of 12 guns.\" It is not known when or where Teach collected the ten-gun briganteen, but by that time he may have been in command of at least 150 men split among three vessels.\n\nOn 5 December 1717 Teach stopped the merchant sloop Margaret off the coast of Crab Island, near Anguilla. Her captain, Henry Bostock, and crew, remained Teach's prisoners for about eight hours, and were forced to watch as their sloop was ransacked. Bostock, who had been held aboard Queen Anne's Revenge, was returned unharmed to Margaret and was allowed to leave with his crew. He returned to his base of operations on Saint Christopher Island and reported the matter to Governor Walter Hamilton, who requested that he sign an affidavit about the encounter. Bostock's deposition details Teach's command of two vessels: a sloop and a large French guineaman, Dutch-built, with 36 cannons and a crew of 300 men. The captain believed that the larger ship carried valuable gold dust, silver plate, and \"a very fine cup\" supposedly taken from the commander of Great Allen. Teach's crew had apparently informed Bostock that they had destroyed several other vessels, and that they intended to sail to Hispaniola and lie in wait for an expected Spanish armada, supposedly laden with money to pay the garrisons. Bostock also claimed that Teach had questioned him about the movements of local ships, but also that he had seemed unsurprised when Bostock told him of an expected royal pardon from London for all pirates.\n\nBostock's deposition describes Teach as a \"tall spare man with a very black beard which he wore very long\". It is the first recorded account of Teach's appearance and is the source of his cognomen, Blackbeard. Later descriptions mention that his thick black beard was braided into pigtails, sometimes tied in with small coloured ribbons. Johnson (1724) described him as \"such a figure that imagination cannot form an idea of a fury from hell to look more frightful.\" Whether Johnson's description was entirely truthful or embellished is unclear, but it seems likely that Teach understood the value of appearances; better to strike fear into the heart of one's enemies, than rely on bluster alone. Teach was tall, with broad shoulders. He wore knee-length boots and dark clothing, topped with a wide hat and sometimes a long coat of brightly coloured silk or velvet. Johnson also described Teach in times of battle as wearing \"a sling over his shoulders, with three brace of pistols, hanging in holsters like bandoliers; and stuck lighted slow matches under his hat\", the latter apparently to emphasise the fearsome appearance he wished to present to his enemies. Despite his ferocious reputation though, there are no verified accounts of his ever having murdered or harmed those he held captive. Teach may have used other aliases; on 30 November, the Monserrat Merchant encountered two ships and a sloop, commanded by a Captain Kentish and Captain Edwards (the latter a known alias of Stede Bonnet).\n\nEnlargement of Teach's fleet\nTeach's movements between late 1717 and early 1718 are not known. He and Bonnet were probably responsible for an attack off Sint Eustatius in December 1717. Henry Bostock claimed to have heard the pirates say they would head toward the Spanish-controlled Samaná Bay in Hispaniola, but a cursory search revealed no pirate activity. Captain Hume of reported on 6 February that a \"Pyrate Ship of 36 Guns and 250 men, and a Sloop of 10 Guns and 100 men were Said to be Cruizing amongst the Leeward Islands\". Hume reinforced his crew with soldiers armed with muskets, and joined up with to track the two ships, to no avail, though they discovered that the two ships had sunk a French vessel off St Christopher Island, and reported also that they had last been seen \"gone down the North side of Hispaniola\". Although no confirmation exists that these two ships were controlled by Teach and Bonnet, author Angus Konstam believes it very likely they were.\n\nIn March 1718, while taking on water at Turneffe Island east of Belize, both ships spotted the Jamaican logwood cutting sloop Adventure making for the harbour. She was stopped and her captain, Harriot, invited to join the pirates. Harriot and his crew accepted the invitation, and Teach sent over a crew to sail Adventure making Israel Hands the captain. They sailed for the Bay of Honduras, where they added another ship and four sloops to their flotilla. On 9 April Teach's enlarged fleet of ships looted and burnt Protestant Caesar. His fleet then sailed to Grand Cayman where they captured a \"small turtler\". Teach probably sailed toward Havana, where he may have captured a small Spanish vessel that had left the Cuban port. They then sailed to the wrecks of the 1715 Spanish fleet, off the eastern coast of Florida. There Teach disembarked the crew of the captured Spanish sloop, before proceeding north to the port of Charles Town, South Carolina, attacking three vessels along the way.\n\nBlockade of Charles Town\n\nBy May 1718, Teach had awarded himself the rank of Commodore and was at the height of his power. Late that month his flotilla blockaded the port of Charles Town in the Province of South Carolina. All vessels entering or leaving the port were stopped, and as the town had no guard ship, its pilot boat was the first to be captured. Over the next five or six days about nine vessels were stopped and ransacked as they attempted to sail past Charles Town Bar, where Teach's fleet was anchored. One such ship, headed for London with a group of prominent Charles Town citizens which included Samuel Wragg (a member of the Council of the Province of Carolina), was the Crowley. Her passengers were questioned about the vessels still in port and then locked below decks for about half a day. Teach informed the prisoners that his fleet required medical supplies from the colonial government of South Carolina, and that if none were forthcoming, all prisoners would be executed, their heads sent to the Governor and all captured ships burnt.\n\nWragg agreed to Teach's demands, and a Mr. Marks and two pirates were given two days to collect the drugs. Teach moved his fleet, and the captured ships, to within about five or six leagues from land. Three days later a messenger, sent by Marks, returned to the fleet; Marks's boat had capsized and delayed their arrival in Charles Town. Teach granted a reprieve of two days, but still the party did not return. He then called a meeting of his fellow sailors and moved eight ships into the harbour, causing panic within the town. When Marks finally returned to the fleet, he explained what had happened. On his arrival he had presented the pirates' demands to the Governor and the drugs had been quickly gathered, but the two pirates sent to escort him had proved difficult to find; they had been busy drinking with friends and were finally discovered, drunk.\n\nTeach kept to his side of the bargain and released the captured ships and his prisoners—albeit relieved of their valuables, including the fine clothing some had worn.\n\nBeaufort Inlet\nWhilst at Charles Town, Teach learned that Woodes Rogers had left England with several men-of-war, with orders to purge the West Indies of pirates. Teach's flotilla sailed northward along the Atlantic coast and into Topsail Inlet (commonly known as Beaufort Inlet), off the coast of North Carolina. There they intended to careen their ships to scrape their hulls, but on 10 June 1718 the Queen Anne's Revenge ran aground on a sandbar, cracking her main-mast and severely damaging many of her timbers. Teach ordered several sloops to throw ropes across the flagship in an attempt to free her. A sloop commanded by Israel Hands of Adventure also ran aground, and both vessels appeared to be damaged beyond repair, leaving only Revenge and the captured Spanish sloop.\n\nPardon\n\nTeach had at some stage learnt of the offer of a royal pardon and probably confided in Bonnet his willingness to accept it. The pardon was open to all pirates who surrendered on or before 5 September 1718, but contained a caveat stipulating that immunity was offered only against crimes committed before 5 January. Although in theory this left Bonnet and Teach at risk of being hanged for their actions at Charles Town Bar, most authorities could waive such conditions. Teach thought that Governor Charles Eden was a man he could trust, but to make sure, he waited to see what would happen to another captain. Bonnet left immediately on a small sailing boat for Bath Town, where he surrendered to Governor Eden, and received his pardon. He then travelled back to Beaufort Inlet to collect the Revenge and the remainder of his crew, intending to sail to Saint Thomas Island to receive a commission. Unfortunately for him, Teach had stripped the vessel of its valuables and provisions, and had marooned its crew; Bonnet set out for revenge, but was unable to find him. He and his crew returned to piracy and were captured on 27 September 1718 at the mouth of the Cape Fear River. All but four were tried and hanged in Charles Town.\n\nThe author Robert Lee surmised that Teach and Hands intentionally ran the ships aground to reduce the fleet's crew complement, increasing their share of the spoils. During the trial of Bonnet's crew, Revenges boatswain Ignatius Pell testified that \"the ship was run ashore and lost, which Thatch [Teach] caused to be done.\" Lee considers it plausible that Teach let Bonnet in on his plan to accept a pardon from Governor Eden. He suggested that Bonnet do the same, and as war between the Quadruple Alliance of 1718 and Spain was threatening, to consider taking a privateer's commission from England. Lee suggests that Teach also offered Bonnet the return of his ship Revenge. Konstam (2007) proposes a similar idea, explaining that Teach began to see Queen Anne's Revenge as something of a liability; while a pirate fleet was anchored, news of this was sent to neighbouring towns and colonies, and any vessels nearby would delay sailing. It was prudent therefore for Teach not to linger for too long, although wrecking the ship was a somewhat extreme measure.\n\nBefore sailing northward on his remaining sloop to Ocracoke Inlet, Teach marooned about 25 men on a small sandy island about a league from the mainland. He may have done this to stifle any protest they made, if they guessed their captain's plans. Bonnet rescued them two days later. Teach continued on to Bath, where in June 1718—only days after Bonnet had departed with his pardon—he and his much-reduced crew received their pardon from Governor Eden.\n\nHe settled in Bath, on the eastern side of Bath Creek at Plum Point, near Eden's home. During July and August he travelled between his base in the town and his sloop off Ocracoke. Johnson's account states that he married the daughter of a local plantation owner, although there is no supporting evidence for this. Eden gave Teach permission to sail to St Thomas to seek a commission as a privateer (a useful way of removing bored and troublesome pirates from the small settlement), and Teach was given official title to his remaining sloop, which he renamed Adventure. By the end of August he had returned to piracy, and in the same month the Governor of Pennsylvania issued a warrant for his arrest, but by then Teach was probably operating in Delaware Bay, some distance away. He took two French ships leaving the Caribbean, moved one crew across to the other, and sailed the remaining ship back to Ocracoke. In September he told Eden that he had found the French ship at sea, deserted. A Vice Admiralty Court was quickly convened, presided over by Tobias Knight and the Collector of Customs. The ship was judged as a derelict found at sea, and of its cargo twenty hogsheads of sugar were awarded to Knight and sixty to Eden; Teach and his crew were given what remained in the vessel's hold.\n\nOcracoke Inlet was Teach's favourite anchorage. It was a perfect vantage point from which to view ships travelling between the various settlements of northeast Carolina, and it was from there that Teach first spotted the approaching ship of Charles Vane, another English pirate. Several months earlier Vane had rejected the pardon brought by Woodes Rogers and escaped the men-of-war the English captain brought with him to Nassau. He had also been pursued by Teach's old commander, Benjamin Hornigold, who was by then a pirate hunter. Teach and Vane spent several nights on the southern tip of Ocracoke Island, accompanied by such notorious figures as Israel Hands, Robert Deal and Calico Jack.\n\nAlexander Spotswood\nAs it spread throughout the neighbouring colonies, the news of Teach and Vane's impromptu party worried the Governor of Pennsylvania enough to send out two sloops to capture the pirates. They were unsuccessful, but Governor of Virginia Alexander Spotswood was also concerned that the supposedly retired freebooter and his crew were living in nearby North Carolina. Some of Teach's former crew had already moved into several Virginian seaport towns, prompting Spotswood to issue a proclamation on 10 July, requiring all former pirates to make themselves known to the authorities, to give up their arms and to not travel in groups larger than three. As head of a Crown colony, Spotswood viewed the proprietary colony of North Carolina with contempt; he had little faith in the ability of the Carolinians to control the pirates, who he suspected would be back to their old ways, disrupting Virginian commerce, as soon as their money ran out.\n\nSpotswood learnt that William Howard, the former quartermaster of Queen Anne's Revenge, was in the area, and believing that he might know of Teach's whereabouts had him and his two slaves arrested. Spotswood had no legal authority to have pirates tried, and as a result, Howard's attorney, John Holloway, brought charges against Captain Brand of , where Howard was imprisoned. He also sued on Howard's behalf for damages of £500, claiming wrongful arrest.\n\nSpotswood's council claimed that under a statute of William III the governor was entitled to try pirates without a jury in times of crisis and that Teach's presence was a crisis. The charges against Howard referred to several acts of piracy supposedly committed after the pardon's cut-off date, in \"a sloop belonging to ye subjects of the King of Spain\", but ignored the fact that they took place outside Spotswood's jurisdiction and in a vessel then legally owned. Another charge cited two attacks, one of which was the capture of a slave ship off Charles Town Bar, from which one of Howard's slaves was presumed to have come. Howard was sent to await trial before a Court of Vice-Admiralty, on the charge of piracy, but Brand and his colleague, Captain Gordon (of ) refused to serve with Holloway present. Incensed, Holloway had no option but to stand down, and was replaced by the Attorney General of Virginia, John Clayton, whom Spotswood described as \"an honester man [than Holloway]\". Howard was found guilty and sentenced to be hanged, but was saved by a commission from London, which directed Spotswood to pardon all acts of piracy committed by surrendering pirates before 18 August 1718.\n\nSpotswood had obtained from Howard valuable information on Teach's whereabouts, and he planned to send his forces across the border into North Carolina to capture him. He gained the support of two men keen to discredit North Carolina's Governor—Edward Moseley and Colonel Maurice Moore. He also wrote to the Lords of Trade, suggesting that the Crown might benefit financially from Teach's capture. Spotswood personally financed the operation, possibly believing that Teach had fabulous treasures hidden away. He ordered Captains Gordon and Brand of HMS Pearl and HMS Lyme to travel overland to Bath. Lieutenant Robert Maynard of HMS Pearl was given command of two commandeered sloops, to approach the town from the sea. An extra incentive for Teach's capture was the offer of a reward from the Assembly of Virginia, over and above any that might be received from the Crown.\n\nMaynard took command of the two armed sloops on 17 November. He was given 57 men—33 from HMS Pearl and 24 from HMS Lyme. Maynard and the detachment from HMS Pearl took the larger of the two vessels and named her Jane; the rest took Ranger, commanded by one of Maynard's officers, a Mister Hyde. Some from the two ships' civilian crews remained aboard. They sailed from Kecoughtan, along the James River, on 17 November. The two sloops moved slowly, giving Brand's force time to reach Bath. Brand set out for North Carolina six days later, arriving within three miles of Bath on 23 November. Included in Brand's force were several North Carolinians, including Colonel Moore and Captain Jeremiah Vail, sent to counter any local objection to the presence of foreign soldiers. Moore went into the town to see if Teach was there, reporting back that he was not, but that he was expected at \"every minute.\" Brand then went to Governor Eden's home and informed him of his purpose. The next day, Brand sent two canoes down Pamlico River to Ocracoke Inlet, to see if Teach could be seen. They returned two days later and reported on what eventually transpired.\n\nLast battle\nMaynard found the pirates anchored on the inner side of Ocracoke Island, on the evening of 21 November. He had ascertained their position from ships he had stopped along his journey, but being unfamiliar with the local channels and shoals he decided to wait until the following morning to make his attack. He stopped all traffic from entering the inlet—preventing any warning of his presence—and posted a lookout on both sloops to ensure that Teach could not escape to sea. On the other side of the island, Teach was busy entertaining guests and had not set a lookout. With Israel Hands ashore in Bath with about 24 of Adventures sailors, he also had a much-reduced crew. Johnson (1724) reported Teach had \"no more than twenty-five men on board\" and that he \"gave out to all the vessels that he spoke with that he had forty\". \"Thirteen white and six Negroes\", was the number later reported by Brand to the Admiralty.\n\nAt daybreak, preceded by a small boat taking soundings, Maynard's two sloops entered the channel. The small craft was quickly spotted by Adventure and fired at as soon as it was within range of her guns. While the boat made a quick retreat to the Jane, Teach cut the Adventures anchor cable. His crew hoisted the sails and the Adventure manoeuvred to point her starboard guns toward Maynard's sloops, which were slowly closing the gap. Hyde moved Ranger to the port side of Jane and the Union flag was unfurled on each ship. Adventure then turned toward the beach of Ocracoke Island, heading for a narrow channel. What happened next is uncertain. Johnson claimed that there was an exchange of small arms fire following which Adventure ran aground on a sandbar, and Maynard anchored and then lightened his ship to pass over the obstacle. Another version claimed that Jane and Ranger ran aground, although Maynard made no mention of this in his log.\n\nThe Adventure eventually turned her guns on the two ships and fired. The broadside was devastating; in an instant, Maynard had lost as much as a third of his forces. About 20 on Jane were either wounded or killed and 9 on Ranger. Hyde was dead and his second and third officers either dead or seriously injured. His sloop was so badly damaged that it played no further role in the attack. Contemporary accounts of what happened next are confused, but small-arms fire from Jane may have cut Adventures jib sheet, causing her to lose control and run onto the sandbar. In the aftermath of Teach's overwhelming attack, Jane and Ranger may also have been grounded; the battle would have become a race to see who could float their ship first.\n\nMaynard had kept many of his men below deck, and in anticipation of being boarded told them to prepare for close fighting. Teach watched as the gap between the vessels closed, and ordered his men to be ready. The two vessels contacted one another as the Adventures grappling hooks hit their target and several grenades, made from powder and shot-filled bottles and ignited by fuses, broke across the sloop's deck. As the smoke cleared, Teach led his men aboard, buoyant at the sight of Maynard's apparently empty ship, his men firing at the small group of men with Maynard at the stern.\n\nThe rest of Maynard's men then burst from the hold, shouting and firing. The plan to surprise Teach and his crew worked; the pirates were apparently taken aback at the assault. Teach rallied his men and the two groups fought across the deck, which was already slick with blood from those killed or injured by Teach's broadside. Maynard and Teach fired their flintlocks at each other, then threw them away. Teach drew his cutlass and managed to break Maynard's sword. Against superior training and a slight advantage in numbers, the pirates were pushed back toward the bow, allowing the Janes crew to surround Maynard and Teach, who was by then completely isolated. As Maynard drew back to fire once again, Teach moved in to attack him, but was slashed across the neck by one of Maynard's men. Badly wounded, he was then attacked and killed by several more of Maynard's crew. The remaining pirates quickly surrendered. Those left on the Adventure were captured by the Rangers crew, including one who planned to set fire to the powder room and blow up the ship. Varying accounts exist of the battle's list of casualties; Maynard reported that 8 of his men and 12 pirates were killed. Brand reported that 10 pirates and 11 of Maynard's men were killed. Spotswood claimed ten pirates and ten of the King's men dead.\n\nMaynard later examined Teach's body, noting that it had been shot five times and cut about twenty. He also found several items of correspondence, including a letter from Tobias Knight. Teach's corpse was thrown into the inlet and his head was suspended from the bowsprit of Maynard's sloop so that the reward could be collected. On their return to Virginia, Teach's head was placed on a pole at the entrance to the Chesapeake Bay as a warning to other pirates and a greeting to other ships, and it stood there for several years.\n\nLegacy\nLieutenant Maynard remained at Ocracoke for several more days, making repairs and burying the dead. Teach's loot—sugar, cocoa, indigo and cotton—found \"in pirate sloops and ashore in a tent where the sloops lay\", was sold at auction along with sugar and cotton found in Tobias Knight's barn, for £2,238. Governor Spotswood used a portion of this to pay for the entire operation. The prize money for capturing Teach was to have been about £400 (£ in ), but it was split between the crews of HMS Lyme and HMS Pearl. As Captain Brand and his troops had not been the ones fighting for their lives, Maynard thought this extremely unfair. He lost much of any support he may have had though when it was discovered that he and his crew had helped themselves to about £90 of Teach's booty. The two companies did not receive their prize money for another four years, and despite his bravery Maynard was not promoted, and faded into obscurity.\n\nThe remainder of Teach's crew and former associates were found by Brand, in Bath, and were transported to Williamsburg, Virginia, where they were jailed on charges of piracy. Several were black, prompting Spotswood to ask his council what could be done about \"the Circumstances of these Negroes to exempt them from undergoing the same Tryal as other pirates.\" Regardless, the men were tried with their comrades in Williamsburg's Capitol building, under admiralty law, on 12 March 1719. No records of the day's proceedings remain, but 14 of the 16 accused were found guilty. Of the remaining two, one proved that he had partaken of the fight out of necessity, having been on Teach's ship only as a guest at a drinking party the night before, and not as a pirate. The other, Israel Hands, was not present at the fight. He claimed that during a drinking session Teach had shot him in the knee, and that he was still covered by the royal pardon. The remaining pirates were hanged, then left to rot in gibbets along Williamsburg's Capitol Landing Road (known for some time after as \"Gallows Road\").\n\nGovernor Eden was certainly embarrassed by Spotswood's invasion of North Carolina, and Spotswood disavowed himself of any part of the seizure. He defended his actions, writing to Lord Carteret, a shareholder of the Province of Carolina, that he might benefit from the sale of the seized property and reminding the Earl of the number of Virginians who had died to protect his interests. He argued for the secrecy of the operation by suggesting that Eden \"could contribute nothing to the Success of the Design\", and told Eden that his authority to capture the pirates came from the king. Eden was heavily criticised for his involvement with Teach and was accused of being his accomplice. By criticising Eden, Spotswood intended to bolster the legitimacy of his invasion. Lee (1974) concludes that although Spotswood may have thought that the ends justified the means, he had no legal authority to invade North Carolina, to capture the pirates and to seize and auction their goods. Eden doubtless shared the same view. As Spotswood had also accused Tobias Knight of being in league with Teach, on 4 April 1719, Eden had Knight brought in for questioning. Israel Hands had, weeks earlier, testified that Knight had been on board the Adventure in August 1718, shortly after Teach had brought a French ship to North Carolina as a prize. Four pirates had testified that with Teach they had visited Knight's home to give him presents. This testimony and the letter found on Teach's body by Maynard appeared compelling, but Knight conducted his defence with competence. Despite being very sick and close to death, he questioned the reliability of Spotswood's witnesses. He claimed that Israel Hands had talked under duress, and that under North Carolinian law the other witness, an African, was unable to testify. The sugar, he argued, was stored at his house legally, and Teach had visited him only on business, in his official capacity. The board found Knight innocent of all charges. He died later that year.\n\nEden was annoyed that the accusations against Knight arose during a trial in which he played no part. The goods which Brand seized were officially North Carolinian property and Eden considered him a thief. The argument raged back and forth between the colonies until Eden's death on 17 March 1722. His will named one of Spotswood's opponents, John Holloway, a beneficiary. In the same year, Spotswood, who for years had fought his enemies in the House of Burgesses and the Council, was replaced by Hugh Drysdale, once Robert Walpole was convinced to act.\n\nModern view\n\nOfficial views on pirates were sometimes quite different from those held by contemporary authors, who often described their subjects as despicable rogues of the sea. Privateers who became pirates were generally considered by the English government to be reserve naval forces, and were sometimes given active encouragement; as far back as 1581 Francis Drake was knighted by Queen Elizabeth, when he returned to England from a round-the-world expedition with plunder worth an estimated £1,500,000. Royal pardons were regularly issued, usually when England was on the verge of war, and the public's opinion of pirates was often favourable, some considering them akin to patrons. Economist Peter Leeson believes that pirates were generally shrewd businessmen, far removed from the modern, romanticised view of them as barbarians. After Woodes Rogers' 1718 landing at New Providence and his ending of the pirate republic, piracy in the West Indies fell into terminal decline. With no easily accessible outlet to fence their stolen goods, pirates were reduced to a subsistence livelihood, and following almost a century of naval warfare between the British, French and Spanish—during which sailors could find easy employment—lone privateers found themselves outnumbered by the powerful ships employed by the British Empire to defend its merchant fleets. The popularity of the slave trade helped bring to an end the frontier condition of the West Indies, and in these circumstances, piracy was no longer able to flourish as it once did.\n\nSince the end of this so-called golden age of piracy, Teach and his exploits have become the stuff of lore, inspiring books, films and even amusement park rides. Much of what is known about him can be sourced to Charles Johnson's A General Historie of the Robberies and Murders of the Most Notorious Pyrates, published in Britain in 1724. A recognised authority on the pirates of his time, Johnson's descriptions of such figures as Anne Bonny and Mary Read were for years required reading for those interested in the subject. Readers were titillated by his stories and a second edition was quickly published, though author Angus Konstam suspects that Johnson's entry on Blackbeard was \"coloured a little to make a more sensational story.\" A General Historie, though, is generally considered to be a reliable source. Johnson may have been an assumed alias. As Johnson's accounts have been corroborated in personal and official dispatches, Lee (1974) considers that whoever he was, he had some access to official correspondence. Konstam speculates further, suggesting that Johnson may have been the English playwright Charles Johnson, the British publisher Charles Rivington, or the writer Daniel Defoe. In his 1951 work The Great Days of Piracy, author George Woodbury wrote that Johnson is \"obviously a pseudonym\", continuing \"one cannot help suspecting that he may have been a pirate himself.\"\n\nDespite his infamy, Teach was not the most successful of pirates. Henry Every retired a rich man, and Bartholomew Roberts took an estimated five times the amount Teach stole. Treasure hunters have long busied themselves searching for any trace of his rumoured hoard of gold and silver, but nothing found in the numerous sites explored along the east coast of the US has ever been connected to him. Some tales suggest that pirates often killed a prisoner on the spot where they buried their loot, and Teach is no exception in these stories, but that no finds have come to light is not exceptional; buried pirate treasure is often considered a modern myth for which almost no supporting evidence exists. The available records include nothing to suggest that the burial of treasure was a common practice, except in the imaginations of the writers of fictional accounts such as Treasure Island. Such hoards would necessitate a wealthy owner, and their supposed existence ignores the command structure of a pirate vessel, in which the crew served for a share of the profit. The only pirate ever known to bury treasure was William Kidd; the only treasure so far recovered from Teach's exploits is that taken from the wreckage of what is presumed to be the Queen Anne's Revenge, which was found in 1996. As of 2009 more than 250,000 artefacts had been recovered. A selection is on public display at the North Carolina Maritime Museum.\n\nVarious superstitious tales exist of Teach's ghost. Unexplained lights at sea are often referred to as \"Teach's light\", and some recitals claim that the notorious pirate now roams the afterlife searching for his head, for fear that his friends, and the Devil, will not recognise him. A North Carolinian tale holds that Teach's skull was used as the basis for a silver drinking chalice; a local judge even claimed to have drunk from it one night in the 1930s.\n\nThe name of Blackbeard has been attached to many local attractions, such as Charleston's Blackbeard's Cove.\n\nHis name and persona have also featured heavily in literature. He is the main subject of Matilda Douglas's fictional 1835 work Blackbeard: A page from the colonial history of Philadelphia.\n\nFilm renditions of his life include Blackbeard the Pirate (1952), Blackbeard's Ghost (1968), Blackbeard: Terror at Sea (2005) and the 2006 Hallmark Channel miniseries Blackbeard. Parallels have also been drawn between Johnson's Blackbeard and the character of Captain Jack Sparrow in the 2003 adventure film Pirates of the Caribbean: The Curse of the Black Pearl. Blackbeard is also portrayed as a central character in two recent TV series. In the short-lived Crossbones (2014), he is played by John Malkovich. The British actor Ray Stevenson plays him in seasons three and four of Black Sails (2016–2017).\n\nIn 2015, the state government of North Carolina uploaded videos of the wreck of the Queen Anne's Revenge to its website without permission. As a result Nautilus Productions, the company documenting the recovery since 1998, filed suit in federal court over copyright violations and the passage of \"Blackbeard's Law\" by the North Carolina legislature. Before posting the videos the North Carolina Legislature passed \"Blackbeard's Law\", N.C. Gen Stat §121-25(b), which stated, \"All photographs, video recordings, or other documentary materials of a derelict vessel or shipwreck or its contents, relics, artifacts, or historic materials in the custody of any agency of North Carolina government or its subdivisions shall be a public record pursuant to Chapter 132 of the General Statutes.\" On 5 November 2019, the U.S. Supreme Court heard oral arguments in Allen v. Cooper. The Supreme Court subsequently ruled in the state's favor, and struck down the Copyright Remedy Clarification Act, which Congress passed in 1989 to attempt to curb such infringements of copyright by states, in Allen v. Cooper.\n\nReferences\nNotes\n\nCitations\n\nBibliography\n\n \n \n \n \n 2006 edition ()\n \n 1974 edition ()\n\nFurther reading\n\nExternal links\n\nN.C Supreme Court revives lawsuit over Blackbeard’s ship and lost Spanish treasure ship, Fayetteville Observer\n BBC Video about the potential discovery of Teach's ship\n Images of artefacts recovered from the shipwreck thought to be the Queen Anne's Revenge\n Out to Sea Elite Magazine\n Blackbeard's Ship Confirmed off North Carolina National Geographic News\n Blackbeard's Shipwreck National Geographic\n Blackbeard's Lost Ship Documentary produced by the PBS Series Secrets of the Dead\n Blackbeard: American Patriot? Military.com\n\n1680s births\n1718 deaths\n18th-century English people\n18th-century pirates\n1716 crimes\n1717 crimes\n1718 crimes\nPeople from Bristol\nAmerican folklore\nEnglish folklore\nBritish pirates\nBritish privateers\nHistory of North Carolina\nPardoned pirates\nRecipients of British royal pardons\nMaritime folklore\nPeople killed in action" ]
[ "Leonardo da Vinci", "Verrocchio's workshop, 1466-1476", "What was his first love", "Leonardo was apprenticed to the artist Andrea di Cione,", "WHat year was this", "1466,", "Whatwas he known for", "known as Verrocchio,", "What did he teach him", "whose bottega (workshop) was \"one of the finest in Florence\". He apprenticed as a garzone" ]	C_e9fd1aa07b684a6698373397ebd79adc_0	What did he do	5	What did Leonardo da Vinci do	Leonardo da Vinci	In 1466, at the age of fourteen, Leonardo was apprenticed to the artist Andrea di Cione, known as Verrocchio, whose bottega (workshop) was "one of the finest in Florence". He apprenticed as a garzone (studio boy) to Andrea del Verrocchio, the leading Florentine painter and sculptor of his day (and would do so for 7 years). Other famous painters apprenticed or associated with the workshop include Domenico Ghirlandaio, Perugino, Botticelli, and Lorenzo di Credi. Leonardo would have been exposed to both theoretical training and a vast range of technical skills, including drafting, chemistry, metallurgy, metal working, plaster casting, leather working, mechanics and carpentry as well as the artistic skills of drawing, painting, sculpting and modelling. Much of the painted production of Verrocchio's workshop was done by his employees. According to Vasari, Leonardo collaborated with Verrocchio on his The Baptism of Christ, painting the young angel holding Jesus' robe in a manner that was so far superior to his master's that Verrocchio put down his brush and never painted again, although this is believed to be apocryphal. Close examination reveals areas that have been painted or touched-up over the tempera using the new technique of oil paint; the landscape, the rocks seen through the brown mountain stream and much of the figure of Jesus bearing witness to the hand of Leonardo. Leonardo may have been the model for two works by Verrocchio: the bronze statue of David in the Bargello and the Archangel Raphael in Tobias and the Angel. By 1472, at the age of twenty, Leonardo qualified as a master in the Guild of Saint Luke, the guild of artists and doctors of medicine, but even after his father set him up in his own workshop, his attachment to Verrocchio was such that he continued to collaborate with him. Leonardo's earliest known dated work is a drawing in pen and ink of the Arno valley, drawn on 5 August 1473. CANNOTANSWER	Other famous painters apprenticed or associated with the workshop include Domenico Ghirlandaio,	Leonardo di ser Piero da Vinci (15 April 14522 May 1519) was an Italian polymath of the High Renaissance who was active as a painter, draughtsman, engineer, scientist, theorist, sculptor and architect. While his fame initially rested on his achievements as a painter, he also became known for his notebooks, in which he made drawings and notes on a variety of subjects, including anatomy, astronomy, botany, cartography, painting, and paleontology. Leonardo's genius epitomized the Renaissance humanist ideal, and his collective works compose a contribution to later generations of artists matched only by that of his younger contemporary, Michelangelo. Born out of wedlock to a successful notary and a lower-class woman in, or near, Vinci, he was educated in Florence by the Italian painter and sculptor Andrea del Verrocchio. He began his career in the city, but then spent much time in the service of Ludovico Sforza in Milan. Later, he worked in Florence and Milan again, as well as briefly in Rome, all while attracting a large following of imitators and students. Upon the invitation of Francis I, he spent his last three years in France, where he died in 1519. Since his death, there has not been a time where his achievements, diverse interests, personal life, and empirical thinking have failed to incite interest and admiration, making him a frequent namesake and subject in culture. Leonardo is among the greatest painters in the history of art and is often credited as the founder of the High Renaissance. Despite having many lost works and less than 25 attributed major works—including numerous unfinished works—he created some of the most influential paintings in Western art. His magnum opus, the Mona Lisa, is his best known work and often regarded as the world's most famous painting. The Last Supper is the most reproduced religious painting of all time and his Vitruvian Man drawing is also regarded as a cultural icon. In 2017, Salvator Mundi, attributed in whole or part to Leonardo, was sold at auction for , setting a new record for the most expensive painting ever sold at public auction. Revered for his technological ingenuity, he conceptualized flying machines, a type of armored fighting vehicle, concentrated solar power, an adding machine, and the double hull. Relatively few of his designs were constructed or even feasible during his lifetime, as the modern scientific approaches to metallurgy and engineering were only in their infancy during the Renaissance. Some of his smaller inventions, however, entered the world of manufacturing unheralded, such as an automated bobbin winder and a machine for testing the tensile strength of wire. He made substantial discoveries in anatomy, civil engineering, hydrodynamics, geology, optics, and tribology, but he did not publish his findings and they had little to no direct influence on subsequent science. Biography Early life (1452–1472) Birth and background Leonardo da Vinci, properly named Leonardo di ser Piero da Vinci (Leonardo, son of ser Piero from Vinci), was born on 15 April 1452 in, or close to, the Tuscan hill town of Vinci; Florence was 20 miles away. He was born out of wedlock to (Ser Piero di Antonio di Ser Piero di Ser Guido da Vinci; 1426–1504), a Florentine legal notary, and ( – 1494), from the lower-class. It remains uncertain where Leonardo was born; the traditional account, from a local oral tradition recorded by the historian Emanuele Repetti, is that he was born in Anchiano, a country hamlet that would have offered sufficient privacy for the illegitimate birth, though it is still possible he was born in a house in Florence that Ser Piero almost certainly had. Leonardo's parents both married separately the year after his birth. Caterina—who later appears in Leonardo's notes as only "Caterina" or "Catelina"—is usually identified as the Caterina Buti del Vacca who married the local artisan Antonio di Piero Buti del Vacca, nicknamed "L'Accattabriga" ("the quarrelsome one"). Other theories have been proposed, particularly that of art historian Martin Kemp, who suggested Caterina di Meo Lippi, an orphan that married purportedly with aid from Ser Piero and his family. Ser Piero married Albiera Amadori—having been betrothed to her the previous year—and after her death in 1462, went on to have three subsequent marriages. From all the marriages, Leonardo eventually had 12 half-siblings who were much younger than he was (the last was born when Leonardo was 40 years old) and with whom he had very little contact. Very little is known about Leonardo's childhood and much is shrouded in myth, partially because of his biography in the frequently apocryphal Lives of the Most Excellent Painters, Sculptors, and Architects (1550) from the 16th-century art historian Giorgio Vasari. Tax records indicate that by at least 1457 he lived in the household of his paternal grandfather, Antonio da Vinci, but it is possible that he spent the years before then in the care of his mother in Vinci, either Anchiano or Campo Zeppi in the parish of San Pantaleone. He is thought to have been close to his uncle, Francesco da Vinci, but his father was likely in Florence most of the time. Ser Piero, who was the descendant of a long line of notaries, established an official residence in Florence by at least 1469 and led a successful career. Despite his family history, Leonardo only received a basic and informal education in (vernacular) writing, reading and mathematics, possibly because his artistic talents were recognised early, so his family decided to focus their attention there. Later in life, Leonardo recorded his earliest memory, now in the Codex Atlanticus. While writing on the flight of birds, he recalled as an infant when a kite came to his cradle and opened his mouth with its tail; commentators still debate whether the anecdote was an actual memory or a fantasy. Verrocchio's workshop In the mid-1460s, Leonardo's family moved to Florence, which at the time was the centre of Christian Humanist thought and culture. Around the age of 14, he became a garzone (studio boy) in the workshop of Andrea del Verrocchio, who was the leading Florentine painter and sculptor of his time. This was about the time of the death of Verrocchio's master, the great sculptor Donatello. Leonardo became an apprentice by the age of 17 and remained in training for seven years. Other famous painters apprenticed in the workshop or associated with it include Ghirlandaio, Perugino, Botticelli, and Lorenzo di Credi. Leonardo was exposed to both theoretical training and a wide range of technical skills, including drafting, chemistry, metallurgy, metal working, plaster casting, leather working, mechanics, and woodwork, as well as the artistic skills of drawing, painting, sculpting, and modelling. Leonardo was a contemporary of Botticelli, Ghirlandaio and Perugino, who were all slightly older than he was. He would have met them at the workshop of Verrocchio or at the Platonic Academy of the Medici. Florence was ornamented by the works of artists such as Donatello's contemporaries Masaccio, whose figurative frescoes were imbued with realism and emotion, and Ghiberti, whose Gates of Paradise, gleaming with gold leaf, displayed the art of combining complex figure compositions with detailed architectural backgrounds. Piero della Francesca had made a detailed study of perspective, and was the first painter to make a scientific study of light. These studies and Leon Battista Alberti's treatise De pictura were to have a profound effect on younger artists and in particular on Leonardo's own observations and artworks. Much of the painting in Verrocchio's workshop was done by his assistants. According to Vasari, Leonardo collaborated with Verrocchio on his The Baptism of Christ, painting the young angel holding Jesus' robe in a manner that was so far superior to his master's that Verrocchio put down his brush and never painted again, although this is believed to be an apocryphal story. Close examination reveals areas of the work that have been painted or touched-up over the tempera, using the new technique of oil paint, including the landscape, the rocks seen through the brown mountain stream, and much of the figure of Jesus, bearing witness to the hand of Leonardo. Leonardo may have been the model for two works by Verrocchio: the bronze statue of David in the Bargello, and the Archangel Raphael in Tobias and the Angel. Vasari tells a story of Leonardo as a very young man: a local peasant made himself a round shield and requested that Ser Piero have it painted for him. Leonardo, inspired by the story of Medusa, responded with a painting of a monster spitting fire that was so terrifying that his father bought a different shield to give to the peasant and sold Leonardo's to a Florentine art dealer for 100 ducats, who in turn sold it to the Duke of Milan. First Florentine period (1472–c. 1482) By 1472, at the age of 20, Leonardo qualified as a master in the Guild of Saint Luke, the guild of artists and doctors of medicine, but even after his father set him up in his own workshop, his attachment to Verrocchio was such that he continued to collaborate and live with him. Leonardo's earliest known dated work is a 1473 pen-and-ink drawing of the Arno valley. According to Vasari, the young Leonardo was the first to suggest making the Arno river a navigable channel between Florence and Pisa. In January 1478, Leonardo received an independent commission to paint an altarpiece for the Chapel of St. Bernard in the Palazzo Vecchio, an indication of his independence from Verrocchio's studio. An anonymous early biographer, known as Anonimo Gaddiano, claims that in 1480 Leonardo was living with the Medici and often worked in the garden of the Piazza San Marco, Florence, where a Neoplatonic academy of artists, poets and philosophers organized by the Medici met. In March 1481, he received a commission from the monks of San Donato in Scopeto for The Adoration of the Magi. Neither of these initial commissions were completed, being abandoned when Leonardo went to offer his services to Duke of Milan Ludovico Sforza. Leonardo wrote Sforza a letter which described the diverse things that he could achieve in the fields of engineering and weapon design, and mentioned that he could paint. He brought with him a silver string instrument—either a lute or lyre—in the form of a horse's head. With Alberti, Leonardo visited the home of the Medici and through them came to know the older Humanist philosophers of whom Marsiglio Ficino, proponent of Neoplatonism; Cristoforo Landino, writer of commentaries on Classical writings, and John Argyropoulos, teacher of Greek and translator of Aristotle were the foremost. Also associated with the Platonic Academy of the Medici was Leonardo's contemporary, the brilliant young poet and philosopher Pico della Mirandola. In 1482, Leonardo was sent as an ambassador by Lorenzo de' Medici to Ludovico il Moro, who ruled Milan between 1479 and 1499. First Milanese period (c. 1482–1499) Leonardo worked in Milan from 1482 until 1499. He was commissioned to paint the Virgin of the Rocks for the Confraternity of the Immaculate Conception and The Last Supper for the monastery of Santa Maria delle Grazie. In the spring of 1485, Leonardo travelled to Hungary on behalf of Sforza to meet king Matthias Corvinus, and was commissioned by him to paint a Madonna. Leonardo was employed on many other projects for Sforza, including the preparation of floats and pageants for special occasions, a drawing and wooden model for a competition to design the cupola for Milan Cathedral (which he withdrew), and a model for a huge equestrian monument to Ludovico's predecessor Francesco Sforza. This would have surpassed in size the only two large equestrian statues of the Renaissance, Donatello's Gattamelata in Padua and Verrocchio's Bartolomeo Colleoni in Venice, and became known as the Gran Cavallo. Leonardo completed a model for the horse and made detailed plans for its casting, but in November 1494, Ludovico gave the bronze to his brother-in-law to be used for a cannon to defend the city from Charles VIII of France. Contemporary correspondence records that Leonardo and his assistants were commissioned by the Duke of Milan to paint the Sala delle Asse in the Sforza Castle. The decoration was completed in 1498. The project became a trompe-l'œil decoration that made the great hall appear to be a pergola created by the interwoven limbs of sixteen mulberry trees, whose canopy included an intricate labyrinth of leaves and knots on the ceiling. Second Florentine period (1500–1508) When Ludovico Sforza was overthrown by France in 1500, Leonardo fled Milan for Venice, accompanied by his assistant Salaì and friend, the mathematician Luca Pacioli. In Venice, Leonardo was employed as a military architect and engineer, devising methods to defend the city from naval attack. On his return to Florence in 1500, he and his household were guests of the Servite monks at the monastery of Santissima Annunziata and were provided with a workshop where, according to Vasari, Leonardo created the cartoon of The Virgin and Child with St Anne and St John the Baptist, a work that won such admiration that "men [and] women, young and old" flocked to see it "as if they were going to a solemn festival." In Cesena in 1502, Leonardo entered the service of Cesare Borgia, the son of Pope Alexander VI, acting as a military architect and engineer and travelling throughout Italy with his patron. Leonardo created a map of Cesare Borgia's stronghold, a town plan of Imola in order to win his patronage. Upon seeing it, Cesare hired Leonardo as his chief military engineer and architect. Later in the year, Leonardo produced another map for his patron, one of Chiana Valley, Tuscany, so as to give his patron a better overlay of the land and greater strategic position. He created this map in conjunction with his other project of constructing a dam from the sea to Florence, in order to allow a supply of water to sustain the canal during all seasons. Leonardo had left Borgia's service and returned to Florence by early 1503, where he rejoined the Guild of Saint Luke on 18 October of that year. By this same month, Leonardo had begun working on a portrait of Lisa del Giocondo, the model for the Mona Lisa, which he would continue working on until his twilight years. In January 1504, he was part of a committee formed to recommend where Michelangelo's statue of David should be placed. He then spent two years in Florence designing and painting a mural of The Battle of Anghiari for the Signoria, with Michelangelo designing its companion piece, The Battle of Cascina. In 1506, Leonardo was summoned to Milan by Charles II d'Amboise, the acting French governor of the city. There, Leonardo took on another pupil, Count Francesco Melzi, the son of a Lombard aristocrat, who is considered to have been his favourite student. The Council of Florence wished Leonardo to return promptly to finish The Battle of Anghiari, but he was given leave at the behest of Louis XII, who considered commissioning the artist to make some portraits. Leonardo may have commenced a project for an equestrian figure of d'Amboise; a wax model survives and, if genuine, is the only extant example of Leonardo's sculpture. Leonardo was otherwise free to pursue his scientific interests. Many of Leonardo's most prominent pupils either knew or worked with him in Milan, including Bernardino Luini, Giovanni Antonio Boltraffio, and Marco d'Oggiono. In 1507, Leonardo was in Florence sorting out a dispute with his brothers over the estate of his father, who had died in 1504. Second Milanese period (1508–1513) By 1508, Leonardo was back in Milan, living in his own house in Porta Orientale in the parish of Santa Babila. In 1512, Leonardo was working on plans for an equestrian monument for Gian Giacomo Trivulzio, but this was prevented by an invasion of a confederation of Swiss, Spanish and Venetian forces, which drove the French from Milan. Leonardo stayed in the city, spending several months in 1513 at the Medici's Vaprio d'Adda villa. Rome and France (1513–1519) In March of 1513, Lorenzo de' Medici's son Giovanni assumed the papacy (as Leo X); Leonardo went to Rome that September, where he was received by the pope's brother Giuliano. From September 1513 to 1516, Leonardo spent much of his time living in the Belvedere Courtyard in the Apostolic Palace, where Michelangelo and Raphael were both active. Leonardo was given an allowance of 33 ducats a month, and according to Vasari, decorated a lizard with scales dipped in quicksilver. The pope gave him a painting commission of unknown subject matter, but cancelled it when the artist set about developing a new kind of varnish. Leonardo became ill, in what may have been the first of multiple strokes leading to his death. He practiced botany in the Gardens of Vatican City, and was commissioned to make plans for the pope's proposed draining of the Pontine Marshes. He also dissected cadavers, making notes for a treatise on vocal cords; these he gave to an official in hopes of regaining the pope's favor, but was unsuccessful. In October 1515, King Francis I of France recaptured Milan. Leonardo was present at the 19 December meeting of Francis I and Leo X, which took place in Bologna. In 1516, Leonardo entered Francis' service, being given the use of the manor house Clos Lucé, near the king's residence at the royal Château d'Amboise. Being frequently visited by Francis, he drew plans for an immense castle town the king intended to erect at Romorantin, and made a mechanical lion, which during a pageant walked toward the king and—upon being struck by a wand—opened its chest to reveal a cluster of lilies. Leonardo was accompanied during this time by his friend and apprentice Francesco Melzi, and supported by a pension totalling 10,000 scudi. At some point, Melzi drew a portrait of Leonardo; the only others known from his lifetime were a sketch by an unknown assistant on the back of one of Leonardo's studies () and a drawing by Giovanni Ambrogio Figino depicting an elderly Leonardo with his right arm assuaged by cloth. The latter, in addition to the record of an October 1517 visit by Louis d'Aragon, confirms an account of Leonardo's right hand being paralytic at the age of 65, which may indicate why he left works such as the Mona Lisa unfinished. He continued to work at some capacity until eventually becoming ill and bedridden for several months. Death Leonardo died at Clos Lucé on 2 May 1519 at the age of 67, possibly of a stroke. Francis I had become a close friend. Vasari describes Leonardo as lamenting on his deathbed, full of repentance, that "he had offended against God and men by failing to practice his art as he should have done." Vasari states that in his last days, Leonardo sent for a priest to make his confession and to receive the Holy Sacrament. Vasari also records that the king held Leonardo's head in his arms as he died, although this story may be legend rather than fact. In accordance with his will, sixty beggars carrying tapers followed Leonardo's casket. Melzi was the principal heir and executor, receiving, as well as money, Leonardo's paintings, tools, library and personal effects. Leonardo's other long-time pupil and companion, Salaì, and his servant Baptista de Vilanis, each received half of Leonardo's vineyards. His brothers received land, and his serving woman received a fur-lined cloak. On 12 August 1519, Leonardo's remains were interred in the Collegiate Church of Saint Florentin at the Château d'Amboise. Salaì, or Il Salaino ("The Little Unclean One," i.e., the devil), entered Leonardo's household in 1490 as an assistant. After only a year, Leonardo made a list of his misdemeanours, calling him "a thief, a liar, stubborn, and a glutton," after he had made off with money and valuables on at least five occasions and spent a fortune on clothes. Nevertheless, Leonardo treated him with great indulgence, and he remained in Leonardo's household for the next thirty years. Salaì executed a number of paintings under the name of Andrea Salaì, but although Vasari claims that Leonardo "taught him many things about painting," his work is generally considered to be of less artistic merit than others among Leonardo's pupils, such as Marco d'Oggiono and Boltraffio. Salaì owned the Mona Lisa at the time of Leonardo's death in 1524, and in his will it was assessed at 505 lire, an exceptionally high valuation for a small panel portrait. Some 20 years after Leonardo's death, Francis was reported by the goldsmith and sculptor Benvenuto Cellini as saying: "There had never been another man born in the world who knew as much as Leonardo, not so much about painting, sculpture and architecture, as that he was a very great philosopher." Personal life Despite the thousands of pages Leonardo left in notebooks and manuscripts, he scarcely made reference to his personal life. Within Leonardo's lifetime, his extraordinary powers of invention, his "great physical beauty" and "infinite grace," as described by Vasari, as well as all other aspects of his life, attracted the curiosity of others. One such aspect was his love for animals, likely including vegetarianism and according to Vasari, a habit of purchasing caged birds and releasing them. Leonardo had many friends who are now notable either in their fields or for their historical significance, including mathematician Luca Pacioli, with whom he collaborated on the book Divina proportione in the 1490s. Leonardo appears to have had no close relationships with women except for his friendship with Cecilia Gallerani and the two Este sisters, Beatrice and Isabella. While on a journey that took him through Mantua, he drew a portrait of Isabella that appears to have been used to create a painted portrait, now lost. Beyond friendship, Leonardo kept his private life secret. His sexuality has been the subject of satire, analysis, and speculation. This trend began in the mid-16th century and was revived in the 19th and 20th centuries, most notably by Sigmund Freud in his Leonardo da Vinci, A Memory of His Childhood. Leonardo's most intimate relationships were perhaps with his pupils Salaì and Melzi. Melzi, writing to inform Leonardo's brothers of his death, described Leonardo's feelings for his pupils as both loving and passionate. It has been claimed since the 16th century that these relationships were of a sexual or erotic nature. Court records of 1476, when he was aged twenty-four, show that Leonardo and three other young men were charged with sodomy in an incident involving a well-known male prostitute. The charges were dismissed for lack of evidence, and there is speculation that since one of the accused, Lionardo de Tornabuoni, was related to Lorenzo de' Medici, the family exerted its influence to secure the dismissal. Since that date much has been written about his presumed homosexuality and its role in his art, particularly in the androgyny and eroticism manifested in Saint John the Baptist and Bacchus and more explicitly in a number of erotic drawings. Paintings Despite the recent awareness and admiration of Leonardo as a scientist and inventor, for the better part of four hundred years his fame rested on his achievements as a painter. A handful of works that are either authenticated or attributed to him have been regarded as among the great masterpieces. These paintings are famous for a variety of qualities that have been much imitated by students and discussed at great length by connoisseurs and critics. By the 1490s Leonardo had already been described as a "Divine" painter. Among the qualities that make Leonardo's work unique are his innovative techniques for laying on the paint; his detailed knowledge of anatomy, light, botany and geology; his interest in physiognomy and the way humans register emotion in expression and gesture; his innovative use of the human form in figurative composition; and his use of subtle gradation of tone. All these qualities come together in his most famous painted works, the Mona Lisa, the Last Supper, and the Virgin of the Rocks. Early works Leonardo first gained attention for his work on the Baptism of Christ, painted in conjunction with Verrocchio. Two other paintings appear to date from his time at Verrocchio's workshop, both of which are Annunciations. One is small, long and high. It is a "predella" to go at the base of a larger composition, a painting by Lorenzo di Credi from which it has become separated. The other is a much larger work, long. In both Annunciations, Leonardo used a formal arrangement, like two well-known pictures by Fra Angelico of the same subject, of the Virgin Mary sitting or kneeling to the right of the picture, approached from the left by an angel in profile, with a rich flowing garment, raised wings and bearing a lily. Although previously attributed to Ghirlandaio, the larger work is now generally attributed to Leonardo. In the smaller painting, Mary averts her eyes and folds her hands in a gesture that symbolised submission to God's will. Mary is not submissive, however, in the larger piece. The girl, interrupted in her reading by this unexpected messenger, puts a finger in her bible to mark the place and raises her hand in a formal gesture of greeting or surprise. This calm young woman appears to accept her role as the Mother of God, not with resignation but with confidence. In this painting, the young Leonardo presents the humanist face of the Virgin Mary, recognising humanity's role in God's incarnation. Paintings of the 1480s In the 1480s, Leonardo received two very important commissions and commenced another work that was of ground-breaking importance in terms of composition. Two of the three were never finished, and the third took so long that it was subject to lengthy negotiations over completion and payment. One of these paintings was Saint Jerome in the Wilderness, which Bortolon associates with a difficult period of Leonardo's life, as evidenced in his diary: "I thought I was learning to live; I was only learning to die." Although the painting is barely begun, the composition can be seen and is very unusual. Jerome, as a penitent, occupies the middle of the picture, set on a slight diagonal and viewed somewhat from above. His kneeling form takes on a trapezoid shape, with one arm stretched to the outer edge of the painting and his gaze looking in the opposite direction. J. Wasserman points out the link between this painting and Leonardo's anatomical studies. Across the foreground sprawls his symbol, a great lion whose body and tail make a double spiral across the base of the picture space. The other remarkable feature is the sketchy landscape of craggy rocks against which the figure is silhouetted. The daring display of figure composition, the landscape elements and personal drama also appear in the great unfinished masterpiece, the Adoration of the Magi, a commission from the Monks of San Donato a Scopeto. It is a complex composition, of about Leonardo did numerous drawings and preparatory studies, including a detailed one in linear perspective of the ruined classical architecture that forms part of the background. In 1482 Leonardo went to Milan at the behest of Lorenzo de' Medici in order to win favour with Ludovico il Moro, and the painting was abandoned. The third important work of this period is the Virgin of the Rocks, commissioned in Milan for the Confraternity of the Immaculate Conception. The painting, to be done with the assistance of the de Predis brothers, was to fill a large complex altarpiece. Leonardo chose to paint an apocryphal moment of the infancy of Christ when the infant John the Baptist, in protection of an angel, met the Holy Family on the road to Egypt. The painting demonstrates an eerie beauty as the graceful figures kneel in adoration around the infant Christ in a wild landscape of tumbling rock and whirling water. While the painting is quite large, about , it is not nearly as complex as the painting ordered by the monks of St Donato, having only four figures rather than about fifty and a rocky landscape rather than architectural details. The painting was eventually finished; in fact, two versions of the painting were finished: one remained at the chapel of the Confraternity, while Leonardo took the other to France. The Brothers did not get their painting, however, nor the de Predis their payment, until the next century. Leonardo's most remarkable portrait of this period is the Lady with an Ermine, presumed to be Cecilia Gallerani (), lover of Ludovico Sforza. The painting is characterised by the pose of the figure with the head turned at a very different angle to the torso, unusual at a date when many portraits were still rigidly in profile. The ermine plainly carries symbolic meaning, relating either to the sitter, or to Ludovico who belonged to the prestigious Order of the Ermine. Paintings of the 1490s Leonardo's most famous painting of the 1490s is The Last Supper, commissioned for the refectory of the Convent of Santa Maria della Grazie in Milan. It represents the last meal shared by Jesus with his disciples before his capture and death, and shows the moment when Jesus has just said "one of you will betray me", and the consternation that this statement caused. The writer Matteo Bandello observed Leonardo at work and wrote that some days he would paint from dawn till dusk without stopping to eat and then not paint for three or four days at a time. This was beyond the comprehension of the prior of the convent, who hounded him until Leonardo asked Ludovico to intervene. Vasari describes how Leonardo, troubled over his ability to adequately depict the faces of Christ and the traitor Judas, told the duke that he might be obliged to use the prior as his model. The painting was acclaimed as a masterpiece of design and characterization, but it deteriorated rapidly, so that within a hundred years it was described by one viewer as "completely ruined." Leonardo, instead of using the reliable technique of fresco, had used tempera over a ground that was mainly gesso, resulting in a surface subject to mould and to flaking. Despite this, the painting remains one of the most reproduced works of art; countless copies have been made in various mediums. Toward the end of this period, in 1498 da Vinci's trompe-l'œil decoration of the Sala delle Asse was painted for the Duke of Milan in the Castello Sforzesco. Paintings of the 1500s In 1505, Leonardo was commissioned to paint The Battle of Anghiari in the Salone dei Cinquecento (Hall of the Five Hundred) in the Palazzo Vecchio, Florence. Leonardo devised a dynamic composition depicting four men riding raging war horses engaged in a battle for possession of a standard, at the Battle of Anghiari in 1440. Michelangelo was assigned the opposite wall to depict the Battle of Cascina. Leonardo's painting deteriorated rapidly and is now known from a copy by Rubens. Among the works created by Leonardo in the 16th century is the small portrait known as the Mona Lisa or La Gioconda, the laughing one. In the present era, it is arguably the most famous painting in the world. Its fame rests, in particular, on the elusive smile on the woman's face, its mysterious quality perhaps due to the subtly shadowed corners of the mouth and eyes such that the exact nature of the smile cannot be determined. The shadowy quality for which the work is renowned came to be called "sfumato," or Leonardo's smoke. Vasari wrote that the smile was "so pleasing that it seems more divine than human, and it was considered a wondrous thing that it was as lively as the smile of the living original." Other characteristics of the painting are the unadorned dress, in which the eyes and hands have no competition from other details; the dramatic landscape background, in which the world seems to be in a state of flux; the subdued colouring; and the extremely smooth nature of the painterly technique, employing oils laid on much like tempera, and blended on the surface so that the brushstrokes are indistinguishable. Vasari expressed that the painting's quality would make even "the most confident master ... despair and lose heart." The perfect state of preservation and the fact that there is no sign of repair or overpainting is rare in a panel painting of this date. In the painting Virgin and Child with St. Anne, the composition again picks up the theme of figures in a landscape, which Wasserman describes as "breathtakingly beautiful" and harkens back to the St Jerome picture with the figure set at an oblique angle. What makes this painting unusual is that there are two obliquely set figures superimposed. Mary is seated on the knee of her mother, St Anne. She leans forward to restrain the Christ Child as he plays roughly with a lamb, the sign of his own impending sacrifice. This painting, which was copied many times, influenced Michelangelo, Raphael, and Andrea del Sarto, and through them Pontormo and Correggio. The trends in composition were adopted in particular by the Venetian painters Tintoretto and Veronese. Drawings Leonardo was a prolific draughtsman, keeping journals full of small sketches and detailed drawings recording all manner of things that took his attention. As well as the journals there exist many studies for paintings, some of which can be identified as preparatory to particular works such as The Adoration of the Magi, The Virgin of the Rocks and The Last Supper. His earliest dated drawing is a Landscape of the Arno Valley, 1473, which shows the river, the mountains, Montelupo Castle and the farmlands beyond it in great detail. Among his famous drawings are the Vitruvian Man, a study of the proportions of the human body; the Head of an Angel, for The Virgin of the Rocks in the Louvre; a botanical study of Star of Bethlehem; and a large drawing (160×100 cm) in black chalk on coloured paper of The Virgin and Child with Saint Anne and Saint John the Baptist in the National Gallery, London. This drawing employs the subtle sfumato technique of shading, in the manner of the Mona Lisa. It is thought that Leonardo never made a painting from it, the closest similarity being to The Virgin and Child with Saint Anne in the Louvre. Other drawings of interest include numerous studies generally referred to as "caricatures" because, although exaggerated, they appear to be based upon observation of live models. Vasari relates that Leonardo would look for interesting faces in public to use as models for some of his work. There are numerous studies of beautiful young men, often associated with Salaì, with the rare and much admired facial feature, the so-called "Grecian profile." These faces are often contrasted with that of a warrior. Salaì is often depicted in fancy-dress costume. Leonardo is known to have designed sets for pageants with which these may be associated. Other, often meticulous, drawings show studies of drapery. A marked development in Leonardo's ability to draw drapery occurred in his early works. Another often-reproduced drawing is a macabre sketch that was done by Leonardo in Florence in 1479 showing the body of Bernardo Baroncelli, hanged in connection with the murder of Giuliano, brother of Lorenzo de' Medici, in the Pazzi conspiracy. In his notes, Leonardo recorded the colours of the robes that Baroncelli was wearing when he died. Like the two contemporary architects Donato Bramante (who designed the Belvedere Courtyard) and Antonio da Sangallo the Elder, Leonardo experimented with designs for centrally planned churches, a number of which appear in his journals, as both plans and views, although none was ever realised. Journals and notes Renaissance humanism recognised no mutually exclusive polarities between the sciences and the arts, and Leonardo's studies in science and engineering are sometimes considered as impressive and innovative as his artistic work. These studies were recorded in 13,000 pages of notes and drawings, which fuse art and natural philosophy (the forerunner of modern science). They were made and maintained daily throughout Leonardo's life and travels, as he made continual observations of the world around him. Leonardo's notes and drawings display an enormous range of interests and preoccupations, some as mundane as lists of groceries and people who owed him money and some as intriguing as designs for wings and shoes for walking on water. There are compositions for paintings, studies of details and drapery, studies of faces and emotions, of animals, babies, dissections, plant studies, rock formations, whirlpools, war machines, flying machines and architecture. These notebooks—originally loose papers of different types and sizes—were largely entrusted to Leonardo's pupil and heir Francesco Melzi after the master's death. These were to be published, a task of overwhelming difficulty because of its scope and Leonardo's idiosyncratic writing. Some of Leonardo's drawings were copied by an anonymous Milanese artist for a planned treatise on art . After Melzi's death in 1570, the collection passed to his son, the lawyer Orazio, who initially took little interest in the journals. In 1587, a Melzi household tutor named Lelio Gavardi took 13 of the manuscripts to Pisa; there, the architect Giovanni Magenta reproached Gavardi for having taken the manuscripts illicitly and returned them to Orazio. Having many more such works in his possession, Orazio gifted the volumes to Magenta. News spread of these lost works of Leonardo's, and Orazio retrieved seven of the 13 manuscripts, which he then gave to Pompeo Leoni for publication in two volumes; one of these was the Codex Atlanticus. The other six works had been distributed to a few others. After Orazio's death, his heirs sold the rest of Leonardo's possessions, and thus began their dispersal. Some works have found their way into major collections such as the Royal Library at Windsor Castle, the Louvre, the Biblioteca Nacional de España, the Victoria and Albert Museum, the Biblioteca Ambrosiana in Milan, which holds the 12-volume Codex Atlanticus, and the British Library in London, which has put a selection from the Codex Arundel (BL Arundel MS 263) online. Works have also been at Holkham Hall, the Metropolitan Museum of Art, and in the private hands of John Nicholas Brown I and Robert Lehman. The Codex Leicester is the only privately owned major scientific work of Leonardo; it is owned by Bill Gates and displayed once a year in different cities around the world. Most of Leonardo's writings are in mirror-image cursive. Since Leonardo wrote with his left hand, it was probably easier for him to write from right to left. Leonardo used a variety of shorthand and symbols, and states in his notes that he intended to prepare them for publication. In many cases a single topic is covered in detail in both words and pictures on a single sheet, together conveying information that would not be lost if the pages were published out of order. Why they were not published during Leonardo's lifetime is unknown. Science and inventions Leonardo's approach to science was observational: he tried to understand a phenomenon by describing and depicting it in utmost detail and did not emphasise experiments or theoretical explanation. Since he lacked formal education in Latin and mathematics, contemporary scholars mostly ignored Leonardo the scientist, although he did teach himself Latin. His keen observations in many areas were noted, such as when he wrote "Il sole non si move." ("The Sun does not move.") In the 1490s he studied mathematics under Luca Pacioli and prepared a series of drawings of regular solids in a skeletal form to be engraved as plates for Pacioli's book Divina proportione, published in 1509. While living in Milan, he studied light from the summit of Monte Rosa. Scientific writings in his notebook on fossils have been considered as influential on early palaeontology. The content of his journals suggest that he was planning a series of treatises on a variety of subjects. A coherent treatise on anatomy is said to have been observed during a visit by Cardinal Louis d'Aragon's secretary in 1517. Aspects of his work on the studies of anatomy, light and the landscape were assembled for publication by Melzi and eventually published as A Treatise on Painting in France and Italy in 1651 and Germany in 1724, with engravings based upon drawings by the Classical painter Nicolas Poussin. According to Arasse, the treatise, which in France went into 62 editions in fifty years, caused Leonardo to be seen as "the precursor of French academic thought on art." While Leonardo's experimentation followed scientific methods, a recent and exhaustive analysis of Leonardo as a scientist by Fritjof Capra argues that Leonardo was a fundamentally different kind of scientist from Galileo, Newton and other scientists who followed him in that, as a "Renaissance Man", his theorising and hypothesising integrated the arts and particularly painting. Anatomy and physiology Leonardo started his study in the anatomy of the human body under the apprenticeship of Verrocchio, who demanded that his students develop a deep knowledge of the subject. As an artist, he quickly became master of topographic anatomy, drawing many studies of muscles, tendons and other visible anatomical features. As a successful artist, Leonardo was given permission to dissect human corpses at the Hospital of Santa Maria Nuova in Florence and later at hospitals in Milan and Rome. From 1510 to 1511 he collaborated in his studies with the doctor Marcantonio della Torre. Leonardo made over 240 detailed drawings and wrote about 13,000 words toward a treatise on anatomy. Only a small amount of the material on anatomy was published in Leonardo's Treatise on painting. During the time that Melzi was ordering the material into chapters for publication, they were examined by a number of anatomists and artists, including Vasari, Cellini and Albrecht Dürer, who made a number of drawings from them. Leonardo's anatomical drawings include many studies of the human skeleton and its parts, and of muscles and sinews. He studied the mechanical functions of the skeleton and the muscular forces that are applied to it in a manner that prefigured the modern science of biomechanics. He drew the heart and vascular system, the sex organs and other internal organs, making one of the first scientific drawings of a fetus in utero. The drawings and notation are far ahead of their time, and if published would undoubtedly have made a major contribution to medical science. Leonardo also closely observed and recorded the effects of age and of human emotion on the physiology, studying in particular the effects of rage. He drew many figures who had significant facial deformities or signs of illness. Leonardo also studied and drew the anatomy of many animals, dissecting cows, birds, monkeys, bears, and frogs, and comparing in his drawings their anatomical structure with that of humans. He also made a number of studies of horses. Leonardo's dissections and documentation of muscles, nerves, and vessels helped to describe the physiology and mechanics of movement. He attempted to identify the source of 'emotions' and their expression. He found it difficult to incorporate the prevailing system and theories of bodily humours, but eventually he abandoned these physiological explanations of bodily functions. He made the observations that humours were not located in cerebral spaces or ventricles. He documented that the humours were not contained in the heart or the liver, and that it was the heart that defined the circulatory system. He was the first to define atherosclerosis and liver cirrhosis. He created models of the cerebral ventricles with the use of melted wax and constructed a glass aorta to observe the circulation of blood through the aortic valve by using water and grass seed to watch flow patterns. Vesalius published his work on anatomy and physiology in De humani corporis fabrica in 1543. Engineering and inventions During his lifetime, Leonardo was also valued as an engineer. With the same rational and analytical approach that moved him to represent the human body and to investigate anatomy, Leonardo studied and designed many machines and devices. He drew their “anatomy” with unparalleled mastery, producing the first form of the modern technical drawing, including a perfected "exploded view" technique, to represent internal components. Those studies and projects collected in his codices fill more than 5,000 pages. In a letter of 1482 to the lord of Milan Ludovico il Moro, he wrote that he could create all sorts of machines both for the protection of a city and for siege. When he fled from Milan to Venice in 1499, he found employment as an engineer and devised a system of moveable barricades to protect the city from attack. In 1502, he created a scheme for diverting the flow of the Arno river, a project on which Niccolò Machiavelli also worked. He continued to contemplate the canalization of Lombardy's plains while in Louis XII's company and of the Loire and its tributaries in the company of Francis I. Leonardo's journals include a vast number of inventions, both practical and impractical. They include musical instruments, a mechanical knight, hydraulic pumps, reversible crank mechanisms, finned mortar shells, and a steam cannon. Leonardo was fascinated by the phenomenon of flight for much of his life, producing many studies, including Codex on the Flight of Birds (), as well as plans for several flying machines, such as a flapping ornithopter and a machine with a helical rotor. A 2003 documentary by British television station Channel Four, titled Leonardo's Dream Machines, various designs by Leonardo, such as a parachute and a giant crossbow, were interpreted and constructed. Some of those designs proved successful, whilst others fared less well when tested. Research performed by Marc van den Broek revealed older prototypes for more than 100 inventions that are ascribed to Leonardo. Similarities between Leonardo's illustrations and drawings from the Middle Ages and from Ancient Greece and Rome, the Chinese and Persian Empires, and Egypt suggest that a large portion of Leonardo's inventions had been conceived before his lifetime. Leonardo's innovation was to combine different functions from existing drafts and set them into scenes that illustrated their utility. By reconstituting technical inventions he created something new. In his notebooks, Leonardo first stated the ‘laws’ of sliding friction in 1493. His inspiration for investigating friction came about in part from his study of perpetual motion, which he correctly concluded was not possible. His results were never published and the friction laws were not rediscovered until 1699 by Guillaume Amontons, with whose name they are now usually associated. For this contribution, Leonardo was named as the first of the 23 "Men of Tribology" by Duncan Dowson. Legacy Although he had no formal academic training, many historians and scholars regard Leonardo as the prime exemplar of the "Universal Genius" or "Renaissance Man", an individual of "unquenchable curiosity" and "feverishly inventive imagination." He is widely considered one of the most diversely talented individuals ever to have lived. According to art historian Helen Gardner, the scope and depth of his interests were without precedent in recorded history, and "his mind and personality seem to us superhuman, while the man himself mysterious and remote." Scholars interpret his view of the world as being based in logic, though the empirical methods he used were unorthodox for his time. Leonardo's fame within his own lifetime was such that the King of France carried him away like a trophy, and was claimed to have supported him in his old age and held him in his arms as he died. Interest in Leonardo and his work has never diminished. Crowds still queue to see his best-known artworks, T-shirts still bear his most famous drawing, and writers continue to hail him as a genius while speculating about his private life, as well as about what one so intelligent actually believed in. The continued admiration that Leonardo commanded from painters, critics and historians is reflected in many other written tributes. Baldassare Castiglione, author of Il Cortegiano (The Courtier), wrote in 1528: "...Another of the greatest painters in this world looks down on this art in which he is unequalled..." while the biographer known as "Anonimo Gaddiano" wrote, : "His genius was so rare and universal that it can be said that nature worked a miracle on his behalf..." Vasari, in his Lives of the Artists (1568), opens his chapter on Leonardo: In the normal course of events many men and women are born with remarkable talents; but occasionally, in a way that transcends nature, a single person is marvellously endowed by Heaven with beauty, grace and talent in such abundance that he leaves other men far behind, all his actions seem inspired and indeed everything he does clearly comes from God rather than from human skill. Everyone acknowledged that this was true of Leonardo da Vinci, an artist of outstanding physical beauty, who displayed infinite grace in everything that he did and who cultivated his genius so brilliantly that all problems he studied he solved with ease. The 19th century brought a particular admiration for Leonardo's genius, causing Henry Fuseli to write in 1801: "Such was the dawn of modern art, when Leonardo da Vinci broke forth with a splendour that distanced former excellence: made up of all the elements that constitute the essence of genius..." This is echoed by A.E. Rio who wrote in 1861: "He towered above all other artists through the strength and the nobility of his talents." By the 19th century, the scope of Leonardo's notebooks was known, as well as his paintings. Hippolyte Taine wrote in 1866: "There may not be in the world an example of another genius so universal, so incapable of fulfilment, so full of yearning for the infinite, so naturally refined, so far ahead of his own century and the following centuries." Art historian Bernard Berenson wrote in 1896: "Leonardo is the one artist of whom it may be said with perfect literalness: Nothing that he touched but turned into a thing of eternal beauty. Whether it be the cross section of a skull, the structure of a weed, or a study of muscles, he, with his feeling for line and for light and shade, forever transmuted it into life-communicating values." The interest in Leonardo's genius has continued unabated; experts study and translate his writings, analyse his paintings using scientific techniques, argue over attributions and search for works which have been recorded but never found. Liana Bortolon, writing in 1967, said: "Because of the multiplicity of interests that spurred him to pursue every field of knowledge...Leonardo can be considered, quite rightly, to have been the universal genius par excellence, and with all the disquieting overtones inherent in that term. Man is as uncomfortable today, faced with a genius, as he was in the 16th century. Five centuries have passed, yet we still view Leonardo with awe." The Elmer Belt Library of Vinciana is a special collection at the University of California, Los Angeles. Twenty-first-century author Walter Isaacson based much of his biography of Leonardo on thousands of notebook entries, studying the personal notes, sketches, budget notations, and musings of the man whom he considers the greatest of innovators. Isaacson was surprised to discover a "fun, joyous" side of Leonardo in addition to his limitless curiosity and creative genius. On the 500th anniversary of Leonardo's death, the Louvre in Paris arranged for the largest ever single exhibit of his work, called Leonardo, between November 2019 and February 2020. The exhibit includes over 100 paintings, drawings and notebooks. Eleven of the paintings that Leonardo completed in his lifetime were included. Five of these are owned by the Louvre, but the Mona Lisa was not included because it is in such great demand among general visitors to the Louvre; it remains on display in its gallery. Vitruvian Man, however, is on display following a legal battle with its owner, the Gallerie dell'Accademia in Venice. Salvator Mundi was also not included because its Saudi owner did not agree to lease the work. The Mona Lisa, considered Leonardo's magnum opus, is often regarded as the most famous portrait ever made. The Last Supper is the most reproduced religious painting of all time, and Leonardo's Vitruvian Man drawing is also considered a cultural icon. More than a decade of analysis of Leonardo's genetic genealogy, conducted by Alessandro Vezzosi and Agnese Sabato, came to a conclusion in mid-2021. It was determined that the artist has 14 living male relatives. The work could also help determine the authenticity of remains thought to belong to Leonardo. Location of remains While Leonardo was certainly buried in the collegiate church of Saint Florentin at the Château d'Amboise in 12 August 1519, the current location of his remains is unclear. Much of Château d'Amboise was damaged during the French Revolution, leading to the church's demolition in 1802. Some of the graves were destroyed in the process, scattering the bones interred there and thereby leaving the whereabouts of Leonardo's remains subject to dispute; a gardener may have even buried some in the corner of the courtyard. In 1863, fine-arts inspector general Arsène Houssaye received an imperial commission to excavate the site and discovered a partially complete skeleton with a bronze ring on one finger, white hair, and stone fragments bearing the inscriptions "EO", "AR", "DUS", and "VINC"—interpreted as forming "Leonardus Vinci". The skull's eight teeth corresponds to someone of approximately the appropriate age and a silver shield found near the bones depicts a beardless Francis I, corresponding to the king's appearance during Leonardo's time in France. Houssaye postulated that the unusually large skull was an indicator of Leonardo's intelligence; author Charles Nicholl describes this as a "dubious phrenological deduction." At the same time, Houssaye noted some issues with his observations, including that the feet were turned toward the high altar, a practice generally reserved for laymen, and that the skeleton of seemed too short. Art historian Mary Margaret Heaton wrote in 1874 that the height would be appropriate for Leonardo. The skull was allegedly presented to Napoleon III before being returned to the Château d'Amboise, where they were in the chapel of Saint Hubert in 1874. A plaque above the tomb states that its contents are only presumed to be those of Leonardo. It has since been theorized that the folding of the skeleton's right arm over the head may correspond to the paralysis of Leonardo's right hand. In 2016, it was announced that DNA tests would be conducted to determine whether the attribution is correct. The DNA of the remains will be compared to that of samples collected from Leonardo's work and his half-brother Domenico's descendants; it may also be sequenced. In 2019, documents were published revealing that Houssaye had kept the ring and a lock of hair. In 1925, his great-grandson sold these to an American collector. Sixty years later, another American acquired them, leading to their being displayed at the Leonardo Museum in Vinci beginning on 2 May 2019, the 500th anniversary of the artist's death. Notes General Dates of works References Citations Early Modern Works cited Early in in Modern Books volume 2: . A reprint of the original 1883 edition Journals and encyclopedia articles Further reading See and for extensive bibliographies External links General Universal Leonardo, a database of Leonardo's life and works maintained by Martin Kemp and Marina Wallace Leonardo da Vinci on the National Gallery website Works Biblioteca Leonardiana, online bibliography (in Italian) e-Leo: Archivio digitale di storia della tecnica e della scienza, archive of drawings, notes and manuscripts Complete text and images of Richter's translation of the Notebooks The Notebooks of Leonardo da Vinci 1452 births 1519 deaths 15th-century Italian mathematicians 15th-century Italian painters 15th-century Italian scientists 15th-century Italian sculptors 15th-century people of the Republic of Florence 16th-century Italian mathematicians 16th-century Italian painters 16th-century Italian scientists 16th-century Italian sculptors 16th-century people of the Republic of Florence Ambassadors of the Republic of Florence Ballistics experts Fabulists Painters from Florence Botanical illustrators Fluid dynamicists History of anatomy Italian anatomists Italian caricaturists Italian civil engineers 16th-century Italian inventors Italian male painters Italian male sculptors Italian military engineers Italian physiologists Italian Renaissance humanists Italian Renaissance painters Italian Renaissance sculptors Italian Roman Catholics Mathematical artists Painters by city People prosecuted under anti-homosexuality laws Philosophical theists Physiognomists Renaissance architects Renaissance painters Renaissance scientists Painters from Tuscany Burials in France Writers who illustrated their own writing	false	[ "\"What Did I Do to You?\" is a song recorded by British singer Lisa Stansfield for her 1989 album, Affection. It was written by Stansfield, Ian Devaney and Andy Morris, and produced by Devaney and Morris. The song was released as the fourth European single on 30 April 1990. It included three previously unreleased songs written by Stansfield, Devaney and Morris: \"My Apple Heart,\" \"Lay Me Down\" and \"Something's Happenin'.\" \"What Did I Do to You?\" was remixed by Mark Saunders and by the Grammy Award-winning American house music DJ and producer, David Morales. The single became a top forty hit in the European countries reaching number eighteen in Finland, number twenty in Ireland and number twenty-five in the United Kingdom. \"What Did I Do to You?\" was also released in Japan.\n\nIn 2014, the remixes of \"What Did I Do to You?\" were included on the deluxe 2CD + DVD re-release of Affection and on People Hold On ... The Remix Anthology. They were also featured on The Collection 1989–2003 box set (2014), including previously unreleased Red Zone Mix by David Morales.\n\nCritical reception\nThe song received positive reviews from music critics. Matthew Hocter from Albumism viewed it as a \"upbeat offering\". David Giles from Music Week said it is \"beautifully performed\" by Stansfield. A reviewer from Reading Eagle wrote that \"What Did I Do to You?\" \"would be right at home on the \"Saturday Night Fever\" soundtrack.\"\n\nMusic video\nA music video was produced to promote the single, directed by Philip Richardson, who had previously directed the videos for \"All Around the World\" and \"Live Together\". It features Stansfield with her kiss curls, dressed in a white outfit and performing with her band on a stage in front of a jumping audience. The video was later published on Stansfield's official YouTube channel in November 2009. It has amassed more than 1,6 million views as of October 2021.\n\nTrack listings\n\n European/UK 7\" single\n\"What Did I Do to You?\" (Mark Saunders Remix Edit) – 4:20\n\"Something's Happenin'\" – 3:59\n\n European/UK/Japanese CD single\n\"What Did I Do to You?\" (Mark Saunders Remix Edit) – 4:20\n\"My Apple Heart\" – 5:19\n\"Lay Me Down\" – 4:17\n\"Something's Happenin'\" – 3:59\n\n UK 10\" single\n\"What Did I Do to You?\" (Mark Saunders Remix) – 5:52\n\"My Apple Heart\" – 5:19\n\"Lay Me Down\" – 4:17\n\"Something's Happenin'\" – 3:59\n\n European/UK 12\" single\n\"What Did I Do to You?\" (Morales Mix) – 7:59\n\"My Apple Heart\" – 4:22\n\"Lay Me Down\" – 3:19\n\"Something's Happenin'\" – 3:15\n\n UK 12\" promotional single\n\"What Did I Do to You?\" (Morales Mix) – 7:59\n\"What Did I Do to You?\" (Anti Poll Tax Dub) – 6:31\n\n Other remixes\n\"What Did I Do to You?\" (Red Zone Mix) – 7:45\n\nCharts\n\nReferences\n\nLisa Stansfield songs\n1990 singles\nSongs written by Lisa Stansfield\n1989 songs\nArista Records singles\nSongs written by Ian Devaney\nSongs written by Andy Morris (musician)", "\"What Would Steve Do?\" is the second single released by Mumm-Ra on Columbia Records, which was released on February 19, 2007. It is a re-recorded version of the self-release they did in April 2006. It reached #40 in the UK Singles Chart, making it their highest charting single.\n\nTrack listings\nAll songs written by Mumm-Ra.\n\nCD\n\"What Would Steve Do?\"\n\"Cute As\"\n\"Without You\"\n\n7\"\n\"What Would Steve Do?\"\n\"What Would Steve Do? (Floorboard Mix)\"\n\nGatefold 7\"\n\"What Would Steve Do?\"\n\"Cute As\"\n\nReferences\n\n2007 singles\nMumm-Ra (band) songs\n2006 songs\nColumbia Records singles" ]
[ "Leonardo da Vinci", "Verrocchio's workshop, 1466-1476", "What was his first love", "Leonardo was apprenticed to the artist Andrea di Cione,", "WHat year was this", "1466,", "Whatwas he known for", "known as Verrocchio,", "What did he teach him", "whose bottega (workshop) was \"one of the finest in Florence\". He apprenticed as a garzone", "What did he do", "Other famous painters apprenticed or associated with the workshop include Domenico Ghirlandaio," ]	C_e9fd1aa07b684a6698373397ebd79adc_0	Who else	6	Other than Domenico Ghirlandaio who else?	Leonardo da Vinci	In 1466, at the age of fourteen, Leonardo was apprenticed to the artist Andrea di Cione, known as Verrocchio, whose bottega (workshop) was "one of the finest in Florence". He apprenticed as a garzone (studio boy) to Andrea del Verrocchio, the leading Florentine painter and sculptor of his day (and would do so for 7 years). Other famous painters apprenticed or associated with the workshop include Domenico Ghirlandaio, Perugino, Botticelli, and Lorenzo di Credi. Leonardo would have been exposed to both theoretical training and a vast range of technical skills, including drafting, chemistry, metallurgy, metal working, plaster casting, leather working, mechanics and carpentry as well as the artistic skills of drawing, painting, sculpting and modelling. Much of the painted production of Verrocchio's workshop was done by his employees. According to Vasari, Leonardo collaborated with Verrocchio on his The Baptism of Christ, painting the young angel holding Jesus' robe in a manner that was so far superior to his master's that Verrocchio put down his brush and never painted again, although this is believed to be apocryphal. Close examination reveals areas that have been painted or touched-up over the tempera using the new technique of oil paint; the landscape, the rocks seen through the brown mountain stream and much of the figure of Jesus bearing witness to the hand of Leonardo. Leonardo may have been the model for two works by Verrocchio: the bronze statue of David in the Bargello and the Archangel Raphael in Tobias and the Angel. By 1472, at the age of twenty, Leonardo qualified as a master in the Guild of Saint Luke, the guild of artists and doctors of medicine, but even after his father set him up in his own workshop, his attachment to Verrocchio was such that he continued to collaborate with him. Leonardo's earliest known dated work is a drawing in pen and ink of the Arno valley, drawn on 5 August 1473. CANNOTANSWER	Perugino, Botticelli,	Leonardo di ser Piero da Vinci (15 April 14522 May 1519) was an Italian polymath of the High Renaissance who was active as a painter, draughtsman, engineer, scientist, theorist, sculptor and architect. While his fame initially rested on his achievements as a painter, he also became known for his notebooks, in which he made drawings and notes on a variety of subjects, including anatomy, astronomy, botany, cartography, painting, and paleontology. Leonardo's genius epitomized the Renaissance humanist ideal, and his collective works compose a contribution to later generations of artists matched only by that of his younger contemporary, Michelangelo. Born out of wedlock to a successful notary and a lower-class woman in, or near, Vinci, he was educated in Florence by the Italian painter and sculptor Andrea del Verrocchio. He began his career in the city, but then spent much time in the service of Ludovico Sforza in Milan. Later, he worked in Florence and Milan again, as well as briefly in Rome, all while attracting a large following of imitators and students. Upon the invitation of Francis I, he spent his last three years in France, where he died in 1519. Since his death, there has not been a time where his achievements, diverse interests, personal life, and empirical thinking have failed to incite interest and admiration, making him a frequent namesake and subject in culture. Leonardo is among the greatest painters in the history of art and is often credited as the founder of the High Renaissance. Despite having many lost works and less than 25 attributed major works—including numerous unfinished works—he created some of the most influential paintings in Western art. His magnum opus, the Mona Lisa, is his best known work and often regarded as the world's most famous painting. The Last Supper is the most reproduced religious painting of all time and his Vitruvian Man drawing is also regarded as a cultural icon. In 2017, Salvator Mundi, attributed in whole or part to Leonardo, was sold at auction for , setting a new record for the most expensive painting ever sold at public auction. Revered for his technological ingenuity, he conceptualized flying machines, a type of armored fighting vehicle, concentrated solar power, an adding machine, and the double hull. Relatively few of his designs were constructed or even feasible during his lifetime, as the modern scientific approaches to metallurgy and engineering were only in their infancy during the Renaissance. Some of his smaller inventions, however, entered the world of manufacturing unheralded, such as an automated bobbin winder and a machine for testing the tensile strength of wire. He made substantial discoveries in anatomy, civil engineering, hydrodynamics, geology, optics, and tribology, but he did not publish his findings and they had little to no direct influence on subsequent science. Biography Early life (1452–1472) Birth and background Leonardo da Vinci, properly named Leonardo di ser Piero da Vinci (Leonardo, son of ser Piero from Vinci), was born on 15 April 1452 in, or close to, the Tuscan hill town of Vinci; Florence was 20 miles away. He was born out of wedlock to (Ser Piero di Antonio di Ser Piero di Ser Guido da Vinci; 1426–1504), a Florentine legal notary, and ( – 1494), from the lower-class. It remains uncertain where Leonardo was born; the traditional account, from a local oral tradition recorded by the historian Emanuele Repetti, is that he was born in Anchiano, a country hamlet that would have offered sufficient privacy for the illegitimate birth, though it is still possible he was born in a house in Florence that Ser Piero almost certainly had. Leonardo's parents both married separately the year after his birth. Caterina—who later appears in Leonardo's notes as only "Caterina" or "Catelina"—is usually identified as the Caterina Buti del Vacca who married the local artisan Antonio di Piero Buti del Vacca, nicknamed "L'Accattabriga" ("the quarrelsome one"). Other theories have been proposed, particularly that of art historian Martin Kemp, who suggested Caterina di Meo Lippi, an orphan that married purportedly with aid from Ser Piero and his family. Ser Piero married Albiera Amadori—having been betrothed to her the previous year—and after her death in 1462, went on to have three subsequent marriages. From all the marriages, Leonardo eventually had 12 half-siblings who were much younger than he was (the last was born when Leonardo was 40 years old) and with whom he had very little contact. Very little is known about Leonardo's childhood and much is shrouded in myth, partially because of his biography in the frequently apocryphal Lives of the Most Excellent Painters, Sculptors, and Architects (1550) from the 16th-century art historian Giorgio Vasari. Tax records indicate that by at least 1457 he lived in the household of his paternal grandfather, Antonio da Vinci, but it is possible that he spent the years before then in the care of his mother in Vinci, either Anchiano or Campo Zeppi in the parish of San Pantaleone. He is thought to have been close to his uncle, Francesco da Vinci, but his father was likely in Florence most of the time. Ser Piero, who was the descendant of a long line of notaries, established an official residence in Florence by at least 1469 and led a successful career. Despite his family history, Leonardo only received a basic and informal education in (vernacular) writing, reading and mathematics, possibly because his artistic talents were recognised early, so his family decided to focus their attention there. Later in life, Leonardo recorded his earliest memory, now in the Codex Atlanticus. While writing on the flight of birds, he recalled as an infant when a kite came to his cradle and opened his mouth with its tail; commentators still debate whether the anecdote was an actual memory or a fantasy. Verrocchio's workshop In the mid-1460s, Leonardo's family moved to Florence, which at the time was the centre of Christian Humanist thought and culture. Around the age of 14, he became a garzone (studio boy) in the workshop of Andrea del Verrocchio, who was the leading Florentine painter and sculptor of his time. This was about the time of the death of Verrocchio's master, the great sculptor Donatello. Leonardo became an apprentice by the age of 17 and remained in training for seven years. Other famous painters apprenticed in the workshop or associated with it include Ghirlandaio, Perugino, Botticelli, and Lorenzo di Credi. Leonardo was exposed to both theoretical training and a wide range of technical skills, including drafting, chemistry, metallurgy, metal working, plaster casting, leather working, mechanics, and woodwork, as well as the artistic skills of drawing, painting, sculpting, and modelling. Leonardo was a contemporary of Botticelli, Ghirlandaio and Perugino, who were all slightly older than he was. He would have met them at the workshop of Verrocchio or at the Platonic Academy of the Medici. Florence was ornamented by the works of artists such as Donatello's contemporaries Masaccio, whose figurative frescoes were imbued with realism and emotion, and Ghiberti, whose Gates of Paradise, gleaming with gold leaf, displayed the art of combining complex figure compositions with detailed architectural backgrounds. Piero della Francesca had made a detailed study of perspective, and was the first painter to make a scientific study of light. These studies and Leon Battista Alberti's treatise De pictura were to have a profound effect on younger artists and in particular on Leonardo's own observations and artworks. Much of the painting in Verrocchio's workshop was done by his assistants. According to Vasari, Leonardo collaborated with Verrocchio on his The Baptism of Christ, painting the young angel holding Jesus' robe in a manner that was so far superior to his master's that Verrocchio put down his brush and never painted again, although this is believed to be an apocryphal story. Close examination reveals areas of the work that have been painted or touched-up over the tempera, using the new technique of oil paint, including the landscape, the rocks seen through the brown mountain stream, and much of the figure of Jesus, bearing witness to the hand of Leonardo. Leonardo may have been the model for two works by Verrocchio: the bronze statue of David in the Bargello, and the Archangel Raphael in Tobias and the Angel. Vasari tells a story of Leonardo as a very young man: a local peasant made himself a round shield and requested that Ser Piero have it painted for him. Leonardo, inspired by the story of Medusa, responded with a painting of a monster spitting fire that was so terrifying that his father bought a different shield to give to the peasant and sold Leonardo's to a Florentine art dealer for 100 ducats, who in turn sold it to the Duke of Milan. First Florentine period (1472–c. 1482) By 1472, at the age of 20, Leonardo qualified as a master in the Guild of Saint Luke, the guild of artists and doctors of medicine, but even after his father set him up in his own workshop, his attachment to Verrocchio was such that he continued to collaborate and live with him. Leonardo's earliest known dated work is a 1473 pen-and-ink drawing of the Arno valley. According to Vasari, the young Leonardo was the first to suggest making the Arno river a navigable channel between Florence and Pisa. In January 1478, Leonardo received an independent commission to paint an altarpiece for the Chapel of St. Bernard in the Palazzo Vecchio, an indication of his independence from Verrocchio's studio. An anonymous early biographer, known as Anonimo Gaddiano, claims that in 1480 Leonardo was living with the Medici and often worked in the garden of the Piazza San Marco, Florence, where a Neoplatonic academy of artists, poets and philosophers organized by the Medici met. In March 1481, he received a commission from the monks of San Donato in Scopeto for The Adoration of the Magi. Neither of these initial commissions were completed, being abandoned when Leonardo went to offer his services to Duke of Milan Ludovico Sforza. Leonardo wrote Sforza a letter which described the diverse things that he could achieve in the fields of engineering and weapon design, and mentioned that he could paint. He brought with him a silver string instrument—either a lute or lyre—in the form of a horse's head. With Alberti, Leonardo visited the home of the Medici and through them came to know the older Humanist philosophers of whom Marsiglio Ficino, proponent of Neoplatonism; Cristoforo Landino, writer of commentaries on Classical writings, and John Argyropoulos, teacher of Greek and translator of Aristotle were the foremost. Also associated with the Platonic Academy of the Medici was Leonardo's contemporary, the brilliant young poet and philosopher Pico della Mirandola. In 1482, Leonardo was sent as an ambassador by Lorenzo de' Medici to Ludovico il Moro, who ruled Milan between 1479 and 1499. First Milanese period (c. 1482–1499) Leonardo worked in Milan from 1482 until 1499. He was commissioned to paint the Virgin of the Rocks for the Confraternity of the Immaculate Conception and The Last Supper for the monastery of Santa Maria delle Grazie. In the spring of 1485, Leonardo travelled to Hungary on behalf of Sforza to meet king Matthias Corvinus, and was commissioned by him to paint a Madonna. Leonardo was employed on many other projects for Sforza, including the preparation of floats and pageants for special occasions, a drawing and wooden model for a competition to design the cupola for Milan Cathedral (which he withdrew), and a model for a huge equestrian monument to Ludovico's predecessor Francesco Sforza. This would have surpassed in size the only two large equestrian statues of the Renaissance, Donatello's Gattamelata in Padua and Verrocchio's Bartolomeo Colleoni in Venice, and became known as the Gran Cavallo. Leonardo completed a model for the horse and made detailed plans for its casting, but in November 1494, Ludovico gave the bronze to his brother-in-law to be used for a cannon to defend the city from Charles VIII of France. Contemporary correspondence records that Leonardo and his assistants were commissioned by the Duke of Milan to paint the Sala delle Asse in the Sforza Castle. The decoration was completed in 1498. The project became a trompe-l'œil decoration that made the great hall appear to be a pergola created by the interwoven limbs of sixteen mulberry trees, whose canopy included an intricate labyrinth of leaves and knots on the ceiling. Second Florentine period (1500–1508) When Ludovico Sforza was overthrown by France in 1500, Leonardo fled Milan for Venice, accompanied by his assistant Salaì and friend, the mathematician Luca Pacioli. In Venice, Leonardo was employed as a military architect and engineer, devising methods to defend the city from naval attack. On his return to Florence in 1500, he and his household were guests of the Servite monks at the monastery of Santissima Annunziata and were provided with a workshop where, according to Vasari, Leonardo created the cartoon of The Virgin and Child with St Anne and St John the Baptist, a work that won such admiration that "men [and] women, young and old" flocked to see it "as if they were going to a solemn festival." In Cesena in 1502, Leonardo entered the service of Cesare Borgia, the son of Pope Alexander VI, acting as a military architect and engineer and travelling throughout Italy with his patron. Leonardo created a map of Cesare Borgia's stronghold, a town plan of Imola in order to win his patronage. Upon seeing it, Cesare hired Leonardo as his chief military engineer and architect. Later in the year, Leonardo produced another map for his patron, one of Chiana Valley, Tuscany, so as to give his patron a better overlay of the land and greater strategic position. He created this map in conjunction with his other project of constructing a dam from the sea to Florence, in order to allow a supply of water to sustain the canal during all seasons. Leonardo had left Borgia's service and returned to Florence by early 1503, where he rejoined the Guild of Saint Luke on 18 October of that year. By this same month, Leonardo had begun working on a portrait of Lisa del Giocondo, the model for the Mona Lisa, which he would continue working on until his twilight years. In January 1504, he was part of a committee formed to recommend where Michelangelo's statue of David should be placed. He then spent two years in Florence designing and painting a mural of The Battle of Anghiari for the Signoria, with Michelangelo designing its companion piece, The Battle of Cascina. In 1506, Leonardo was summoned to Milan by Charles II d'Amboise, the acting French governor of the city. There, Leonardo took on another pupil, Count Francesco Melzi, the son of a Lombard aristocrat, who is considered to have been his favourite student. The Council of Florence wished Leonardo to return promptly to finish The Battle of Anghiari, but he was given leave at the behest of Louis XII, who considered commissioning the artist to make some portraits. Leonardo may have commenced a project for an equestrian figure of d'Amboise; a wax model survives and, if genuine, is the only extant example of Leonardo's sculpture. Leonardo was otherwise free to pursue his scientific interests. Many of Leonardo's most prominent pupils either knew or worked with him in Milan, including Bernardino Luini, Giovanni Antonio Boltraffio, and Marco d'Oggiono. In 1507, Leonardo was in Florence sorting out a dispute with his brothers over the estate of his father, who had died in 1504. Second Milanese period (1508–1513) By 1508, Leonardo was back in Milan, living in his own house in Porta Orientale in the parish of Santa Babila. In 1512, Leonardo was working on plans for an equestrian monument for Gian Giacomo Trivulzio, but this was prevented by an invasion of a confederation of Swiss, Spanish and Venetian forces, which drove the French from Milan. Leonardo stayed in the city, spending several months in 1513 at the Medici's Vaprio d'Adda villa. Rome and France (1513–1519) In March of 1513, Lorenzo de' Medici's son Giovanni assumed the papacy (as Leo X); Leonardo went to Rome that September, where he was received by the pope's brother Giuliano. From September 1513 to 1516, Leonardo spent much of his time living in the Belvedere Courtyard in the Apostolic Palace, where Michelangelo and Raphael were both active. Leonardo was given an allowance of 33 ducats a month, and according to Vasari, decorated a lizard with scales dipped in quicksilver. The pope gave him a painting commission of unknown subject matter, but cancelled it when the artist set about developing a new kind of varnish. Leonardo became ill, in what may have been the first of multiple strokes leading to his death. He practiced botany in the Gardens of Vatican City, and was commissioned to make plans for the pope's proposed draining of the Pontine Marshes. He also dissected cadavers, making notes for a treatise on vocal cords; these he gave to an official in hopes of regaining the pope's favor, but was unsuccessful. In October 1515, King Francis I of France recaptured Milan. Leonardo was present at the 19 December meeting of Francis I and Leo X, which took place in Bologna. In 1516, Leonardo entered Francis' service, being given the use of the manor house Clos Lucé, near the king's residence at the royal Château d'Amboise. Being frequently visited by Francis, he drew plans for an immense castle town the king intended to erect at Romorantin, and made a mechanical lion, which during a pageant walked toward the king and—upon being struck by a wand—opened its chest to reveal a cluster of lilies. Leonardo was accompanied during this time by his friend and apprentice Francesco Melzi, and supported by a pension totalling 10,000 scudi. At some point, Melzi drew a portrait of Leonardo; the only others known from his lifetime were a sketch by an unknown assistant on the back of one of Leonardo's studies () and a drawing by Giovanni Ambrogio Figino depicting an elderly Leonardo with his right arm assuaged by cloth. The latter, in addition to the record of an October 1517 visit by Louis d'Aragon, confirms an account of Leonardo's right hand being paralytic at the age of 65, which may indicate why he left works such as the Mona Lisa unfinished. He continued to work at some capacity until eventually becoming ill and bedridden for several months. Death Leonardo died at Clos Lucé on 2 May 1519 at the age of 67, possibly of a stroke. Francis I had become a close friend. Vasari describes Leonardo as lamenting on his deathbed, full of repentance, that "he had offended against God and men by failing to practice his art as he should have done." Vasari states that in his last days, Leonardo sent for a priest to make his confession and to receive the Holy Sacrament. Vasari also records that the king held Leonardo's head in his arms as he died, although this story may be legend rather than fact. In accordance with his will, sixty beggars carrying tapers followed Leonardo's casket. Melzi was the principal heir and executor, receiving, as well as money, Leonardo's paintings, tools, library and personal effects. Leonardo's other long-time pupil and companion, Salaì, and his servant Baptista de Vilanis, each received half of Leonardo's vineyards. His brothers received land, and his serving woman received a fur-lined cloak. On 12 August 1519, Leonardo's remains were interred in the Collegiate Church of Saint Florentin at the Château d'Amboise. Salaì, or Il Salaino ("The Little Unclean One," i.e., the devil), entered Leonardo's household in 1490 as an assistant. After only a year, Leonardo made a list of his misdemeanours, calling him "a thief, a liar, stubborn, and a glutton," after he had made off with money and valuables on at least five occasions and spent a fortune on clothes. Nevertheless, Leonardo treated him with great indulgence, and he remained in Leonardo's household for the next thirty years. Salaì executed a number of paintings under the name of Andrea Salaì, but although Vasari claims that Leonardo "taught him many things about painting," his work is generally considered to be of less artistic merit than others among Leonardo's pupils, such as Marco d'Oggiono and Boltraffio. Salaì owned the Mona Lisa at the time of Leonardo's death in 1524, and in his will it was assessed at 505 lire, an exceptionally high valuation for a small panel portrait. Some 20 years after Leonardo's death, Francis was reported by the goldsmith and sculptor Benvenuto Cellini as saying: "There had never been another man born in the world who knew as much as Leonardo, not so much about painting, sculpture and architecture, as that he was a very great philosopher." Personal life Despite the thousands of pages Leonardo left in notebooks and manuscripts, he scarcely made reference to his personal life. Within Leonardo's lifetime, his extraordinary powers of invention, his "great physical beauty" and "infinite grace," as described by Vasari, as well as all other aspects of his life, attracted the curiosity of others. One such aspect was his love for animals, likely including vegetarianism and according to Vasari, a habit of purchasing caged birds and releasing them. Leonardo had many friends who are now notable either in their fields or for their historical significance, including mathematician Luca Pacioli, with whom he collaborated on the book Divina proportione in the 1490s. Leonardo appears to have had no close relationships with women except for his friendship with Cecilia Gallerani and the two Este sisters, Beatrice and Isabella. While on a journey that took him through Mantua, he drew a portrait of Isabella that appears to have been used to create a painted portrait, now lost. Beyond friendship, Leonardo kept his private life secret. His sexuality has been the subject of satire, analysis, and speculation. This trend began in the mid-16th century and was revived in the 19th and 20th centuries, most notably by Sigmund Freud in his Leonardo da Vinci, A Memory of His Childhood. Leonardo's most intimate relationships were perhaps with his pupils Salaì and Melzi. Melzi, writing to inform Leonardo's brothers of his death, described Leonardo's feelings for his pupils as both loving and passionate. It has been claimed since the 16th century that these relationships were of a sexual or erotic nature. Court records of 1476, when he was aged twenty-four, show that Leonardo and three other young men were charged with sodomy in an incident involving a well-known male prostitute. The charges were dismissed for lack of evidence, and there is speculation that since one of the accused, Lionardo de Tornabuoni, was related to Lorenzo de' Medici, the family exerted its influence to secure the dismissal. Since that date much has been written about his presumed homosexuality and its role in his art, particularly in the androgyny and eroticism manifested in Saint John the Baptist and Bacchus and more explicitly in a number of erotic drawings. Paintings Despite the recent awareness and admiration of Leonardo as a scientist and inventor, for the better part of four hundred years his fame rested on his achievements as a painter. A handful of works that are either authenticated or attributed to him have been regarded as among the great masterpieces. These paintings are famous for a variety of qualities that have been much imitated by students and discussed at great length by connoisseurs and critics. By the 1490s Leonardo had already been described as a "Divine" painter. Among the qualities that make Leonardo's work unique are his innovative techniques for laying on the paint; his detailed knowledge of anatomy, light, botany and geology; his interest in physiognomy and the way humans register emotion in expression and gesture; his innovative use of the human form in figurative composition; and his use of subtle gradation of tone. All these qualities come together in his most famous painted works, the Mona Lisa, the Last Supper, and the Virgin of the Rocks. Early works Leonardo first gained attention for his work on the Baptism of Christ, painted in conjunction with Verrocchio. Two other paintings appear to date from his time at Verrocchio's workshop, both of which are Annunciations. One is small, long and high. It is a "predella" to go at the base of a larger composition, a painting by Lorenzo di Credi from which it has become separated. The other is a much larger work, long. In both Annunciations, Leonardo used a formal arrangement, like two well-known pictures by Fra Angelico of the same subject, of the Virgin Mary sitting or kneeling to the right of the picture, approached from the left by an angel in profile, with a rich flowing garment, raised wings and bearing a lily. Although previously attributed to Ghirlandaio, the larger work is now generally attributed to Leonardo. In the smaller painting, Mary averts her eyes and folds her hands in a gesture that symbolised submission to God's will. Mary is not submissive, however, in the larger piece. The girl, interrupted in her reading by this unexpected messenger, puts a finger in her bible to mark the place and raises her hand in a formal gesture of greeting or surprise. This calm young woman appears to accept her role as the Mother of God, not with resignation but with confidence. In this painting, the young Leonardo presents the humanist face of the Virgin Mary, recognising humanity's role in God's incarnation. Paintings of the 1480s In the 1480s, Leonardo received two very important commissions and commenced another work that was of ground-breaking importance in terms of composition. Two of the three were never finished, and the third took so long that it was subject to lengthy negotiations over completion and payment. One of these paintings was Saint Jerome in the Wilderness, which Bortolon associates with a difficult period of Leonardo's life, as evidenced in his diary: "I thought I was learning to live; I was only learning to die." Although the painting is barely begun, the composition can be seen and is very unusual. Jerome, as a penitent, occupies the middle of the picture, set on a slight diagonal and viewed somewhat from above. His kneeling form takes on a trapezoid shape, with one arm stretched to the outer edge of the painting and his gaze looking in the opposite direction. J. Wasserman points out the link between this painting and Leonardo's anatomical studies. Across the foreground sprawls his symbol, a great lion whose body and tail make a double spiral across the base of the picture space. The other remarkable feature is the sketchy landscape of craggy rocks against which the figure is silhouetted. The daring display of figure composition, the landscape elements and personal drama also appear in the great unfinished masterpiece, the Adoration of the Magi, a commission from the Monks of San Donato a Scopeto. It is a complex composition, of about Leonardo did numerous drawings and preparatory studies, including a detailed one in linear perspective of the ruined classical architecture that forms part of the background. In 1482 Leonardo went to Milan at the behest of Lorenzo de' Medici in order to win favour with Ludovico il Moro, and the painting was abandoned. The third important work of this period is the Virgin of the Rocks, commissioned in Milan for the Confraternity of the Immaculate Conception. The painting, to be done with the assistance of the de Predis brothers, was to fill a large complex altarpiece. Leonardo chose to paint an apocryphal moment of the infancy of Christ when the infant John the Baptist, in protection of an angel, met the Holy Family on the road to Egypt. The painting demonstrates an eerie beauty as the graceful figures kneel in adoration around the infant Christ in a wild landscape of tumbling rock and whirling water. While the painting is quite large, about , it is not nearly as complex as the painting ordered by the monks of St Donato, having only four figures rather than about fifty and a rocky landscape rather than architectural details. The painting was eventually finished; in fact, two versions of the painting were finished: one remained at the chapel of the Confraternity, while Leonardo took the other to France. The Brothers did not get their painting, however, nor the de Predis their payment, until the next century. Leonardo's most remarkable portrait of this period is the Lady with an Ermine, presumed to be Cecilia Gallerani (), lover of Ludovico Sforza. The painting is characterised by the pose of the figure with the head turned at a very different angle to the torso, unusual at a date when many portraits were still rigidly in profile. The ermine plainly carries symbolic meaning, relating either to the sitter, or to Ludovico who belonged to the prestigious Order of the Ermine. Paintings of the 1490s Leonardo's most famous painting of the 1490s is The Last Supper, commissioned for the refectory of the Convent of Santa Maria della Grazie in Milan. It represents the last meal shared by Jesus with his disciples before his capture and death, and shows the moment when Jesus has just said "one of you will betray me", and the consternation that this statement caused. The writer Matteo Bandello observed Leonardo at work and wrote that some days he would paint from dawn till dusk without stopping to eat and then not paint for three or four days at a time. This was beyond the comprehension of the prior of the convent, who hounded him until Leonardo asked Ludovico to intervene. Vasari describes how Leonardo, troubled over his ability to adequately depict the faces of Christ and the traitor Judas, told the duke that he might be obliged to use the prior as his model. The painting was acclaimed as a masterpiece of design and characterization, but it deteriorated rapidly, so that within a hundred years it was described by one viewer as "completely ruined." Leonardo, instead of using the reliable technique of fresco, had used tempera over a ground that was mainly gesso, resulting in a surface subject to mould and to flaking. Despite this, the painting remains one of the most reproduced works of art; countless copies have been made in various mediums. Toward the end of this period, in 1498 da Vinci's trompe-l'œil decoration of the Sala delle Asse was painted for the Duke of Milan in the Castello Sforzesco. Paintings of the 1500s In 1505, Leonardo was commissioned to paint The Battle of Anghiari in the Salone dei Cinquecento (Hall of the Five Hundred) in the Palazzo Vecchio, Florence. Leonardo devised a dynamic composition depicting four men riding raging war horses engaged in a battle for possession of a standard, at the Battle of Anghiari in 1440. Michelangelo was assigned the opposite wall to depict the Battle of Cascina. Leonardo's painting deteriorated rapidly and is now known from a copy by Rubens. Among the works created by Leonardo in the 16th century is the small portrait known as the Mona Lisa or La Gioconda, the laughing one. In the present era, it is arguably the most famous painting in the world. Its fame rests, in particular, on the elusive smile on the woman's face, its mysterious quality perhaps due to the subtly shadowed corners of the mouth and eyes such that the exact nature of the smile cannot be determined. The shadowy quality for which the work is renowned came to be called "sfumato," or Leonardo's smoke. Vasari wrote that the smile was "so pleasing that it seems more divine than human, and it was considered a wondrous thing that it was as lively as the smile of the living original." Other characteristics of the painting are the unadorned dress, in which the eyes and hands have no competition from other details; the dramatic landscape background, in which the world seems to be in a state of flux; the subdued colouring; and the extremely smooth nature of the painterly technique, employing oils laid on much like tempera, and blended on the surface so that the brushstrokes are indistinguishable. Vasari expressed that the painting's quality would make even "the most confident master ... despair and lose heart." The perfect state of preservation and the fact that there is no sign of repair or overpainting is rare in a panel painting of this date. In the painting Virgin and Child with St. Anne, the composition again picks up the theme of figures in a landscape, which Wasserman describes as "breathtakingly beautiful" and harkens back to the St Jerome picture with the figure set at an oblique angle. What makes this painting unusual is that there are two obliquely set figures superimposed. Mary is seated on the knee of her mother, St Anne. She leans forward to restrain the Christ Child as he plays roughly with a lamb, the sign of his own impending sacrifice. This painting, which was copied many times, influenced Michelangelo, Raphael, and Andrea del Sarto, and through them Pontormo and Correggio. The trends in composition were adopted in particular by the Venetian painters Tintoretto and Veronese. Drawings Leonardo was a prolific draughtsman, keeping journals full of small sketches and detailed drawings recording all manner of things that took his attention. As well as the journals there exist many studies for paintings, some of which can be identified as preparatory to particular works such as The Adoration of the Magi, The Virgin of the Rocks and The Last Supper. His earliest dated drawing is a Landscape of the Arno Valley, 1473, which shows the river, the mountains, Montelupo Castle and the farmlands beyond it in great detail. Among his famous drawings are the Vitruvian Man, a study of the proportions of the human body; the Head of an Angel, for The Virgin of the Rocks in the Louvre; a botanical study of Star of Bethlehem; and a large drawing (160×100 cm) in black chalk on coloured paper of The Virgin and Child with Saint Anne and Saint John the Baptist in the National Gallery, London. This drawing employs the subtle sfumato technique of shading, in the manner of the Mona Lisa. It is thought that Leonardo never made a painting from it, the closest similarity being to The Virgin and Child with Saint Anne in the Louvre. Other drawings of interest include numerous studies generally referred to as "caricatures" because, although exaggerated, they appear to be based upon observation of live models. Vasari relates that Leonardo would look for interesting faces in public to use as models for some of his work. There are numerous studies of beautiful young men, often associated with Salaì, with the rare and much admired facial feature, the so-called "Grecian profile." These faces are often contrasted with that of a warrior. Salaì is often depicted in fancy-dress costume. Leonardo is known to have designed sets for pageants with which these may be associated. Other, often meticulous, drawings show studies of drapery. A marked development in Leonardo's ability to draw drapery occurred in his early works. Another often-reproduced drawing is a macabre sketch that was done by Leonardo in Florence in 1479 showing the body of Bernardo Baroncelli, hanged in connection with the murder of Giuliano, brother of Lorenzo de' Medici, in the Pazzi conspiracy. In his notes, Leonardo recorded the colours of the robes that Baroncelli was wearing when he died. Like the two contemporary architects Donato Bramante (who designed the Belvedere Courtyard) and Antonio da Sangallo the Elder, Leonardo experimented with designs for centrally planned churches, a number of which appear in his journals, as both plans and views, although none was ever realised. Journals and notes Renaissance humanism recognised no mutually exclusive polarities between the sciences and the arts, and Leonardo's studies in science and engineering are sometimes considered as impressive and innovative as his artistic work. These studies were recorded in 13,000 pages of notes and drawings, which fuse art and natural philosophy (the forerunner of modern science). They were made and maintained daily throughout Leonardo's life and travels, as he made continual observations of the world around him. Leonardo's notes and drawings display an enormous range of interests and preoccupations, some as mundane as lists of groceries and people who owed him money and some as intriguing as designs for wings and shoes for walking on water. There are compositions for paintings, studies of details and drapery, studies of faces and emotions, of animals, babies, dissections, plant studies, rock formations, whirlpools, war machines, flying machines and architecture. These notebooks—originally loose papers of different types and sizes—were largely entrusted to Leonardo's pupil and heir Francesco Melzi after the master's death. These were to be published, a task of overwhelming difficulty because of its scope and Leonardo's idiosyncratic writing. Some of Leonardo's drawings were copied by an anonymous Milanese artist for a planned treatise on art . After Melzi's death in 1570, the collection passed to his son, the lawyer Orazio, who initially took little interest in the journals. In 1587, a Melzi household tutor named Lelio Gavardi took 13 of the manuscripts to Pisa; there, the architect Giovanni Magenta reproached Gavardi for having taken the manuscripts illicitly and returned them to Orazio. Having many more such works in his possession, Orazio gifted the volumes to Magenta. News spread of these lost works of Leonardo's, and Orazio retrieved seven of the 13 manuscripts, which he then gave to Pompeo Leoni for publication in two volumes; one of these was the Codex Atlanticus. The other six works had been distributed to a few others. After Orazio's death, his heirs sold the rest of Leonardo's possessions, and thus began their dispersal. Some works have found their way into major collections such as the Royal Library at Windsor Castle, the Louvre, the Biblioteca Nacional de España, the Victoria and Albert Museum, the Biblioteca Ambrosiana in Milan, which holds the 12-volume Codex Atlanticus, and the British Library in London, which has put a selection from the Codex Arundel (BL Arundel MS 263) online. Works have also been at Holkham Hall, the Metropolitan Museum of Art, and in the private hands of John Nicholas Brown I and Robert Lehman. The Codex Leicester is the only privately owned major scientific work of Leonardo; it is owned by Bill Gates and displayed once a year in different cities around the world. Most of Leonardo's writings are in mirror-image cursive. Since Leonardo wrote with his left hand, it was probably easier for him to write from right to left. Leonardo used a variety of shorthand and symbols, and states in his notes that he intended to prepare them for publication. In many cases a single topic is covered in detail in both words and pictures on a single sheet, together conveying information that would not be lost if the pages were published out of order. Why they were not published during Leonardo's lifetime is unknown. Science and inventions Leonardo's approach to science was observational: he tried to understand a phenomenon by describing and depicting it in utmost detail and did not emphasise experiments or theoretical explanation. Since he lacked formal education in Latin and mathematics, contemporary scholars mostly ignored Leonardo the scientist, although he did teach himself Latin. His keen observations in many areas were noted, such as when he wrote "Il sole non si move." ("The Sun does not move.") In the 1490s he studied mathematics under Luca Pacioli and prepared a series of drawings of regular solids in a skeletal form to be engraved as plates for Pacioli's book Divina proportione, published in 1509. While living in Milan, he studied light from the summit of Monte Rosa. Scientific writings in his notebook on fossils have been considered as influential on early palaeontology. The content of his journals suggest that he was planning a series of treatises on a variety of subjects. A coherent treatise on anatomy is said to have been observed during a visit by Cardinal Louis d'Aragon's secretary in 1517. Aspects of his work on the studies of anatomy, light and the landscape were assembled for publication by Melzi and eventually published as A Treatise on Painting in France and Italy in 1651 and Germany in 1724, with engravings based upon drawings by the Classical painter Nicolas Poussin. According to Arasse, the treatise, which in France went into 62 editions in fifty years, caused Leonardo to be seen as "the precursor of French academic thought on art." While Leonardo's experimentation followed scientific methods, a recent and exhaustive analysis of Leonardo as a scientist by Fritjof Capra argues that Leonardo was a fundamentally different kind of scientist from Galileo, Newton and other scientists who followed him in that, as a "Renaissance Man", his theorising and hypothesising integrated the arts and particularly painting. Anatomy and physiology Leonardo started his study in the anatomy of the human body under the apprenticeship of Verrocchio, who demanded that his students develop a deep knowledge of the subject. As an artist, he quickly became master of topographic anatomy, drawing many studies of muscles, tendons and other visible anatomical features. As a successful artist, Leonardo was given permission to dissect human corpses at the Hospital of Santa Maria Nuova in Florence and later at hospitals in Milan and Rome. From 1510 to 1511 he collaborated in his studies with the doctor Marcantonio della Torre. Leonardo made over 240 detailed drawings and wrote about 13,000 words toward a treatise on anatomy. Only a small amount of the material on anatomy was published in Leonardo's Treatise on painting. During the time that Melzi was ordering the material into chapters for publication, they were examined by a number of anatomists and artists, including Vasari, Cellini and Albrecht Dürer, who made a number of drawings from them. Leonardo's anatomical drawings include many studies of the human skeleton and its parts, and of muscles and sinews. He studied the mechanical functions of the skeleton and the muscular forces that are applied to it in a manner that prefigured the modern science of biomechanics. He drew the heart and vascular system, the sex organs and other internal organs, making one of the first scientific drawings of a fetus in utero. The drawings and notation are far ahead of their time, and if published would undoubtedly have made a major contribution to medical science. Leonardo also closely observed and recorded the effects of age and of human emotion on the physiology, studying in particular the effects of rage. He drew many figures who had significant facial deformities or signs of illness. Leonardo also studied and drew the anatomy of many animals, dissecting cows, birds, monkeys, bears, and frogs, and comparing in his drawings their anatomical structure with that of humans. He also made a number of studies of horses. Leonardo's dissections and documentation of muscles, nerves, and vessels helped to describe the physiology and mechanics of movement. He attempted to identify the source of 'emotions' and their expression. He found it difficult to incorporate the prevailing system and theories of bodily humours, but eventually he abandoned these physiological explanations of bodily functions. He made the observations that humours were not located in cerebral spaces or ventricles. He documented that the humours were not contained in the heart or the liver, and that it was the heart that defined the circulatory system. He was the first to define atherosclerosis and liver cirrhosis. He created models of the cerebral ventricles with the use of melted wax and constructed a glass aorta to observe the circulation of blood through the aortic valve by using water and grass seed to watch flow patterns. Vesalius published his work on anatomy and physiology in De humani corporis fabrica in 1543. Engineering and inventions During his lifetime, Leonardo was also valued as an engineer. With the same rational and analytical approach that moved him to represent the human body and to investigate anatomy, Leonardo studied and designed many machines and devices. He drew their “anatomy” with unparalleled mastery, producing the first form of the modern technical drawing, including a perfected "exploded view" technique, to represent internal components. Those studies and projects collected in his codices fill more than 5,000 pages. In a letter of 1482 to the lord of Milan Ludovico il Moro, he wrote that he could create all sorts of machines both for the protection of a city and for siege. When he fled from Milan to Venice in 1499, he found employment as an engineer and devised a system of moveable barricades to protect the city from attack. In 1502, he created a scheme for diverting the flow of the Arno river, a project on which Niccolò Machiavelli also worked. He continued to contemplate the canalization of Lombardy's plains while in Louis XII's company and of the Loire and its tributaries in the company of Francis I. Leonardo's journals include a vast number of inventions, both practical and impractical. They include musical instruments, a mechanical knight, hydraulic pumps, reversible crank mechanisms, finned mortar shells, and a steam cannon. Leonardo was fascinated by the phenomenon of flight for much of his life, producing many studies, including Codex on the Flight of Birds (), as well as plans for several flying machines, such as a flapping ornithopter and a machine with a helical rotor. A 2003 documentary by British television station Channel Four, titled Leonardo's Dream Machines, various designs by Leonardo, such as a parachute and a giant crossbow, were interpreted and constructed. Some of those designs proved successful, whilst others fared less well when tested. Research performed by Marc van den Broek revealed older prototypes for more than 100 inventions that are ascribed to Leonardo. Similarities between Leonardo's illustrations and drawings from the Middle Ages and from Ancient Greece and Rome, the Chinese and Persian Empires, and Egypt suggest that a large portion of Leonardo's inventions had been conceived before his lifetime. Leonardo's innovation was to combine different functions from existing drafts and set them into scenes that illustrated their utility. By reconstituting technical inventions he created something new. In his notebooks, Leonardo first stated the ‘laws’ of sliding friction in 1493. His inspiration for investigating friction came about in part from his study of perpetual motion, which he correctly concluded was not possible. His results were never published and the friction laws were not rediscovered until 1699 by Guillaume Amontons, with whose name they are now usually associated. For this contribution, Leonardo was named as the first of the 23 "Men of Tribology" by Duncan Dowson. Legacy Although he had no formal academic training, many historians and scholars regard Leonardo as the prime exemplar of the "Universal Genius" or "Renaissance Man", an individual of "unquenchable curiosity" and "feverishly inventive imagination." He is widely considered one of the most diversely talented individuals ever to have lived. According to art historian Helen Gardner, the scope and depth of his interests were without precedent in recorded history, and "his mind and personality seem to us superhuman, while the man himself mysterious and remote." Scholars interpret his view of the world as being based in logic, though the empirical methods he used were unorthodox for his time. Leonardo's fame within his own lifetime was such that the King of France carried him away like a trophy, and was claimed to have supported him in his old age and held him in his arms as he died. Interest in Leonardo and his work has never diminished. Crowds still queue to see his best-known artworks, T-shirts still bear his most famous drawing, and writers continue to hail him as a genius while speculating about his private life, as well as about what one so intelligent actually believed in. The continued admiration that Leonardo commanded from painters, critics and historians is reflected in many other written tributes. Baldassare Castiglione, author of Il Cortegiano (The Courtier), wrote in 1528: "...Another of the greatest painters in this world looks down on this art in which he is unequalled..." while the biographer known as "Anonimo Gaddiano" wrote, : "His genius was so rare and universal that it can be said that nature worked a miracle on his behalf..." Vasari, in his Lives of the Artists (1568), opens his chapter on Leonardo: In the normal course of events many men and women are born with remarkable talents; but occasionally, in a way that transcends nature, a single person is marvellously endowed by Heaven with beauty, grace and talent in such abundance that he leaves other men far behind, all his actions seem inspired and indeed everything he does clearly comes from God rather than from human skill. Everyone acknowledged that this was true of Leonardo da Vinci, an artist of outstanding physical beauty, who displayed infinite grace in everything that he did and who cultivated his genius so brilliantly that all problems he studied he solved with ease. The 19th century brought a particular admiration for Leonardo's genius, causing Henry Fuseli to write in 1801: "Such was the dawn of modern art, when Leonardo da Vinci broke forth with a splendour that distanced former excellence: made up of all the elements that constitute the essence of genius..." This is echoed by A.E. Rio who wrote in 1861: "He towered above all other artists through the strength and the nobility of his talents." By the 19th century, the scope of Leonardo's notebooks was known, as well as his paintings. Hippolyte Taine wrote in 1866: "There may not be in the world an example of another genius so universal, so incapable of fulfilment, so full of yearning for the infinite, so naturally refined, so far ahead of his own century and the following centuries." Art historian Bernard Berenson wrote in 1896: "Leonardo is the one artist of whom it may be said with perfect literalness: Nothing that he touched but turned into a thing of eternal beauty. Whether it be the cross section of a skull, the structure of a weed, or a study of muscles, he, with his feeling for line and for light and shade, forever transmuted it into life-communicating values." The interest in Leonardo's genius has continued unabated; experts study and translate his writings, analyse his paintings using scientific techniques, argue over attributions and search for works which have been recorded but never found. Liana Bortolon, writing in 1967, said: "Because of the multiplicity of interests that spurred him to pursue every field of knowledge...Leonardo can be considered, quite rightly, to have been the universal genius par excellence, and with all the disquieting overtones inherent in that term. Man is as uncomfortable today, faced with a genius, as he was in the 16th century. Five centuries have passed, yet we still view Leonardo with awe." The Elmer Belt Library of Vinciana is a special collection at the University of California, Los Angeles. Twenty-first-century author Walter Isaacson based much of his biography of Leonardo on thousands of notebook entries, studying the personal notes, sketches, budget notations, and musings of the man whom he considers the greatest of innovators. Isaacson was surprised to discover a "fun, joyous" side of Leonardo in addition to his limitless curiosity and creative genius. On the 500th anniversary of Leonardo's death, the Louvre in Paris arranged for the largest ever single exhibit of his work, called Leonardo, between November 2019 and February 2020. The exhibit includes over 100 paintings, drawings and notebooks. Eleven of the paintings that Leonardo completed in his lifetime were included. Five of these are owned by the Louvre, but the Mona Lisa was not included because it is in such great demand among general visitors to the Louvre; it remains on display in its gallery. Vitruvian Man, however, is on display following a legal battle with its owner, the Gallerie dell'Accademia in Venice. Salvator Mundi was also not included because its Saudi owner did not agree to lease the work. The Mona Lisa, considered Leonardo's magnum opus, is often regarded as the most famous portrait ever made. The Last Supper is the most reproduced religious painting of all time, and Leonardo's Vitruvian Man drawing is also considered a cultural icon. More than a decade of analysis of Leonardo's genetic genealogy, conducted by Alessandro Vezzosi and Agnese Sabato, came to a conclusion in mid-2021. It was determined that the artist has 14 living male relatives. The work could also help determine the authenticity of remains thought to belong to Leonardo. Location of remains While Leonardo was certainly buried in the collegiate church of Saint Florentin at the Château d'Amboise in 12 August 1519, the current location of his remains is unclear. Much of Château d'Amboise was damaged during the French Revolution, leading to the church's demolition in 1802. Some of the graves were destroyed in the process, scattering the bones interred there and thereby leaving the whereabouts of Leonardo's remains subject to dispute; a gardener may have even buried some in the corner of the courtyard. In 1863, fine-arts inspector general Arsène Houssaye received an imperial commission to excavate the site and discovered a partially complete skeleton with a bronze ring on one finger, white hair, and stone fragments bearing the inscriptions "EO", "AR", "DUS", and "VINC"—interpreted as forming "Leonardus Vinci". The skull's eight teeth corresponds to someone of approximately the appropriate age and a silver shield found near the bones depicts a beardless Francis I, corresponding to the king's appearance during Leonardo's time in France. Houssaye postulated that the unusually large skull was an indicator of Leonardo's intelligence; author Charles Nicholl describes this as a "dubious phrenological deduction." At the same time, Houssaye noted some issues with his observations, including that the feet were turned toward the high altar, a practice generally reserved for laymen, and that the skeleton of seemed too short. Art historian Mary Margaret Heaton wrote in 1874 that the height would be appropriate for Leonardo. The skull was allegedly presented to Napoleon III before being returned to the Château d'Amboise, where they were in the chapel of Saint Hubert in 1874. A plaque above the tomb states that its contents are only presumed to be those of Leonardo. It has since been theorized that the folding of the skeleton's right arm over the head may correspond to the paralysis of Leonardo's right hand. In 2016, it was announced that DNA tests would be conducted to determine whether the attribution is correct. The DNA of the remains will be compared to that of samples collected from Leonardo's work and his half-brother Domenico's descendants; it may also be sequenced. In 2019, documents were published revealing that Houssaye had kept the ring and a lock of hair. In 1925, his great-grandson sold these to an American collector. Sixty years later, another American acquired them, leading to their being displayed at the Leonardo Museum in Vinci beginning on 2 May 2019, the 500th anniversary of the artist's death. Notes General Dates of works References Citations Early Modern Works cited Early in in Modern Books volume 2: . A reprint of the original 1883 edition Journals and encyclopedia articles Further reading See and for extensive bibliographies External links General Universal Leonardo, a database of Leonardo's life and works maintained by Martin Kemp and Marina Wallace Leonardo da Vinci on the National Gallery website Works Biblioteca Leonardiana, online bibliography (in Italian) e-Leo: Archivio digitale di storia della tecnica e della scienza, archive of drawings, notes and manuscripts Complete text and images of Richter's translation of the Notebooks The Notebooks of Leonardo da Vinci 1452 births 1519 deaths 15th-century Italian mathematicians 15th-century Italian painters 15th-century Italian scientists 15th-century Italian sculptors 15th-century people of the Republic of Florence 16th-century Italian mathematicians 16th-century Italian painters 16th-century Italian scientists 16th-century Italian sculptors 16th-century people of the Republic of Florence Ambassadors of the Republic of Florence Ballistics experts Fabulists Painters from Florence Botanical illustrators Fluid dynamicists History of anatomy Italian anatomists Italian caricaturists Italian civil engineers 16th-century Italian inventors Italian male painters Italian male sculptors Italian military engineers Italian physiologists Italian Renaissance humanists Italian Renaissance painters Italian Renaissance sculptors Italian Roman Catholics Mathematical artists Painters by city People prosecuted under anti-homosexuality laws Philosophical theists Physiognomists Renaissance architects Renaissance painters Renaissance scientists Painters from Tuscany Burials in France Writers who illustrated their own writing	true	[ "Else is a feminine given name, appearing in German, Danish and Norwegian. It is a shortened form of Elisabeth.\n\nNotable people with the name include:\n\n Else Alfelt (1910–1974), Danish painter\n Else Ackermann, German physician and pharmacologist\n Else Winther Andersen (born 1941), Danish politician\n Else Berg (1877–1942), Dutch painter\n Else Bugge Fougner (born 1944), Norwegian lawyer and politician\n Else Christensen (1913–2005), Danish neopagan\n Else Feldmann (1884–1942), Austrian writer\n Else Frenkel-Brunswik (1908–1958), Polish-Austrian psychologist\n Else Hench (20th century), Austrian luger\n Else Hirsch (1889–1942/3), German-Jewish teacher\n Else Holmelund Minarik (1920–2012), Danish American author\n Else Jacobsen (1911–1965), Danish swimmer\n Else Krüger (born 1915), German secretary\n Else Lasker-Schüler (1869–1945), Jewish German poet and playwright\n Else Mayer (1891–1962), German nun\n Else Meidner (1901–1987), Jewish German painter\n Else Repål (1930–2015), Norwegian politician\n Else Reppen (1933–2006), Norwegian philanthropist\n Else Sehrig-Vehling (1897–1994), German expressionist\n Else Seifert (1879–1968), German photographer\n Else Ury (1877–1943), German writer\n Else von Richthofen (1874–1973), German social scientist\n\nSee also\nElse-Marie\nElse-Marthe Sørlie Lybekk (born 1978), Norwegian handball player\n\nFeminine given names", "Something Else or Somethin' Else may refer to:\n\nBooks\n Something Else (book), a children's book by Kathryn Cave\n Something Else Press, an American small-press publisher\n Archie's Something Else! by Spire Christian Comics\n\nFilm and television\n Somethin' Else (content agency), a content and talent agency based in London\n Something Else (TV series), a 1978–1982 UK youth TV programme\n Something Else, a 1970–71 American musical variety show hosted by John Byner\n Something Else, a 2001 British children's animated show produced by Studio B Productions\n\nMusic\n\nPerformers\n Somethin' Else!, a rock and roll band featuring Bobby Cochran, nephew of Eddie Cochran\n Something Else (Japanese band), a J-Pop band\n Something Else, a 1970s Scottish band featuring Sheena Easton\n\nAlbums\n Something Else!!!!, a 1958 album by Ornette Coleman\n Somethin' Else (Cannonball Adderley album), or the title song by Miles Davis, 1958\n Somethin' Else (The Kingston Trio album), 1965\n Something Else by The Kinks, a 1967 album\n Something Else from The Move, a 1968 EP\n Something Else (Shirley Bassey album), 1971\n Something Else (Robin Thicke album), 2008\n Something Else, a 2012 album by Elom Adablah\n Something Else (Tech N9ne album), 2013\n Something Else (The Cranberries album), 2017\n Something Else (The Brian Jones Massacre album), 2018\n\nSongs\n \"Somethin' Else\" (song), a 1959 song by Eddie Cochran, covered by several other performers\n \"Something Else\", a song by Diamond Rings from Special Affections\n \"Something Else\", a song by The Doubleclicks from Lasers and Feelings\n \"Something Else\", a song by Gary Jules from Trading Snakeoil for Wolftickets\n \"Something Else\", a song by Good Charlotte from Good Morning Revival\n\nSee also\n Something (disambiguation)" ]
[ "Leonardo da Vinci", "Verrocchio's workshop, 1466-1476", "What was his first love", "Leonardo was apprenticed to the artist Andrea di Cione,", "WHat year was this", "1466,", "Whatwas he known for", "known as Verrocchio,", "What did he teach him", "whose bottega (workshop) was \"one of the finest in Florence\". He apprenticed as a garzone", "What did he do", "Other famous painters apprenticed or associated with the workshop include Domenico Ghirlandaio,", "Who else", "Perugino, Botticelli," ]	C_e9fd1aa07b684a6698373397ebd79adc_0	Who else	7	Along with Perugino, Botticelli, who else?	Leonardo da Vinci	In 1466, at the age of fourteen, Leonardo was apprenticed to the artist Andrea di Cione, known as Verrocchio, whose bottega (workshop) was "one of the finest in Florence". He apprenticed as a garzone (studio boy) to Andrea del Verrocchio, the leading Florentine painter and sculptor of his day (and would do so for 7 years). Other famous painters apprenticed or associated with the workshop include Domenico Ghirlandaio, Perugino, Botticelli, and Lorenzo di Credi. Leonardo would have been exposed to both theoretical training and a vast range of technical skills, including drafting, chemistry, metallurgy, metal working, plaster casting, leather working, mechanics and carpentry as well as the artistic skills of drawing, painting, sculpting and modelling. Much of the painted production of Verrocchio's workshop was done by his employees. According to Vasari, Leonardo collaborated with Verrocchio on his The Baptism of Christ, painting the young angel holding Jesus' robe in a manner that was so far superior to his master's that Verrocchio put down his brush and never painted again, although this is believed to be apocryphal. Close examination reveals areas that have been painted or touched-up over the tempera using the new technique of oil paint; the landscape, the rocks seen through the brown mountain stream and much of the figure of Jesus bearing witness to the hand of Leonardo. Leonardo may have been the model for two works by Verrocchio: the bronze statue of David in the Bargello and the Archangel Raphael in Tobias and the Angel. By 1472, at the age of twenty, Leonardo qualified as a master in the Guild of Saint Luke, the guild of artists and doctors of medicine, but even after his father set him up in his own workshop, his attachment to Verrocchio was such that he continued to collaborate with him. Leonardo's earliest known dated work is a drawing in pen and ink of the Arno valley, drawn on 5 August 1473. CANNOTANSWER	Perugino, Botticelli,	Leonardo di ser Piero da Vinci (15 April 14522 May 1519) was an Italian polymath of the High Renaissance who was active as a painter, draughtsman, engineer, scientist, theorist, sculptor and architect. While his fame initially rested on his achievements as a painter, he also became known for his notebooks, in which he made drawings and notes on a variety of subjects, including anatomy, astronomy, botany, cartography, painting, and paleontology. Leonardo's genius epitomized the Renaissance humanist ideal, and his collective works compose a contribution to later generations of artists matched only by that of his younger contemporary, Michelangelo. Born out of wedlock to a successful notary and a lower-class woman in, or near, Vinci, he was educated in Florence by the Italian painter and sculptor Andrea del Verrocchio. He began his career in the city, but then spent much time in the service of Ludovico Sforza in Milan. Later, he worked in Florence and Milan again, as well as briefly in Rome, all while attracting a large following of imitators and students. Upon the invitation of Francis I, he spent his last three years in France, where he died in 1519. Since his death, there has not been a time where his achievements, diverse interests, personal life, and empirical thinking have failed to incite interest and admiration, making him a frequent namesake and subject in culture. Leonardo is among the greatest painters in the history of art and is often credited as the founder of the High Renaissance. Despite having many lost works and less than 25 attributed major works—including numerous unfinished works—he created some of the most influential paintings in Western art. His magnum opus, the Mona Lisa, is his best known work and often regarded as the world's most famous painting. The Last Supper is the most reproduced religious painting of all time and his Vitruvian Man drawing is also regarded as a cultural icon. In 2017, Salvator Mundi, attributed in whole or part to Leonardo, was sold at auction for , setting a new record for the most expensive painting ever sold at public auction. Revered for his technological ingenuity, he conceptualized flying machines, a type of armored fighting vehicle, concentrated solar power, an adding machine, and the double hull. Relatively few of his designs were constructed or even feasible during his lifetime, as the modern scientific approaches to metallurgy and engineering were only in their infancy during the Renaissance. Some of his smaller inventions, however, entered the world of manufacturing unheralded, such as an automated bobbin winder and a machine for testing the tensile strength of wire. He made substantial discoveries in anatomy, civil engineering, hydrodynamics, geology, optics, and tribology, but he did not publish his findings and they had little to no direct influence on subsequent science. Biography Early life (1452–1472) Birth and background Leonardo da Vinci, properly named Leonardo di ser Piero da Vinci (Leonardo, son of ser Piero from Vinci), was born on 15 April 1452 in, or close to, the Tuscan hill town of Vinci; Florence was 20 miles away. He was born out of wedlock to (Ser Piero di Antonio di Ser Piero di Ser Guido da Vinci; 1426–1504), a Florentine legal notary, and ( – 1494), from the lower-class. It remains uncertain where Leonardo was born; the traditional account, from a local oral tradition recorded by the historian Emanuele Repetti, is that he was born in Anchiano, a country hamlet that would have offered sufficient privacy for the illegitimate birth, though it is still possible he was born in a house in Florence that Ser Piero almost certainly had. Leonardo's parents both married separately the year after his birth. Caterina—who later appears in Leonardo's notes as only "Caterina" or "Catelina"—is usually identified as the Caterina Buti del Vacca who married the local artisan Antonio di Piero Buti del Vacca, nicknamed "L'Accattabriga" ("the quarrelsome one"). Other theories have been proposed, particularly that of art historian Martin Kemp, who suggested Caterina di Meo Lippi, an orphan that married purportedly with aid from Ser Piero and his family. Ser Piero married Albiera Amadori—having been betrothed to her the previous year—and after her death in 1462, went on to have three subsequent marriages. From all the marriages, Leonardo eventually had 12 half-siblings who were much younger than he was (the last was born when Leonardo was 40 years old) and with whom he had very little contact. Very little is known about Leonardo's childhood and much is shrouded in myth, partially because of his biography in the frequently apocryphal Lives of the Most Excellent Painters, Sculptors, and Architects (1550) from the 16th-century art historian Giorgio Vasari. Tax records indicate that by at least 1457 he lived in the household of his paternal grandfather, Antonio da Vinci, but it is possible that he spent the years before then in the care of his mother in Vinci, either Anchiano or Campo Zeppi in the parish of San Pantaleone. He is thought to have been close to his uncle, Francesco da Vinci, but his father was likely in Florence most of the time. Ser Piero, who was the descendant of a long line of notaries, established an official residence in Florence by at least 1469 and led a successful career. Despite his family history, Leonardo only received a basic and informal education in (vernacular) writing, reading and mathematics, possibly because his artistic talents were recognised early, so his family decided to focus their attention there. Later in life, Leonardo recorded his earliest memory, now in the Codex Atlanticus. While writing on the flight of birds, he recalled as an infant when a kite came to his cradle and opened his mouth with its tail; commentators still debate whether the anecdote was an actual memory or a fantasy. Verrocchio's workshop In the mid-1460s, Leonardo's family moved to Florence, which at the time was the centre of Christian Humanist thought and culture. Around the age of 14, he became a garzone (studio boy) in the workshop of Andrea del Verrocchio, who was the leading Florentine painter and sculptor of his time. This was about the time of the death of Verrocchio's master, the great sculptor Donatello. Leonardo became an apprentice by the age of 17 and remained in training for seven years. Other famous painters apprenticed in the workshop or associated with it include Ghirlandaio, Perugino, Botticelli, and Lorenzo di Credi. Leonardo was exposed to both theoretical training and a wide range of technical skills, including drafting, chemistry, metallurgy, metal working, plaster casting, leather working, mechanics, and woodwork, as well as the artistic skills of drawing, painting, sculpting, and modelling. Leonardo was a contemporary of Botticelli, Ghirlandaio and Perugino, who were all slightly older than he was. He would have met them at the workshop of Verrocchio or at the Platonic Academy of the Medici. Florence was ornamented by the works of artists such as Donatello's contemporaries Masaccio, whose figurative frescoes were imbued with realism and emotion, and Ghiberti, whose Gates of Paradise, gleaming with gold leaf, displayed the art of combining complex figure compositions with detailed architectural backgrounds. Piero della Francesca had made a detailed study of perspective, and was the first painter to make a scientific study of light. These studies and Leon Battista Alberti's treatise De pictura were to have a profound effect on younger artists and in particular on Leonardo's own observations and artworks. Much of the painting in Verrocchio's workshop was done by his assistants. According to Vasari, Leonardo collaborated with Verrocchio on his The Baptism of Christ, painting the young angel holding Jesus' robe in a manner that was so far superior to his master's that Verrocchio put down his brush and never painted again, although this is believed to be an apocryphal story. Close examination reveals areas of the work that have been painted or touched-up over the tempera, using the new technique of oil paint, including the landscape, the rocks seen through the brown mountain stream, and much of the figure of Jesus, bearing witness to the hand of Leonardo. Leonardo may have been the model for two works by Verrocchio: the bronze statue of David in the Bargello, and the Archangel Raphael in Tobias and the Angel. Vasari tells a story of Leonardo as a very young man: a local peasant made himself a round shield and requested that Ser Piero have it painted for him. Leonardo, inspired by the story of Medusa, responded with a painting of a monster spitting fire that was so terrifying that his father bought a different shield to give to the peasant and sold Leonardo's to a Florentine art dealer for 100 ducats, who in turn sold it to the Duke of Milan. First Florentine period (1472–c. 1482) By 1472, at the age of 20, Leonardo qualified as a master in the Guild of Saint Luke, the guild of artists and doctors of medicine, but even after his father set him up in his own workshop, his attachment to Verrocchio was such that he continued to collaborate and live with him. Leonardo's earliest known dated work is a 1473 pen-and-ink drawing of the Arno valley. According to Vasari, the young Leonardo was the first to suggest making the Arno river a navigable channel between Florence and Pisa. In January 1478, Leonardo received an independent commission to paint an altarpiece for the Chapel of St. Bernard in the Palazzo Vecchio, an indication of his independence from Verrocchio's studio. An anonymous early biographer, known as Anonimo Gaddiano, claims that in 1480 Leonardo was living with the Medici and often worked in the garden of the Piazza San Marco, Florence, where a Neoplatonic academy of artists, poets and philosophers organized by the Medici met. In March 1481, he received a commission from the monks of San Donato in Scopeto for The Adoration of the Magi. Neither of these initial commissions were completed, being abandoned when Leonardo went to offer his services to Duke of Milan Ludovico Sforza. Leonardo wrote Sforza a letter which described the diverse things that he could achieve in the fields of engineering and weapon design, and mentioned that he could paint. He brought with him a silver string instrument—either a lute or lyre—in the form of a horse's head. With Alberti, Leonardo visited the home of the Medici and through them came to know the older Humanist philosophers of whom Marsiglio Ficino, proponent of Neoplatonism; Cristoforo Landino, writer of commentaries on Classical writings, and John Argyropoulos, teacher of Greek and translator of Aristotle were the foremost. Also associated with the Platonic Academy of the Medici was Leonardo's contemporary, the brilliant young poet and philosopher Pico della Mirandola. In 1482, Leonardo was sent as an ambassador by Lorenzo de' Medici to Ludovico il Moro, who ruled Milan between 1479 and 1499. First Milanese period (c. 1482–1499) Leonardo worked in Milan from 1482 until 1499. He was commissioned to paint the Virgin of the Rocks for the Confraternity of the Immaculate Conception and The Last Supper for the monastery of Santa Maria delle Grazie. In the spring of 1485, Leonardo travelled to Hungary on behalf of Sforza to meet king Matthias Corvinus, and was commissioned by him to paint a Madonna. Leonardo was employed on many other projects for Sforza, including the preparation of floats and pageants for special occasions, a drawing and wooden model for a competition to design the cupola for Milan Cathedral (which he withdrew), and a model for a huge equestrian monument to Ludovico's predecessor Francesco Sforza. This would have surpassed in size the only two large equestrian statues of the Renaissance, Donatello's Gattamelata in Padua and Verrocchio's Bartolomeo Colleoni in Venice, and became known as the Gran Cavallo. Leonardo completed a model for the horse and made detailed plans for its casting, but in November 1494, Ludovico gave the bronze to his brother-in-law to be used for a cannon to defend the city from Charles VIII of France. Contemporary correspondence records that Leonardo and his assistants were commissioned by the Duke of Milan to paint the Sala delle Asse in the Sforza Castle. The decoration was completed in 1498. The project became a trompe-l'œil decoration that made the great hall appear to be a pergola created by the interwoven limbs of sixteen mulberry trees, whose canopy included an intricate labyrinth of leaves and knots on the ceiling. Second Florentine period (1500–1508) When Ludovico Sforza was overthrown by France in 1500, Leonardo fled Milan for Venice, accompanied by his assistant Salaì and friend, the mathematician Luca Pacioli. In Venice, Leonardo was employed as a military architect and engineer, devising methods to defend the city from naval attack. On his return to Florence in 1500, he and his household were guests of the Servite monks at the monastery of Santissima Annunziata and were provided with a workshop where, according to Vasari, Leonardo created the cartoon of The Virgin and Child with St Anne and St John the Baptist, a work that won such admiration that "men [and] women, young and old" flocked to see it "as if they were going to a solemn festival." In Cesena in 1502, Leonardo entered the service of Cesare Borgia, the son of Pope Alexander VI, acting as a military architect and engineer and travelling throughout Italy with his patron. Leonardo created a map of Cesare Borgia's stronghold, a town plan of Imola in order to win his patronage. Upon seeing it, Cesare hired Leonardo as his chief military engineer and architect. Later in the year, Leonardo produced another map for his patron, one of Chiana Valley, Tuscany, so as to give his patron a better overlay of the land and greater strategic position. He created this map in conjunction with his other project of constructing a dam from the sea to Florence, in order to allow a supply of water to sustain the canal during all seasons. Leonardo had left Borgia's service and returned to Florence by early 1503, where he rejoined the Guild of Saint Luke on 18 October of that year. By this same month, Leonardo had begun working on a portrait of Lisa del Giocondo, the model for the Mona Lisa, which he would continue working on until his twilight years. In January 1504, he was part of a committee formed to recommend where Michelangelo's statue of David should be placed. He then spent two years in Florence designing and painting a mural of The Battle of Anghiari for the Signoria, with Michelangelo designing its companion piece, The Battle of Cascina. In 1506, Leonardo was summoned to Milan by Charles II d'Amboise, the acting French governor of the city. There, Leonardo took on another pupil, Count Francesco Melzi, the son of a Lombard aristocrat, who is considered to have been his favourite student. The Council of Florence wished Leonardo to return promptly to finish The Battle of Anghiari, but he was given leave at the behest of Louis XII, who considered commissioning the artist to make some portraits. Leonardo may have commenced a project for an equestrian figure of d'Amboise; a wax model survives and, if genuine, is the only extant example of Leonardo's sculpture. Leonardo was otherwise free to pursue his scientific interests. Many of Leonardo's most prominent pupils either knew or worked with him in Milan, including Bernardino Luini, Giovanni Antonio Boltraffio, and Marco d'Oggiono. In 1507, Leonardo was in Florence sorting out a dispute with his brothers over the estate of his father, who had died in 1504. Second Milanese period (1508–1513) By 1508, Leonardo was back in Milan, living in his own house in Porta Orientale in the parish of Santa Babila. In 1512, Leonardo was working on plans for an equestrian monument for Gian Giacomo Trivulzio, but this was prevented by an invasion of a confederation of Swiss, Spanish and Venetian forces, which drove the French from Milan. Leonardo stayed in the city, spending several months in 1513 at the Medici's Vaprio d'Adda villa. Rome and France (1513–1519) In March of 1513, Lorenzo de' Medici's son Giovanni assumed the papacy (as Leo X); Leonardo went to Rome that September, where he was received by the pope's brother Giuliano. From September 1513 to 1516, Leonardo spent much of his time living in the Belvedere Courtyard in the Apostolic Palace, where Michelangelo and Raphael were both active. Leonardo was given an allowance of 33 ducats a month, and according to Vasari, decorated a lizard with scales dipped in quicksilver. The pope gave him a painting commission of unknown subject matter, but cancelled it when the artist set about developing a new kind of varnish. Leonardo became ill, in what may have been the first of multiple strokes leading to his death. He practiced botany in the Gardens of Vatican City, and was commissioned to make plans for the pope's proposed draining of the Pontine Marshes. He also dissected cadavers, making notes for a treatise on vocal cords; these he gave to an official in hopes of regaining the pope's favor, but was unsuccessful. In October 1515, King Francis I of France recaptured Milan. Leonardo was present at the 19 December meeting of Francis I and Leo X, which took place in Bologna. In 1516, Leonardo entered Francis' service, being given the use of the manor house Clos Lucé, near the king's residence at the royal Château d'Amboise. Being frequently visited by Francis, he drew plans for an immense castle town the king intended to erect at Romorantin, and made a mechanical lion, which during a pageant walked toward the king and—upon being struck by a wand—opened its chest to reveal a cluster of lilies. Leonardo was accompanied during this time by his friend and apprentice Francesco Melzi, and supported by a pension totalling 10,000 scudi. At some point, Melzi drew a portrait of Leonardo; the only others known from his lifetime were a sketch by an unknown assistant on the back of one of Leonardo's studies () and a drawing by Giovanni Ambrogio Figino depicting an elderly Leonardo with his right arm assuaged by cloth. The latter, in addition to the record of an October 1517 visit by Louis d'Aragon, confirms an account of Leonardo's right hand being paralytic at the age of 65, which may indicate why he left works such as the Mona Lisa unfinished. He continued to work at some capacity until eventually becoming ill and bedridden for several months. Death Leonardo died at Clos Lucé on 2 May 1519 at the age of 67, possibly of a stroke. Francis I had become a close friend. Vasari describes Leonardo as lamenting on his deathbed, full of repentance, that "he had offended against God and men by failing to practice his art as he should have done." Vasari states that in his last days, Leonardo sent for a priest to make his confession and to receive the Holy Sacrament. Vasari also records that the king held Leonardo's head in his arms as he died, although this story may be legend rather than fact. In accordance with his will, sixty beggars carrying tapers followed Leonardo's casket. Melzi was the principal heir and executor, receiving, as well as money, Leonardo's paintings, tools, library and personal effects. Leonardo's other long-time pupil and companion, Salaì, and his servant Baptista de Vilanis, each received half of Leonardo's vineyards. His brothers received land, and his serving woman received a fur-lined cloak. On 12 August 1519, Leonardo's remains were interred in the Collegiate Church of Saint Florentin at the Château d'Amboise. Salaì, or Il Salaino ("The Little Unclean One," i.e., the devil), entered Leonardo's household in 1490 as an assistant. After only a year, Leonardo made a list of his misdemeanours, calling him "a thief, a liar, stubborn, and a glutton," after he had made off with money and valuables on at least five occasions and spent a fortune on clothes. Nevertheless, Leonardo treated him with great indulgence, and he remained in Leonardo's household for the next thirty years. Salaì executed a number of paintings under the name of Andrea Salaì, but although Vasari claims that Leonardo "taught him many things about painting," his work is generally considered to be of less artistic merit than others among Leonardo's pupils, such as Marco d'Oggiono and Boltraffio. Salaì owned the Mona Lisa at the time of Leonardo's death in 1524, and in his will it was assessed at 505 lire, an exceptionally high valuation for a small panel portrait. Some 20 years after Leonardo's death, Francis was reported by the goldsmith and sculptor Benvenuto Cellini as saying: "There had never been another man born in the world who knew as much as Leonardo, not so much about painting, sculpture and architecture, as that he was a very great philosopher." Personal life Despite the thousands of pages Leonardo left in notebooks and manuscripts, he scarcely made reference to his personal life. Within Leonardo's lifetime, his extraordinary powers of invention, his "great physical beauty" and "infinite grace," as described by Vasari, as well as all other aspects of his life, attracted the curiosity of others. One such aspect was his love for animals, likely including vegetarianism and according to Vasari, a habit of purchasing caged birds and releasing them. Leonardo had many friends who are now notable either in their fields or for their historical significance, including mathematician Luca Pacioli, with whom he collaborated on the book Divina proportione in the 1490s. Leonardo appears to have had no close relationships with women except for his friendship with Cecilia Gallerani and the two Este sisters, Beatrice and Isabella. While on a journey that took him through Mantua, he drew a portrait of Isabella that appears to have been used to create a painted portrait, now lost. Beyond friendship, Leonardo kept his private life secret. His sexuality has been the subject of satire, analysis, and speculation. This trend began in the mid-16th century and was revived in the 19th and 20th centuries, most notably by Sigmund Freud in his Leonardo da Vinci, A Memory of His Childhood. Leonardo's most intimate relationships were perhaps with his pupils Salaì and Melzi. Melzi, writing to inform Leonardo's brothers of his death, described Leonardo's feelings for his pupils as both loving and passionate. It has been claimed since the 16th century that these relationships were of a sexual or erotic nature. Court records of 1476, when he was aged twenty-four, show that Leonardo and three other young men were charged with sodomy in an incident involving a well-known male prostitute. The charges were dismissed for lack of evidence, and there is speculation that since one of the accused, Lionardo de Tornabuoni, was related to Lorenzo de' Medici, the family exerted its influence to secure the dismissal. Since that date much has been written about his presumed homosexuality and its role in his art, particularly in the androgyny and eroticism manifested in Saint John the Baptist and Bacchus and more explicitly in a number of erotic drawings. Paintings Despite the recent awareness and admiration of Leonardo as a scientist and inventor, for the better part of four hundred years his fame rested on his achievements as a painter. A handful of works that are either authenticated or attributed to him have been regarded as among the great masterpieces. These paintings are famous for a variety of qualities that have been much imitated by students and discussed at great length by connoisseurs and critics. By the 1490s Leonardo had already been described as a "Divine" painter. Among the qualities that make Leonardo's work unique are his innovative techniques for laying on the paint; his detailed knowledge of anatomy, light, botany and geology; his interest in physiognomy and the way humans register emotion in expression and gesture; his innovative use of the human form in figurative composition; and his use of subtle gradation of tone. All these qualities come together in his most famous painted works, the Mona Lisa, the Last Supper, and the Virgin of the Rocks. Early works Leonardo first gained attention for his work on the Baptism of Christ, painted in conjunction with Verrocchio. Two other paintings appear to date from his time at Verrocchio's workshop, both of which are Annunciations. One is small, long and high. It is a "predella" to go at the base of a larger composition, a painting by Lorenzo di Credi from which it has become separated. The other is a much larger work, long. In both Annunciations, Leonardo used a formal arrangement, like two well-known pictures by Fra Angelico of the same subject, of the Virgin Mary sitting or kneeling to the right of the picture, approached from the left by an angel in profile, with a rich flowing garment, raised wings and bearing a lily. Although previously attributed to Ghirlandaio, the larger work is now generally attributed to Leonardo. In the smaller painting, Mary averts her eyes and folds her hands in a gesture that symbolised submission to God's will. Mary is not submissive, however, in the larger piece. The girl, interrupted in her reading by this unexpected messenger, puts a finger in her bible to mark the place and raises her hand in a formal gesture of greeting or surprise. This calm young woman appears to accept her role as the Mother of God, not with resignation but with confidence. In this painting, the young Leonardo presents the humanist face of the Virgin Mary, recognising humanity's role in God's incarnation. Paintings of the 1480s In the 1480s, Leonardo received two very important commissions and commenced another work that was of ground-breaking importance in terms of composition. Two of the three were never finished, and the third took so long that it was subject to lengthy negotiations over completion and payment. One of these paintings was Saint Jerome in the Wilderness, which Bortolon associates with a difficult period of Leonardo's life, as evidenced in his diary: "I thought I was learning to live; I was only learning to die." Although the painting is barely begun, the composition can be seen and is very unusual. Jerome, as a penitent, occupies the middle of the picture, set on a slight diagonal and viewed somewhat from above. His kneeling form takes on a trapezoid shape, with one arm stretched to the outer edge of the painting and his gaze looking in the opposite direction. J. Wasserman points out the link between this painting and Leonardo's anatomical studies. Across the foreground sprawls his symbol, a great lion whose body and tail make a double spiral across the base of the picture space. The other remarkable feature is the sketchy landscape of craggy rocks against which the figure is silhouetted. The daring display of figure composition, the landscape elements and personal drama also appear in the great unfinished masterpiece, the Adoration of the Magi, a commission from the Monks of San Donato a Scopeto. It is a complex composition, of about Leonardo did numerous drawings and preparatory studies, including a detailed one in linear perspective of the ruined classical architecture that forms part of the background. In 1482 Leonardo went to Milan at the behest of Lorenzo de' Medici in order to win favour with Ludovico il Moro, and the painting was abandoned. The third important work of this period is the Virgin of the Rocks, commissioned in Milan for the Confraternity of the Immaculate Conception. The painting, to be done with the assistance of the de Predis brothers, was to fill a large complex altarpiece. Leonardo chose to paint an apocryphal moment of the infancy of Christ when the infant John the Baptist, in protection of an angel, met the Holy Family on the road to Egypt. The painting demonstrates an eerie beauty as the graceful figures kneel in adoration around the infant Christ in a wild landscape of tumbling rock and whirling water. While the painting is quite large, about , it is not nearly as complex as the painting ordered by the monks of St Donato, having only four figures rather than about fifty and a rocky landscape rather than architectural details. The painting was eventually finished; in fact, two versions of the painting were finished: one remained at the chapel of the Confraternity, while Leonardo took the other to France. The Brothers did not get their painting, however, nor the de Predis their payment, until the next century. Leonardo's most remarkable portrait of this period is the Lady with an Ermine, presumed to be Cecilia Gallerani (), lover of Ludovico Sforza. The painting is characterised by the pose of the figure with the head turned at a very different angle to the torso, unusual at a date when many portraits were still rigidly in profile. The ermine plainly carries symbolic meaning, relating either to the sitter, or to Ludovico who belonged to the prestigious Order of the Ermine. Paintings of the 1490s Leonardo's most famous painting of the 1490s is The Last Supper, commissioned for the refectory of the Convent of Santa Maria della Grazie in Milan. It represents the last meal shared by Jesus with his disciples before his capture and death, and shows the moment when Jesus has just said "one of you will betray me", and the consternation that this statement caused. The writer Matteo Bandello observed Leonardo at work and wrote that some days he would paint from dawn till dusk without stopping to eat and then not paint for three or four days at a time. This was beyond the comprehension of the prior of the convent, who hounded him until Leonardo asked Ludovico to intervene. Vasari describes how Leonardo, troubled over his ability to adequately depict the faces of Christ and the traitor Judas, told the duke that he might be obliged to use the prior as his model. The painting was acclaimed as a masterpiece of design and characterization, but it deteriorated rapidly, so that within a hundred years it was described by one viewer as "completely ruined." Leonardo, instead of using the reliable technique of fresco, had used tempera over a ground that was mainly gesso, resulting in a surface subject to mould and to flaking. Despite this, the painting remains one of the most reproduced works of art; countless copies have been made in various mediums. Toward the end of this period, in 1498 da Vinci's trompe-l'œil decoration of the Sala delle Asse was painted for the Duke of Milan in the Castello Sforzesco. Paintings of the 1500s In 1505, Leonardo was commissioned to paint The Battle of Anghiari in the Salone dei Cinquecento (Hall of the Five Hundred) in the Palazzo Vecchio, Florence. Leonardo devised a dynamic composition depicting four men riding raging war horses engaged in a battle for possession of a standard, at the Battle of Anghiari in 1440. Michelangelo was assigned the opposite wall to depict the Battle of Cascina. Leonardo's painting deteriorated rapidly and is now known from a copy by Rubens. Among the works created by Leonardo in the 16th century is the small portrait known as the Mona Lisa or La Gioconda, the laughing one. In the present era, it is arguably the most famous painting in the world. Its fame rests, in particular, on the elusive smile on the woman's face, its mysterious quality perhaps due to the subtly shadowed corners of the mouth and eyes such that the exact nature of the smile cannot be determined. The shadowy quality for which the work is renowned came to be called "sfumato," or Leonardo's smoke. Vasari wrote that the smile was "so pleasing that it seems more divine than human, and it was considered a wondrous thing that it was as lively as the smile of the living original." Other characteristics of the painting are the unadorned dress, in which the eyes and hands have no competition from other details; the dramatic landscape background, in which the world seems to be in a state of flux; the subdued colouring; and the extremely smooth nature of the painterly technique, employing oils laid on much like tempera, and blended on the surface so that the brushstrokes are indistinguishable. Vasari expressed that the painting's quality would make even "the most confident master ... despair and lose heart." The perfect state of preservation and the fact that there is no sign of repair or overpainting is rare in a panel painting of this date. In the painting Virgin and Child with St. Anne, the composition again picks up the theme of figures in a landscape, which Wasserman describes as "breathtakingly beautiful" and harkens back to the St Jerome picture with the figure set at an oblique angle. What makes this painting unusual is that there are two obliquely set figures superimposed. Mary is seated on the knee of her mother, St Anne. She leans forward to restrain the Christ Child as he plays roughly with a lamb, the sign of his own impending sacrifice. This painting, which was copied many times, influenced Michelangelo, Raphael, and Andrea del Sarto, and through them Pontormo and Correggio. The trends in composition were adopted in particular by the Venetian painters Tintoretto and Veronese. Drawings Leonardo was a prolific draughtsman, keeping journals full of small sketches and detailed drawings recording all manner of things that took his attention. As well as the journals there exist many studies for paintings, some of which can be identified as preparatory to particular works such as The Adoration of the Magi, The Virgin of the Rocks and The Last Supper. His earliest dated drawing is a Landscape of the Arno Valley, 1473, which shows the river, the mountains, Montelupo Castle and the farmlands beyond it in great detail. Among his famous drawings are the Vitruvian Man, a study of the proportions of the human body; the Head of an Angel, for The Virgin of the Rocks in the Louvre; a botanical study of Star of Bethlehem; and a large drawing (160×100 cm) in black chalk on coloured paper of The Virgin and Child with Saint Anne and Saint John the Baptist in the National Gallery, London. This drawing employs the subtle sfumato technique of shading, in the manner of the Mona Lisa. It is thought that Leonardo never made a painting from it, the closest similarity being to The Virgin and Child with Saint Anne in the Louvre. Other drawings of interest include numerous studies generally referred to as "caricatures" because, although exaggerated, they appear to be based upon observation of live models. Vasari relates that Leonardo would look for interesting faces in public to use as models for some of his work. There are numerous studies of beautiful young men, often associated with Salaì, with the rare and much admired facial feature, the so-called "Grecian profile." These faces are often contrasted with that of a warrior. Salaì is often depicted in fancy-dress costume. Leonardo is known to have designed sets for pageants with which these may be associated. Other, often meticulous, drawings show studies of drapery. A marked development in Leonardo's ability to draw drapery occurred in his early works. Another often-reproduced drawing is a macabre sketch that was done by Leonardo in Florence in 1479 showing the body of Bernardo Baroncelli, hanged in connection with the murder of Giuliano, brother of Lorenzo de' Medici, in the Pazzi conspiracy. In his notes, Leonardo recorded the colours of the robes that Baroncelli was wearing when he died. Like the two contemporary architects Donato Bramante (who designed the Belvedere Courtyard) and Antonio da Sangallo the Elder, Leonardo experimented with designs for centrally planned churches, a number of which appear in his journals, as both plans and views, although none was ever realised. Journals and notes Renaissance humanism recognised no mutually exclusive polarities between the sciences and the arts, and Leonardo's studies in science and engineering are sometimes considered as impressive and innovative as his artistic work. These studies were recorded in 13,000 pages of notes and drawings, which fuse art and natural philosophy (the forerunner of modern science). They were made and maintained daily throughout Leonardo's life and travels, as he made continual observations of the world around him. Leonardo's notes and drawings display an enormous range of interests and preoccupations, some as mundane as lists of groceries and people who owed him money and some as intriguing as designs for wings and shoes for walking on water. There are compositions for paintings, studies of details and drapery, studies of faces and emotions, of animals, babies, dissections, plant studies, rock formations, whirlpools, war machines, flying machines and architecture. These notebooks—originally loose papers of different types and sizes—were largely entrusted to Leonardo's pupil and heir Francesco Melzi after the master's death. These were to be published, a task of overwhelming difficulty because of its scope and Leonardo's idiosyncratic writing. Some of Leonardo's drawings were copied by an anonymous Milanese artist for a planned treatise on art . After Melzi's death in 1570, the collection passed to his son, the lawyer Orazio, who initially took little interest in the journals. In 1587, a Melzi household tutor named Lelio Gavardi took 13 of the manuscripts to Pisa; there, the architect Giovanni Magenta reproached Gavardi for having taken the manuscripts illicitly and returned them to Orazio. Having many more such works in his possession, Orazio gifted the volumes to Magenta. News spread of these lost works of Leonardo's, and Orazio retrieved seven of the 13 manuscripts, which he then gave to Pompeo Leoni for publication in two volumes; one of these was the Codex Atlanticus. The other six works had been distributed to a few others. After Orazio's death, his heirs sold the rest of Leonardo's possessions, and thus began their dispersal. Some works have found their way into major collections such as the Royal Library at Windsor Castle, the Louvre, the Biblioteca Nacional de España, the Victoria and Albert Museum, the Biblioteca Ambrosiana in Milan, which holds the 12-volume Codex Atlanticus, and the British Library in London, which has put a selection from the Codex Arundel (BL Arundel MS 263) online. Works have also been at Holkham Hall, the Metropolitan Museum of Art, and in the private hands of John Nicholas Brown I and Robert Lehman. The Codex Leicester is the only privately owned major scientific work of Leonardo; it is owned by Bill Gates and displayed once a year in different cities around the world. Most of Leonardo's writings are in mirror-image cursive. Since Leonardo wrote with his left hand, it was probably easier for him to write from right to left. Leonardo used a variety of shorthand and symbols, and states in his notes that he intended to prepare them for publication. In many cases a single topic is covered in detail in both words and pictures on a single sheet, together conveying information that would not be lost if the pages were published out of order. Why they were not published during Leonardo's lifetime is unknown. Science and inventions Leonardo's approach to science was observational: he tried to understand a phenomenon by describing and depicting it in utmost detail and did not emphasise experiments or theoretical explanation. Since he lacked formal education in Latin and mathematics, contemporary scholars mostly ignored Leonardo the scientist, although he did teach himself Latin. His keen observations in many areas were noted, such as when he wrote "Il sole non si move." ("The Sun does not move.") In the 1490s he studied mathematics under Luca Pacioli and prepared a series of drawings of regular solids in a skeletal form to be engraved as plates for Pacioli's book Divina proportione, published in 1509. While living in Milan, he studied light from the summit of Monte Rosa. Scientific writings in his notebook on fossils have been considered as influential on early palaeontology. The content of his journals suggest that he was planning a series of treatises on a variety of subjects. A coherent treatise on anatomy is said to have been observed during a visit by Cardinal Louis d'Aragon's secretary in 1517. Aspects of his work on the studies of anatomy, light and the landscape were assembled for publication by Melzi and eventually published as A Treatise on Painting in France and Italy in 1651 and Germany in 1724, with engravings based upon drawings by the Classical painter Nicolas Poussin. According to Arasse, the treatise, which in France went into 62 editions in fifty years, caused Leonardo to be seen as "the precursor of French academic thought on art." While Leonardo's experimentation followed scientific methods, a recent and exhaustive analysis of Leonardo as a scientist by Fritjof Capra argues that Leonardo was a fundamentally different kind of scientist from Galileo, Newton and other scientists who followed him in that, as a "Renaissance Man", his theorising and hypothesising integrated the arts and particularly painting. Anatomy and physiology Leonardo started his study in the anatomy of the human body under the apprenticeship of Verrocchio, who demanded that his students develop a deep knowledge of the subject. As an artist, he quickly became master of topographic anatomy, drawing many studies of muscles, tendons and other visible anatomical features. As a successful artist, Leonardo was given permission to dissect human corpses at the Hospital of Santa Maria Nuova in Florence and later at hospitals in Milan and Rome. From 1510 to 1511 he collaborated in his studies with the doctor Marcantonio della Torre. Leonardo made over 240 detailed drawings and wrote about 13,000 words toward a treatise on anatomy. Only a small amount of the material on anatomy was published in Leonardo's Treatise on painting. During the time that Melzi was ordering the material into chapters for publication, they were examined by a number of anatomists and artists, including Vasari, Cellini and Albrecht Dürer, who made a number of drawings from them. Leonardo's anatomical drawings include many studies of the human skeleton and its parts, and of muscles and sinews. He studied the mechanical functions of the skeleton and the muscular forces that are applied to it in a manner that prefigured the modern science of biomechanics. He drew the heart and vascular system, the sex organs and other internal organs, making one of the first scientific drawings of a fetus in utero. The drawings and notation are far ahead of their time, and if published would undoubtedly have made a major contribution to medical science. Leonardo also closely observed and recorded the effects of age and of human emotion on the physiology, studying in particular the effects of rage. He drew many figures who had significant facial deformities or signs of illness. Leonardo also studied and drew the anatomy of many animals, dissecting cows, birds, monkeys, bears, and frogs, and comparing in his drawings their anatomical structure with that of humans. He also made a number of studies of horses. Leonardo's dissections and documentation of muscles, nerves, and vessels helped to describe the physiology and mechanics of movement. He attempted to identify the source of 'emotions' and their expression. He found it difficult to incorporate the prevailing system and theories of bodily humours, but eventually he abandoned these physiological explanations of bodily functions. He made the observations that humours were not located in cerebral spaces or ventricles. He documented that the humours were not contained in the heart or the liver, and that it was the heart that defined the circulatory system. He was the first to define atherosclerosis and liver cirrhosis. He created models of the cerebral ventricles with the use of melted wax and constructed a glass aorta to observe the circulation of blood through the aortic valve by using water and grass seed to watch flow patterns. Vesalius published his work on anatomy and physiology in De humani corporis fabrica in 1543. Engineering and inventions During his lifetime, Leonardo was also valued as an engineer. With the same rational and analytical approach that moved him to represent the human body and to investigate anatomy, Leonardo studied and designed many machines and devices. He drew their “anatomy” with unparalleled mastery, producing the first form of the modern technical drawing, including a perfected "exploded view" technique, to represent internal components. Those studies and projects collected in his codices fill more than 5,000 pages. In a letter of 1482 to the lord of Milan Ludovico il Moro, he wrote that he could create all sorts of machines both for the protection of a city and for siege. When he fled from Milan to Venice in 1499, he found employment as an engineer and devised a system of moveable barricades to protect the city from attack. In 1502, he created a scheme for diverting the flow of the Arno river, a project on which Niccolò Machiavelli also worked. He continued to contemplate the canalization of Lombardy's plains while in Louis XII's company and of the Loire and its tributaries in the company of Francis I. Leonardo's journals include a vast number of inventions, both practical and impractical. They include musical instruments, a mechanical knight, hydraulic pumps, reversible crank mechanisms, finned mortar shells, and a steam cannon. Leonardo was fascinated by the phenomenon of flight for much of his life, producing many studies, including Codex on the Flight of Birds (), as well as plans for several flying machines, such as a flapping ornithopter and a machine with a helical rotor. A 2003 documentary by British television station Channel Four, titled Leonardo's Dream Machines, various designs by Leonardo, such as a parachute and a giant crossbow, were interpreted and constructed. Some of those designs proved successful, whilst others fared less well when tested. Research performed by Marc van den Broek revealed older prototypes for more than 100 inventions that are ascribed to Leonardo. Similarities between Leonardo's illustrations and drawings from the Middle Ages and from Ancient Greece and Rome, the Chinese and Persian Empires, and Egypt suggest that a large portion of Leonardo's inventions had been conceived before his lifetime. Leonardo's innovation was to combine different functions from existing drafts and set them into scenes that illustrated their utility. By reconstituting technical inventions he created something new. In his notebooks, Leonardo first stated the ‘laws’ of sliding friction in 1493. His inspiration for investigating friction came about in part from his study of perpetual motion, which he correctly concluded was not possible. His results were never published and the friction laws were not rediscovered until 1699 by Guillaume Amontons, with whose name they are now usually associated. For this contribution, Leonardo was named as the first of the 23 "Men of Tribology" by Duncan Dowson. Legacy Although he had no formal academic training, many historians and scholars regard Leonardo as the prime exemplar of the "Universal Genius" or "Renaissance Man", an individual of "unquenchable curiosity" and "feverishly inventive imagination." He is widely considered one of the most diversely talented individuals ever to have lived. According to art historian Helen Gardner, the scope and depth of his interests were without precedent in recorded history, and "his mind and personality seem to us superhuman, while the man himself mysterious and remote." Scholars interpret his view of the world as being based in logic, though the empirical methods he used were unorthodox for his time. Leonardo's fame within his own lifetime was such that the King of France carried him away like a trophy, and was claimed to have supported him in his old age and held him in his arms as he died. Interest in Leonardo and his work has never diminished. Crowds still queue to see his best-known artworks, T-shirts still bear his most famous drawing, and writers continue to hail him as a genius while speculating about his private life, as well as about what one so intelligent actually believed in. The continued admiration that Leonardo commanded from painters, critics and historians is reflected in many other written tributes. Baldassare Castiglione, author of Il Cortegiano (The Courtier), wrote in 1528: "...Another of the greatest painters in this world looks down on this art in which he is unequalled..." while the biographer known as "Anonimo Gaddiano" wrote, : "His genius was so rare and universal that it can be said that nature worked a miracle on his behalf..." Vasari, in his Lives of the Artists (1568), opens his chapter on Leonardo: In the normal course of events many men and women are born with remarkable talents; but occasionally, in a way that transcends nature, a single person is marvellously endowed by Heaven with beauty, grace and talent in such abundance that he leaves other men far behind, all his actions seem inspired and indeed everything he does clearly comes from God rather than from human skill. Everyone acknowledged that this was true of Leonardo da Vinci, an artist of outstanding physical beauty, who displayed infinite grace in everything that he did and who cultivated his genius so brilliantly that all problems he studied he solved with ease. The 19th century brought a particular admiration for Leonardo's genius, causing Henry Fuseli to write in 1801: "Such was the dawn of modern art, when Leonardo da Vinci broke forth with a splendour that distanced former excellence: made up of all the elements that constitute the essence of genius..." This is echoed by A.E. Rio who wrote in 1861: "He towered above all other artists through the strength and the nobility of his talents." By the 19th century, the scope of Leonardo's notebooks was known, as well as his paintings. Hippolyte Taine wrote in 1866: "There may not be in the world an example of another genius so universal, so incapable of fulfilment, so full of yearning for the infinite, so naturally refined, so far ahead of his own century and the following centuries." Art historian Bernard Berenson wrote in 1896: "Leonardo is the one artist of whom it may be said with perfect literalness: Nothing that he touched but turned into a thing of eternal beauty. Whether it be the cross section of a skull, the structure of a weed, or a study of muscles, he, with his feeling for line and for light and shade, forever transmuted it into life-communicating values." The interest in Leonardo's genius has continued unabated; experts study and translate his writings, analyse his paintings using scientific techniques, argue over attributions and search for works which have been recorded but never found. Liana Bortolon, writing in 1967, said: "Because of the multiplicity of interests that spurred him to pursue every field of knowledge...Leonardo can be considered, quite rightly, to have been the universal genius par excellence, and with all the disquieting overtones inherent in that term. Man is as uncomfortable today, faced with a genius, as he was in the 16th century. Five centuries have passed, yet we still view Leonardo with awe." The Elmer Belt Library of Vinciana is a special collection at the University of California, Los Angeles. Twenty-first-century author Walter Isaacson based much of his biography of Leonardo on thousands of notebook entries, studying the personal notes, sketches, budget notations, and musings of the man whom he considers the greatest of innovators. Isaacson was surprised to discover a "fun, joyous" side of Leonardo in addition to his limitless curiosity and creative genius. On the 500th anniversary of Leonardo's death, the Louvre in Paris arranged for the largest ever single exhibit of his work, called Leonardo, between November 2019 and February 2020. The exhibit includes over 100 paintings, drawings and notebooks. Eleven of the paintings that Leonardo completed in his lifetime were included. Five of these are owned by the Louvre, but the Mona Lisa was not included because it is in such great demand among general visitors to the Louvre; it remains on display in its gallery. Vitruvian Man, however, is on display following a legal battle with its owner, the Gallerie dell'Accademia in Venice. Salvator Mundi was also not included because its Saudi owner did not agree to lease the work. The Mona Lisa, considered Leonardo's magnum opus, is often regarded as the most famous portrait ever made. The Last Supper is the most reproduced religious painting of all time, and Leonardo's Vitruvian Man drawing is also considered a cultural icon. More than a decade of analysis of Leonardo's genetic genealogy, conducted by Alessandro Vezzosi and Agnese Sabato, came to a conclusion in mid-2021. It was determined that the artist has 14 living male relatives. The work could also help determine the authenticity of remains thought to belong to Leonardo. Location of remains While Leonardo was certainly buried in the collegiate church of Saint Florentin at the Château d'Amboise in 12 August 1519, the current location of his remains is unclear. Much of Château d'Amboise was damaged during the French Revolution, leading to the church's demolition in 1802. Some of the graves were destroyed in the process, scattering the bones interred there and thereby leaving the whereabouts of Leonardo's remains subject to dispute; a gardener may have even buried some in the corner of the courtyard. In 1863, fine-arts inspector general Arsène Houssaye received an imperial commission to excavate the site and discovered a partially complete skeleton with a bronze ring on one finger, white hair, and stone fragments bearing the inscriptions "EO", "AR", "DUS", and "VINC"—interpreted as forming "Leonardus Vinci". The skull's eight teeth corresponds to someone of approximately the appropriate age and a silver shield found near the bones depicts a beardless Francis I, corresponding to the king's appearance during Leonardo's time in France. Houssaye postulated that the unusually large skull was an indicator of Leonardo's intelligence; author Charles Nicholl describes this as a "dubious phrenological deduction." At the same time, Houssaye noted some issues with his observations, including that the feet were turned toward the high altar, a practice generally reserved for laymen, and that the skeleton of seemed too short. Art historian Mary Margaret Heaton wrote in 1874 that the height would be appropriate for Leonardo. The skull was allegedly presented to Napoleon III before being returned to the Château d'Amboise, where they were in the chapel of Saint Hubert in 1874. A plaque above the tomb states that its contents are only presumed to be those of Leonardo. It has since been theorized that the folding of the skeleton's right arm over the head may correspond to the paralysis of Leonardo's right hand. In 2016, it was announced that DNA tests would be conducted to determine whether the attribution is correct. The DNA of the remains will be compared to that of samples collected from Leonardo's work and his half-brother Domenico's descendants; it may also be sequenced. In 2019, documents were published revealing that Houssaye had kept the ring and a lock of hair. In 1925, his great-grandson sold these to an American collector. Sixty years later, another American acquired them, leading to their being displayed at the Leonardo Museum in Vinci beginning on 2 May 2019, the 500th anniversary of the artist's death. Notes General Dates of works References Citations Early Modern Works cited Early in in Modern Books volume 2: . A reprint of the original 1883 edition Journals and encyclopedia articles Further reading See and for extensive bibliographies External links General Universal Leonardo, a database of Leonardo's life and works maintained by Martin Kemp and Marina Wallace Leonardo da Vinci on the National Gallery website Works Biblioteca Leonardiana, online bibliography (in Italian) e-Leo: Archivio digitale di storia della tecnica e della scienza, archive of drawings, notes and manuscripts Complete text and images of Richter's translation of the Notebooks The Notebooks of Leonardo da Vinci 1452 births 1519 deaths 15th-century Italian mathematicians 15th-century Italian painters 15th-century Italian scientists 15th-century Italian sculptors 15th-century people of the Republic of Florence 16th-century Italian mathematicians 16th-century Italian painters 16th-century Italian scientists 16th-century Italian sculptors 16th-century people of the Republic of Florence Ambassadors of the Republic of Florence Ballistics experts Fabulists Painters from Florence Botanical illustrators Fluid dynamicists History of anatomy Italian anatomists Italian caricaturists Italian civil engineers 16th-century Italian inventors Italian male painters Italian male sculptors Italian military engineers Italian physiologists Italian Renaissance humanists Italian Renaissance painters Italian Renaissance sculptors Italian Roman Catholics Mathematical artists Painters by city People prosecuted under anti-homosexuality laws Philosophical theists Physiognomists Renaissance architects Renaissance painters Renaissance scientists Painters from Tuscany Burials in France Writers who illustrated their own writing	true	[ "Else is a feminine given name, appearing in German, Danish and Norwegian. It is a shortened form of Elisabeth.\n\nNotable people with the name include:\n\n Else Alfelt (1910–1974), Danish painter\n Else Ackermann, German physician and pharmacologist\n Else Winther Andersen (born 1941), Danish politician\n Else Berg (1877–1942), Dutch painter\n Else Bugge Fougner (born 1944), Norwegian lawyer and politician\n Else Christensen (1913–2005), Danish neopagan\n Else Feldmann (1884–1942), Austrian writer\n Else Frenkel-Brunswik (1908–1958), Polish-Austrian psychologist\n Else Hench (20th century), Austrian luger\n Else Hirsch (1889–1942/3), German-Jewish teacher\n Else Holmelund Minarik (1920–2012), Danish American author\n Else Jacobsen (1911–1965), Danish swimmer\n Else Krüger (born 1915), German secretary\n Else Lasker-Schüler (1869–1945), Jewish German poet and playwright\n Else Mayer (1891–1962), German nun\n Else Meidner (1901–1987), Jewish German painter\n Else Repål (1930–2015), Norwegian politician\n Else Reppen (1933–2006), Norwegian philanthropist\n Else Sehrig-Vehling (1897–1994), German expressionist\n Else Seifert (1879–1968), German photographer\n Else Ury (1877–1943), German writer\n Else von Richthofen (1874–1973), German social scientist\n\nSee also\nElse-Marie\nElse-Marthe Sørlie Lybekk (born 1978), Norwegian handball player\n\nFeminine given names", "Something Else or Somethin' Else may refer to:\n\nBooks\n Something Else (book), a children's book by Kathryn Cave\n Something Else Press, an American small-press publisher\n Archie's Something Else! by Spire Christian Comics\n\nFilm and television\n Somethin' Else (content agency), a content and talent agency based in London\n Something Else (TV series), a 1978–1982 UK youth TV programme\n Something Else, a 1970–71 American musical variety show hosted by John Byner\n Something Else, a 2001 British children's animated show produced by Studio B Productions\n\nMusic\n\nPerformers\n Somethin' Else!, a rock and roll band featuring Bobby Cochran, nephew of Eddie Cochran\n Something Else (Japanese band), a J-Pop band\n Something Else, a 1970s Scottish band featuring Sheena Easton\n\nAlbums\n Something Else!!!!, a 1958 album by Ornette Coleman\n Somethin' Else (Cannonball Adderley album), or the title song by Miles Davis, 1958\n Somethin' Else (The Kingston Trio album), 1965\n Something Else by The Kinks, a 1967 album\n Something Else from The Move, a 1968 EP\n Something Else (Shirley Bassey album), 1971\n Something Else (Robin Thicke album), 2008\n Something Else, a 2012 album by Elom Adablah\n Something Else (Tech N9ne album), 2013\n Something Else (The Cranberries album), 2017\n Something Else (The Brian Jones Massacre album), 2018\n\nSongs\n \"Somethin' Else\" (song), a 1959 song by Eddie Cochran, covered by several other performers\n \"Something Else\", a song by Diamond Rings from Special Affections\n \"Something Else\", a song by The Doubleclicks from Lasers and Feelings\n \"Something Else\", a song by Gary Jules from Trading Snakeoil for Wolftickets\n \"Something Else\", a song by Good Charlotte from Good Morning Revival\n\nSee also\n Something (disambiguation)" ]
[ "Leonardo da Vinci", "Verrocchio's workshop, 1466-1476", "What was his first love", "Leonardo was apprenticed to the artist Andrea di Cione,", "WHat year was this", "1466,", "Whatwas he known for", "known as Verrocchio,", "What did he teach him", "whose bottega (workshop) was \"one of the finest in Florence\". He apprenticed as a garzone", "What did he do", "Other famous painters apprenticed or associated with the workshop include Domenico Ghirlandaio,", "Who else", "Perugino, Botticelli,", "Who else", "Lorenzo di Credi." ]	C_e9fd1aa07b684a6698373397ebd79adc_0	What was his first painting	8	What was Leonardo da Vinci's first painting?	Leonardo da Vinci	In 1466, at the age of fourteen, Leonardo was apprenticed to the artist Andrea di Cione, known as Verrocchio, whose bottega (workshop) was "one of the finest in Florence". He apprenticed as a garzone (studio boy) to Andrea del Verrocchio, the leading Florentine painter and sculptor of his day (and would do so for 7 years). Other famous painters apprenticed or associated with the workshop include Domenico Ghirlandaio, Perugino, Botticelli, and Lorenzo di Credi. Leonardo would have been exposed to both theoretical training and a vast range of technical skills, including drafting, chemistry, metallurgy, metal working, plaster casting, leather working, mechanics and carpentry as well as the artistic skills of drawing, painting, sculpting and modelling. Much of the painted production of Verrocchio's workshop was done by his employees. According to Vasari, Leonardo collaborated with Verrocchio on his The Baptism of Christ, painting the young angel holding Jesus' robe in a manner that was so far superior to his master's that Verrocchio put down his brush and never painted again, although this is believed to be apocryphal. Close examination reveals areas that have been painted or touched-up over the tempera using the new technique of oil paint; the landscape, the rocks seen through the brown mountain stream and much of the figure of Jesus bearing witness to the hand of Leonardo. Leonardo may have been the model for two works by Verrocchio: the bronze statue of David in the Bargello and the Archangel Raphael in Tobias and the Angel. By 1472, at the age of twenty, Leonardo qualified as a master in the Guild of Saint Luke, the guild of artists and doctors of medicine, but even after his father set him up in his own workshop, his attachment to Verrocchio was such that he continued to collaborate with him. Leonardo's earliest known dated work is a drawing in pen and ink of the Arno valley, drawn on 5 August 1473. CANNOTANSWER	Verrocchio on his The Baptism of Christ,	Leonardo di ser Piero da Vinci (15 April 14522 May 1519) was an Italian polymath of the High Renaissance who was active as a painter, draughtsman, engineer, scientist, theorist, sculptor and architect. While his fame initially rested on his achievements as a painter, he also became known for his notebooks, in which he made drawings and notes on a variety of subjects, including anatomy, astronomy, botany, cartography, painting, and paleontology. Leonardo's genius epitomized the Renaissance humanist ideal, and his collective works compose a contribution to later generations of artists matched only by that of his younger contemporary, Michelangelo. Born out of wedlock to a successful notary and a lower-class woman in, or near, Vinci, he was educated in Florence by the Italian painter and sculptor Andrea del Verrocchio. He began his career in the city, but then spent much time in the service of Ludovico Sforza in Milan. Later, he worked in Florence and Milan again, as well as briefly in Rome, all while attracting a large following of imitators and students. Upon the invitation of Francis I, he spent his last three years in France, where he died in 1519. Since his death, there has not been a time where his achievements, diverse interests, personal life, and empirical thinking have failed to incite interest and admiration, making him a frequent namesake and subject in culture. Leonardo is among the greatest painters in the history of art and is often credited as the founder of the High Renaissance. Despite having many lost works and less than 25 attributed major works—including numerous unfinished works—he created some of the most influential paintings in Western art. His magnum opus, the Mona Lisa, is his best known work and often regarded as the world's most famous painting. The Last Supper is the most reproduced religious painting of all time and his Vitruvian Man drawing is also regarded as a cultural icon. In 2017, Salvator Mundi, attributed in whole or part to Leonardo, was sold at auction for , setting a new record for the most expensive painting ever sold at public auction. Revered for his technological ingenuity, he conceptualized flying machines, a type of armored fighting vehicle, concentrated solar power, an adding machine, and the double hull. Relatively few of his designs were constructed or even feasible during his lifetime, as the modern scientific approaches to metallurgy and engineering were only in their infancy during the Renaissance. Some of his smaller inventions, however, entered the world of manufacturing unheralded, such as an automated bobbin winder and a machine for testing the tensile strength of wire. He made substantial discoveries in anatomy, civil engineering, hydrodynamics, geology, optics, and tribology, but he did not publish his findings and they had little to no direct influence on subsequent science. Biography Early life (1452–1472) Birth and background Leonardo da Vinci, properly named Leonardo di ser Piero da Vinci (Leonardo, son of ser Piero from Vinci), was born on 15 April 1452 in, or close to, the Tuscan hill town of Vinci; Florence was 20 miles away. He was born out of wedlock to (Ser Piero di Antonio di Ser Piero di Ser Guido da Vinci; 1426–1504), a Florentine legal notary, and ( – 1494), from the lower-class. It remains uncertain where Leonardo was born; the traditional account, from a local oral tradition recorded by the historian Emanuele Repetti, is that he was born in Anchiano, a country hamlet that would have offered sufficient privacy for the illegitimate birth, though it is still possible he was born in a house in Florence that Ser Piero almost certainly had. Leonardo's parents both married separately the year after his birth. Caterina—who later appears in Leonardo's notes as only "Caterina" or "Catelina"—is usually identified as the Caterina Buti del Vacca who married the local artisan Antonio di Piero Buti del Vacca, nicknamed "L'Accattabriga" ("the quarrelsome one"). Other theories have been proposed, particularly that of art historian Martin Kemp, who suggested Caterina di Meo Lippi, an orphan that married purportedly with aid from Ser Piero and his family. Ser Piero married Albiera Amadori—having been betrothed to her the previous year—and after her death in 1462, went on to have three subsequent marriages. From all the marriages, Leonardo eventually had 12 half-siblings who were much younger than he was (the last was born when Leonardo was 40 years old) and with whom he had very little contact. Very little is known about Leonardo's childhood and much is shrouded in myth, partially because of his biography in the frequently apocryphal Lives of the Most Excellent Painters, Sculptors, and Architects (1550) from the 16th-century art historian Giorgio Vasari. Tax records indicate that by at least 1457 he lived in the household of his paternal grandfather, Antonio da Vinci, but it is possible that he spent the years before then in the care of his mother in Vinci, either Anchiano or Campo Zeppi in the parish of San Pantaleone. He is thought to have been close to his uncle, Francesco da Vinci, but his father was likely in Florence most of the time. Ser Piero, who was the descendant of a long line of notaries, established an official residence in Florence by at least 1469 and led a successful career. Despite his family history, Leonardo only received a basic and informal education in (vernacular) writing, reading and mathematics, possibly because his artistic talents were recognised early, so his family decided to focus their attention there. Later in life, Leonardo recorded his earliest memory, now in the Codex Atlanticus. While writing on the flight of birds, he recalled as an infant when a kite came to his cradle and opened his mouth with its tail; commentators still debate whether the anecdote was an actual memory or a fantasy. Verrocchio's workshop In the mid-1460s, Leonardo's family moved to Florence, which at the time was the centre of Christian Humanist thought and culture. Around the age of 14, he became a garzone (studio boy) in the workshop of Andrea del Verrocchio, who was the leading Florentine painter and sculptor of his time. This was about the time of the death of Verrocchio's master, the great sculptor Donatello. Leonardo became an apprentice by the age of 17 and remained in training for seven years. Other famous painters apprenticed in the workshop or associated with it include Ghirlandaio, Perugino, Botticelli, and Lorenzo di Credi. Leonardo was exposed to both theoretical training and a wide range of technical skills, including drafting, chemistry, metallurgy, metal working, plaster casting, leather working, mechanics, and woodwork, as well as the artistic skills of drawing, painting, sculpting, and modelling. Leonardo was a contemporary of Botticelli, Ghirlandaio and Perugino, who were all slightly older than he was. He would have met them at the workshop of Verrocchio or at the Platonic Academy of the Medici. Florence was ornamented by the works of artists such as Donatello's contemporaries Masaccio, whose figurative frescoes were imbued with realism and emotion, and Ghiberti, whose Gates of Paradise, gleaming with gold leaf, displayed the art of combining complex figure compositions with detailed architectural backgrounds. Piero della Francesca had made a detailed study of perspective, and was the first painter to make a scientific study of light. These studies and Leon Battista Alberti's treatise De pictura were to have a profound effect on younger artists and in particular on Leonardo's own observations and artworks. Much of the painting in Verrocchio's workshop was done by his assistants. According to Vasari, Leonardo collaborated with Verrocchio on his The Baptism of Christ, painting the young angel holding Jesus' robe in a manner that was so far superior to his master's that Verrocchio put down his brush and never painted again, although this is believed to be an apocryphal story. Close examination reveals areas of the work that have been painted or touched-up over the tempera, using the new technique of oil paint, including the landscape, the rocks seen through the brown mountain stream, and much of the figure of Jesus, bearing witness to the hand of Leonardo. Leonardo may have been the model for two works by Verrocchio: the bronze statue of David in the Bargello, and the Archangel Raphael in Tobias and the Angel. Vasari tells a story of Leonardo as a very young man: a local peasant made himself a round shield and requested that Ser Piero have it painted for him. Leonardo, inspired by the story of Medusa, responded with a painting of a monster spitting fire that was so terrifying that his father bought a different shield to give to the peasant and sold Leonardo's to a Florentine art dealer for 100 ducats, who in turn sold it to the Duke of Milan. First Florentine period (1472–c. 1482) By 1472, at the age of 20, Leonardo qualified as a master in the Guild of Saint Luke, the guild of artists and doctors of medicine, but even after his father set him up in his own workshop, his attachment to Verrocchio was such that he continued to collaborate and live with him. Leonardo's earliest known dated work is a 1473 pen-and-ink drawing of the Arno valley. According to Vasari, the young Leonardo was the first to suggest making the Arno river a navigable channel between Florence and Pisa. In January 1478, Leonardo received an independent commission to paint an altarpiece for the Chapel of St. Bernard in the Palazzo Vecchio, an indication of his independence from Verrocchio's studio. An anonymous early biographer, known as Anonimo Gaddiano, claims that in 1480 Leonardo was living with the Medici and often worked in the garden of the Piazza San Marco, Florence, where a Neoplatonic academy of artists, poets and philosophers organized by the Medici met. In March 1481, he received a commission from the monks of San Donato in Scopeto for The Adoration of the Magi. Neither of these initial commissions were completed, being abandoned when Leonardo went to offer his services to Duke of Milan Ludovico Sforza. Leonardo wrote Sforza a letter which described the diverse things that he could achieve in the fields of engineering and weapon design, and mentioned that he could paint. He brought with him a silver string instrument—either a lute or lyre—in the form of a horse's head. With Alberti, Leonardo visited the home of the Medici and through them came to know the older Humanist philosophers of whom Marsiglio Ficino, proponent of Neoplatonism; Cristoforo Landino, writer of commentaries on Classical writings, and John Argyropoulos, teacher of Greek and translator of Aristotle were the foremost. Also associated with the Platonic Academy of the Medici was Leonardo's contemporary, the brilliant young poet and philosopher Pico della Mirandola. In 1482, Leonardo was sent as an ambassador by Lorenzo de' Medici to Ludovico il Moro, who ruled Milan between 1479 and 1499. First Milanese period (c. 1482–1499) Leonardo worked in Milan from 1482 until 1499. He was commissioned to paint the Virgin of the Rocks for the Confraternity of the Immaculate Conception and The Last Supper for the monastery of Santa Maria delle Grazie. In the spring of 1485, Leonardo travelled to Hungary on behalf of Sforza to meet king Matthias Corvinus, and was commissioned by him to paint a Madonna. Leonardo was employed on many other projects for Sforza, including the preparation of floats and pageants for special occasions, a drawing and wooden model for a competition to design the cupola for Milan Cathedral (which he withdrew), and a model for a huge equestrian monument to Ludovico's predecessor Francesco Sforza. This would have surpassed in size the only two large equestrian statues of the Renaissance, Donatello's Gattamelata in Padua and Verrocchio's Bartolomeo Colleoni in Venice, and became known as the Gran Cavallo. Leonardo completed a model for the horse and made detailed plans for its casting, but in November 1494, Ludovico gave the bronze to his brother-in-law to be used for a cannon to defend the city from Charles VIII of France. Contemporary correspondence records that Leonardo and his assistants were commissioned by the Duke of Milan to paint the Sala delle Asse in the Sforza Castle. The decoration was completed in 1498. The project became a trompe-l'œil decoration that made the great hall appear to be a pergola created by the interwoven limbs of sixteen mulberry trees, whose canopy included an intricate labyrinth of leaves and knots on the ceiling. Second Florentine period (1500–1508) When Ludovico Sforza was overthrown by France in 1500, Leonardo fled Milan for Venice, accompanied by his assistant Salaì and friend, the mathematician Luca Pacioli. In Venice, Leonardo was employed as a military architect and engineer, devising methods to defend the city from naval attack. On his return to Florence in 1500, he and his household were guests of the Servite monks at the monastery of Santissima Annunziata and were provided with a workshop where, according to Vasari, Leonardo created the cartoon of The Virgin and Child with St Anne and St John the Baptist, a work that won such admiration that "men [and] women, young and old" flocked to see it "as if they were going to a solemn festival." In Cesena in 1502, Leonardo entered the service of Cesare Borgia, the son of Pope Alexander VI, acting as a military architect and engineer and travelling throughout Italy with his patron. Leonardo created a map of Cesare Borgia's stronghold, a town plan of Imola in order to win his patronage. Upon seeing it, Cesare hired Leonardo as his chief military engineer and architect. Later in the year, Leonardo produced another map for his patron, one of Chiana Valley, Tuscany, so as to give his patron a better overlay of the land and greater strategic position. He created this map in conjunction with his other project of constructing a dam from the sea to Florence, in order to allow a supply of water to sustain the canal during all seasons. Leonardo had left Borgia's service and returned to Florence by early 1503, where he rejoined the Guild of Saint Luke on 18 October of that year. By this same month, Leonardo had begun working on a portrait of Lisa del Giocondo, the model for the Mona Lisa, which he would continue working on until his twilight years. In January 1504, he was part of a committee formed to recommend where Michelangelo's statue of David should be placed. He then spent two years in Florence designing and painting a mural of The Battle of Anghiari for the Signoria, with Michelangelo designing its companion piece, The Battle of Cascina. In 1506, Leonardo was summoned to Milan by Charles II d'Amboise, the acting French governor of the city. There, Leonardo took on another pupil, Count Francesco Melzi, the son of a Lombard aristocrat, who is considered to have been his favourite student. The Council of Florence wished Leonardo to return promptly to finish The Battle of Anghiari, but he was given leave at the behest of Louis XII, who considered commissioning the artist to make some portraits. Leonardo may have commenced a project for an equestrian figure of d'Amboise; a wax model survives and, if genuine, is the only extant example of Leonardo's sculpture. Leonardo was otherwise free to pursue his scientific interests. Many of Leonardo's most prominent pupils either knew or worked with him in Milan, including Bernardino Luini, Giovanni Antonio Boltraffio, and Marco d'Oggiono. In 1507, Leonardo was in Florence sorting out a dispute with his brothers over the estate of his father, who had died in 1504. Second Milanese period (1508–1513) By 1508, Leonardo was back in Milan, living in his own house in Porta Orientale in the parish of Santa Babila. In 1512, Leonardo was working on plans for an equestrian monument for Gian Giacomo Trivulzio, but this was prevented by an invasion of a confederation of Swiss, Spanish and Venetian forces, which drove the French from Milan. Leonardo stayed in the city, spending several months in 1513 at the Medici's Vaprio d'Adda villa. Rome and France (1513–1519) In March of 1513, Lorenzo de' Medici's son Giovanni assumed the papacy (as Leo X); Leonardo went to Rome that September, where he was received by the pope's brother Giuliano. From September 1513 to 1516, Leonardo spent much of his time living in the Belvedere Courtyard in the Apostolic Palace, where Michelangelo and Raphael were both active. Leonardo was given an allowance of 33 ducats a month, and according to Vasari, decorated a lizard with scales dipped in quicksilver. The pope gave him a painting commission of unknown subject matter, but cancelled it when the artist set about developing a new kind of varnish. Leonardo became ill, in what may have been the first of multiple strokes leading to his death. He practiced botany in the Gardens of Vatican City, and was commissioned to make plans for the pope's proposed draining of the Pontine Marshes. He also dissected cadavers, making notes for a treatise on vocal cords; these he gave to an official in hopes of regaining the pope's favor, but was unsuccessful. In October 1515, King Francis I of France recaptured Milan. Leonardo was present at the 19 December meeting of Francis I and Leo X, which took place in Bologna. In 1516, Leonardo entered Francis' service, being given the use of the manor house Clos Lucé, near the king's residence at the royal Château d'Amboise. Being frequently visited by Francis, he drew plans for an immense castle town the king intended to erect at Romorantin, and made a mechanical lion, which during a pageant walked toward the king and—upon being struck by a wand—opened its chest to reveal a cluster of lilies. Leonardo was accompanied during this time by his friend and apprentice Francesco Melzi, and supported by a pension totalling 10,000 scudi. At some point, Melzi drew a portrait of Leonardo; the only others known from his lifetime were a sketch by an unknown assistant on the back of one of Leonardo's studies () and a drawing by Giovanni Ambrogio Figino depicting an elderly Leonardo with his right arm assuaged by cloth. The latter, in addition to the record of an October 1517 visit by Louis d'Aragon, confirms an account of Leonardo's right hand being paralytic at the age of 65, which may indicate why he left works such as the Mona Lisa unfinished. He continued to work at some capacity until eventually becoming ill and bedridden for several months. Death Leonardo died at Clos Lucé on 2 May 1519 at the age of 67, possibly of a stroke. Francis I had become a close friend. Vasari describes Leonardo as lamenting on his deathbed, full of repentance, that "he had offended against God and men by failing to practice his art as he should have done." Vasari states that in his last days, Leonardo sent for a priest to make his confession and to receive the Holy Sacrament. Vasari also records that the king held Leonardo's head in his arms as he died, although this story may be legend rather than fact. In accordance with his will, sixty beggars carrying tapers followed Leonardo's casket. Melzi was the principal heir and executor, receiving, as well as money, Leonardo's paintings, tools, library and personal effects. Leonardo's other long-time pupil and companion, Salaì, and his servant Baptista de Vilanis, each received half of Leonardo's vineyards. His brothers received land, and his serving woman received a fur-lined cloak. On 12 August 1519, Leonardo's remains were interred in the Collegiate Church of Saint Florentin at the Château d'Amboise. Salaì, or Il Salaino ("The Little Unclean One," i.e., the devil), entered Leonardo's household in 1490 as an assistant. After only a year, Leonardo made a list of his misdemeanours, calling him "a thief, a liar, stubborn, and a glutton," after he had made off with money and valuables on at least five occasions and spent a fortune on clothes. Nevertheless, Leonardo treated him with great indulgence, and he remained in Leonardo's household for the next thirty years. Salaì executed a number of paintings under the name of Andrea Salaì, but although Vasari claims that Leonardo "taught him many things about painting," his work is generally considered to be of less artistic merit than others among Leonardo's pupils, such as Marco d'Oggiono and Boltraffio. Salaì owned the Mona Lisa at the time of Leonardo's death in 1524, and in his will it was assessed at 505 lire, an exceptionally high valuation for a small panel portrait. Some 20 years after Leonardo's death, Francis was reported by the goldsmith and sculptor Benvenuto Cellini as saying: "There had never been another man born in the world who knew as much as Leonardo, not so much about painting, sculpture and architecture, as that he was a very great philosopher." Personal life Despite the thousands of pages Leonardo left in notebooks and manuscripts, he scarcely made reference to his personal life. Within Leonardo's lifetime, his extraordinary powers of invention, his "great physical beauty" and "infinite grace," as described by Vasari, as well as all other aspects of his life, attracted the curiosity of others. One such aspect was his love for animals, likely including vegetarianism and according to Vasari, a habit of purchasing caged birds and releasing them. Leonardo had many friends who are now notable either in their fields or for their historical significance, including mathematician Luca Pacioli, with whom he collaborated on the book Divina proportione in the 1490s. Leonardo appears to have had no close relationships with women except for his friendship with Cecilia Gallerani and the two Este sisters, Beatrice and Isabella. While on a journey that took him through Mantua, he drew a portrait of Isabella that appears to have been used to create a painted portrait, now lost. Beyond friendship, Leonardo kept his private life secret. His sexuality has been the subject of satire, analysis, and speculation. This trend began in the mid-16th century and was revived in the 19th and 20th centuries, most notably by Sigmund Freud in his Leonardo da Vinci, A Memory of His Childhood. Leonardo's most intimate relationships were perhaps with his pupils Salaì and Melzi. Melzi, writing to inform Leonardo's brothers of his death, described Leonardo's feelings for his pupils as both loving and passionate. It has been claimed since the 16th century that these relationships were of a sexual or erotic nature. Court records of 1476, when he was aged twenty-four, show that Leonardo and three other young men were charged with sodomy in an incident involving a well-known male prostitute. The charges were dismissed for lack of evidence, and there is speculation that since one of the accused, Lionardo de Tornabuoni, was related to Lorenzo de' Medici, the family exerted its influence to secure the dismissal. Since that date much has been written about his presumed homosexuality and its role in his art, particularly in the androgyny and eroticism manifested in Saint John the Baptist and Bacchus and more explicitly in a number of erotic drawings. Paintings Despite the recent awareness and admiration of Leonardo as a scientist and inventor, for the better part of four hundred years his fame rested on his achievements as a painter. A handful of works that are either authenticated or attributed to him have been regarded as among the great masterpieces. These paintings are famous for a variety of qualities that have been much imitated by students and discussed at great length by connoisseurs and critics. By the 1490s Leonardo had already been described as a "Divine" painter. Among the qualities that make Leonardo's work unique are his innovative techniques for laying on the paint; his detailed knowledge of anatomy, light, botany and geology; his interest in physiognomy and the way humans register emotion in expression and gesture; his innovative use of the human form in figurative composition; and his use of subtle gradation of tone. All these qualities come together in his most famous painted works, the Mona Lisa, the Last Supper, and the Virgin of the Rocks. Early works Leonardo first gained attention for his work on the Baptism of Christ, painted in conjunction with Verrocchio. Two other paintings appear to date from his time at Verrocchio's workshop, both of which are Annunciations. One is small, long and high. It is a "predella" to go at the base of a larger composition, a painting by Lorenzo di Credi from which it has become separated. The other is a much larger work, long. In both Annunciations, Leonardo used a formal arrangement, like two well-known pictures by Fra Angelico of the same subject, of the Virgin Mary sitting or kneeling to the right of the picture, approached from the left by an angel in profile, with a rich flowing garment, raised wings and bearing a lily. Although previously attributed to Ghirlandaio, the larger work is now generally attributed to Leonardo. In the smaller painting, Mary averts her eyes and folds her hands in a gesture that symbolised submission to God's will. Mary is not submissive, however, in the larger piece. The girl, interrupted in her reading by this unexpected messenger, puts a finger in her bible to mark the place and raises her hand in a formal gesture of greeting or surprise. This calm young woman appears to accept her role as the Mother of God, not with resignation but with confidence. In this painting, the young Leonardo presents the humanist face of the Virgin Mary, recognising humanity's role in God's incarnation. Paintings of the 1480s In the 1480s, Leonardo received two very important commissions and commenced another work that was of ground-breaking importance in terms of composition. Two of the three were never finished, and the third took so long that it was subject to lengthy negotiations over completion and payment. One of these paintings was Saint Jerome in the Wilderness, which Bortolon associates with a difficult period of Leonardo's life, as evidenced in his diary: "I thought I was learning to live; I was only learning to die." Although the painting is barely begun, the composition can be seen and is very unusual. Jerome, as a penitent, occupies the middle of the picture, set on a slight diagonal and viewed somewhat from above. His kneeling form takes on a trapezoid shape, with one arm stretched to the outer edge of the painting and his gaze looking in the opposite direction. J. Wasserman points out the link between this painting and Leonardo's anatomical studies. Across the foreground sprawls his symbol, a great lion whose body and tail make a double spiral across the base of the picture space. The other remarkable feature is the sketchy landscape of craggy rocks against which the figure is silhouetted. The daring display of figure composition, the landscape elements and personal drama also appear in the great unfinished masterpiece, the Adoration of the Magi, a commission from the Monks of San Donato a Scopeto. It is a complex composition, of about Leonardo did numerous drawings and preparatory studies, including a detailed one in linear perspective of the ruined classical architecture that forms part of the background. In 1482 Leonardo went to Milan at the behest of Lorenzo de' Medici in order to win favour with Ludovico il Moro, and the painting was abandoned. The third important work of this period is the Virgin of the Rocks, commissioned in Milan for the Confraternity of the Immaculate Conception. The painting, to be done with the assistance of the de Predis brothers, was to fill a large complex altarpiece. Leonardo chose to paint an apocryphal moment of the infancy of Christ when the infant John the Baptist, in protection of an angel, met the Holy Family on the road to Egypt. The painting demonstrates an eerie beauty as the graceful figures kneel in adoration around the infant Christ in a wild landscape of tumbling rock and whirling water. While the painting is quite large, about , it is not nearly as complex as the painting ordered by the monks of St Donato, having only four figures rather than about fifty and a rocky landscape rather than architectural details. The painting was eventually finished; in fact, two versions of the painting were finished: one remained at the chapel of the Confraternity, while Leonardo took the other to France. The Brothers did not get their painting, however, nor the de Predis their payment, until the next century. Leonardo's most remarkable portrait of this period is the Lady with an Ermine, presumed to be Cecilia Gallerani (), lover of Ludovico Sforza. The painting is characterised by the pose of the figure with the head turned at a very different angle to the torso, unusual at a date when many portraits were still rigidly in profile. The ermine plainly carries symbolic meaning, relating either to the sitter, or to Ludovico who belonged to the prestigious Order of the Ermine. Paintings of the 1490s Leonardo's most famous painting of the 1490s is The Last Supper, commissioned for the refectory of the Convent of Santa Maria della Grazie in Milan. It represents the last meal shared by Jesus with his disciples before his capture and death, and shows the moment when Jesus has just said "one of you will betray me", and the consternation that this statement caused. The writer Matteo Bandello observed Leonardo at work and wrote that some days he would paint from dawn till dusk without stopping to eat and then not paint for three or four days at a time. This was beyond the comprehension of the prior of the convent, who hounded him until Leonardo asked Ludovico to intervene. Vasari describes how Leonardo, troubled over his ability to adequately depict the faces of Christ and the traitor Judas, told the duke that he might be obliged to use the prior as his model. The painting was acclaimed as a masterpiece of design and characterization, but it deteriorated rapidly, so that within a hundred years it was described by one viewer as "completely ruined." Leonardo, instead of using the reliable technique of fresco, had used tempera over a ground that was mainly gesso, resulting in a surface subject to mould and to flaking. Despite this, the painting remains one of the most reproduced works of art; countless copies have been made in various mediums. Toward the end of this period, in 1498 da Vinci's trompe-l'œil decoration of the Sala delle Asse was painted for the Duke of Milan in the Castello Sforzesco. Paintings of the 1500s In 1505, Leonardo was commissioned to paint The Battle of Anghiari in the Salone dei Cinquecento (Hall of the Five Hundred) in the Palazzo Vecchio, Florence. Leonardo devised a dynamic composition depicting four men riding raging war horses engaged in a battle for possession of a standard, at the Battle of Anghiari in 1440. Michelangelo was assigned the opposite wall to depict the Battle of Cascina. Leonardo's painting deteriorated rapidly and is now known from a copy by Rubens. Among the works created by Leonardo in the 16th century is the small portrait known as the Mona Lisa or La Gioconda, the laughing one. In the present era, it is arguably the most famous painting in the world. Its fame rests, in particular, on the elusive smile on the woman's face, its mysterious quality perhaps due to the subtly shadowed corners of the mouth and eyes such that the exact nature of the smile cannot be determined. The shadowy quality for which the work is renowned came to be called "sfumato," or Leonardo's smoke. Vasari wrote that the smile was "so pleasing that it seems more divine than human, and it was considered a wondrous thing that it was as lively as the smile of the living original." Other characteristics of the painting are the unadorned dress, in which the eyes and hands have no competition from other details; the dramatic landscape background, in which the world seems to be in a state of flux; the subdued colouring; and the extremely smooth nature of the painterly technique, employing oils laid on much like tempera, and blended on the surface so that the brushstrokes are indistinguishable. Vasari expressed that the painting's quality would make even "the most confident master ... despair and lose heart." The perfect state of preservation and the fact that there is no sign of repair or overpainting is rare in a panel painting of this date. In the painting Virgin and Child with St. Anne, the composition again picks up the theme of figures in a landscape, which Wasserman describes as "breathtakingly beautiful" and harkens back to the St Jerome picture with the figure set at an oblique angle. What makes this painting unusual is that there are two obliquely set figures superimposed. Mary is seated on the knee of her mother, St Anne. She leans forward to restrain the Christ Child as he plays roughly with a lamb, the sign of his own impending sacrifice. This painting, which was copied many times, influenced Michelangelo, Raphael, and Andrea del Sarto, and through them Pontormo and Correggio. The trends in composition were adopted in particular by the Venetian painters Tintoretto and Veronese. Drawings Leonardo was a prolific draughtsman, keeping journals full of small sketches and detailed drawings recording all manner of things that took his attention. As well as the journals there exist many studies for paintings, some of which can be identified as preparatory to particular works such as The Adoration of the Magi, The Virgin of the Rocks and The Last Supper. His earliest dated drawing is a Landscape of the Arno Valley, 1473, which shows the river, the mountains, Montelupo Castle and the farmlands beyond it in great detail. Among his famous drawings are the Vitruvian Man, a study of the proportions of the human body; the Head of an Angel, for The Virgin of the Rocks in the Louvre; a botanical study of Star of Bethlehem; and a large drawing (160×100 cm) in black chalk on coloured paper of The Virgin and Child with Saint Anne and Saint John the Baptist in the National Gallery, London. This drawing employs the subtle sfumato technique of shading, in the manner of the Mona Lisa. It is thought that Leonardo never made a painting from it, the closest similarity being to The Virgin and Child with Saint Anne in the Louvre. Other drawings of interest include numerous studies generally referred to as "caricatures" because, although exaggerated, they appear to be based upon observation of live models. Vasari relates that Leonardo would look for interesting faces in public to use as models for some of his work. There are numerous studies of beautiful young men, often associated with Salaì, with the rare and much admired facial feature, the so-called "Grecian profile." These faces are often contrasted with that of a warrior. Salaì is often depicted in fancy-dress costume. Leonardo is known to have designed sets for pageants with which these may be associated. Other, often meticulous, drawings show studies of drapery. A marked development in Leonardo's ability to draw drapery occurred in his early works. Another often-reproduced drawing is a macabre sketch that was done by Leonardo in Florence in 1479 showing the body of Bernardo Baroncelli, hanged in connection with the murder of Giuliano, brother of Lorenzo de' Medici, in the Pazzi conspiracy. In his notes, Leonardo recorded the colours of the robes that Baroncelli was wearing when he died. Like the two contemporary architects Donato Bramante (who designed the Belvedere Courtyard) and Antonio da Sangallo the Elder, Leonardo experimented with designs for centrally planned churches, a number of which appear in his journals, as both plans and views, although none was ever realised. Journals and notes Renaissance humanism recognised no mutually exclusive polarities between the sciences and the arts, and Leonardo's studies in science and engineering are sometimes considered as impressive and innovative as his artistic work. These studies were recorded in 13,000 pages of notes and drawings, which fuse art and natural philosophy (the forerunner of modern science). They were made and maintained daily throughout Leonardo's life and travels, as he made continual observations of the world around him. Leonardo's notes and drawings display an enormous range of interests and preoccupations, some as mundane as lists of groceries and people who owed him money and some as intriguing as designs for wings and shoes for walking on water. There are compositions for paintings, studies of details and drapery, studies of faces and emotions, of animals, babies, dissections, plant studies, rock formations, whirlpools, war machines, flying machines and architecture. These notebooks—originally loose papers of different types and sizes—were largely entrusted to Leonardo's pupil and heir Francesco Melzi after the master's death. These were to be published, a task of overwhelming difficulty because of its scope and Leonardo's idiosyncratic writing. Some of Leonardo's drawings were copied by an anonymous Milanese artist for a planned treatise on art . After Melzi's death in 1570, the collection passed to his son, the lawyer Orazio, who initially took little interest in the journals. In 1587, a Melzi household tutor named Lelio Gavardi took 13 of the manuscripts to Pisa; there, the architect Giovanni Magenta reproached Gavardi for having taken the manuscripts illicitly and returned them to Orazio. Having many more such works in his possession, Orazio gifted the volumes to Magenta. News spread of these lost works of Leonardo's, and Orazio retrieved seven of the 13 manuscripts, which he then gave to Pompeo Leoni for publication in two volumes; one of these was the Codex Atlanticus. The other six works had been distributed to a few others. After Orazio's death, his heirs sold the rest of Leonardo's possessions, and thus began their dispersal. Some works have found their way into major collections such as the Royal Library at Windsor Castle, the Louvre, the Biblioteca Nacional de España, the Victoria and Albert Museum, the Biblioteca Ambrosiana in Milan, which holds the 12-volume Codex Atlanticus, and the British Library in London, which has put a selection from the Codex Arundel (BL Arundel MS 263) online. Works have also been at Holkham Hall, the Metropolitan Museum of Art, and in the private hands of John Nicholas Brown I and Robert Lehman. The Codex Leicester is the only privately owned major scientific work of Leonardo; it is owned by Bill Gates and displayed once a year in different cities around the world. Most of Leonardo's writings are in mirror-image cursive. Since Leonardo wrote with his left hand, it was probably easier for him to write from right to left. Leonardo used a variety of shorthand and symbols, and states in his notes that he intended to prepare them for publication. In many cases a single topic is covered in detail in both words and pictures on a single sheet, together conveying information that would not be lost if the pages were published out of order. Why they were not published during Leonardo's lifetime is unknown. Science and inventions Leonardo's approach to science was observational: he tried to understand a phenomenon by describing and depicting it in utmost detail and did not emphasise experiments or theoretical explanation. Since he lacked formal education in Latin and mathematics, contemporary scholars mostly ignored Leonardo the scientist, although he did teach himself Latin. His keen observations in many areas were noted, such as when he wrote "Il sole non si move." ("The Sun does not move.") In the 1490s he studied mathematics under Luca Pacioli and prepared a series of drawings of regular solids in a skeletal form to be engraved as plates for Pacioli's book Divina proportione, published in 1509. While living in Milan, he studied light from the summit of Monte Rosa. Scientific writings in his notebook on fossils have been considered as influential on early palaeontology. The content of his journals suggest that he was planning a series of treatises on a variety of subjects. A coherent treatise on anatomy is said to have been observed during a visit by Cardinal Louis d'Aragon's secretary in 1517. Aspects of his work on the studies of anatomy, light and the landscape were assembled for publication by Melzi and eventually published as A Treatise on Painting in France and Italy in 1651 and Germany in 1724, with engravings based upon drawings by the Classical painter Nicolas Poussin. According to Arasse, the treatise, which in France went into 62 editions in fifty years, caused Leonardo to be seen as "the precursor of French academic thought on art." While Leonardo's experimentation followed scientific methods, a recent and exhaustive analysis of Leonardo as a scientist by Fritjof Capra argues that Leonardo was a fundamentally different kind of scientist from Galileo, Newton and other scientists who followed him in that, as a "Renaissance Man", his theorising and hypothesising integrated the arts and particularly painting. Anatomy and physiology Leonardo started his study in the anatomy of the human body under the apprenticeship of Verrocchio, who demanded that his students develop a deep knowledge of the subject. As an artist, he quickly became master of topographic anatomy, drawing many studies of muscles, tendons and other visible anatomical features. As a successful artist, Leonardo was given permission to dissect human corpses at the Hospital of Santa Maria Nuova in Florence and later at hospitals in Milan and Rome. From 1510 to 1511 he collaborated in his studies with the doctor Marcantonio della Torre. Leonardo made over 240 detailed drawings and wrote about 13,000 words toward a treatise on anatomy. Only a small amount of the material on anatomy was published in Leonardo's Treatise on painting. During the time that Melzi was ordering the material into chapters for publication, they were examined by a number of anatomists and artists, including Vasari, Cellini and Albrecht Dürer, who made a number of drawings from them. Leonardo's anatomical drawings include many studies of the human skeleton and its parts, and of muscles and sinews. He studied the mechanical functions of the skeleton and the muscular forces that are applied to it in a manner that prefigured the modern science of biomechanics. He drew the heart and vascular system, the sex organs and other internal organs, making one of the first scientific drawings of a fetus in utero. The drawings and notation are far ahead of their time, and if published would undoubtedly have made a major contribution to medical science. Leonardo also closely observed and recorded the effects of age and of human emotion on the physiology, studying in particular the effects of rage. He drew many figures who had significant facial deformities or signs of illness. Leonardo also studied and drew the anatomy of many animals, dissecting cows, birds, monkeys, bears, and frogs, and comparing in his drawings their anatomical structure with that of humans. He also made a number of studies of horses. Leonardo's dissections and documentation of muscles, nerves, and vessels helped to describe the physiology and mechanics of movement. He attempted to identify the source of 'emotions' and their expression. He found it difficult to incorporate the prevailing system and theories of bodily humours, but eventually he abandoned these physiological explanations of bodily functions. He made the observations that humours were not located in cerebral spaces or ventricles. He documented that the humours were not contained in the heart or the liver, and that it was the heart that defined the circulatory system. He was the first to define atherosclerosis and liver cirrhosis. He created models of the cerebral ventricles with the use of melted wax and constructed a glass aorta to observe the circulation of blood through the aortic valve by using water and grass seed to watch flow patterns. Vesalius published his work on anatomy and physiology in De humani corporis fabrica in 1543. Engineering and inventions During his lifetime, Leonardo was also valued as an engineer. With the same rational and analytical approach that moved him to represent the human body and to investigate anatomy, Leonardo studied and designed many machines and devices. He drew their “anatomy” with unparalleled mastery, producing the first form of the modern technical drawing, including a perfected "exploded view" technique, to represent internal components. Those studies and projects collected in his codices fill more than 5,000 pages. In a letter of 1482 to the lord of Milan Ludovico il Moro, he wrote that he could create all sorts of machines both for the protection of a city and for siege. When he fled from Milan to Venice in 1499, he found employment as an engineer and devised a system of moveable barricades to protect the city from attack. In 1502, he created a scheme for diverting the flow of the Arno river, a project on which Niccolò Machiavelli also worked. He continued to contemplate the canalization of Lombardy's plains while in Louis XII's company and of the Loire and its tributaries in the company of Francis I. Leonardo's journals include a vast number of inventions, both practical and impractical. They include musical instruments, a mechanical knight, hydraulic pumps, reversible crank mechanisms, finned mortar shells, and a steam cannon. Leonardo was fascinated by the phenomenon of flight for much of his life, producing many studies, including Codex on the Flight of Birds (), as well as plans for several flying machines, such as a flapping ornithopter and a machine with a helical rotor. A 2003 documentary by British television station Channel Four, titled Leonardo's Dream Machines, various designs by Leonardo, such as a parachute and a giant crossbow, were interpreted and constructed. Some of those designs proved successful, whilst others fared less well when tested. Research performed by Marc van den Broek revealed older prototypes for more than 100 inventions that are ascribed to Leonardo. Similarities between Leonardo's illustrations and drawings from the Middle Ages and from Ancient Greece and Rome, the Chinese and Persian Empires, and Egypt suggest that a large portion of Leonardo's inventions had been conceived before his lifetime. Leonardo's innovation was to combine different functions from existing drafts and set them into scenes that illustrated their utility. By reconstituting technical inventions he created something new. In his notebooks, Leonardo first stated the ‘laws’ of sliding friction in 1493. His inspiration for investigating friction came about in part from his study of perpetual motion, which he correctly concluded was not possible. His results were never published and the friction laws were not rediscovered until 1699 by Guillaume Amontons, with whose name they are now usually associated. For this contribution, Leonardo was named as the first of the 23 "Men of Tribology" by Duncan Dowson. Legacy Although he had no formal academic training, many historians and scholars regard Leonardo as the prime exemplar of the "Universal Genius" or "Renaissance Man", an individual of "unquenchable curiosity" and "feverishly inventive imagination." He is widely considered one of the most diversely talented individuals ever to have lived. According to art historian Helen Gardner, the scope and depth of his interests were without precedent in recorded history, and "his mind and personality seem to us superhuman, while the man himself mysterious and remote." Scholars interpret his view of the world as being based in logic, though the empirical methods he used were unorthodox for his time. Leonardo's fame within his own lifetime was such that the King of France carried him away like a trophy, and was claimed to have supported him in his old age and held him in his arms as he died. Interest in Leonardo and his work has never diminished. Crowds still queue to see his best-known artworks, T-shirts still bear his most famous drawing, and writers continue to hail him as a genius while speculating about his private life, as well as about what one so intelligent actually believed in. The continued admiration that Leonardo commanded from painters, critics and historians is reflected in many other written tributes. Baldassare Castiglione, author of Il Cortegiano (The Courtier), wrote in 1528: "...Another of the greatest painters in this world looks down on this art in which he is unequalled..." while the biographer known as "Anonimo Gaddiano" wrote, : "His genius was so rare and universal that it can be said that nature worked a miracle on his behalf..." Vasari, in his Lives of the Artists (1568), opens his chapter on Leonardo: In the normal course of events many men and women are born with remarkable talents; but occasionally, in a way that transcends nature, a single person is marvellously endowed by Heaven with beauty, grace and talent in such abundance that he leaves other men far behind, all his actions seem inspired and indeed everything he does clearly comes from God rather than from human skill. Everyone acknowledged that this was true of Leonardo da Vinci, an artist of outstanding physical beauty, who displayed infinite grace in everything that he did and who cultivated his genius so brilliantly that all problems he studied he solved with ease. The 19th century brought a particular admiration for Leonardo's genius, causing Henry Fuseli to write in 1801: "Such was the dawn of modern art, when Leonardo da Vinci broke forth with a splendour that distanced former excellence: made up of all the elements that constitute the essence of genius..." This is echoed by A.E. Rio who wrote in 1861: "He towered above all other artists through the strength and the nobility of his talents." By the 19th century, the scope of Leonardo's notebooks was known, as well as his paintings. Hippolyte Taine wrote in 1866: "There may not be in the world an example of another genius so universal, so incapable of fulfilment, so full of yearning for the infinite, so naturally refined, so far ahead of his own century and the following centuries." Art historian Bernard Berenson wrote in 1896: "Leonardo is the one artist of whom it may be said with perfect literalness: Nothing that he touched but turned into a thing of eternal beauty. Whether it be the cross section of a skull, the structure of a weed, or a study of muscles, he, with his feeling for line and for light and shade, forever transmuted it into life-communicating values." The interest in Leonardo's genius has continued unabated; experts study and translate his writings, analyse his paintings using scientific techniques, argue over attributions and search for works which have been recorded but never found. Liana Bortolon, writing in 1967, said: "Because of the multiplicity of interests that spurred him to pursue every field of knowledge...Leonardo can be considered, quite rightly, to have been the universal genius par excellence, and with all the disquieting overtones inherent in that term. Man is as uncomfortable today, faced with a genius, as he was in the 16th century. Five centuries have passed, yet we still view Leonardo with awe." The Elmer Belt Library of Vinciana is a special collection at the University of California, Los Angeles. Twenty-first-century author Walter Isaacson based much of his biography of Leonardo on thousands of notebook entries, studying the personal notes, sketches, budget notations, and musings of the man whom he considers the greatest of innovators. Isaacson was surprised to discover a "fun, joyous" side of Leonardo in addition to his limitless curiosity and creative genius. On the 500th anniversary of Leonardo's death, the Louvre in Paris arranged for the largest ever single exhibit of his work, called Leonardo, between November 2019 and February 2020. The exhibit includes over 100 paintings, drawings and notebooks. Eleven of the paintings that Leonardo completed in his lifetime were included. Five of these are owned by the Louvre, but the Mona Lisa was not included because it is in such great demand among general visitors to the Louvre; it remains on display in its gallery. Vitruvian Man, however, is on display following a legal battle with its owner, the Gallerie dell'Accademia in Venice. Salvator Mundi was also not included because its Saudi owner did not agree to lease the work. The Mona Lisa, considered Leonardo's magnum opus, is often regarded as the most famous portrait ever made. The Last Supper is the most reproduced religious painting of all time, and Leonardo's Vitruvian Man drawing is also considered a cultural icon. More than a decade of analysis of Leonardo's genetic genealogy, conducted by Alessandro Vezzosi and Agnese Sabato, came to a conclusion in mid-2021. It was determined that the artist has 14 living male relatives. The work could also help determine the authenticity of remains thought to belong to Leonardo. Location of remains While Leonardo was certainly buried in the collegiate church of Saint Florentin at the Château d'Amboise in 12 August 1519, the current location of his remains is unclear. Much of Château d'Amboise was damaged during the French Revolution, leading to the church's demolition in 1802. Some of the graves were destroyed in the process, scattering the bones interred there and thereby leaving the whereabouts of Leonardo's remains subject to dispute; a gardener may have even buried some in the corner of the courtyard. In 1863, fine-arts inspector general Arsène Houssaye received an imperial commission to excavate the site and discovered a partially complete skeleton with a bronze ring on one finger, white hair, and stone fragments bearing the inscriptions "EO", "AR", "DUS", and "VINC"—interpreted as forming "Leonardus Vinci". The skull's eight teeth corresponds to someone of approximately the appropriate age and a silver shield found near the bones depicts a beardless Francis I, corresponding to the king's appearance during Leonardo's time in France. Houssaye postulated that the unusually large skull was an indicator of Leonardo's intelligence; author Charles Nicholl describes this as a "dubious phrenological deduction." At the same time, Houssaye noted some issues with his observations, including that the feet were turned toward the high altar, a practice generally reserved for laymen, and that the skeleton of seemed too short. Art historian Mary Margaret Heaton wrote in 1874 that the height would be appropriate for Leonardo. The skull was allegedly presented to Napoleon III before being returned to the Château d'Amboise, where they were in the chapel of Saint Hubert in 1874. A plaque above the tomb states that its contents are only presumed to be those of Leonardo. It has since been theorized that the folding of the skeleton's right arm over the head may correspond to the paralysis of Leonardo's right hand. In 2016, it was announced that DNA tests would be conducted to determine whether the attribution is correct. The DNA of the remains will be compared to that of samples collected from Leonardo's work and his half-brother Domenico's descendants; it may also be sequenced. In 2019, documents were published revealing that Houssaye had kept the ring and a lock of hair. In 1925, his great-grandson sold these to an American collector. Sixty years later, another American acquired them, leading to their being displayed at the Leonardo Museum in Vinci beginning on 2 May 2019, the 500th anniversary of the artist's death. Notes General Dates of works References Citations Early Modern Works cited Early in in Modern Books volume 2: . A reprint of the original 1883 edition Journals and encyclopedia articles Further reading See and for extensive bibliographies External links General Universal Leonardo, a database of Leonardo's life and works maintained by Martin Kemp and Marina Wallace Leonardo da Vinci on the National Gallery website Works Biblioteca Leonardiana, online bibliography (in Italian) e-Leo: Archivio digitale di storia della tecnica e della scienza, archive of drawings, notes and manuscripts Complete text and images of Richter's translation of the Notebooks The Notebooks of Leonardo da Vinci 1452 births 1519 deaths 15th-century Italian mathematicians 15th-century Italian painters 15th-century Italian scientists 15th-century Italian sculptors 15th-century people of the Republic of Florence 16th-century Italian mathematicians 16th-century Italian painters 16th-century Italian scientists 16th-century Italian sculptors 16th-century people of the Republic of Florence Ambassadors of the Republic of Florence Ballistics experts Fabulists Painters from Florence Botanical illustrators Fluid dynamicists History of anatomy Italian anatomists Italian caricaturists Italian civil engineers 16th-century Italian inventors Italian male painters Italian male sculptors Italian military engineers Italian physiologists Italian Renaissance humanists Italian Renaissance painters Italian Renaissance sculptors Italian Roman Catholics Mathematical artists Painters by city People prosecuted under anti-homosexuality laws Philosophical theists Physiognomists Renaissance architects Renaissance painters Renaissance scientists Painters from Tuscany Burials in France Writers who illustrated their own writing	true	[ "Cornelis Holsteyn (1618 – 2 December 1658) was a Dutch Golden Age painter from Haarlem.\n\nBiography\nAccording to the RKD he was a painter of historical allegories, portraits, and interior decorations, trained by his father Pieter Holsteyn I. According to Houbraken, his father was a glass painter, and thus was trained for glass painting, but the market in glass painting not being what it was, he turned his hand to painting canvas. Houbraken felt he received less for a painting than he deserved, because his work was of a very high quality. He describes a Triumph of Bacchus, and a Lycurgus, which was painted for the Amsterdam Orphanage.\n\nAccording to the RKD, he moved to Amsterdam with his brother Pieter Holsteyn II in 1647, became poorter there in 1652, and was betrothed there on Christmas Eve, 1654. He was buried in the Nieuwe Kerk on December 2, 1658, from his home on the Rozengracht. Houbraken claimed he had been fit until his sudden death by Hartvang, or heart-attack.\n\nReferences\n\n1618 births\n1658 deaths\nDutch Golden Age painters\nDutch male painters\nArtists from Haarlem\nPainters from Haarlem\nBurials at the Nieuwe Kerk, Amsterdam", "The Captive Slave is a painting by British artist John Simpson, which was first exhibited in London in 1827. The portrait shows a man, manacled, on a stone bench and looking pensively or plaintively upward. Its subject matter, historical period, and mode of creation suggest the artist intended the painting as an abolitionist statement. After going on display again in 1828, the painting was not given another public showing for 180 years until being purchased by the Art Institute of Chicago in 2008.\n\nPainting \nThe three-quarter portrait shows a Black man in orange-red open collar clothing, sitting on a stone bench, against a muted background, with the subject taking up most of the frame. Large metallic manacles are visible around his wrists, which lie on his lap, and a heavy chain falls across the bench and out of the frame. The man is gazing up and to his left. \n\nAt its original showing the painting was titled, The Captive Slave, and the viewer is informed of the sitter's condition as a slave by the manacles and by his dark skin, which connects him to the African slave trade. His clothes suggest somewhat foreign origin but also prison garb. The features of the subject show the man as a recognizable individual person. The painting has been described as a portrait but also a hybrid with genre painting, as the name of the character in the painting is unknown. His aspect is saintly or heroic, imploring, vulnerable, and somewhat passive in rest, which allowed British viewers, when the portrait was first shown to sympathize or pity the subject and deplore his condition. While the portrait follows high art conventions for depicting the saintly or long suffering, portraits of individual slaves were rare in the European high art tradition.\n\nContext\nThe artist, John Simpson, was a British portrait painter who studied at the Royal Academies, and was a longtime assistant of the portraitist Thomas Lawrence. In modern scholarship, Simpson is described as little known. The painting was created on a used canvas that x-rays showed had previously depicted a stately home and another portrait; this reuse suggests that Simpson did not paint it on commission, which is how he made his living, but here he appears to have chosen the subject of his own volition. The portrait was displayed in London at the Royal Academy in 1827, and again in London at the British Institution in 1828; that year, it was also displayed at an exhibition at the Liverpool Academy. Several contemporary reviews at that time noted the pathos that the painting evoked, and associated the painting with \"radical\" or \"sentimental\" abolitionist literature.\n\nIn the late 1820s, Britain was debating whether to abolish slavery throughout the British Empire. While Britain's international slave trade had been outlawed in 1807, the freedom of those remaining in slavery was still a pressing political question. Against this background, the production and display of the painting is understood as an effort to further the cause of abolition. Simpson included lines of William Cowper' poetry in the first exhibition catalogue: \"Ah but! what wish can prosper or what prayer/for merchants rich in cargoes of despair\". Reviewer Martin Postle concludes:\n\nThe model for the painting is thought to be the American-born actor Ira Aldridge. Aldridge was born a free negro and educated in New York, though he left the United States because of the lack of serious acting opportunities there for Black men. He went on to become a successful Shakespearean actor in Europe.\n\nProvenance \nThe painting was sold in Dublin from a private collection in 1996; at the time of the sale, a label on the frame read \"J. Simpson, The Slave\". A private British collector later sold it to an art dealer, who sold it to the Art Institute of Chicago in 2008. Prior to the acquisition by the museum where it underwent scientific testing, the painting had not been displayed to the general public for 180 years. What is now considered to be a copy from an unknown hand is in the collection of the Wilberforce House museum in Hull, England.\n\nReferences\n\nPaintings in the collection of the Art Institute of Chicago\nPortraits by English artists\nSlavery in art\n1827 paintings" ]
[ "Leonardo da Vinci", "Verrocchio's workshop, 1466-1476", "What was his first love", "Leonardo was apprenticed to the artist Andrea di Cione,", "WHat year was this", "1466,", "Whatwas he known for", "known as Verrocchio,", "What did he teach him", "whose bottega (workshop) was \"one of the finest in Florence\". He apprenticed as a garzone", "What did he do", "Other famous painters apprenticed or associated with the workshop include Domenico Ghirlandaio,", "Who else", "Perugino, Botticelli,", "Who else", "Lorenzo di Credi.", "What was his first painting", "Verrocchio on his The Baptism of Christ," ]	C_e9fd1aa07b684a6698373397ebd79adc_0	What did he like	9	What did Leonardo da Vinci like	Leonardo da Vinci	In 1466, at the age of fourteen, Leonardo was apprenticed to the artist Andrea di Cione, known as Verrocchio, whose bottega (workshop) was "one of the finest in Florence". He apprenticed as a garzone (studio boy) to Andrea del Verrocchio, the leading Florentine painter and sculptor of his day (and would do so for 7 years). Other famous painters apprenticed or associated with the workshop include Domenico Ghirlandaio, Perugino, Botticelli, and Lorenzo di Credi. Leonardo would have been exposed to both theoretical training and a vast range of technical skills, including drafting, chemistry, metallurgy, metal working, plaster casting, leather working, mechanics and carpentry as well as the artistic skills of drawing, painting, sculpting and modelling. Much of the painted production of Verrocchio's workshop was done by his employees. According to Vasari, Leonardo collaborated with Verrocchio on his The Baptism of Christ, painting the young angel holding Jesus' robe in a manner that was so far superior to his master's that Verrocchio put down his brush and never painted again, although this is believed to be apocryphal. Close examination reveals areas that have been painted or touched-up over the tempera using the new technique of oil paint; the landscape, the rocks seen through the brown mountain stream and much of the figure of Jesus bearing witness to the hand of Leonardo. Leonardo may have been the model for two works by Verrocchio: the bronze statue of David in the Bargello and the Archangel Raphael in Tobias and the Angel. By 1472, at the age of twenty, Leonardo qualified as a master in the Guild of Saint Luke, the guild of artists and doctors of medicine, but even after his father set him up in his own workshop, his attachment to Verrocchio was such that he continued to collaborate with him. Leonardo's earliest known dated work is a drawing in pen and ink of the Arno valley, drawn on 5 August 1473. CANNOTANSWER	young angel holding Jesus' robe in a manner that was so far superior to his master's	Leonardo di ser Piero da Vinci (15 April 14522 May 1519) was an Italian polymath of the High Renaissance who was active as a painter, draughtsman, engineer, scientist, theorist, sculptor and architect. While his fame initially rested on his achievements as a painter, he also became known for his notebooks, in which he made drawings and notes on a variety of subjects, including anatomy, astronomy, botany, cartography, painting, and paleontology. Leonardo's genius epitomized the Renaissance humanist ideal, and his collective works compose a contribution to later generations of artists matched only by that of his younger contemporary, Michelangelo. Born out of wedlock to a successful notary and a lower-class woman in, or near, Vinci, he was educated in Florence by the Italian painter and sculptor Andrea del Verrocchio. He began his career in the city, but then spent much time in the service of Ludovico Sforza in Milan. Later, he worked in Florence and Milan again, as well as briefly in Rome, all while attracting a large following of imitators and students. Upon the invitation of Francis I, he spent his last three years in France, where he died in 1519. Since his death, there has not been a time where his achievements, diverse interests, personal life, and empirical thinking have failed to incite interest and admiration, making him a frequent namesake and subject in culture. Leonardo is among the greatest painters in the history of art and is often credited as the founder of the High Renaissance. Despite having many lost works and less than 25 attributed major works—including numerous unfinished works—he created some of the most influential paintings in Western art. His magnum opus, the Mona Lisa, is his best known work and often regarded as the world's most famous painting. The Last Supper is the most reproduced religious painting of all time and his Vitruvian Man drawing is also regarded as a cultural icon. In 2017, Salvator Mundi, attributed in whole or part to Leonardo, was sold at auction for , setting a new record for the most expensive painting ever sold at public auction. Revered for his technological ingenuity, he conceptualized flying machines, a type of armored fighting vehicle, concentrated solar power, an adding machine, and the double hull. Relatively few of his designs were constructed or even feasible during his lifetime, as the modern scientific approaches to metallurgy and engineering were only in their infancy during the Renaissance. Some of his smaller inventions, however, entered the world of manufacturing unheralded, such as an automated bobbin winder and a machine for testing the tensile strength of wire. He made substantial discoveries in anatomy, civil engineering, hydrodynamics, geology, optics, and tribology, but he did not publish his findings and they had little to no direct influence on subsequent science. Biography Early life (1452–1472) Birth and background Leonardo da Vinci, properly named Leonardo di ser Piero da Vinci (Leonardo, son of ser Piero from Vinci), was born on 15 April 1452 in, or close to, the Tuscan hill town of Vinci; Florence was 20 miles away. He was born out of wedlock to (Ser Piero di Antonio di Ser Piero di Ser Guido da Vinci; 1426–1504), a Florentine legal notary, and ( – 1494), from the lower-class. It remains uncertain where Leonardo was born; the traditional account, from a local oral tradition recorded by the historian Emanuele Repetti, is that he was born in Anchiano, a country hamlet that would have offered sufficient privacy for the illegitimate birth, though it is still possible he was born in a house in Florence that Ser Piero almost certainly had. Leonardo's parents both married separately the year after his birth. Caterina—who later appears in Leonardo's notes as only "Caterina" or "Catelina"—is usually identified as the Caterina Buti del Vacca who married the local artisan Antonio di Piero Buti del Vacca, nicknamed "L'Accattabriga" ("the quarrelsome one"). Other theories have been proposed, particularly that of art historian Martin Kemp, who suggested Caterina di Meo Lippi, an orphan that married purportedly with aid from Ser Piero and his family. Ser Piero married Albiera Amadori—having been betrothed to her the previous year—and after her death in 1462, went on to have three subsequent marriages. From all the marriages, Leonardo eventually had 12 half-siblings who were much younger than he was (the last was born when Leonardo was 40 years old) and with whom he had very little contact. Very little is known about Leonardo's childhood and much is shrouded in myth, partially because of his biography in the frequently apocryphal Lives of the Most Excellent Painters, Sculptors, and Architects (1550) from the 16th-century art historian Giorgio Vasari. Tax records indicate that by at least 1457 he lived in the household of his paternal grandfather, Antonio da Vinci, but it is possible that he spent the years before then in the care of his mother in Vinci, either Anchiano or Campo Zeppi in the parish of San Pantaleone. He is thought to have been close to his uncle, Francesco da Vinci, but his father was likely in Florence most of the time. Ser Piero, who was the descendant of a long line of notaries, established an official residence in Florence by at least 1469 and led a successful career. Despite his family history, Leonardo only received a basic and informal education in (vernacular) writing, reading and mathematics, possibly because his artistic talents were recognised early, so his family decided to focus their attention there. Later in life, Leonardo recorded his earliest memory, now in the Codex Atlanticus. While writing on the flight of birds, he recalled as an infant when a kite came to his cradle and opened his mouth with its tail; commentators still debate whether the anecdote was an actual memory or a fantasy. Verrocchio's workshop In the mid-1460s, Leonardo's family moved to Florence, which at the time was the centre of Christian Humanist thought and culture. Around the age of 14, he became a garzone (studio boy) in the workshop of Andrea del Verrocchio, who was the leading Florentine painter and sculptor of his time. This was about the time of the death of Verrocchio's master, the great sculptor Donatello. Leonardo became an apprentice by the age of 17 and remained in training for seven years. Other famous painters apprenticed in the workshop or associated with it include Ghirlandaio, Perugino, Botticelli, and Lorenzo di Credi. Leonardo was exposed to both theoretical training and a wide range of technical skills, including drafting, chemistry, metallurgy, metal working, plaster casting, leather working, mechanics, and woodwork, as well as the artistic skills of drawing, painting, sculpting, and modelling. Leonardo was a contemporary of Botticelli, Ghirlandaio and Perugino, who were all slightly older than he was. He would have met them at the workshop of Verrocchio or at the Platonic Academy of the Medici. Florence was ornamented by the works of artists such as Donatello's contemporaries Masaccio, whose figurative frescoes were imbued with realism and emotion, and Ghiberti, whose Gates of Paradise, gleaming with gold leaf, displayed the art of combining complex figure compositions with detailed architectural backgrounds. Piero della Francesca had made a detailed study of perspective, and was the first painter to make a scientific study of light. These studies and Leon Battista Alberti's treatise De pictura were to have a profound effect on younger artists and in particular on Leonardo's own observations and artworks. Much of the painting in Verrocchio's workshop was done by his assistants. According to Vasari, Leonardo collaborated with Verrocchio on his The Baptism of Christ, painting the young angel holding Jesus' robe in a manner that was so far superior to his master's that Verrocchio put down his brush and never painted again, although this is believed to be an apocryphal story. Close examination reveals areas of the work that have been painted or touched-up over the tempera, using the new technique of oil paint, including the landscape, the rocks seen through the brown mountain stream, and much of the figure of Jesus, bearing witness to the hand of Leonardo. Leonardo may have been the model for two works by Verrocchio: the bronze statue of David in the Bargello, and the Archangel Raphael in Tobias and the Angel. Vasari tells a story of Leonardo as a very young man: a local peasant made himself a round shield and requested that Ser Piero have it painted for him. Leonardo, inspired by the story of Medusa, responded with a painting of a monster spitting fire that was so terrifying that his father bought a different shield to give to the peasant and sold Leonardo's to a Florentine art dealer for 100 ducats, who in turn sold it to the Duke of Milan. First Florentine period (1472–c. 1482) By 1472, at the age of 20, Leonardo qualified as a master in the Guild of Saint Luke, the guild of artists and doctors of medicine, but even after his father set him up in his own workshop, his attachment to Verrocchio was such that he continued to collaborate and live with him. Leonardo's earliest known dated work is a 1473 pen-and-ink drawing of the Arno valley. According to Vasari, the young Leonardo was the first to suggest making the Arno river a navigable channel between Florence and Pisa. In January 1478, Leonardo received an independent commission to paint an altarpiece for the Chapel of St. Bernard in the Palazzo Vecchio, an indication of his independence from Verrocchio's studio. An anonymous early biographer, known as Anonimo Gaddiano, claims that in 1480 Leonardo was living with the Medici and often worked in the garden of the Piazza San Marco, Florence, where a Neoplatonic academy of artists, poets and philosophers organized by the Medici met. In March 1481, he received a commission from the monks of San Donato in Scopeto for The Adoration of the Magi. Neither of these initial commissions were completed, being abandoned when Leonardo went to offer his services to Duke of Milan Ludovico Sforza. Leonardo wrote Sforza a letter which described the diverse things that he could achieve in the fields of engineering and weapon design, and mentioned that he could paint. He brought with him a silver string instrument—either a lute or lyre—in the form of a horse's head. With Alberti, Leonardo visited the home of the Medici and through them came to know the older Humanist philosophers of whom Marsiglio Ficino, proponent of Neoplatonism; Cristoforo Landino, writer of commentaries on Classical writings, and John Argyropoulos, teacher of Greek and translator of Aristotle were the foremost. Also associated with the Platonic Academy of the Medici was Leonardo's contemporary, the brilliant young poet and philosopher Pico della Mirandola. In 1482, Leonardo was sent as an ambassador by Lorenzo de' Medici to Ludovico il Moro, who ruled Milan between 1479 and 1499. First Milanese period (c. 1482–1499) Leonardo worked in Milan from 1482 until 1499. He was commissioned to paint the Virgin of the Rocks for the Confraternity of the Immaculate Conception and The Last Supper for the monastery of Santa Maria delle Grazie. In the spring of 1485, Leonardo travelled to Hungary on behalf of Sforza to meet king Matthias Corvinus, and was commissioned by him to paint a Madonna. Leonardo was employed on many other projects for Sforza, including the preparation of floats and pageants for special occasions, a drawing and wooden model for a competition to design the cupola for Milan Cathedral (which he withdrew), and a model for a huge equestrian monument to Ludovico's predecessor Francesco Sforza. This would have surpassed in size the only two large equestrian statues of the Renaissance, Donatello's Gattamelata in Padua and Verrocchio's Bartolomeo Colleoni in Venice, and became known as the Gran Cavallo. Leonardo completed a model for the horse and made detailed plans for its casting, but in November 1494, Ludovico gave the bronze to his brother-in-law to be used for a cannon to defend the city from Charles VIII of France. Contemporary correspondence records that Leonardo and his assistants were commissioned by the Duke of Milan to paint the Sala delle Asse in the Sforza Castle. The decoration was completed in 1498. The project became a trompe-l'œil decoration that made the great hall appear to be a pergola created by the interwoven limbs of sixteen mulberry trees, whose canopy included an intricate labyrinth of leaves and knots on the ceiling. Second Florentine period (1500–1508) When Ludovico Sforza was overthrown by France in 1500, Leonardo fled Milan for Venice, accompanied by his assistant Salaì and friend, the mathematician Luca Pacioli. In Venice, Leonardo was employed as a military architect and engineer, devising methods to defend the city from naval attack. On his return to Florence in 1500, he and his household were guests of the Servite monks at the monastery of Santissima Annunziata and were provided with a workshop where, according to Vasari, Leonardo created the cartoon of The Virgin and Child with St Anne and St John the Baptist, a work that won such admiration that "men [and] women, young and old" flocked to see it "as if they were going to a solemn festival." In Cesena in 1502, Leonardo entered the service of Cesare Borgia, the son of Pope Alexander VI, acting as a military architect and engineer and travelling throughout Italy with his patron. Leonardo created a map of Cesare Borgia's stronghold, a town plan of Imola in order to win his patronage. Upon seeing it, Cesare hired Leonardo as his chief military engineer and architect. Later in the year, Leonardo produced another map for his patron, one of Chiana Valley, Tuscany, so as to give his patron a better overlay of the land and greater strategic position. He created this map in conjunction with his other project of constructing a dam from the sea to Florence, in order to allow a supply of water to sustain the canal during all seasons. Leonardo had left Borgia's service and returned to Florence by early 1503, where he rejoined the Guild of Saint Luke on 18 October of that year. By this same month, Leonardo had begun working on a portrait of Lisa del Giocondo, the model for the Mona Lisa, which he would continue working on until his twilight years. In January 1504, he was part of a committee formed to recommend where Michelangelo's statue of David should be placed. He then spent two years in Florence designing and painting a mural of The Battle of Anghiari for the Signoria, with Michelangelo designing its companion piece, The Battle of Cascina. In 1506, Leonardo was summoned to Milan by Charles II d'Amboise, the acting French governor of the city. There, Leonardo took on another pupil, Count Francesco Melzi, the son of a Lombard aristocrat, who is considered to have been his favourite student. The Council of Florence wished Leonardo to return promptly to finish The Battle of Anghiari, but he was given leave at the behest of Louis XII, who considered commissioning the artist to make some portraits. Leonardo may have commenced a project for an equestrian figure of d'Amboise; a wax model survives and, if genuine, is the only extant example of Leonardo's sculpture. Leonardo was otherwise free to pursue his scientific interests. Many of Leonardo's most prominent pupils either knew or worked with him in Milan, including Bernardino Luini, Giovanni Antonio Boltraffio, and Marco d'Oggiono. In 1507, Leonardo was in Florence sorting out a dispute with his brothers over the estate of his father, who had died in 1504. Second Milanese period (1508–1513) By 1508, Leonardo was back in Milan, living in his own house in Porta Orientale in the parish of Santa Babila. In 1512, Leonardo was working on plans for an equestrian monument for Gian Giacomo Trivulzio, but this was prevented by an invasion of a confederation of Swiss, Spanish and Venetian forces, which drove the French from Milan. Leonardo stayed in the city, spending several months in 1513 at the Medici's Vaprio d'Adda villa. Rome and France (1513–1519) In March of 1513, Lorenzo de' Medici's son Giovanni assumed the papacy (as Leo X); Leonardo went to Rome that September, where he was received by the pope's brother Giuliano. From September 1513 to 1516, Leonardo spent much of his time living in the Belvedere Courtyard in the Apostolic Palace, where Michelangelo and Raphael were both active. Leonardo was given an allowance of 33 ducats a month, and according to Vasari, decorated a lizard with scales dipped in quicksilver. The pope gave him a painting commission of unknown subject matter, but cancelled it when the artist set about developing a new kind of varnish. Leonardo became ill, in what may have been the first of multiple strokes leading to his death. He practiced botany in the Gardens of Vatican City, and was commissioned to make plans for the pope's proposed draining of the Pontine Marshes. He also dissected cadavers, making notes for a treatise on vocal cords; these he gave to an official in hopes of regaining the pope's favor, but was unsuccessful. In October 1515, King Francis I of France recaptured Milan. Leonardo was present at the 19 December meeting of Francis I and Leo X, which took place in Bologna. In 1516, Leonardo entered Francis' service, being given the use of the manor house Clos Lucé, near the king's residence at the royal Château d'Amboise. Being frequently visited by Francis, he drew plans for an immense castle town the king intended to erect at Romorantin, and made a mechanical lion, which during a pageant walked toward the king and—upon being struck by a wand—opened its chest to reveal a cluster of lilies. Leonardo was accompanied during this time by his friend and apprentice Francesco Melzi, and supported by a pension totalling 10,000 scudi. At some point, Melzi drew a portrait of Leonardo; the only others known from his lifetime were a sketch by an unknown assistant on the back of one of Leonardo's studies () and a drawing by Giovanni Ambrogio Figino depicting an elderly Leonardo with his right arm assuaged by cloth. The latter, in addition to the record of an October 1517 visit by Louis d'Aragon, confirms an account of Leonardo's right hand being paralytic at the age of 65, which may indicate why he left works such as the Mona Lisa unfinished. He continued to work at some capacity until eventually becoming ill and bedridden for several months. Death Leonardo died at Clos Lucé on 2 May 1519 at the age of 67, possibly of a stroke. Francis I had become a close friend. Vasari describes Leonardo as lamenting on his deathbed, full of repentance, that "he had offended against God and men by failing to practice his art as he should have done." Vasari states that in his last days, Leonardo sent for a priest to make his confession and to receive the Holy Sacrament. Vasari also records that the king held Leonardo's head in his arms as he died, although this story may be legend rather than fact. In accordance with his will, sixty beggars carrying tapers followed Leonardo's casket. Melzi was the principal heir and executor, receiving, as well as money, Leonardo's paintings, tools, library and personal effects. Leonardo's other long-time pupil and companion, Salaì, and his servant Baptista de Vilanis, each received half of Leonardo's vineyards. His brothers received land, and his serving woman received a fur-lined cloak. On 12 August 1519, Leonardo's remains were interred in the Collegiate Church of Saint Florentin at the Château d'Amboise. Salaì, or Il Salaino ("The Little Unclean One," i.e., the devil), entered Leonardo's household in 1490 as an assistant. After only a year, Leonardo made a list of his misdemeanours, calling him "a thief, a liar, stubborn, and a glutton," after he had made off with money and valuables on at least five occasions and spent a fortune on clothes. Nevertheless, Leonardo treated him with great indulgence, and he remained in Leonardo's household for the next thirty years. Salaì executed a number of paintings under the name of Andrea Salaì, but although Vasari claims that Leonardo "taught him many things about painting," his work is generally considered to be of less artistic merit than others among Leonardo's pupils, such as Marco d'Oggiono and Boltraffio. Salaì owned the Mona Lisa at the time of Leonardo's death in 1524, and in his will it was assessed at 505 lire, an exceptionally high valuation for a small panel portrait. Some 20 years after Leonardo's death, Francis was reported by the goldsmith and sculptor Benvenuto Cellini as saying: "There had never been another man born in the world who knew as much as Leonardo, not so much about painting, sculpture and architecture, as that he was a very great philosopher." Personal life Despite the thousands of pages Leonardo left in notebooks and manuscripts, he scarcely made reference to his personal life. Within Leonardo's lifetime, his extraordinary powers of invention, his "great physical beauty" and "infinite grace," as described by Vasari, as well as all other aspects of his life, attracted the curiosity of others. One such aspect was his love for animals, likely including vegetarianism and according to Vasari, a habit of purchasing caged birds and releasing them. Leonardo had many friends who are now notable either in their fields or for their historical significance, including mathematician Luca Pacioli, with whom he collaborated on the book Divina proportione in the 1490s. Leonardo appears to have had no close relationships with women except for his friendship with Cecilia Gallerani and the two Este sisters, Beatrice and Isabella. While on a journey that took him through Mantua, he drew a portrait of Isabella that appears to have been used to create a painted portrait, now lost. Beyond friendship, Leonardo kept his private life secret. His sexuality has been the subject of satire, analysis, and speculation. This trend began in the mid-16th century and was revived in the 19th and 20th centuries, most notably by Sigmund Freud in his Leonardo da Vinci, A Memory of His Childhood. Leonardo's most intimate relationships were perhaps with his pupils Salaì and Melzi. Melzi, writing to inform Leonardo's brothers of his death, described Leonardo's feelings for his pupils as both loving and passionate. It has been claimed since the 16th century that these relationships were of a sexual or erotic nature. Court records of 1476, when he was aged twenty-four, show that Leonardo and three other young men were charged with sodomy in an incident involving a well-known male prostitute. The charges were dismissed for lack of evidence, and there is speculation that since one of the accused, Lionardo de Tornabuoni, was related to Lorenzo de' Medici, the family exerted its influence to secure the dismissal. Since that date much has been written about his presumed homosexuality and its role in his art, particularly in the androgyny and eroticism manifested in Saint John the Baptist and Bacchus and more explicitly in a number of erotic drawings. Paintings Despite the recent awareness and admiration of Leonardo as a scientist and inventor, for the better part of four hundred years his fame rested on his achievements as a painter. A handful of works that are either authenticated or attributed to him have been regarded as among the great masterpieces. These paintings are famous for a variety of qualities that have been much imitated by students and discussed at great length by connoisseurs and critics. By the 1490s Leonardo had already been described as a "Divine" painter. Among the qualities that make Leonardo's work unique are his innovative techniques for laying on the paint; his detailed knowledge of anatomy, light, botany and geology; his interest in physiognomy and the way humans register emotion in expression and gesture; his innovative use of the human form in figurative composition; and his use of subtle gradation of tone. All these qualities come together in his most famous painted works, the Mona Lisa, the Last Supper, and the Virgin of the Rocks. Early works Leonardo first gained attention for his work on the Baptism of Christ, painted in conjunction with Verrocchio. Two other paintings appear to date from his time at Verrocchio's workshop, both of which are Annunciations. One is small, long and high. It is a "predella" to go at the base of a larger composition, a painting by Lorenzo di Credi from which it has become separated. The other is a much larger work, long. In both Annunciations, Leonardo used a formal arrangement, like two well-known pictures by Fra Angelico of the same subject, of the Virgin Mary sitting or kneeling to the right of the picture, approached from the left by an angel in profile, with a rich flowing garment, raised wings and bearing a lily. Although previously attributed to Ghirlandaio, the larger work is now generally attributed to Leonardo. In the smaller painting, Mary averts her eyes and folds her hands in a gesture that symbolised submission to God's will. Mary is not submissive, however, in the larger piece. The girl, interrupted in her reading by this unexpected messenger, puts a finger in her bible to mark the place and raises her hand in a formal gesture of greeting or surprise. This calm young woman appears to accept her role as the Mother of God, not with resignation but with confidence. In this painting, the young Leonardo presents the humanist face of the Virgin Mary, recognising humanity's role in God's incarnation. Paintings of the 1480s In the 1480s, Leonardo received two very important commissions and commenced another work that was of ground-breaking importance in terms of composition. Two of the three were never finished, and the third took so long that it was subject to lengthy negotiations over completion and payment. One of these paintings was Saint Jerome in the Wilderness, which Bortolon associates with a difficult period of Leonardo's life, as evidenced in his diary: "I thought I was learning to live; I was only learning to die." Although the painting is barely begun, the composition can be seen and is very unusual. Jerome, as a penitent, occupies the middle of the picture, set on a slight diagonal and viewed somewhat from above. His kneeling form takes on a trapezoid shape, with one arm stretched to the outer edge of the painting and his gaze looking in the opposite direction. J. Wasserman points out the link between this painting and Leonardo's anatomical studies. Across the foreground sprawls his symbol, a great lion whose body and tail make a double spiral across the base of the picture space. The other remarkable feature is the sketchy landscape of craggy rocks against which the figure is silhouetted. The daring display of figure composition, the landscape elements and personal drama also appear in the great unfinished masterpiece, the Adoration of the Magi, a commission from the Monks of San Donato a Scopeto. It is a complex composition, of about Leonardo did numerous drawings and preparatory studies, including a detailed one in linear perspective of the ruined classical architecture that forms part of the background. In 1482 Leonardo went to Milan at the behest of Lorenzo de' Medici in order to win favour with Ludovico il Moro, and the painting was abandoned. The third important work of this period is the Virgin of the Rocks, commissioned in Milan for the Confraternity of the Immaculate Conception. The painting, to be done with the assistance of the de Predis brothers, was to fill a large complex altarpiece. Leonardo chose to paint an apocryphal moment of the infancy of Christ when the infant John the Baptist, in protection of an angel, met the Holy Family on the road to Egypt. The painting demonstrates an eerie beauty as the graceful figures kneel in adoration around the infant Christ in a wild landscape of tumbling rock and whirling water. While the painting is quite large, about , it is not nearly as complex as the painting ordered by the monks of St Donato, having only four figures rather than about fifty and a rocky landscape rather than architectural details. The painting was eventually finished; in fact, two versions of the painting were finished: one remained at the chapel of the Confraternity, while Leonardo took the other to France. The Brothers did not get their painting, however, nor the de Predis their payment, until the next century. Leonardo's most remarkable portrait of this period is the Lady with an Ermine, presumed to be Cecilia Gallerani (), lover of Ludovico Sforza. The painting is characterised by the pose of the figure with the head turned at a very different angle to the torso, unusual at a date when many portraits were still rigidly in profile. The ermine plainly carries symbolic meaning, relating either to the sitter, or to Ludovico who belonged to the prestigious Order of the Ermine. Paintings of the 1490s Leonardo's most famous painting of the 1490s is The Last Supper, commissioned for the refectory of the Convent of Santa Maria della Grazie in Milan. It represents the last meal shared by Jesus with his disciples before his capture and death, and shows the moment when Jesus has just said "one of you will betray me", and the consternation that this statement caused. The writer Matteo Bandello observed Leonardo at work and wrote that some days he would paint from dawn till dusk without stopping to eat and then not paint for three or four days at a time. This was beyond the comprehension of the prior of the convent, who hounded him until Leonardo asked Ludovico to intervene. Vasari describes how Leonardo, troubled over his ability to adequately depict the faces of Christ and the traitor Judas, told the duke that he might be obliged to use the prior as his model. The painting was acclaimed as a masterpiece of design and characterization, but it deteriorated rapidly, so that within a hundred years it was described by one viewer as "completely ruined." Leonardo, instead of using the reliable technique of fresco, had used tempera over a ground that was mainly gesso, resulting in a surface subject to mould and to flaking. Despite this, the painting remains one of the most reproduced works of art; countless copies have been made in various mediums. Toward the end of this period, in 1498 da Vinci's trompe-l'œil decoration of the Sala delle Asse was painted for the Duke of Milan in the Castello Sforzesco. Paintings of the 1500s In 1505, Leonardo was commissioned to paint The Battle of Anghiari in the Salone dei Cinquecento (Hall of the Five Hundred) in the Palazzo Vecchio, Florence. Leonardo devised a dynamic composition depicting four men riding raging war horses engaged in a battle for possession of a standard, at the Battle of Anghiari in 1440. Michelangelo was assigned the opposite wall to depict the Battle of Cascina. Leonardo's painting deteriorated rapidly and is now known from a copy by Rubens. Among the works created by Leonardo in the 16th century is the small portrait known as the Mona Lisa or La Gioconda, the laughing one. In the present era, it is arguably the most famous painting in the world. Its fame rests, in particular, on the elusive smile on the woman's face, its mysterious quality perhaps due to the subtly shadowed corners of the mouth and eyes such that the exact nature of the smile cannot be determined. The shadowy quality for which the work is renowned came to be called "sfumato," or Leonardo's smoke. Vasari wrote that the smile was "so pleasing that it seems more divine than human, and it was considered a wondrous thing that it was as lively as the smile of the living original." Other characteristics of the painting are the unadorned dress, in which the eyes and hands have no competition from other details; the dramatic landscape background, in which the world seems to be in a state of flux; the subdued colouring; and the extremely smooth nature of the painterly technique, employing oils laid on much like tempera, and blended on the surface so that the brushstrokes are indistinguishable. Vasari expressed that the painting's quality would make even "the most confident master ... despair and lose heart." The perfect state of preservation and the fact that there is no sign of repair or overpainting is rare in a panel painting of this date. In the painting Virgin and Child with St. Anne, the composition again picks up the theme of figures in a landscape, which Wasserman describes as "breathtakingly beautiful" and harkens back to the St Jerome picture with the figure set at an oblique angle. What makes this painting unusual is that there are two obliquely set figures superimposed. Mary is seated on the knee of her mother, St Anne. She leans forward to restrain the Christ Child as he plays roughly with a lamb, the sign of his own impending sacrifice. This painting, which was copied many times, influenced Michelangelo, Raphael, and Andrea del Sarto, and through them Pontormo and Correggio. The trends in composition were adopted in particular by the Venetian painters Tintoretto and Veronese. Drawings Leonardo was a prolific draughtsman, keeping journals full of small sketches and detailed drawings recording all manner of things that took his attention. As well as the journals there exist many studies for paintings, some of which can be identified as preparatory to particular works such as The Adoration of the Magi, The Virgin of the Rocks and The Last Supper. His earliest dated drawing is a Landscape of the Arno Valley, 1473, which shows the river, the mountains, Montelupo Castle and the farmlands beyond it in great detail. Among his famous drawings are the Vitruvian Man, a study of the proportions of the human body; the Head of an Angel, for The Virgin of the Rocks in the Louvre; a botanical study of Star of Bethlehem; and a large drawing (160×100 cm) in black chalk on coloured paper of The Virgin and Child with Saint Anne and Saint John the Baptist in the National Gallery, London. This drawing employs the subtle sfumato technique of shading, in the manner of the Mona Lisa. It is thought that Leonardo never made a painting from it, the closest similarity being to The Virgin and Child with Saint Anne in the Louvre. Other drawings of interest include numerous studies generally referred to as "caricatures" because, although exaggerated, they appear to be based upon observation of live models. Vasari relates that Leonardo would look for interesting faces in public to use as models for some of his work. There are numerous studies of beautiful young men, often associated with Salaì, with the rare and much admired facial feature, the so-called "Grecian profile." These faces are often contrasted with that of a warrior. Salaì is often depicted in fancy-dress costume. Leonardo is known to have designed sets for pageants with which these may be associated. Other, often meticulous, drawings show studies of drapery. A marked development in Leonardo's ability to draw drapery occurred in his early works. Another often-reproduced drawing is a macabre sketch that was done by Leonardo in Florence in 1479 showing the body of Bernardo Baroncelli, hanged in connection with the murder of Giuliano, brother of Lorenzo de' Medici, in the Pazzi conspiracy. In his notes, Leonardo recorded the colours of the robes that Baroncelli was wearing when he died. Like the two contemporary architects Donato Bramante (who designed the Belvedere Courtyard) and Antonio da Sangallo the Elder, Leonardo experimented with designs for centrally planned churches, a number of which appear in his journals, as both plans and views, although none was ever realised. Journals and notes Renaissance humanism recognised no mutually exclusive polarities between the sciences and the arts, and Leonardo's studies in science and engineering are sometimes considered as impressive and innovative as his artistic work. These studies were recorded in 13,000 pages of notes and drawings, which fuse art and natural philosophy (the forerunner of modern science). They were made and maintained daily throughout Leonardo's life and travels, as he made continual observations of the world around him. Leonardo's notes and drawings display an enormous range of interests and preoccupations, some as mundane as lists of groceries and people who owed him money and some as intriguing as designs for wings and shoes for walking on water. There are compositions for paintings, studies of details and drapery, studies of faces and emotions, of animals, babies, dissections, plant studies, rock formations, whirlpools, war machines, flying machines and architecture. These notebooks—originally loose papers of different types and sizes—were largely entrusted to Leonardo's pupil and heir Francesco Melzi after the master's death. These were to be published, a task of overwhelming difficulty because of its scope and Leonardo's idiosyncratic writing. Some of Leonardo's drawings were copied by an anonymous Milanese artist for a planned treatise on art . After Melzi's death in 1570, the collection passed to his son, the lawyer Orazio, who initially took little interest in the journals. In 1587, a Melzi household tutor named Lelio Gavardi took 13 of the manuscripts to Pisa; there, the architect Giovanni Magenta reproached Gavardi for having taken the manuscripts illicitly and returned them to Orazio. Having many more such works in his possession, Orazio gifted the volumes to Magenta. News spread of these lost works of Leonardo's, and Orazio retrieved seven of the 13 manuscripts, which he then gave to Pompeo Leoni for publication in two volumes; one of these was the Codex Atlanticus. The other six works had been distributed to a few others. After Orazio's death, his heirs sold the rest of Leonardo's possessions, and thus began their dispersal. Some works have found their way into major collections such as the Royal Library at Windsor Castle, the Louvre, the Biblioteca Nacional de España, the Victoria and Albert Museum, the Biblioteca Ambrosiana in Milan, which holds the 12-volume Codex Atlanticus, and the British Library in London, which has put a selection from the Codex Arundel (BL Arundel MS 263) online. Works have also been at Holkham Hall, the Metropolitan Museum of Art, and in the private hands of John Nicholas Brown I and Robert Lehman. The Codex Leicester is the only privately owned major scientific work of Leonardo; it is owned by Bill Gates and displayed once a year in different cities around the world. Most of Leonardo's writings are in mirror-image cursive. Since Leonardo wrote with his left hand, it was probably easier for him to write from right to left. Leonardo used a variety of shorthand and symbols, and states in his notes that he intended to prepare them for publication. In many cases a single topic is covered in detail in both words and pictures on a single sheet, together conveying information that would not be lost if the pages were published out of order. Why they were not published during Leonardo's lifetime is unknown. Science and inventions Leonardo's approach to science was observational: he tried to understand a phenomenon by describing and depicting it in utmost detail and did not emphasise experiments or theoretical explanation. Since he lacked formal education in Latin and mathematics, contemporary scholars mostly ignored Leonardo the scientist, although he did teach himself Latin. His keen observations in many areas were noted, such as when he wrote "Il sole non si move." ("The Sun does not move.") In the 1490s he studied mathematics under Luca Pacioli and prepared a series of drawings of regular solids in a skeletal form to be engraved as plates for Pacioli's book Divina proportione, published in 1509. While living in Milan, he studied light from the summit of Monte Rosa. Scientific writings in his notebook on fossils have been considered as influential on early palaeontology. The content of his journals suggest that he was planning a series of treatises on a variety of subjects. A coherent treatise on anatomy is said to have been observed during a visit by Cardinal Louis d'Aragon's secretary in 1517. Aspects of his work on the studies of anatomy, light and the landscape were assembled for publication by Melzi and eventually published as A Treatise on Painting in France and Italy in 1651 and Germany in 1724, with engravings based upon drawings by the Classical painter Nicolas Poussin. According to Arasse, the treatise, which in France went into 62 editions in fifty years, caused Leonardo to be seen as "the precursor of French academic thought on art." While Leonardo's experimentation followed scientific methods, a recent and exhaustive analysis of Leonardo as a scientist by Fritjof Capra argues that Leonardo was a fundamentally different kind of scientist from Galileo, Newton and other scientists who followed him in that, as a "Renaissance Man", his theorising and hypothesising integrated the arts and particularly painting. Anatomy and physiology Leonardo started his study in the anatomy of the human body under the apprenticeship of Verrocchio, who demanded that his students develop a deep knowledge of the subject. As an artist, he quickly became master of topographic anatomy, drawing many studies of muscles, tendons and other visible anatomical features. As a successful artist, Leonardo was given permission to dissect human corpses at the Hospital of Santa Maria Nuova in Florence and later at hospitals in Milan and Rome. From 1510 to 1511 he collaborated in his studies with the doctor Marcantonio della Torre. Leonardo made over 240 detailed drawings and wrote about 13,000 words toward a treatise on anatomy. Only a small amount of the material on anatomy was published in Leonardo's Treatise on painting. During the time that Melzi was ordering the material into chapters for publication, they were examined by a number of anatomists and artists, including Vasari, Cellini and Albrecht Dürer, who made a number of drawings from them. Leonardo's anatomical drawings include many studies of the human skeleton and its parts, and of muscles and sinews. He studied the mechanical functions of the skeleton and the muscular forces that are applied to it in a manner that prefigured the modern science of biomechanics. He drew the heart and vascular system, the sex organs and other internal organs, making one of the first scientific drawings of a fetus in utero. The drawings and notation are far ahead of their time, and if published would undoubtedly have made a major contribution to medical science. Leonardo also closely observed and recorded the effects of age and of human emotion on the physiology, studying in particular the effects of rage. He drew many figures who had significant facial deformities or signs of illness. Leonardo also studied and drew the anatomy of many animals, dissecting cows, birds, monkeys, bears, and frogs, and comparing in his drawings their anatomical structure with that of humans. He also made a number of studies of horses. Leonardo's dissections and documentation of muscles, nerves, and vessels helped to describe the physiology and mechanics of movement. He attempted to identify the source of 'emotions' and their expression. He found it difficult to incorporate the prevailing system and theories of bodily humours, but eventually he abandoned these physiological explanations of bodily functions. He made the observations that humours were not located in cerebral spaces or ventricles. He documented that the humours were not contained in the heart or the liver, and that it was the heart that defined the circulatory system. He was the first to define atherosclerosis and liver cirrhosis. He created models of the cerebral ventricles with the use of melted wax and constructed a glass aorta to observe the circulation of blood through the aortic valve by using water and grass seed to watch flow patterns. Vesalius published his work on anatomy and physiology in De humani corporis fabrica in 1543. Engineering and inventions During his lifetime, Leonardo was also valued as an engineer. With the same rational and analytical approach that moved him to represent the human body and to investigate anatomy, Leonardo studied and designed many machines and devices. He drew their “anatomy” with unparalleled mastery, producing the first form of the modern technical drawing, including a perfected "exploded view" technique, to represent internal components. Those studies and projects collected in his codices fill more than 5,000 pages. In a letter of 1482 to the lord of Milan Ludovico il Moro, he wrote that he could create all sorts of machines both for the protection of a city and for siege. When he fled from Milan to Venice in 1499, he found employment as an engineer and devised a system of moveable barricades to protect the city from attack. In 1502, he created a scheme for diverting the flow of the Arno river, a project on which Niccolò Machiavelli also worked. He continued to contemplate the canalization of Lombardy's plains while in Louis XII's company and of the Loire and its tributaries in the company of Francis I. Leonardo's journals include a vast number of inventions, both practical and impractical. They include musical instruments, a mechanical knight, hydraulic pumps, reversible crank mechanisms, finned mortar shells, and a steam cannon. Leonardo was fascinated by the phenomenon of flight for much of his life, producing many studies, including Codex on the Flight of Birds (), as well as plans for several flying machines, such as a flapping ornithopter and a machine with a helical rotor. A 2003 documentary by British television station Channel Four, titled Leonardo's Dream Machines, various designs by Leonardo, such as a parachute and a giant crossbow, were interpreted and constructed. Some of those designs proved successful, whilst others fared less well when tested. Research performed by Marc van den Broek revealed older prototypes for more than 100 inventions that are ascribed to Leonardo. Similarities between Leonardo's illustrations and drawings from the Middle Ages and from Ancient Greece and Rome, the Chinese and Persian Empires, and Egypt suggest that a large portion of Leonardo's inventions had been conceived before his lifetime. Leonardo's innovation was to combine different functions from existing drafts and set them into scenes that illustrated their utility. By reconstituting technical inventions he created something new. In his notebooks, Leonardo first stated the ‘laws’ of sliding friction in 1493. His inspiration for investigating friction came about in part from his study of perpetual motion, which he correctly concluded was not possible. His results were never published and the friction laws were not rediscovered until 1699 by Guillaume Amontons, with whose name they are now usually associated. For this contribution, Leonardo was named as the first of the 23 "Men of Tribology" by Duncan Dowson. Legacy Although he had no formal academic training, many historians and scholars regard Leonardo as the prime exemplar of the "Universal Genius" or "Renaissance Man", an individual of "unquenchable curiosity" and "feverishly inventive imagination." He is widely considered one of the most diversely talented individuals ever to have lived. According to art historian Helen Gardner, the scope and depth of his interests were without precedent in recorded history, and "his mind and personality seem to us superhuman, while the man himself mysterious and remote." Scholars interpret his view of the world as being based in logic, though the empirical methods he used were unorthodox for his time. Leonardo's fame within his own lifetime was such that the King of France carried him away like a trophy, and was claimed to have supported him in his old age and held him in his arms as he died. Interest in Leonardo and his work has never diminished. Crowds still queue to see his best-known artworks, T-shirts still bear his most famous drawing, and writers continue to hail him as a genius while speculating about his private life, as well as about what one so intelligent actually believed in. The continued admiration that Leonardo commanded from painters, critics and historians is reflected in many other written tributes. Baldassare Castiglione, author of Il Cortegiano (The Courtier), wrote in 1528: "...Another of the greatest painters in this world looks down on this art in which he is unequalled..." while the biographer known as "Anonimo Gaddiano" wrote, : "His genius was so rare and universal that it can be said that nature worked a miracle on his behalf..." Vasari, in his Lives of the Artists (1568), opens his chapter on Leonardo: In the normal course of events many men and women are born with remarkable talents; but occasionally, in a way that transcends nature, a single person is marvellously endowed by Heaven with beauty, grace and talent in such abundance that he leaves other men far behind, all his actions seem inspired and indeed everything he does clearly comes from God rather than from human skill. Everyone acknowledged that this was true of Leonardo da Vinci, an artist of outstanding physical beauty, who displayed infinite grace in everything that he did and who cultivated his genius so brilliantly that all problems he studied he solved with ease. The 19th century brought a particular admiration for Leonardo's genius, causing Henry Fuseli to write in 1801: "Such was the dawn of modern art, when Leonardo da Vinci broke forth with a splendour that distanced former excellence: made up of all the elements that constitute the essence of genius..." This is echoed by A.E. Rio who wrote in 1861: "He towered above all other artists through the strength and the nobility of his talents." By the 19th century, the scope of Leonardo's notebooks was known, as well as his paintings. Hippolyte Taine wrote in 1866: "There may not be in the world an example of another genius so universal, so incapable of fulfilment, so full of yearning for the infinite, so naturally refined, so far ahead of his own century and the following centuries." Art historian Bernard Berenson wrote in 1896: "Leonardo is the one artist of whom it may be said with perfect literalness: Nothing that he touched but turned into a thing of eternal beauty. Whether it be the cross section of a skull, the structure of a weed, or a study of muscles, he, with his feeling for line and for light and shade, forever transmuted it into life-communicating values." The interest in Leonardo's genius has continued unabated; experts study and translate his writings, analyse his paintings using scientific techniques, argue over attributions and search for works which have been recorded but never found. Liana Bortolon, writing in 1967, said: "Because of the multiplicity of interests that spurred him to pursue every field of knowledge...Leonardo can be considered, quite rightly, to have been the universal genius par excellence, and with all the disquieting overtones inherent in that term. Man is as uncomfortable today, faced with a genius, as he was in the 16th century. Five centuries have passed, yet we still view Leonardo with awe." The Elmer Belt Library of Vinciana is a special collection at the University of California, Los Angeles. Twenty-first-century author Walter Isaacson based much of his biography of Leonardo on thousands of notebook entries, studying the personal notes, sketches, budget notations, and musings of the man whom he considers the greatest of innovators. Isaacson was surprised to discover a "fun, joyous" side of Leonardo in addition to his limitless curiosity and creative genius. On the 500th anniversary of Leonardo's death, the Louvre in Paris arranged for the largest ever single exhibit of his work, called Leonardo, between November 2019 and February 2020. The exhibit includes over 100 paintings, drawings and notebooks. Eleven of the paintings that Leonardo completed in his lifetime were included. Five of these are owned by the Louvre, but the Mona Lisa was not included because it is in such great demand among general visitors to the Louvre; it remains on display in its gallery. Vitruvian Man, however, is on display following a legal battle with its owner, the Gallerie dell'Accademia in Venice. Salvator Mundi was also not included because its Saudi owner did not agree to lease the work. The Mona Lisa, considered Leonardo's magnum opus, is often regarded as the most famous portrait ever made. The Last Supper is the most reproduced religious painting of all time, and Leonardo's Vitruvian Man drawing is also considered a cultural icon. More than a decade of analysis of Leonardo's genetic genealogy, conducted by Alessandro Vezzosi and Agnese Sabato, came to a conclusion in mid-2021. It was determined that the artist has 14 living male relatives. The work could also help determine the authenticity of remains thought to belong to Leonardo. Location of remains While Leonardo was certainly buried in the collegiate church of Saint Florentin at the Château d'Amboise in 12 August 1519, the current location of his remains is unclear. Much of Château d'Amboise was damaged during the French Revolution, leading to the church's demolition in 1802. Some of the graves were destroyed in the process, scattering the bones interred there and thereby leaving the whereabouts of Leonardo's remains subject to dispute; a gardener may have even buried some in the corner of the courtyard. In 1863, fine-arts inspector general Arsène Houssaye received an imperial commission to excavate the site and discovered a partially complete skeleton with a bronze ring on one finger, white hair, and stone fragments bearing the inscriptions "EO", "AR", "DUS", and "VINC"—interpreted as forming "Leonardus Vinci". The skull's eight teeth corresponds to someone of approximately the appropriate age and a silver shield found near the bones depicts a beardless Francis I, corresponding to the king's appearance during Leonardo's time in France. Houssaye postulated that the unusually large skull was an indicator of Leonardo's intelligence; author Charles Nicholl describes this as a "dubious phrenological deduction." At the same time, Houssaye noted some issues with his observations, including that the feet were turned toward the high altar, a practice generally reserved for laymen, and that the skeleton of seemed too short. Art historian Mary Margaret Heaton wrote in 1874 that the height would be appropriate for Leonardo. The skull was allegedly presented to Napoleon III before being returned to the Château d'Amboise, where they were in the chapel of Saint Hubert in 1874. A plaque above the tomb states that its contents are only presumed to be those of Leonardo. It has since been theorized that the folding of the skeleton's right arm over the head may correspond to the paralysis of Leonardo's right hand. In 2016, it was announced that DNA tests would be conducted to determine whether the attribution is correct. The DNA of the remains will be compared to that of samples collected from Leonardo's work and his half-brother Domenico's descendants; it may also be sequenced. In 2019, documents were published revealing that Houssaye had kept the ring and a lock of hair. In 1925, his great-grandson sold these to an American collector. Sixty years later, another American acquired them, leading to their being displayed at the Leonardo Museum in Vinci beginning on 2 May 2019, the 500th anniversary of the artist's death. Notes General Dates of works References Citations Early Modern Works cited Early in in Modern Books volume 2: . A reprint of the original 1883 edition Journals and encyclopedia articles Further reading See and for extensive bibliographies External links General Universal Leonardo, a database of Leonardo's life and works maintained by Martin Kemp and Marina Wallace Leonardo da Vinci on the National Gallery website Works Biblioteca Leonardiana, online bibliography (in Italian) e-Leo: Archivio digitale di storia della tecnica e della scienza, archive of drawings, notes and manuscripts Complete text and images of Richter's translation of the Notebooks The Notebooks of Leonardo da Vinci 1452 births 1519 deaths 15th-century Italian mathematicians 15th-century Italian painters 15th-century Italian scientists 15th-century Italian sculptors 15th-century people of the Republic of Florence 16th-century Italian mathematicians 16th-century Italian painters 16th-century Italian scientists 16th-century Italian sculptors 16th-century people of the Republic of Florence Ambassadors of the Republic of Florence Ballistics experts Fabulists Painters from Florence Botanical illustrators Fluid dynamicists History of anatomy Italian anatomists Italian caricaturists Italian civil engineers 16th-century Italian inventors Italian male painters Italian male sculptors Italian military engineers Italian physiologists Italian Renaissance humanists Italian Renaissance painters Italian Renaissance sculptors Italian Roman Catholics Mathematical artists Painters by city People prosecuted under anti-homosexuality laws Philosophical theists Physiognomists Renaissance architects Renaissance painters Renaissance scientists Painters from Tuscany Burials in France Writers who illustrated their own writing	true	[ "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", "Like It Is, Was, and Evermore Shall Be is a compilation album from Scottish singer-songwriter Donovan. It was released in the US (Hickory LPM 143 (mono) /LPS 143 (stereo)) in April 1968. Like It Is, Was, and Evermore Shall Be marked the second Hickory Records compilation of Donovan's 1965 Pye Records material in the United States, following the moderately successful The Real Donovan from 1966.\n\nHistory\nBy 1968, Donovan had released a string of hit singles and albums in both the United States and United Kingdom. With his popularity reaching its zenith, Hickory Records compiled and released Like It Is, Was, and Evermore Shall Be from his 1965 Pye Records catalog.\n\nAlthough Donovan's Pye recordings bore little resemblance to his subsequent material, Hickory released the album with brightly colorful artwork reminiscent of Donovan's latest albums for Epic Records. The back cover contained a pair of reprinted fan letters; one a testimonial from a young female fan, the other thanks from a middle-aged businessman for the way one of Donovan's songs had caused him to reconsider life. (The song unfortunately was not named.)\n\nWhile most of the songs on Like It Is, Was, and Evermore Shall Be had been released on What's Bin Did and What's Bin Hid (US-title: Catch the Wind), Fairytale, and The Real Donovan, the new compilation did contain \"Why Do You Treat Me Like You Do\" and Donovan's recording of Bert Jansch's \"Do You Hear Me Now?\", neither of which had been included on any of Donovan's US long players. The album charted for 4 weeks, reaching No. 177 on the Billboard Magazine charts in the United States.\n\nAlbum origins of tracks\nThe following is a list explaining the original releases of each song.\n\n \"Summer Day Reflection Song\" (from Fairytale, released 22 October 1965)\n \"Do You Hear Me Now?\" (from The Universal Soldier EP, released 15 August 1965)\n \"Colours\" (from Fairytale)\n \"Universal Soldier\" (from Universal Soldier EP, released 15 August 1965)\n \"Josie\" (from What's Bin Did and What's Bin Hid, released 14 May 1965)\n \"Catch the Wind\" (from What's Bin Did and What's Bin Hid)\n \"Why Do You Treat Me Like You Do?\" (b-side of \"Catch the Wind\", released 12 March 1965)\n \"To Try for the Sun\" (from Fairytale)\n \"Hey Gyp (Dig the Slowness)\"* (b-side of \"Turquoise\", released 30 October 1965)\n \"The War Drags On\" (from The Universal Soldier EP)\n \"Sunny Goodge Street\" (from Fairytale)\n\nTrack listing\nAll tracks by Donovan Leitch, except where noted.\n\nSide one\n\n\"Summer Day Reflection Song\" – 2:11\n\"Do You Hear Me Now?\" (Bert Jansch) – 1:45\n\"Colours\" – 2:44\n\"Universal Soldier\" (Buffy Sainte-Marie) – 2:13\n\"Josie\" – 3:24\n\"Catch the Wind\" – 2:53\n\nSide two\n\n\"Why Do You Treat Me Like You Do?\" – 2:54\n\"To Try for the Sun\" – 3:37\n\"Hey Gyp (Dig the Slowness)\" – 3:05\n\"The War Drags On\" (Mick Softley) – 3:40\n\"Sunny Goodge Street\" – 2:55\n\nExternal links\n Like It Is, Was, And Evermore Shall Be – Donovan Unofficial Site\n\n1968 compilation albums\nDonovan compilation albums\nHickory Records compilation albums\nAlbums produced by Geoff Stephens" ]
[ "Madhvacharya", "Biography" ]	C_027f7d62283648d2b96d035d448f41e8_1	what is her biography?	1	what is Madhvacharya biography?	Madhvacharya	The biography of Madhvacharya is unclear. Many sources date him to 1238-1317 period, but some place him about the 1199-1278 period. Madhvacarya was born in Pajaka near Udupi, a coastal Malabar region of south-west India in the state of Karnataka. Traditionally it is believed that Naddantillaya (Sanskrit: Madhyageha, Madhyamandira) was the name of his father and Vedavati was Madhvacarya's mother. Born in a Vaishnavite Brahmin household, he was named Vasudeva. Later he became famous by the names Purnaprajna, Anandatirtha and Madhvacarya (or just Madhva). Purnaprajna was the name given to him at the time of his initiation into sannyasa (renunciation), as a teenager. The name conferred on him when he became the head of his monastery was "Ananda Tirtha". All three of his later names are found in his works. Madhvacarya or Madhva are names most commonly found in modern literature on him, or Dvaita Vedanta related literature. Madhva began his school after his Upanayana at age seven, became a monk or Sannyasi in his teenage. He joined an Advaita Vedanta monastery in Dwarka (Gujarat), accepted his guru to be Achyutrapreksha, who is also referred to as Achyutraprajna in some sources. Madhva studied the Upanishads and the Advaita literature, but was unconvinced by its nondualism philosophy of oneness of human soul and god, had frequent disagreements with his guru, left the monastery, and began his own Dvaita movement based on dualism premises of Dvi - asserting that human soul and god (as Vishnu) are two different things. Madhva never acknowledged Achyutrapreksha as his guru or his monastic lineage in his writings. According to Dehsen, perhaps there were two individuals named Madhvacharya in 13th century India, with Anandatirtha - the younger Madhva being the most important early disciple of the elder Madhvacharya, and their works and life overlapped in Udupi, Tattvavada being the name adopted for Dvaita Vedanta by Anandatirtha. Madhvacharya established a matha (monastery) dedicated to Dvaita philosophy, and this became the sanctuary for a series of Dvaita scholars such as Jayatirtha, Vyasatirtha, Vadiraja Tirtha and Raghavendra Tirtha who followed in footsteps of Madhva. A number of hagiographies have been written by Madhva's disciples and followers. Of these, the most referred to is the sixteen cantos Sanskrit biography Madhvavijaya by Narayana Panditacarya - son of Trivikrama Pandita, who himself was a disciple of Madhva. CANNOTANSWER	The biography of Madhvacharya is unclear. Many sources date him to 1238-1317 period, but some place him about the 1199-1278 period.	Madhvacharya (; ; CE 1199-1278 or CE 1238–1317), sometimes anglicised as Madhva Acharya, and also known as Purna Prajna () and Ānanda Tīrtha, was a Hindu philosopher and the chief proponent of the Dvaita (dualism) school of Vedanta. Madhva called his philosophy Tattvavāda meaning "arguments from a realist viewpoint". Madhvacharya was born on the west coast of Karnataka state in 13th-century India. As a teenager, he became a Sanyasi (monk) joining Brahma-sampradaya guru Achyutapreksha, of the Ekadandi order. Madhva studied the classics of Hindu philosophy, particularly the Principal Upanishads, the Bhagavad Gita and the Brahma Sutras (Prasthanatrayi). He commented on these, and is credited with thirty seven works in Sanskrit. His writing style was of extreme brevity and condensed expression. His greatest work is considered to be the Anuvyakhyana, a philosophical supplement to his bhasya on the Brahma Sutras composed with a poetic structure. In some of his works, he proclaimed himself to be an avatar of Vayu, the son of god Vishnu. Madhvacharya was a critic of Adi Shankara's Advaita Vedanta and Ramanuja's Vishishtadvaita Vedanta teachings. However, Dwaita was restricted to few states of India. He toured India several times, visiting places such as Bengal, Varanasi, Dwarka, Goa and Kanyakumari, engaging in philosophical debates and visiting Hindu centres of learning. Madhva established the Krishna Mutt at Udupi with a murti secured from Dwarka Gujarat in CE 1285. Madhvacharya's teachings are built on the premise that there is a fundamental difference between Atman (individual soul, self) and the Brahman (ultimate reality, God Vishnu), these are two different unchanging realities, with individual soul dependent on Brahman, never identical. His school's theistic dualism teachings disagreed with the monist teachings of the other two most influential schools of Vedanta based on Advaita's nondualism and Vishishtadvaita's qualified nondualism. Liberation, asserted Madhva, is achievable only through the grace of God. The Dvaita school founded by Madhva influenced Vaishnavism, the Bhakti movement in medieval India, and has been one of the three influential Vedānta philosophies, along with Advaita Vedanta and Vishishtadvaita Vedanta. Madhva's historical influence in Hinduism, state Kulandran and Kraemer, has been salutary, but not extensive. Biography The biography of Madhvacharya is unclear. Many sources date him to 1238–1317 period, but some place him about the 1199–1278 period. Madhvācārya was born in Pajaka near Udupi, a coastal district in the present day Indian state of Karnataka. Traditionally it is believed that Naddantillaya (Sanskrit: Madhyageha, Madhyamandira) was the name of his father and Vedavati was Madhvācārya's mother. Born in a Tulu speaking Vaishnavite Brahmin household, he was named Vāsudeva. Later he became famous by the names Purnaprajna, Anandatirtha and Madhvacarya (or just Madhva). Pūrnaprajña was the name given to him at the time of his initiation into sannyasa (renunciation), as a teenager. The name conferred on him when he became the head of his monastery was "Ānanda Tīrtha". All three of his later names are found in his works. Madhvācārya or Madhva are names most commonly found in modern literature on him, or Dvaita Vedanta related literature. Madhva began his school after his Upanayana at age seven, and became a monk or Sannyasi in his teenage, although his father was initially opposed to this. He joined an Advaita Vedanta monastery in Udupi (Karnataka), accepted his guru to be Achyutrapreksha, who is also referred to as Achyutraprajna in some sources. Madhva studied the Upanishads and the Advaita literature, but was unconvinced by its nondualism philosophy of oneness of human soul and god, had frequent disagreements with his guru, left the monastery, and began his own Dvaita movement based on dualism premises of Dvi – asserting that human soul and god (as Vishnu) are two different things. Madhva never acknowledged Achyutrapreksha as his guru or his monastic lineage in his writings. Madhva is said to have been clever in philosophy, and also to have been tall and strongly built. According to Dehsen, perhaps there were two individuals named Madhvacharya in 13th-century India, with Anandatirtha – the younger Madhva being the most important early disciple of the elder Madhvacharya, and their works and life overlapped in Udupi, Tattvavada being the name adopted for Dvaita Vedanta by Anandatirtha. Madhvacharya established a matha (monastery) dedicated to Dvaita philosophy, and this became the sanctuary for a series of Dvaita scholars such as Jayatirtha, Sripadaraja, Vyasatirtha, Vadiraja Tirtha, Raghuttama Tirtha, Raghavendra Tirtha and Satyanatha Tirtha who followed in footsteps of Madhva. A number of hagiographies have been written by Madhva's disciples and followers. Of these, the most referred to is the sixteen cantos Sanskrit biography Madhvavijaya by Nārāyana Panditācārya – son of Trivikrama Pandita, who himself was a disciple of Madhva. Incarnation of Vayu, the wind god In several of his texts, state Sarma and other scholars, "Madhvacharya proclaims himself to be the third avatar or incarnation of Vayu, wind god, the son of Vishnu". He, thus, asserted himself to be like Hanuman – the first avatar of Vayu, and Bhima – a Pandava in the Mahabharata and the second avatar of Vayu. In one of his bhasya on the Brahma Sutras, he asserts that the authority of the text is from his personal encounter with Vishnu. Madhva, states Sarma, believed himself to be an intermediary between Vishnu and Dvaita devotees, guiding the latter in their journey towards Vishnu. Madhva is said to have performed several miracles during his lifetime, including transforming Tamarind grains into coins, fighting and winning against robbers and wild animals, crossing the Ganges without getting wet clothes, and giving light to his students through the nails of his big toes after the lamp went out while they were interpreting a text at night. Madhvacharya is said to have quoted some verses from his unique recensions of scriptures. Also, he is said to have quoted many unique books like Kamatha Sruti. The interpretation of Balittha Sukta by Madhvacharya and his followers to prove that Madhvacharya was an incarnation of Vayu is considered highly unique by standard commentaries on them like Sayana and Horace Hayman Wilson. Works of Madhvacharya Thirty seven Dvaita texts are attributed to Madhvacharya. Of these, thirteen are bhasya (review and commentary) on earliest Principal Upanishads, a Madhva-bhasya on the foundational text of Vedanta school of Hinduism – Brahma Sutras, another Gita-bhasya on Bhagavad Gita, a commentary on forty hymns of the Rigveda, a review of the Mahabharata in poetic style, a commentary called Bhagavata-tatparya-nirnaya on Bhagavata Purana, plus stotras, poems and texts on bhakti of Vishnu and his avatars. The Anu-Vyakhyana, a supplement to Madhvacharya's commentary on Brahma Sutras, is his masterpiece, states Sharma. While being a profusely productive writer, Madhvacharya restricted the access to and distribution of his works to outsiders who were not part of Dvaita school, according to Sarma. However, Bartley disagrees and states that this is inconsistent with the known history of extensive medieval Vedantic debates on religious ideas in India which included Dvaita school's ideas. Madhva's philosophy The premises and foundations of Dvaita Vedanta, also known as Dvaitavada and Tattvavada, are credited to Madhvacharya. His philosophy championed unqualified dualism. Madhva's work is classically placed in contrast with monist ideas of Shankara's Advaita Vedanta and Ramanuja's Vishishtadvaita Vedanta. Epistemology Madhva calls epistemology as Anu pramana. It accepts three pramānas, that is three facts or three correct means of knowledge, in contrast to one of Charvaka and six of Advaita schools of Hindu philosophies: Pratyaksha (प्रत्यक्ष) means perception. It is of two types in Dvaita and other Hindu schools: external and internal. External perception is described as that arising from the interaction of five senses and worldly objects, while internal perception is described as that of inner sense, the mind. Anumāna (अनुमान) means inference. It is described as reaching a new conclusion and truth from one or more observations and previous truths by applying reason. Observing smoke and inferring fire is an example of Anumana. This method of inference consists of three parts: pratijna (hypothesis), hetu (a reason), and drshtanta (examples). Śabda (शब्द) means relying on word, testimony of past or present reliable experts. It is also known as Agama in Madhva's Dvaita tradition, and incorporates all the Vedas. Hiriyanna explains Sabda-pramana as a concept which means reliable expert testimony. The schools of Hinduism which consider it epistemically valid suggest that a human being needs to know numerous facts, and with the limited time and energy available, he can learn only a fraction of those facts and truths directly. Madhva and his followers introduced kevala-pramaana as the "knowledge of an object as it is", separate from anu-pramana described above. Madhva's Dvaita school holds that Vishnu as God, who is also Hari, Krishna, Vasudeva and Narayana, can only be known through the proper samanvaya (connection) and pramana of the Vedic scriptural teachings. Vishnu, according to Madhvacharya, is not the creator of the Vedas, but the teacher of the Vedas. Knowledge is intrinsically valid, states Madhva's school, and the knower and the known are independently real. Both the ritual part (karma-kanda, Mimamsa) and the knowledge part (jnana-kanda, Upanishadic Vedanta) in the Vedas, asserted Madhvacharya, are equally valid and interconnected whole. As asserted by the Mimamsa school of Hindu philosophy, Madhvacharya held that the Vedas are author-less, and that their truth is in all of its parts (i.e. the , , and )... Metaphysics The metaphysical reality is plural, stated Madhvacharya. There are primarily two tattvas or categories of reality — (independent reality) and (dependent reality). Ishvara (as God Vishnu or Krishna) is the cause of the universe and the only independent reality, in Madhvacharya's view. The created universe is the dependent reality, consisting of (individual souls) and Jada (matter, material things). Individual souls are plural, different and distinct realities. s are sentient and matter is non-sentient, according to Madhvacharya. Madhva further enumerates the difference between dependent and independent reality as a fivefold division (pancha-bheda) between God, souls and material things. These differences are: (1) Between material things; (2) Between material thing and soul; (3) Between material thing and God; (4) Between souls; and (5) Between soul and God. This difference is neither temporary nor merely practical; it is an invariable and natural property of everything. Madhva calls it Taratamya (gradation in pluralism). There is no object like another, according to Madhvacharya. There is no soul like another. All souls are unique, reflected in individual personalities. The sea is full; the tank is full; a pot is full; everything is full, yet each fullness is different, asserted Madhvacharya. Even in liberation (moksha), states Madhvacharya, the bliss is different for each person, based on each's degree of knowledge and spiritual perfection. This liberation, according to him, is only achievable with grace of God Krishna. Nature of the Brahman Madhva conceptualised Brahman as a being who enjoys His own bliss, while the entire universe evolves through a nebulous chaos. He manifests, every now and then, to help the evolution process. The four primary manifestation of Him as the Brahman are, according to Madhva, Vasudeva, Pradyumna, Aniruddha and Sankarasana, which are respectively responsible for the redemptive, creative, sustaining and destructive aspects in the universe. His secondary manifestations are many, and all manifestations are at par with each other, it is the same infinite no matter how He manifests. Brahman is the creator of the universe, perfect in knowledge, perfect in knowing, perfect in its power, and distinct from souls, distinct from matter. For liberation, mere intellectual conceptualization of Brahman as creator is not enough, the individual soul must feel attraction, love, attachment and devotional surrender to Him, and only His grace leads to redemption and liberation, according to Madhva. The Vishnu as Brahman concept of Madhvacharya is a concept similar to God in major world religions. His writings led some early colonial-era Indologists such as George Abraham Grierson to suggest the 13th-century Madhva was influenced by Christianity, but later scholarship has rejected this theory. Atat tvam asi One of the Mahavakyas (great sayings) in Hinduism is Tat tvam asi, or "Thou art That", found in verse 6.8.7 of Chandogya Upanishad. This section of Chandogya Upanishad is credited to sage Uddalaka and the text considered central in Vedanta and the Brahma Sutras, interpreted to mean that there is no difference between the soul within (Thou) and the Brahman (That). The Dvaita school led by Madhva reinterpreted this section, by parsing the Sanskrit text as Atat tvam asi or "Thou are not That", asserting that there is no Sanskrit rule which does not allow such parsing. He accepted that the tradition and prior scholars had all interpreted the text to be "Tat tvam asi", but then asserted that there is no metaphysical or logical requirement that he should too. Soteriology Madhvacharya considered Jnana Yoga and Karma Yoga to be insufficient to the path of liberation without Bhakti. Narayana or Vishnu was the supreme God to Madhva, who can only be reached through Vayu – the son of God; further, states Madhva, faith leads to the grace of God, and grace leads to the liberation of soul. The knowledge of God, for Madhvacharya, is not a matter of intellectual acceptance of the concept, but an attraction, affection, constant attachment, loving devotion and complete surrender to the grace of God. He rejects monist theories that knowledge liberates, asserting instead that it is Divine grace through Bhakti that liberates. To Madhva, God obscures reality by creating Maya and Prakriti, which causes bondage and suffering; and only God can be the source of soul's release. Liberation occurs when, with the grace of God, one knows the true nature of self and the true nature of God. Ethics Evil and suffering in the world, according to Madhvacharya, originates in man, and not God. Every Jiva (individual soul) is the agent of actions, not Jada (matter), and not Ishvara (God). While Madhva asserts each individual self is the Kartritva (real agency), the self is not an absolutely independent agent to him. This is because, states Madhva, the soul is influenced by sensory organs, one's physical body and such material things which he calls as gifts of God. Man has free will, but is influenced by his innate nature, inclinations and past karma. Madhvacharya asserts, Yathecchasi tatha kuru, which Sharma translates and explains as "one has the right to choose between right and wrong, a choice each individual makes out of his own responsibility and his own risk". Madhva does not address the problem of evil, that is how can evil exist with that of a God who is omnipotent, omniscient, and omnibenevolent. According to Sharma, "Madhva's tripartite classification of souls makes it unnecessary to answer the problem of evil". According to David Buchta, this does not address the problem of evil, because the omnipotent God "could change the system, but chooses not to" and thus sustains the evil in the world. This view of self's agency of Madhvacharya was, states Buchta, an outlier in Vedanta school and Indian philosophies in general. Moral laws and ethics exist, according to Madhva, and are necessary for the grace of God and for liberation. Views on other schools Madhvacharya was a fierce critic of competing Vedanta schools, and other schools of Indian philosophies such as Buddhism and Jainism. He wrote up arguments against twenty one ancient and medieval era Indian scholars to help establish the foundations of his own school of thought. Madhvacharya was fiercest critic of Advaita Vedanta, accusing Shankara and Advaitins for example, as "deceitful demons" teaching Buddhism under the cover of Vedanta. Advaita's nondualism asserts that Atman (soul) and Brahman are blissful and identical, unchanging transcendent Reality, there is interconnected oneness of all souls and Brahman, and there are no pluralities. Madhva in contrast asserts that Atman (soul) and Brahman are different, only Vishnu is the Lord (Brahman), individual souls are also different and depend on Vishnu, and there are pluralities. Madhva criticized Advaita as being a version of Mahayana Buddhism, which he regarded as nihilistic. Of all schools, Madhva focussed his criticism on Advaita most, and he wrote four major texts, including Upadhikhandana and Tattvadyota, primarily dedicated to criticizing Advaita. Madhvacharya disagreed with aspects of Ramanuja's Vishishtadvaita. Vishishtadvaita school, a realist system of thought like Madhvacharya's Dvaita school, also asserts that Jiva (human souls) and Brahman (as Vishnu) are different, a difference that is never transcended. God Vishnu alone is independent, all other gods and beings are dependent on Him, according to both Madhvacharya and Ramanuja. However, in contrast to Madhvacharya's views, Vishishtadvaita school asserts "qualified non-dualism", that souls share the same essential nature of Brahman, and that there is a universal sameness in the quality and degree of bliss possible for human souls, and every soul can reach the bliss state of God Himself. While the older school of Vishishtadvaita asserted "qualitative monism and quantitative pluralism of souls", states Sharma, Madhvacharya asserted both "qualitative and quantitative pluralism of souls". Shankara's Advaita school and Ramanuja's Vishishtadvaita school are premised on the assumption that all souls can hope for and achieve the state of blissful liberation; in contrast, Madhvacharya believed that some souls are eternally doomed and damned. Madhvacharya's style of criticism of other schools of Indian philosophy was part of the ancient and medieval Indian tradition. He was part of the Vedanta school, which emerged in post-Vedic period as the most influential of the six schools of Hindu philosophy, and his targeting of Advaita tradition, states Bryant, reflects it being the most influential of Vedanta schools. Influence Madhvacharya views represent a subschool of Vaishnavism, just like Ramanuja's. Both championed Vishnu in the saguna form. However, 11th-century Ramanuja's ideas have been most influential in Vaishnavism. Madhvacharya's ideas led to the founding of Haridasa sect of Vaishnavism in Karnataka, also referred to as Vyasakuta, Dasakuta or Dasa Dasapantha, known for their devotional songs and music during the Bhakti movement. Other influential subschools of Vaishnavism competed with the ideas of Madhvacharya, such as the Chaitanya subschool, whose Jiva Gosvami asserts only Krishna is "Svayam Bhagavan" (supreme form of God), in contrast to Madhva who asserts that all Vishnu avatars are equal and identical, with both sharing the belief that emotional devotion to God is the means to spiritual liberation. Chaitanya Mahaprabhu(1496-1534) is said to be a disciple of Isvara Puri who was a disciple of Madhavendra Puri who was a disciple of Lakshmipati Tirtha who was a disciple of Vyasatirtha(1469-1539) of Madhvacharya's Sampradaya. According to Sharma, the influence of Madhva's Dvaita ideas have been most prominent on the Chaitanya school of Bengal Vaishnavism, and in Assam. A subsect of Gaudiya Vaishnavas from Orissa and West Bengal claim to be followers of Madhvacharya. Madhva established in Udupi Krishna Matha attached to a god Krishna temple. Gaudiya Vaishnavas also worship Krishna, who is in the mode of Vrindavana. Hindu-Christian-Muslim controversies Madhvacharya was misperceived and misrepresented by both Christian missionaries and Hindu writers during the colonial era scholarship. The similarities in the primacy of one God, dualism and distinction between man and God, devotion to God, the son of God as the intermediary, predestination, the role of grace in salvation, as well as the similarities in the legends of miracles in Christianity and Madhvacharya's Dvaita tradition fed these stories. Among Christian writers, GA Grierson creatively asserted that Madhva's ideas evidently were "borrowed from Christianity, quite possibly promulgated as a rival to the central doctrine of that faith". Among Hindu writers, according to Sarma, SC Vasu creatively translated Madhvacharya's works to identify Madhvacharya with Christ, rather than compare their ideas. Modern scholarship rules out the influence of Christianity on Madhvacharya, as there is no evidence that there ever was a Christian settlement where Madhvacharya grew up and lived, or that there was a sharing or discussion of ideas between someone with knowledge of the Bible and Christian legends, and him. There are also assumptions Madhva was influenced by Islam. The Madhvavijaya tells about Madhva meeting the Sultan of Delhi and saying to him in fluent Persian that both worship the same one God of the universe, and that he spreads the faith in God. The sultan is said to have been so impressed by this that he wanted give half of the empire to Madhva, which he refused. However, the indologist and religious scholar Helmuth von Glasenapp assumes that monotheism can also be derived from the Indian intellectual world, and that there is no reason supporting the theory that Madhva's views on afterlife were influenced by Muslim or Christian impulses. Monasteries Madhvacharya established eight mathas (monasteries) in Udupi with his eight disciples as its head along with Adi Matha. These are referred to as Madhva mathas, or Udupi ashta matha, and include Palimaru matha, Adamaru matha, Krishnapura matha, Puttige matha, Shirur matha, Sodhe matha, Kaniyooru matha and Pejavara matha. These eight surround the Anantheswara Krishna Hindu temple. The matha are laid out in a rectangle, the temples on a square grid pattern. The monks in the matha are sannyasis, and the tradition of their studies and succession (Paryaya system) were established by Madhvacharya. The monastery has a pontiff system, that rotates after a fixed period of time. The pontiff is called Swamiji, and he leads daily Krishna prayers according to Madhva tradition, as well as annual festivals. The process and Vedic mantra rituals for Krishna worship in Dvaita monasteries follow the procedure written by Madhvacharya in Tantrasara. The Krishna worship neither involves bali (sacrifice) nor any fire rituals. The succession ceremony in Dvaita school involves the outgoing Swamiji welcoming the incoming one, then walking together to the icon of Madhvacharya at the entrance of Krishna temple in Udupi, offering water to him, expressing reverence then handing over the same vessel with water that Madhvacharya used when he handed over the leadership of the monastery he founded. The monastery include kitchens, bhojan-shala, run by monks and volunteers. These serve food daily to nearly 15,000 to 20,000 monks, students and visiting pilgrims without social discrimination. During succession ceremonies, over 80,000 people are served a vegetarian meal by Udupi bhojan-shalas. Madhvacharya established Adi Matha with his disciple Padmanabha Tirtha as its head with the instructions that his disciples Narahari Tirtha, Madhava Tirtha and Akshobhya Tirtha should inturn become the successors of this matha. Padmanabha Tirtha and his descendants such as Narahari Tirtha, Akshobhya Tirtha, Jayatirtha, Sripadaraja, Vyasatirtha, Raghuttama Tirtha, Vijayendra Tirtha, Raghavendra Tirtha, Vidyadhisha Tirtha, Sumatindra Tirtha, Satyanatha Tirtha and Satyabodha Tirtha are responsible for the spread of Dvaita Vedanta outside Tulu Nadu region. All the mathas outside of the Tulu region are one way or the other descended from Padmanabha Tirtha. According to Surendranath Dasgupta, Uttaradi Math was divided twice, and so we end up with three mathas, the other two being Vyasaraja Math and Raghavendra Math. Uttaradi Math, along with Vyasaraja Math and Raghavendra Math, is considered to be the three premier apostolic institutions of Dvaita Vedanta and are jointly referred as Mathatraya. It is the pontiffs and pandits of the Mathatraya that have been the principle architects of post-Madhva Dvaita Vedanta through the centuries. Among the mathas outside of Tulu Nadu region, Uttaradi Matha is the largest. Including those in Udupi, there are twenty-four Madhva mathas in India. The main center of Madhva's tradition is in Karnataka. Professor Kiyokazu Okita and Indologist B. N. K. Sharma says, Sannyasis in the lineage of Dvaita school of Vedanta belongs to Ēkadaṇḍi tradition just like the Sanyasi's of Advaita of Adi Shankara. Film In 1986 a film directed by G. V. Iyer named Madhvacharya was premiered, it was one of the films made entirely in Kannada language. See also Brahma Sampradaya Madhva Brahmins Dvaita literature Ashta Mathas of Udupi Notes References Bibliography External links Bibliography of Madhvacharya's works, Item 751, Karl Potter, University of Washington "Madhva" article in the Internet Encyclopedia of Philosophy Madhvacharya at Encyclopædia Britannica A Note on the date of Madhvacharya by S. Srikanta Sastri Discussion on quotations and interpretations by Madhvacharya. https://gosai.com/writings/the-divinity-of-sri-caitanya-mahaprabhu-0 1238 births 13th-century Indian writers Hindu philosophers and theologians 13th-century Indian philosophers Indian Vaishnavites Indian Hindu religious leaders History of Karnataka Vaishnavism People from Udupi district Bhakti movement Tulu people Sanskrit writers Vaishnava saints Medieval Hindu religious leaders Writers from Karnataka Hindu saints Scholars from Karnataka Year of death unknown	false	[ "Patricia Carpenter is Lee and Marge Gregg Professor of Psychology at Carnegie Mellon University. Her research focuses on the organization of the cognitive systems in immediate thought, for example, the processes that underlie problem solving and sentence comprehension. Her specific interest is in how these processes are organized, what constrains them, and how their functional organization relates to their cortical representation. To address these questions, she uses functional imaging (fMRI) studies of people while they perform complex cognitive tasks and relates the imaging data to more traditional behavioral studies of cognition and computational models. In addition, her research extends to understanding how language comprehension and problem solving are approached by individuals with unusual characteristics, including those who have had a stroke or who have autism.\n\nIn recent years, Carpenter has begun to explore the field of embodied cognition through her research. Her primary starting point is a biologically-grounded account of cognition called the 'fractal catalytic model.' In this model, it is proposed that, to understand the mind/brain relation, one should first explore 'what is life' and what enables a living process to persist as an organized entity; this exploration deepens and changes our understanding of cognition and provides a new framework for the mind-brain relation.\n\nExternal links\nPatricia Carpenter's Biography - CMU Department of Psychology\nPatricia Carpenter's Biography - Center for the Neural Basis of Cognition\nQuantum Ontology: Minds, Brains, and Catalysts\n\nAmerican women psychologists\nAmerican psychologists\nCognitive neuroscientists\nAmerican neuroscientists\nAmerican women neuroscientists\nStanford University alumni\nCarnegie Mellon University faculty\nYear of birth missing (living people)\nLiving people", "The Real Right Thing is a short story written by Henry James and published in 1899.\n\nPlot summary\nThe story begins with the mention of Ashton Doyne, a distinguished writer, who left his wife a widow. Mrs. Doyne decides to write a biography about her husband. Three months after the author's death, Mr. George Withermore, a young journalist and friend of the author, is approached by Mr. Doyne's publishers stating that Mrs. Doyne wants him to take on the role of writing her husband's biography. Withermore is surprised with this request. Nevertheless, Withermore takes the offer. Mr. Withermore and Mrs. Doyne make an arrangement to finally meet. Mr. Withermore tells us his impression of Mrs. Doyne. He says she is \"strange\" and \"never thought her an agreeable one\". Mrs. Doyne's intention to write the biography was not based on her behalf of her husband but of herself. \"She had not taken Doyne seriously enough in life, but the biography should be a solid reply to every imputation on herself.\" Mrs. Doyne takes George Withermore into her husband's study.\"\n\nMrs. Doyne leaves George Withermore alone for him to look over pieces of her husband's past. Every now and then she'd pop her head in to check on him, and he'd thank her for her help. It becomes apparent that even though her husband may not have trusted her, she trusted his friend George. George determines that although she acts okay, Mrs. Doyne is not at peace yet with the death of her husband and the anxiety-causing grief follows her around. Although she leaves the room quite frequently, George thinks that he can feel her; one night while sitting at Ashton's desk looking over his correspondence, he feels as though someone is watching behind him. It was Mrs. Doyne who had entered the room without making a sound. When this encounter happens, George admits that he believed it was Ashton himself standing behind him. Mrs. Doyne admits that she still feels as though Ashton is around her, which George finds very surprising. George tells Mrs. Doyne that working in the place his friend worked, using his utensils and reading his written word, he feels as though Ashton is just out for a walk, and it seems impossible that he is really gone. As their discussion on this matter deepens, Mrs. Doyne reveals to George that she truly believes Ashton is around, to which George laughs and says that they better keep him happy if he is. Mrs. Doyne looks at him with a \"vague distress\" look in her eyes. Mrs. Doyne exits the room that evening telling George that she only came in to see if he needed help, convincing George that she did only have his best interest at heart.\"\n\nGeorge starts to anticipate the evenings more and more each day because he enjoys going to the house and feeling a personal connection to Ashton's rumored presence; he looks forward to going there every evening. George is elated with feelings that what he is doing is exactly what his friend wanted him to do, and that he trusted George enough to let him in on his deepest secrets. George is determined to make Ashton and his secrets come out in a very beautiful way - only enhancing people's views on Ashton, not diminishing them. There are moments when George feels his dead friend lightly breathing in his hair and that he was leaning his elbows against the table in front of him. There were even moments where he would peer across the table and see his friend as vividly as he saw the papers in front of him. Ashton's spirit remains quietly within the room, almost like a \"discreet librarian,\" just making sure that his prized possessions were being taken care of in the best way possible. George starts to hear the shuffling of documents that he placed on the table as well as papers he misplaced being put into his line of view. Drawers and boxes started opening on their own, and George is determined that he saw Ashton.\"\n\nAfter receiving what he thought to be cues and guidance from the spirit of Ashton, he waited for days and made sure to take notice of anything that felt out of the ordinary and that could have been understood as the next step in the construction of the biography. As time passed, George began to feel “sad” and “uneasy” about not being surrounded by the spirit of Ashton. Suddenly, George found himself restless in the room and felt as if something had been out of place because of this feeling. As George finds himself on the stairs staring at Mrs. Doyne, they suddenly wind up in her room and begin to discuss what seems to be the passing spirit of Ashton throughout the house. Mrs. Doyne seems to have known that the spirit of her husband was in the room with George and knows that the spirit had gone back and forth between his room and hers and even passed them while they were on the stairs. After they speak about where his spirit had been lurking, they sit hand in hand in silence completely alone (at this point, they felt as if the spirit had vanished.) After George interrupts the silence because of a sudden feeling of anxiety, Mrs. Doyne states, “I only want to do the real right thing.” They begin to question what it is that they are doing and whether or not it is the right thing in honor of Ashton. George goes back and reviews what he had previously written to make sure it was thorough and suddenly, Mrs. Doyne feels the spirit.\n\nAlthough Withermore and Ashton were best friends, the presence did not leave off good a feeling. In fact, Withermore got this negative feeling while he was writing about Ashton. Withermore wanted to let Mrs. Doyne know that maybe we shouldn't do what we are doing we shouldn't just lay out his life in front of this world letting everyone know about him. Withermore is not satisfied with what he is doing. At the end Withermore finally tells Mrs. Doyne to end the completion of the biography. Mrs. Doyne still doesn't want to give up on writing about his life but finally agrees with Withermore to bring an end in writing his biography.\n\nCharacters\n\nAshton Doyne\n Ashton Doyne is a successful writer who died from undetermined causes. He was a very rich and fake man, always striving to make himself look the absolute best in front of his rich friends. He kept a lot of his personal journals and writings to himself in order to never be judged.\n\nAshton Doyne's Spirit\n Ashton Doyne's spirit comes into the study where Ashton always worked in order to keep his own watchful eye on what his wife and friend were doing with his belongings. It becomes apparent toward the end of the story that Ashton's ghost doesn't represent the Ashton people knew when he was alive; he is cold and distant to his wife and friend. He haunts George and Mrs. Doyne in order to stop him from writing the biography; he didn't want the biography to lead to an inaccurate perception of him to those who read it. Eventually he gets his wish when George and Mrs. Doyne stop working on the biography.\n\nGeorge Withermore\n George Withermore is a young, conscientious journalist and critic who lives a lower class lifestyle with little to show for himself. He had very few writings, and there were not a lot of people he associated with. However, he was a good friend of the more famed writer and recently deceased Ashton Doyne. George goes to meet with the widow Mrs. Doyne in order to collect materials of Ashton. It is very clear that George was very attached to his friend, and still was even after he died. As George compiles information for the biography on his friend, he notices a ghost-like character in the room with him, who he believes to be Ashton himself. He found this spirit to be a stranger; it wasn't kind and warmhearted to him like he remembered his friend as. George eventually gives up on writing the biography when he is haunted and scared too many times by Ashton's ghost.\n\nMrs. Doyne\n Mrs. Doyne: Her walk was \"ugly and tragic\" but also very striking; she gave off a rather elegant presence to those around her. Mrs. Doyne has superficial qualities; she wants complete control of what Mr. Withermore writes in the biography about her husband. She wants to make sure she doesn't come out looking bad to the circle of people her husband and she surrounded themselves with. She cares about \"quantity\" not \"quality\" for his book, only caring about how many volumes will be involved, not the context of what will be written. She often speaks for her husband, even though she barely knew him and it is determined that she didn't care to know him. She is a perfectionist who doesn't want to look anything less than stellar. She keeps a very watchful eye on what sources George is using and how he is using them. Like George, she starts to feel the presence of her deceased husband in the office where they work, and she agrees that they should give up on the biography.\n\nCritical Interpretations\n\nThe Supernatural in \"The Real Right Thing\"\nIn Telotte's article \"The Right Way With Reality,\" the significance of the supernatural is an important element to note in discussing “The Real Right Thing” by Henry James. The ghost of Ashton Doyne is ambiguous in appearance. Therefore, Telotte notes that the “significance of this distinction, and thus of the haunting and problematic vision it notes, rests, on the one hand, in its reminder of the many similar “ghosts that haunt James’s short fiction in his later period, and, on the other, in its pointed parallel to another problem of removed perception that dominates this story-- Withermore’s attempt to write Doyne’s biography, to reconstruct a life from the paper trail a man has left behind. In the conjunction of the modes of approaching reality, which this supposedly supernatural vision and the act of writing imply, we might discern not only a basic tension informing this story, but also a larger concert with presences and absences and a desire-- common to both readers and writers—to close the gap between the two, for it is a gap that informs much of James’s fiction and gives the reason to his recurrent “ghosts.”\n\nAmbiguity in \"The Real Right Thing\"\nTelotte discusses the play between the perceptions of our reality and the more concrete forms of reality, like written work, that James uses as a technique for his stories. In the \"Real Right Thing\", it is Ashton's ghost and the biography that represent these two forms of reality. What is the \"Real Right Thing\"? Is it this mysterious apparition or is it the biography? The difficulty in answering this question can be found in all of James's works. As readers, we have the desire to \"fill in the gaps\" and seek some sort of knowledge and certainty within James's works. Henry James poses this question but purposely leaves out the answer.”\n\nQueer Theory\nIn the reading \"Resistance of Queory\" by Hugh Stevens, Stevens' argument is that in the short story \"The Real Right Thing\" it suggests the theory of homosexuality between the characters Mr. Withermore and Ashton's spirit.” The dialogue between the two characters \"is described in the kind of erotically charged language and overflowing with innuendo.\"\n\nStevens makes a reference to the story's text to support this theory:\"When once this fancy had begun to hang about him he welcomed it, persuaded it, encouraged it, quite cherished it, looking forward all day to feeling it renew itself in the evening, and waiting for the evening very much as one of a pair of lovers might wait for the hour of their appointment...Withermore rejoiced at moments to feel this certitude: there were times of dipping deep into some of Doyne's secrets when it was particularly pleasant to be able to hold that Doyne desired him, as it were, to know them.\"Stevens suggests that the presence of the ghost is much more than its mention. Its presence is Doyne \"coming out of the closet.\"\n\nHenry James was interested in J.A. Symonds theories of sexuality involving homosexual men. Therefore, Stevens suggests that James's interest in Symonds work is reflected in \"The Real Right Thing.\"\"There is no certainty that James and Symonds shared a homosexual relationship but it is implied that they could have. James was asked to write Symonds biography.\"However, James found the task difficult because James did not want to leave out information about Symonds' life. He felt that if he had to keep certain details out of the public's attention than he did not feel fit in writing a biography that does not present the entire colorful personality and life of the dead author.\n\nTherefore, \"The Real Right Thing\" \"meditates on the problematic relationship between a private sexual life, a marriage, and how these two things might be represented in the public biography of a dead writer-- all factors that James perceived as important in writings on Symonds after his death. It is implied that this attempt to write Symonds biography was the inspiration for the short story \"The Real Right Thing.\"\n\nReferences\n\nExternal links\n J. P. Telotte. The Right Way With Reality: James's \"The Real Right Thing\" The Henry James Review,vol 6(1),1984:8-14.\n Stevens, Hugh. \"The Resistance to Queory: John Addington Symonds and 'The Real Right Thing'.\" Henry James Review,20(3),1999:255-64.\n Booth, Alison. The Real Right Place of Henry James: Homes and Haunts The Henry James Review, Vol 25(3),2004:216-227.\n Dover, Adrian.\"Henry James: The Real Right Thing\".<http://www.henryjames.org.uk/realrt/>.\n\nShort stories by Henry James\n1899 short stories" ]
[ "Madhvacharya", "Biography", "what is her biography?", "The biography of Madhvacharya is unclear. Many sources date him to 1238-1317 period, but some place him about the 1199-1278 period." ]	C_027f7d62283648d2b96d035d448f41e8_1	was he married?	2	was Madhvacharya married?	Madhvacharya	The biography of Madhvacharya is unclear. Many sources date him to 1238-1317 period, but some place him about the 1199-1278 period. Madhvacarya was born in Pajaka near Udupi, a coastal Malabar region of south-west India in the state of Karnataka. Traditionally it is believed that Naddantillaya (Sanskrit: Madhyageha, Madhyamandira) was the name of his father and Vedavati was Madhvacarya's mother. Born in a Vaishnavite Brahmin household, he was named Vasudeva. Later he became famous by the names Purnaprajna, Anandatirtha and Madhvacarya (or just Madhva). Purnaprajna was the name given to him at the time of his initiation into sannyasa (renunciation), as a teenager. The name conferred on him when he became the head of his monastery was "Ananda Tirtha". All three of his later names are found in his works. Madhvacarya or Madhva are names most commonly found in modern literature on him, or Dvaita Vedanta related literature. Madhva began his school after his Upanayana at age seven, became a monk or Sannyasi in his teenage. He joined an Advaita Vedanta monastery in Dwarka (Gujarat), accepted his guru to be Achyutrapreksha, who is also referred to as Achyutraprajna in some sources. Madhva studied the Upanishads and the Advaita literature, but was unconvinced by its nondualism philosophy of oneness of human soul and god, had frequent disagreements with his guru, left the monastery, and began his own Dvaita movement based on dualism premises of Dvi - asserting that human soul and god (as Vishnu) are two different things. Madhva never acknowledged Achyutrapreksha as his guru or his monastic lineage in his writings. According to Dehsen, perhaps there were two individuals named Madhvacharya in 13th century India, with Anandatirtha - the younger Madhva being the most important early disciple of the elder Madhvacharya, and their works and life overlapped in Udupi, Tattvavada being the name adopted for Dvaita Vedanta by Anandatirtha. Madhvacharya established a matha (monastery) dedicated to Dvaita philosophy, and this became the sanctuary for a series of Dvaita scholars such as Jayatirtha, Vyasatirtha, Vadiraja Tirtha and Raghavendra Tirtha who followed in footsteps of Madhva. A number of hagiographies have been written by Madhva's disciples and followers. Of these, the most referred to is the sixteen cantos Sanskrit biography Madhvavijaya by Narayana Panditacarya - son of Trivikrama Pandita, who himself was a disciple of Madhva. CANNOTANSWER	became a monk or Sannyasi in his teenage.	Madhvacharya (; ; CE 1199-1278 or CE 1238–1317), sometimes anglicised as Madhva Acharya, and also known as Purna Prajna () and Ānanda Tīrtha, was a Hindu philosopher and the chief proponent of the Dvaita (dualism) school of Vedanta. Madhva called his philosophy Tattvavāda meaning "arguments from a realist viewpoint". Madhvacharya was born on the west coast of Karnataka state in 13th-century India. As a teenager, he became a Sanyasi (monk) joining Brahma-sampradaya guru Achyutapreksha, of the Ekadandi order. Madhva studied the classics of Hindu philosophy, particularly the Principal Upanishads, the Bhagavad Gita and the Brahma Sutras (Prasthanatrayi). He commented on these, and is credited with thirty seven works in Sanskrit. His writing style was of extreme brevity and condensed expression. His greatest work is considered to be the Anuvyakhyana, a philosophical supplement to his bhasya on the Brahma Sutras composed with a poetic structure. In some of his works, he proclaimed himself to be an avatar of Vayu, the son of god Vishnu. Madhvacharya was a critic of Adi Shankara's Advaita Vedanta and Ramanuja's Vishishtadvaita Vedanta teachings. However, Dwaita was restricted to few states of India. He toured India several times, visiting places such as Bengal, Varanasi, Dwarka, Goa and Kanyakumari, engaging in philosophical debates and visiting Hindu centres of learning. Madhva established the Krishna Mutt at Udupi with a murti secured from Dwarka Gujarat in CE 1285. Madhvacharya's teachings are built on the premise that there is a fundamental difference between Atman (individual soul, self) and the Brahman (ultimate reality, God Vishnu), these are two different unchanging realities, with individual soul dependent on Brahman, never identical. His school's theistic dualism teachings disagreed with the monist teachings of the other two most influential schools of Vedanta based on Advaita's nondualism and Vishishtadvaita's qualified nondualism. Liberation, asserted Madhva, is achievable only through the grace of God. The Dvaita school founded by Madhva influenced Vaishnavism, the Bhakti movement in medieval India, and has been one of the three influential Vedānta philosophies, along with Advaita Vedanta and Vishishtadvaita Vedanta. Madhva's historical influence in Hinduism, state Kulandran and Kraemer, has been salutary, but not extensive. Biography The biography of Madhvacharya is unclear. Many sources date him to 1238–1317 period, but some place him about the 1199–1278 period. Madhvācārya was born in Pajaka near Udupi, a coastal district in the present day Indian state of Karnataka. Traditionally it is believed that Naddantillaya (Sanskrit: Madhyageha, Madhyamandira) was the name of his father and Vedavati was Madhvācārya's mother. Born in a Tulu speaking Vaishnavite Brahmin household, he was named Vāsudeva. Later he became famous by the names Purnaprajna, Anandatirtha and Madhvacarya (or just Madhva). Pūrnaprajña was the name given to him at the time of his initiation into sannyasa (renunciation), as a teenager. The name conferred on him when he became the head of his monastery was "Ānanda Tīrtha". All three of his later names are found in his works. Madhvācārya or Madhva are names most commonly found in modern literature on him, or Dvaita Vedanta related literature. Madhva began his school after his Upanayana at age seven, and became a monk or Sannyasi in his teenage, although his father was initially opposed to this. He joined an Advaita Vedanta monastery in Udupi (Karnataka), accepted his guru to be Achyutrapreksha, who is also referred to as Achyutraprajna in some sources. Madhva studied the Upanishads and the Advaita literature, but was unconvinced by its nondualism philosophy of oneness of human soul and god, had frequent disagreements with his guru, left the monastery, and began his own Dvaita movement based on dualism premises of Dvi – asserting that human soul and god (as Vishnu) are two different things. Madhva never acknowledged Achyutrapreksha as his guru or his monastic lineage in his writings. Madhva is said to have been clever in philosophy, and also to have been tall and strongly built. According to Dehsen, perhaps there were two individuals named Madhvacharya in 13th-century India, with Anandatirtha – the younger Madhva being the most important early disciple of the elder Madhvacharya, and their works and life overlapped in Udupi, Tattvavada being the name adopted for Dvaita Vedanta by Anandatirtha. Madhvacharya established a matha (monastery) dedicated to Dvaita philosophy, and this became the sanctuary for a series of Dvaita scholars such as Jayatirtha, Sripadaraja, Vyasatirtha, Vadiraja Tirtha, Raghuttama Tirtha, Raghavendra Tirtha and Satyanatha Tirtha who followed in footsteps of Madhva. A number of hagiographies have been written by Madhva's disciples and followers. Of these, the most referred to is the sixteen cantos Sanskrit biography Madhvavijaya by Nārāyana Panditācārya – son of Trivikrama Pandita, who himself was a disciple of Madhva. Incarnation of Vayu, the wind god In several of his texts, state Sarma and other scholars, "Madhvacharya proclaims himself to be the third avatar or incarnation of Vayu, wind god, the son of Vishnu". He, thus, asserted himself to be like Hanuman – the first avatar of Vayu, and Bhima – a Pandava in the Mahabharata and the second avatar of Vayu. In one of his bhasya on the Brahma Sutras, he asserts that the authority of the text is from his personal encounter with Vishnu. Madhva, states Sarma, believed himself to be an intermediary between Vishnu and Dvaita devotees, guiding the latter in their journey towards Vishnu. Madhva is said to have performed several miracles during his lifetime, including transforming Tamarind grains into coins, fighting and winning against robbers and wild animals, crossing the Ganges without getting wet clothes, and giving light to his students through the nails of his big toes after the lamp went out while they were interpreting a text at night. Madhvacharya is said to have quoted some verses from his unique recensions of scriptures. Also, he is said to have quoted many unique books like Kamatha Sruti. The interpretation of Balittha Sukta by Madhvacharya and his followers to prove that Madhvacharya was an incarnation of Vayu is considered highly unique by standard commentaries on them like Sayana and Horace Hayman Wilson. Works of Madhvacharya Thirty seven Dvaita texts are attributed to Madhvacharya. Of these, thirteen are bhasya (review and commentary) on earliest Principal Upanishads, a Madhva-bhasya on the foundational text of Vedanta school of Hinduism – Brahma Sutras, another Gita-bhasya on Bhagavad Gita, a commentary on forty hymns of the Rigveda, a review of the Mahabharata in poetic style, a commentary called Bhagavata-tatparya-nirnaya on Bhagavata Purana, plus stotras, poems and texts on bhakti of Vishnu and his avatars. The Anu-Vyakhyana, a supplement to Madhvacharya's commentary on Brahma Sutras, is his masterpiece, states Sharma. While being a profusely productive writer, Madhvacharya restricted the access to and distribution of his works to outsiders who were not part of Dvaita school, according to Sarma. However, Bartley disagrees and states that this is inconsistent with the known history of extensive medieval Vedantic debates on religious ideas in India which included Dvaita school's ideas. Madhva's philosophy The premises and foundations of Dvaita Vedanta, also known as Dvaitavada and Tattvavada, are credited to Madhvacharya. His philosophy championed unqualified dualism. Madhva's work is classically placed in contrast with monist ideas of Shankara's Advaita Vedanta and Ramanuja's Vishishtadvaita Vedanta. Epistemology Madhva calls epistemology as Anu pramana. It accepts three pramānas, that is three facts or three correct means of knowledge, in contrast to one of Charvaka and six of Advaita schools of Hindu philosophies: Pratyaksha (प्रत्यक्ष) means perception. It is of two types in Dvaita and other Hindu schools: external and internal. External perception is described as that arising from the interaction of five senses and worldly objects, while internal perception is described as that of inner sense, the mind. Anumāna (अनुमान) means inference. It is described as reaching a new conclusion and truth from one or more observations and previous truths by applying reason. Observing smoke and inferring fire is an example of Anumana. This method of inference consists of three parts: pratijna (hypothesis), hetu (a reason), and drshtanta (examples). Śabda (शब्द) means relying on word, testimony of past or present reliable experts. It is also known as Agama in Madhva's Dvaita tradition, and incorporates all the Vedas. Hiriyanna explains Sabda-pramana as a concept which means reliable expert testimony. The schools of Hinduism which consider it epistemically valid suggest that a human being needs to know numerous facts, and with the limited time and energy available, he can learn only a fraction of those facts and truths directly. Madhva and his followers introduced kevala-pramaana as the "knowledge of an object as it is", separate from anu-pramana described above. Madhva's Dvaita school holds that Vishnu as God, who is also Hari, Krishna, Vasudeva and Narayana, can only be known through the proper samanvaya (connection) and pramana of the Vedic scriptural teachings. Vishnu, according to Madhvacharya, is not the creator of the Vedas, but the teacher of the Vedas. Knowledge is intrinsically valid, states Madhva's school, and the knower and the known are independently real. Both the ritual part (karma-kanda, Mimamsa) and the knowledge part (jnana-kanda, Upanishadic Vedanta) in the Vedas, asserted Madhvacharya, are equally valid and interconnected whole. As asserted by the Mimamsa school of Hindu philosophy, Madhvacharya held that the Vedas are author-less, and that their truth is in all of its parts (i.e. the , , and )... Metaphysics The metaphysical reality is plural, stated Madhvacharya. There are primarily two tattvas or categories of reality — (independent reality) and (dependent reality). Ishvara (as God Vishnu or Krishna) is the cause of the universe and the only independent reality, in Madhvacharya's view. The created universe is the dependent reality, consisting of (individual souls) and Jada (matter, material things). Individual souls are plural, different and distinct realities. s are sentient and matter is non-sentient, according to Madhvacharya. Madhva further enumerates the difference between dependent and independent reality as a fivefold division (pancha-bheda) between God, souls and material things. These differences are: (1) Between material things; (2) Between material thing and soul; (3) Between material thing and God; (4) Between souls; and (5) Between soul and God. This difference is neither temporary nor merely practical; it is an invariable and natural property of everything. Madhva calls it Taratamya (gradation in pluralism). There is no object like another, according to Madhvacharya. There is no soul like another. All souls are unique, reflected in individual personalities. The sea is full; the tank is full; a pot is full; everything is full, yet each fullness is different, asserted Madhvacharya. Even in liberation (moksha), states Madhvacharya, the bliss is different for each person, based on each's degree of knowledge and spiritual perfection. This liberation, according to him, is only achievable with grace of God Krishna. Nature of the Brahman Madhva conceptualised Brahman as a being who enjoys His own bliss, while the entire universe evolves through a nebulous chaos. He manifests, every now and then, to help the evolution process. The four primary manifestation of Him as the Brahman are, according to Madhva, Vasudeva, Pradyumna, Aniruddha and Sankarasana, which are respectively responsible for the redemptive, creative, sustaining and destructive aspects in the universe. His secondary manifestations are many, and all manifestations are at par with each other, it is the same infinite no matter how He manifests. Brahman is the creator of the universe, perfect in knowledge, perfect in knowing, perfect in its power, and distinct from souls, distinct from matter. For liberation, mere intellectual conceptualization of Brahman as creator is not enough, the individual soul must feel attraction, love, attachment and devotional surrender to Him, and only His grace leads to redemption and liberation, according to Madhva. The Vishnu as Brahman concept of Madhvacharya is a concept similar to God in major world religions. His writings led some early colonial-era Indologists such as George Abraham Grierson to suggest the 13th-century Madhva was influenced by Christianity, but later scholarship has rejected this theory. Atat tvam asi One of the Mahavakyas (great sayings) in Hinduism is Tat tvam asi, or "Thou art That", found in verse 6.8.7 of Chandogya Upanishad. This section of Chandogya Upanishad is credited to sage Uddalaka and the text considered central in Vedanta and the Brahma Sutras, interpreted to mean that there is no difference between the soul within (Thou) and the Brahman (That). The Dvaita school led by Madhva reinterpreted this section, by parsing the Sanskrit text as Atat tvam asi or "Thou are not That", asserting that there is no Sanskrit rule which does not allow such parsing. He accepted that the tradition and prior scholars had all interpreted the text to be "Tat tvam asi", but then asserted that there is no metaphysical or logical requirement that he should too. Soteriology Madhvacharya considered Jnana Yoga and Karma Yoga to be insufficient to the path of liberation without Bhakti. Narayana or Vishnu was the supreme God to Madhva, who can only be reached through Vayu – the son of God; further, states Madhva, faith leads to the grace of God, and grace leads to the liberation of soul. The knowledge of God, for Madhvacharya, is not a matter of intellectual acceptance of the concept, but an attraction, affection, constant attachment, loving devotion and complete surrender to the grace of God. He rejects monist theories that knowledge liberates, asserting instead that it is Divine grace through Bhakti that liberates. To Madhva, God obscures reality by creating Maya and Prakriti, which causes bondage and suffering; and only God can be the source of soul's release. Liberation occurs when, with the grace of God, one knows the true nature of self and the true nature of God. Ethics Evil and suffering in the world, according to Madhvacharya, originates in man, and not God. Every Jiva (individual soul) is the agent of actions, not Jada (matter), and not Ishvara (God). While Madhva asserts each individual self is the Kartritva (real agency), the self is not an absolutely independent agent to him. This is because, states Madhva, the soul is influenced by sensory organs, one's physical body and such material things which he calls as gifts of God. Man has free will, but is influenced by his innate nature, inclinations and past karma. Madhvacharya asserts, Yathecchasi tatha kuru, which Sharma translates and explains as "one has the right to choose between right and wrong, a choice each individual makes out of his own responsibility and his own risk". Madhva does not address the problem of evil, that is how can evil exist with that of a God who is omnipotent, omniscient, and omnibenevolent. According to Sharma, "Madhva's tripartite classification of souls makes it unnecessary to answer the problem of evil". According to David Buchta, this does not address the problem of evil, because the omnipotent God "could change the system, but chooses not to" and thus sustains the evil in the world. This view of self's agency of Madhvacharya was, states Buchta, an outlier in Vedanta school and Indian philosophies in general. Moral laws and ethics exist, according to Madhva, and are necessary for the grace of God and for liberation. Views on other schools Madhvacharya was a fierce critic of competing Vedanta schools, and other schools of Indian philosophies such as Buddhism and Jainism. He wrote up arguments against twenty one ancient and medieval era Indian scholars to help establish the foundations of his own school of thought. Madhvacharya was fiercest critic of Advaita Vedanta, accusing Shankara and Advaitins for example, as "deceitful demons" teaching Buddhism under the cover of Vedanta. Advaita's nondualism asserts that Atman (soul) and Brahman are blissful and identical, unchanging transcendent Reality, there is interconnected oneness of all souls and Brahman, and there are no pluralities. Madhva in contrast asserts that Atman (soul) and Brahman are different, only Vishnu is the Lord (Brahman), individual souls are also different and depend on Vishnu, and there are pluralities. Madhva criticized Advaita as being a version of Mahayana Buddhism, which he regarded as nihilistic. Of all schools, Madhva focussed his criticism on Advaita most, and he wrote four major texts, including Upadhikhandana and Tattvadyota, primarily dedicated to criticizing Advaita. Madhvacharya disagreed with aspects of Ramanuja's Vishishtadvaita. Vishishtadvaita school, a realist system of thought like Madhvacharya's Dvaita school, also asserts that Jiva (human souls) and Brahman (as Vishnu) are different, a difference that is never transcended. God Vishnu alone is independent, all other gods and beings are dependent on Him, according to both Madhvacharya and Ramanuja. However, in contrast to Madhvacharya's views, Vishishtadvaita school asserts "qualified non-dualism", that souls share the same essential nature of Brahman, and that there is a universal sameness in the quality and degree of bliss possible for human souls, and every soul can reach the bliss state of God Himself. While the older school of Vishishtadvaita asserted "qualitative monism and quantitative pluralism of souls", states Sharma, Madhvacharya asserted both "qualitative and quantitative pluralism of souls". Shankara's Advaita school and Ramanuja's Vishishtadvaita school are premised on the assumption that all souls can hope for and achieve the state of blissful liberation; in contrast, Madhvacharya believed that some souls are eternally doomed and damned. Madhvacharya's style of criticism of other schools of Indian philosophy was part of the ancient and medieval Indian tradition. He was part of the Vedanta school, which emerged in post-Vedic period as the most influential of the six schools of Hindu philosophy, and his targeting of Advaita tradition, states Bryant, reflects it being the most influential of Vedanta schools. Influence Madhvacharya views represent a subschool of Vaishnavism, just like Ramanuja's. Both championed Vishnu in the saguna form. However, 11th-century Ramanuja's ideas have been most influential in Vaishnavism. Madhvacharya's ideas led to the founding of Haridasa sect of Vaishnavism in Karnataka, also referred to as Vyasakuta, Dasakuta or Dasa Dasapantha, known for their devotional songs and music during the Bhakti movement. Other influential subschools of Vaishnavism competed with the ideas of Madhvacharya, such as the Chaitanya subschool, whose Jiva Gosvami asserts only Krishna is "Svayam Bhagavan" (supreme form of God), in contrast to Madhva who asserts that all Vishnu avatars are equal and identical, with both sharing the belief that emotional devotion to God is the means to spiritual liberation. Chaitanya Mahaprabhu(1496-1534) is said to be a disciple of Isvara Puri who was a disciple of Madhavendra Puri who was a disciple of Lakshmipati Tirtha who was a disciple of Vyasatirtha(1469-1539) of Madhvacharya's Sampradaya. According to Sharma, the influence of Madhva's Dvaita ideas have been most prominent on the Chaitanya school of Bengal Vaishnavism, and in Assam. A subsect of Gaudiya Vaishnavas from Orissa and West Bengal claim to be followers of Madhvacharya. Madhva established in Udupi Krishna Matha attached to a god Krishna temple. Gaudiya Vaishnavas also worship Krishna, who is in the mode of Vrindavana. Hindu-Christian-Muslim controversies Madhvacharya was misperceived and misrepresented by both Christian missionaries and Hindu writers during the colonial era scholarship. The similarities in the primacy of one God, dualism and distinction between man and God, devotion to God, the son of God as the intermediary, predestination, the role of grace in salvation, as well as the similarities in the legends of miracles in Christianity and Madhvacharya's Dvaita tradition fed these stories. Among Christian writers, GA Grierson creatively asserted that Madhva's ideas evidently were "borrowed from Christianity, quite possibly promulgated as a rival to the central doctrine of that faith". Among Hindu writers, according to Sarma, SC Vasu creatively translated Madhvacharya's works to identify Madhvacharya with Christ, rather than compare their ideas. Modern scholarship rules out the influence of Christianity on Madhvacharya, as there is no evidence that there ever was a Christian settlement where Madhvacharya grew up and lived, or that there was a sharing or discussion of ideas between someone with knowledge of the Bible and Christian legends, and him. There are also assumptions Madhva was influenced by Islam. The Madhvavijaya tells about Madhva meeting the Sultan of Delhi and saying to him in fluent Persian that both worship the same one God of the universe, and that he spreads the faith in God. The sultan is said to have been so impressed by this that he wanted give half of the empire to Madhva, which he refused. However, the indologist and religious scholar Helmuth von Glasenapp assumes that monotheism can also be derived from the Indian intellectual world, and that there is no reason supporting the theory that Madhva's views on afterlife were influenced by Muslim or Christian impulses. Monasteries Madhvacharya established eight mathas (monasteries) in Udupi with his eight disciples as its head along with Adi Matha. These are referred to as Madhva mathas, or Udupi ashta matha, and include Palimaru matha, Adamaru matha, Krishnapura matha, Puttige matha, Shirur matha, Sodhe matha, Kaniyooru matha and Pejavara matha. These eight surround the Anantheswara Krishna Hindu temple. The matha are laid out in a rectangle, the temples on a square grid pattern. The monks in the matha are sannyasis, and the tradition of their studies and succession (Paryaya system) were established by Madhvacharya. The monastery has a pontiff system, that rotates after a fixed period of time. The pontiff is called Swamiji, and he leads daily Krishna prayers according to Madhva tradition, as well as annual festivals. The process and Vedic mantra rituals for Krishna worship in Dvaita monasteries follow the procedure written by Madhvacharya in Tantrasara. The Krishna worship neither involves bali (sacrifice) nor any fire rituals. The succession ceremony in Dvaita school involves the outgoing Swamiji welcoming the incoming one, then walking together to the icon of Madhvacharya at the entrance of Krishna temple in Udupi, offering water to him, expressing reverence then handing over the same vessel with water that Madhvacharya used when he handed over the leadership of the monastery he founded. The monastery include kitchens, bhojan-shala, run by monks and volunteers. These serve food daily to nearly 15,000 to 20,000 monks, students and visiting pilgrims without social discrimination. During succession ceremonies, over 80,000 people are served a vegetarian meal by Udupi bhojan-shalas. Madhvacharya established Adi Matha with his disciple Padmanabha Tirtha as its head with the instructions that his disciples Narahari Tirtha, Madhava Tirtha and Akshobhya Tirtha should inturn become the successors of this matha. Padmanabha Tirtha and his descendants such as Narahari Tirtha, Akshobhya Tirtha, Jayatirtha, Sripadaraja, Vyasatirtha, Raghuttama Tirtha, Vijayendra Tirtha, Raghavendra Tirtha, Vidyadhisha Tirtha, Sumatindra Tirtha, Satyanatha Tirtha and Satyabodha Tirtha are responsible for the spread of Dvaita Vedanta outside Tulu Nadu region. All the mathas outside of the Tulu region are one way or the other descended from Padmanabha Tirtha. According to Surendranath Dasgupta, Uttaradi Math was divided twice, and so we end up with three mathas, the other two being Vyasaraja Math and Raghavendra Math. Uttaradi Math, along with Vyasaraja Math and Raghavendra Math, is considered to be the three premier apostolic institutions of Dvaita Vedanta and are jointly referred as Mathatraya. It is the pontiffs and pandits of the Mathatraya that have been the principle architects of post-Madhva Dvaita Vedanta through the centuries. Among the mathas outside of Tulu Nadu region, Uttaradi Matha is the largest. Including those in Udupi, there are twenty-four Madhva mathas in India. The main center of Madhva's tradition is in Karnataka. Professor Kiyokazu Okita and Indologist B. N. K. Sharma says, Sannyasis in the lineage of Dvaita school of Vedanta belongs to Ēkadaṇḍi tradition just like the Sanyasi's of Advaita of Adi Shankara. Film In 1986 a film directed by G. V. Iyer named Madhvacharya was premiered, it was one of the films made entirely in Kannada language. See also Brahma Sampradaya Madhva Brahmins Dvaita literature Ashta Mathas of Udupi Notes References Bibliography External links Bibliography of Madhvacharya's works, Item 751, Karl Potter, University of Washington "Madhva" article in the Internet Encyclopedia of Philosophy Madhvacharya at Encyclopædia Britannica A Note on the date of Madhvacharya by S. Srikanta Sastri Discussion on quotations and interpretations by Madhvacharya. https://gosai.com/writings/the-divinity-of-sri-caitanya-mahaprabhu-0 1238 births 13th-century Indian writers Hindu philosophers and theologians 13th-century Indian philosophers Indian Vaishnavites Indian Hindu religious leaders History of Karnataka Vaishnavism People from Udupi district Bhakti movement Tulu people Sanskrit writers Vaishnava saints Medieval Hindu religious leaders Writers from Karnataka Hindu saints Scholars from Karnataka Year of death unknown	false	[ "This article contains a list of child bridegrooms or child husbands wherein notable or historically significant examples have been singled out.\n\nList\n\nAntiquity \n Tutankhamun was married before the age of nine years to his half-sister Ankhesenamun (aged about 16).\n\n8th century \n The future Emperor Shōmu (aged about 16) was married to in Asukabe-hime (aged 16) .\n\n10th century \n The future Otto II, Holy Roman Emperor (aged 16/17), was married to Theophanu (aged about 17) in 972.\n\n The future Louis V of France (aged about 15) was married to the twice-widowed Adelaide-Blanche of Anjou (aged 40) in 982.\n\n The future Emperor Ichijō (aged 10) was married to Fujiwara no Teishi (about 12/13) in October 990.\n\n11th century \n Fujiwara no Shōshi (aged about 12) was married to the future Emperor Ichijō (aged 19/20) in 1000.\n\n The future Emperor Go-Ichijō (aged 10) married his aunt Fujiwara no Ishi (aged 19) in 1018.\n\n The future Emperor Horikawa (aged 14) was married to his paternal aunt Princess Tokushi (aged about 33) in 1093.\n\n12th century \n Pons, Count of Tripoli (aged 13/14), was married to Cecile of France (aged 14/15) in 1112.\n\n William Adelin (aged 15), son and heir of Henry I of England, was married to Matilda of Anjou (aged about 13) in 1119.\n\n Louis VII of France (aged 17) married Eleanor of Aquitaine (aged about 15) in 1137; their marriage was annulled in 1152.\n\n Eustace IV, Count of Boulogne (aged about 12/13), was married to Constance of France (aged about 15/16) in 1140.\n\n Philip I, Count of Flanders (aged 15/16), was married to Elisabeth of Vermandois (aged 16) in 1159.\n\n The future Emperor Nijō (aged 15) was married to his paternal aunt Princess Yoshiko (aged 17) in March 1159.\n\n Alfonso VIII of Castile (aged 14/15) married Eleanor of England in 1170, when she was about 9-years-old.\n\n Henry the Young King (aged 17) was married to Margaret of France (aged 13/14) in 1172. They had been betrothed since 1160, when Henry was 5 and Margaret was about 2.\n\n Canute VI of Denmark (aged about 13/14) was married to Gertrude of Bavaria (aged 22 or 25) in 1177. They had been engaged since 1171, since he was about 7/8 and she was about 16 or 19.\n\n Henry I, Duke of Brabant (aged about 14), was married to Matilda of Boulogne (aged 9) in 1179.\n\n Alexios II Komnenos was 10 when he is reported to have married Agnes of France (aged 9) in 1180.\n\n Philip II of France (aged 14) married Isabella of Hainault (aged 10) in 1180.\n\n Humphrey IV of Toron (aged about 17) married Isabella of Jerusalem (aged 10/11) in 1183. They had been betrothed when Humphrey was about 14/15 and Isabella was 8-years-old.\n\n Conrad II, Duke of Swabia (aged 13/14), married Berengaria of Castile in 1187, when she was about 8-years-old. The marriage was never consummated due to Berengaria's young age.\n\n William IV, Count of Ponthieu (aged 15/16), was married to Alys of France, Countess of Vexin (aged 34), in 1195.\n\n13th century \n Henry VI, Count Palatine of the Rhine (aged about 16), was married to Matilda of Brabant (aged about 12) in 1212.\n\n Henry I of Castile married his cousin Mafalda of Portugal (aged about 20) in 1215, when he was either 10- or 11-years-old. The marriage was never consummated due to Henry's young age; and the marriage was annulled by the Pope in 1216 on the grounds of consanguinity. Later that year, Henry was betrothed to his second cousin Sancha, heiress of León, but he died in 1217 at the age of 13.\n\n Baldwin II of Constantinople (aged about 17) was married to Marie of Brienne (aged about 10) in 1234.\n\n Alexander III of Scotland (aged 10) was married to Margaret of England (aged 11) in December 1251.\n\n Edward I of England (aged 15) was married to Eleanor of Castile (aged 13) in 1254.\n\n The future Philip III of France (aged 17) was married to Isabella of Aragon (aged 13/14) in May 1262. They had been betrothed since May 1258, when he was 13 and she was 9/10.\n\n John I, Duke of Brabant (17/18), was married to Margaret of France (aged 15/16) in 1270.\n\n The future Ladislaus IV of Hungary (aged 7/8) was married to Elizabeth of Sicily (aged 8/9) in 1270.\n\n Philip of Sicily (aged about 15/16) was married to Isabella of Villehardouin (aged either 8 or 11) in May 1271.\n\n The future Philip IV of France (aged 16) was married to Joan I of Navarre (aged 11) in August 1285.\n\n Wenceslaus II of Bohemia (aged 13) was married to Judith of Habsburg (aged 13) in January 1285.\n\n John II, Duke of Brabant (aged 14), was married to Margaret of England (aged 15) in 1290. John and Margaret had been betrothed since they were 2 and 3, respectively.\n\n Henry, Count of Luxembourg (aged about 13/14), was married to Margaret of Brabant (aged 15) in July 1292.\n\n John I, Count of Holland (aged 12/13), was married to Elizabeth of Rhuddlan (aged 14) in 1297.\n\n14th century \n Roger Mortimer, 1st Earl of March (aged 14), was married to Joan de Geneville (aged 15) in 1301.\n\n The future Gaston I, Count of Foix (aged 13/14), was married to Joan of Artois (aged 11/12) in 1301.\n\n The future Louis X of France (aged 15) was married to Margaret of Burgundy (aged about 15) in 1305.\n\n Philip V of France (aged about 13/14) was married to Joan of Burgundy (aged 14/15) in 1307.\n\n The future Charles IV of France (aged 13) was married to Blanche of Burgundy (aged about 11/12) in January 1308.\n\n John of Luxembourg (aged 14) was married to Elizabeth of Bohemia (aged 18) in September 1310.\n\n John III, Duke of Brabant (aged 10/11), was married to Marie of Évreux (aged 7/8) in 1311.\n\n Edmund Mortimer (aged about 13/14, possibly younger) was married to Elizabeth de Badlesmere (aged 3) in 1316.\n\n Thomas Beauchamp (aged about 6) was married to Katherine Mortimer (aged about 5) in 1319.\n\n Louis I, Count of Flanders (aged about 15/16), was married to Margaret of France (aged 9/10) in 1320.\n\n Guigues VIII of Viennois (aged 13/14) was married to Isabella of France (aged 10/11) in 1323.\n\n Alfonso XI of Castile (aged 13/14) was married to Constanza Manuel of Villena (aged at most 10) in 1325. He had the marriage annulled two years later, and in 1328, at the age of 16/17, married his double first cousin Maria of Portugal (aged 14/15).\n \n Edward III of England (aged 15) was married to Philippa of Hainault (between the ages of 12 and 17) in 1327.\n\n The future David II of Scotland (aged 4) was married to Joan of the Tower (aged 7) in 1328.\n\n Laurence Hastings, 1st Earl of Pembroke (aged about 9/10), was married to Agnes Mortimer (aged about 11/12) in 1328 or 1329. Laurence was a ward of Agnes's father, Roger Mortimer, 1st Earl of March.\n\n Charles IV, King of Bohemia (aged about 12/13; later Holy Roman Emperor), was married to Blanche of Valois (aged about 12/13) in 1329.\n\n Reginald II, Duke of Guelders (aged about 16), was married to Sophia Berthout in 1311. After Sophia's death in 1329, he married Eleanor of Woodstock (aged 13) in 1332, when he was about 37-years-old.\n\n John, Duke of Normandy (aged 13), was married to Bonne of Luxembourg (aged 17) in July 1332.\n\n Andrew of Hungary (aged 6) was married to the future Joanna I of Naples (aged about 6/7) in 1333.\n\n William IV, Count of Holland (aged 10/11), was married to Joanna of Brabant (aged 11/12) in 1334.\n\n Marie de Namur (aged about 13/14) was married to Henry II, Graf of Vianden, in 1335/36. Henry was murdered in 1337; about three years later, in 1340, Marie (now about 17/18) was married to Theobald of Bar, Seigneur de Pierrepont (aged about 25/26), her second cousin, once removed.\n\n Philip of Burgundy (aged about 14/15) was married to Joan I, Countess of Auvergne (aged about 11/12), circa 1338.\n\n William Montagu (aged 12) was married to Joan of Kent (aged 13) in either late 1340 or early 1341. In 1348, it was revealed that Joan had secretly married Thomas Holland, 1st Earl of Kent, in 1340; and, as a result, Montagu's marriage to Joan was annulled.\n\n Gaston III, Count of Foix (aged 16/17), was married to Agnes of Navarre (aged 13/14) in 1348.\n\n Charles V of France (aged 12) was married Joanna of Bourbon (aged 12) to in April 1350.\n\n Thomas de Vere, 8th Earl of Oxford (aged about 15), was married to Maud de Ufford (born 1345/46) sometime before 10 June 1350, when Maud was about 5-years-old.\n\n Lionel of Antwerp, 1st Duke of Clarence (aged 13/14), was married to Elizabeth de Burgh, 4th Countess of Ulster (aged 20), in 1352.\n\n Philip I, Duke of Burgundy (aged 10/11), was married to the future Margaret III, Countess of Flanders (aged 6/7), in 1357.\n\n Richard Fitzalan (aged 12/13) was married to Elizabeth de Bohun (aged about 9) in 1359.\n\n John Hastings, 2nd Earl of Pembroke (aged 11), was married to Margaret of England (aged 12), daughter of Henry III of England, in 1359.\n\n Gian Galeazzo Visconti (aged 8) was married to Isabella of Valois (aged 11/12) in October 1360, about a week before Gian's 9th birthday.\n\n Albert III, Duke of Austria (aged 16/17), was married to Elisabeth of Bohemia (aged 7/8) in 1366.\n\n Edmund Mortimer, 3rd Earl of March (aged 15/16), was married to Philippa of Clarence (aged 12/13) in 1368.\n\n The future Charles III of Navarre (aged 13/14) was married to Eleanor of Castile (aged about 12) in May 1375.\n\n John V, Lord of Arkel (aged 14), was married to Joanna of Jülich in October 1376.\n\n John Hastings, 3rd Earl of Pembroke (aged 8), was married to Elizabeth of Lancaster (aged 17) in 1380. The marriage remained unconsummated due to John's age, and was annulled after Elizabeth became pregnant by John Holland, 1st Duke of Exeter, whom she later married.\n\n Henry Bolingbroke (aged 13; later King Henry IV of England) was married to Mary de Bohun (aged about 10/11) in 1380.\n\n Richard II of England (aged 15) was married to Anne of Bohemia (aged 15) in January 1382.\n\n John, Count of Nevers (aged 14) was married to Margaret of Bavaria (aged 21/22) in April 1385.\n\n The future John V, Duke of Brittany (aged 6/7), was married to Joan of France (aged 4/5) in 1396.\n\n John of Perche (aged 10/11) was married to Marie of Brittany (aged 5) in July 1396.\n\n15th century \n Louis, Duke of Guyenne (aged 7), married Margaret of Nevers (aged 10) in August 1404.\nCharles, Duke of Orléans (aged 11), married his cousin Isabella of Valois (aged 16) in June 1406.\n\n Philip the Good (aged 12) was married to Michelle of Valois (aged 14) in June 1409.\n\n John, Duke of Touraine (aged 16), was married to Jacqueline of Hainaut (aged 14) in 1415.\n\n John IV, Duke of Brabant (aged 14), was married to Jacqueline of Hainaut (aged 16) in March 1418, following her first husband's death the year before.\n\n John II, Duke of Alençon (aged 15), married Joan of Valois (aged 15), daughter of Charles, Duke of Orléans, in 1424.\n\n Louis, Dauphin of France (aged 12), was married to Margaret Stewart (aged 11), daughter of James I of Scotland, in June 1436. The wedding took place a little over a week before Louis's thirteenth birthday.\n\n Henry IV of Castile (aged 14/15) was married to his cousin Blanche of Navarre (aged 15/16) in 1440.\n\n Afonso V of Portugal (aged 15) was married to Isabel of Coimbra (aged 15) in May 1447.\n\n John de la Pole (age 7) was married to Margaret Beaufort, (age 7; approximately) in 1450 by the arrangement John's father. The marriage was annulled in 1453.\n\n Ferdinand II of Aragon (aged 17) was married to his second cousin Infanta Isabella of Castile (aged 18; later Isabella I of Castile) in 1469. They became the parents of Catherine of Aragon.\n\n John, Prince of Portugal (aged 14) was married to his first cousin Eleanor of Viseu (aged 11) in January 1470.\n\n Louis, Duke of Orléans (aged 14) was married to his cousin Joan of France, Duchess of Berry (age 12), in 1476.\n\n Richard of Shrewsbury, 1st Duke of York (age 4), was married to Anne de Mowbray, 8th Countess of Norfolk (age 6), in 1477. She died at age 10 and he, as one of the Princes in the Tower, is believed to have been murdered at age 10.\n\n Afonso, Prince of Portugal (aged about 15), was married by proxy to Isabella of Aragon (aged 19) in the spring of 1490.\n\n16th century \n Arthur, Prince of Wales (aged 15), was married to Catherine of Aragon (aged 15) in 1501. He died a few months later and she eventually married his younger brother, Henry VIII of England.\n\n Charles, Count of Montpensier (aged 15), was married to Suzanne, Duchess of Bourbon (aged 14), in 1505.\n\n Henry VIII of England (aged 17), married Catherine of Aragon (aged 23) in June 1509, a couple of weeks before his 18th birthday.\n\n Claude, Duke of Guise (aged 16), was married to Antoinette de Bourbon (aged 18) in 1513.\n\n Henry, Duke of Orléans (aged 14), was married to Catherine de' Medici (aged 14) in 1533.\n\n Henry Grey, Marquess of Dorset (aged 15/16), was married to Lady Frances Brandon (aged 15/16) in 1533.\n\n Henry Clifford (aged 17/18) was married to Lady Eleanor Brandon (aged 15/16) in 1535.\n\n Ottavio Farnese, Duke of Parma (aged 14), grandson of Pope Paul III, was married to Margaret of Parma (aged 15), illegitimate daughter of Charles V, Holy Roman Emperor, in November 1538.\n\n Philip, Prince of Asturias (aged 16; later Philip II of Spain), was married to Maria Manuela, Princess of Portugal (aged 16), in 1543.\n\n João Manuel, Prince of Portugal (aged 14), was married to his double first cousin Joanna of Austria (aged 16) in 1552.\n\n Lord Guildford Dudley (aged about 17/18) was married to Lady Jane Grey (aged about 16/17) in 1553.\n\n Henry, Lord Herbert, was at most 15-years-old, was married to Lady Katherine Grey (aged 12), younger sister of Lady Jane Grey, in 1553. The marriage was annulled in 1554.\n\n Francis, Dauphin of France (aged 13/14), was married to Mary, Queen of Scots (aged 15/16), in 1558. The pair had been betrothed since Mary was five and Francis was three.\n\n Charles III, Duke of Lorraine (aged 15), was married to Claude of France (aged 11), daughter of Henry II of France, in 1559.\n\n17th century \n Alfonso, Hereditary Prince of Modena (aged 16/17), was married to Isabella of Savoy (aged 16) in 1608.\n\n César, Duke of Vendôme (aged 14), was married to Françoise de Lorraine (aged 15/16) in July 1608.\n\n Frederick V, Elector Palatine (aged 16), married Elizabeth Stuart (aged 16), eldest daughter of James VI and I and Anne of Denmark, in 1613.\n\n Louis XIII of France (aged 14) was married to his second cousin Anne of Austria (aged 14) in November 1615.\n\n The future Ferdinand Maria, Elector of Bavaria (aged 14), was married to Princess Henriette Adelaide of Savoy (aged 14) in December 1650.\n\n The future William II, Prince of Orange (aged 15), married Mary, Princess Royal (aged 9), in 1641. The marriage was reported to not have been consummated for a number of years due to the bride's age.\n\n Walter Scott of Highchester (aged 14) was married to Mary Scott, 3rd Countess of Buccleuch (aged 11), in 1659.\n\n James Crofts, 1st Duke of Monmouth (aged 14), illegitimate son of Charles II of England and his mistress Lucy Walter, was married to Anne Scott, 1st Duchess of Buccleuch (aged 12), in April 1663.\n\n Sir Edward Lee (aged 14) was married to Lady Charlotte FitzRoy (aged 13) in 1677. They had been betrothed since 1674, before Charlotte's tenth birthday.\n\n Ivan V of Russia (aged 17) was married to Praskovia Saltykova (aged 18/19) in either late 1683 or early 1684.\n\n Louis, Prince of Condé (aged 16), was married to his distant cousin Louise Françoise de Bourbon (aged 11) in 1685.\n\n Philippe, Duke of Chartres (aged 17), married his first cousin Françoise Marie de Bourbon (aged 14), legitimated daughter of Louis XIV, in February 1692.\n\n Louis, Duke of Burgundy (aged 15), was married to Marie Adélaïde of Savoy (aged 12) in December 1697.\n\n18th century \n Philip V of Spain (aged 17) was married to Maria Luisa Gabriela of Savoy (aged 12) in September 1701, five days before Maria Luisa's 13th birthday.\n\n Louis Armand II, Prince of Conti (aged 17), was married to Louise Élisabeth de Bourbon (aged 19) in July 1713.\n\n Jules, Prince of Soubise (aged 17), was married to Anne Julie de Melun (aged 15/16) in September 1714.\n\n Louis, Prince of Asturias (aged 14), was married by proxy to Louise Élisabeth d'Orléans (aged 11) in November 1721.\n\n Louis XV of France (aged 15) was married to Marie Leszczyńska (aged 22) in 1725.\n\n José, Prince of Brazil (aged 14), was married to Infanta Mariana Victoria of Spain (aged 10) in January 1729.\n\n Louis François, Prince of Conti (aged 14), was married to Louise Diane d'Orléans (aged 15) in January 1732.\n\n Gaston, Count of Marsan (aged 17), was married to Marie Louise de Rohan (aged 16) in June 1736.\n\n Ercole Rinaldo d'Este (aged 13/14) was married to Maria Teresa Cybo-Malaspina, Duchess of Massa (aged 15/16) in 1741.\n\n Louis, Dauphin of France (aged 15), was married to Infanta Maria Teresa Rafaela of Spain (aged 18) in 1744. After Maria Teresa's death in early 1746, Louis was required to remarry quickly in order to secure the succession to the French crown. Thus, he married again in February 1747, at the age of 17, to Duchess Maria Josepha of Saxony (aged 15).\n\n Peter of Holstein-Gottorp (later Peter III of Russia) was 17-years-old when he married his 16-year-old second cousin Princess Sophie of Anhalt-Zerbst (later known as Catherine the Great) in 1745.\n\n Louis Joseph, Prince of Condé (aged 16), was married to Charlotte de Rohan (aged 15) in 1753.\n\n Christian VII of Denmark (aged 17) was married to Princess Caroline Matilda of Great Britain (aged 15) in 1766.\n\n Ferdinand IV & III of Naples and Sicily (aged 17) was married by proxy to Maria Carolina of Austria (aged 15) in April 1768.\n\n Louis Henri, Duke of Enghien (aged 14), was married to Bathilde d'Orléans (aged 19) in 1770.\n\n Louis-Auguste, Dauphin of France (aged 15), was married to Archduchess Maria Antonia of Austria (aged 14; later known as Marie Antoinette) in April 1770.\n\n Louis Stanislas, Count of Provence (aged 15; the future King Louis XVIII of France), was married to Marie Joséphine of Savoy (aged 17) in 1771.\n\n Charles Philippe, Duke of Artois (aged 16; later Charles X of France), was married to Princess Maria Theresa of Savoy (aged 17) in 1773.\n\n The future Alexander I of Russia (aged 15) married Princess Louise of Baden (aged 14) in 1793.\n\n19th century\n Ferdinand, Prince of Asturias (aged 17; later Ferdinand VII of Spain), was married to his first cousin Princess Maria Antonia of Naples and Sicily (aged 17) in October 1802, about a week before his 18th birthday.\n\n Tokugawa Iemochi (aged 15) was married to Chikako, Princess Kazu (aged 15), daughter of Emperor Ninkō, in February 1862.\n\nCeremonial marriages\n\nSanele Masilela, a nine year old South African boy married 62-year-old Helen Shabangu.\nJose Griggs, at the age of seven, married nine-year-old Jayla Cooper\n\nSee also\nList of child brides\nTeen marriage\n\nReferences\n\nLists of men\nHusbands", "Lachlan Og MacLean, 1st Laird of Torloisk was the second son of Sir Lachlan Mor Maclean and the first Laird of Torloisk.\n\nBiography\nHe was the second son of Sir Lachlan Mor Maclean, and he received from his father a charter of the lands of Lehire-Torloisk, forfeited by the son of Ailean nan Sop, which was afterward confirmed by royal grant. He was present at the Battle of Gruinnart, and was severely wounded. He was a witness to a charter given by his father to Martin MacGillivray of Pennyghael, and subscribed himself in the Irish characters, Mise Lachin Mhac Gilleoin. He was an important man in his day, and was so influential that he was compelled to make his appearance before the privy council.\n\nHe was first married to Marian, daughter of Sir Duncan Campbell of Achnabreck and had:\nHector MacLean, 2nd Laird of Torloisk\nHe was a second time married to Margaret, daughter of Captain Stewart of Dumbarton, but had no children. \nHe was a third time married to Marian, daughter of Donald MacDonald of Clanranald, and had:\nHector Maclean\nLachlan Og Maclean, who died unmarried but had a son Donald Maclean\nLachlan Catanach Maclean was killed at Inverkeithing\nEwen Maclean\nJohn Diuriach Maclean married the daughter of John Maclean, Laird of Ardgour and had Allan and several daughters\nOther children include: \nAllan Maclean who died unmarried at Harris\nNeil Maclean who married a daughter of Lochbuie, by whom he had a daughter\nLachlan, who died a lieutenant-colonel in the British service\nJannet Maclean, married Hector, first MacLean of Kinlochaline \nMary Maclean, married John Garbh, eldest son of John Dubh of Morvern \nCatherine Maclean, married John, brother to MacNeil of Barra\nJulian Maclean, married Allan MacLean, brother of Lochbuie\nIsabella Maclean, married Martin MacGillivray of Pennyghael\n\nLachlan Og lived to an advanced age, and was succeeded by his eldest son, Hector MacLean, 2nd Laird of Torloisk.\n\nReferences\n\nYear of birth missing\nYear of death missing\nLachlan Og MacLean, 1st Laird of Torloisk\nLachlan" ]
[ "Madhvacharya", "Biography", "what is her biography?", "The biography of Madhvacharya is unclear. Many sources date him to 1238-1317 period, but some place him about the 1199-1278 period.", "was he married?", "became a monk or Sannyasi in his teenage." ]	C_027f7d62283648d2b96d035d448f41e8_1	what was his greatest accomplishment?	3	what was Madhvacharya greatest accomplishment?	Madhvacharya	The biography of Madhvacharya is unclear. Many sources date him to 1238-1317 period, but some place him about the 1199-1278 period. Madhvacarya was born in Pajaka near Udupi, a coastal Malabar region of south-west India in the state of Karnataka. Traditionally it is believed that Naddantillaya (Sanskrit: Madhyageha, Madhyamandira) was the name of his father and Vedavati was Madhvacarya's mother. Born in a Vaishnavite Brahmin household, he was named Vasudeva. Later he became famous by the names Purnaprajna, Anandatirtha and Madhvacarya (or just Madhva). Purnaprajna was the name given to him at the time of his initiation into sannyasa (renunciation), as a teenager. The name conferred on him when he became the head of his monastery was "Ananda Tirtha". All three of his later names are found in his works. Madhvacarya or Madhva are names most commonly found in modern literature on him, or Dvaita Vedanta related literature. Madhva began his school after his Upanayana at age seven, became a monk or Sannyasi in his teenage. He joined an Advaita Vedanta monastery in Dwarka (Gujarat), accepted his guru to be Achyutrapreksha, who is also referred to as Achyutraprajna in some sources. Madhva studied the Upanishads and the Advaita literature, but was unconvinced by its nondualism philosophy of oneness of human soul and god, had frequent disagreements with his guru, left the monastery, and began his own Dvaita movement based on dualism premises of Dvi - asserting that human soul and god (as Vishnu) are two different things. Madhva never acknowledged Achyutrapreksha as his guru or his monastic lineage in his writings. According to Dehsen, perhaps there were two individuals named Madhvacharya in 13th century India, with Anandatirtha - the younger Madhva being the most important early disciple of the elder Madhvacharya, and their works and life overlapped in Udupi, Tattvavada being the name adopted for Dvaita Vedanta by Anandatirtha. Madhvacharya established a matha (monastery) dedicated to Dvaita philosophy, and this became the sanctuary for a series of Dvaita scholars such as Jayatirtha, Vyasatirtha, Vadiraja Tirtha and Raghavendra Tirtha who followed in footsteps of Madhva. A number of hagiographies have been written by Madhva's disciples and followers. Of these, the most referred to is the sixteen cantos Sanskrit biography Madhvavijaya by Narayana Panditacarya - son of Trivikrama Pandita, who himself was a disciple of Madhva. CANNOTANSWER	began his own Dvaita movement based on dualism premises of Dvi -	Madhvacharya (; ; CE 1199-1278 or CE 1238–1317), sometimes anglicised as Madhva Acharya, and also known as Purna Prajna () and Ānanda Tīrtha, was a Hindu philosopher and the chief proponent of the Dvaita (dualism) school of Vedanta. Madhva called his philosophy Tattvavāda meaning "arguments from a realist viewpoint". Madhvacharya was born on the west coast of Karnataka state in 13th-century India. As a teenager, he became a Sanyasi (monk) joining Brahma-sampradaya guru Achyutapreksha, of the Ekadandi order. Madhva studied the classics of Hindu philosophy, particularly the Principal Upanishads, the Bhagavad Gita and the Brahma Sutras (Prasthanatrayi). He commented on these, and is credited with thirty seven works in Sanskrit. His writing style was of extreme brevity and condensed expression. His greatest work is considered to be the Anuvyakhyana, a philosophical supplement to his bhasya on the Brahma Sutras composed with a poetic structure. In some of his works, he proclaimed himself to be an avatar of Vayu, the son of god Vishnu. Madhvacharya was a critic of Adi Shankara's Advaita Vedanta and Ramanuja's Vishishtadvaita Vedanta teachings. However, Dwaita was restricted to few states of India. He toured India several times, visiting places such as Bengal, Varanasi, Dwarka, Goa and Kanyakumari, engaging in philosophical debates and visiting Hindu centres of learning. Madhva established the Krishna Mutt at Udupi with a murti secured from Dwarka Gujarat in CE 1285. Madhvacharya's teachings are built on the premise that there is a fundamental difference between Atman (individual soul, self) and the Brahman (ultimate reality, God Vishnu), these are two different unchanging realities, with individual soul dependent on Brahman, never identical. His school's theistic dualism teachings disagreed with the monist teachings of the other two most influential schools of Vedanta based on Advaita's nondualism and Vishishtadvaita's qualified nondualism. Liberation, asserted Madhva, is achievable only through the grace of God. The Dvaita school founded by Madhva influenced Vaishnavism, the Bhakti movement in medieval India, and has been one of the three influential Vedānta philosophies, along with Advaita Vedanta and Vishishtadvaita Vedanta. Madhva's historical influence in Hinduism, state Kulandran and Kraemer, has been salutary, but not extensive. Biography The biography of Madhvacharya is unclear. Many sources date him to 1238–1317 period, but some place him about the 1199–1278 period. Madhvācārya was born in Pajaka near Udupi, a coastal district in the present day Indian state of Karnataka. Traditionally it is believed that Naddantillaya (Sanskrit: Madhyageha, Madhyamandira) was the name of his father and Vedavati was Madhvācārya's mother. Born in a Tulu speaking Vaishnavite Brahmin household, he was named Vāsudeva. Later he became famous by the names Purnaprajna, Anandatirtha and Madhvacarya (or just Madhva). Pūrnaprajña was the name given to him at the time of his initiation into sannyasa (renunciation), as a teenager. The name conferred on him when he became the head of his monastery was "Ānanda Tīrtha". All three of his later names are found in his works. Madhvācārya or Madhva are names most commonly found in modern literature on him, or Dvaita Vedanta related literature. Madhva began his school after his Upanayana at age seven, and became a monk or Sannyasi in his teenage, although his father was initially opposed to this. He joined an Advaita Vedanta monastery in Udupi (Karnataka), accepted his guru to be Achyutrapreksha, who is also referred to as Achyutraprajna in some sources. Madhva studied the Upanishads and the Advaita literature, but was unconvinced by its nondualism philosophy of oneness of human soul and god, had frequent disagreements with his guru, left the monastery, and began his own Dvaita movement based on dualism premises of Dvi – asserting that human soul and god (as Vishnu) are two different things. Madhva never acknowledged Achyutrapreksha as his guru or his monastic lineage in his writings. Madhva is said to have been clever in philosophy, and also to have been tall and strongly built. According to Dehsen, perhaps there were two individuals named Madhvacharya in 13th-century India, with Anandatirtha – the younger Madhva being the most important early disciple of the elder Madhvacharya, and their works and life overlapped in Udupi, Tattvavada being the name adopted for Dvaita Vedanta by Anandatirtha. Madhvacharya established a matha (monastery) dedicated to Dvaita philosophy, and this became the sanctuary for a series of Dvaita scholars such as Jayatirtha, Sripadaraja, Vyasatirtha, Vadiraja Tirtha, Raghuttama Tirtha, Raghavendra Tirtha and Satyanatha Tirtha who followed in footsteps of Madhva. A number of hagiographies have been written by Madhva's disciples and followers. Of these, the most referred to is the sixteen cantos Sanskrit biography Madhvavijaya by Nārāyana Panditācārya – son of Trivikrama Pandita, who himself was a disciple of Madhva. Incarnation of Vayu, the wind god In several of his texts, state Sarma and other scholars, "Madhvacharya proclaims himself to be the third avatar or incarnation of Vayu, wind god, the son of Vishnu". He, thus, asserted himself to be like Hanuman – the first avatar of Vayu, and Bhima – a Pandava in the Mahabharata and the second avatar of Vayu. In one of his bhasya on the Brahma Sutras, he asserts that the authority of the text is from his personal encounter with Vishnu. Madhva, states Sarma, believed himself to be an intermediary between Vishnu and Dvaita devotees, guiding the latter in their journey towards Vishnu. Madhva is said to have performed several miracles during his lifetime, including transforming Tamarind grains into coins, fighting and winning against robbers and wild animals, crossing the Ganges without getting wet clothes, and giving light to his students through the nails of his big toes after the lamp went out while they were interpreting a text at night. Madhvacharya is said to have quoted some verses from his unique recensions of scriptures. Also, he is said to have quoted many unique books like Kamatha Sruti. The interpretation of Balittha Sukta by Madhvacharya and his followers to prove that Madhvacharya was an incarnation of Vayu is considered highly unique by standard commentaries on them like Sayana and Horace Hayman Wilson. Works of Madhvacharya Thirty seven Dvaita texts are attributed to Madhvacharya. Of these, thirteen are bhasya (review and commentary) on earliest Principal Upanishads, a Madhva-bhasya on the foundational text of Vedanta school of Hinduism – Brahma Sutras, another Gita-bhasya on Bhagavad Gita, a commentary on forty hymns of the Rigveda, a review of the Mahabharata in poetic style, a commentary called Bhagavata-tatparya-nirnaya on Bhagavata Purana, plus stotras, poems and texts on bhakti of Vishnu and his avatars. The Anu-Vyakhyana, a supplement to Madhvacharya's commentary on Brahma Sutras, is his masterpiece, states Sharma. While being a profusely productive writer, Madhvacharya restricted the access to and distribution of his works to outsiders who were not part of Dvaita school, according to Sarma. However, Bartley disagrees and states that this is inconsistent with the known history of extensive medieval Vedantic debates on religious ideas in India which included Dvaita school's ideas. Madhva's philosophy The premises and foundations of Dvaita Vedanta, also known as Dvaitavada and Tattvavada, are credited to Madhvacharya. His philosophy championed unqualified dualism. Madhva's work is classically placed in contrast with monist ideas of Shankara's Advaita Vedanta and Ramanuja's Vishishtadvaita Vedanta. Epistemology Madhva calls epistemology as Anu pramana. It accepts three pramānas, that is three facts or three correct means of knowledge, in contrast to one of Charvaka and six of Advaita schools of Hindu philosophies: Pratyaksha (प्रत्यक्ष) means perception. It is of two types in Dvaita and other Hindu schools: external and internal. External perception is described as that arising from the interaction of five senses and worldly objects, while internal perception is described as that of inner sense, the mind. Anumāna (अनुमान) means inference. It is described as reaching a new conclusion and truth from one or more observations and previous truths by applying reason. Observing smoke and inferring fire is an example of Anumana. This method of inference consists of three parts: pratijna (hypothesis), hetu (a reason), and drshtanta (examples). Śabda (शब्द) means relying on word, testimony of past or present reliable experts. It is also known as Agama in Madhva's Dvaita tradition, and incorporates all the Vedas. Hiriyanna explains Sabda-pramana as a concept which means reliable expert testimony. The schools of Hinduism which consider it epistemically valid suggest that a human being needs to know numerous facts, and with the limited time and energy available, he can learn only a fraction of those facts and truths directly. Madhva and his followers introduced kevala-pramaana as the "knowledge of an object as it is", separate from anu-pramana described above. Madhva's Dvaita school holds that Vishnu as God, who is also Hari, Krishna, Vasudeva and Narayana, can only be known through the proper samanvaya (connection) and pramana of the Vedic scriptural teachings. Vishnu, according to Madhvacharya, is not the creator of the Vedas, but the teacher of the Vedas. Knowledge is intrinsically valid, states Madhva's school, and the knower and the known are independently real. Both the ritual part (karma-kanda, Mimamsa) and the knowledge part (jnana-kanda, Upanishadic Vedanta) in the Vedas, asserted Madhvacharya, are equally valid and interconnected whole. As asserted by the Mimamsa school of Hindu philosophy, Madhvacharya held that the Vedas are author-less, and that their truth is in all of its parts (i.e. the , , and )... Metaphysics The metaphysical reality is plural, stated Madhvacharya. There are primarily two tattvas or categories of reality — (independent reality) and (dependent reality). Ishvara (as God Vishnu or Krishna) is the cause of the universe and the only independent reality, in Madhvacharya's view. The created universe is the dependent reality, consisting of (individual souls) and Jada (matter, material things). Individual souls are plural, different and distinct realities. s are sentient and matter is non-sentient, according to Madhvacharya. Madhva further enumerates the difference between dependent and independent reality as a fivefold division (pancha-bheda) between God, souls and material things. These differences are: (1) Between material things; (2) Between material thing and soul; (3) Between material thing and God; (4) Between souls; and (5) Between soul and God. This difference is neither temporary nor merely practical; it is an invariable and natural property of everything. Madhva calls it Taratamya (gradation in pluralism). There is no object like another, according to Madhvacharya. There is no soul like another. All souls are unique, reflected in individual personalities. The sea is full; the tank is full; a pot is full; everything is full, yet each fullness is different, asserted Madhvacharya. Even in liberation (moksha), states Madhvacharya, the bliss is different for each person, based on each's degree of knowledge and spiritual perfection. This liberation, according to him, is only achievable with grace of God Krishna. Nature of the Brahman Madhva conceptualised Brahman as a being who enjoys His own bliss, while the entire universe evolves through a nebulous chaos. He manifests, every now and then, to help the evolution process. The four primary manifestation of Him as the Brahman are, according to Madhva, Vasudeva, Pradyumna, Aniruddha and Sankarasana, which are respectively responsible for the redemptive, creative, sustaining and destructive aspects in the universe. His secondary manifestations are many, and all manifestations are at par with each other, it is the same infinite no matter how He manifests. Brahman is the creator of the universe, perfect in knowledge, perfect in knowing, perfect in its power, and distinct from souls, distinct from matter. For liberation, mere intellectual conceptualization of Brahman as creator is not enough, the individual soul must feel attraction, love, attachment and devotional surrender to Him, and only His grace leads to redemption and liberation, according to Madhva. The Vishnu as Brahman concept of Madhvacharya is a concept similar to God in major world religions. His writings led some early colonial-era Indologists such as George Abraham Grierson to suggest the 13th-century Madhva was influenced by Christianity, but later scholarship has rejected this theory. Atat tvam asi One of the Mahavakyas (great sayings) in Hinduism is Tat tvam asi, or "Thou art That", found in verse 6.8.7 of Chandogya Upanishad. This section of Chandogya Upanishad is credited to sage Uddalaka and the text considered central in Vedanta and the Brahma Sutras, interpreted to mean that there is no difference between the soul within (Thou) and the Brahman (That). The Dvaita school led by Madhva reinterpreted this section, by parsing the Sanskrit text as Atat tvam asi or "Thou are not That", asserting that there is no Sanskrit rule which does not allow such parsing. He accepted that the tradition and prior scholars had all interpreted the text to be "Tat tvam asi", but then asserted that there is no metaphysical or logical requirement that he should too. Soteriology Madhvacharya considered Jnana Yoga and Karma Yoga to be insufficient to the path of liberation without Bhakti. Narayana or Vishnu was the supreme God to Madhva, who can only be reached through Vayu – the son of God; further, states Madhva, faith leads to the grace of God, and grace leads to the liberation of soul. The knowledge of God, for Madhvacharya, is not a matter of intellectual acceptance of the concept, but an attraction, affection, constant attachment, loving devotion and complete surrender to the grace of God. He rejects monist theories that knowledge liberates, asserting instead that it is Divine grace through Bhakti that liberates. To Madhva, God obscures reality by creating Maya and Prakriti, which causes bondage and suffering; and only God can be the source of soul's release. Liberation occurs when, with the grace of God, one knows the true nature of self and the true nature of God. Ethics Evil and suffering in the world, according to Madhvacharya, originates in man, and not God. Every Jiva (individual soul) is the agent of actions, not Jada (matter), and not Ishvara (God). While Madhva asserts each individual self is the Kartritva (real agency), the self is not an absolutely independent agent to him. This is because, states Madhva, the soul is influenced by sensory organs, one's physical body and such material things which he calls as gifts of God. Man has free will, but is influenced by his innate nature, inclinations and past karma. Madhvacharya asserts, Yathecchasi tatha kuru, which Sharma translates and explains as "one has the right to choose between right and wrong, a choice each individual makes out of his own responsibility and his own risk". Madhva does not address the problem of evil, that is how can evil exist with that of a God who is omnipotent, omniscient, and omnibenevolent. According to Sharma, "Madhva's tripartite classification of souls makes it unnecessary to answer the problem of evil". According to David Buchta, this does not address the problem of evil, because the omnipotent God "could change the system, but chooses not to" and thus sustains the evil in the world. This view of self's agency of Madhvacharya was, states Buchta, an outlier in Vedanta school and Indian philosophies in general. Moral laws and ethics exist, according to Madhva, and are necessary for the grace of God and for liberation. Views on other schools Madhvacharya was a fierce critic of competing Vedanta schools, and other schools of Indian philosophies such as Buddhism and Jainism. He wrote up arguments against twenty one ancient and medieval era Indian scholars to help establish the foundations of his own school of thought. Madhvacharya was fiercest critic of Advaita Vedanta, accusing Shankara and Advaitins for example, as "deceitful demons" teaching Buddhism under the cover of Vedanta. Advaita's nondualism asserts that Atman (soul) and Brahman are blissful and identical, unchanging transcendent Reality, there is interconnected oneness of all souls and Brahman, and there are no pluralities. Madhva in contrast asserts that Atman (soul) and Brahman are different, only Vishnu is the Lord (Brahman), individual souls are also different and depend on Vishnu, and there are pluralities. Madhva criticized Advaita as being a version of Mahayana Buddhism, which he regarded as nihilistic. Of all schools, Madhva focussed his criticism on Advaita most, and he wrote four major texts, including Upadhikhandana and Tattvadyota, primarily dedicated to criticizing Advaita. Madhvacharya disagreed with aspects of Ramanuja's Vishishtadvaita. Vishishtadvaita school, a realist system of thought like Madhvacharya's Dvaita school, also asserts that Jiva (human souls) and Brahman (as Vishnu) are different, a difference that is never transcended. God Vishnu alone is independent, all other gods and beings are dependent on Him, according to both Madhvacharya and Ramanuja. However, in contrast to Madhvacharya's views, Vishishtadvaita school asserts "qualified non-dualism", that souls share the same essential nature of Brahman, and that there is a universal sameness in the quality and degree of bliss possible for human souls, and every soul can reach the bliss state of God Himself. While the older school of Vishishtadvaita asserted "qualitative monism and quantitative pluralism of souls", states Sharma, Madhvacharya asserted both "qualitative and quantitative pluralism of souls". Shankara's Advaita school and Ramanuja's Vishishtadvaita school are premised on the assumption that all souls can hope for and achieve the state of blissful liberation; in contrast, Madhvacharya believed that some souls are eternally doomed and damned. Madhvacharya's style of criticism of other schools of Indian philosophy was part of the ancient and medieval Indian tradition. He was part of the Vedanta school, which emerged in post-Vedic period as the most influential of the six schools of Hindu philosophy, and his targeting of Advaita tradition, states Bryant, reflects it being the most influential of Vedanta schools. Influence Madhvacharya views represent a subschool of Vaishnavism, just like Ramanuja's. Both championed Vishnu in the saguna form. However, 11th-century Ramanuja's ideas have been most influential in Vaishnavism. Madhvacharya's ideas led to the founding of Haridasa sect of Vaishnavism in Karnataka, also referred to as Vyasakuta, Dasakuta or Dasa Dasapantha, known for their devotional songs and music during the Bhakti movement. Other influential subschools of Vaishnavism competed with the ideas of Madhvacharya, such as the Chaitanya subschool, whose Jiva Gosvami asserts only Krishna is "Svayam Bhagavan" (supreme form of God), in contrast to Madhva who asserts that all Vishnu avatars are equal and identical, with both sharing the belief that emotional devotion to God is the means to spiritual liberation. Chaitanya Mahaprabhu(1496-1534) is said to be a disciple of Isvara Puri who was a disciple of Madhavendra Puri who was a disciple of Lakshmipati Tirtha who was a disciple of Vyasatirtha(1469-1539) of Madhvacharya's Sampradaya. According to Sharma, the influence of Madhva's Dvaita ideas have been most prominent on the Chaitanya school of Bengal Vaishnavism, and in Assam. A subsect of Gaudiya Vaishnavas from Orissa and West Bengal claim to be followers of Madhvacharya. Madhva established in Udupi Krishna Matha attached to a god Krishna temple. Gaudiya Vaishnavas also worship Krishna, who is in the mode of Vrindavana. Hindu-Christian-Muslim controversies Madhvacharya was misperceived and misrepresented by both Christian missionaries and Hindu writers during the colonial era scholarship. The similarities in the primacy of one God, dualism and distinction between man and God, devotion to God, the son of God as the intermediary, predestination, the role of grace in salvation, as well as the similarities in the legends of miracles in Christianity and Madhvacharya's Dvaita tradition fed these stories. Among Christian writers, GA Grierson creatively asserted that Madhva's ideas evidently were "borrowed from Christianity, quite possibly promulgated as a rival to the central doctrine of that faith". Among Hindu writers, according to Sarma, SC Vasu creatively translated Madhvacharya's works to identify Madhvacharya with Christ, rather than compare their ideas. Modern scholarship rules out the influence of Christianity on Madhvacharya, as there is no evidence that there ever was a Christian settlement where Madhvacharya grew up and lived, or that there was a sharing or discussion of ideas between someone with knowledge of the Bible and Christian legends, and him. There are also assumptions Madhva was influenced by Islam. The Madhvavijaya tells about Madhva meeting the Sultan of Delhi and saying to him in fluent Persian that both worship the same one God of the universe, and that he spreads the faith in God. The sultan is said to have been so impressed by this that he wanted give half of the empire to Madhva, which he refused. However, the indologist and religious scholar Helmuth von Glasenapp assumes that monotheism can also be derived from the Indian intellectual world, and that there is no reason supporting the theory that Madhva's views on afterlife were influenced by Muslim or Christian impulses. Monasteries Madhvacharya established eight mathas (monasteries) in Udupi with his eight disciples as its head along with Adi Matha. These are referred to as Madhva mathas, or Udupi ashta matha, and include Palimaru matha, Adamaru matha, Krishnapura matha, Puttige matha, Shirur matha, Sodhe matha, Kaniyooru matha and Pejavara matha. These eight surround the Anantheswara Krishna Hindu temple. The matha are laid out in a rectangle, the temples on a square grid pattern. The monks in the matha are sannyasis, and the tradition of their studies and succession (Paryaya system) were established by Madhvacharya. The monastery has a pontiff system, that rotates after a fixed period of time. The pontiff is called Swamiji, and he leads daily Krishna prayers according to Madhva tradition, as well as annual festivals. The process and Vedic mantra rituals for Krishna worship in Dvaita monasteries follow the procedure written by Madhvacharya in Tantrasara. The Krishna worship neither involves bali (sacrifice) nor any fire rituals. The succession ceremony in Dvaita school involves the outgoing Swamiji welcoming the incoming one, then walking together to the icon of Madhvacharya at the entrance of Krishna temple in Udupi, offering water to him, expressing reverence then handing over the same vessel with water that Madhvacharya used when he handed over the leadership of the monastery he founded. The monastery include kitchens, bhojan-shala, run by monks and volunteers. These serve food daily to nearly 15,000 to 20,000 monks, students and visiting pilgrims without social discrimination. During succession ceremonies, over 80,000 people are served a vegetarian meal by Udupi bhojan-shalas. Madhvacharya established Adi Matha with his disciple Padmanabha Tirtha as its head with the instructions that his disciples Narahari Tirtha, Madhava Tirtha and Akshobhya Tirtha should inturn become the successors of this matha. Padmanabha Tirtha and his descendants such as Narahari Tirtha, Akshobhya Tirtha, Jayatirtha, Sripadaraja, Vyasatirtha, Raghuttama Tirtha, Vijayendra Tirtha, Raghavendra Tirtha, Vidyadhisha Tirtha, Sumatindra Tirtha, Satyanatha Tirtha and Satyabodha Tirtha are responsible for the spread of Dvaita Vedanta outside Tulu Nadu region. All the mathas outside of the Tulu region are one way or the other descended from Padmanabha Tirtha. According to Surendranath Dasgupta, Uttaradi Math was divided twice, and so we end up with three mathas, the other two being Vyasaraja Math and Raghavendra Math. Uttaradi Math, along with Vyasaraja Math and Raghavendra Math, is considered to be the three premier apostolic institutions of Dvaita Vedanta and are jointly referred as Mathatraya. It is the pontiffs and pandits of the Mathatraya that have been the principle architects of post-Madhva Dvaita Vedanta through the centuries. Among the mathas outside of Tulu Nadu region, Uttaradi Matha is the largest. Including those in Udupi, there are twenty-four Madhva mathas in India. The main center of Madhva's tradition is in Karnataka. Professor Kiyokazu Okita and Indologist B. N. K. Sharma says, Sannyasis in the lineage of Dvaita school of Vedanta belongs to Ēkadaṇḍi tradition just like the Sanyasi's of Advaita of Adi Shankara. Film In 1986 a film directed by G. V. Iyer named Madhvacharya was premiered, it was one of the films made entirely in Kannada language. See also Brahma Sampradaya Madhva Brahmins Dvaita literature Ashta Mathas of Udupi Notes References Bibliography External links Bibliography of Madhvacharya's works, Item 751, Karl Potter, University of Washington "Madhva" article in the Internet Encyclopedia of Philosophy Madhvacharya at Encyclopædia Britannica A Note on the date of Madhvacharya by S. Srikanta Sastri Discussion on quotations and interpretations by Madhvacharya. https://gosai.com/writings/the-divinity-of-sri-caitanya-mahaprabhu-0 1238 births 13th-century Indian writers Hindu philosophers and theologians 13th-century Indian philosophers Indian Vaishnavites Indian Hindu religious leaders History of Karnataka Vaishnavism People from Udupi district Bhakti movement Tulu people Sanskrit writers Vaishnava saints Medieval Hindu religious leaders Writers from Karnataka Hindu saints Scholars from Karnataka Year of death unknown	false	[ "was a professional Go player.\n\nHe is well known in the Western go world for his book Lessons in the Fundamentals of Go.\n\nBiography \nKageyama was born in Shizuoka Prefecture, Japan. In 1948, he won the biggest amateur Go tournament in Japan, the All-Amateur Honinbo. The year after that, he passed the pro exam. \n\nFor two years straight, Kageyama was runner up for the Prime Minister Cup. First, against Otake Hideo, then Hoshino Toshi. His style was a very calm one with deep calculations, similar to what Ishida Yoshio would use later on. The greatest accomplishment of his life, in his own opinion, was beating Rin Kaiho in the Prime Minister Cup semi-finals. At the time, Rin was the Meijin, the top player in Japan. Kageyama gave a commentary on this game in his book \"Lessons in the Fundamentals of Go\", where he wrote\n\nPromotion record\n\nRunners-up\n\nAwards\nTakamatsu-no-miya Prize once (1967)\n\nBibliography \nLessons in the Fundamentals of Go \nKage's Secret Chronicles of Handicap Go\n\nReferences\n\n1926 births\n1990 deaths\nJapanese Go players\nGo writers", "Hans Christian Harald Tegner, known as Hans Tegner (30 November 1853 – 2 April 1932), was a Danish artist and illustrator. He is primarily known for his illustrations of literary works by Hans Christian Andersen and Ludvig Holberg and for his work for the Bing & Grøndahl porcelain factory.\n\nEarly life and education\nSon of lithographer Isac Wilhelm Tegner, Hans studied at the Royal Danish Academy of Fine Arts from 1869 to 1878.\n\nCareer\nHis first art exhibition was in 1882, featuring watercolour illustrations of Hans Christian Andersen's story The Tinderbox. His second, and last, exhibition in 1889 was a watercolour painting celebrating the 50-year jubilee of the Constitution of Denmark, and was bought by king Christian IX of Denmark. From 1883 to 1888, Tegner painted a series of illustrations for the works of Ludvig Holberg, his greatest artistic accomplishment. The second great accomplishment of Tegner, was his exquisite illustrations produced for the so-called international selection () of Andersen's fairy tales, finished in 1901.\n\nTegner was made professor at the Royal Danish Academy of Fine Arts in 1897. He illustrated a number of other books, as well as postal stamps, and the first 5-Danish krone note in 1898. He was the leader of Kunsthåndværkerskolen (a part of what is now Danmarks Designskole) from 1901 to 1917, and chief designer at porcelain manufacturer Bing & Grøndahl from 1907 to 1932. He died on April 2, 1932, in Fredensborg.\n\npersonal life\n\nTegner married Helga Byberg (13 January 1862 - 26 February 1945), a daughter of merchant Ole Strib Hansen Byberg (1812–82) and Karen Møller (1821–89), on 24 November 1896 in Sundby.\n\nHe died on 2 April 1932 and is buried in Asminderød Cemetery\n\nReferences\n\nExternal links\n\n1853 births\n1932 deaths\nDanish artists\nRoyal Danish Academy of Fine Arts faculty\nRoyal Danish Academy of Fine Arts alumni\n19th-century illustrators of fairy tales\n20th-century illustrators of fairy tales" ]
[ "Madhvacharya", "Biography", "what is her biography?", "The biography of Madhvacharya is unclear. Many sources date him to 1238-1317 period, but some place him about the 1199-1278 period.", "was he married?", "became a monk or Sannyasi in his teenage.", "what was his greatest accomplishment?", "began his own Dvaita movement based on dualism premises of Dvi -" ]	C_027f7d62283648d2b96d035d448f41e8_1	what was the movement?	4	what was Dvaita movement?	Madhvacharya	The biography of Madhvacharya is unclear. Many sources date him to 1238-1317 period, but some place him about the 1199-1278 period. Madhvacarya was born in Pajaka near Udupi, a coastal Malabar region of south-west India in the state of Karnataka. Traditionally it is believed that Naddantillaya (Sanskrit: Madhyageha, Madhyamandira) was the name of his father and Vedavati was Madhvacarya's mother. Born in a Vaishnavite Brahmin household, he was named Vasudeva. Later he became famous by the names Purnaprajna, Anandatirtha and Madhvacarya (or just Madhva). Purnaprajna was the name given to him at the time of his initiation into sannyasa (renunciation), as a teenager. The name conferred on him when he became the head of his monastery was "Ananda Tirtha". All three of his later names are found in his works. Madhvacarya or Madhva are names most commonly found in modern literature on him, or Dvaita Vedanta related literature. Madhva began his school after his Upanayana at age seven, became a monk or Sannyasi in his teenage. He joined an Advaita Vedanta monastery in Dwarka (Gujarat), accepted his guru to be Achyutrapreksha, who is also referred to as Achyutraprajna in some sources. Madhva studied the Upanishads and the Advaita literature, but was unconvinced by its nondualism philosophy of oneness of human soul and god, had frequent disagreements with his guru, left the monastery, and began his own Dvaita movement based on dualism premises of Dvi - asserting that human soul and god (as Vishnu) are two different things. Madhva never acknowledged Achyutrapreksha as his guru or his monastic lineage in his writings. According to Dehsen, perhaps there were two individuals named Madhvacharya in 13th century India, with Anandatirtha - the younger Madhva being the most important early disciple of the elder Madhvacharya, and their works and life overlapped in Udupi, Tattvavada being the name adopted for Dvaita Vedanta by Anandatirtha. Madhvacharya established a matha (monastery) dedicated to Dvaita philosophy, and this became the sanctuary for a series of Dvaita scholars such as Jayatirtha, Vyasatirtha, Vadiraja Tirtha and Raghavendra Tirtha who followed in footsteps of Madhva. A number of hagiographies have been written by Madhva's disciples and followers. Of these, the most referred to is the sixteen cantos Sanskrit biography Madhvavijaya by Narayana Panditacarya - son of Trivikrama Pandita, who himself was a disciple of Madhva. CANNOTANSWER	asserting that human soul and god (as Vishnu) are two different things.	Madhvacharya (; ; CE 1199-1278 or CE 1238–1317), sometimes anglicised as Madhva Acharya, and also known as Purna Prajna () and Ānanda Tīrtha, was a Hindu philosopher and the chief proponent of the Dvaita (dualism) school of Vedanta. Madhva called his philosophy Tattvavāda meaning "arguments from a realist viewpoint". Madhvacharya was born on the west coast of Karnataka state in 13th-century India. As a teenager, he became a Sanyasi (monk) joining Brahma-sampradaya guru Achyutapreksha, of the Ekadandi order. Madhva studied the classics of Hindu philosophy, particularly the Principal Upanishads, the Bhagavad Gita and the Brahma Sutras (Prasthanatrayi). He commented on these, and is credited with thirty seven works in Sanskrit. His writing style was of extreme brevity and condensed expression. His greatest work is considered to be the Anuvyakhyana, a philosophical supplement to his bhasya on the Brahma Sutras composed with a poetic structure. In some of his works, he proclaimed himself to be an avatar of Vayu, the son of god Vishnu. Madhvacharya was a critic of Adi Shankara's Advaita Vedanta and Ramanuja's Vishishtadvaita Vedanta teachings. However, Dwaita was restricted to few states of India. He toured India several times, visiting places such as Bengal, Varanasi, Dwarka, Goa and Kanyakumari, engaging in philosophical debates and visiting Hindu centres of learning. Madhva established the Krishna Mutt at Udupi with a murti secured from Dwarka Gujarat in CE 1285. Madhvacharya's teachings are built on the premise that there is a fundamental difference between Atman (individual soul, self) and the Brahman (ultimate reality, God Vishnu), these are two different unchanging realities, with individual soul dependent on Brahman, never identical. His school's theistic dualism teachings disagreed with the monist teachings of the other two most influential schools of Vedanta based on Advaita's nondualism and Vishishtadvaita's qualified nondualism. Liberation, asserted Madhva, is achievable only through the grace of God. The Dvaita school founded by Madhva influenced Vaishnavism, the Bhakti movement in medieval India, and has been one of the three influential Vedānta philosophies, along with Advaita Vedanta and Vishishtadvaita Vedanta. Madhva's historical influence in Hinduism, state Kulandran and Kraemer, has been salutary, but not extensive. Biography The biography of Madhvacharya is unclear. Many sources date him to 1238–1317 period, but some place him about the 1199–1278 period. Madhvācārya was born in Pajaka near Udupi, a coastal district in the present day Indian state of Karnataka. Traditionally it is believed that Naddantillaya (Sanskrit: Madhyageha, Madhyamandira) was the name of his father and Vedavati was Madhvācārya's mother. Born in a Tulu speaking Vaishnavite Brahmin household, he was named Vāsudeva. Later he became famous by the names Purnaprajna, Anandatirtha and Madhvacarya (or just Madhva). Pūrnaprajña was the name given to him at the time of his initiation into sannyasa (renunciation), as a teenager. The name conferred on him when he became the head of his monastery was "Ānanda Tīrtha". All three of his later names are found in his works. Madhvācārya or Madhva are names most commonly found in modern literature on him, or Dvaita Vedanta related literature. Madhva began his school after his Upanayana at age seven, and became a monk or Sannyasi in his teenage, although his father was initially opposed to this. He joined an Advaita Vedanta monastery in Udupi (Karnataka), accepted his guru to be Achyutrapreksha, who is also referred to as Achyutraprajna in some sources. Madhva studied the Upanishads and the Advaita literature, but was unconvinced by its nondualism philosophy of oneness of human soul and god, had frequent disagreements with his guru, left the monastery, and began his own Dvaita movement based on dualism premises of Dvi – asserting that human soul and god (as Vishnu) are two different things. Madhva never acknowledged Achyutrapreksha as his guru or his monastic lineage in his writings. Madhva is said to have been clever in philosophy, and also to have been tall and strongly built. According to Dehsen, perhaps there were two individuals named Madhvacharya in 13th-century India, with Anandatirtha – the younger Madhva being the most important early disciple of the elder Madhvacharya, and their works and life overlapped in Udupi, Tattvavada being the name adopted for Dvaita Vedanta by Anandatirtha. Madhvacharya established a matha (monastery) dedicated to Dvaita philosophy, and this became the sanctuary for a series of Dvaita scholars such as Jayatirtha, Sripadaraja, Vyasatirtha, Vadiraja Tirtha, Raghuttama Tirtha, Raghavendra Tirtha and Satyanatha Tirtha who followed in footsteps of Madhva. A number of hagiographies have been written by Madhva's disciples and followers. Of these, the most referred to is the sixteen cantos Sanskrit biography Madhvavijaya by Nārāyana Panditācārya – son of Trivikrama Pandita, who himself was a disciple of Madhva. Incarnation of Vayu, the wind god In several of his texts, state Sarma and other scholars, "Madhvacharya proclaims himself to be the third avatar or incarnation of Vayu, wind god, the son of Vishnu". He, thus, asserted himself to be like Hanuman – the first avatar of Vayu, and Bhima – a Pandava in the Mahabharata and the second avatar of Vayu. In one of his bhasya on the Brahma Sutras, he asserts that the authority of the text is from his personal encounter with Vishnu. Madhva, states Sarma, believed himself to be an intermediary between Vishnu and Dvaita devotees, guiding the latter in their journey towards Vishnu. Madhva is said to have performed several miracles during his lifetime, including transforming Tamarind grains into coins, fighting and winning against robbers and wild animals, crossing the Ganges without getting wet clothes, and giving light to his students through the nails of his big toes after the lamp went out while they were interpreting a text at night. Madhvacharya is said to have quoted some verses from his unique recensions of scriptures. Also, he is said to have quoted many unique books like Kamatha Sruti. The interpretation of Balittha Sukta by Madhvacharya and his followers to prove that Madhvacharya was an incarnation of Vayu is considered highly unique by standard commentaries on them like Sayana and Horace Hayman Wilson. Works of Madhvacharya Thirty seven Dvaita texts are attributed to Madhvacharya. Of these, thirteen are bhasya (review and commentary) on earliest Principal Upanishads, a Madhva-bhasya on the foundational text of Vedanta school of Hinduism – Brahma Sutras, another Gita-bhasya on Bhagavad Gita, a commentary on forty hymns of the Rigveda, a review of the Mahabharata in poetic style, a commentary called Bhagavata-tatparya-nirnaya on Bhagavata Purana, plus stotras, poems and texts on bhakti of Vishnu and his avatars. The Anu-Vyakhyana, a supplement to Madhvacharya's commentary on Brahma Sutras, is his masterpiece, states Sharma. While being a profusely productive writer, Madhvacharya restricted the access to and distribution of his works to outsiders who were not part of Dvaita school, according to Sarma. However, Bartley disagrees and states that this is inconsistent with the known history of extensive medieval Vedantic debates on religious ideas in India which included Dvaita school's ideas. Madhva's philosophy The premises and foundations of Dvaita Vedanta, also known as Dvaitavada and Tattvavada, are credited to Madhvacharya. His philosophy championed unqualified dualism. Madhva's work is classically placed in contrast with monist ideas of Shankara's Advaita Vedanta and Ramanuja's Vishishtadvaita Vedanta. Epistemology Madhva calls epistemology as Anu pramana. It accepts three pramānas, that is three facts or three correct means of knowledge, in contrast to one of Charvaka and six of Advaita schools of Hindu philosophies: Pratyaksha (प्रत्यक्ष) means perception. It is of two types in Dvaita and other Hindu schools: external and internal. External perception is described as that arising from the interaction of five senses and worldly objects, while internal perception is described as that of inner sense, the mind. Anumāna (अनुमान) means inference. It is described as reaching a new conclusion and truth from one or more observations and previous truths by applying reason. Observing smoke and inferring fire is an example of Anumana. This method of inference consists of three parts: pratijna (hypothesis), hetu (a reason), and drshtanta (examples). Śabda (शब्द) means relying on word, testimony of past or present reliable experts. It is also known as Agama in Madhva's Dvaita tradition, and incorporates all the Vedas. Hiriyanna explains Sabda-pramana as a concept which means reliable expert testimony. The schools of Hinduism which consider it epistemically valid suggest that a human being needs to know numerous facts, and with the limited time and energy available, he can learn only a fraction of those facts and truths directly. Madhva and his followers introduced kevala-pramaana as the "knowledge of an object as it is", separate from anu-pramana described above. Madhva's Dvaita school holds that Vishnu as God, who is also Hari, Krishna, Vasudeva and Narayana, can only be known through the proper samanvaya (connection) and pramana of the Vedic scriptural teachings. Vishnu, according to Madhvacharya, is not the creator of the Vedas, but the teacher of the Vedas. Knowledge is intrinsically valid, states Madhva's school, and the knower and the known are independently real. Both the ritual part (karma-kanda, Mimamsa) and the knowledge part (jnana-kanda, Upanishadic Vedanta) in the Vedas, asserted Madhvacharya, are equally valid and interconnected whole. As asserted by the Mimamsa school of Hindu philosophy, Madhvacharya held that the Vedas are author-less, and that their truth is in all of its parts (i.e. the , , and )... Metaphysics The metaphysical reality is plural, stated Madhvacharya. There are primarily two tattvas or categories of reality — (independent reality) and (dependent reality). Ishvara (as God Vishnu or Krishna) is the cause of the universe and the only independent reality, in Madhvacharya's view. The created universe is the dependent reality, consisting of (individual souls) and Jada (matter, material things). Individual souls are plural, different and distinct realities. s are sentient and matter is non-sentient, according to Madhvacharya. Madhva further enumerates the difference between dependent and independent reality as a fivefold division (pancha-bheda) between God, souls and material things. These differences are: (1) Between material things; (2) Between material thing and soul; (3) Between material thing and God; (4) Between souls; and (5) Between soul and God. This difference is neither temporary nor merely practical; it is an invariable and natural property of everything. Madhva calls it Taratamya (gradation in pluralism). There is no object like another, according to Madhvacharya. There is no soul like another. All souls are unique, reflected in individual personalities. The sea is full; the tank is full; a pot is full; everything is full, yet each fullness is different, asserted Madhvacharya. Even in liberation (moksha), states Madhvacharya, the bliss is different for each person, based on each's degree of knowledge and spiritual perfection. This liberation, according to him, is only achievable with grace of God Krishna. Nature of the Brahman Madhva conceptualised Brahman as a being who enjoys His own bliss, while the entire universe evolves through a nebulous chaos. He manifests, every now and then, to help the evolution process. The four primary manifestation of Him as the Brahman are, according to Madhva, Vasudeva, Pradyumna, Aniruddha and Sankarasana, which are respectively responsible for the redemptive, creative, sustaining and destructive aspects in the universe. His secondary manifestations are many, and all manifestations are at par with each other, it is the same infinite no matter how He manifests. Brahman is the creator of the universe, perfect in knowledge, perfect in knowing, perfect in its power, and distinct from souls, distinct from matter. For liberation, mere intellectual conceptualization of Brahman as creator is not enough, the individual soul must feel attraction, love, attachment and devotional surrender to Him, and only His grace leads to redemption and liberation, according to Madhva. The Vishnu as Brahman concept of Madhvacharya is a concept similar to God in major world religions. His writings led some early colonial-era Indologists such as George Abraham Grierson to suggest the 13th-century Madhva was influenced by Christianity, but later scholarship has rejected this theory. Atat tvam asi One of the Mahavakyas (great sayings) in Hinduism is Tat tvam asi, or "Thou art That", found in verse 6.8.7 of Chandogya Upanishad. This section of Chandogya Upanishad is credited to sage Uddalaka and the text considered central in Vedanta and the Brahma Sutras, interpreted to mean that there is no difference between the soul within (Thou) and the Brahman (That). The Dvaita school led by Madhva reinterpreted this section, by parsing the Sanskrit text as Atat tvam asi or "Thou are not That", asserting that there is no Sanskrit rule which does not allow such parsing. He accepted that the tradition and prior scholars had all interpreted the text to be "Tat tvam asi", but then asserted that there is no metaphysical or logical requirement that he should too. Soteriology Madhvacharya considered Jnana Yoga and Karma Yoga to be insufficient to the path of liberation without Bhakti. Narayana or Vishnu was the supreme God to Madhva, who can only be reached through Vayu – the son of God; further, states Madhva, faith leads to the grace of God, and grace leads to the liberation of soul. The knowledge of God, for Madhvacharya, is not a matter of intellectual acceptance of the concept, but an attraction, affection, constant attachment, loving devotion and complete surrender to the grace of God. He rejects monist theories that knowledge liberates, asserting instead that it is Divine grace through Bhakti that liberates. To Madhva, God obscures reality by creating Maya and Prakriti, which causes bondage and suffering; and only God can be the source of soul's release. Liberation occurs when, with the grace of God, one knows the true nature of self and the true nature of God. Ethics Evil and suffering in the world, according to Madhvacharya, originates in man, and not God. Every Jiva (individual soul) is the agent of actions, not Jada (matter), and not Ishvara (God). While Madhva asserts each individual self is the Kartritva (real agency), the self is not an absolutely independent agent to him. This is because, states Madhva, the soul is influenced by sensory organs, one's physical body and such material things which he calls as gifts of God. Man has free will, but is influenced by his innate nature, inclinations and past karma. Madhvacharya asserts, Yathecchasi tatha kuru, which Sharma translates and explains as "one has the right to choose between right and wrong, a choice each individual makes out of his own responsibility and his own risk". Madhva does not address the problem of evil, that is how can evil exist with that of a God who is omnipotent, omniscient, and omnibenevolent. According to Sharma, "Madhva's tripartite classification of souls makes it unnecessary to answer the problem of evil". According to David Buchta, this does not address the problem of evil, because the omnipotent God "could change the system, but chooses not to" and thus sustains the evil in the world. This view of self's agency of Madhvacharya was, states Buchta, an outlier in Vedanta school and Indian philosophies in general. Moral laws and ethics exist, according to Madhva, and are necessary for the grace of God and for liberation. Views on other schools Madhvacharya was a fierce critic of competing Vedanta schools, and other schools of Indian philosophies such as Buddhism and Jainism. He wrote up arguments against twenty one ancient and medieval era Indian scholars to help establish the foundations of his own school of thought. Madhvacharya was fiercest critic of Advaita Vedanta, accusing Shankara and Advaitins for example, as "deceitful demons" teaching Buddhism under the cover of Vedanta. Advaita's nondualism asserts that Atman (soul) and Brahman are blissful and identical, unchanging transcendent Reality, there is interconnected oneness of all souls and Brahman, and there are no pluralities. Madhva in contrast asserts that Atman (soul) and Brahman are different, only Vishnu is the Lord (Brahman), individual souls are also different and depend on Vishnu, and there are pluralities. Madhva criticized Advaita as being a version of Mahayana Buddhism, which he regarded as nihilistic. Of all schools, Madhva focussed his criticism on Advaita most, and he wrote four major texts, including Upadhikhandana and Tattvadyota, primarily dedicated to criticizing Advaita. Madhvacharya disagreed with aspects of Ramanuja's Vishishtadvaita. Vishishtadvaita school, a realist system of thought like Madhvacharya's Dvaita school, also asserts that Jiva (human souls) and Brahman (as Vishnu) are different, a difference that is never transcended. God Vishnu alone is independent, all other gods and beings are dependent on Him, according to both Madhvacharya and Ramanuja. However, in contrast to Madhvacharya's views, Vishishtadvaita school asserts "qualified non-dualism", that souls share the same essential nature of Brahman, and that there is a universal sameness in the quality and degree of bliss possible for human souls, and every soul can reach the bliss state of God Himself. While the older school of Vishishtadvaita asserted "qualitative monism and quantitative pluralism of souls", states Sharma, Madhvacharya asserted both "qualitative and quantitative pluralism of souls". Shankara's Advaita school and Ramanuja's Vishishtadvaita school are premised on the assumption that all souls can hope for and achieve the state of blissful liberation; in contrast, Madhvacharya believed that some souls are eternally doomed and damned. Madhvacharya's style of criticism of other schools of Indian philosophy was part of the ancient and medieval Indian tradition. He was part of the Vedanta school, which emerged in post-Vedic period as the most influential of the six schools of Hindu philosophy, and his targeting of Advaita tradition, states Bryant, reflects it being the most influential of Vedanta schools. Influence Madhvacharya views represent a subschool of Vaishnavism, just like Ramanuja's. Both championed Vishnu in the saguna form. However, 11th-century Ramanuja's ideas have been most influential in Vaishnavism. Madhvacharya's ideas led to the founding of Haridasa sect of Vaishnavism in Karnataka, also referred to as Vyasakuta, Dasakuta or Dasa Dasapantha, known for their devotional songs and music during the Bhakti movement. Other influential subschools of Vaishnavism competed with the ideas of Madhvacharya, such as the Chaitanya subschool, whose Jiva Gosvami asserts only Krishna is "Svayam Bhagavan" (supreme form of God), in contrast to Madhva who asserts that all Vishnu avatars are equal and identical, with both sharing the belief that emotional devotion to God is the means to spiritual liberation. Chaitanya Mahaprabhu(1496-1534) is said to be a disciple of Isvara Puri who was a disciple of Madhavendra Puri who was a disciple of Lakshmipati Tirtha who was a disciple of Vyasatirtha(1469-1539) of Madhvacharya's Sampradaya. According to Sharma, the influence of Madhva's Dvaita ideas have been most prominent on the Chaitanya school of Bengal Vaishnavism, and in Assam. A subsect of Gaudiya Vaishnavas from Orissa and West Bengal claim to be followers of Madhvacharya. Madhva established in Udupi Krishna Matha attached to a god Krishna temple. Gaudiya Vaishnavas also worship Krishna, who is in the mode of Vrindavana. Hindu-Christian-Muslim controversies Madhvacharya was misperceived and misrepresented by both Christian missionaries and Hindu writers during the colonial era scholarship. The similarities in the primacy of one God, dualism and distinction between man and God, devotion to God, the son of God as the intermediary, predestination, the role of grace in salvation, as well as the similarities in the legends of miracles in Christianity and Madhvacharya's Dvaita tradition fed these stories. Among Christian writers, GA Grierson creatively asserted that Madhva's ideas evidently were "borrowed from Christianity, quite possibly promulgated as a rival to the central doctrine of that faith". Among Hindu writers, according to Sarma, SC Vasu creatively translated Madhvacharya's works to identify Madhvacharya with Christ, rather than compare their ideas. Modern scholarship rules out the influence of Christianity on Madhvacharya, as there is no evidence that there ever was a Christian settlement where Madhvacharya grew up and lived, or that there was a sharing or discussion of ideas between someone with knowledge of the Bible and Christian legends, and him. There are also assumptions Madhva was influenced by Islam. The Madhvavijaya tells about Madhva meeting the Sultan of Delhi and saying to him in fluent Persian that both worship the same one God of the universe, and that he spreads the faith in God. The sultan is said to have been so impressed by this that he wanted give half of the empire to Madhva, which he refused. However, the indologist and religious scholar Helmuth von Glasenapp assumes that monotheism can also be derived from the Indian intellectual world, and that there is no reason supporting the theory that Madhva's views on afterlife were influenced by Muslim or Christian impulses. Monasteries Madhvacharya established eight mathas (monasteries) in Udupi with his eight disciples as its head along with Adi Matha. These are referred to as Madhva mathas, or Udupi ashta matha, and include Palimaru matha, Adamaru matha, Krishnapura matha, Puttige matha, Shirur matha, Sodhe matha, Kaniyooru matha and Pejavara matha. These eight surround the Anantheswara Krishna Hindu temple. The matha are laid out in a rectangle, the temples on a square grid pattern. The monks in the matha are sannyasis, and the tradition of their studies and succession (Paryaya system) were established by Madhvacharya. The monastery has a pontiff system, that rotates after a fixed period of time. The pontiff is called Swamiji, and he leads daily Krishna prayers according to Madhva tradition, as well as annual festivals. The process and Vedic mantra rituals for Krishna worship in Dvaita monasteries follow the procedure written by Madhvacharya in Tantrasara. The Krishna worship neither involves bali (sacrifice) nor any fire rituals. The succession ceremony in Dvaita school involves the outgoing Swamiji welcoming the incoming one, then walking together to the icon of Madhvacharya at the entrance of Krishna temple in Udupi, offering water to him, expressing reverence then handing over the same vessel with water that Madhvacharya used when he handed over the leadership of the monastery he founded. The monastery include kitchens, bhojan-shala, run by monks and volunteers. These serve food daily to nearly 15,000 to 20,000 monks, students and visiting pilgrims without social discrimination. During succession ceremonies, over 80,000 people are served a vegetarian meal by Udupi bhojan-shalas. Madhvacharya established Adi Matha with his disciple Padmanabha Tirtha as its head with the instructions that his disciples Narahari Tirtha, Madhava Tirtha and Akshobhya Tirtha should inturn become the successors of this matha. Padmanabha Tirtha and his descendants such as Narahari Tirtha, Akshobhya Tirtha, Jayatirtha, Sripadaraja, Vyasatirtha, Raghuttama Tirtha, Vijayendra Tirtha, Raghavendra Tirtha, Vidyadhisha Tirtha, Sumatindra Tirtha, Satyanatha Tirtha and Satyabodha Tirtha are responsible for the spread of Dvaita Vedanta outside Tulu Nadu region. All the mathas outside of the Tulu region are one way or the other descended from Padmanabha Tirtha. According to Surendranath Dasgupta, Uttaradi Math was divided twice, and so we end up with three mathas, the other two being Vyasaraja Math and Raghavendra Math. Uttaradi Math, along with Vyasaraja Math and Raghavendra Math, is considered to be the three premier apostolic institutions of Dvaita Vedanta and are jointly referred as Mathatraya. It is the pontiffs and pandits of the Mathatraya that have been the principle architects of post-Madhva Dvaita Vedanta through the centuries. Among the mathas outside of Tulu Nadu region, Uttaradi Matha is the largest. Including those in Udupi, there are twenty-four Madhva mathas in India. The main center of Madhva's tradition is in Karnataka. Professor Kiyokazu Okita and Indologist B. N. K. Sharma says, Sannyasis in the lineage of Dvaita school of Vedanta belongs to Ēkadaṇḍi tradition just like the Sanyasi's of Advaita of Adi Shankara. Film In 1986 a film directed by G. V. Iyer named Madhvacharya was premiered, it was one of the films made entirely in Kannada language. See also Brahma Sampradaya Madhva Brahmins Dvaita literature Ashta Mathas of Udupi Notes References Bibliography External links Bibliography of Madhvacharya's works, Item 751, Karl Potter, University of Washington "Madhva" article in the Internet Encyclopedia of Philosophy Madhvacharya at Encyclopædia Britannica A Note on the date of Madhvacharya by S. Srikanta Sastri Discussion on quotations and interpretations by Madhvacharya. https://gosai.com/writings/the-divinity-of-sri-caitanya-mahaprabhu-0 1238 births 13th-century Indian writers Hindu philosophers and theologians 13th-century Indian philosophers Indian Vaishnavites Indian Hindu religious leaders History of Karnataka Vaishnavism People from Udupi district Bhakti movement Tulu people Sanskrit writers Vaishnava saints Medieval Hindu religious leaders Writers from Karnataka Hindu saints Scholars from Karnataka Year of death unknown	true	[ "Yusuf Meher Ali (23 September 1903 – 2 July 1950) was an Indian freedom fighter and socialist leader. He was elected Mayor of Bombay in 1942 while he was imprisoned in Yerawada Central Prison.\n\nHe was the founder of the National Militia, Bombay Youth League and the Congress Socialist Party and played a role in several peasant and trade union movements. He coined the term 'Simon Go Back' \n\nHe coined the term \"quit India\" and was part of the Quit India Movement along with Mahatma Gandhi for India's last nationwide campaign for independence from the British Empire. He was a participant of underground movement and was in forefront of Quit India Movement.\n\nList of works\n What to Read: A Study Syllabus (1937)\n Leaders of India (1942)\n A Trip to Pakistan (1944)\n The Modern World: A Political Study Syllabus, Part 1 (1945)\n The Price of Liberty (1948)\n Underground Movement(1942)\n\nReferences \n\nIndian Muslims\nQuit India Movement\nIndian socialists\n1903 births\n1950 deaths\nMayors of Mumbai\nMaharashtra local politicians", "Yemane Niguse (Amharic: የማነ ንጉሴ; 1980s – 20 February 2021) was an Ethiopian politician who co-founded the Fenkil Tigray Movement.\n\nEarly life\nNiguse was born in Hewane, a small town in the Tigray Region in Ethiopia. He became a teacher before becoming politically active.\n\nPolitical career\nNiguse was known for being critical of the TPLF government and especially argued against the integrity of the regional election held in 2020. His most notable political contribution was popularizing the Fenkil Tigray Movement by using social media. His method of spreading awareness of Fenkil was especially successful amongst youths. Fenkil's political objective was to, \"free Tigray's people from the pressure of TPLF ... spreading across many towns in the Tigray region.\"\n\nIn July 2020, four months prior to the start of the Tigray War, as leader of the Fenkil Movement, Yemane criticised the TPLF for what he said was the recruitment of Tigrayan youths into military training on false pretences. According to Yemane, the youths were given promises of land that were not fulfilled, and the TPLF claimed that the Ethiopian National Defense Force (ENDF) and the Eritrean Defence Forces (EDF) were planning to attack Tigray Region. The TPLF claimed that the Fenkil Movement was supported by the government of Eritrea.\n\nAssassination\nNiguse was assassinated on 20 February 2021 in a small town outside of Mekelle, Tigray named Hewane. He was found dead alongside two members of his security detail. According to Borkena Media, \"The Ethiopian government confirmed that the activist is killed, and linked the assassination to what it called remnants [of] Tigray People's Liberation Front.\"\n\nReferences\n\nIndependent politicians in Ethiopia\nYear of birth uncertain\n2021 deaths" ]
[ "Madhvacharya", "Biography", "what is her biography?", "The biography of Madhvacharya is unclear. Many sources date him to 1238-1317 period, but some place him about the 1199-1278 period.", "was he married?", "became a monk or Sannyasi in his teenage.", "what was his greatest accomplishment?", "began his own Dvaita movement based on dualism premises of Dvi -", "what was the movement?", "asserting that human soul and god (as Vishnu) are two different things." ]	C_027f7d62283648d2b96d035d448f41e8_1	what is the most important fact mentioned in this article?	5	what is the most important fact mentioned in this article about Madhvacharya?	Madhvacharya	The biography of Madhvacharya is unclear. Many sources date him to 1238-1317 period, but some place him about the 1199-1278 period. Madhvacarya was born in Pajaka near Udupi, a coastal Malabar region of south-west India in the state of Karnataka. Traditionally it is believed that Naddantillaya (Sanskrit: Madhyageha, Madhyamandira) was the name of his father and Vedavati was Madhvacarya's mother. Born in a Vaishnavite Brahmin household, he was named Vasudeva. Later he became famous by the names Purnaprajna, Anandatirtha and Madhvacarya (or just Madhva). Purnaprajna was the name given to him at the time of his initiation into sannyasa (renunciation), as a teenager. The name conferred on him when he became the head of his monastery was "Ananda Tirtha". All three of his later names are found in his works. Madhvacarya or Madhva are names most commonly found in modern literature on him, or Dvaita Vedanta related literature. Madhva began his school after his Upanayana at age seven, became a monk or Sannyasi in his teenage. He joined an Advaita Vedanta monastery in Dwarka (Gujarat), accepted his guru to be Achyutrapreksha, who is also referred to as Achyutraprajna in some sources. Madhva studied the Upanishads and the Advaita literature, but was unconvinced by its nondualism philosophy of oneness of human soul and god, had frequent disagreements with his guru, left the monastery, and began his own Dvaita movement based on dualism premises of Dvi - asserting that human soul and god (as Vishnu) are two different things. Madhva never acknowledged Achyutrapreksha as his guru or his monastic lineage in his writings. According to Dehsen, perhaps there were two individuals named Madhvacharya in 13th century India, with Anandatirtha - the younger Madhva being the most important early disciple of the elder Madhvacharya, and their works and life overlapped in Udupi, Tattvavada being the name adopted for Dvaita Vedanta by Anandatirtha. Madhvacharya established a matha (monastery) dedicated to Dvaita philosophy, and this became the sanctuary for a series of Dvaita scholars such as Jayatirtha, Vyasatirtha, Vadiraja Tirtha and Raghavendra Tirtha who followed in footsteps of Madhva. A number of hagiographies have been written by Madhva's disciples and followers. Of these, the most referred to is the sixteen cantos Sanskrit biography Madhvavijaya by Narayana Panditacarya - son of Trivikrama Pandita, who himself was a disciple of Madhva. CANNOTANSWER	he was named Vasudeva. Later he became famous by the names Purnaprajna, Anandatirtha and Madhvacarya (	Madhvacharya (; ; CE 1199-1278 or CE 1238–1317), sometimes anglicised as Madhva Acharya, and also known as Purna Prajna () and Ānanda Tīrtha, was a Hindu philosopher and the chief proponent of the Dvaita (dualism) school of Vedanta. Madhva called his philosophy Tattvavāda meaning "arguments from a realist viewpoint". Madhvacharya was born on the west coast of Karnataka state in 13th-century India. As a teenager, he became a Sanyasi (monk) joining Brahma-sampradaya guru Achyutapreksha, of the Ekadandi order. Madhva studied the classics of Hindu philosophy, particularly the Principal Upanishads, the Bhagavad Gita and the Brahma Sutras (Prasthanatrayi). He commented on these, and is credited with thirty seven works in Sanskrit. His writing style was of extreme brevity and condensed expression. His greatest work is considered to be the Anuvyakhyana, a philosophical supplement to his bhasya on the Brahma Sutras composed with a poetic structure. In some of his works, he proclaimed himself to be an avatar of Vayu, the son of god Vishnu. Madhvacharya was a critic of Adi Shankara's Advaita Vedanta and Ramanuja's Vishishtadvaita Vedanta teachings. However, Dwaita was restricted to few states of India. He toured India several times, visiting places such as Bengal, Varanasi, Dwarka, Goa and Kanyakumari, engaging in philosophical debates and visiting Hindu centres of learning. Madhva established the Krishna Mutt at Udupi with a murti secured from Dwarka Gujarat in CE 1285. Madhvacharya's teachings are built on the premise that there is a fundamental difference between Atman (individual soul, self) and the Brahman (ultimate reality, God Vishnu), these are two different unchanging realities, with individual soul dependent on Brahman, never identical. His school's theistic dualism teachings disagreed with the monist teachings of the other two most influential schools of Vedanta based on Advaita's nondualism and Vishishtadvaita's qualified nondualism. Liberation, asserted Madhva, is achievable only through the grace of God. The Dvaita school founded by Madhva influenced Vaishnavism, the Bhakti movement in medieval India, and has been one of the three influential Vedānta philosophies, along with Advaita Vedanta and Vishishtadvaita Vedanta. Madhva's historical influence in Hinduism, state Kulandran and Kraemer, has been salutary, but not extensive. Biography The biography of Madhvacharya is unclear. Many sources date him to 1238–1317 period, but some place him about the 1199–1278 period. Madhvācārya was born in Pajaka near Udupi, a coastal district in the present day Indian state of Karnataka. Traditionally it is believed that Naddantillaya (Sanskrit: Madhyageha, Madhyamandira) was the name of his father and Vedavati was Madhvācārya's mother. Born in a Tulu speaking Vaishnavite Brahmin household, he was named Vāsudeva. Later he became famous by the names Purnaprajna, Anandatirtha and Madhvacarya (or just Madhva). Pūrnaprajña was the name given to him at the time of his initiation into sannyasa (renunciation), as a teenager. The name conferred on him when he became the head of his monastery was "Ānanda Tīrtha". All three of his later names are found in his works. Madhvācārya or Madhva are names most commonly found in modern literature on him, or Dvaita Vedanta related literature. Madhva began his school after his Upanayana at age seven, and became a monk or Sannyasi in his teenage, although his father was initially opposed to this. He joined an Advaita Vedanta monastery in Udupi (Karnataka), accepted his guru to be Achyutrapreksha, who is also referred to as Achyutraprajna in some sources. Madhva studied the Upanishads and the Advaita literature, but was unconvinced by its nondualism philosophy of oneness of human soul and god, had frequent disagreements with his guru, left the monastery, and began his own Dvaita movement based on dualism premises of Dvi – asserting that human soul and god (as Vishnu) are two different things. Madhva never acknowledged Achyutrapreksha as his guru or his monastic lineage in his writings. Madhva is said to have been clever in philosophy, and also to have been tall and strongly built. According to Dehsen, perhaps there were two individuals named Madhvacharya in 13th-century India, with Anandatirtha – the younger Madhva being the most important early disciple of the elder Madhvacharya, and their works and life overlapped in Udupi, Tattvavada being the name adopted for Dvaita Vedanta by Anandatirtha. Madhvacharya established a matha (monastery) dedicated to Dvaita philosophy, and this became the sanctuary for a series of Dvaita scholars such as Jayatirtha, Sripadaraja, Vyasatirtha, Vadiraja Tirtha, Raghuttama Tirtha, Raghavendra Tirtha and Satyanatha Tirtha who followed in footsteps of Madhva. A number of hagiographies have been written by Madhva's disciples and followers. Of these, the most referred to is the sixteen cantos Sanskrit biography Madhvavijaya by Nārāyana Panditācārya – son of Trivikrama Pandita, who himself was a disciple of Madhva. Incarnation of Vayu, the wind god In several of his texts, state Sarma and other scholars, "Madhvacharya proclaims himself to be the third avatar or incarnation of Vayu, wind god, the son of Vishnu". He, thus, asserted himself to be like Hanuman – the first avatar of Vayu, and Bhima – a Pandava in the Mahabharata and the second avatar of Vayu. In one of his bhasya on the Brahma Sutras, he asserts that the authority of the text is from his personal encounter with Vishnu. Madhva, states Sarma, believed himself to be an intermediary between Vishnu and Dvaita devotees, guiding the latter in their journey towards Vishnu. Madhva is said to have performed several miracles during his lifetime, including transforming Tamarind grains into coins, fighting and winning against robbers and wild animals, crossing the Ganges without getting wet clothes, and giving light to his students through the nails of his big toes after the lamp went out while they were interpreting a text at night. Madhvacharya is said to have quoted some verses from his unique recensions of scriptures. Also, he is said to have quoted many unique books like Kamatha Sruti. The interpretation of Balittha Sukta by Madhvacharya and his followers to prove that Madhvacharya was an incarnation of Vayu is considered highly unique by standard commentaries on them like Sayana and Horace Hayman Wilson. Works of Madhvacharya Thirty seven Dvaita texts are attributed to Madhvacharya. Of these, thirteen are bhasya (review and commentary) on earliest Principal Upanishads, a Madhva-bhasya on the foundational text of Vedanta school of Hinduism – Brahma Sutras, another Gita-bhasya on Bhagavad Gita, a commentary on forty hymns of the Rigveda, a review of the Mahabharata in poetic style, a commentary called Bhagavata-tatparya-nirnaya on Bhagavata Purana, plus stotras, poems and texts on bhakti of Vishnu and his avatars. The Anu-Vyakhyana, a supplement to Madhvacharya's commentary on Brahma Sutras, is his masterpiece, states Sharma. While being a profusely productive writer, Madhvacharya restricted the access to and distribution of his works to outsiders who were not part of Dvaita school, according to Sarma. However, Bartley disagrees and states that this is inconsistent with the known history of extensive medieval Vedantic debates on religious ideas in India which included Dvaita school's ideas. Madhva's philosophy The premises and foundations of Dvaita Vedanta, also known as Dvaitavada and Tattvavada, are credited to Madhvacharya. His philosophy championed unqualified dualism. Madhva's work is classically placed in contrast with monist ideas of Shankara's Advaita Vedanta and Ramanuja's Vishishtadvaita Vedanta. Epistemology Madhva calls epistemology as Anu pramana. It accepts three pramānas, that is three facts or three correct means of knowledge, in contrast to one of Charvaka and six of Advaita schools of Hindu philosophies: Pratyaksha (प्रत्यक्ष) means perception. It is of two types in Dvaita and other Hindu schools: external and internal. External perception is described as that arising from the interaction of five senses and worldly objects, while internal perception is described as that of inner sense, the mind. Anumāna (अनुमान) means inference. It is described as reaching a new conclusion and truth from one or more observations and previous truths by applying reason. Observing smoke and inferring fire is an example of Anumana. This method of inference consists of three parts: pratijna (hypothesis), hetu (a reason), and drshtanta (examples). Śabda (शब्द) means relying on word, testimony of past or present reliable experts. It is also known as Agama in Madhva's Dvaita tradition, and incorporates all the Vedas. Hiriyanna explains Sabda-pramana as a concept which means reliable expert testimony. The schools of Hinduism which consider it epistemically valid suggest that a human being needs to know numerous facts, and with the limited time and energy available, he can learn only a fraction of those facts and truths directly. Madhva and his followers introduced kevala-pramaana as the "knowledge of an object as it is", separate from anu-pramana described above. Madhva's Dvaita school holds that Vishnu as God, who is also Hari, Krishna, Vasudeva and Narayana, can only be known through the proper samanvaya (connection) and pramana of the Vedic scriptural teachings. Vishnu, according to Madhvacharya, is not the creator of the Vedas, but the teacher of the Vedas. Knowledge is intrinsically valid, states Madhva's school, and the knower and the known are independently real. Both the ritual part (karma-kanda, Mimamsa) and the knowledge part (jnana-kanda, Upanishadic Vedanta) in the Vedas, asserted Madhvacharya, are equally valid and interconnected whole. As asserted by the Mimamsa school of Hindu philosophy, Madhvacharya held that the Vedas are author-less, and that their truth is in all of its parts (i.e. the , , and )... Metaphysics The metaphysical reality is plural, stated Madhvacharya. There are primarily two tattvas or categories of reality — (independent reality) and (dependent reality). Ishvara (as God Vishnu or Krishna) is the cause of the universe and the only independent reality, in Madhvacharya's view. The created universe is the dependent reality, consisting of (individual souls) and Jada (matter, material things). Individual souls are plural, different and distinct realities. s are sentient and matter is non-sentient, according to Madhvacharya. Madhva further enumerates the difference between dependent and independent reality as a fivefold division (pancha-bheda) between God, souls and material things. These differences are: (1) Between material things; (2) Between material thing and soul; (3) Between material thing and God; (4) Between souls; and (5) Between soul and God. This difference is neither temporary nor merely practical; it is an invariable and natural property of everything. Madhva calls it Taratamya (gradation in pluralism). There is no object like another, according to Madhvacharya. There is no soul like another. All souls are unique, reflected in individual personalities. The sea is full; the tank is full; a pot is full; everything is full, yet each fullness is different, asserted Madhvacharya. Even in liberation (moksha), states Madhvacharya, the bliss is different for each person, based on each's degree of knowledge and spiritual perfection. This liberation, according to him, is only achievable with grace of God Krishna. Nature of the Brahman Madhva conceptualised Brahman as a being who enjoys His own bliss, while the entire universe evolves through a nebulous chaos. He manifests, every now and then, to help the evolution process. The four primary manifestation of Him as the Brahman are, according to Madhva, Vasudeva, Pradyumna, Aniruddha and Sankarasana, which are respectively responsible for the redemptive, creative, sustaining and destructive aspects in the universe. His secondary manifestations are many, and all manifestations are at par with each other, it is the same infinite no matter how He manifests. Brahman is the creator of the universe, perfect in knowledge, perfect in knowing, perfect in its power, and distinct from souls, distinct from matter. For liberation, mere intellectual conceptualization of Brahman as creator is not enough, the individual soul must feel attraction, love, attachment and devotional surrender to Him, and only His grace leads to redemption and liberation, according to Madhva. The Vishnu as Brahman concept of Madhvacharya is a concept similar to God in major world religions. His writings led some early colonial-era Indologists such as George Abraham Grierson to suggest the 13th-century Madhva was influenced by Christianity, but later scholarship has rejected this theory. Atat tvam asi One of the Mahavakyas (great sayings) in Hinduism is Tat tvam asi, or "Thou art That", found in verse 6.8.7 of Chandogya Upanishad. This section of Chandogya Upanishad is credited to sage Uddalaka and the text considered central in Vedanta and the Brahma Sutras, interpreted to mean that there is no difference between the soul within (Thou) and the Brahman (That). The Dvaita school led by Madhva reinterpreted this section, by parsing the Sanskrit text as Atat tvam asi or "Thou are not That", asserting that there is no Sanskrit rule which does not allow such parsing. He accepted that the tradition and prior scholars had all interpreted the text to be "Tat tvam asi", but then asserted that there is no metaphysical or logical requirement that he should too. Soteriology Madhvacharya considered Jnana Yoga and Karma Yoga to be insufficient to the path of liberation without Bhakti. Narayana or Vishnu was the supreme God to Madhva, who can only be reached through Vayu – the son of God; further, states Madhva, faith leads to the grace of God, and grace leads to the liberation of soul. The knowledge of God, for Madhvacharya, is not a matter of intellectual acceptance of the concept, but an attraction, affection, constant attachment, loving devotion and complete surrender to the grace of God. He rejects monist theories that knowledge liberates, asserting instead that it is Divine grace through Bhakti that liberates. To Madhva, God obscures reality by creating Maya and Prakriti, which causes bondage and suffering; and only God can be the source of soul's release. Liberation occurs when, with the grace of God, one knows the true nature of self and the true nature of God. Ethics Evil and suffering in the world, according to Madhvacharya, originates in man, and not God. Every Jiva (individual soul) is the agent of actions, not Jada (matter), and not Ishvara (God). While Madhva asserts each individual self is the Kartritva (real agency), the self is not an absolutely independent agent to him. This is because, states Madhva, the soul is influenced by sensory organs, one's physical body and such material things which he calls as gifts of God. Man has free will, but is influenced by his innate nature, inclinations and past karma. Madhvacharya asserts, Yathecchasi tatha kuru, which Sharma translates and explains as "one has the right to choose between right and wrong, a choice each individual makes out of his own responsibility and his own risk". Madhva does not address the problem of evil, that is how can evil exist with that of a God who is omnipotent, omniscient, and omnibenevolent. According to Sharma, "Madhva's tripartite classification of souls makes it unnecessary to answer the problem of evil". According to David Buchta, this does not address the problem of evil, because the omnipotent God "could change the system, but chooses not to" and thus sustains the evil in the world. This view of self's agency of Madhvacharya was, states Buchta, an outlier in Vedanta school and Indian philosophies in general. Moral laws and ethics exist, according to Madhva, and are necessary for the grace of God and for liberation. Views on other schools Madhvacharya was a fierce critic of competing Vedanta schools, and other schools of Indian philosophies such as Buddhism and Jainism. He wrote up arguments against twenty one ancient and medieval era Indian scholars to help establish the foundations of his own school of thought. Madhvacharya was fiercest critic of Advaita Vedanta, accusing Shankara and Advaitins for example, as "deceitful demons" teaching Buddhism under the cover of Vedanta. Advaita's nondualism asserts that Atman (soul) and Brahman are blissful and identical, unchanging transcendent Reality, there is interconnected oneness of all souls and Brahman, and there are no pluralities. Madhva in contrast asserts that Atman (soul) and Brahman are different, only Vishnu is the Lord (Brahman), individual souls are also different and depend on Vishnu, and there are pluralities. Madhva criticized Advaita as being a version of Mahayana Buddhism, which he regarded as nihilistic. Of all schools, Madhva focussed his criticism on Advaita most, and he wrote four major texts, including Upadhikhandana and Tattvadyota, primarily dedicated to criticizing Advaita. Madhvacharya disagreed with aspects of Ramanuja's Vishishtadvaita. Vishishtadvaita school, a realist system of thought like Madhvacharya's Dvaita school, also asserts that Jiva (human souls) and Brahman (as Vishnu) are different, a difference that is never transcended. God Vishnu alone is independent, all other gods and beings are dependent on Him, according to both Madhvacharya and Ramanuja. However, in contrast to Madhvacharya's views, Vishishtadvaita school asserts "qualified non-dualism", that souls share the same essential nature of Brahman, and that there is a universal sameness in the quality and degree of bliss possible for human souls, and every soul can reach the bliss state of God Himself. While the older school of Vishishtadvaita asserted "qualitative monism and quantitative pluralism of souls", states Sharma, Madhvacharya asserted both "qualitative and quantitative pluralism of souls". Shankara's Advaita school and Ramanuja's Vishishtadvaita school are premised on the assumption that all souls can hope for and achieve the state of blissful liberation; in contrast, Madhvacharya believed that some souls are eternally doomed and damned. Madhvacharya's style of criticism of other schools of Indian philosophy was part of the ancient and medieval Indian tradition. He was part of the Vedanta school, which emerged in post-Vedic period as the most influential of the six schools of Hindu philosophy, and his targeting of Advaita tradition, states Bryant, reflects it being the most influential of Vedanta schools. Influence Madhvacharya views represent a subschool of Vaishnavism, just like Ramanuja's. Both championed Vishnu in the saguna form. However, 11th-century Ramanuja's ideas have been most influential in Vaishnavism. Madhvacharya's ideas led to the founding of Haridasa sect of Vaishnavism in Karnataka, also referred to as Vyasakuta, Dasakuta or Dasa Dasapantha, known for their devotional songs and music during the Bhakti movement. Other influential subschools of Vaishnavism competed with the ideas of Madhvacharya, such as the Chaitanya subschool, whose Jiva Gosvami asserts only Krishna is "Svayam Bhagavan" (supreme form of God), in contrast to Madhva who asserts that all Vishnu avatars are equal and identical, with both sharing the belief that emotional devotion to God is the means to spiritual liberation. Chaitanya Mahaprabhu(1496-1534) is said to be a disciple of Isvara Puri who was a disciple of Madhavendra Puri who was a disciple of Lakshmipati Tirtha who was a disciple of Vyasatirtha(1469-1539) of Madhvacharya's Sampradaya. According to Sharma, the influence of Madhva's Dvaita ideas have been most prominent on the Chaitanya school of Bengal Vaishnavism, and in Assam. A subsect of Gaudiya Vaishnavas from Orissa and West Bengal claim to be followers of Madhvacharya. Madhva established in Udupi Krishna Matha attached to a god Krishna temple. Gaudiya Vaishnavas also worship Krishna, who is in the mode of Vrindavana. Hindu-Christian-Muslim controversies Madhvacharya was misperceived and misrepresented by both Christian missionaries and Hindu writers during the colonial era scholarship. The similarities in the primacy of one God, dualism and distinction between man and God, devotion to God, the son of God as the intermediary, predestination, the role of grace in salvation, as well as the similarities in the legends of miracles in Christianity and Madhvacharya's Dvaita tradition fed these stories. Among Christian writers, GA Grierson creatively asserted that Madhva's ideas evidently were "borrowed from Christianity, quite possibly promulgated as a rival to the central doctrine of that faith". Among Hindu writers, according to Sarma, SC Vasu creatively translated Madhvacharya's works to identify Madhvacharya with Christ, rather than compare their ideas. Modern scholarship rules out the influence of Christianity on Madhvacharya, as there is no evidence that there ever was a Christian settlement where Madhvacharya grew up and lived, or that there was a sharing or discussion of ideas between someone with knowledge of the Bible and Christian legends, and him. There are also assumptions Madhva was influenced by Islam. The Madhvavijaya tells about Madhva meeting the Sultan of Delhi and saying to him in fluent Persian that both worship the same one God of the universe, and that he spreads the faith in God. The sultan is said to have been so impressed by this that he wanted give half of the empire to Madhva, which he refused. However, the indologist and religious scholar Helmuth von Glasenapp assumes that monotheism can also be derived from the Indian intellectual world, and that there is no reason supporting the theory that Madhva's views on afterlife were influenced by Muslim or Christian impulses. Monasteries Madhvacharya established eight mathas (monasteries) in Udupi with his eight disciples as its head along with Adi Matha. These are referred to as Madhva mathas, or Udupi ashta matha, and include Palimaru matha, Adamaru matha, Krishnapura matha, Puttige matha, Shirur matha, Sodhe matha, Kaniyooru matha and Pejavara matha. These eight surround the Anantheswara Krishna Hindu temple. The matha are laid out in a rectangle, the temples on a square grid pattern. The monks in the matha are sannyasis, and the tradition of their studies and succession (Paryaya system) were established by Madhvacharya. The monastery has a pontiff system, that rotates after a fixed period of time. The pontiff is called Swamiji, and he leads daily Krishna prayers according to Madhva tradition, as well as annual festivals. The process and Vedic mantra rituals for Krishna worship in Dvaita monasteries follow the procedure written by Madhvacharya in Tantrasara. The Krishna worship neither involves bali (sacrifice) nor any fire rituals. The succession ceremony in Dvaita school involves the outgoing Swamiji welcoming the incoming one, then walking together to the icon of Madhvacharya at the entrance of Krishna temple in Udupi, offering water to him, expressing reverence then handing over the same vessel with water that Madhvacharya used when he handed over the leadership of the monastery he founded. The monastery include kitchens, bhojan-shala, run by monks and volunteers. These serve food daily to nearly 15,000 to 20,000 monks, students and visiting pilgrims without social discrimination. During succession ceremonies, over 80,000 people are served a vegetarian meal by Udupi bhojan-shalas. Madhvacharya established Adi Matha with his disciple Padmanabha Tirtha as its head with the instructions that his disciples Narahari Tirtha, Madhava Tirtha and Akshobhya Tirtha should inturn become the successors of this matha. Padmanabha Tirtha and his descendants such as Narahari Tirtha, Akshobhya Tirtha, Jayatirtha, Sripadaraja, Vyasatirtha, Raghuttama Tirtha, Vijayendra Tirtha, Raghavendra Tirtha, Vidyadhisha Tirtha, Sumatindra Tirtha, Satyanatha Tirtha and Satyabodha Tirtha are responsible for the spread of Dvaita Vedanta outside Tulu Nadu region. All the mathas outside of the Tulu region are one way or the other descended from Padmanabha Tirtha. According to Surendranath Dasgupta, Uttaradi Math was divided twice, and so we end up with three mathas, the other two being Vyasaraja Math and Raghavendra Math. Uttaradi Math, along with Vyasaraja Math and Raghavendra Math, is considered to be the three premier apostolic institutions of Dvaita Vedanta and are jointly referred as Mathatraya. It is the pontiffs and pandits of the Mathatraya that have been the principle architects of post-Madhva Dvaita Vedanta through the centuries. Among the mathas outside of Tulu Nadu region, Uttaradi Matha is the largest. Including those in Udupi, there are twenty-four Madhva mathas in India. The main center of Madhva's tradition is in Karnataka. Professor Kiyokazu Okita and Indologist B. N. K. Sharma says, Sannyasis in the lineage of Dvaita school of Vedanta belongs to Ēkadaṇḍi tradition just like the Sanyasi's of Advaita of Adi Shankara. Film In 1986 a film directed by G. V. Iyer named Madhvacharya was premiered, it was one of the films made entirely in Kannada language. See also Brahma Sampradaya Madhva Brahmins Dvaita literature Ashta Mathas of Udupi Notes References Bibliography External links Bibliography of Madhvacharya's works, Item 751, Karl Potter, University of Washington "Madhva" article in the Internet Encyclopedia of Philosophy Madhvacharya at Encyclopædia Britannica A Note on the date of Madhvacharya by S. Srikanta Sastri Discussion on quotations and interpretations by Madhvacharya. https://gosai.com/writings/the-divinity-of-sri-caitanya-mahaprabhu-0 1238 births 13th-century Indian writers Hindu philosophers and theologians 13th-century Indian philosophers Indian Vaishnavites Indian Hindu religious leaders History of Karnataka Vaishnavism People from Udupi district Bhakti movement Tulu people Sanskrit writers Vaishnava saints Medieval Hindu religious leaders Writers from Karnataka Hindu saints Scholars from Karnataka Year of death unknown	false	[ "Nižný Skálnik is a village and municipality in the Rimavská Sobota District of the Banská Bystrica Region of southern Slovakia. Located between hilly and flat area, agriculture played an important role in local economy. The village was first mentioned in 1334. During the Hussite wars on Slovak territory, the hill above the village had been fortified by the Hussites, who constructed the Maginhrad fortress, now in ruins. Most important sightseeing is classical Lutheran church from 1802.\n\nThe village is the birthplace of the 19th-century Slovak historians Matej Holko and Ján Feješ.\n\nReferences\n\nExternal links\n \nArticle about Carnival in Nižný Skálnik\nArticle about Maginhrad\nhttp://www.e-obce.sk/obec/niznyskalnik/4-kulturne_dedicstvo.html\n\nVillages and municipalities in Rimavská Sobota District", "\"Toward a Fair Use Standard\", 103 Harv. L. Rev. 1105 (1990), is a law review article on the fair use doctrine in US copyright law, written by then-District Court Judge Pierre N. Leval. The article argued that the most critical element of the fair use analysis is the transformativeness of a work, the first of the statutory factors listed in the Copyright Act of 1976, . \n\nLeval's article is cited in the Supreme Court's 1994 decision in Campbell v. Acuff-Rose Music, Inc., which marked a shift in judicial treatment of fair use toward a transformativeness analysis and away from emphasizing the \"commerciality\" analysis of the fourth factor. Prior to Leval's article, the fourth factor had often been described as the most important of the factors. \n\nIn his article, Leval noted: \nI believe the answer to the question of justification turns primarily on whether, and to what extent, the challenged use is transformative. The use must be productive and must employ the quoted matter in a different manner or for a different purpose from the original. ...[If] the secondary use adds value to the original—if the quoted matter is used as raw material, transformed in the creation of new information, new aesthetics, new insights and understandings—this is the very type of activity that the fair use doctrine intends to protect for the enrichment of society.\n\nTransformative uses may include criticizing the quoted work, exposing the character of the original author, proving a fact, or summarizing an idea argued in the original in order to defend or rebut it. They also may include parody, symbolism, aesthetic declarations, and innumerable other uses.\n\nLeval's article was published with an accompanying article by Lloyd Weinreb \"Fair's Fair: A Comment on the Fair Use Doctrine\", 103 Harvard Law Review 1137 (1990), which generally critiqued Leval's thesis.\n\nFurther reading \n \n \n\n1990 essays\n1990 in law\nFair use\nCopyright law literature\nLegal literature\nWorks originally published in the Harvard Law Review\nUnited States copyright law" ]
[ "Madhvacharya", "Biography", "what is her biography?", "The biography of Madhvacharya is unclear. Many sources date him to 1238-1317 period, but some place him about the 1199-1278 period.", "was he married?", "became a monk or Sannyasi in his teenage.", "what was his greatest accomplishment?", "began his own Dvaita movement based on dualism premises of Dvi -", "what was the movement?", "asserting that human soul and god (as Vishnu) are two different things.", "what is the most important fact mentioned in this article?", "he was named Vasudeva. Later he became famous by the names Purnaprajna, Anandatirtha and Madhvacarya (" ]	C_027f7d62283648d2b96d035d448f41e8_1	Are there any other interesting aspects about this article?	6	Are there any other interesting aspects about this article other than Madhvacharya?	Madhvacharya	The biography of Madhvacharya is unclear. Many sources date him to 1238-1317 period, but some place him about the 1199-1278 period. Madhvacarya was born in Pajaka near Udupi, a coastal Malabar region of south-west India in the state of Karnataka. Traditionally it is believed that Naddantillaya (Sanskrit: Madhyageha, Madhyamandira) was the name of his father and Vedavati was Madhvacarya's mother. Born in a Vaishnavite Brahmin household, he was named Vasudeva. Later he became famous by the names Purnaprajna, Anandatirtha and Madhvacarya (or just Madhva). Purnaprajna was the name given to him at the time of his initiation into sannyasa (renunciation), as a teenager. The name conferred on him when he became the head of his monastery was "Ananda Tirtha". All three of his later names are found in his works. Madhvacarya or Madhva are names most commonly found in modern literature on him, or Dvaita Vedanta related literature. Madhva began his school after his Upanayana at age seven, became a monk or Sannyasi in his teenage. He joined an Advaita Vedanta monastery in Dwarka (Gujarat), accepted his guru to be Achyutrapreksha, who is also referred to as Achyutraprajna in some sources. Madhva studied the Upanishads and the Advaita literature, but was unconvinced by its nondualism philosophy of oneness of human soul and god, had frequent disagreements with his guru, left the monastery, and began his own Dvaita movement based on dualism premises of Dvi - asserting that human soul and god (as Vishnu) are two different things. Madhva never acknowledged Achyutrapreksha as his guru or his monastic lineage in his writings. According to Dehsen, perhaps there were two individuals named Madhvacharya in 13th century India, with Anandatirtha - the younger Madhva being the most important early disciple of the elder Madhvacharya, and their works and life overlapped in Udupi, Tattvavada being the name adopted for Dvaita Vedanta by Anandatirtha. Madhvacharya established a matha (monastery) dedicated to Dvaita philosophy, and this became the sanctuary for a series of Dvaita scholars such as Jayatirtha, Vyasatirtha, Vadiraja Tirtha and Raghavendra Tirtha who followed in footsteps of Madhva. A number of hagiographies have been written by Madhva's disciples and followers. Of these, the most referred to is the sixteen cantos Sanskrit biography Madhvavijaya by Narayana Panditacarya - son of Trivikrama Pandita, who himself was a disciple of Madhva. CANNOTANSWER	All three of his later names are found in his works.	Madhvacharya (; ; CE 1199-1278 or CE 1238–1317), sometimes anglicised as Madhva Acharya, and also known as Purna Prajna () and Ānanda Tīrtha, was a Hindu philosopher and the chief proponent of the Dvaita (dualism) school of Vedanta. Madhva called his philosophy Tattvavāda meaning "arguments from a realist viewpoint". Madhvacharya was born on the west coast of Karnataka state in 13th-century India. As a teenager, he became a Sanyasi (monk) joining Brahma-sampradaya guru Achyutapreksha, of the Ekadandi order. Madhva studied the classics of Hindu philosophy, particularly the Principal Upanishads, the Bhagavad Gita and the Brahma Sutras (Prasthanatrayi). He commented on these, and is credited with thirty seven works in Sanskrit. His writing style was of extreme brevity and condensed expression. His greatest work is considered to be the Anuvyakhyana, a philosophical supplement to his bhasya on the Brahma Sutras composed with a poetic structure. In some of his works, he proclaimed himself to be an avatar of Vayu, the son of god Vishnu. Madhvacharya was a critic of Adi Shankara's Advaita Vedanta and Ramanuja's Vishishtadvaita Vedanta teachings. However, Dwaita was restricted to few states of India. He toured India several times, visiting places such as Bengal, Varanasi, Dwarka, Goa and Kanyakumari, engaging in philosophical debates and visiting Hindu centres of learning. Madhva established the Krishna Mutt at Udupi with a murti secured from Dwarka Gujarat in CE 1285. Madhvacharya's teachings are built on the premise that there is a fundamental difference between Atman (individual soul, self) and the Brahman (ultimate reality, God Vishnu), these are two different unchanging realities, with individual soul dependent on Brahman, never identical. His school's theistic dualism teachings disagreed with the monist teachings of the other two most influential schools of Vedanta based on Advaita's nondualism and Vishishtadvaita's qualified nondualism. Liberation, asserted Madhva, is achievable only through the grace of God. The Dvaita school founded by Madhva influenced Vaishnavism, the Bhakti movement in medieval India, and has been one of the three influential Vedānta philosophies, along with Advaita Vedanta and Vishishtadvaita Vedanta. Madhva's historical influence in Hinduism, state Kulandran and Kraemer, has been salutary, but not extensive. Biography The biography of Madhvacharya is unclear. Many sources date him to 1238–1317 period, but some place him about the 1199–1278 period. Madhvācārya was born in Pajaka near Udupi, a coastal district in the present day Indian state of Karnataka. Traditionally it is believed that Naddantillaya (Sanskrit: Madhyageha, Madhyamandira) was the name of his father and Vedavati was Madhvācārya's mother. Born in a Tulu speaking Vaishnavite Brahmin household, he was named Vāsudeva. Later he became famous by the names Purnaprajna, Anandatirtha and Madhvacarya (or just Madhva). Pūrnaprajña was the name given to him at the time of his initiation into sannyasa (renunciation), as a teenager. The name conferred on him when he became the head of his monastery was "Ānanda Tīrtha". All three of his later names are found in his works. Madhvācārya or Madhva are names most commonly found in modern literature on him, or Dvaita Vedanta related literature. Madhva began his school after his Upanayana at age seven, and became a monk or Sannyasi in his teenage, although his father was initially opposed to this. He joined an Advaita Vedanta monastery in Udupi (Karnataka), accepted his guru to be Achyutrapreksha, who is also referred to as Achyutraprajna in some sources. Madhva studied the Upanishads and the Advaita literature, but was unconvinced by its nondualism philosophy of oneness of human soul and god, had frequent disagreements with his guru, left the monastery, and began his own Dvaita movement based on dualism premises of Dvi – asserting that human soul and god (as Vishnu) are two different things. Madhva never acknowledged Achyutrapreksha as his guru or his monastic lineage in his writings. Madhva is said to have been clever in philosophy, and also to have been tall and strongly built. According to Dehsen, perhaps there were two individuals named Madhvacharya in 13th-century India, with Anandatirtha – the younger Madhva being the most important early disciple of the elder Madhvacharya, and their works and life overlapped in Udupi, Tattvavada being the name adopted for Dvaita Vedanta by Anandatirtha. Madhvacharya established a matha (monastery) dedicated to Dvaita philosophy, and this became the sanctuary for a series of Dvaita scholars such as Jayatirtha, Sripadaraja, Vyasatirtha, Vadiraja Tirtha, Raghuttama Tirtha, Raghavendra Tirtha and Satyanatha Tirtha who followed in footsteps of Madhva. A number of hagiographies have been written by Madhva's disciples and followers. Of these, the most referred to is the sixteen cantos Sanskrit biography Madhvavijaya by Nārāyana Panditācārya – son of Trivikrama Pandita, who himself was a disciple of Madhva. Incarnation of Vayu, the wind god In several of his texts, state Sarma and other scholars, "Madhvacharya proclaims himself to be the third avatar or incarnation of Vayu, wind god, the son of Vishnu". He, thus, asserted himself to be like Hanuman – the first avatar of Vayu, and Bhima – a Pandava in the Mahabharata and the second avatar of Vayu. In one of his bhasya on the Brahma Sutras, he asserts that the authority of the text is from his personal encounter with Vishnu. Madhva, states Sarma, believed himself to be an intermediary between Vishnu and Dvaita devotees, guiding the latter in their journey towards Vishnu. Madhva is said to have performed several miracles during his lifetime, including transforming Tamarind grains into coins, fighting and winning against robbers and wild animals, crossing the Ganges without getting wet clothes, and giving light to his students through the nails of his big toes after the lamp went out while they were interpreting a text at night. Madhvacharya is said to have quoted some verses from his unique recensions of scriptures. Also, he is said to have quoted many unique books like Kamatha Sruti. The interpretation of Balittha Sukta by Madhvacharya and his followers to prove that Madhvacharya was an incarnation of Vayu is considered highly unique by standard commentaries on them like Sayana and Horace Hayman Wilson. Works of Madhvacharya Thirty seven Dvaita texts are attributed to Madhvacharya. Of these, thirteen are bhasya (review and commentary) on earliest Principal Upanishads, a Madhva-bhasya on the foundational text of Vedanta school of Hinduism – Brahma Sutras, another Gita-bhasya on Bhagavad Gita, a commentary on forty hymns of the Rigveda, a review of the Mahabharata in poetic style, a commentary called Bhagavata-tatparya-nirnaya on Bhagavata Purana, plus stotras, poems and texts on bhakti of Vishnu and his avatars. The Anu-Vyakhyana, a supplement to Madhvacharya's commentary on Brahma Sutras, is his masterpiece, states Sharma. While being a profusely productive writer, Madhvacharya restricted the access to and distribution of his works to outsiders who were not part of Dvaita school, according to Sarma. However, Bartley disagrees and states that this is inconsistent with the known history of extensive medieval Vedantic debates on religious ideas in India which included Dvaita school's ideas. Madhva's philosophy The premises and foundations of Dvaita Vedanta, also known as Dvaitavada and Tattvavada, are credited to Madhvacharya. His philosophy championed unqualified dualism. Madhva's work is classically placed in contrast with monist ideas of Shankara's Advaita Vedanta and Ramanuja's Vishishtadvaita Vedanta. Epistemology Madhva calls epistemology as Anu pramana. It accepts three pramānas, that is three facts or three correct means of knowledge, in contrast to one of Charvaka and six of Advaita schools of Hindu philosophies: Pratyaksha (प्रत्यक्ष) means perception. It is of two types in Dvaita and other Hindu schools: external and internal. External perception is described as that arising from the interaction of five senses and worldly objects, while internal perception is described as that of inner sense, the mind. Anumāna (अनुमान) means inference. It is described as reaching a new conclusion and truth from one or more observations and previous truths by applying reason. Observing smoke and inferring fire is an example of Anumana. This method of inference consists of three parts: pratijna (hypothesis), hetu (a reason), and drshtanta (examples). Śabda (शब्द) means relying on word, testimony of past or present reliable experts. It is also known as Agama in Madhva's Dvaita tradition, and incorporates all the Vedas. Hiriyanna explains Sabda-pramana as a concept which means reliable expert testimony. The schools of Hinduism which consider it epistemically valid suggest that a human being needs to know numerous facts, and with the limited time and energy available, he can learn only a fraction of those facts and truths directly. Madhva and his followers introduced kevala-pramaana as the "knowledge of an object as it is", separate from anu-pramana described above. Madhva's Dvaita school holds that Vishnu as God, who is also Hari, Krishna, Vasudeva and Narayana, can only be known through the proper samanvaya (connection) and pramana of the Vedic scriptural teachings. Vishnu, according to Madhvacharya, is not the creator of the Vedas, but the teacher of the Vedas. Knowledge is intrinsically valid, states Madhva's school, and the knower and the known are independently real. Both the ritual part (karma-kanda, Mimamsa) and the knowledge part (jnana-kanda, Upanishadic Vedanta) in the Vedas, asserted Madhvacharya, are equally valid and interconnected whole. As asserted by the Mimamsa school of Hindu philosophy, Madhvacharya held that the Vedas are author-less, and that their truth is in all of its parts (i.e. the , , and )... Metaphysics The metaphysical reality is plural, stated Madhvacharya. There are primarily two tattvas or categories of reality — (independent reality) and (dependent reality). Ishvara (as God Vishnu or Krishna) is the cause of the universe and the only independent reality, in Madhvacharya's view. The created universe is the dependent reality, consisting of (individual souls) and Jada (matter, material things). Individual souls are plural, different and distinct realities. s are sentient and matter is non-sentient, according to Madhvacharya. Madhva further enumerates the difference between dependent and independent reality as a fivefold division (pancha-bheda) between God, souls and material things. These differences are: (1) Between material things; (2) Between material thing and soul; (3) Between material thing and God; (4) Between souls; and (5) Between soul and God. This difference is neither temporary nor merely practical; it is an invariable and natural property of everything. Madhva calls it Taratamya (gradation in pluralism). There is no object like another, according to Madhvacharya. There is no soul like another. All souls are unique, reflected in individual personalities. The sea is full; the tank is full; a pot is full; everything is full, yet each fullness is different, asserted Madhvacharya. Even in liberation (moksha), states Madhvacharya, the bliss is different for each person, based on each's degree of knowledge and spiritual perfection. This liberation, according to him, is only achievable with grace of God Krishna. Nature of the Brahman Madhva conceptualised Brahman as a being who enjoys His own bliss, while the entire universe evolves through a nebulous chaos. He manifests, every now and then, to help the evolution process. The four primary manifestation of Him as the Brahman are, according to Madhva, Vasudeva, Pradyumna, Aniruddha and Sankarasana, which are respectively responsible for the redemptive, creative, sustaining and destructive aspects in the universe. His secondary manifestations are many, and all manifestations are at par with each other, it is the same infinite no matter how He manifests. Brahman is the creator of the universe, perfect in knowledge, perfect in knowing, perfect in its power, and distinct from souls, distinct from matter. For liberation, mere intellectual conceptualization of Brahman as creator is not enough, the individual soul must feel attraction, love, attachment and devotional surrender to Him, and only His grace leads to redemption and liberation, according to Madhva. The Vishnu as Brahman concept of Madhvacharya is a concept similar to God in major world religions. His writings led some early colonial-era Indologists such as George Abraham Grierson to suggest the 13th-century Madhva was influenced by Christianity, but later scholarship has rejected this theory. Atat tvam asi One of the Mahavakyas (great sayings) in Hinduism is Tat tvam asi, or "Thou art That", found in verse 6.8.7 of Chandogya Upanishad. This section of Chandogya Upanishad is credited to sage Uddalaka and the text considered central in Vedanta and the Brahma Sutras, interpreted to mean that there is no difference between the soul within (Thou) and the Brahman (That). The Dvaita school led by Madhva reinterpreted this section, by parsing the Sanskrit text as Atat tvam asi or "Thou are not That", asserting that there is no Sanskrit rule which does not allow such parsing. He accepted that the tradition and prior scholars had all interpreted the text to be "Tat tvam asi", but then asserted that there is no metaphysical or logical requirement that he should too. Soteriology Madhvacharya considered Jnana Yoga and Karma Yoga to be insufficient to the path of liberation without Bhakti. Narayana or Vishnu was the supreme God to Madhva, who can only be reached through Vayu – the son of God; further, states Madhva, faith leads to the grace of God, and grace leads to the liberation of soul. The knowledge of God, for Madhvacharya, is not a matter of intellectual acceptance of the concept, but an attraction, affection, constant attachment, loving devotion and complete surrender to the grace of God. He rejects monist theories that knowledge liberates, asserting instead that it is Divine grace through Bhakti that liberates. To Madhva, God obscures reality by creating Maya and Prakriti, which causes bondage and suffering; and only God can be the source of soul's release. Liberation occurs when, with the grace of God, one knows the true nature of self and the true nature of God. Ethics Evil and suffering in the world, according to Madhvacharya, originates in man, and not God. Every Jiva (individual soul) is the agent of actions, not Jada (matter), and not Ishvara (God). While Madhva asserts each individual self is the Kartritva (real agency), the self is not an absolutely independent agent to him. This is because, states Madhva, the soul is influenced by sensory organs, one's physical body and such material things which he calls as gifts of God. Man has free will, but is influenced by his innate nature, inclinations and past karma. Madhvacharya asserts, Yathecchasi tatha kuru, which Sharma translates and explains as "one has the right to choose between right and wrong, a choice each individual makes out of his own responsibility and his own risk". Madhva does not address the problem of evil, that is how can evil exist with that of a God who is omnipotent, omniscient, and omnibenevolent. According to Sharma, "Madhva's tripartite classification of souls makes it unnecessary to answer the problem of evil". According to David Buchta, this does not address the problem of evil, because the omnipotent God "could change the system, but chooses not to" and thus sustains the evil in the world. This view of self's agency of Madhvacharya was, states Buchta, an outlier in Vedanta school and Indian philosophies in general. Moral laws and ethics exist, according to Madhva, and are necessary for the grace of God and for liberation. Views on other schools Madhvacharya was a fierce critic of competing Vedanta schools, and other schools of Indian philosophies such as Buddhism and Jainism. He wrote up arguments against twenty one ancient and medieval era Indian scholars to help establish the foundations of his own school of thought. Madhvacharya was fiercest critic of Advaita Vedanta, accusing Shankara and Advaitins for example, as "deceitful demons" teaching Buddhism under the cover of Vedanta. Advaita's nondualism asserts that Atman (soul) and Brahman are blissful and identical, unchanging transcendent Reality, there is interconnected oneness of all souls and Brahman, and there are no pluralities. Madhva in contrast asserts that Atman (soul) and Brahman are different, only Vishnu is the Lord (Brahman), individual souls are also different and depend on Vishnu, and there are pluralities. Madhva criticized Advaita as being a version of Mahayana Buddhism, which he regarded as nihilistic. Of all schools, Madhva focussed his criticism on Advaita most, and he wrote four major texts, including Upadhikhandana and Tattvadyota, primarily dedicated to criticizing Advaita. Madhvacharya disagreed with aspects of Ramanuja's Vishishtadvaita. Vishishtadvaita school, a realist system of thought like Madhvacharya's Dvaita school, also asserts that Jiva (human souls) and Brahman (as Vishnu) are different, a difference that is never transcended. God Vishnu alone is independent, all other gods and beings are dependent on Him, according to both Madhvacharya and Ramanuja. However, in contrast to Madhvacharya's views, Vishishtadvaita school asserts "qualified non-dualism", that souls share the same essential nature of Brahman, and that there is a universal sameness in the quality and degree of bliss possible for human souls, and every soul can reach the bliss state of God Himself. While the older school of Vishishtadvaita asserted "qualitative monism and quantitative pluralism of souls", states Sharma, Madhvacharya asserted both "qualitative and quantitative pluralism of souls". Shankara's Advaita school and Ramanuja's Vishishtadvaita school are premised on the assumption that all souls can hope for and achieve the state of blissful liberation; in contrast, Madhvacharya believed that some souls are eternally doomed and damned. Madhvacharya's style of criticism of other schools of Indian philosophy was part of the ancient and medieval Indian tradition. He was part of the Vedanta school, which emerged in post-Vedic period as the most influential of the six schools of Hindu philosophy, and his targeting of Advaita tradition, states Bryant, reflects it being the most influential of Vedanta schools. Influence Madhvacharya views represent a subschool of Vaishnavism, just like Ramanuja's. Both championed Vishnu in the saguna form. However, 11th-century Ramanuja's ideas have been most influential in Vaishnavism. Madhvacharya's ideas led to the founding of Haridasa sect of Vaishnavism in Karnataka, also referred to as Vyasakuta, Dasakuta or Dasa Dasapantha, known for their devotional songs and music during the Bhakti movement. Other influential subschools of Vaishnavism competed with the ideas of Madhvacharya, such as the Chaitanya subschool, whose Jiva Gosvami asserts only Krishna is "Svayam Bhagavan" (supreme form of God), in contrast to Madhva who asserts that all Vishnu avatars are equal and identical, with both sharing the belief that emotional devotion to God is the means to spiritual liberation. Chaitanya Mahaprabhu(1496-1534) is said to be a disciple of Isvara Puri who was a disciple of Madhavendra Puri who was a disciple of Lakshmipati Tirtha who was a disciple of Vyasatirtha(1469-1539) of Madhvacharya's Sampradaya. According to Sharma, the influence of Madhva's Dvaita ideas have been most prominent on the Chaitanya school of Bengal Vaishnavism, and in Assam. A subsect of Gaudiya Vaishnavas from Orissa and West Bengal claim to be followers of Madhvacharya. Madhva established in Udupi Krishna Matha attached to a god Krishna temple. Gaudiya Vaishnavas also worship Krishna, who is in the mode of Vrindavana. Hindu-Christian-Muslim controversies Madhvacharya was misperceived and misrepresented by both Christian missionaries and Hindu writers during the colonial era scholarship. The similarities in the primacy of one God, dualism and distinction between man and God, devotion to God, the son of God as the intermediary, predestination, the role of grace in salvation, as well as the similarities in the legends of miracles in Christianity and Madhvacharya's Dvaita tradition fed these stories. Among Christian writers, GA Grierson creatively asserted that Madhva's ideas evidently were "borrowed from Christianity, quite possibly promulgated as a rival to the central doctrine of that faith". Among Hindu writers, according to Sarma, SC Vasu creatively translated Madhvacharya's works to identify Madhvacharya with Christ, rather than compare their ideas. Modern scholarship rules out the influence of Christianity on Madhvacharya, as there is no evidence that there ever was a Christian settlement where Madhvacharya grew up and lived, or that there was a sharing or discussion of ideas between someone with knowledge of the Bible and Christian legends, and him. There are also assumptions Madhva was influenced by Islam. The Madhvavijaya tells about Madhva meeting the Sultan of Delhi and saying to him in fluent Persian that both worship the same one God of the universe, and that he spreads the faith in God. The sultan is said to have been so impressed by this that he wanted give half of the empire to Madhva, which he refused. However, the indologist and religious scholar Helmuth von Glasenapp assumes that monotheism can also be derived from the Indian intellectual world, and that there is no reason supporting the theory that Madhva's views on afterlife were influenced by Muslim or Christian impulses. Monasteries Madhvacharya established eight mathas (monasteries) in Udupi with his eight disciples as its head along with Adi Matha. These are referred to as Madhva mathas, or Udupi ashta matha, and include Palimaru matha, Adamaru matha, Krishnapura matha, Puttige matha, Shirur matha, Sodhe matha, Kaniyooru matha and Pejavara matha. These eight surround the Anantheswara Krishna Hindu temple. The matha are laid out in a rectangle, the temples on a square grid pattern. The monks in the matha are sannyasis, and the tradition of their studies and succession (Paryaya system) were established by Madhvacharya. The monastery has a pontiff system, that rotates after a fixed period of time. The pontiff is called Swamiji, and he leads daily Krishna prayers according to Madhva tradition, as well as annual festivals. The process and Vedic mantra rituals for Krishna worship in Dvaita monasteries follow the procedure written by Madhvacharya in Tantrasara. The Krishna worship neither involves bali (sacrifice) nor any fire rituals. The succession ceremony in Dvaita school involves the outgoing Swamiji welcoming the incoming one, then walking together to the icon of Madhvacharya at the entrance of Krishna temple in Udupi, offering water to him, expressing reverence then handing over the same vessel with water that Madhvacharya used when he handed over the leadership of the monastery he founded. The monastery include kitchens, bhojan-shala, run by monks and volunteers. These serve food daily to nearly 15,000 to 20,000 monks, students and visiting pilgrims without social discrimination. During succession ceremonies, over 80,000 people are served a vegetarian meal by Udupi bhojan-shalas. Madhvacharya established Adi Matha with his disciple Padmanabha Tirtha as its head with the instructions that his disciples Narahari Tirtha, Madhava Tirtha and Akshobhya Tirtha should inturn become the successors of this matha. Padmanabha Tirtha and his descendants such as Narahari Tirtha, Akshobhya Tirtha, Jayatirtha, Sripadaraja, Vyasatirtha, Raghuttama Tirtha, Vijayendra Tirtha, Raghavendra Tirtha, Vidyadhisha Tirtha, Sumatindra Tirtha, Satyanatha Tirtha and Satyabodha Tirtha are responsible for the spread of Dvaita Vedanta outside Tulu Nadu region. All the mathas outside of the Tulu region are one way or the other descended from Padmanabha Tirtha. According to Surendranath Dasgupta, Uttaradi Math was divided twice, and so we end up with three mathas, the other two being Vyasaraja Math and Raghavendra Math. Uttaradi Math, along with Vyasaraja Math and Raghavendra Math, is considered to be the three premier apostolic institutions of Dvaita Vedanta and are jointly referred as Mathatraya. It is the pontiffs and pandits of the Mathatraya that have been the principle architects of post-Madhva Dvaita Vedanta through the centuries. Among the mathas outside of Tulu Nadu region, Uttaradi Matha is the largest. Including those in Udupi, there are twenty-four Madhva mathas in India. The main center of Madhva's tradition is in Karnataka. Professor Kiyokazu Okita and Indologist B. N. K. Sharma says, Sannyasis in the lineage of Dvaita school of Vedanta belongs to Ēkadaṇḍi tradition just like the Sanyasi's of Advaita of Adi Shankara. Film In 1986 a film directed by G. V. Iyer named Madhvacharya was premiered, it was one of the films made entirely in Kannada language. See also Brahma Sampradaya Madhva Brahmins Dvaita literature Ashta Mathas of Udupi Notes References Bibliography External links Bibliography of Madhvacharya's works, Item 751, Karl Potter, University of Washington "Madhva" article in the Internet Encyclopedia of Philosophy Madhvacharya at Encyclopædia Britannica A Note on the date of Madhvacharya by S. Srikanta Sastri Discussion on quotations and interpretations by Madhvacharya. https://gosai.com/writings/the-divinity-of-sri-caitanya-mahaprabhu-0 1238 births 13th-century Indian writers Hindu philosophers and theologians 13th-century Indian philosophers Indian Vaishnavites Indian Hindu religious leaders History of Karnataka Vaishnavism People from Udupi district Bhakti movement Tulu people Sanskrit writers Vaishnava saints Medieval Hindu religious leaders Writers from Karnataka Hindu saints Scholars from Karnataka Year of death unknown	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" ]
[ "Madhvacharya", "Biography", "what is her biography?", "The biography of Madhvacharya is unclear. Many sources date him to 1238-1317 period, but some place him about the 1199-1278 period.", "was he married?", "became a monk or Sannyasi in his teenage.", "what was his greatest accomplishment?", "began his own Dvaita movement based on dualism premises of Dvi -", "what was the movement?", "asserting that human soul and god (as Vishnu) are two different things.", "what is the most important fact mentioned in this article?", "he was named Vasudeva. Later he became famous by the names Purnaprajna, Anandatirtha and Madhvacarya (", "Are there any other interesting aspects about this article?", "All three of his later names are found in his works." ]	C_027f7d62283648d2b96d035d448f41e8_1	what are some of his works?	7	what are some of Madhvacharya works?	Madhvacharya	The biography of Madhvacharya is unclear. Many sources date him to 1238-1317 period, but some place him about the 1199-1278 period. Madhvacarya was born in Pajaka near Udupi, a coastal Malabar region of south-west India in the state of Karnataka. Traditionally it is believed that Naddantillaya (Sanskrit: Madhyageha, Madhyamandira) was the name of his father and Vedavati was Madhvacarya's mother. Born in a Vaishnavite Brahmin household, he was named Vasudeva. Later he became famous by the names Purnaprajna, Anandatirtha and Madhvacarya (or just Madhva). Purnaprajna was the name given to him at the time of his initiation into sannyasa (renunciation), as a teenager. The name conferred on him when he became the head of his monastery was "Ananda Tirtha". All three of his later names are found in his works. Madhvacarya or Madhva are names most commonly found in modern literature on him, or Dvaita Vedanta related literature. Madhva began his school after his Upanayana at age seven, became a monk or Sannyasi in his teenage. He joined an Advaita Vedanta monastery in Dwarka (Gujarat), accepted his guru to be Achyutrapreksha, who is also referred to as Achyutraprajna in some sources. Madhva studied the Upanishads and the Advaita literature, but was unconvinced by its nondualism philosophy of oneness of human soul and god, had frequent disagreements with his guru, left the monastery, and began his own Dvaita movement based on dualism premises of Dvi - asserting that human soul and god (as Vishnu) are two different things. Madhva never acknowledged Achyutrapreksha as his guru or his monastic lineage in his writings. According to Dehsen, perhaps there were two individuals named Madhvacharya in 13th century India, with Anandatirtha - the younger Madhva being the most important early disciple of the elder Madhvacharya, and their works and life overlapped in Udupi, Tattvavada being the name adopted for Dvaita Vedanta by Anandatirtha. Madhvacharya established a matha (monastery) dedicated to Dvaita philosophy, and this became the sanctuary for a series of Dvaita scholars such as Jayatirtha, Vyasatirtha, Vadiraja Tirtha and Raghavendra Tirtha who followed in footsteps of Madhva. A number of hagiographies have been written by Madhva's disciples and followers. Of these, the most referred to is the sixteen cantos Sanskrit biography Madhvavijaya by Narayana Panditacarya - son of Trivikrama Pandita, who himself was a disciple of Madhva. CANNOTANSWER	the most referred to is the sixteen cantos Sanskrit biography Madhvavijaya by Narayana Panditacarya -	Madhvacharya (; ; CE 1199-1278 or CE 1238–1317), sometimes anglicised as Madhva Acharya, and also known as Purna Prajna () and Ānanda Tīrtha, was a Hindu philosopher and the chief proponent of the Dvaita (dualism) school of Vedanta. Madhva called his philosophy Tattvavāda meaning "arguments from a realist viewpoint". Madhvacharya was born on the west coast of Karnataka state in 13th-century India. As a teenager, he became a Sanyasi (monk) joining Brahma-sampradaya guru Achyutapreksha, of the Ekadandi order. Madhva studied the classics of Hindu philosophy, particularly the Principal Upanishads, the Bhagavad Gita and the Brahma Sutras (Prasthanatrayi). He commented on these, and is credited with thirty seven works in Sanskrit. His writing style was of extreme brevity and condensed expression. His greatest work is considered to be the Anuvyakhyana, a philosophical supplement to his bhasya on the Brahma Sutras composed with a poetic structure. In some of his works, he proclaimed himself to be an avatar of Vayu, the son of god Vishnu. Madhvacharya was a critic of Adi Shankara's Advaita Vedanta and Ramanuja's Vishishtadvaita Vedanta teachings. However, Dwaita was restricted to few states of India. He toured India several times, visiting places such as Bengal, Varanasi, Dwarka, Goa and Kanyakumari, engaging in philosophical debates and visiting Hindu centres of learning. Madhva established the Krishna Mutt at Udupi with a murti secured from Dwarka Gujarat in CE 1285. Madhvacharya's teachings are built on the premise that there is a fundamental difference between Atman (individual soul, self) and the Brahman (ultimate reality, God Vishnu), these are two different unchanging realities, with individual soul dependent on Brahman, never identical. His school's theistic dualism teachings disagreed with the monist teachings of the other two most influential schools of Vedanta based on Advaita's nondualism and Vishishtadvaita's qualified nondualism. Liberation, asserted Madhva, is achievable only through the grace of God. The Dvaita school founded by Madhva influenced Vaishnavism, the Bhakti movement in medieval India, and has been one of the three influential Vedānta philosophies, along with Advaita Vedanta and Vishishtadvaita Vedanta. Madhva's historical influence in Hinduism, state Kulandran and Kraemer, has been salutary, but not extensive. Biography The biography of Madhvacharya is unclear. Many sources date him to 1238–1317 period, but some place him about the 1199–1278 period. Madhvācārya was born in Pajaka near Udupi, a coastal district in the present day Indian state of Karnataka. Traditionally it is believed that Naddantillaya (Sanskrit: Madhyageha, Madhyamandira) was the name of his father and Vedavati was Madhvācārya's mother. Born in a Tulu speaking Vaishnavite Brahmin household, he was named Vāsudeva. Later he became famous by the names Purnaprajna, Anandatirtha and Madhvacarya (or just Madhva). Pūrnaprajña was the name given to him at the time of his initiation into sannyasa (renunciation), as a teenager. The name conferred on him when he became the head of his monastery was "Ānanda Tīrtha". All three of his later names are found in his works. Madhvācārya or Madhva are names most commonly found in modern literature on him, or Dvaita Vedanta related literature. Madhva began his school after his Upanayana at age seven, and became a monk or Sannyasi in his teenage, although his father was initially opposed to this. He joined an Advaita Vedanta monastery in Udupi (Karnataka), accepted his guru to be Achyutrapreksha, who is also referred to as Achyutraprajna in some sources. Madhva studied the Upanishads and the Advaita literature, but was unconvinced by its nondualism philosophy of oneness of human soul and god, had frequent disagreements with his guru, left the monastery, and began his own Dvaita movement based on dualism premises of Dvi – asserting that human soul and god (as Vishnu) are two different things. Madhva never acknowledged Achyutrapreksha as his guru or his monastic lineage in his writings. Madhva is said to have been clever in philosophy, and also to have been tall and strongly built. According to Dehsen, perhaps there were two individuals named Madhvacharya in 13th-century India, with Anandatirtha – the younger Madhva being the most important early disciple of the elder Madhvacharya, and their works and life overlapped in Udupi, Tattvavada being the name adopted for Dvaita Vedanta by Anandatirtha. Madhvacharya established a matha (monastery) dedicated to Dvaita philosophy, and this became the sanctuary for a series of Dvaita scholars such as Jayatirtha, Sripadaraja, Vyasatirtha, Vadiraja Tirtha, Raghuttama Tirtha, Raghavendra Tirtha and Satyanatha Tirtha who followed in footsteps of Madhva. A number of hagiographies have been written by Madhva's disciples and followers. Of these, the most referred to is the sixteen cantos Sanskrit biography Madhvavijaya by Nārāyana Panditācārya – son of Trivikrama Pandita, who himself was a disciple of Madhva. Incarnation of Vayu, the wind god In several of his texts, state Sarma and other scholars, "Madhvacharya proclaims himself to be the third avatar or incarnation of Vayu, wind god, the son of Vishnu". He, thus, asserted himself to be like Hanuman – the first avatar of Vayu, and Bhima – a Pandava in the Mahabharata and the second avatar of Vayu. In one of his bhasya on the Brahma Sutras, he asserts that the authority of the text is from his personal encounter with Vishnu. Madhva, states Sarma, believed himself to be an intermediary between Vishnu and Dvaita devotees, guiding the latter in their journey towards Vishnu. Madhva is said to have performed several miracles during his lifetime, including transforming Tamarind grains into coins, fighting and winning against robbers and wild animals, crossing the Ganges without getting wet clothes, and giving light to his students through the nails of his big toes after the lamp went out while they were interpreting a text at night. Madhvacharya is said to have quoted some verses from his unique recensions of scriptures. Also, he is said to have quoted many unique books like Kamatha Sruti. The interpretation of Balittha Sukta by Madhvacharya and his followers to prove that Madhvacharya was an incarnation of Vayu is considered highly unique by standard commentaries on them like Sayana and Horace Hayman Wilson. Works of Madhvacharya Thirty seven Dvaita texts are attributed to Madhvacharya. Of these, thirteen are bhasya (review and commentary) on earliest Principal Upanishads, a Madhva-bhasya on the foundational text of Vedanta school of Hinduism – Brahma Sutras, another Gita-bhasya on Bhagavad Gita, a commentary on forty hymns of the Rigveda, a review of the Mahabharata in poetic style, a commentary called Bhagavata-tatparya-nirnaya on Bhagavata Purana, plus stotras, poems and texts on bhakti of Vishnu and his avatars. The Anu-Vyakhyana, a supplement to Madhvacharya's commentary on Brahma Sutras, is his masterpiece, states Sharma. While being a profusely productive writer, Madhvacharya restricted the access to and distribution of his works to outsiders who were not part of Dvaita school, according to Sarma. However, Bartley disagrees and states that this is inconsistent with the known history of extensive medieval Vedantic debates on religious ideas in India which included Dvaita school's ideas. Madhva's philosophy The premises and foundations of Dvaita Vedanta, also known as Dvaitavada and Tattvavada, are credited to Madhvacharya. His philosophy championed unqualified dualism. Madhva's work is classically placed in contrast with monist ideas of Shankara's Advaita Vedanta and Ramanuja's Vishishtadvaita Vedanta. Epistemology Madhva calls epistemology as Anu pramana. It accepts three pramānas, that is three facts or three correct means of knowledge, in contrast to one of Charvaka and six of Advaita schools of Hindu philosophies: Pratyaksha (प्रत्यक्ष) means perception. It is of two types in Dvaita and other Hindu schools: external and internal. External perception is described as that arising from the interaction of five senses and worldly objects, while internal perception is described as that of inner sense, the mind. Anumāna (अनुमान) means inference. It is described as reaching a new conclusion and truth from one or more observations and previous truths by applying reason. Observing smoke and inferring fire is an example of Anumana. This method of inference consists of three parts: pratijna (hypothesis), hetu (a reason), and drshtanta (examples). Śabda (शब्द) means relying on word, testimony of past or present reliable experts. It is also known as Agama in Madhva's Dvaita tradition, and incorporates all the Vedas. Hiriyanna explains Sabda-pramana as a concept which means reliable expert testimony. The schools of Hinduism which consider it epistemically valid suggest that a human being needs to know numerous facts, and with the limited time and energy available, he can learn only a fraction of those facts and truths directly. Madhva and his followers introduced kevala-pramaana as the "knowledge of an object as it is", separate from anu-pramana described above. Madhva's Dvaita school holds that Vishnu as God, who is also Hari, Krishna, Vasudeva and Narayana, can only be known through the proper samanvaya (connection) and pramana of the Vedic scriptural teachings. Vishnu, according to Madhvacharya, is not the creator of the Vedas, but the teacher of the Vedas. Knowledge is intrinsically valid, states Madhva's school, and the knower and the known are independently real. Both the ritual part (karma-kanda, Mimamsa) and the knowledge part (jnana-kanda, Upanishadic Vedanta) in the Vedas, asserted Madhvacharya, are equally valid and interconnected whole. As asserted by the Mimamsa school of Hindu philosophy, Madhvacharya held that the Vedas are author-less, and that their truth is in all of its parts (i.e. the , , and )... Metaphysics The metaphysical reality is plural, stated Madhvacharya. There are primarily two tattvas or categories of reality — (independent reality) and (dependent reality). Ishvara (as God Vishnu or Krishna) is the cause of the universe and the only independent reality, in Madhvacharya's view. The created universe is the dependent reality, consisting of (individual souls) and Jada (matter, material things). Individual souls are plural, different and distinct realities. s are sentient and matter is non-sentient, according to Madhvacharya. Madhva further enumerates the difference between dependent and independent reality as a fivefold division (pancha-bheda) between God, souls and material things. These differences are: (1) Between material things; (2) Between material thing and soul; (3) Between material thing and God; (4) Between souls; and (5) Between soul and God. This difference is neither temporary nor merely practical; it is an invariable and natural property of everything. Madhva calls it Taratamya (gradation in pluralism). There is no object like another, according to Madhvacharya. There is no soul like another. All souls are unique, reflected in individual personalities. The sea is full; the tank is full; a pot is full; everything is full, yet each fullness is different, asserted Madhvacharya. Even in liberation (moksha), states Madhvacharya, the bliss is different for each person, based on each's degree of knowledge and spiritual perfection. This liberation, according to him, is only achievable with grace of God Krishna. Nature of the Brahman Madhva conceptualised Brahman as a being who enjoys His own bliss, while the entire universe evolves through a nebulous chaos. He manifests, every now and then, to help the evolution process. The four primary manifestation of Him as the Brahman are, according to Madhva, Vasudeva, Pradyumna, Aniruddha and Sankarasana, which are respectively responsible for the redemptive, creative, sustaining and destructive aspects in the universe. His secondary manifestations are many, and all manifestations are at par with each other, it is the same infinite no matter how He manifests. Brahman is the creator of the universe, perfect in knowledge, perfect in knowing, perfect in its power, and distinct from souls, distinct from matter. For liberation, mere intellectual conceptualization of Brahman as creator is not enough, the individual soul must feel attraction, love, attachment and devotional surrender to Him, and only His grace leads to redemption and liberation, according to Madhva. The Vishnu as Brahman concept of Madhvacharya is a concept similar to God in major world religions. His writings led some early colonial-era Indologists such as George Abraham Grierson to suggest the 13th-century Madhva was influenced by Christianity, but later scholarship has rejected this theory. Atat tvam asi One of the Mahavakyas (great sayings) in Hinduism is Tat tvam asi, or "Thou art That", found in verse 6.8.7 of Chandogya Upanishad. This section of Chandogya Upanishad is credited to sage Uddalaka and the text considered central in Vedanta and the Brahma Sutras, interpreted to mean that there is no difference between the soul within (Thou) and the Brahman (That). The Dvaita school led by Madhva reinterpreted this section, by parsing the Sanskrit text as Atat tvam asi or "Thou are not That", asserting that there is no Sanskrit rule which does not allow such parsing. He accepted that the tradition and prior scholars had all interpreted the text to be "Tat tvam asi", but then asserted that there is no metaphysical or logical requirement that he should too. Soteriology Madhvacharya considered Jnana Yoga and Karma Yoga to be insufficient to the path of liberation without Bhakti. Narayana or Vishnu was the supreme God to Madhva, who can only be reached through Vayu – the son of God; further, states Madhva, faith leads to the grace of God, and grace leads to the liberation of soul. The knowledge of God, for Madhvacharya, is not a matter of intellectual acceptance of the concept, but an attraction, affection, constant attachment, loving devotion and complete surrender to the grace of God. He rejects monist theories that knowledge liberates, asserting instead that it is Divine grace through Bhakti that liberates. To Madhva, God obscures reality by creating Maya and Prakriti, which causes bondage and suffering; and only God can be the source of soul's release. Liberation occurs when, with the grace of God, one knows the true nature of self and the true nature of God. Ethics Evil and suffering in the world, according to Madhvacharya, originates in man, and not God. Every Jiva (individual soul) is the agent of actions, not Jada (matter), and not Ishvara (God). While Madhva asserts each individual self is the Kartritva (real agency), the self is not an absolutely independent agent to him. This is because, states Madhva, the soul is influenced by sensory organs, one's physical body and such material things which he calls as gifts of God. Man has free will, but is influenced by his innate nature, inclinations and past karma. Madhvacharya asserts, Yathecchasi tatha kuru, which Sharma translates and explains as "one has the right to choose between right and wrong, a choice each individual makes out of his own responsibility and his own risk". Madhva does not address the problem of evil, that is how can evil exist with that of a God who is omnipotent, omniscient, and omnibenevolent. According to Sharma, "Madhva's tripartite classification of souls makes it unnecessary to answer the problem of evil". According to David Buchta, this does not address the problem of evil, because the omnipotent God "could change the system, but chooses not to" and thus sustains the evil in the world. This view of self's agency of Madhvacharya was, states Buchta, an outlier in Vedanta school and Indian philosophies in general. Moral laws and ethics exist, according to Madhva, and are necessary for the grace of God and for liberation. Views on other schools Madhvacharya was a fierce critic of competing Vedanta schools, and other schools of Indian philosophies such as Buddhism and Jainism. He wrote up arguments against twenty one ancient and medieval era Indian scholars to help establish the foundations of his own school of thought. Madhvacharya was fiercest critic of Advaita Vedanta, accusing Shankara and Advaitins for example, as "deceitful demons" teaching Buddhism under the cover of Vedanta. Advaita's nondualism asserts that Atman (soul) and Brahman are blissful and identical, unchanging transcendent Reality, there is interconnected oneness of all souls and Brahman, and there are no pluralities. Madhva in contrast asserts that Atman (soul) and Brahman are different, only Vishnu is the Lord (Brahman), individual souls are also different and depend on Vishnu, and there are pluralities. Madhva criticized Advaita as being a version of Mahayana Buddhism, which he regarded as nihilistic. Of all schools, Madhva focussed his criticism on Advaita most, and he wrote four major texts, including Upadhikhandana and Tattvadyota, primarily dedicated to criticizing Advaita. Madhvacharya disagreed with aspects of Ramanuja's Vishishtadvaita. Vishishtadvaita school, a realist system of thought like Madhvacharya's Dvaita school, also asserts that Jiva (human souls) and Brahman (as Vishnu) are different, a difference that is never transcended. God Vishnu alone is independent, all other gods and beings are dependent on Him, according to both Madhvacharya and Ramanuja. However, in contrast to Madhvacharya's views, Vishishtadvaita school asserts "qualified non-dualism", that souls share the same essential nature of Brahman, and that there is a universal sameness in the quality and degree of bliss possible for human souls, and every soul can reach the bliss state of God Himself. While the older school of Vishishtadvaita asserted "qualitative monism and quantitative pluralism of souls", states Sharma, Madhvacharya asserted both "qualitative and quantitative pluralism of souls". Shankara's Advaita school and Ramanuja's Vishishtadvaita school are premised on the assumption that all souls can hope for and achieve the state of blissful liberation; in contrast, Madhvacharya believed that some souls are eternally doomed and damned. Madhvacharya's style of criticism of other schools of Indian philosophy was part of the ancient and medieval Indian tradition. He was part of the Vedanta school, which emerged in post-Vedic period as the most influential of the six schools of Hindu philosophy, and his targeting of Advaita tradition, states Bryant, reflects it being the most influential of Vedanta schools. Influence Madhvacharya views represent a subschool of Vaishnavism, just like Ramanuja's. Both championed Vishnu in the saguna form. However, 11th-century Ramanuja's ideas have been most influential in Vaishnavism. Madhvacharya's ideas led to the founding of Haridasa sect of Vaishnavism in Karnataka, also referred to as Vyasakuta, Dasakuta or Dasa Dasapantha, known for their devotional songs and music during the Bhakti movement. Other influential subschools of Vaishnavism competed with the ideas of Madhvacharya, such as the Chaitanya subschool, whose Jiva Gosvami asserts only Krishna is "Svayam Bhagavan" (supreme form of God), in contrast to Madhva who asserts that all Vishnu avatars are equal and identical, with both sharing the belief that emotional devotion to God is the means to spiritual liberation. Chaitanya Mahaprabhu(1496-1534) is said to be a disciple of Isvara Puri who was a disciple of Madhavendra Puri who was a disciple of Lakshmipati Tirtha who was a disciple of Vyasatirtha(1469-1539) of Madhvacharya's Sampradaya. According to Sharma, the influence of Madhva's Dvaita ideas have been most prominent on the Chaitanya school of Bengal Vaishnavism, and in Assam. A subsect of Gaudiya Vaishnavas from Orissa and West Bengal claim to be followers of Madhvacharya. Madhva established in Udupi Krishna Matha attached to a god Krishna temple. Gaudiya Vaishnavas also worship Krishna, who is in the mode of Vrindavana. Hindu-Christian-Muslim controversies Madhvacharya was misperceived and misrepresented by both Christian missionaries and Hindu writers during the colonial era scholarship. The similarities in the primacy of one God, dualism and distinction between man and God, devotion to God, the son of God as the intermediary, predestination, the role of grace in salvation, as well as the similarities in the legends of miracles in Christianity and Madhvacharya's Dvaita tradition fed these stories. Among Christian writers, GA Grierson creatively asserted that Madhva's ideas evidently were "borrowed from Christianity, quite possibly promulgated as a rival to the central doctrine of that faith". Among Hindu writers, according to Sarma, SC Vasu creatively translated Madhvacharya's works to identify Madhvacharya with Christ, rather than compare their ideas. Modern scholarship rules out the influence of Christianity on Madhvacharya, as there is no evidence that there ever was a Christian settlement where Madhvacharya grew up and lived, or that there was a sharing or discussion of ideas between someone with knowledge of the Bible and Christian legends, and him. There are also assumptions Madhva was influenced by Islam. The Madhvavijaya tells about Madhva meeting the Sultan of Delhi and saying to him in fluent Persian that both worship the same one God of the universe, and that he spreads the faith in God. The sultan is said to have been so impressed by this that he wanted give half of the empire to Madhva, which he refused. However, the indologist and religious scholar Helmuth von Glasenapp assumes that monotheism can also be derived from the Indian intellectual world, and that there is no reason supporting the theory that Madhva's views on afterlife were influenced by Muslim or Christian impulses. Monasteries Madhvacharya established eight mathas (monasteries) in Udupi with his eight disciples as its head along with Adi Matha. These are referred to as Madhva mathas, or Udupi ashta matha, and include Palimaru matha, Adamaru matha, Krishnapura matha, Puttige matha, Shirur matha, Sodhe matha, Kaniyooru matha and Pejavara matha. These eight surround the Anantheswara Krishna Hindu temple. The matha are laid out in a rectangle, the temples on a square grid pattern. The monks in the matha are sannyasis, and the tradition of their studies and succession (Paryaya system) were established by Madhvacharya. The monastery has a pontiff system, that rotates after a fixed period of time. The pontiff is called Swamiji, and he leads daily Krishna prayers according to Madhva tradition, as well as annual festivals. The process and Vedic mantra rituals for Krishna worship in Dvaita monasteries follow the procedure written by Madhvacharya in Tantrasara. The Krishna worship neither involves bali (sacrifice) nor any fire rituals. The succession ceremony in Dvaita school involves the outgoing Swamiji welcoming the incoming one, then walking together to the icon of Madhvacharya at the entrance of Krishna temple in Udupi, offering water to him, expressing reverence then handing over the same vessel with water that Madhvacharya used when he handed over the leadership of the monastery he founded. The monastery include kitchens, bhojan-shala, run by monks and volunteers. These serve food daily to nearly 15,000 to 20,000 monks, students and visiting pilgrims without social discrimination. During succession ceremonies, over 80,000 people are served a vegetarian meal by Udupi bhojan-shalas. Madhvacharya established Adi Matha with his disciple Padmanabha Tirtha as its head with the instructions that his disciples Narahari Tirtha, Madhava Tirtha and Akshobhya Tirtha should inturn become the successors of this matha. Padmanabha Tirtha and his descendants such as Narahari Tirtha, Akshobhya Tirtha, Jayatirtha, Sripadaraja, Vyasatirtha, Raghuttama Tirtha, Vijayendra Tirtha, Raghavendra Tirtha, Vidyadhisha Tirtha, Sumatindra Tirtha, Satyanatha Tirtha and Satyabodha Tirtha are responsible for the spread of Dvaita Vedanta outside Tulu Nadu region. All the mathas outside of the Tulu region are one way or the other descended from Padmanabha Tirtha. According to Surendranath Dasgupta, Uttaradi Math was divided twice, and so we end up with three mathas, the other two being Vyasaraja Math and Raghavendra Math. Uttaradi Math, along with Vyasaraja Math and Raghavendra Math, is considered to be the three premier apostolic institutions of Dvaita Vedanta and are jointly referred as Mathatraya. It is the pontiffs and pandits of the Mathatraya that have been the principle architects of post-Madhva Dvaita Vedanta through the centuries. Among the mathas outside of Tulu Nadu region, Uttaradi Matha is the largest. Including those in Udupi, there are twenty-four Madhva mathas in India. The main center of Madhva's tradition is in Karnataka. Professor Kiyokazu Okita and Indologist B. N. K. Sharma says, Sannyasis in the lineage of Dvaita school of Vedanta belongs to Ēkadaṇḍi tradition just like the Sanyasi's of Advaita of Adi Shankara. Film In 1986 a film directed by G. V. Iyer named Madhvacharya was premiered, it was one of the films made entirely in Kannada language. See also Brahma Sampradaya Madhva Brahmins Dvaita literature Ashta Mathas of Udupi Notes References Bibliography External links Bibliography of Madhvacharya's works, Item 751, Karl Potter, University of Washington "Madhva" article in the Internet Encyclopedia of Philosophy Madhvacharya at Encyclopædia Britannica A Note on the date of Madhvacharya by S. Srikanta Sastri Discussion on quotations and interpretations by Madhvacharya. https://gosai.com/writings/the-divinity-of-sri-caitanya-mahaprabhu-0 1238 births 13th-century Indian writers Hindu philosophers and theologians 13th-century Indian philosophers Indian Vaishnavites Indian Hindu religious leaders History of Karnataka Vaishnavism People from Udupi district Bhakti movement Tulu people Sanskrit writers Vaishnava saints Medieval Hindu religious leaders Writers from Karnataka Hindu saints Scholars from Karnataka Year of death unknown	false	[ "Henmaru Machino (町野変丸 Machino Henmaru, sometimes given as 'Hanmaru', born 1969, Aomori Prefecture) is a Japanese artist, described as the Magritte of the eromanga world, whose works prominently feature themes of bestiality, dysmorphia, hermaphrodism, and body transformation, as well as dozens of other sexual paraphilia. Most of his work has emerged within a paradigm of hentai manga and images, but some has appeared in galleries; several of his pieces were part of Takashi Murakami's traveling Superflat exhibition.\n\nMachino started his career through submitting illustration work to the hentai magazine Manga Hot Milk.\n\nWhile Machino's work defies any easy categorization, it could be said to fall within the Japanese EroGuro (Erotic Grotesque) school, still somewhat loosely defined, which dates back to Dada-influenced, Showa-era Decadence. Some assert that it is pornography of the most extreme variety, and nothing more. While porn-or-art debates have been occurring around a wide variety of works for centuries across the globe, the debates surrounding Machino are unique in that his subject matter is at the far fringes of human sexual experience, and even beyond it, in that much of what he draws could never occur in the real world. While many EroGuro artists create works that could have real-world analogues (S&M, mutilation, etc.), Machino's images of, for example, girls with dozens of phalli sprouting from each of the dozens of breasts that cover their body, are not something any viewer of his work could ever see in life, and thus the issue of \"what is pornography?\" strongly preempts the issue of \"art or pornography?\" in some of his work.\n\nPartial list of works\n\n - Mediax/MD Comics, 1994.\n SM Chokyoshi Hitomi - Unlicensed game for Super Famicom.\n - Issui Sha/Izumi Comics, 1994.\n - East Press, 1996.\n Hōtō ni Atta Eroi Hanashi - Sanwa Shuppan, 1996.\n - Ohta Shuppan/Ohta Comics, 1996.\n - Issui Sha/Izumi Comics, 1997\n - Issui Sha/Izumi Comics, 1998.\n - Ohta Shuppan/Ohta Comics, 1998.\n - Kubo Shoten/World Comics, 1998.\n - Sanwa Shuppan, 1998.\n Nuruemon - Issui Sha/Izumi Comics, 1998.\n Kenzen Hentai Shōjo - Kubo Shoten/World Comics Special, 2002.\n - Sanwa Shuppan, 1997\n - East Press, 1999\n - Issui Sha/Izumi Comics, 199?\n\nReferences\n\nExternal links \n Machino works list (Japanese)\n\nLiving people\nManga artists\nMachino Henmaru\nMachino Henmaru\nEro guro", "is a collection of Masamune Shirow's full color works. The volume itself is 148 210 mm x 285 mm pages. It encompasses 226 illustrations from 1981 to 1991, 193 of which are in full color. It is a wide ranging collection, as one might expect from a work surveying 10 years of a professional artist’s life. The foreword written by Masamune Shirow indicates that only a small sample of works is not represented, some works done for fanzines, or sent off to other individuals, and 34 color pages were left out from Ghost in the Shell because he felt that might devalue that work. Everything from Appleseed to Orion are well represented in Intron Depot 1, some pictures are reproductions of paintings, others book covers, manga pages, or drafts. One feature of Intron Depot 1 is that all of the works are presented with a small aside from Shirow as to his thoughts on them. Another is that he includes a number of what he considers to be his mistakes, and is generally very critical of his work over all.\n\nThe commentary itself is somewhat whimsical in tone. It might present some seed of inspiration for an image, critique, or ponder the functionality of a pictured object, or provide some perspective on technique, story, or history associated with the work.\n\nIntron Depot 1 in two spots in particular is quite graphic. One panel involves a graphic drawing of a lesbian ménage à trois, and another significant gore. On balance it is a collection of guns, swords, girls, gadgets, cyborgs, and mecha.\n\nChapters\nPoster (3)\nContents (2)\nAppleseed (43)\nBlack Magic (10)\nBlack Magic M-66 (10)\nGame & Etc. (15)\nGhost in the Shell (39)\nDominion (19)\nCover & Etc. (34)\nOrion (17)\nMonochrome (14)\n\nExternal links\n Dark Horse Comics\n\nMasamune Shirow" ]
[ "Chris Chelios", "Montreal Canadiens (1984-1990)" ]	C_b8ac124321064808a45d9d6a9a832efc_0	Who were the Montreal Canadiens?	1	Who were the Montreal Canadiens, related to Chris Chelios?	Chris Chelios	In 1984, he made the Montreal Canadiens for good, and distinguished himself with his play. During his early days, Chelios was known for his offensive abilities, and his teammates even called him "Soft Hands Chelios." He earned a trip to the National Hockey League All-Star Game and was named to the 1985 NHL All-Rookie Team. He scored 64 points in 74 games, a high total for a defenseman, even in the higher-scoring 1980s. He came second to Mario Lemieux for the Calder Memorial Trophy. In the playoffs that year, he scored 10 points in 9 games, with a +17 plus/minus. Although he only played 41 games in the 1985-86 season, he won his first Stanley Cup, playing in front of Conn Smythe Trophy winner Patrick Roy. Following two more good seasons, Chelios really broke out in the 1988-89 season. He scored 73 points in 80 games at +35, was named to the All-Star First-Team, and won the James Norris Memorial Trophy. During that year's Wales Conference (now Eastern Conference) Finals series against the Philadelphia Flyers (which the Canadiens won in six games), Chelios became reviled by Flyer fans for a dirty hit on Brian Propp that left the Philadelphia winger with a serious concussion and forced him to miss the next game. For the remainder of the series, the Flyers did not retaliate against Chelios until finally, after the series fate was sealed late in Game 6, Flyers goaltender Ron Hextall memorably skated out of his net to attack Chelios in retaliation, which got Hextall suspended for 12 games. After playing only 53 games in the next season (in which he served as co-captain, with Guy Carbonneau), on June 29, 1990, Chelios was traded to the Chicago Blackhawks with a 2nd-round draft pick for Denis Savard. This trade happened one day after Chelios was accused of fighting with two police officers as they tried to arrest him for urinating in public outside a bar in downtown Madison, Wis., according to a criminal complaint. CANNOTANSWER	CANNOTANSWER	Christos Kostas Chelios (born January 25, 1962) is an American former professional ice hockey defenseman. He was one of the longest tenured players in the National Hockey League, and is a three-time Stanley Cup champion—one with the Montreal Canadiens and two with the Detroit Red Wings. Chelios played for the Montreal Canadiens, Chicago Blackhawks, Detroit Red Wings, and the Atlanta Thrashers. When he was called up from the AHL's Chicago Wolves to play for the Thrashers during the 2009–10 NHL season, Chelios was the oldest active player in the NHL and the second oldest of all time, had played the most games of any active player in the NHL, was the last player from the 1981 NHL Entry Draft still active (or any draft from 1986 and earlier), and had the most career penalty minutes of any active player. Chelios formerly the record-holder for most games played in the NHL by a defenseman, is eighth overall with 1,651 games played, holds the record for most career playoff games played with 266 and is tied with Gordie Howe for most NHL seasons played with 26. On May 1, 2009, he appeared in the playoffs for an NHL record 24th time, having missed the playoffs only once (1997–98). Chelios is also the record-holder for most career postseason losses, with 117 (also the most in any professional sport in North America). However, he only lost one Game 7 in his career, a 3-2 OT loss in the 1985 Adams Division Finals against the Nordiques. In 2017, Chelios was named one of the '100 Greatest NHL Players' in history. Chelios is of Greek heritage. His cousin, Nikos Tselios, also played professional hockey and is a former first round draft pick of the Carolina Hurricanes. Chelios was inducted into the Hockey Hall of Fame on November 8, 2013. Playing career Early years Chelios was born in Chicago, Illinois on January 25, 1962, and raised by his parents, Gus and Susan Chelios. They lived in Evergreen Park, Illinois. He attended Mount Carmel High School in Chicago until his family moved to Poway, California, where he attended Mira Mesa High School. Unable to play high school hockey in Southern California, Chelios was not recruited by any U.S. colleges. His only scholarship offer came from San Diego-based United States International University, the only NCAA Division I hockey team west of the Rockies. However, when Chelios arrived on campus as a freshman in 1979, he soon realized he was in the wrong environment, facing bigger players with considerably more junior hockey experience. He was eventually cut from the team and considered quitting hockey. Instead, Chelios tried his luck in Canada, where he was twice cut by Junior B teams and hit a low point when he had to borrow money from strangers to get home to California one year. He said, "I wasn't any bigger or any better than the other guys, so they weren't going to take a kid from the States when they could have a local guy." Chelios returned home and grew three inches while adding 40 pounds of muscle. He was then drafted by the Montreal Canadiens in the 1981 NHL Entry Draft. Prior to that, he played for the Moose Jaw Canucks of the Saskatchewan Junior Hockey League, where he tallied 87 points and 175 penalty minutes in just 54 games in his final season. Chelios then enjoyed two strong years playing for the Wisconsin Badgers at the University of Wisconsin–Madison after being drafted. As one of the top collegiate players in the country, he was selected for the United States team at the 1982 World Junior Ice Hockey Championship. In 1983, he was part of the Badgers' NCAA Men's Ice Hockey Championship team and was named to the all-tournament team and the second WCHA all-star team. Chelios was a member of the U.S. team for the 1984 Winter Olympics in Sarajevo, Yugoslavia. After that, he made his debut for the Canadiens, playing 12 games in the regular season and 15 in the playoffs. That summer he joined the U.S. team at the 1984 Canada Cup. Montreal Canadiens (1984–1990) In 1984, Chelios made the Montreal Canadiens for good, distinguishing himself with his play. During his early days, he was known for his offensive abilities, and his teammates even called him "Soft Hands Chelios." He earned a trip to the National Hockey League All-Star Game and was named to the 1985 NHL All-Rookie Team. He scored 64 points in 74 games, a high total for a defenseman even in the high-scoring 1980s, and finished second to Mario Lemieux for the Calder Memorial Trophy. In the playoffs that year, he had 10 points in 9 games, with a +17 plus/minus. Although he only played 41 games in the 1985–86 season, he won his first Stanley Cup, playing in front of Conn Smythe Trophy-winning goaltender Patrick Roy. Following two more good seasons in Montreal, Chelios really broke out in the 1988–89 campaign. He scored 73 points in 80 games at +35, was named to the All-Star First-Team, and won his first James Norris Memorial Trophy. During that year's Wales Conference (now Eastern Conference) Finals series against the Philadelphia Flyers (which the Canadiens won in six games), Chelios became reviled by Flyer fans for a dirty hit on Brian Propp that left the Philadelphia winger with a serious concussion and forced him to miss the next game. The Flyers did not retaliate against Chelios until their fate was sealed late in Game 6; Flyers goaltender Ron Hextall memorably skated out of his net to attack Chelios, earning him a 12-game suspension. After playing only 53 games the following season (in which he served as Canadiens' co-captain, with Guy Carbonneau, making Chelios the first non-Canadian player to captain the Canadiens), Chelios was traded to the Chicago Blackhawks on June 29, 1990 with a 2nd-round draft pick for Denis Savard. The trade occurred one day after Chelios was accused of fighting with two police officers as they tried to arrest him for urinating in public outside a bar in downtown Madison, Wisconsin, according to a criminal complaint. Chicago Blackhawks (1990–1999) In his first season with Chicago, Chelios continued to score at his usual rate, tallying 64 points, and earned a spot on the Second NHL All-Star Team. He helped lead the Blackhawks to the Stanley Cup Final in 1992, where they were swept by the Pittsburgh Penguins. He was in top form for the 1992–93 season, scoring 73 points and winning his second James Norris Memorial Trophy. His Norris Trophy-winning play, which some sports reporters referred to as "Sweet", earned him the nickname "Honey Nut". The nickname derives from his name being spelled and pronounced similarly to the famous breakfast cereal, Honey Nut Cheerios. During the 1994–95 NHL lockout he played for EHC Biel in the Swiss National League A. For the 1995–96 season, Chelios was named captain of the Blackhawks, a role he served in until 1999. He enjoyed another fine season, scoring 72 points and winning his third James Norris Memorial Trophy. In the summer of 1996, he helped lead the United States to its biggest international hockey win since the 1980 Winter Olympics, as the Americans defeated Canada in the 1996 World Cup of Hockey. Chelios was named to the All-Tournament Team. Detroit Red Wings (1999–2009) At 37, Chelios could still help teams with his veteran leadership and his largely remaining talent. On March 23, 1999, he was traded to the Detroit Red Wings for Anders Eriksson and two first-round draft picks. The move to Detroit, where he had fewer responsibilities and more skilled teammates, helped keep Chelios playing at close to his peak level. In 2002, his +40 plus/minus led the league, and he was again named to the First All-Star Team. He also led the United States hockey team to a silver medal in the 2002 Winter Olympics, and was named to the Tournament's All-Star Team. His season culminated in the Red Wings' victory over the Carolina Hurricanes in the Stanley Cup Finals, giving Chelios his second Stanley Cup. In 2004, because of the cancellation of the NHL season, Chelios, along with fellow Red Wing teammates Derian Hatcher and Kris Draper, decided to play hockey for the Motor City Mechanics, a UHL team based out of Fraser, Michigan. He was heavily criticized for this decision as the UHL has a maximum salary in place, but at the same time he was strongly against a salary cap in the NHL. In October 2004 he trained with the U.S. bobsled federation in a bid to compete for the Greek bobsled team at the 2006 Winter Olympics. While Chelios didn't compete in the bobsled, he did captain the USA hockey team at the 2006 Winter Olympics in Turin, Italy. On August 4, 2005, the 43-year-old re-signed with the Red Wings for a one-year contract. On May 24, 2006, Chelios re-signed a one-year contract with the Detroit Red Wings. On July 3, 2006, Chelios became the active leader for most games played upon the retirement of teammate Steve Yzerman. On April 21, 2007, he became the oldest defenseman to score a short-handed goal in the NHL in a playoff game against the Calgary Flames. Chelios was the captain of the US Olympic Hockey Team that played at the 2006 Winter Olympics in Torino, Italy. By participating in ice hockey at the 2006 Winter Olympics, Chelios set a new standard, by becoming the first player to take part in an Olympic ice hockey tournament, twenty-two years after he played in his first. The old record was set by Swiss hockey player Bibi Torriani who had played twenty years after his debut (1928 and 1948). Chelios re-signed with the Detroit Red Wings for the 2007–08 season. On January 8, 2008, Chelios became the second oldest player in the history of the NHL, at 45 years, 348 days, passing Moe Roberts. Only Gordie Howe, who played until age 52, was older. On April 12, 2008, Chelios played in his 248th playoff game, breaking the NHL record set by Hall of Fame goaltender Patrick Roy. Later that season, Chelios also became the oldest active player to win the Stanley Cup. Chelios signed another one-year contract with the Red Wings for the 2008–09 season. On December 5, 2008, Chelios played in his first of two games for the Grand Rapids Griffins, the American Hockey League (AHL) farm club for the Red Wings, as part of a conditioning stint. At 46 years of age, he became the oldest player in the 73-year history of the AHL. At the conclusion of the 2008–09 season, Chelios was a finalist for the Bill Masterton Memorial Trophy. Chicago Wolves and Atlanta Thrashers After the Red Wings announced that they would not be re-signing Chelios, he signed a 25-game pro tryout contract with the Chicago Wolves. After a second 25-game pro tryout contract with the Wolves, Chelios signed a two-way contract with the Atlanta Thrashers. Chelios remained with the Wolves until he was recalled to the Thrashers, hoping that he could provide a spark for the team's playoff hopes. He played in seven games for the Thrashers, but failed to record any points. On April 7, 2010, Chelios was sent back to the Wolves. Retirement, transition to Wings front office, and broadcasting On August 31, 2010, Chelios officially retired. He was 48 years of age. The same day, Red Wings general manager Ken Holland announced that Chelios would be hired to work in the Red Wings' front office. He was named Adviser to Hockey Operations, with a role of working with Red Wings' defense prospects in Grand Rapids. In 2013, it was announced that Chelios would become an NHL analyst on FS1, which also included covering the hockey tournament in the 2014 Winter Olympics. In 2016, Chelios, along with former Red Wings teammate Brett Hull, was added to ESPN’s roster of analysts for their coverage of the 2016 World Cup of Hockey, which ESPN had picked up the U.S. broadcast rights to, after NBC pulled out due to scheduling conflicts. In July 2018, Chelios announced that he was leaving the Detroit area, and the Red Wings front office, to return to Chicago to be close to his family. At the same time, the Chicago Blackhawks announced that Chelios was being brought on board to serve as an ambassador for the franchise. In 2021, after ESPN regained the rights to broadcast the NHL, Chelios rejoined the network for their coverage. Chelios serves the same studio analyst role he held for the 2016 World Cup of Hockey, and sits alongside Barry Melrose and Mark Messier, joining Steve Levy for games on ESPN, ABC, and ESPN+. Coaching career On June 17, 2015, USA Hockey named Chelios an assistant coach for Team USA at the 2016 World Junior Ice Hockey Championships. On June 23, 2015, Chelios was named to the Red Wings coaching staff, where he will continue to play a role in player development, by working on-ice with the team's defensemen during practices. His job involved evaluating in-game player performance and offering his insight and observations to Red Wings bench coaches. He would also attend all home games, and on occasion, join the club on the road. International play Chelios has participated in 11 international tournaments for the United States: 1980 World Junior Ice Hockey Championships 1982 World Junior Ice Hockey Championships 1984 Winter Olympics 1984 Canada Cup 1987 Canada Cup 1991 Canada Cup 1996 World Cup of Hockey (alternate captain) 1998 Winter Olympics (captain) 2002 Winter Olympics (captain) 2004 World Cup of Hockey (captain) 2006 Winter Olympics (captain) In 2020, Chelios was named into the IIHF All-Time USA Team. Personal life Chelios grew up in Chicago, Illinois, where his father, Constantine "Gus" Chelios, owned a chain of Greek restaurants. The family name was originally "Tselios", but Gus chose to change the family's spelling. The family moved to Poway, California, in 1977, when his father left his struggling business in Chicago to open a restaurant in the San Diego area. He was a Chicago Blackhawks fan during his childhood but was more focused on football, idolizing Chicago Bears linebacker Dick Butkus. Chelios attended Mount Carmel High School (Chicago) before his family moved west, and then finished prep studies at Mira Mesa Senior High School in San Diego. Chelios and his wife Tracee were married in 1987. They met while students at the University of Wisconsin–Madison. They have four children: Dean (born 1989), Jake (born 1991), Caley (born 1993), and Tara (born 1996). Dean Chelios, a forward, scored a pair of power play goals to help his Cranbrook-Kingswood high school team win the 2006 Division III Michigan state high school hockey championship. Dean played for the Chicago Steel of the USHL in Bensenville, Illinois, and last played in 2016 for the Wichita Thunder of the ECHL. In May 2009, Jake was drafted by 49th overall by the Chicago Steel, and joined his brother at Michigan State. Jake is a defenseman, like his father, and currently plays with the Grand Rapids Griffins in the Detroit Red Wings organization. Caley graduated from Northwestern University and is currently a reporter for the Chicago Blackhawks. Chelios was very active in charitable causes during his playing time in Chicago, founding Cheli's Children." Chris is the older brother of former minor-leaguer Steve Chelios, and cousin of former NHL player Nikos Tselios. Through his career, Chelios has befriended many non-hockey athletes and entertainers. In 2004, he and surfer Laird Hamilton trained with the U.S. bobsled team and hoped to form the first Greek bobsled team at the 2006 Winter Olympics. Chelios and his family can be found Stand up paddle surfing with Hamilton. Chris credits the activity with helping him maintain his long career. On Scrubs, Dr. Perry Cox, played by Chelios' friend John C. McGinley, often wears a Red Wings jersey with Chelios' name and number. During the fourth season of the show, which was concurrent with the 2004–05 lockout, Cox was seen on at least one occasion wearing a No. 24 "Motor City Mechanics" jersey. Chelios is also close friends with actors John Cusack and D. B. Sweeney, Pearl Jam frontman Eddie Vedder, Smashing Pumpkins frontman Billy Corgan, and musician Kid Rock. Chelios was sitting courtside with Kid Rock during the Pacers-Pistons brawl at the Palace of Auburn Hills on November 19, 2004. Chelios and Sweeney are quite close, with the two having appeared together in The Cutting Edge (1992) and Two Tickets to Paradise (2007), in addition to Chelios being the godfather to Sweeney's son, Cade. Chelios was a regular at Michigan State University hockey games, cheering on his sons Jake and Dean. DUI arrest On December 28, 2009, in Westmont, Illinois, Chelios was arrested for driving under the influence. He was the only occupant of the vehicle that was stopped at 4 a.m. The vehicle was towed and Chelios was taken to the Westmont station, where he was charged, processed, and posted bond. In March 2010, a judge reviewed the video tape of the arrest. The case was dismissed for lack of probable cause to stop, and evidence the tape provided that Chelios was not impaired. He was however fined for improper lane usage and speeding. Malibu Mob Chelios maintains a home in Malibu, California, and is well known as a member of the group of celebrity home owners and friends called the Malibu Mob. Other members include tennis great John McEnroe, big-wave surfer Laird Hamilton and his wife beach volleyball pro Gabrielle Reece, musicians Tim Commerford and Kid Rock, and actors John C. McGinley, John Cusack, Kelsey Grammer, Tony Danza, Justin Long, and Ed O'Neill. Business Chelios has owned restaurant/bars in both the Chicago and Detroit areas, all under the name Cheli's Chili Bar. The first operated on West Madison Street in Chicago (near the United Center) in the 1990s, but closed after his move to the Red Wings. A new Cheli's opened in Dearborn in 2003, followed by a second location in Detroit in 2006 and a third in Clinton Township in 2008. All three are now closed, with the Detroit location shuttering in 2018 upon Chelios returning to live in the Windy City. He has indicated a desire to open a new restaurant in the Chicago area. On January 2, 2007, two employees of Cheli's in Detroit were fatally stabbed: Megan Soroka, 49, a manager at the restaurant, and Mark Barnard, 52, a chef. Police arrested Justin Blackshere, 17, who confessed to the crime. He was a busboy at the restaurant and was fired in November 2006. Blackshere's pregnant girlfriend had also been fired from her job as a dishwasher. Chelios took a leave of absence from the Red Wings to help the families of his murdered employees. He said, "I'll come back when I feel ready and the families feel ready. I'm just going to try to get through this day by day with everybody." On January 9, 2007, the Red Wings announced that Chelios would be playing that night. Blackshere was found guilty of murder in the first degree on August 22, 2007 and was sentenced to life in prison without parole on September 7, 2007. Career statistics Bold italics indicate NHL record Regular season and playoffs International Awards and honors Records NHL Games played in the regular season by a defenseman (1,651) Games played in the playoffs (266) See also List of NHL players with 1,000 games played List of NHL players with 2,000 career penalty minutes References External links Chris Chelios' bio @ hockeydraftcentral.com Chris Chelios: Made in America by Chris Chelios, Kevin Allen 1962 births American expatriate sportspeople in Switzerland American men's ice hockey defensemen American people of Greek descent American restaurateurs Atlanta Thrashers players Businesspeople from Chicago Chicago Blackhawks captains Chicago Blackhawks players Chicago Wolves players Detroit Red Wings coaches Detroit Red Wings personnel Detroit Red Wings players EHC Biel players Grand Rapids Griffins players Hockey Hall of Fame inductees Ice hockey players from Illinois Ice hockey players at the 1984 Winter Olympics Ice hockey players at the 1998 Winter Olympics Ice hockey players at the 2002 Winter Olympics Ice hockey players at the 2006 Winter Olympics IIHF Hall of Fame inductees James Norris Memorial Trophy winners Living people Medalists at the 2002 Winter Olympics Montreal Canadiens draft picks Montreal Canadiens players Moose Jaw Canucks players National Hockey League All-Stars Olympic silver medalists for the United States in ice hockey People from Evergreen Park, Illinois Stanley Cup champions United States men's national ice hockey team coaches Wisconsin Badgers men's ice hockey players NCAA men's ice hockey national champions	false	[ "This is a full list of ice hockey players who have played for the Montreal Canadiens in the National Hockey League (NHL). It includes players that have played at least one regular season or playoff game for the Montreal Canadiens since the team joined the NHL in 1917. Founded in 1909 as one of the founding members of the National Hockey Association (NHA), the Montreal Canadiens were also one of the founding members of the NHL. Since the formation of the NHL, 709 different players have played with the Canadiens\n\nAs of May 5, 2019, 83 goaltenders and 777 skaters (forwards and defencemen) have appeared in at least one regular-season and/or playoff game with the Montreal Canadiens since the formation of the league in the 1917–18 NHL season. The 709 all-time members of the Canadiens are listed below, with statistics complete through the end of the 2013–14 NHL season. This list does not include members of the Montreal Canadiens while the team was a member of the NHA from 1909 until 1917.\n\nThe \"Seasons\" column lists the first year of the season of the player's first game and the last year of the season of the player's last game. For example, a player who played one game in the 2000–01 season would be listed as playing with the team from 2000–2001, regardless of what calendar year the game occurred within.\n\nKey\n\nGoaltenders\n\nNote: Stats are updated through to the end of the 2020–21 season\n\nSkaters\n\nNote: Stats are updated through to the end of the 2020–2021 season.\n\nNotes\n\nReferences\nMontreal Canadiens all-time roster on the Internet Hockey Database\nMontreal Canadiens all-time roster at Legends of Hockey\nMontreal Canadiens all-time roster at the Montreal Canadiens Official Site\n\nMontreal Canadiens players\nplayers", "The 2008–09 Montreal Canadiens season was their 100th season and 92nd in the National Hockey League (NHL). While it was widely believed that the 2008–09 season marked the team's centennial, this would not be until the following season with the Canadiens' 100th anniversary taking place on December 4, 2009.\n\nThe 2008 NHL Entry Draft took place in Ottawa on June 20–21 and the free agency period began on July 1.\n\nOff-season\nThroughout much of the off-season, Canadiens' general manager Bob Gainey pursued a possible contract with unrestricted free agent Mats Sundin, formerly the captain of Montreal's historic rival, the Toronto Maple Leafs. The signing efforts started prior to July 1, 2008, and continued into August, as Gainey was still actively pursuing Sundin. This, despite the fact that Sundin's agent mentioned his player \"wasn't close\" to making a decision on his future, and was strongly considering retirement.\nThe chase ended with the acquisition of forward Robert Lang from the Chicago Blackhawks.\n\nThe Canadiens also acquired veteran forward Alex Tanguay from the Calgary Flames in exchange for the 25th overall pick in the 2007–2008 entry draft. Enforcer George Laraque and goaltender Marc Denis were signed to the team through free agency. Unrestricted free agents Michael Ryder, Mark Streit and Bryan Smolinski did not return to the team.\n\nPreseason\nThe preseason schedule consisted of the team playing nine games in 13 days. The team claimed victory in six of these encounters. The initial game of the pre-season was played against the Boston Bruins in Halifax, Nova Scotia. The Canadiens took part in the CBC's Kraft Hockeyville Series by playing a game against the Buffalo Sabres at the Sporting Centre Benoît Levesque in Roberval, Quebec.\n\nSome noteworthy performances at the Canadiens training camp were put forth by prospects Max Pacioretty, Yannick Weber and Ben Maxwell.\n\nRegular season\n\nEarly Centennial year celebrations\n\nThe team has announced its intention to retire two uniform numbers during the 2008–09 season. As of March 2009, the only confirmed number is Patrick Roy's number 33, which was retired on November 22, 2008.\nIn celebration of the Montreal Canadiens' centennial, the 2009 NHL All-Star Game was held in Montreal on January 25, 2009, and the 2009 NHL Entry Draft, scheduled for June 2009, was awarded to the city.\n\nOctober\n\nOn October 10, the Canadiens embarked on a trip for three consecutive road games where they opened the season against the Buffalo Sabres, at the HSBC Arena.\nMontreal lost the opening game of the season in shootout, but subsequently won 6–1 against the Toronto Maple Leafs on October 11 and 5–3 against the Philadelphia Flyers on October 13.\nThe team returned to Montreal after four days on the road and a 2–0–1 record. The Canadiens hosted the Boston Bruins for their 100th home opening game and won 4–3 in shootout, with Alex Tanguay scoring the winning goal.\n\nOn October 18, Saku Koivu achieved his 422nd assist with the Montreal Canadiens and surpassed Maurice \"the Rocket\" Richard at number seven for all-time assists in franchise history. Two days later, he got his 600th NHL career point when the Canadiens defeated the Florida Panthers 3–1.\n\nAccording to a Forbes report published in late October 2008, the franchise ranks as the third most valuable in the NHL at US$334 million, making an 18% increase in the past season. The Toronto Maple Leafs and Detroit Red Wings were respectively ranked first and second in the report. The Canadiens finished October with a 7–1–1 record in Minnesota and concluded the month with two consecutive road wins and a perfect overall road record.\n\nNovember\nOn November 1, against the New York Islanders, Andrei Markov became the second defenceman in franchise history, after Guy Lapointe, to get five points in his first five road games of the season. On November 10, the league announced that forward Tom Kostopoulos was suspended for three games after hitting Toronto Maple Leafs defenceman Mike Van Ryn from behind.\nOn November 11, Chris Higgins got his first NHL career hat-trick in a 4–0 win against the Ottawa Senators.\nOn November 22, the jersey number 33 of legendary goaltender Patrick Roy was retired.\n\nOn November 24, against the New York Islanders, Ryan O'Byrne scored on his own net during a delayed penalty call, where Carey Price was pulled off for an extra attacker. On November 29, Mike Komisarek—who was not playing due to injury—temporarily took a place behind the bench as an assistant coach, in replacement of Doug Jarvis, who was at his father's bedside.\nRookie right winger Matt D'Agostini was recalled from Hamilton Bulldogs of the American Hockey League (AHL) and Roman Hamrlik got his 400th NHL career assist in a 3–2 win over the Buffalo Sabres.\n\nDecember\nOn December 2, Saku Koivu achieved his 612th point with the Montreal Canadiens after recording two assists in a 5–4 win over the Atlanta Thrashers. He tied Mats Naslund at 11th for all-time points in franchise history. Koivu then surpassed Naslund on December 6 after recording an assist in a 2–1 overtime loss over the New Jersey Devils. Matt D'Agostini scored his first NHL career goal and point and Roman Hamrlik played his 100th game with the club.\n\nThe Montreal Canadiens celebrated the 99th anniversary of the franchise on December 4 with a 6–2 win over the New York Rangers. Matt D'Agostini got his first NHL assist in a two-point performance. Georges Laraque got his first two points with his new team.\nD'Agostini had a successful debut with the team, recording six goals and two assists in his first 11 games.\nOn December 13, Ben Maxwell played his first game in the NHL against the Washington Capitals after Saku Koivu was placed on the injured reserve list. On December 18, against the Philadelphia Flyers, Alexei Kovalev got his 900th NHL career point.\n\nAfter the Christmas break, the Canadiens were back in action on the road on December 27 and won 3–2 against the Pittsburgh Penguins. The Montreal Canadiens enjoyed their 3000th franchise victory, with a 5–2 win over the Florida Panthers at Sunrise on December 29, solidifying their place as the most successful team in NHL history. Andrei Kostitsyn and Maxim Lapierre scored their first career hat-tricks during this road trip.\n\nJanuary\nGeneral Manager Bob Gainey presented his mid-season report on January 13. He stated that he was looking to improve the team's power play, which was 26th in the league, and he wanted to acquire a proven player capable of helping the power play. When asked by a reporter what was his best transaction since taking over as the team's general manager, he answered that the hiring of Guy Carbonneau as head coach was his best move.\n\nFebruary\nIn order to help bolster their power play, Bob Gainey acquired Matthieu Schneider from the Atlanta Trashers for a combination of draft picks. This is Schneider's second tenure with the Canadiens, who began his career in Montreal after being drafted by the team in 1987.\n\nOn February 17, Alexei Kovalev was asked by Managing Director Bob Gainey to go home and take a rest. He missed two games. There were rumors that he would be traded and the city was abuzz. Kovalev rejoined the team on February 21 and scored one goal and added two assists in a convincing 5–3 win over the Ottawa Senators. Kovalev received the first star of the game to the delight of the Montreal crowd.\n\nA reporter for the Montreal newspaper La Presse stated on the evening of February 19 that the February 20 edition of the paper would have an exposé that would make the Kovalev situation seem inconsequential. The paper reported that Roman Hamrlik and brothers Andrei and Sergei Kostitsyn were involved with a person believed to be part of an organized crime ring in Montreal. Although the players have admitted that they know the person in question, no accusations nor proof has been provided indicating that the players were involved in any illegal activities. The article has since been written off as tabloid journalism and a major example on how the Montreal media negatively treat the Canadiens players.\n\nOn February 26, Gainey traded Steve Begin to the Dallas Stars for Doug Janik, who was immediately sent to the Hamilton Bulldogs. Begin, who was often a healthy scratch during the season, would have been an unrestricted free agent at the end of the season.\n\nSaku Koivu scored his 624th point with the Canadiens with an assist in a February 27 game against the Philadelphia Flyers. He became the tenth all-time leading scorer in Canadiens history, surpassing Elmer Lach.\n\nThe Canadiens claimed Glen Metropolit off waivers from the Philadelphia Flyers on February 27. Metropolit was practicing with the Flyers earlier in the day when Flyers General Manager Paul Holmgren informed him, \"I've got good news and bad news. The good news is that you're playing tonight. The bad news is that you're playing for the Canadiens.\" The Canadiens were in town playing the Flyers that same day and Metropolit simply moved his equipment to the visitor's dressing room.\n\nMarch\nApproaching the NHL trade deadline, Bob Gainey traded for Mathieu Schneider and claimed Glen Metropolit. Gainey confirmed that he couldn't risk trading away his young prospects for any \"rental players.\"\n\nOn March 9, Gainey announced that he was replacing Guy Carbonneau as head coach until the end of the season. Don Lever was named assistant-coach.\n\nPatrice Brisebois played his 1,000th NHL game on March 14 in a 3–2 loss to the New Jersey Devils. During that same game, Martin Brodeur tied the all-time NHL record for career wins with 551, tying Canadiens great Patrick Roy, who was in attendance at that game. Brodeur was given the first star of the game and received a standing ovation from his home province crowd.\n\nAlex Tanguay scored a season-high five points (two goals and three assists) on March 24 in a 6–3 win against the Atlanta Thrashers at the Bell Centre.\n\nAlexei Kovalev scored his 100th goal as a member of the Canadiens (and 23rd goal of the season) in a 4–1 win against the Chicago Blackhawks on March 31.\n\nApril\nThe Canadiens finished the regular season having tied the Carolina Hurricanes for the most power play opportunities, with 374.\n\nStandings\n\nDivisional standings\n\nConference standings\n\nSchedule and results\n\n\|- align=\"center\" bgcolor=\"#FFBBBB\"\n\| September 22 \|\| Montreal Canadiens \|\| 3–8 \|\| Boston Bruins\|\| Halifax, Nova Scotia \|\| Halak, Denis \|\| 10,595 \|\| 0–1–0 \|\| \n\|- align=\"center\" bgcolor=\"#CCFFCC\"\n\| September 23 \|\| Buffalo Sabres \|\| 2–3 \|\| Montreal Canadiens \|\|Roberval, Quebec \|\| Denis \|\| 1,000 \|\| 1–1–0 \|\| \n\|- align=\"center\" bgcolor=\"#CCFFCC\"\n\| September 24 \|\| Montreal Canadiens \|\| 3–2 SO \|\| Detroit Red Wings \|\| Detroit, MI \|\| Price, Desjardins \|\| 15,319 \|\| 2–1–0 \|\| \n\|- align=\"center\" bgcolor=\"#CCFFCC\"\n\| September 26 \|\| Ottawa Senators \|\| 0–5 \|\| Montreal Canadiens \|\| Montreal \|\| Halak \|\| 21,273 \|\| 3–1–0 \|\| \n\|- align=\"center\" bgcolor=\"#FFBBBB\"\n\| September 27 \|\| Montreal Canadiens \|\| 1–3 \|\| Ottawa Senators \|\| Kanata, Ontario \|\|Desjardins, Denis\|\| 20,282 \|\| 3–2–0 \|\| \n\|- align=\"center\" bgcolor=\"#CCFFCC\"\n\| September 28 \|\| Florida Panthers \|\| 2–3 SO \|\| Montreal Canadiens \|\| Montreal \|\| Halak \|\| 21,273 \|\| 4–2–0 \|\| \n\|- align=\"center\" bgcolor=\"#CCFFCC\"\n\| September 30 \|\| Detroit Red Wings \|\| 1–2 SO \|\| Montreal Canadiens \|\| Montreal \|\| Price \|\| 21,273 \|\| 5–2–0 \|\| \n\|- align=\"center\" bgcolor=\"#CCFFCC\"\n\| October 1 \|\| Boston Bruins \|\| 1–3 \|\| Montreal Canadiens \|\| Montreal \|\| Halak \|\| 21,273 \|\|6–2–0 \|\| \n\|- align=\"center\" bgcolor=\"#FFBBBB\"\n\| October 4 \|\| Minnesota Wild \|\| 3–0 \|\| Montreal Canadiens \|\| Montreal \|\| Price \|\| 21,273 \|\|6–3–0 \|\| \n\|-\n\n\|- align=\"center\" bgcolor=\"#ffffff\"\n\| 1 \|\| October 10 \|\| Montreal Canadiens \|\| 1–2 SO \|\| Buffalo Sabres \|\| Price \|\| 18,690 \|\| 0–0–1 \|\| 1 \|\| \n\|- align=\"center\" bgcolor=\"#CCFFCC\"\n\| 2 \|\| October 11 \|\| Montreal Canadiens \|\| 6–1 \|\| Toronto Maple Leafs \|\| Halak \|\| 19,370 \|\| 1–0–1 \|\| 3 \|\| \n\|- align=\"center\" bgcolor=\"#CCFFCC\"\n\| 3 \|\| October 13 \|\| Montreal Canadiens \|\| 5–3 \|\| Philadelphia Flyers \|\| Price \|\| 19,323 \|\| 2–0–1 \|\| 5 \|\| \n\|- align=\"center\" bgcolor=\"#CCFFCC\"\n\| 4 \|\| October 15 \|\| Boston Bruins \|\| 3–4 SO \|\| Montreal Canadiens \|\| Price \|\| 21,273 \|\| 3–0–1 \|\| 7 \|\| \n\|- align=\"center\" bgcolor=\"#CCFFCC\"\n\| 5 \|\| October 18 \|\| Phoenix Coyotes \|\| 1–4 \|\| Montreal Canadiens \|\| Price \|\| 21,273 \|\| 4–0–1 \|\| 9 \|\| \n\|- align=\"center\" bgcolor=\"#CCFFCC\"\n\| 6 \|\| October 20 \|\| Florida Panthers \|\| 1–3 \|\| Montreal Canadiens \|\| Halak \|\| 21,273 \|\| 5–0–1 \|\| 11 \|\| \n\|- align=\"center\" bgcolor=\"#FFBBBB\"\n\| 7 \|\| October 25 \|\| Anaheim Ducks \|\| 6–4 \|\| Montreal Canadiens \|\| Price* \|\| 21,273 \|\| 5–1–1 \|\| 11 \|\| \n\|- align=\"center\" bgcolor=\"#CCFFCC\"\n\| 8 \|\| October 28 \|\| Carolina Hurricanes \|\| 2–3 SO \|\| Montreal Canadiens \|\| Price \|\| 21,273 \|\| 6–1–1 \|\| 13 \|\| \n\|- align=\"center\" bgcolor=\"#CCFFCC\"\n\| 9 \|\| October 30 \|\| Montreal Canadiens \|\| 2–1 \|\| Minnesota Wild \|\| Price \|\| 18,568 \|\| 7–1–1 \|\| 15 \|\| \n\|- align=\"center\"\n\| colspan=10 \| Halak was replaced after the 4th goal by Anaheim. Price was credited with the decision as he let in the game winning 5th goal.\n\|-\n\n\|- align=\"center\" bgcolor=\"#CCFFCC\"\n\| 10 \|\| November 1 \|\| Montreal Canadiens \|\| 5–4 \|\| New York Islanders \|\| Price \|\| 14,429 \|\| 8–1–1 \|\| 17 \|\| \n\|- align=\"center\" bgcolor=\"white\"\n\| 11 \|\| November 7 \|\| Montreal Canadiens \|\| 3–4 SO \|\| Columbus Blue Jackets \|\| Halak \|\| 14,603 \|\| 8–1–2 \|\| 18 \|\| \n\|- align=\"center\" bgcolor=\"#FFBBBB\"\n\| 12 \|\| November 8 \|\| Montreal Canadiens \|\| 3–6 \|\| Toronto Maple Leafs \|\| Price \|\| 19,512 \|\| 8–2–2 \|\| 18 \|\| \n\|- align=\"center\" bgcolor=\"#CCFFCC\"\n\| 13 \|\| November 11 \|\| Ottawa Senators \|\| 0–4 \|\| Montreal Canadiens \|\| Price \|\| 21,273 \|\| 9–2–2 \|\| 20 \|\| \n\|- align=\"center\" bgcolor=\"#FFBBBB\"\n\| 14 \|\| November 13 \|\| Montreal Canadiens \|\| 1–6 \|\| Boston Bruins \|\| Price \|\| 16,816 \|\| 9–3–2 \|\| 20 \|\| \n\|- align=\"center\" bgcolor=\"#FFBBBB\"\n\| 15 \|\| November 15 \|\| Philadelphia Flyers\|\| 2–1 \|\| Montreal Canadiens \|\| Halak \|\| 21,273 \|\| 9–4–2 \|\| 20 \|\| \n\|- align=\"center\" bgcolor=\"#CCFFCC\"\n\| 16 \|\| November 16 \|\| Montreal Canadiens \|\| 3–2 SO \|\| St. Louis Blues \|\| Price \|\| 19,150 \|\| 10–4–2 \|\| 22 \|\| \n\|- align=\"center\" bgcolor=\"#FFBBBB\"\n\| 17 \|\| November 18 \|\| Montreal Canadiens \|\| 1–2 \|\| Carolina Hurricanes \|\| Price \|\| 12,164 \|\| 10–5–2 \|\| 22 \|\| \n\|- align=\"center\" bgcolor=\"#CCFFCC\"\n\| 18 \|\| November 20 \|\| Montreal Canadiens \|\| 3–2 SO \|\| Ottawa Senators \|\| Price \|\| 20,475 \|\| 11–5–2 \|\| 24 \|\| \n\|- align=\"center\" bgcolor=\"white\"\n\| 19 \|\| November 22 \|\| Boston Bruins\|\| 3–2 SO \|\| Montreal Canadiens \|\| Price \|\| 21,273 \|\| 11–5–3 \|\| 25 \|\| \n\|- align=\"center\" bgcolor=\"white\"\n\| 20 \|\| November 24 \|\| New York Islanders\|\| 4–3 SO \|\| Montreal Canadiens \|\| Price \|\| 21,273 \|\| 11–5–4 \|\| 26 \|\| \n\|- align=\"center\" bgcolor=\"#CCFFCC\"\n\| 21 \|\| November 26 \|\| Montreal Canadiens \|\| 3–1 \|\| Detroit Red Wings \|\| Price \|\| 20,066 \|\| 12–5–4 \|\| 28 \|\| \n\|- align=\"center\" bgcolor=\"#FFBBBB\"\n\| 22 \|\| November 28 \|\| Montreal Canadiens \|\| 0–3 \|\| Washington Capitals \|\| Halak \|\| 18,277 \|\| 12–6–4 \|\| 28 \|\| \n\|- align=\"center\" bgcolor=\"#CCFFCC\"\n\| 23 \|\| November 29 \|\| Buffalo Sabres \|\| 2–3 \|\| Montreal Canadiens \|\| Price \|\| 21,273 \|\| 13–6–4 \|\| 30 \|\| \n\|- align=\"center\"\n\n\|- align=\"center\" bgcolor=\"#CCFFCC\"\n\| 24 \|\| December 2 \|\| Atlanta Thrashers \|\| 4–5 \|\| Montreal Canadiens \|\| Price \|\| 21,273 \|\| 14–6–4 \|\| 32 \|\| \n\|- align=\"center\" bgcolor=\"#CCFFCC\"\n\| 25 \|\| December 4 \|\| New York Rangers\|\| 2–6 \|\| Montreal Canadiens \|\| Price \|\| 21,273 \|\| 15–6–4 \|\|34 \|\| \n\|- align=\"center\" bgcolor=\"white\"\n\| 26 \|\| December 6 \|\| New Jersey Devils\|\| 2–1 OT \|\| Montreal Canadiens \|\| Price \|\| 21,273 \|\| 15–6–5 \|\| 35 \|\| \n\|- align=\"center\" bgcolor=\"#CCFFCC\"\n\| 27 \|\| December 9 \|\| Calgary Flames\|\| 1–4 \|\| Montreal Canadiens \|\| Halak \|\| 21,273 \|\| 16–6–5 \|\| 37 \|\| \n\|- align=\"center\" bgcolor=\"#FFBBBB\"\n\| 28 \|\| December 11 \|\| Tampa Bay Lightning\|\| 3–1 \|\| Montreal Canadiens \|\| Halak \|\| 21,273 \|\| 16–7–5 \|\| 37 \|\| \n\|- align=\"center\" bgcolor=\"#FFBBBB\"\n\| 29 \|\| December 13 \|\| Washington Capitals\|\| 2–1 \|\| Montreal Canadiens \|\| Halak \|\| 21,273 \|\| 16–8–5 \|\| 37 \|\| \n\|- align=\"center\" bgcolor=\"#FFBBBB\"\n\| 30 \|\| December 16 \|\| Montreal Canadiens \|\| 2–3 \|\| Carolina Hurricanes \|\| Halak \|\| 16,434 \|\| 16–9–5 \|\| 37 \|\| \n\|- align=\"center\" bgcolor=\"#CCFFCC\"\n\| 31 \|\| December 18 \|\| Philadelphia Flyers \|\| 2–5 \|\| Montreal Canadiens \|\| Halak \|\| 21,273 \|\| 17–9–5 \|\| 39 \|\| \n\|- align=\"center\" bgcolor=\"#CCFFCC\"\n\| 32 \|\| December 20 \|\| Buffalo Sabres \|\| 3–4 OT \|\| Montreal Canadiens \|\| Halak \|\| 21,273 \|\| 18–9–5 \|\| 41 \|\| \n\|- align=\"center\" bgcolor=\"white\"\n\| 33 \|\| December 21 \|\| Carolina Hurricanes \|\| 3–2 OT \|\| Montreal Canadiens \|\| Price \|\| 21,273 \|\| 18–9–6 \|\| 42 \|\| \n\|- align=\"center\" bgcolor=\"#CCFFCC\"\n\| 34 \|\| December 27 \|\| Montreal Canadiens \|\| 3–2 \|\| Pittsburgh Penguins \|\| Price \|\| 17,132 \|\| 19–9–6 \|\| 44 \|\| \n\|- align=\"center\" bgcolor=\"#CCFFCC\"\n\| 35 \|\| December 29 \|\| Montreal Canadiens \|\| 5–2 \|\| Florida Panthers \|\| Price \|\| 20,741 \|\| 20–9–6 \|\| 46 \|\| \n\|- align=\"center\" bgcolor=\"#CCFFCC\"\n\| 36 \|\| December 30 \|\| Montreal Canadiens \|\| 2–1 SO \|\| Tampa Bay Lightning \|\| Price \|\| 20,454 \|\| 21–9–6 \|\| 48 \|\| \n\|- align=\"center\"\n\n\|- align=\"center\" bgcolor=\"#FFBBBB\"\n\| 37 \|\| January 2 \|\| Montreal Canadiens \|\| 1–4 \|\| New Jersey Devils \|\| Halak \|\| 17,625 \|\| 21–10–6 \|\| 48 \|\| \n\|- align=\"center\" bgcolor=\"#CCFFCC\"\n\| 38 \|\| January 4 \|\| Florida Panthers\|\| 5–6 SO \|\| Montreal Canadiens \|\| Halak \|\| 21,273 \|\| 22–10–6 \|\| 50 \|\| \n\|- align=\"center\" bgcolor=\"#CCFFCC\"\n\| 39 \|\| January 7 \|\| Montreal Canadiens \|\| 6–3 \|\| New York Rangers \|\| Halak \|\| 18,200 \|\| 23–10–6 \|\| 52 \|\| \n\|- align=\"center\" bgcolor=\"#CCFFCC\"\n\| 40 \|\| January 8 \|\| Toronto Maple Leafs\|\| 2–6 \|\| Montreal Canadiens \|\| Halak \|\| 21,273 \|\| 24–10–6 \|\| 54 \|\| \n\|- align=\"center\" bgcolor=\"#CCFFCC\"\n\| 41 \|\| January 10 \|\| Washington Capitals\|\| 4–5 \|\| Montreal Canadiens \|\| Halak \|\| 21,273 \|\| 25–10–6 \|\| 56 \|\| \n\|- align=\"center\" bgcolor=\"#FFBBBB\"\n\| 42 \|\| January 13 \|\| Montreal Canadiens \|\| 1–3 \|\| Boston Bruins \|\| Halak \|\| 17,565 \|\| 25–11–6 \|\| 56 \|\| \n\|- align=\"center\" bgcolor=\"#CCFFCC\"\n\| 43 \|\| January 15 \|\| Nashville Predators\|\| 2–3 \|\| Montreal Canadiens \|\| Halak \|\| 21,273 \|\| 26–11–6 \|\| 58 \|\| \n\|- align=\"center\" bgcolor=\"#CCFFCC\"\n\| 44 \|\| January 17 \|\| Montreal Canadiens \|\| 5–4 SO \|\| Ottawa Senators \|\| Halak \|\| 20,413 \|\| 27–11–6 \|\| 60 \|\| \n\|- align=\"center\" bgcolor=\"#FFBBBB\"\n\| 45 \|\| January 20 \|\| Montreal Canadiens \|\| 2–4 \|\| Atlanta Thrashers \|\| Halak \|\| 13,076 \|\| 27–12–6 \|\| 60 \|\| \n\|- align=\"center\" bgcolor=\"#FFBBBB\"\n\| 46 \|\| January 21 \|\| Montreal Canadiens \|\| 2–5 \|\| New Jersey Devils \|\| Price \|\| 16,235 \|\| 27–13–6 \|\| 60 \|\| \n\|- align=\"center\" bgcolor=\"#FFBBBB\"\n\| 47 \|\| January 27 \|\| Montreal Canadiens \|\| 3–5 \|\| Tampa Bay Lightning \|\| Price \|\| 15,912 \|\| 27–14–6 \|\| 60 \|\| \n\|- align=\"center\" bgcolor=\"#FFBBBB\"\n\| 48 \|\| January 29 \|\| Montreal Canadiens \|\| 1–5 \|\| Florida Panthers \|\| Price \|\| 16,334 \|\| 27–15–6 \|\| 60 \|\| \n\|- align=\"center\" bgcolor=\"#CCFFCC\"\n\| 49 \|\| January 31 \|\| Los Angeles Kings \|\| 3–4 \|\| Montreal Canadiens \|\| Price \|\| 21,273 \|\| 28–15–6 \|\| 62 \|\| \n\|- align=\"center\"\n\n\|- align=\"center\" bgcolor=\"#FFBBBB\"\n\| 50 \|\| February 1 \|\| Boston Bruins \|\| 3–1 \|\| Montreal Canadiens \|\| Price \|\| 21,273 \|\| 28–16–6 \|\| 62 \|\| \n\|- align=\"center\" bgcolor=\"#CCFFCC\"\n\| 51 \|\| February 3 \|\| Pittsburgh Penguins\|\| 2–4 \|\| Montreal Canadiens \|\| Price \|\| 21,273 \|\| 29–16–6 \|\| 64 \|\| \n\|- align=\"center\" bgcolor=\"#FFBBBB\"\n\| 52 \|\| February 6 \|\| Montreal Canadiens \|\| 2–3 \|\| Buffalo Sabres \|\| Price \|\| 18,161 \|\| 29–17–6 \|\| 64 \|\| \n\|- align=\"center\" bgcolor=\"#FFBBBB\"\n\| 53 \|\| February 7 \|\| Toronto Maple Leafs \|\| 5–2 \|\| Montreal Canadiens \|\| Price \|\| 21,273 \|\| 29–18–6 \|\| 64 \|\| \n\|- align=\"center\" bgcolor=\"#FFBBBB\"\n\| 54 \|\| February 9 \|\| Montreal Canadiens \|\| 2–6 \|\| Calgary Flames \|\| Price \|\| 19,289 \|\| 29–19–6 \|\| 64 \|\| \n\|- align=\"center\"[nhl.com] bgcolor=\"#FFBBBB\"\n\| 55 \|\| February 11 \|\| Montreal Canadiens \|\| 2–7 \|\| Edmonton Oilers \|\| Price \|\| 16,839 \|\| 29–20–6 \|\| 64 \|\| \n\|- align=\"center\"[nhl.com] bgcolor=\"#CCFFCC\"\n\| 56 \|\| February 13 \|\| Montreal Canadiens \|\| 4–2 \|\| Colorado Avalanche \|\| Halak \|\| 17,514 \|\| 30–20–6 \|\| 66 \|\| \n\|- align=\"center\"[nhl.com] bgcolor=\"#FFBBBB\"\n\| 57 \|\| February 15 \|\| Montreal Canadiens \|\| 2–4 \|\| Vancouver Canucks \|\| Halak \|\| 18,630 \|\| 30–21–6 \|\| 66 \|\| \n\|- align=\"center\"[nhl.com] bgcolor=\"white\"\n\| 58 \|\| February 18 \|\| Montreal Canadiens \|\| 3–4 SO \|\| Washington Capitals \|\| Price \|\| 18,277 \|\| 30–21–7 \|\| 67 \|\| \n\|- align=\"center\"[nhl.com] bgcolor=\"#FFBBBB\"\n\| 59 \|\| February 19 \|\| Montreal Canadiens \|\| 4–5 \|\| Pittsburgh Penguins \|\| Price \|\| 16,968 \|\| 30–22–7 \|\| 67 \|\| \n\|- align=\"center\"[nhl.com] bgcolor=\"#CCFFCC\"\n\| 60 \|\| February 21 \|\| Ottawa Senators \|\| 3–5 \|\| Montreal Canadiens \|\| Halak \|\| 21,273 \|\| 31–22–7 \|\| 69 \|\| \n\|- align=\"center\"[nhl.com] bgcolor=\"#CCFFCC\"\n\| 61 \|\| February 24 \|\| Vancouver Canucks \|\| 0–3 \|\| Montreal Canadiens \|\| Halak \|\| 21,273 \|\| 32–22–7 \|\| 71 \|\| \n\|- align=\"center\"[nhl.com] bgcolor=\"#CCFFCC\"\n\| 62 \|\| February 27 \|\| Montreal Canadiens \|\| 4–3 OT \|\| Philadelphia Flyers \|\| Halak \|\| 19,881 \|\| 33–22–7 \|\| 73 \|\| \n\|- align=\"center\"[nhl.com] bgcolor=\"#CCFFCC\"\n\| 63 \|\| February 28 \|\| San Jose Sharks \|\| 2–3 \|\| Montreal Canadiens \|\| Halak \|\| 21,273 \|\| 34–22–7 \|\| 75 \|\| \n\|- align=\"center\"\n\n\|- align=\"center\"[nhl.com] bgcolor=\"#FFBBBB\"\n\| 64 \|\| March 4 \|\| Montreal Canadiens \|\| 1–5 \|\| Buffalo Sabres \|\| Price \|\| 18,690 \|\| 34–23–7 \|\| 75 \|\| \n\|- align=\"center\"[nhl.com] bgcolor=\"#FFBBBB\"\n\| 65 \|\| March 6 \|\| Montreal Canadiens \|\| 0–2 \|\| Atlanta Thrashers \|\| Price \|\| 14,900 \|\|34–24–7 \|\| 75 \|\| \n\|- align=\"center\"[nhl.com] bgcolor=\"#CCFFCC\"\n\| 66 \|\| March 8\|\| Montreal Canadiens \|\| 3–1 \|\| Dallas Stars \|\| Price \|\| 17,646 \|\| 35–24–7\|\| 77 \|\| \n\|- align=\"center\"[nhl.com] bgcolor=\"#CCFFCC\"\n\| 67 \|\| March 10\|\| Edmonton Oilers \|\| 3–4 OT \|\| Montreal Canadiens \|\| Price \|\| 21,273 \|\| 36–24–7 \|\| 79 \|\| \n\|- align=\"center\" bgcolor=\"white\"\n\| 68 \|\| March 12\|\| New York Islanders \|\| 3–2 OT \|\| Montreal Canadiens \|\| Price \|\| 21,273 \|\| 36–24–8 \|\| 80 \|\| \n\|- align=\"center\" bgcolor=\"#ffbbbb\"\n\| 69 \|\| March 14\|\| New Jersey Devils \|\| 3–1 \|\| Montreal Canadiens \|\| Halak \|\| 21,273 \|\| 36–25–8 \|\| 80 \|\| \n\|- align=\"center\"\n\| 70 \|\| March 17\|\| New York Rangers \|\| 4–3 SO \|\| Montreal Canadiens \|\| Price \|\| 21,273 \|\| 36–25–9 \|\| 81 \|\| \n\|- align=\"center\" bgcolor=\"#ffbbbb\"\n\| 71 \|\| March 19\|\| Montreal Canadiens \|\| 4–5 \|\| Ottawa Senators \|\| Halak \|\| 20,500 \|\| 36–26–9 \|\| 81 \|\| \n\|- align=\"center\" bgcolor=\"#ffbbbb\"\n\| 72 \|\| March 21\|\| Toronto Maple Leafs \|\| 5–2 \|\| Montreal Canadiens \|\| Halak \|\| 21,273 \|\| 36–27–9 \|\| 81\|\| \n\|- align=\"center\"[nhl.com] bgcolor=\"#CCFFCC\"\n\| 73 \|\| March 24\|\| Atlanta Thrashers \|\| 3–6 \|\| Montreal Canadiens \|\| Price \|\| 21,273 \|\| 37–27–9 \|\| 83 \|\| \n\|- align=\"center\"[nhl.com] bgcolor=\"#CCFFCC\"\n\| 74 \|\| March 26\|\| Tampa Bay Lightning \|\| 2–3 OT \|\| Montreal Canadiens \|\| Price \|\| 21,273 \|\| 38–27–9 \|\| 85 \|\| \n\|- align=\"center\"\n\| 75 \|\| March 28\|\| Buffalo Sabres \|\| 4–3 SO\|\| Montreal Canadiens \|\| Price \|\| 21,273 \|\| 38–27–10 \|\| 86 \|\| \n\|- align=\"center\"[nhl.com] bgcolor=\"#CCFFCC\"\n\| 76 \|\| March 31\|\| Chicago Blackhawks \|\| 1–4 \|\| Montreal Canadiens \|\| Price \|\| 21,273 \|\| 39–27–10 \|\| 88 \|\| \n\|- align=\"center\"\n\n\|- align=\"center\" bgcolor=\"#CCFFCC\"\n\| 77 \|\| April 2 \|\| Montreal Canadiens \|\| 5–1 \|\| New York Islanders \|\| Halak \|\| 15,255 \|\| 40–27–10 \|\| 90 \|\|\n\|- align=\"center\" bgcolor=\"#CCFFCC\"\n\| 78 \|\| April 4 \|\| Montreal Canadiens \|\| 6–2 \|\| Toronto Maple Leafs \|\| Halak \|\| 19,516 \|\| 41–27–10 \|\| 92 \|\| \n\|- align=\"center\" bgcolor=\"#ffbbbb\"\n\| 79 \|\| April 6 \|\| Ottawa Senators \|\| 3–2 \|\| Montreal Canadiens \|\| Halak \|\| 21,273 \|\| 41–28–10 \|\| 92 \|\| \n\|- align=\"center\" bgcolor=\"#ffbbbb\"\n\| 80 \|\| April 7 \|\| Montreal Canadiens \|\| 3–1 \|\| New York Rangers \|\| Price \|\| 18,200 \|\| 41–29–10 \|\| 92 \|\| \n\|- align=\"center\"\n\| 81 \|\| April 9 \|\| Montreal Canadiens \|\| 4–5 OT \|\| Boston Bruins \|\| Price \|\| 17,565 \|\| 41–29–11 \|\| 93 \|\| \n\|- align=\"center\" bgcolor=\"#ffbbbb\"\n\| 82 \|\| April 11 \|\| Pittsburgh Penguins \|\| 3–1 \|\| Montreal Canadiens \|\| Price \|\| 21,273 \|\| 41–30–11 \|\| 93 \|\| \n\|- align=\"center\"\n\n\|-\n\|Schedule\n\nPlayoffs\nThe Montreal Canadiens clinched a playoff spot following a 5–4 overtime loss against the Boston Bruins on April 9, 2008, their 81st game of the season.\n\nEastern Conference Quarterfinals: vs. (1) Boston Bruins\nThe Montreal Canadiens earned the No. 8 seed in the Eastern Conference by finishing with 93 points in the conference. With key players missing such as Andrei Markov, Mathieu Schneider, Alex Tanguay and Carey Price (who was struggling), they were swept in four games.\n\n\|- align=\"center\" bgcolor=\"#ffbbbb\"\n\| 1 \|\| April 16 \|\| TD Banknorth Garden \|\| Montreal \|\| 2–4 \|\| Boston Bruins \|\| \|\| Higgins, Kovalev \|\| Kessel, Krejci, Chara (PP), Kessel (EN) \|\| Thomas \|\| 17,565 \|\| Boston leads 1–0 \|\| \n\|- align=\"center\" bgcolor=\"#ffbbbb\"\n\| 2 \|\| April 18 \|\| TD Banknorth Garden \|\| Montreal \|\| 1–5 \|\| Boston Bruins \|\| \|\| Kovalev \|\| Savard (PP), Kobasew, Hnidy, Savard (PP), Ryder (PP) \|\| Thomas \|\| 17,565 \|\| Boston leads 2–0 \|\| \n\|- align=\"center\" bgcolor=\"#ffbbbb\"\n\| 3 \|\| April 20 \|\| Bell Centre \|\| Boston Bruins \|\| 4–2 \|\| Montreal \|\| \|\| Higgins, Weber \|\| Kessel, Thornton, Ryder, Kobasew (EN)\|\| Thomas \|\|21,273 \|\|Boston leads 3–0 \|\| \n\|- align=\"center\" bgcolor=\"#ffbbbb\"\n\| 4 \|\| April 22 \|\| Bell Centre \|\| Boston Bruins \|\| 4–1 \|\| Montreal \|\| \|\| A. Kostitsyn \|\| Ryder, Krejci, Kessel, Ryder \|\| Thomas \|\| 21,273 \|\| Boston wins 4–0 \|\| \n\|-\n\n Player scoring winning goal is shown in italics.\n\nPlayer statistics\n\nSkaters\nNote: GP = Games played; G = Goals; A = Assists; Pts = Points; +/− = Plus/Minus; PIM = Penalty Minutes\n\nGoaltenders\nNote: GP = Games Played; TOI = Time On Ice (minutes); W = Wins; L = Losses; OT = Overtime Losses; GA = Goals Against; GAA= Goals Against Average; SA= Shots Against; SV= Saves; Sv% = Save Percentage; SO= Shutouts\n\n†Denotes player spent time with another team before joining Canadiens. Stats reflect time with Canadiens only.\n‡Traded mid-season. Stats reflect time with Canadiens only.\n\nAwards and records\n\nTeam awards\nOn April 11, following the final home game against the Pittsburgh Penguins, the team announced its award winners for the season.\n\nNational Hockey League Awards\n\nAll-Star Game\n\nElected to starting lineup\n Alexei Kovalev (RW) (Captain/Eastern Conference All-Star Team, All-Star Game MVP)\n Mike Komisarek (D)\n Andrei Markov (D)\n Carey Price (G)\n\nMilestones\n\nTransactions\nThe Canadiens have been involved in the following transactions during the 2008–09 season.\n\nTrades\n\nFree agent acquisitions\n\nPlayers lost to free agency\n\nDraft picks\nMontreal's picks at the 2008 NHL Entry Draft in Ottawa, Ontario.\n\nBroadcasting\n\nFarm teams\n\nHamilton Bulldogs\nThe Hamilton Bulldogs remain Montreal's top affiliate in the American Hockey League in 2008–09.\n\nCincinnati Cyclones\nMontreal continues their affiliation alongside the Nashville Predators for the Cincinnati Cyclones of the ECHL in 2008–09.\n\nSee also\n 2008–09 NHL season\n Montreal Canadiens centennial\n\nReferences\n\nMontreal Canadiens seasons\nM\nM\nNational Hockey League All-Star Game hosts" ]
[ "Chris Chelios", "Montreal Canadiens (1984-1990)", "Who were the Montreal Canadiens?", "I don't know." ]	C_b8ac124321064808a45d9d6a9a832efc_0	What were the Montreal Canadiens?	2	What were the Montreal Canadiens, related to Chris Chelios?	Chris Chelios	In 1984, he made the Montreal Canadiens for good, and distinguished himself with his play. During his early days, Chelios was known for his offensive abilities, and his teammates even called him "Soft Hands Chelios." He earned a trip to the National Hockey League All-Star Game and was named to the 1985 NHL All-Rookie Team. He scored 64 points in 74 games, a high total for a defenseman, even in the higher-scoring 1980s. He came second to Mario Lemieux for the Calder Memorial Trophy. In the playoffs that year, he scored 10 points in 9 games, with a +17 plus/minus. Although he only played 41 games in the 1985-86 season, he won his first Stanley Cup, playing in front of Conn Smythe Trophy winner Patrick Roy. Following two more good seasons, Chelios really broke out in the 1988-89 season. He scored 73 points in 80 games at +35, was named to the All-Star First-Team, and won the James Norris Memorial Trophy. During that year's Wales Conference (now Eastern Conference) Finals series against the Philadelphia Flyers (which the Canadiens won in six games), Chelios became reviled by Flyer fans for a dirty hit on Brian Propp that left the Philadelphia winger with a serious concussion and forced him to miss the next game. For the remainder of the series, the Flyers did not retaliate against Chelios until finally, after the series fate was sealed late in Game 6, Flyers goaltender Ron Hextall memorably skated out of his net to attack Chelios in retaliation, which got Hextall suspended for 12 games. After playing only 53 games in the next season (in which he served as co-captain, with Guy Carbonneau), on June 29, 1990, Chelios was traded to the Chicago Blackhawks with a 2nd-round draft pick for Denis Savard. This trade happened one day after Chelios was accused of fighting with two police officers as they tried to arrest him for urinating in public outside a bar in downtown Madison, Wis., according to a criminal complaint. CANNOTANSWER	play.	Christos Kostas Chelios (born January 25, 1962) is an American former professional ice hockey defenseman. He was one of the longest tenured players in the National Hockey League, and is a three-time Stanley Cup champion—one with the Montreal Canadiens and two with the Detroit Red Wings. Chelios played for the Montreal Canadiens, Chicago Blackhawks, Detroit Red Wings, and the Atlanta Thrashers. When he was called up from the AHL's Chicago Wolves to play for the Thrashers during the 2009–10 NHL season, Chelios was the oldest active player in the NHL and the second oldest of all time, had played the most games of any active player in the NHL, was the last player from the 1981 NHL Entry Draft still active (or any draft from 1986 and earlier), and had the most career penalty minutes of any active player. Chelios formerly the record-holder for most games played in the NHL by a defenseman, is eighth overall with 1,651 games played, holds the record for most career playoff games played with 266 and is tied with Gordie Howe for most NHL seasons played with 26. On May 1, 2009, he appeared in the playoffs for an NHL record 24th time, having missed the playoffs only once (1997–98). Chelios is also the record-holder for most career postseason losses, with 117 (also the most in any professional sport in North America). However, he only lost one Game 7 in his career, a 3-2 OT loss in the 1985 Adams Division Finals against the Nordiques. In 2017, Chelios was named one of the '100 Greatest NHL Players' in history. Chelios is of Greek heritage. His cousin, Nikos Tselios, also played professional hockey and is a former first round draft pick of the Carolina Hurricanes. Chelios was inducted into the Hockey Hall of Fame on November 8, 2013. Playing career Early years Chelios was born in Chicago, Illinois on January 25, 1962, and raised by his parents, Gus and Susan Chelios. They lived in Evergreen Park, Illinois. He attended Mount Carmel High School in Chicago until his family moved to Poway, California, where he attended Mira Mesa High School. Unable to play high school hockey in Southern California, Chelios was not recruited by any U.S. colleges. His only scholarship offer came from San Diego-based United States International University, the only NCAA Division I hockey team west of the Rockies. However, when Chelios arrived on campus as a freshman in 1979, he soon realized he was in the wrong environment, facing bigger players with considerably more junior hockey experience. He was eventually cut from the team and considered quitting hockey. Instead, Chelios tried his luck in Canada, where he was twice cut by Junior B teams and hit a low point when he had to borrow money from strangers to get home to California one year. He said, "I wasn't any bigger or any better than the other guys, so they weren't going to take a kid from the States when they could have a local guy." Chelios returned home and grew three inches while adding 40 pounds of muscle. He was then drafted by the Montreal Canadiens in the 1981 NHL Entry Draft. Prior to that, he played for the Moose Jaw Canucks of the Saskatchewan Junior Hockey League, where he tallied 87 points and 175 penalty minutes in just 54 games in his final season. Chelios then enjoyed two strong years playing for the Wisconsin Badgers at the University of Wisconsin–Madison after being drafted. As one of the top collegiate players in the country, he was selected for the United States team at the 1982 World Junior Ice Hockey Championship. In 1983, he was part of the Badgers' NCAA Men's Ice Hockey Championship team and was named to the all-tournament team and the second WCHA all-star team. Chelios was a member of the U.S. team for the 1984 Winter Olympics in Sarajevo, Yugoslavia. After that, he made his debut for the Canadiens, playing 12 games in the regular season and 15 in the playoffs. That summer he joined the U.S. team at the 1984 Canada Cup. Montreal Canadiens (1984–1990) In 1984, Chelios made the Montreal Canadiens for good, distinguishing himself with his play. During his early days, he was known for his offensive abilities, and his teammates even called him "Soft Hands Chelios." He earned a trip to the National Hockey League All-Star Game and was named to the 1985 NHL All-Rookie Team. He scored 64 points in 74 games, a high total for a defenseman even in the high-scoring 1980s, and finished second to Mario Lemieux for the Calder Memorial Trophy. In the playoffs that year, he had 10 points in 9 games, with a +17 plus/minus. Although he only played 41 games in the 1985–86 season, he won his first Stanley Cup, playing in front of Conn Smythe Trophy-winning goaltender Patrick Roy. Following two more good seasons in Montreal, Chelios really broke out in the 1988–89 campaign. He scored 73 points in 80 games at +35, was named to the All-Star First-Team, and won his first James Norris Memorial Trophy. During that year's Wales Conference (now Eastern Conference) Finals series against the Philadelphia Flyers (which the Canadiens won in six games), Chelios became reviled by Flyer fans for a dirty hit on Brian Propp that left the Philadelphia winger with a serious concussion and forced him to miss the next game. The Flyers did not retaliate against Chelios until their fate was sealed late in Game 6; Flyers goaltender Ron Hextall memorably skated out of his net to attack Chelios, earning him a 12-game suspension. After playing only 53 games the following season (in which he served as Canadiens' co-captain, with Guy Carbonneau, making Chelios the first non-Canadian player to captain the Canadiens), Chelios was traded to the Chicago Blackhawks on June 29, 1990 with a 2nd-round draft pick for Denis Savard. The trade occurred one day after Chelios was accused of fighting with two police officers as they tried to arrest him for urinating in public outside a bar in downtown Madison, Wisconsin, according to a criminal complaint. Chicago Blackhawks (1990–1999) In his first season with Chicago, Chelios continued to score at his usual rate, tallying 64 points, and earned a spot on the Second NHL All-Star Team. He helped lead the Blackhawks to the Stanley Cup Final in 1992, where they were swept by the Pittsburgh Penguins. He was in top form for the 1992–93 season, scoring 73 points and winning his second James Norris Memorial Trophy. His Norris Trophy-winning play, which some sports reporters referred to as "Sweet", earned him the nickname "Honey Nut". The nickname derives from his name being spelled and pronounced similarly to the famous breakfast cereal, Honey Nut Cheerios. During the 1994–95 NHL lockout he played for EHC Biel in the Swiss National League A. For the 1995–96 season, Chelios was named captain of the Blackhawks, a role he served in until 1999. He enjoyed another fine season, scoring 72 points and winning his third James Norris Memorial Trophy. In the summer of 1996, he helped lead the United States to its biggest international hockey win since the 1980 Winter Olympics, as the Americans defeated Canada in the 1996 World Cup of Hockey. Chelios was named to the All-Tournament Team. Detroit Red Wings (1999–2009) At 37, Chelios could still help teams with his veteran leadership and his largely remaining talent. On March 23, 1999, he was traded to the Detroit Red Wings for Anders Eriksson and two first-round draft picks. The move to Detroit, where he had fewer responsibilities and more skilled teammates, helped keep Chelios playing at close to his peak level. In 2002, his +40 plus/minus led the league, and he was again named to the First All-Star Team. He also led the United States hockey team to a silver medal in the 2002 Winter Olympics, and was named to the Tournament's All-Star Team. His season culminated in the Red Wings' victory over the Carolina Hurricanes in the Stanley Cup Finals, giving Chelios his second Stanley Cup. In 2004, because of the cancellation of the NHL season, Chelios, along with fellow Red Wing teammates Derian Hatcher and Kris Draper, decided to play hockey for the Motor City Mechanics, a UHL team based out of Fraser, Michigan. He was heavily criticized for this decision as the UHL has a maximum salary in place, but at the same time he was strongly against a salary cap in the NHL. In October 2004 he trained with the U.S. bobsled federation in a bid to compete for the Greek bobsled team at the 2006 Winter Olympics. While Chelios didn't compete in the bobsled, he did captain the USA hockey team at the 2006 Winter Olympics in Turin, Italy. On August 4, 2005, the 43-year-old re-signed with the Red Wings for a one-year contract. On May 24, 2006, Chelios re-signed a one-year contract with the Detroit Red Wings. On July 3, 2006, Chelios became the active leader for most games played upon the retirement of teammate Steve Yzerman. On April 21, 2007, he became the oldest defenseman to score a short-handed goal in the NHL in a playoff game against the Calgary Flames. Chelios was the captain of the US Olympic Hockey Team that played at the 2006 Winter Olympics in Torino, Italy. By participating in ice hockey at the 2006 Winter Olympics, Chelios set a new standard, by becoming the first player to take part in an Olympic ice hockey tournament, twenty-two years after he played in his first. The old record was set by Swiss hockey player Bibi Torriani who had played twenty years after his debut (1928 and 1948). Chelios re-signed with the Detroit Red Wings for the 2007–08 season. On January 8, 2008, Chelios became the second oldest player in the history of the NHL, at 45 years, 348 days, passing Moe Roberts. Only Gordie Howe, who played until age 52, was older. On April 12, 2008, Chelios played in his 248th playoff game, breaking the NHL record set by Hall of Fame goaltender Patrick Roy. Later that season, Chelios also became the oldest active player to win the Stanley Cup. Chelios signed another one-year contract with the Red Wings for the 2008–09 season. On December 5, 2008, Chelios played in his first of two games for the Grand Rapids Griffins, the American Hockey League (AHL) farm club for the Red Wings, as part of a conditioning stint. At 46 years of age, he became the oldest player in the 73-year history of the AHL. At the conclusion of the 2008–09 season, Chelios was a finalist for the Bill Masterton Memorial Trophy. Chicago Wolves and Atlanta Thrashers After the Red Wings announced that they would not be re-signing Chelios, he signed a 25-game pro tryout contract with the Chicago Wolves. After a second 25-game pro tryout contract with the Wolves, Chelios signed a two-way contract with the Atlanta Thrashers. Chelios remained with the Wolves until he was recalled to the Thrashers, hoping that he could provide a spark for the team's playoff hopes. He played in seven games for the Thrashers, but failed to record any points. On April 7, 2010, Chelios was sent back to the Wolves. Retirement, transition to Wings front office, and broadcasting On August 31, 2010, Chelios officially retired. He was 48 years of age. The same day, Red Wings general manager Ken Holland announced that Chelios would be hired to work in the Red Wings' front office. He was named Adviser to Hockey Operations, with a role of working with Red Wings' defense prospects in Grand Rapids. In 2013, it was announced that Chelios would become an NHL analyst on FS1, which also included covering the hockey tournament in the 2014 Winter Olympics. In 2016, Chelios, along with former Red Wings teammate Brett Hull, was added to ESPN’s roster of analysts for their coverage of the 2016 World Cup of Hockey, which ESPN had picked up the U.S. broadcast rights to, after NBC pulled out due to scheduling conflicts. In July 2018, Chelios announced that he was leaving the Detroit area, and the Red Wings front office, to return to Chicago to be close to his family. At the same time, the Chicago Blackhawks announced that Chelios was being brought on board to serve as an ambassador for the franchise. In 2021, after ESPN regained the rights to broadcast the NHL, Chelios rejoined the network for their coverage. Chelios serves the same studio analyst role he held for the 2016 World Cup of Hockey, and sits alongside Barry Melrose and Mark Messier, joining Steve Levy for games on ESPN, ABC, and ESPN+. Coaching career On June 17, 2015, USA Hockey named Chelios an assistant coach for Team USA at the 2016 World Junior Ice Hockey Championships. On June 23, 2015, Chelios was named to the Red Wings coaching staff, where he will continue to play a role in player development, by working on-ice with the team's defensemen during practices. His job involved evaluating in-game player performance and offering his insight and observations to Red Wings bench coaches. He would also attend all home games, and on occasion, join the club on the road. International play Chelios has participated in 11 international tournaments for the United States: 1980 World Junior Ice Hockey Championships 1982 World Junior Ice Hockey Championships 1984 Winter Olympics 1984 Canada Cup 1987 Canada Cup 1991 Canada Cup 1996 World Cup of Hockey (alternate captain) 1998 Winter Olympics (captain) 2002 Winter Olympics (captain) 2004 World Cup of Hockey (captain) 2006 Winter Olympics (captain) In 2020, Chelios was named into the IIHF All-Time USA Team. Personal life Chelios grew up in Chicago, Illinois, where his father, Constantine "Gus" Chelios, owned a chain of Greek restaurants. The family name was originally "Tselios", but Gus chose to change the family's spelling. The family moved to Poway, California, in 1977, when his father left his struggling business in Chicago to open a restaurant in the San Diego area. He was a Chicago Blackhawks fan during his childhood but was more focused on football, idolizing Chicago Bears linebacker Dick Butkus. Chelios attended Mount Carmel High School (Chicago) before his family moved west, and then finished prep studies at Mira Mesa Senior High School in San Diego. Chelios and his wife Tracee were married in 1987. They met while students at the University of Wisconsin–Madison. They have four children: Dean (born 1989), Jake (born 1991), Caley (born 1993), and Tara (born 1996). Dean Chelios, a forward, scored a pair of power play goals to help his Cranbrook-Kingswood high school team win the 2006 Division III Michigan state high school hockey championship. Dean played for the Chicago Steel of the USHL in Bensenville, Illinois, and last played in 2016 for the Wichita Thunder of the ECHL. In May 2009, Jake was drafted by 49th overall by the Chicago Steel, and joined his brother at Michigan State. Jake is a defenseman, like his father, and currently plays with the Grand Rapids Griffins in the Detroit Red Wings organization. Caley graduated from Northwestern University and is currently a reporter for the Chicago Blackhawks. Chelios was very active in charitable causes during his playing time in Chicago, founding Cheli's Children." Chris is the older brother of former minor-leaguer Steve Chelios, and cousin of former NHL player Nikos Tselios. Through his career, Chelios has befriended many non-hockey athletes and entertainers. In 2004, he and surfer Laird Hamilton trained with the U.S. bobsled team and hoped to form the first Greek bobsled team at the 2006 Winter Olympics. Chelios and his family can be found Stand up paddle surfing with Hamilton. Chris credits the activity with helping him maintain his long career. On Scrubs, Dr. Perry Cox, played by Chelios' friend John C. McGinley, often wears a Red Wings jersey with Chelios' name and number. During the fourth season of the show, which was concurrent with the 2004–05 lockout, Cox was seen on at least one occasion wearing a No. 24 "Motor City Mechanics" jersey. Chelios is also close friends with actors John Cusack and D. B. Sweeney, Pearl Jam frontman Eddie Vedder, Smashing Pumpkins frontman Billy Corgan, and musician Kid Rock. Chelios was sitting courtside with Kid Rock during the Pacers-Pistons brawl at the Palace of Auburn Hills on November 19, 2004. Chelios and Sweeney are quite close, with the two having appeared together in The Cutting Edge (1992) and Two Tickets to Paradise (2007), in addition to Chelios being the godfather to Sweeney's son, Cade. Chelios was a regular at Michigan State University hockey games, cheering on his sons Jake and Dean. DUI arrest On December 28, 2009, in Westmont, Illinois, Chelios was arrested for driving under the influence. He was the only occupant of the vehicle that was stopped at 4 a.m. The vehicle was towed and Chelios was taken to the Westmont station, where he was charged, processed, and posted bond. In March 2010, a judge reviewed the video tape of the arrest. The case was dismissed for lack of probable cause to stop, and evidence the tape provided that Chelios was not impaired. He was however fined for improper lane usage and speeding. Malibu Mob Chelios maintains a home in Malibu, California, and is well known as a member of the group of celebrity home owners and friends called the Malibu Mob. Other members include tennis great John McEnroe, big-wave surfer Laird Hamilton and his wife beach volleyball pro Gabrielle Reece, musicians Tim Commerford and Kid Rock, and actors John C. McGinley, John Cusack, Kelsey Grammer, Tony Danza, Justin Long, and Ed O'Neill. Business Chelios has owned restaurant/bars in both the Chicago and Detroit areas, all under the name Cheli's Chili Bar. The first operated on West Madison Street in Chicago (near the United Center) in the 1990s, but closed after his move to the Red Wings. A new Cheli's opened in Dearborn in 2003, followed by a second location in Detroit in 2006 and a third in Clinton Township in 2008. All three are now closed, with the Detroit location shuttering in 2018 upon Chelios returning to live in the Windy City. He has indicated a desire to open a new restaurant in the Chicago area. On January 2, 2007, two employees of Cheli's in Detroit were fatally stabbed: Megan Soroka, 49, a manager at the restaurant, and Mark Barnard, 52, a chef. Police arrested Justin Blackshere, 17, who confessed to the crime. He was a busboy at the restaurant and was fired in November 2006. Blackshere's pregnant girlfriend had also been fired from her job as a dishwasher. Chelios took a leave of absence from the Red Wings to help the families of his murdered employees. He said, "I'll come back when I feel ready and the families feel ready. I'm just going to try to get through this day by day with everybody." On January 9, 2007, the Red Wings announced that Chelios would be playing that night. Blackshere was found guilty of murder in the first degree on August 22, 2007 and was sentenced to life in prison without parole on September 7, 2007. Career statistics Bold italics indicate NHL record Regular season and playoffs International Awards and honors Records NHL Games played in the regular season by a defenseman (1,651) Games played in the playoffs (266) See also List of NHL players with 1,000 games played List of NHL players with 2,000 career penalty minutes References External links Chris Chelios' bio @ hockeydraftcentral.com Chris Chelios: Made in America by Chris Chelios, Kevin Allen 1962 births American expatriate sportspeople in Switzerland American men's ice hockey defensemen American people of Greek descent American restaurateurs Atlanta Thrashers players Businesspeople from Chicago Chicago Blackhawks captains Chicago Blackhawks players Chicago Wolves players Detroit Red Wings coaches Detroit Red Wings personnel Detroit Red Wings players EHC Biel players Grand Rapids Griffins players Hockey Hall of Fame inductees Ice hockey players from Illinois Ice hockey players at the 1984 Winter Olympics Ice hockey players at the 1998 Winter Olympics Ice hockey players at the 2002 Winter Olympics Ice hockey players at the 2006 Winter Olympics IIHF Hall of Fame inductees James Norris Memorial Trophy winners Living people Medalists at the 2002 Winter Olympics Montreal Canadiens draft picks Montreal Canadiens players Moose Jaw Canucks players National Hockey League All-Stars Olympic silver medalists for the United States in ice hockey People from Evergreen Park, Illinois Stanley Cup champions United States men's national ice hockey team coaches Wisconsin Badgers men's ice hockey players NCAA men's ice hockey national champions	true	[ "This is a full list of ice hockey players who have played for the Montreal Canadiens in the National Hockey League (NHL). It includes players that have played at least one regular season or playoff game for the Montreal Canadiens since the team joined the NHL in 1917. Founded in 1909 as one of the founding members of the National Hockey Association (NHA), the Montreal Canadiens were also one of the founding members of the NHL. Since the formation of the NHL, 709 different players have played with the Canadiens\n\nAs of May 5, 2019, 83 goaltenders and 777 skaters (forwards and defencemen) have appeared in at least one regular-season and/or playoff game with the Montreal Canadiens since the formation of the league in the 1917–18 NHL season. The 709 all-time members of the Canadiens are listed below, with statistics complete through the end of the 2013–14 NHL season. This list does not include members of the Montreal Canadiens while the team was a member of the NHA from 1909 until 1917.\n\nThe \"Seasons\" column lists the first year of the season of the player's first game and the last year of the season of the player's last game. For example, a player who played one game in the 2000–01 season would be listed as playing with the team from 2000–2001, regardless of what calendar year the game occurred within.\n\nKey\n\nGoaltenders\n\nNote: Stats are updated through to the end of the 2020–21 season\n\nSkaters\n\nNote: Stats are updated through to the end of the 2020–2021 season.\n\nNotes\n\nReferences\nMontreal Canadiens all-time roster on the Internet Hockey Database\nMontreal Canadiens all-time roster at Legends of Hockey\nMontreal Canadiens all-time roster at the Montreal Canadiens Official Site\n\nMontreal Canadiens players\nplayers", "The 1939–40 Montreal Canadiens season was the 31st season in franchise history. The team placed seventh in the regular season and did not qualify for the playoffs for the first time since the 1935–36 season. The Canadiens would not finish a season in last place for another fifty-nine years.\n\nRegular season\nThe Canadiens' first game saw them score what would be a season-high 8 goals as they defeated the Chicago Black Hawks 8–2 at the Montreal Forum on November 5, 1939. The Habs were undefeated over their first six games (4-0-2) and were 6-2-2 in their first ten. After that, however, long winless streaks were the rule. They went 3-8-0 in December, 1-10-1 in January, 1-8-1 in February and 1-5-1 in March. Their most lopsided loss happened on February 22, 1940 – 1–10 against the Chicago Black Hawks at Chicago.\n\nFinal standings\n\nRecord vs. opponents\n\nSchedule and results\n\nPlayer statistics\n\nRegular season\nScoring\n\nGoaltending\n\nAwards and records\n\nTransactions\n\nPlayoffs\nThey didn't qualify for the playoffs\n\nSee also\n 1939–40 NHL season\n\nReferences\nCanadiens on Hockey Database\nCanadiens on NHL Reference\n\nMontreal Canadiens seasons\nMontreal\nMontreal" ]
[ "Chris Chelios", "Montreal Canadiens (1984-1990)", "Who were the Montreal Canadiens?", "I don't know.", "What were the Montreal Canadiens?", "play." ]	C_b8ac124321064808a45d9d6a9a832efc_0	Can you tell me some interesting aspects about this article?	3	Can you tell me some interesting aspects about this article on the Montreal Canadiens?	Chris Chelios	In 1984, he made the Montreal Canadiens for good, and distinguished himself with his play. During his early days, Chelios was known for his offensive abilities, and his teammates even called him "Soft Hands Chelios." He earned a trip to the National Hockey League All-Star Game and was named to the 1985 NHL All-Rookie Team. He scored 64 points in 74 games, a high total for a defenseman, even in the higher-scoring 1980s. He came second to Mario Lemieux for the Calder Memorial Trophy. In the playoffs that year, he scored 10 points in 9 games, with a +17 plus/minus. Although he only played 41 games in the 1985-86 season, he won his first Stanley Cup, playing in front of Conn Smythe Trophy winner Patrick Roy. Following two more good seasons, Chelios really broke out in the 1988-89 season. He scored 73 points in 80 games at +35, was named to the All-Star First-Team, and won the James Norris Memorial Trophy. During that year's Wales Conference (now Eastern Conference) Finals series against the Philadelphia Flyers (which the Canadiens won in six games), Chelios became reviled by Flyer fans for a dirty hit on Brian Propp that left the Philadelphia winger with a serious concussion and forced him to miss the next game. For the remainder of the series, the Flyers did not retaliate against Chelios until finally, after the series fate was sealed late in Game 6, Flyers goaltender Ron Hextall memorably skated out of his net to attack Chelios in retaliation, which got Hextall suspended for 12 games. After playing only 53 games in the next season (in which he served as co-captain, with Guy Carbonneau), on June 29, 1990, Chelios was traded to the Chicago Blackhawks with a 2nd-round draft pick for Denis Savard. This trade happened one day after Chelios was accused of fighting with two police officers as they tried to arrest him for urinating in public outside a bar in downtown Madison, Wis., according to a criminal complaint. CANNOTANSWER	During his early days, Chelios was known for his offensive abilities,	Christos Kostas Chelios (born January 25, 1962) is an American former professional ice hockey defenseman. He was one of the longest tenured players in the National Hockey League, and is a three-time Stanley Cup champion—one with the Montreal Canadiens and two with the Detroit Red Wings. Chelios played for the Montreal Canadiens, Chicago Blackhawks, Detroit Red Wings, and the Atlanta Thrashers. When he was called up from the AHL's Chicago Wolves to play for the Thrashers during the 2009–10 NHL season, Chelios was the oldest active player in the NHL and the second oldest of all time, had played the most games of any active player in the NHL, was the last player from the 1981 NHL Entry Draft still active (or any draft from 1986 and earlier), and had the most career penalty minutes of any active player. Chelios formerly the record-holder for most games played in the NHL by a defenseman, is eighth overall with 1,651 games played, holds the record for most career playoff games played with 266 and is tied with Gordie Howe for most NHL seasons played with 26. On May 1, 2009, he appeared in the playoffs for an NHL record 24th time, having missed the playoffs only once (1997–98). Chelios is also the record-holder for most career postseason losses, with 117 (also the most in any professional sport in North America). However, he only lost one Game 7 in his career, a 3-2 OT loss in the 1985 Adams Division Finals against the Nordiques. In 2017, Chelios was named one of the '100 Greatest NHL Players' in history. Chelios is of Greek heritage. His cousin, Nikos Tselios, also played professional hockey and is a former first round draft pick of the Carolina Hurricanes. Chelios was inducted into the Hockey Hall of Fame on November 8, 2013. Playing career Early years Chelios was born in Chicago, Illinois on January 25, 1962, and raised by his parents, Gus and Susan Chelios. They lived in Evergreen Park, Illinois. He attended Mount Carmel High School in Chicago until his family moved to Poway, California, where he attended Mira Mesa High School. Unable to play high school hockey in Southern California, Chelios was not recruited by any U.S. colleges. His only scholarship offer came from San Diego-based United States International University, the only NCAA Division I hockey team west of the Rockies. However, when Chelios arrived on campus as a freshman in 1979, he soon realized he was in the wrong environment, facing bigger players with considerably more junior hockey experience. He was eventually cut from the team and considered quitting hockey. Instead, Chelios tried his luck in Canada, where he was twice cut by Junior B teams and hit a low point when he had to borrow money from strangers to get home to California one year. He said, "I wasn't any bigger or any better than the other guys, so they weren't going to take a kid from the States when they could have a local guy." Chelios returned home and grew three inches while adding 40 pounds of muscle. He was then drafted by the Montreal Canadiens in the 1981 NHL Entry Draft. Prior to that, he played for the Moose Jaw Canucks of the Saskatchewan Junior Hockey League, where he tallied 87 points and 175 penalty minutes in just 54 games in his final season. Chelios then enjoyed two strong years playing for the Wisconsin Badgers at the University of Wisconsin–Madison after being drafted. As one of the top collegiate players in the country, he was selected for the United States team at the 1982 World Junior Ice Hockey Championship. In 1983, he was part of the Badgers' NCAA Men's Ice Hockey Championship team and was named to the all-tournament team and the second WCHA all-star team. Chelios was a member of the U.S. team for the 1984 Winter Olympics in Sarajevo, Yugoslavia. After that, he made his debut for the Canadiens, playing 12 games in the regular season and 15 in the playoffs. That summer he joined the U.S. team at the 1984 Canada Cup. Montreal Canadiens (1984–1990) In 1984, Chelios made the Montreal Canadiens for good, distinguishing himself with his play. During his early days, he was known for his offensive abilities, and his teammates even called him "Soft Hands Chelios." He earned a trip to the National Hockey League All-Star Game and was named to the 1985 NHL All-Rookie Team. He scored 64 points in 74 games, a high total for a defenseman even in the high-scoring 1980s, and finished second to Mario Lemieux for the Calder Memorial Trophy. In the playoffs that year, he had 10 points in 9 games, with a +17 plus/minus. Although he only played 41 games in the 1985–86 season, he won his first Stanley Cup, playing in front of Conn Smythe Trophy-winning goaltender Patrick Roy. Following two more good seasons in Montreal, Chelios really broke out in the 1988–89 campaign. He scored 73 points in 80 games at +35, was named to the All-Star First-Team, and won his first James Norris Memorial Trophy. During that year's Wales Conference (now Eastern Conference) Finals series against the Philadelphia Flyers (which the Canadiens won in six games), Chelios became reviled by Flyer fans for a dirty hit on Brian Propp that left the Philadelphia winger with a serious concussion and forced him to miss the next game. The Flyers did not retaliate against Chelios until their fate was sealed late in Game 6; Flyers goaltender Ron Hextall memorably skated out of his net to attack Chelios, earning him a 12-game suspension. After playing only 53 games the following season (in which he served as Canadiens' co-captain, with Guy Carbonneau, making Chelios the first non-Canadian player to captain the Canadiens), Chelios was traded to the Chicago Blackhawks on June 29, 1990 with a 2nd-round draft pick for Denis Savard. The trade occurred one day after Chelios was accused of fighting with two police officers as they tried to arrest him for urinating in public outside a bar in downtown Madison, Wisconsin, according to a criminal complaint. Chicago Blackhawks (1990–1999) In his first season with Chicago, Chelios continued to score at his usual rate, tallying 64 points, and earned a spot on the Second NHL All-Star Team. He helped lead the Blackhawks to the Stanley Cup Final in 1992, where they were swept by the Pittsburgh Penguins. He was in top form for the 1992–93 season, scoring 73 points and winning his second James Norris Memorial Trophy. His Norris Trophy-winning play, which some sports reporters referred to as "Sweet", earned him the nickname "Honey Nut". The nickname derives from his name being spelled and pronounced similarly to the famous breakfast cereal, Honey Nut Cheerios. During the 1994–95 NHL lockout he played for EHC Biel in the Swiss National League A. For the 1995–96 season, Chelios was named captain of the Blackhawks, a role he served in until 1999. He enjoyed another fine season, scoring 72 points and winning his third James Norris Memorial Trophy. In the summer of 1996, he helped lead the United States to its biggest international hockey win since the 1980 Winter Olympics, as the Americans defeated Canada in the 1996 World Cup of Hockey. Chelios was named to the All-Tournament Team. Detroit Red Wings (1999–2009) At 37, Chelios could still help teams with his veteran leadership and his largely remaining talent. On March 23, 1999, he was traded to the Detroit Red Wings for Anders Eriksson and two first-round draft picks. The move to Detroit, where he had fewer responsibilities and more skilled teammates, helped keep Chelios playing at close to his peak level. In 2002, his +40 plus/minus led the league, and he was again named to the First All-Star Team. He also led the United States hockey team to a silver medal in the 2002 Winter Olympics, and was named to the Tournament's All-Star Team. His season culminated in the Red Wings' victory over the Carolina Hurricanes in the Stanley Cup Finals, giving Chelios his second Stanley Cup. In 2004, because of the cancellation of the NHL season, Chelios, along with fellow Red Wing teammates Derian Hatcher and Kris Draper, decided to play hockey for the Motor City Mechanics, a UHL team based out of Fraser, Michigan. He was heavily criticized for this decision as the UHL has a maximum salary in place, but at the same time he was strongly against a salary cap in the NHL. In October 2004 he trained with the U.S. bobsled federation in a bid to compete for the Greek bobsled team at the 2006 Winter Olympics. While Chelios didn't compete in the bobsled, he did captain the USA hockey team at the 2006 Winter Olympics in Turin, Italy. On August 4, 2005, the 43-year-old re-signed with the Red Wings for a one-year contract. On May 24, 2006, Chelios re-signed a one-year contract with the Detroit Red Wings. On July 3, 2006, Chelios became the active leader for most games played upon the retirement of teammate Steve Yzerman. On April 21, 2007, he became the oldest defenseman to score a short-handed goal in the NHL in a playoff game against the Calgary Flames. Chelios was the captain of the US Olympic Hockey Team that played at the 2006 Winter Olympics in Torino, Italy. By participating in ice hockey at the 2006 Winter Olympics, Chelios set a new standard, by becoming the first player to take part in an Olympic ice hockey tournament, twenty-two years after he played in his first. The old record was set by Swiss hockey player Bibi Torriani who had played twenty years after his debut (1928 and 1948). Chelios re-signed with the Detroit Red Wings for the 2007–08 season. On January 8, 2008, Chelios became the second oldest player in the history of the NHL, at 45 years, 348 days, passing Moe Roberts. Only Gordie Howe, who played until age 52, was older. On April 12, 2008, Chelios played in his 248th playoff game, breaking the NHL record set by Hall of Fame goaltender Patrick Roy. Later that season, Chelios also became the oldest active player to win the Stanley Cup. Chelios signed another one-year contract with the Red Wings for the 2008–09 season. On December 5, 2008, Chelios played in his first of two games for the Grand Rapids Griffins, the American Hockey League (AHL) farm club for the Red Wings, as part of a conditioning stint. At 46 years of age, he became the oldest player in the 73-year history of the AHL. At the conclusion of the 2008–09 season, Chelios was a finalist for the Bill Masterton Memorial Trophy. Chicago Wolves and Atlanta Thrashers After the Red Wings announced that they would not be re-signing Chelios, he signed a 25-game pro tryout contract with the Chicago Wolves. After a second 25-game pro tryout contract with the Wolves, Chelios signed a two-way contract with the Atlanta Thrashers. Chelios remained with the Wolves until he was recalled to the Thrashers, hoping that he could provide a spark for the team's playoff hopes. He played in seven games for the Thrashers, but failed to record any points. On April 7, 2010, Chelios was sent back to the Wolves. Retirement, transition to Wings front office, and broadcasting On August 31, 2010, Chelios officially retired. He was 48 years of age. The same day, Red Wings general manager Ken Holland announced that Chelios would be hired to work in the Red Wings' front office. He was named Adviser to Hockey Operations, with a role of working with Red Wings' defense prospects in Grand Rapids. In 2013, it was announced that Chelios would become an NHL analyst on FS1, which also included covering the hockey tournament in the 2014 Winter Olympics. In 2016, Chelios, along with former Red Wings teammate Brett Hull, was added to ESPN’s roster of analysts for their coverage of the 2016 World Cup of Hockey, which ESPN had picked up the U.S. broadcast rights to, after NBC pulled out due to scheduling conflicts. In July 2018, Chelios announced that he was leaving the Detroit area, and the Red Wings front office, to return to Chicago to be close to his family. At the same time, the Chicago Blackhawks announced that Chelios was being brought on board to serve as an ambassador for the franchise. In 2021, after ESPN regained the rights to broadcast the NHL, Chelios rejoined the network for their coverage. Chelios serves the same studio analyst role he held for the 2016 World Cup of Hockey, and sits alongside Barry Melrose and Mark Messier, joining Steve Levy for games on ESPN, ABC, and ESPN+. Coaching career On June 17, 2015, USA Hockey named Chelios an assistant coach for Team USA at the 2016 World Junior Ice Hockey Championships. On June 23, 2015, Chelios was named to the Red Wings coaching staff, where he will continue to play a role in player development, by working on-ice with the team's defensemen during practices. His job involved evaluating in-game player performance and offering his insight and observations to Red Wings bench coaches. He would also attend all home games, and on occasion, join the club on the road. International play Chelios has participated in 11 international tournaments for the United States: 1980 World Junior Ice Hockey Championships 1982 World Junior Ice Hockey Championships 1984 Winter Olympics 1984 Canada Cup 1987 Canada Cup 1991 Canada Cup 1996 World Cup of Hockey (alternate captain) 1998 Winter Olympics (captain) 2002 Winter Olympics (captain) 2004 World Cup of Hockey (captain) 2006 Winter Olympics (captain) In 2020, Chelios was named into the IIHF All-Time USA Team. Personal life Chelios grew up in Chicago, Illinois, where his father, Constantine "Gus" Chelios, owned a chain of Greek restaurants. The family name was originally "Tselios", but Gus chose to change the family's spelling. The family moved to Poway, California, in 1977, when his father left his struggling business in Chicago to open a restaurant in the San Diego area. He was a Chicago Blackhawks fan during his childhood but was more focused on football, idolizing Chicago Bears linebacker Dick Butkus. Chelios attended Mount Carmel High School (Chicago) before his family moved west, and then finished prep studies at Mira Mesa Senior High School in San Diego. Chelios and his wife Tracee were married in 1987. They met while students at the University of Wisconsin–Madison. They have four children: Dean (born 1989), Jake (born 1991), Caley (born 1993), and Tara (born 1996). Dean Chelios, a forward, scored a pair of power play goals to help his Cranbrook-Kingswood high school team win the 2006 Division III Michigan state high school hockey championship. Dean played for the Chicago Steel of the USHL in Bensenville, Illinois, and last played in 2016 for the Wichita Thunder of the ECHL. In May 2009, Jake was drafted by 49th overall by the Chicago Steel, and joined his brother at Michigan State. Jake is a defenseman, like his father, and currently plays with the Grand Rapids Griffins in the Detroit Red Wings organization. Caley graduated from Northwestern University and is currently a reporter for the Chicago Blackhawks. Chelios was very active in charitable causes during his playing time in Chicago, founding Cheli's Children." Chris is the older brother of former minor-leaguer Steve Chelios, and cousin of former NHL player Nikos Tselios. Through his career, Chelios has befriended many non-hockey athletes and entertainers. In 2004, he and surfer Laird Hamilton trained with the U.S. bobsled team and hoped to form the first Greek bobsled team at the 2006 Winter Olympics. Chelios and his family can be found Stand up paddle surfing with Hamilton. Chris credits the activity with helping him maintain his long career. On Scrubs, Dr. Perry Cox, played by Chelios' friend John C. McGinley, often wears a Red Wings jersey with Chelios' name and number. During the fourth season of the show, which was concurrent with the 2004–05 lockout, Cox was seen on at least one occasion wearing a No. 24 "Motor City Mechanics" jersey. Chelios is also close friends with actors John Cusack and D. B. Sweeney, Pearl Jam frontman Eddie Vedder, Smashing Pumpkins frontman Billy Corgan, and musician Kid Rock. Chelios was sitting courtside with Kid Rock during the Pacers-Pistons brawl at the Palace of Auburn Hills on November 19, 2004. Chelios and Sweeney are quite close, with the two having appeared together in The Cutting Edge (1992) and Two Tickets to Paradise (2007), in addition to Chelios being the godfather to Sweeney's son, Cade. Chelios was a regular at Michigan State University hockey games, cheering on his sons Jake and Dean. DUI arrest On December 28, 2009, in Westmont, Illinois, Chelios was arrested for driving under the influence. He was the only occupant of the vehicle that was stopped at 4 a.m. The vehicle was towed and Chelios was taken to the Westmont station, where he was charged, processed, and posted bond. In March 2010, a judge reviewed the video tape of the arrest. The case was dismissed for lack of probable cause to stop, and evidence the tape provided that Chelios was not impaired. He was however fined for improper lane usage and speeding. Malibu Mob Chelios maintains a home in Malibu, California, and is well known as a member of the group of celebrity home owners and friends called the Malibu Mob. Other members include tennis great John McEnroe, big-wave surfer Laird Hamilton and his wife beach volleyball pro Gabrielle Reece, musicians Tim Commerford and Kid Rock, and actors John C. McGinley, John Cusack, Kelsey Grammer, Tony Danza, Justin Long, and Ed O'Neill. Business Chelios has owned restaurant/bars in both the Chicago and Detroit areas, all under the name Cheli's Chili Bar. The first operated on West Madison Street in Chicago (near the United Center) in the 1990s, but closed after his move to the Red Wings. A new Cheli's opened in Dearborn in 2003, followed by a second location in Detroit in 2006 and a third in Clinton Township in 2008. All three are now closed, with the Detroit location shuttering in 2018 upon Chelios returning to live in the Windy City. He has indicated a desire to open a new restaurant in the Chicago area. On January 2, 2007, two employees of Cheli's in Detroit were fatally stabbed: Megan Soroka, 49, a manager at the restaurant, and Mark Barnard, 52, a chef. Police arrested Justin Blackshere, 17, who confessed to the crime. He was a busboy at the restaurant and was fired in November 2006. Blackshere's pregnant girlfriend had also been fired from her job as a dishwasher. Chelios took a leave of absence from the Red Wings to help the families of his murdered employees. He said, "I'll come back when I feel ready and the families feel ready. I'm just going to try to get through this day by day with everybody." On January 9, 2007, the Red Wings announced that Chelios would be playing that night. Blackshere was found guilty of murder in the first degree on August 22, 2007 and was sentenced to life in prison without parole on September 7, 2007. Career statistics Bold italics indicate NHL record Regular season and playoffs International Awards and honors Records NHL Games played in the regular season by a defenseman (1,651) Games played in the playoffs (266) See also List of NHL players with 1,000 games played List of NHL players with 2,000 career penalty minutes References External links Chris Chelios' bio @ hockeydraftcentral.com Chris Chelios: Made in America by Chris Chelios, Kevin Allen 1962 births American expatriate sportspeople in Switzerland American men's ice hockey defensemen American people of Greek descent American restaurateurs Atlanta Thrashers players Businesspeople from Chicago Chicago Blackhawks captains Chicago Blackhawks players Chicago Wolves players Detroit Red Wings coaches Detroit Red Wings personnel Detroit Red Wings players EHC Biel players Grand Rapids Griffins players Hockey Hall of Fame inductees Ice hockey players from Illinois Ice hockey players at the 1984 Winter Olympics Ice hockey players at the 1998 Winter Olympics Ice hockey players at the 2002 Winter Olympics Ice hockey players at the 2006 Winter Olympics IIHF Hall of Fame inductees James Norris Memorial Trophy winners Living people Medalists at the 2002 Winter Olympics Montreal Canadiens draft picks Montreal Canadiens players Moose Jaw Canucks players National Hockey League All-Stars Olympic silver medalists for the United States in ice hockey People from Evergreen Park, Illinois Stanley Cup champions United States men's national ice hockey team coaches Wisconsin Badgers men's ice hockey players NCAA men's ice hockey national champions	false	[ "You Can Hold Me Down is the debut album by William Tell, first released on March 13, 2007 through Universal Records and New Door Records.\n\nTrack listing\n \"Jeannie\" (William Tell) 3:01\n \"Slipping Under (Sing Along to Your Favorite Song)\" (PJ Smith, William Tell) 3:34\n \"Trouble\" (William Tell) 2:55\n \"Fairfax (You’re Still the Same)\" (William Tell) 2:49\n \"Like You, Only Sweeter\" (Darren Tehrani, William Tell) 3:41\n \"Maybe Tonight\" (William Tell, Mike Green) 3:13\n \"Young at Heart\" (William Tell) 2:46\n \"Sounds\" (William Tell, PJ Smith) 3:05\n \"Just For You\" (William Tell, Mike Green) 3:33\n \"You Can Hold Me Down\" (William Tell, Darren Tehrani) 3:23\n\nBest Buy hidden track:\n<li> \"You Can Hold Me Down\" (Tell, Tehrani) – 9:31\n features the hidden track \"After All\", beginning at about 4:30\n\niTunes Store bonus track:\n<li> \"Yesterday is Calling\" (James Bourne, Smith) – 3:43\n\nTarget bonus track:\n<li> \"Young at Heart (Acoustic)\" (Tell) – 2:46\n\nWal-Mart bonus tracks:\n<li> \"This Mess\" – 3:23\n<li> \"Katie (Where'd You Go?)\" – 3:48\n\nPersonnel\nWilliam Tell - vocals, guitars, bass\nBrian Ireland - drums, percussion\nAndrew McMahon - piano\n\nReferences\n\nYou Can Hold Me Down (William Tell album)", "\"Another Letter from Another Father to Another Son\" is an English poem by the Indian poet Mathew John. The poem was a surprise winner of the first prize in the All India Poetry Competition conducted by The Poetry Society (India) in 2013.\n\nExcerpts from the poem\n\nSonny, it is not my wish to advise you\nThough my tongue yearns to be advisor to the king.\n\nSonny, it is not my wish to advise you\nThough this may end up as another piece of advice\nIn another letter from another father to another son.\n\n *****\n\nFor, it took years for my father's sermons\nTo traverse the miles between my ears and my brain\nAnd I learnt about most things\nAfter enough follies had been past.\n\nLet me tell you a single thing\nThe way to go, seems to me\nFrom life to the book\nAnd not the other way around.\n\n ***\n\nSo, let life teach you before your father's words \nAnd let life teach you to outgrow\nThe interesting stories that other people tell.\nFor, nobody is really very sure.\n\nEarlier they used to tell\nNever look beyond the wall\nNow, they have built\nA ladder for you to climb.\n\n ****\n\nBut, nobody is really very sure\nAbout the wall, forget the ladder.\nVery few boxes have been opened, my son\nIt is still an interesting world out there.\n\nSo, let me not offer you\nA book, a window, a jigsaw puzzle or my reading glasses\nLet me give you just these –\nMy silence and my smile.\n\nSee also\nIndian poetry\nIndian writing in English\nThe Poetry Society (India)\n\nNotes\n\nPopular Indian Poems\n\nIndian English poems\n2014 poems\nWorks originally published in Indian magazines\nWorks originally published in literary magazines" ]
[ "Chris Chelios", "Montreal Canadiens (1984-1990)", "Who were the Montreal Canadiens?", "I don't know.", "What were the Montreal Canadiens?", "play.", "Can you tell me some interesting aspects about this article?", "During his early days, Chelios was known for his offensive abilities," ]	C_b8ac124321064808a45d9d6a9a832efc_0	Why was he known for his offensive abilities?	4	Why was Chris Chelios known for his offensive abilities?	Chris Chelios	In 1984, he made the Montreal Canadiens for good, and distinguished himself with his play. During his early days, Chelios was known for his offensive abilities, and his teammates even called him "Soft Hands Chelios." He earned a trip to the National Hockey League All-Star Game and was named to the 1985 NHL All-Rookie Team. He scored 64 points in 74 games, a high total for a defenseman, even in the higher-scoring 1980s. He came second to Mario Lemieux for the Calder Memorial Trophy. In the playoffs that year, he scored 10 points in 9 games, with a +17 plus/minus. Although he only played 41 games in the 1985-86 season, he won his first Stanley Cup, playing in front of Conn Smythe Trophy winner Patrick Roy. Following two more good seasons, Chelios really broke out in the 1988-89 season. He scored 73 points in 80 games at +35, was named to the All-Star First-Team, and won the James Norris Memorial Trophy. During that year's Wales Conference (now Eastern Conference) Finals series against the Philadelphia Flyers (which the Canadiens won in six games), Chelios became reviled by Flyer fans for a dirty hit on Brian Propp that left the Philadelphia winger with a serious concussion and forced him to miss the next game. For the remainder of the series, the Flyers did not retaliate against Chelios until finally, after the series fate was sealed late in Game 6, Flyers goaltender Ron Hextall memorably skated out of his net to attack Chelios in retaliation, which got Hextall suspended for 12 games. After playing only 53 games in the next season (in which he served as co-captain, with Guy Carbonneau), on June 29, 1990, Chelios was traded to the Chicago Blackhawks with a 2nd-round draft pick for Denis Savard. This trade happened one day after Chelios was accused of fighting with two police officers as they tried to arrest him for urinating in public outside a bar in downtown Madison, Wis., according to a criminal complaint. CANNOTANSWER	"Soft Hands Chelios.	Christos Kostas Chelios (born January 25, 1962) is an American former professional ice hockey defenseman. He was one of the longest tenured players in the National Hockey League, and is a three-time Stanley Cup champion—one with the Montreal Canadiens and two with the Detroit Red Wings. Chelios played for the Montreal Canadiens, Chicago Blackhawks, Detroit Red Wings, and the Atlanta Thrashers. When he was called up from the AHL's Chicago Wolves to play for the Thrashers during the 2009–10 NHL season, Chelios was the oldest active player in the NHL and the second oldest of all time, had played the most games of any active player in the NHL, was the last player from the 1981 NHL Entry Draft still active (or any draft from 1986 and earlier), and had the most career penalty minutes of any active player. Chelios formerly the record-holder for most games played in the NHL by a defenseman, is eighth overall with 1,651 games played, holds the record for most career playoff games played with 266 and is tied with Gordie Howe for most NHL seasons played with 26. On May 1, 2009, he appeared in the playoffs for an NHL record 24th time, having missed the playoffs only once (1997–98). Chelios is also the record-holder for most career postseason losses, with 117 (also the most in any professional sport in North America). However, he only lost one Game 7 in his career, a 3-2 OT loss in the 1985 Adams Division Finals against the Nordiques. In 2017, Chelios was named one of the '100 Greatest NHL Players' in history. Chelios is of Greek heritage. His cousin, Nikos Tselios, also played professional hockey and is a former first round draft pick of the Carolina Hurricanes. Chelios was inducted into the Hockey Hall of Fame on November 8, 2013. Playing career Early years Chelios was born in Chicago, Illinois on January 25, 1962, and raised by his parents, Gus and Susan Chelios. They lived in Evergreen Park, Illinois. He attended Mount Carmel High School in Chicago until his family moved to Poway, California, where he attended Mira Mesa High School. Unable to play high school hockey in Southern California, Chelios was not recruited by any U.S. colleges. His only scholarship offer came from San Diego-based United States International University, the only NCAA Division I hockey team west of the Rockies. However, when Chelios arrived on campus as a freshman in 1979, he soon realized he was in the wrong environment, facing bigger players with considerably more junior hockey experience. He was eventually cut from the team and considered quitting hockey. Instead, Chelios tried his luck in Canada, where he was twice cut by Junior B teams and hit a low point when he had to borrow money from strangers to get home to California one year. He said, "I wasn't any bigger or any better than the other guys, so they weren't going to take a kid from the States when they could have a local guy." Chelios returned home and grew three inches while adding 40 pounds of muscle. He was then drafted by the Montreal Canadiens in the 1981 NHL Entry Draft. Prior to that, he played for the Moose Jaw Canucks of the Saskatchewan Junior Hockey League, where he tallied 87 points and 175 penalty minutes in just 54 games in his final season. Chelios then enjoyed two strong years playing for the Wisconsin Badgers at the University of Wisconsin–Madison after being drafted. As one of the top collegiate players in the country, he was selected for the United States team at the 1982 World Junior Ice Hockey Championship. In 1983, he was part of the Badgers' NCAA Men's Ice Hockey Championship team and was named to the all-tournament team and the second WCHA all-star team. Chelios was a member of the U.S. team for the 1984 Winter Olympics in Sarajevo, Yugoslavia. After that, he made his debut for the Canadiens, playing 12 games in the regular season and 15 in the playoffs. That summer he joined the U.S. team at the 1984 Canada Cup. Montreal Canadiens (1984–1990) In 1984, Chelios made the Montreal Canadiens for good, distinguishing himself with his play. During his early days, he was known for his offensive abilities, and his teammates even called him "Soft Hands Chelios." He earned a trip to the National Hockey League All-Star Game and was named to the 1985 NHL All-Rookie Team. He scored 64 points in 74 games, a high total for a defenseman even in the high-scoring 1980s, and finished second to Mario Lemieux for the Calder Memorial Trophy. In the playoffs that year, he had 10 points in 9 games, with a +17 plus/minus. Although he only played 41 games in the 1985–86 season, he won his first Stanley Cup, playing in front of Conn Smythe Trophy-winning goaltender Patrick Roy. Following two more good seasons in Montreal, Chelios really broke out in the 1988–89 campaign. He scored 73 points in 80 games at +35, was named to the All-Star First-Team, and won his first James Norris Memorial Trophy. During that year's Wales Conference (now Eastern Conference) Finals series against the Philadelphia Flyers (which the Canadiens won in six games), Chelios became reviled by Flyer fans for a dirty hit on Brian Propp that left the Philadelphia winger with a serious concussion and forced him to miss the next game. The Flyers did not retaliate against Chelios until their fate was sealed late in Game 6; Flyers goaltender Ron Hextall memorably skated out of his net to attack Chelios, earning him a 12-game suspension. After playing only 53 games the following season (in which he served as Canadiens' co-captain, with Guy Carbonneau, making Chelios the first non-Canadian player to captain the Canadiens), Chelios was traded to the Chicago Blackhawks on June 29, 1990 with a 2nd-round draft pick for Denis Savard. The trade occurred one day after Chelios was accused of fighting with two police officers as they tried to arrest him for urinating in public outside a bar in downtown Madison, Wisconsin, according to a criminal complaint. Chicago Blackhawks (1990–1999) In his first season with Chicago, Chelios continued to score at his usual rate, tallying 64 points, and earned a spot on the Second NHL All-Star Team. He helped lead the Blackhawks to the Stanley Cup Final in 1992, where they were swept by the Pittsburgh Penguins. He was in top form for the 1992–93 season, scoring 73 points and winning his second James Norris Memorial Trophy. His Norris Trophy-winning play, which some sports reporters referred to as "Sweet", earned him the nickname "Honey Nut". The nickname derives from his name being spelled and pronounced similarly to the famous breakfast cereal, Honey Nut Cheerios. During the 1994–95 NHL lockout he played for EHC Biel in the Swiss National League A. For the 1995–96 season, Chelios was named captain of the Blackhawks, a role he served in until 1999. He enjoyed another fine season, scoring 72 points and winning his third James Norris Memorial Trophy. In the summer of 1996, he helped lead the United States to its biggest international hockey win since the 1980 Winter Olympics, as the Americans defeated Canada in the 1996 World Cup of Hockey. Chelios was named to the All-Tournament Team. Detroit Red Wings (1999–2009) At 37, Chelios could still help teams with his veteran leadership and his largely remaining talent. On March 23, 1999, he was traded to the Detroit Red Wings for Anders Eriksson and two first-round draft picks. The move to Detroit, where he had fewer responsibilities and more skilled teammates, helped keep Chelios playing at close to his peak level. In 2002, his +40 plus/minus led the league, and he was again named to the First All-Star Team. He also led the United States hockey team to a silver medal in the 2002 Winter Olympics, and was named to the Tournament's All-Star Team. His season culminated in the Red Wings' victory over the Carolina Hurricanes in the Stanley Cup Finals, giving Chelios his second Stanley Cup. In 2004, because of the cancellation of the NHL season, Chelios, along with fellow Red Wing teammates Derian Hatcher and Kris Draper, decided to play hockey for the Motor City Mechanics, a UHL team based out of Fraser, Michigan. He was heavily criticized for this decision as the UHL has a maximum salary in place, but at the same time he was strongly against a salary cap in the NHL. In October 2004 he trained with the U.S. bobsled federation in a bid to compete for the Greek bobsled team at the 2006 Winter Olympics. While Chelios didn't compete in the bobsled, he did captain the USA hockey team at the 2006 Winter Olympics in Turin, Italy. On August 4, 2005, the 43-year-old re-signed with the Red Wings for a one-year contract. On May 24, 2006, Chelios re-signed a one-year contract with the Detroit Red Wings. On July 3, 2006, Chelios became the active leader for most games played upon the retirement of teammate Steve Yzerman. On April 21, 2007, he became the oldest defenseman to score a short-handed goal in the NHL in a playoff game against the Calgary Flames. Chelios was the captain of the US Olympic Hockey Team that played at the 2006 Winter Olympics in Torino, Italy. By participating in ice hockey at the 2006 Winter Olympics, Chelios set a new standard, by becoming the first player to take part in an Olympic ice hockey tournament, twenty-two years after he played in his first. The old record was set by Swiss hockey player Bibi Torriani who had played twenty years after his debut (1928 and 1948). Chelios re-signed with the Detroit Red Wings for the 2007–08 season. On January 8, 2008, Chelios became the second oldest player in the history of the NHL, at 45 years, 348 days, passing Moe Roberts. Only Gordie Howe, who played until age 52, was older. On April 12, 2008, Chelios played in his 248th playoff game, breaking the NHL record set by Hall of Fame goaltender Patrick Roy. Later that season, Chelios also became the oldest active player to win the Stanley Cup. Chelios signed another one-year contract with the Red Wings for the 2008–09 season. On December 5, 2008, Chelios played in his first of two games for the Grand Rapids Griffins, the American Hockey League (AHL) farm club for the Red Wings, as part of a conditioning stint. At 46 years of age, he became the oldest player in the 73-year history of the AHL. At the conclusion of the 2008–09 season, Chelios was a finalist for the Bill Masterton Memorial Trophy. Chicago Wolves and Atlanta Thrashers After the Red Wings announced that they would not be re-signing Chelios, he signed a 25-game pro tryout contract with the Chicago Wolves. After a second 25-game pro tryout contract with the Wolves, Chelios signed a two-way contract with the Atlanta Thrashers. Chelios remained with the Wolves until he was recalled to the Thrashers, hoping that he could provide a spark for the team's playoff hopes. He played in seven games for the Thrashers, but failed to record any points. On April 7, 2010, Chelios was sent back to the Wolves. Retirement, transition to Wings front office, and broadcasting On August 31, 2010, Chelios officially retired. He was 48 years of age. The same day, Red Wings general manager Ken Holland announced that Chelios would be hired to work in the Red Wings' front office. He was named Adviser to Hockey Operations, with a role of working with Red Wings' defense prospects in Grand Rapids. In 2013, it was announced that Chelios would become an NHL analyst on FS1, which also included covering the hockey tournament in the 2014 Winter Olympics. In 2016, Chelios, along with former Red Wings teammate Brett Hull, was added to ESPN’s roster of analysts for their coverage of the 2016 World Cup of Hockey, which ESPN had picked up the U.S. broadcast rights to, after NBC pulled out due to scheduling conflicts. In July 2018, Chelios announced that he was leaving the Detroit area, and the Red Wings front office, to return to Chicago to be close to his family. At the same time, the Chicago Blackhawks announced that Chelios was being brought on board to serve as an ambassador for the franchise. In 2021, after ESPN regained the rights to broadcast the NHL, Chelios rejoined the network for their coverage. Chelios serves the same studio analyst role he held for the 2016 World Cup of Hockey, and sits alongside Barry Melrose and Mark Messier, joining Steve Levy for games on ESPN, ABC, and ESPN+. Coaching career On June 17, 2015, USA Hockey named Chelios an assistant coach for Team USA at the 2016 World Junior Ice Hockey Championships. On June 23, 2015, Chelios was named to the Red Wings coaching staff, where he will continue to play a role in player development, by working on-ice with the team's defensemen during practices. His job involved evaluating in-game player performance and offering his insight and observations to Red Wings bench coaches. He would also attend all home games, and on occasion, join the club on the road. International play Chelios has participated in 11 international tournaments for the United States: 1980 World Junior Ice Hockey Championships 1982 World Junior Ice Hockey Championships 1984 Winter Olympics 1984 Canada Cup 1987 Canada Cup 1991 Canada Cup 1996 World Cup of Hockey (alternate captain) 1998 Winter Olympics (captain) 2002 Winter Olympics (captain) 2004 World Cup of Hockey (captain) 2006 Winter Olympics (captain) In 2020, Chelios was named into the IIHF All-Time USA Team. Personal life Chelios grew up in Chicago, Illinois, where his father, Constantine "Gus" Chelios, owned a chain of Greek restaurants. The family name was originally "Tselios", but Gus chose to change the family's spelling. The family moved to Poway, California, in 1977, when his father left his struggling business in Chicago to open a restaurant in the San Diego area. He was a Chicago Blackhawks fan during his childhood but was more focused on football, idolizing Chicago Bears linebacker Dick Butkus. Chelios attended Mount Carmel High School (Chicago) before his family moved west, and then finished prep studies at Mira Mesa Senior High School in San Diego. Chelios and his wife Tracee were married in 1987. They met while students at the University of Wisconsin–Madison. They have four children: Dean (born 1989), Jake (born 1991), Caley (born 1993), and Tara (born 1996). Dean Chelios, a forward, scored a pair of power play goals to help his Cranbrook-Kingswood high school team win the 2006 Division III Michigan state high school hockey championship. Dean played for the Chicago Steel of the USHL in Bensenville, Illinois, and last played in 2016 for the Wichita Thunder of the ECHL. In May 2009, Jake was drafted by 49th overall by the Chicago Steel, and joined his brother at Michigan State. Jake is a defenseman, like his father, and currently plays with the Grand Rapids Griffins in the Detroit Red Wings organization. Caley graduated from Northwestern University and is currently a reporter for the Chicago Blackhawks. Chelios was very active in charitable causes during his playing time in Chicago, founding Cheli's Children." Chris is the older brother of former minor-leaguer Steve Chelios, and cousin of former NHL player Nikos Tselios. Through his career, Chelios has befriended many non-hockey athletes and entertainers. In 2004, he and surfer Laird Hamilton trained with the U.S. bobsled team and hoped to form the first Greek bobsled team at the 2006 Winter Olympics. Chelios and his family can be found Stand up paddle surfing with Hamilton. Chris credits the activity with helping him maintain his long career. On Scrubs, Dr. Perry Cox, played by Chelios' friend John C. McGinley, often wears a Red Wings jersey with Chelios' name and number. During the fourth season of the show, which was concurrent with the 2004–05 lockout, Cox was seen on at least one occasion wearing a No. 24 "Motor City Mechanics" jersey. Chelios is also close friends with actors John Cusack and D. B. Sweeney, Pearl Jam frontman Eddie Vedder, Smashing Pumpkins frontman Billy Corgan, and musician Kid Rock. Chelios was sitting courtside with Kid Rock during the Pacers-Pistons brawl at the Palace of Auburn Hills on November 19, 2004. Chelios and Sweeney are quite close, with the two having appeared together in The Cutting Edge (1992) and Two Tickets to Paradise (2007), in addition to Chelios being the godfather to Sweeney's son, Cade. Chelios was a regular at Michigan State University hockey games, cheering on his sons Jake and Dean. DUI arrest On December 28, 2009, in Westmont, Illinois, Chelios was arrested for driving under the influence. He was the only occupant of the vehicle that was stopped at 4 a.m. The vehicle was towed and Chelios was taken to the Westmont station, where he was charged, processed, and posted bond. In March 2010, a judge reviewed the video tape of the arrest. The case was dismissed for lack of probable cause to stop, and evidence the tape provided that Chelios was not impaired. He was however fined for improper lane usage and speeding. Malibu Mob Chelios maintains a home in Malibu, California, and is well known as a member of the group of celebrity home owners and friends called the Malibu Mob. Other members include tennis great John McEnroe, big-wave surfer Laird Hamilton and his wife beach volleyball pro Gabrielle Reece, musicians Tim Commerford and Kid Rock, and actors John C. McGinley, John Cusack, Kelsey Grammer, Tony Danza, Justin Long, and Ed O'Neill. Business Chelios has owned restaurant/bars in both the Chicago and Detroit areas, all under the name Cheli's Chili Bar. The first operated on West Madison Street in Chicago (near the United Center) in the 1990s, but closed after his move to the Red Wings. A new Cheli's opened in Dearborn in 2003, followed by a second location in Detroit in 2006 and a third in Clinton Township in 2008. All three are now closed, with the Detroit location shuttering in 2018 upon Chelios returning to live in the Windy City. He has indicated a desire to open a new restaurant in the Chicago area. On January 2, 2007, two employees of Cheli's in Detroit were fatally stabbed: Megan Soroka, 49, a manager at the restaurant, and Mark Barnard, 52, a chef. Police arrested Justin Blackshere, 17, who confessed to the crime. He was a busboy at the restaurant and was fired in November 2006. Blackshere's pregnant girlfriend had also been fired from her job as a dishwasher. Chelios took a leave of absence from the Red Wings to help the families of his murdered employees. He said, "I'll come back when I feel ready and the families feel ready. I'm just going to try to get through this day by day with everybody." On January 9, 2007, the Red Wings announced that Chelios would be playing that night. Blackshere was found guilty of murder in the first degree on August 22, 2007 and was sentenced to life in prison without parole on September 7, 2007. Career statistics Bold italics indicate NHL record Regular season and playoffs International Awards and honors Records NHL Games played in the regular season by a defenseman (1,651) Games played in the playoffs (266) See also List of NHL players with 1,000 games played List of NHL players with 2,000 career penalty minutes References External links Chris Chelios' bio @ hockeydraftcentral.com Chris Chelios: Made in America by Chris Chelios, Kevin Allen 1962 births American expatriate sportspeople in Switzerland American men's ice hockey defensemen American people of Greek descent American restaurateurs Atlanta Thrashers players Businesspeople from Chicago Chicago Blackhawks captains Chicago Blackhawks players Chicago Wolves players Detroit Red Wings coaches Detroit Red Wings personnel Detroit Red Wings players EHC Biel players Grand Rapids Griffins players Hockey Hall of Fame inductees Ice hockey players from Illinois Ice hockey players at the 1984 Winter Olympics Ice hockey players at the 1998 Winter Olympics Ice hockey players at the 2002 Winter Olympics Ice hockey players at the 2006 Winter Olympics IIHF Hall of Fame inductees James Norris Memorial Trophy winners Living people Medalists at the 2002 Winter Olympics Montreal Canadiens draft picks Montreal Canadiens players Moose Jaw Canucks players National Hockey League All-Stars Olympic silver medalists for the United States in ice hockey People from Evergreen Park, Illinois Stanley Cup champions United States men's national ice hockey team coaches Wisconsin Badgers men's ice hockey players NCAA men's ice hockey national champions	true	[ "Bryan Stinespring (born October 12, 1963) is an American football coach. He is the assistant head coach and offensive line coach at the University of Delaware. Stinespring was the run game coordinator and offensive line coach at James Madison University from 2016 to 2017. He was previously the tight ends coach (1993–1997, 2006–2015) and recruiting coordinator for the Virginia Tech Hokies football program. He was a full-time member of head coach Frank Beamer's staff from 1993-2015. Throughout his tenure in Blacksburg, Stinespring held a number of other positions including offensive line coach (1993–2005), recruiting coordinator (1994–2001), assistant head coach (2001) and offensive coordinator (2002–2012).\n\nFollowing Beamer's retirement at the end of the 2015 season, Stinespring joined the staff at his alma mater James Madison where he served as offensive line coach and run-game coordinator.\n\nCriticism\nStinespring had faced criticism from the fans and a player for offensive output during his time as offensive coordinator, which compares poorly with that of his predecessors under Frank Beamer.\n\nIn 2008, sports columnist Norm Wood has commented that Stinespring's offensive production in recent years has been \"abysmal\", and that he heard fans chanting \"Fire Stinespring\" before one home game.\n \nWhile Stinespring faced criticism for offensive production, he has also been praised for his abilities as a recruiter. Players have also expressed their appreciation for Stinespring as a personal coach, and for his ability to recruit talented new players to the school.\n\nStatistics\nBelow are Virginia Tech's offensive statistics during Stinespring's time as offensive coordinator.\n\nReferences\n\nExternal links\n Old Dominion profile\n\n1963 births\nLiving people\nJames Madison Dukes football coaches\nJames Madison Dukes football players\nOld Dominion Monarchs football coaches\nVirginia Tech Hokies football coaches\nHigh school football coaches in Virginia\nPeople from Clifton Forge, Virginia", "Steve Myhra (April 2, 1934 – August 4, 1994) was a professional American football player who played offensive line and placekicker for six seasons for the Baltimore Colts.\n\nFootball career\n\nAfter playing at the University of North Dakota, Myhra was drafted in the 12th round of the 1956 NFL Draft by the Colts as an offensive guard and linebacker. In 1957, Myhra became the Colts' placekicker, and was successful on 88% of his extra point attempts (14 of 16) and 4 of 6 on field goals. The next season, Myhra was only 4 for 10 on field goal attempts, which many have speculated may be why Johnny Unitas and the Colts went for the touchdown in overtime of the championship game rather than line up for a game-winning field goal attempt.\n\nMyhra is known for kicking the game-tying field goal for the Baltimore Colts with seven seconds to go in the fourth quarter of the 1958 NFL Championship Game. His field goal pushed the game into overtime, marking the first occasion in professional football history that any game had moved into an extra period. The game was eventually won by the Colts on a touchdown by Alan Ameche, and has since become referred to as \"The Greatest Game Ever Played\".\n\nMyhra kicked for the Colts for three more seasons. He finished 180 for 189 on extra points, and 41 for 91 on field goal attempts.\n\nPersonal\nMyhra died of a heart attack in 1994 at age 60.\n\nReferences\n\n1934 births\n1994 deaths\nPeople from Wahpeton, North Dakota\nPeople from Richland County, North Dakota\nPlayers of American football from North Dakota\nAmerican football offensive linemen\nAmerican football placekickers\nNorth Dakota Fighting Hawks football players\nBaltimore Colts players" ]
[ "Chris Chelios", "Montreal Canadiens (1984-1990)", "Who were the Montreal Canadiens?", "I don't know.", "What were the Montreal Canadiens?", "play.", "Can you tell me some interesting aspects about this article?", "During his early days, Chelios was known for his offensive abilities,", "Why was he known for his offensive abilities?", "\"Soft Hands Chelios." ]	C_b8ac124321064808a45d9d6a9a832efc_0	Why was he known as soft-hand chelios?	5	Why was Chris Chelios known as soft-hand Chelios?	Chris Chelios	In 1984, he made the Montreal Canadiens for good, and distinguished himself with his play. During his early days, Chelios was known for his offensive abilities, and his teammates even called him "Soft Hands Chelios." He earned a trip to the National Hockey League All-Star Game and was named to the 1985 NHL All-Rookie Team. He scored 64 points in 74 games, a high total for a defenseman, even in the higher-scoring 1980s. He came second to Mario Lemieux for the Calder Memorial Trophy. In the playoffs that year, he scored 10 points in 9 games, with a +17 plus/minus. Although he only played 41 games in the 1985-86 season, he won his first Stanley Cup, playing in front of Conn Smythe Trophy winner Patrick Roy. Following two more good seasons, Chelios really broke out in the 1988-89 season. He scored 73 points in 80 games at +35, was named to the All-Star First-Team, and won the James Norris Memorial Trophy. During that year's Wales Conference (now Eastern Conference) Finals series against the Philadelphia Flyers (which the Canadiens won in six games), Chelios became reviled by Flyer fans for a dirty hit on Brian Propp that left the Philadelphia winger with a serious concussion and forced him to miss the next game. For the remainder of the series, the Flyers did not retaliate against Chelios until finally, after the series fate was sealed late in Game 6, Flyers goaltender Ron Hextall memorably skated out of his net to attack Chelios in retaliation, which got Hextall suspended for 12 games. After playing only 53 games in the next season (in which he served as co-captain, with Guy Carbonneau), on June 29, 1990, Chelios was traded to the Chicago Blackhawks with a 2nd-round draft pick for Denis Savard. This trade happened one day after Chelios was accused of fighting with two police officers as they tried to arrest him for urinating in public outside a bar in downtown Madison, Wis., according to a criminal complaint. CANNOTANSWER	CANNOTANSWER	Christos Kostas Chelios (born January 25, 1962) is an American former professional ice hockey defenseman. He was one of the longest tenured players in the National Hockey League, and is a three-time Stanley Cup champion—one with the Montreal Canadiens and two with the Detroit Red Wings. Chelios played for the Montreal Canadiens, Chicago Blackhawks, Detroit Red Wings, and the Atlanta Thrashers. When he was called up from the AHL's Chicago Wolves to play for the Thrashers during the 2009–10 NHL season, Chelios was the oldest active player in the NHL and the second oldest of all time, had played the most games of any active player in the NHL, was the last player from the 1981 NHL Entry Draft still active (or any draft from 1986 and earlier), and had the most career penalty minutes of any active player. Chelios formerly the record-holder for most games played in the NHL by a defenseman, is eighth overall with 1,651 games played, holds the record for most career playoff games played with 266 and is tied with Gordie Howe for most NHL seasons played with 26. On May 1, 2009, he appeared in the playoffs for an NHL record 24th time, having missed the playoffs only once (1997–98). Chelios is also the record-holder for most career postseason losses, with 117 (also the most in any professional sport in North America). However, he only lost one Game 7 in his career, a 3-2 OT loss in the 1985 Adams Division Finals against the Nordiques. In 2017, Chelios was named one of the '100 Greatest NHL Players' in history. Chelios is of Greek heritage. His cousin, Nikos Tselios, also played professional hockey and is a former first round draft pick of the Carolina Hurricanes. Chelios was inducted into the Hockey Hall of Fame on November 8, 2013. Playing career Early years Chelios was born in Chicago, Illinois on January 25, 1962, and raised by his parents, Gus and Susan Chelios. They lived in Evergreen Park, Illinois. He attended Mount Carmel High School in Chicago until his family moved to Poway, California, where he attended Mira Mesa High School. Unable to play high school hockey in Southern California, Chelios was not recruited by any U.S. colleges. His only scholarship offer came from San Diego-based United States International University, the only NCAA Division I hockey team west of the Rockies. However, when Chelios arrived on campus as a freshman in 1979, he soon realized he was in the wrong environment, facing bigger players with considerably more junior hockey experience. He was eventually cut from the team and considered quitting hockey. Instead, Chelios tried his luck in Canada, where he was twice cut by Junior B teams and hit a low point when he had to borrow money from strangers to get home to California one year. He said, "I wasn't any bigger or any better than the other guys, so they weren't going to take a kid from the States when they could have a local guy." Chelios returned home and grew three inches while adding 40 pounds of muscle. He was then drafted by the Montreal Canadiens in the 1981 NHL Entry Draft. Prior to that, he played for the Moose Jaw Canucks of the Saskatchewan Junior Hockey League, where he tallied 87 points and 175 penalty minutes in just 54 games in his final season. Chelios then enjoyed two strong years playing for the Wisconsin Badgers at the University of Wisconsin–Madison after being drafted. As one of the top collegiate players in the country, he was selected for the United States team at the 1982 World Junior Ice Hockey Championship. In 1983, he was part of the Badgers' NCAA Men's Ice Hockey Championship team and was named to the all-tournament team and the second WCHA all-star team. Chelios was a member of the U.S. team for the 1984 Winter Olympics in Sarajevo, Yugoslavia. After that, he made his debut for the Canadiens, playing 12 games in the regular season and 15 in the playoffs. That summer he joined the U.S. team at the 1984 Canada Cup. Montreal Canadiens (1984–1990) In 1984, Chelios made the Montreal Canadiens for good, distinguishing himself with his play. During his early days, he was known for his offensive abilities, and his teammates even called him "Soft Hands Chelios." He earned a trip to the National Hockey League All-Star Game and was named to the 1985 NHL All-Rookie Team. He scored 64 points in 74 games, a high total for a defenseman even in the high-scoring 1980s, and finished second to Mario Lemieux for the Calder Memorial Trophy. In the playoffs that year, he had 10 points in 9 games, with a +17 plus/minus. Although he only played 41 games in the 1985–86 season, he won his first Stanley Cup, playing in front of Conn Smythe Trophy-winning goaltender Patrick Roy. Following two more good seasons in Montreal, Chelios really broke out in the 1988–89 campaign. He scored 73 points in 80 games at +35, was named to the All-Star First-Team, and won his first James Norris Memorial Trophy. During that year's Wales Conference (now Eastern Conference) Finals series against the Philadelphia Flyers (which the Canadiens won in six games), Chelios became reviled by Flyer fans for a dirty hit on Brian Propp that left the Philadelphia winger with a serious concussion and forced him to miss the next game. The Flyers did not retaliate against Chelios until their fate was sealed late in Game 6; Flyers goaltender Ron Hextall memorably skated out of his net to attack Chelios, earning him a 12-game suspension. After playing only 53 games the following season (in which he served as Canadiens' co-captain, with Guy Carbonneau, making Chelios the first non-Canadian player to captain the Canadiens), Chelios was traded to the Chicago Blackhawks on June 29, 1990 with a 2nd-round draft pick for Denis Savard. The trade occurred one day after Chelios was accused of fighting with two police officers as they tried to arrest him for urinating in public outside a bar in downtown Madison, Wisconsin, according to a criminal complaint. Chicago Blackhawks (1990–1999) In his first season with Chicago, Chelios continued to score at his usual rate, tallying 64 points, and earned a spot on the Second NHL All-Star Team. He helped lead the Blackhawks to the Stanley Cup Final in 1992, where they were swept by the Pittsburgh Penguins. He was in top form for the 1992–93 season, scoring 73 points and winning his second James Norris Memorial Trophy. His Norris Trophy-winning play, which some sports reporters referred to as "Sweet", earned him the nickname "Honey Nut". The nickname derives from his name being spelled and pronounced similarly to the famous breakfast cereal, Honey Nut Cheerios. During the 1994–95 NHL lockout he played for EHC Biel in the Swiss National League A. For the 1995–96 season, Chelios was named captain of the Blackhawks, a role he served in until 1999. He enjoyed another fine season, scoring 72 points and winning his third James Norris Memorial Trophy. In the summer of 1996, he helped lead the United States to its biggest international hockey win since the 1980 Winter Olympics, as the Americans defeated Canada in the 1996 World Cup of Hockey. Chelios was named to the All-Tournament Team. Detroit Red Wings (1999–2009) At 37, Chelios could still help teams with his veteran leadership and his largely remaining talent. On March 23, 1999, he was traded to the Detroit Red Wings for Anders Eriksson and two first-round draft picks. The move to Detroit, where he had fewer responsibilities and more skilled teammates, helped keep Chelios playing at close to his peak level. In 2002, his +40 plus/minus led the league, and he was again named to the First All-Star Team. He also led the United States hockey team to a silver medal in the 2002 Winter Olympics, and was named to the Tournament's All-Star Team. His season culminated in the Red Wings' victory over the Carolina Hurricanes in the Stanley Cup Finals, giving Chelios his second Stanley Cup. In 2004, because of the cancellation of the NHL season, Chelios, along with fellow Red Wing teammates Derian Hatcher and Kris Draper, decided to play hockey for the Motor City Mechanics, a UHL team based out of Fraser, Michigan. He was heavily criticized for this decision as the UHL has a maximum salary in place, but at the same time he was strongly against a salary cap in the NHL. In October 2004 he trained with the U.S. bobsled federation in a bid to compete for the Greek bobsled team at the 2006 Winter Olympics. While Chelios didn't compete in the bobsled, he did captain the USA hockey team at the 2006 Winter Olympics in Turin, Italy. On August 4, 2005, the 43-year-old re-signed with the Red Wings for a one-year contract. On May 24, 2006, Chelios re-signed a one-year contract with the Detroit Red Wings. On July 3, 2006, Chelios became the active leader for most games played upon the retirement of teammate Steve Yzerman. On April 21, 2007, he became the oldest defenseman to score a short-handed goal in the NHL in a playoff game against the Calgary Flames. Chelios was the captain of the US Olympic Hockey Team that played at the 2006 Winter Olympics in Torino, Italy. By participating in ice hockey at the 2006 Winter Olympics, Chelios set a new standard, by becoming the first player to take part in an Olympic ice hockey tournament, twenty-two years after he played in his first. The old record was set by Swiss hockey player Bibi Torriani who had played twenty years after his debut (1928 and 1948). Chelios re-signed with the Detroit Red Wings for the 2007–08 season. On January 8, 2008, Chelios became the second oldest player in the history of the NHL, at 45 years, 348 days, passing Moe Roberts. Only Gordie Howe, who played until age 52, was older. On April 12, 2008, Chelios played in his 248th playoff game, breaking the NHL record set by Hall of Fame goaltender Patrick Roy. Later that season, Chelios also became the oldest active player to win the Stanley Cup. Chelios signed another one-year contract with the Red Wings for the 2008–09 season. On December 5, 2008, Chelios played in his first of two games for the Grand Rapids Griffins, the American Hockey League (AHL) farm club for the Red Wings, as part of a conditioning stint. At 46 years of age, he became the oldest player in the 73-year history of the AHL. At the conclusion of the 2008–09 season, Chelios was a finalist for the Bill Masterton Memorial Trophy. Chicago Wolves and Atlanta Thrashers After the Red Wings announced that they would not be re-signing Chelios, he signed a 25-game pro tryout contract with the Chicago Wolves. After a second 25-game pro tryout contract with the Wolves, Chelios signed a two-way contract with the Atlanta Thrashers. Chelios remained with the Wolves until he was recalled to the Thrashers, hoping that he could provide a spark for the team's playoff hopes. He played in seven games for the Thrashers, but failed to record any points. On April 7, 2010, Chelios was sent back to the Wolves. Retirement, transition to Wings front office, and broadcasting On August 31, 2010, Chelios officially retired. He was 48 years of age. The same day, Red Wings general manager Ken Holland announced that Chelios would be hired to work in the Red Wings' front office. He was named Adviser to Hockey Operations, with a role of working with Red Wings' defense prospects in Grand Rapids. In 2013, it was announced that Chelios would become an NHL analyst on FS1, which also included covering the hockey tournament in the 2014 Winter Olympics. In 2016, Chelios, along with former Red Wings teammate Brett Hull, was added to ESPN’s roster of analysts for their coverage of the 2016 World Cup of Hockey, which ESPN had picked up the U.S. broadcast rights to, after NBC pulled out due to scheduling conflicts. In July 2018, Chelios announced that he was leaving the Detroit area, and the Red Wings front office, to return to Chicago to be close to his family. At the same time, the Chicago Blackhawks announced that Chelios was being brought on board to serve as an ambassador for the franchise. In 2021, after ESPN regained the rights to broadcast the NHL, Chelios rejoined the network for their coverage. Chelios serves the same studio analyst role he held for the 2016 World Cup of Hockey, and sits alongside Barry Melrose and Mark Messier, joining Steve Levy for games on ESPN, ABC, and ESPN+. Coaching career On June 17, 2015, USA Hockey named Chelios an assistant coach for Team USA at the 2016 World Junior Ice Hockey Championships. On June 23, 2015, Chelios was named to the Red Wings coaching staff, where he will continue to play a role in player development, by working on-ice with the team's defensemen during practices. His job involved evaluating in-game player performance and offering his insight and observations to Red Wings bench coaches. He would also attend all home games, and on occasion, join the club on the road. International play Chelios has participated in 11 international tournaments for the United States: 1980 World Junior Ice Hockey Championships 1982 World Junior Ice Hockey Championships 1984 Winter Olympics 1984 Canada Cup 1987 Canada Cup 1991 Canada Cup 1996 World Cup of Hockey (alternate captain) 1998 Winter Olympics (captain) 2002 Winter Olympics (captain) 2004 World Cup of Hockey (captain) 2006 Winter Olympics (captain) In 2020, Chelios was named into the IIHF All-Time USA Team. Personal life Chelios grew up in Chicago, Illinois, where his father, Constantine "Gus" Chelios, owned a chain of Greek restaurants. The family name was originally "Tselios", but Gus chose to change the family's spelling. The family moved to Poway, California, in 1977, when his father left his struggling business in Chicago to open a restaurant in the San Diego area. He was a Chicago Blackhawks fan during his childhood but was more focused on football, idolizing Chicago Bears linebacker Dick Butkus. Chelios attended Mount Carmel High School (Chicago) before his family moved west, and then finished prep studies at Mira Mesa Senior High School in San Diego. Chelios and his wife Tracee were married in 1987. They met while students at the University of Wisconsin–Madison. They have four children: Dean (born 1989), Jake (born 1991), Caley (born 1993), and Tara (born 1996). Dean Chelios, a forward, scored a pair of power play goals to help his Cranbrook-Kingswood high school team win the 2006 Division III Michigan state high school hockey championship. Dean played for the Chicago Steel of the USHL in Bensenville, Illinois, and last played in 2016 for the Wichita Thunder of the ECHL. In May 2009, Jake was drafted by 49th overall by the Chicago Steel, and joined his brother at Michigan State. Jake is a defenseman, like his father, and currently plays with the Grand Rapids Griffins in the Detroit Red Wings organization. Caley graduated from Northwestern University and is currently a reporter for the Chicago Blackhawks. Chelios was very active in charitable causes during his playing time in Chicago, founding Cheli's Children." Chris is the older brother of former minor-leaguer Steve Chelios, and cousin of former NHL player Nikos Tselios. Through his career, Chelios has befriended many non-hockey athletes and entertainers. In 2004, he and surfer Laird Hamilton trained with the U.S. bobsled team and hoped to form the first Greek bobsled team at the 2006 Winter Olympics. Chelios and his family can be found Stand up paddle surfing with Hamilton. Chris credits the activity with helping him maintain his long career. On Scrubs, Dr. Perry Cox, played by Chelios' friend John C. McGinley, often wears a Red Wings jersey with Chelios' name and number. During the fourth season of the show, which was concurrent with the 2004–05 lockout, Cox was seen on at least one occasion wearing a No. 24 "Motor City Mechanics" jersey. Chelios is also close friends with actors John Cusack and D. B. Sweeney, Pearl Jam frontman Eddie Vedder, Smashing Pumpkins frontman Billy Corgan, and musician Kid Rock. Chelios was sitting courtside with Kid Rock during the Pacers-Pistons brawl at the Palace of Auburn Hills on November 19, 2004. Chelios and Sweeney are quite close, with the two having appeared together in The Cutting Edge (1992) and Two Tickets to Paradise (2007), in addition to Chelios being the godfather to Sweeney's son, Cade. Chelios was a regular at Michigan State University hockey games, cheering on his sons Jake and Dean. DUI arrest On December 28, 2009, in Westmont, Illinois, Chelios was arrested for driving under the influence. He was the only occupant of the vehicle that was stopped at 4 a.m. The vehicle was towed and Chelios was taken to the Westmont station, where he was charged, processed, and posted bond. In March 2010, a judge reviewed the video tape of the arrest. The case was dismissed for lack of probable cause to stop, and evidence the tape provided that Chelios was not impaired. He was however fined for improper lane usage and speeding. Malibu Mob Chelios maintains a home in Malibu, California, and is well known as a member of the group of celebrity home owners and friends called the Malibu Mob. Other members include tennis great John McEnroe, big-wave surfer Laird Hamilton and his wife beach volleyball pro Gabrielle Reece, musicians Tim Commerford and Kid Rock, and actors John C. McGinley, John Cusack, Kelsey Grammer, Tony Danza, Justin Long, and Ed O'Neill. Business Chelios has owned restaurant/bars in both the Chicago and Detroit areas, all under the name Cheli's Chili Bar. The first operated on West Madison Street in Chicago (near the United Center) in the 1990s, but closed after his move to the Red Wings. A new Cheli's opened in Dearborn in 2003, followed by a second location in Detroit in 2006 and a third in Clinton Township in 2008. All three are now closed, with the Detroit location shuttering in 2018 upon Chelios returning to live in the Windy City. He has indicated a desire to open a new restaurant in the Chicago area. On January 2, 2007, two employees of Cheli's in Detroit were fatally stabbed: Megan Soroka, 49, a manager at the restaurant, and Mark Barnard, 52, a chef. Police arrested Justin Blackshere, 17, who confessed to the crime. He was a busboy at the restaurant and was fired in November 2006. Blackshere's pregnant girlfriend had also been fired from her job as a dishwasher. Chelios took a leave of absence from the Red Wings to help the families of his murdered employees. He said, "I'll come back when I feel ready and the families feel ready. I'm just going to try to get through this day by day with everybody." On January 9, 2007, the Red Wings announced that Chelios would be playing that night. Blackshere was found guilty of murder in the first degree on August 22, 2007 and was sentenced to life in prison without parole on September 7, 2007. Career statistics Bold italics indicate NHL record Regular season and playoffs International Awards and honors Records NHL Games played in the regular season by a defenseman (1,651) Games played in the playoffs (266) See also List of NHL players with 1,000 games played List of NHL players with 2,000 career penalty minutes References External links Chris Chelios' bio @ hockeydraftcentral.com Chris Chelios: Made in America by Chris Chelios, Kevin Allen 1962 births American expatriate sportspeople in Switzerland American men's ice hockey defensemen American people of Greek descent American restaurateurs Atlanta Thrashers players Businesspeople from Chicago Chicago Blackhawks captains Chicago Blackhawks players Chicago Wolves players Detroit Red Wings coaches Detroit Red Wings personnel Detroit Red Wings players EHC Biel players Grand Rapids Griffins players Hockey Hall of Fame inductees Ice hockey players from Illinois Ice hockey players at the 1984 Winter Olympics Ice hockey players at the 1998 Winter Olympics Ice hockey players at the 2002 Winter Olympics Ice hockey players at the 2006 Winter Olympics IIHF Hall of Fame inductees James Norris Memorial Trophy winners Living people Medalists at the 2002 Winter Olympics Montreal Canadiens draft picks Montreal Canadiens players Moose Jaw Canucks players National Hockey League All-Stars Olympic silver medalists for the United States in ice hockey People from Evergreen Park, Illinois Stanley Cup champions United States men's national ice hockey team coaches Wisconsin Badgers men's ice hockey players NCAA men's ice hockey national champions	false	[ "Crank is a 2006 American action film written and directed by Mark Neveldine and Brian Taylor (in their directorial debuts) and starring Jason Statham, Amy Smart and Jose Pablo Cantillo. The plot centres on a British hitman based in Los Angeles named Chev Chelios who is poisoned and must keep his adrenaline flowing constantly in order to keep himself alive. He does so by various methods including taking drugs and getting into fights, while he tries to track down the man who poisoned him. The title of the film comes from the slang word for methamphetamine.\n\nThe film was followed by a sequel titled Crank: High Voltage in 2009.\n\nPlot\nLos Angeles-based English hitman Chev Chelios works for a crime syndicate led by Don \"Carlito\" Carlos. Chelios is contracted by Carlito to kill mafia boss Don Kim as members of the Triads have been encroaching on Carlito's business. Chelios goes to Don Kim and apparently murders him.\n\nIn the confusion, ambitious small-time criminal Ricky Verona uses the opportunity to conspire with Carlito against Chelios: Verona will kill Chelios so the Triads do not retaliate, and then take Chelios's place as Carlito's new hired gun. The morning after Don Kim's death, while Chelios sleeps in his apartment, Verona, his brother Alex, and several henchmen break in and inject Chelios with a Chinese synthetic drug which inhibits the flow of adrenaline, slowing the heart and eventually killing the victim. Chelios wakes to find a recording left by Verona showing what he has done. Furious, Chelios smashes his TV and heads out.\n\nChelios phones Mafia surgeon Doc Miles, who informs Chelios that to survive he must keep his adrenaline pumping through constant excitement and danger, and he is unsure if the antidote exists. Chelios keeps his adrenaline up through risky and dangerous acts, which include picking fights with other gangsters, reckless driving and motorcycling, taking illegal drugs and synthetic epinephrine, fighting with the police, and having public sex with his girlfriend Eve.\n\nChelios visits Carlito at his penthouse and asks him to help find an antidote, as well as to find and kill Verona and his crew. Carlito says there is no antidote and only confirms that Carlito and Verona are working together. Carlito tells Chelios how he will use his death as a scapegoat against the Chinese. An angered Chelios leaves Carlito's penthouse to find Verona. Through Chelios' street contact, a transvestite named Kaylo, he finds Alex at a restaurant and unsuccessfully interrogates him about his brother's whereabouts before killing him. Chelios phones Verona through Alex's phone and tells him of his brother's death, prompting Verona to send thugs after Eve as a revenge. Chelios rushes to pick up Eve before Verona's thugs get to her. Chelios reveals his true profession to her and that he was planning to retire to spend more time with her.\n\nKaylo, who has been kidnapped by Carlito's men, is forced to call Chelios and tell him that Verona is at a Triad warehouse. Chelios goes there, finding Kaylo's corpse and the henchmen. They reveal that Carlito ordered them to kill Chelios. Eve, who has followed Chelios, unexpectedly arrives, but then escapes with Chelios after a shootout with Carlito's henchmen. Chelios and Eve go to Doc Miles's place, where Miles explains that he cannot cure Chelios. Knowing that he will die soon, Chelios decides to take his revenge on Verona and arranges a meeting with him at a downtown hotel.\n\nChelios goes to the rooftop of the hotel and meets with Verona, Carlito, and his henchmen. Carlito takes out a syringe, filled with the same poison used by Verona. As he is about to kill Chelios by injecting the second dose into him, Don Kim, revealed to be alive as Chelios spared him after all, arrives with his Triads to assist Chelios and a shootout follows. During the battle, several of Don Kim's and all of Carlito's men are killed. Carlito tries to escape with his private helicopter, but Chelios manages to catch up to him and holds him at gunpoint. Before Chelios can kill Carlito, Verona sneaks behind and injects Chelios with the syringe, after which Chelios collapses. Carlito himself is betrayed by Verona, who shoots him dead and tries to escape with his helicopter.\n\nChelios manages to stand up, boards the helicopter, and engages in a fight with Verona. After some struggle, Chelios manages to pull Verona out of the helicopter and while mid-air, Chelios proceeds to snap Verona's neck, killing him. While falling, Chelios calls Eve on his cell phone to apologize for not coming back. Chelios hits a car, bounces off it and lands right in front of the camera. In the last shot, it is implied that his adrenaline is indeed still flowing fast; his nostrils flare, he blinks, and two heartbeats are heard.\n\nCast\n Jason Statham as Chev Chelios\n Amy Smart as Eve Lydon \n Jose Pablo Cantillo as Ricky Verona \n Carlos Sanz as Carlito\n Dwight Yoakam as Doc Miles \n Efren Ramirez as Kaylo \n Keone Young as Don Kim \n Reno Wilson as Orlando\n Sam Witwer as Henchman\n Jay Xcala as Alex Verona\n Chester Bennington as Pharmacy stoner (cameo)\n Glenn Howerton as Doctor\n Noel Gugliemi as Warehouse Rooftop Hood\n\nProduction\nThe film was written in 2003 with Johnny Knoxville in mind for the lead role. \n\nRather than being shot on 35mm film like most films at the time, the filmmakers of Crank opted to shoot on digital videotape, using Canon XL2 and Sony CineAlta HDC-F950 cameras. \n\nThe film was shot on location in Los Angeles. Co-directors Mark Neveldine and Brian Taylor operated both \"a\" and \"b\" cameras, where one would get a wide shot and the other would get a close-up shot. Jason Statham did all of his own fight and car stunts, including the fight with Verona in a helicopter 3,000 feet above Los Angeles.\n\nMusic\nThe soundtrack for the film was released on August 22, 2006. Allmusic gave the album three out of five, stating \"What is here is imaginative, creative, and head-scratchingly cool. While it's a very tacky and overly obvious thing indeed to end with the Jefferson Starship tune \"Miracles\" (why not just give away the ending, huh?), this set is pretty much unassailable.\"\n\nMarketing\nDirectors Neveldine and Taylor, along with actors Statham and Ramirez, appeared at the 2006 Comic-Con Convention in San Diego, California. The panel showed a short clip and promoted the film, mentioning that it was shot in HD and that no wires or CGI were used for the stunt scenes.\n\nThe filmmakers also made extensive use of web advertisement to promote the film. Lionsgate bought a featured spot on the home page of YouTube and paid several of its well-known members to advertise.\n\nRelease\n\nBox office\nCrank opened on September 1, 2006 in North America in 2,515 theaters. It grossed $10,457,367 on its opening weekend and was ranked at No. 2 at the box office, behind Invincible. The film ended up grossing $27,838,408 domestically and $15,092,633 internationally for a total of $42,931,041, on a $12 million production budget.\n\nCritical response\nOn Rotten Tomatoes the film has a rating of 61% based on reviews from 96 critics, with an average rating of 6.00/10. The website's consensus for the film reads, \"Crank assaultive style and gleeful depravity may turn off casual action fans, but audiences seeking a strong dose of adrenaline will be thrilled by Jason Statham's raucous race against mortality\". On Metacritic the film has a weighted average score of 57 out of 100 based on reviews from 19 critics, indicating \"mixed or average reviews\". Audiences surveyed by CinemaScore gave the film a grade C+. Lionsgate chose not to screen the film for critics or the press at the time of its release.\n\nSome filmmakers and actors singled out Crank (and its sequel) as their favorite films starring Jason Statham, including Seth Rogen, Rupert Grint, Simon Pegg, James McAvoy, Edgar Wright, and Gareth Evans.\n\nHome media\nThe region 2 version of the DVD was released December 26, 2006, but initially had no special features. The region 1 DVD was released by Lionsgate on January 9, 2007. This DVD is available in separate widescreen and fullscreen editions, each with Dolby Digital 5.1 and 2.0 tracks. The bonus materials includes running cast and crew audio commentary, behind-the-scenes footage, gags, maps, making-of insights, and interviews with the cast. These features are all accessible via the \"Crank'd Out Mode\" - a pop-up window feature that allows access to the extras without ever leaving the film. The DVD also includes a \"family friendly\" audio replacement, in which the film is dubbed over as it would appear on a television broadcast. However, the violence, language subtitles, and nudity are still the same.\n\nVideo games\nA J2ME game was developed by Silverbirch Studios.\n\nSequel\n\nCrank: High Voltage is the 2009 sequel to Crank. It picks up seconds after the first film left off. It seems that the poison in Chelios' body has worn off, but retains the gimmick of the first installment; he now has an artificial heart which he must keep charged with electricity to stay alive.\n\nReferences\n\nExternal links\n\n \n \n \n \n \n \n\n2006 films\nAmerican films\n2000s English-language films\n2006 action comedy films\nAmerican action comedy films\nAmerican action films\nFilms about contract killing\nFilms about drugs\nFilms about organized crime in the United States\nFilms directed by Neveldine/Taylor\nFilms produced by Gary Lucchesi\nFilms produced by Tom Rosenberg\nFilms set in Los Angeles\nFilms shot in Los Angeles\nLakeshore Entertainment films\nLionsgate films\nFilms scored by Paul Haslinger\n2006 directorial debut films", "Christos Kostas Chelios (born January 25, 1962) is an American former professional ice hockey defenseman. He was one of the longest tenured players in the National Hockey League, and is a three-time Stanley Cup champion—one with the Montreal Canadiens and two with the Detroit Red Wings. \n \nChelios played for the Montreal Canadiens, Chicago Blackhawks, Detroit Red Wings, and the Atlanta Thrashers. When he was called up from the AHL's Chicago Wolves to play for the Thrashers during the 2009–10 NHL season, Chelios was the oldest active player in the NHL and the second oldest of all time, had played the most games of any active player in the NHL, was the last player from the 1981 NHL Entry Draft still active (or any draft from 1986 and earlier), and had the most career penalty minutes of any active player. Chelios formerly the record-holder for most games played in the NHL by a defenseman, is eighth overall with 1,651 games played, holds the record for most career playoff games played with 266 and is tied with Gordie Howe for most NHL seasons played with 26. On May 1, 2009, he appeared in the playoffs for an NHL record 24th time, having missed the playoffs only once (1997–98). Chelios is also the record-holder for most career postseason losses, with 117 (also the most in any professional sport in North America). However, he only lost one Game 7 in his career, a 3-2 OT loss in the 1985 Adams Division Finals against the Nordiques. In 2017, Chelios was named one of the '100 Greatest NHL Players' in history.\n\nChelios is of Greek heritage. His cousin, Nikos Tselios, also played professional hockey and is a former first round draft pick of the Carolina Hurricanes. Chelios was inducted into the Hockey Hall of Fame on November 8, 2013.\n\nPlaying career\n\nEarly years\nChelios was born in Chicago, Illinois on January 25, 1962, and raised by his parents, Gus and Susan Chelios. They lived in Evergreen Park, Illinois. He attended Mount Carmel High School in Chicago until his family moved to Poway, California, where he attended Mira Mesa High School.\n\nUnable to play high school hockey in Southern California, Chelios was not recruited by any U.S. colleges. His only scholarship offer came from San Diego-based United States International University, the only NCAA Division I hockey team west of the Rockies. However, when Chelios arrived on campus as a freshman in 1979, he soon realized he was in the wrong environment, facing bigger players with considerably more junior hockey experience. He was eventually cut from the team and considered quitting hockey. Instead, Chelios tried his luck in Canada, where he was twice cut by Junior B teams and hit a low point when he had to borrow money from strangers to get home to California one year. He said, \"I wasn't any bigger or any better than the other guys, so they weren't going to take a kid from the States when they could have a local guy.\"\n\nChelios returned home and grew three inches while adding 40 pounds of muscle. He was then drafted by the Montreal Canadiens in the 1981 NHL Entry Draft. Prior to that, he played for the Moose Jaw Canucks of the Saskatchewan Junior Hockey League, where he tallied 87 points and 175 penalty minutes in just 54 games in his final season. Chelios then enjoyed two strong years playing for the Wisconsin Badgers at the University of Wisconsin–Madison after being drafted. As one of the top collegiate players in the country, he was selected for the United States team at the 1982 World Junior Ice Hockey Championship. In 1983, he was part of the Badgers' NCAA Men's Ice Hockey Championship team and was named to the all-tournament team and the second WCHA all-star team.\n\nChelios was a member of the U.S. team for the 1984 Winter Olympics in Sarajevo, Yugoslavia. After that, he made his debut for the Canadiens, playing 12 games in the regular season and 15 in the playoffs. That summer he joined the U.S. team at the 1984 Canada Cup.\n\nMontreal Canadiens (1984–1990)\nIn 1984, Chelios made the Montreal Canadiens for good, distinguishing himself with his play. During his early days, he was known for his offensive abilities, and his teammates even called him \"Soft Hands Chelios.\" He earned a trip to the National Hockey League All-Star Game and was named to the 1985 NHL All-Rookie Team. He scored 64 points in 74 games, a high total for a defenseman even in the high-scoring 1980s, and finished second to Mario Lemieux for the Calder Memorial Trophy. In the playoffs that year, he had 10 points in 9 games, with a +17 plus/minus. Although he only played 41 games in the 1985–86 season, he won his first Stanley Cup, playing in front of Conn Smythe Trophy-winning goaltender Patrick Roy.\n\nFollowing two more good seasons in Montreal, Chelios really broke out in the 1988–89 campaign. He scored 73 points in 80 games at +35, was named to the All-Star First-Team, and won his first James Norris Memorial Trophy. During that year's Wales Conference (now Eastern Conference) Finals series against the Philadelphia Flyers (which the Canadiens won in six games), Chelios became reviled by Flyer fans for a dirty hit on Brian Propp that left the Philadelphia winger with a serious concussion and forced him to miss the next game. The Flyers did not retaliate against Chelios until their fate was sealed late in Game 6; Flyers goaltender Ron Hextall memorably skated out of his net to attack Chelios, earning him a 12-game suspension.\n\nAfter playing only 53 games the following season (in which he served as Canadiens' co-captain, with Guy Carbonneau, making Chelios the first non-Canadian player to captain the Canadiens), Chelios was traded to the Chicago Blackhawks on June 29, 1990 with a 2nd-round draft pick for Denis Savard. The trade occurred one day after Chelios was accused of fighting with two police officers as they tried to arrest him for urinating in public outside a bar in downtown Madison, Wisconsin, according to a criminal complaint.\n\nChicago Blackhawks (1990–1999)\nIn his first season with Chicago, Chelios continued to score at his usual rate, tallying 64 points, and earned a spot on the Second NHL All-Star Team. He helped lead the Blackhawks to the Stanley Cup Final in 1992, where they were swept by the Pittsburgh Penguins. He was in top form for the 1992–93 season, scoring 73 points and winning his second James Norris Memorial Trophy. His Norris Trophy-winning play, which some sports reporters referred to as \"Sweet\", earned him the nickname \"Honey Nut\". The nickname derives from his name being spelled and pronounced similarly to the famous breakfast cereal, Honey Nut Cheerios.\n\nDuring the 1994–95 NHL lockout he played for EHC Biel in the Swiss National League A.\n\nFor the 1995–96 season, Chelios was named captain of the Blackhawks, a role he served in until 1999. He enjoyed another fine season, scoring 72 points and winning his third James Norris Memorial Trophy. In the summer of 1996, he helped lead the United States to its biggest international hockey win since the 1980 Winter Olympics, as the Americans defeated Canada in the 1996 World Cup of Hockey. Chelios was named to the All-Tournament Team.\n\nDetroit Red Wings (1999–2009)\nAt 37, Chelios could still help teams with his veteran leadership and his largely remaining talent. On March 23, 1999, he was traded to the Detroit Red Wings for Anders Eriksson and two first-round draft picks.\n\nThe move to Detroit, where he had fewer responsibilities and more skilled teammates, helped keep Chelios playing at close to his peak level. In 2002, his +40 plus/minus led the league, and he was again named to the First All-Star Team. He also led the United States hockey team to a silver medal in the 2002 Winter Olympics, and was named to the Tournament's All-Star Team. His season culminated in the Red Wings' victory over the Carolina Hurricanes in the Stanley Cup Finals, giving Chelios his second Stanley Cup.\n\nIn 2004, because of the cancellation of the NHL season, Chelios, along with fellow Red Wing teammates Derian Hatcher and Kris Draper, decided to play hockey for the Motor City Mechanics, a UHL team based out of Fraser, Michigan. He was heavily criticized for this decision as the UHL has a maximum salary in place, but at the same time he was strongly against a salary cap in the NHL. In October 2004 he trained with the U.S. bobsled federation in a bid to compete for the Greek bobsled team at the 2006 Winter Olympics. While Chelios didn't compete in the bobsled, he did captain the USA hockey team at the 2006 Winter Olympics in Turin, Italy.\n\nOn August 4, 2005, the 43-year-old re-signed with the Red Wings for a one-year contract. On May 24, 2006, Chelios re-signed a one-year contract with the Detroit Red Wings. On July 3, 2006, Chelios became the active leader for most games played upon the retirement of teammate Steve Yzerman. On April 21, 2007, he became the oldest defenseman to score a short-handed goal in the NHL in a playoff game against the Calgary Flames.\n\nChelios was the captain of the US Olympic Hockey Team that played at the 2006 Winter Olympics in Torino, Italy. By participating in ice hockey at the 2006 Winter Olympics, Chelios set a new standard, by becoming the first player to take part in an Olympic ice hockey tournament, twenty-two years after he played in his first. The old record was set by Swiss hockey player Bibi Torriani who had played twenty years after his debut (1928 and 1948).\n\nChelios re-signed with the Detroit Red Wings for the 2007–08 season. On January 8, 2008, Chelios became the second oldest player in the history of the NHL, at 45 years, 348 days, passing Moe Roberts. Only Gordie Howe, who played until age 52, was older. On April 12, 2008, Chelios played in his 248th playoff game, breaking the NHL record set by Hall of Fame goaltender Patrick Roy. Later that season, Chelios also became the oldest active player to win the Stanley Cup.\n\nChelios signed another one-year contract with the Red Wings for the 2008–09 season. On December 5, 2008, Chelios played in his first of two games for the Grand Rapids Griffins, the American Hockey League (AHL) farm club for the Red Wings, as part of a conditioning stint. At 46 years of age, he became the oldest player in the 73-year history of the AHL. At the conclusion of the 2008–09 season, Chelios was a finalist for the Bill Masterton Memorial Trophy.\n\nChicago Wolves and Atlanta Thrashers\nAfter the Red Wings announced that they would not be re-signing Chelios, he signed a 25-game pro tryout contract with the Chicago Wolves. After a second 25-game pro tryout contract with the Wolves, Chelios signed a two-way contract with the Atlanta Thrashers. Chelios remained with the Wolves until he was recalled to the Thrashers, hoping that he could provide a spark for the team's playoff hopes. He played in seven games for the Thrashers, but failed to record any points. On April 7, 2010, Chelios was sent back to the Wolves.\n\nRetirement, transition to Wings front office, and broadcasting\nOn August 31, 2010, Chelios officially retired. He was 48 years of age. The same day, Red Wings general manager Ken Holland announced that Chelios would be hired to work in the Red Wings' front office. He was named Adviser to Hockey Operations, with a role of working with Red Wings' defense prospects in Grand Rapids.\n\nIn 2013, it was announced that Chelios would become an NHL analyst on FS1, which also included covering the hockey tournament in the 2014 Winter Olympics.\n\nIn 2016, Chelios, along with former Red Wings teammate Brett Hull, was added to ESPN’s roster of analysts for their coverage of the 2016 World Cup of Hockey, which ESPN had picked up the U.S. broadcast rights to, after NBC pulled out due to scheduling conflicts. \n\nIn July 2018, Chelios announced that he was leaving the Detroit area, and the Red Wings front office, to return to Chicago to be close to his family. At the same time, the Chicago Blackhawks announced that Chelios was being brought on board to serve as an ambassador for the franchise.\n\nIn 2021, after ESPN regained the rights to broadcast the NHL, Chelios rejoined the network for their coverage. Chelios serves the same studio analyst role he held for the 2016 World Cup of Hockey, and sits alongside Barry Melrose and Mark Messier, joining Steve Levy for games on ESPN, ABC, and ESPN+.\n\nCoaching career\nOn June 17, 2015, USA Hockey named Chelios an assistant coach for Team USA at the 2016 World Junior Ice Hockey Championships.\n\nOn June 23, 2015, Chelios was named to the Red Wings coaching staff, where he will continue to play a role in player development, by working on-ice with the team's defensemen during practices. His job involved evaluating in-game player performance and offering his insight and observations to Red Wings bench coaches. He would also attend all home games, and on occasion, join the club on the road.\n\nInternational play\nChelios has participated in 11 international tournaments for the United States:\n1980 World Junior Ice Hockey Championships\n1982 World Junior Ice Hockey Championships\n1984 Winter Olympics\n1984 Canada Cup\n1987 Canada Cup\n1991 Canada Cup\n1996 World Cup of Hockey (alternate captain)\n1998 Winter Olympics (captain)\n2002 Winter Olympics (captain)\n2004 World Cup of Hockey (captain)\n2006 Winter Olympics (captain)\n\nIn 2020, Chelios was named into the IIHF All-Time USA Team.\n\nPersonal life\nChelios grew up in Chicago, Illinois, where his father, Constantine \"Gus\" Chelios, owned a chain of Greek restaurants. The family name was originally \"Tselios\", but Gus chose to change the family's spelling. The family moved to Poway, California, in 1977, when his father left his struggling business in Chicago to open a restaurant in the San Diego area. He was a Chicago Blackhawks fan during his childhood but was more focused on football, idolizing Chicago Bears linebacker Dick Butkus. Chelios attended Mount Carmel High School (Chicago) before his family moved west, and then finished prep studies at Mira Mesa Senior High School in San Diego.\n\nChelios and his wife Tracee were married in 1987. They met while students at the University of Wisconsin–Madison. They have four children: Dean (born 1989), Jake (born 1991), Caley (born 1993), and Tara (born 1996). Dean Chelios, a forward, scored a pair of power play goals to help his Cranbrook-Kingswood high school team win the 2006 Division III Michigan state high school hockey championship. Dean played for the Chicago Steel of the USHL in Bensenville, Illinois, and last played in 2016 for the Wichita Thunder of the ECHL. In May 2009, Jake was drafted by 49th overall by the Chicago Steel, and joined his brother at Michigan State. Jake is a defenseman, like his father, and currently plays with the Grand Rapids Griffins in the Detroit Red Wings organization. Caley graduated from Northwestern University and is currently a reporter for the Chicago Blackhawks.\n\nChelios was very active in charitable causes during his playing time in Chicago, founding Cheli's Children.\"\n\nChris is the older brother of former minor-leaguer Steve Chelios, and cousin of former NHL player Nikos Tselios.\n\nThrough his career, Chelios has befriended many non-hockey athletes and entertainers. In 2004, he and surfer Laird Hamilton trained with the U.S. bobsled team and hoped to form the first Greek bobsled team at the 2006 Winter Olympics. Chelios and his family can be found Stand up paddle surfing with Hamilton. Chris credits the activity with helping him maintain his long career.\n\nOn Scrubs, Dr. Perry Cox, played by Chelios' friend John C. McGinley, often wears a Red Wings jersey with Chelios' name and number. During the fourth season of the show, which was concurrent with the 2004–05 lockout, Cox was seen on at least one occasion wearing a No. 24 \"Motor City Mechanics\" jersey. Chelios is also close friends with actors John Cusack and D. B. Sweeney, Pearl Jam frontman Eddie Vedder, Smashing Pumpkins frontman Billy Corgan, and musician Kid Rock. Chelios was sitting courtside with Kid Rock during the Pacers-Pistons brawl at the Palace of Auburn Hills on November 19, 2004. Chelios and Sweeney are quite close, with the two having appeared together in The Cutting Edge (1992) and Two Tickets to Paradise (2007), in addition to Chelios being the godfather to Sweeney's son, Cade.\n\nChelios was a regular at Michigan State University hockey games, cheering on his sons Jake and Dean.\n\nDUI arrest\nOn December 28, 2009, in Westmont, Illinois, Chelios was arrested for driving under the influence. He was the only occupant of the vehicle that was stopped at 4 a.m. The vehicle was towed and Chelios was taken to the Westmont station, where he was charged, processed, and posted bond. In March 2010, a judge reviewed the video tape of the arrest. The case was dismissed for lack of probable cause to stop, and evidence the tape provided that Chelios was not impaired. He was however fined for improper lane usage and speeding.\n\nMalibu Mob\nChelios maintains a home in Malibu, California, and is well known as a member of the group of celebrity home owners and friends called the Malibu Mob. Other members include tennis great John McEnroe, big-wave surfer Laird Hamilton and his wife beach volleyball pro Gabrielle Reece, musicians Tim Commerford and Kid Rock, and actors John C. McGinley, John Cusack, Kelsey Grammer, Tony Danza, Justin Long, and Ed O'Neill.\n\nBusiness\n\nChelios has owned restaurant/bars in both the Chicago and Detroit areas, all under the name Cheli's Chili Bar. The first operated on West Madison Street in Chicago (near the United Center) in the 1990s, but closed after his move to the Red Wings. A new Cheli's opened in Dearborn in 2003, followed by a second location in Detroit in 2006 and a third in Clinton Township in 2008. All three are now closed, with the Detroit location shuttering in 2018 upon Chelios returning to live in the Windy City. He has indicated a desire to open a new restaurant in the Chicago area.\n\nOn January 2, 2007, two employees of Cheli's in Detroit were fatally stabbed: Megan Soroka, 49, a manager at the restaurant, and Mark Barnard, 52, a chef. Police arrested Justin Blackshere, 17, who confessed to the crime. He was a busboy at the restaurant and was fired in November 2006. Blackshere's pregnant girlfriend had also been fired from her job as a dishwasher. Chelios took a leave of absence from the Red Wings to help the families of his murdered employees. He said, \"I'll come back when I feel ready and the families feel ready. I'm just going to try to get through this day by day with everybody.\" On January 9, 2007, the Red Wings announced that Chelios would be playing that night. Blackshere was found guilty of murder in the first degree on August 22, 2007 and was sentenced to life in prison without parole on September 7, 2007.\n\nCareer statistics\nBold italics indicate NHL record\n\nRegular season and playoffs\n\nInternational\n\nAwards and honors\n\nRecords\n\nNHL\nGames played in the regular season by a defenseman (1,651)\nGames played in the playoffs (266)\n\nSee also\nList of NHL players with 1,000 games played\nList of NHL players with 2,000 career penalty minutes\n\nReferences\n\nExternal links\n \n Chris Chelios' bio @ hockeydraftcentral.com\n Chris Chelios: Made in America by Chris Chelios, Kevin Allen\n\n1962 births\nAmerican expatriate sportspeople in Switzerland\nAmerican men's ice hockey defensemen\nAmerican people of Greek descent\nAmerican restaurateurs\nAtlanta Thrashers players\nBusinesspeople from Chicago\nChicago Blackhawks captains\nChicago Blackhawks players\nChicago Wolves players\nDetroit Red Wings coaches\nDetroit Red Wings personnel\nDetroit Red Wings players\nEHC Biel players\nGrand Rapids Griffins players\nHockey Hall of Fame inductees\nIce hockey players from Illinois\nIce hockey players at the 1984 Winter Olympics\nIce hockey players at the 1998 Winter Olympics\nIce hockey players at the 2002 Winter Olympics\nIce hockey players at the 2006 Winter Olympics\nIIHF Hall of Fame inductees\nJames Norris Memorial Trophy winners\nLiving people\nMedalists at the 2002 Winter Olympics\nMontreal Canadiens draft picks\nMontreal Canadiens players\nMoose Jaw Canucks players\nNational Hockey League All-Stars\nOlympic silver medalists for the United States in ice hockey\nPeople from Evergreen Park, Illinois\nStanley Cup champions\nUnited States men's national ice hockey team coaches\nWisconsin Badgers men's ice hockey players\nNCAA men's ice hockey national champions" ]
[ "Nickelback", "Curb and The State (1996-2000)" ]	C_d506639b766c4317b6e3b986b4e91860_1	When was Curb released?	1	When was Curb released?	Nickelback	In 1996, the band recorded and released their first full-length album, Curb. "Fly" was included on both Hesher and Curb and was the first single produced by Nickelback. In 1997, Brandon Kroeger left the band and the band searched for a new drummer. Later that year Mitch Guindon joined the band, but he decided to leave in 1998 because he started working in a car company. In Summer 1998, Ryan Vikedal joined the band. Roadrunner A&R Ron Burman told HitQuarters that one of his West Coast scouts sent him the self-released album and, suitably impressed, he travelled to Vancouver to see them perform live. Although an unknown property in the industry at the time, the venue was packed out. In Burman's words: "I immediately got the chills! I thought their song 'Leader of Men' was a smash hit." Off the stage he was impressed by their industry and initiative in managing their career. Despite this, it still took Burman three months for him to convince his label bosses to approve the signing, a decision that would mark Roadrunner's first move into mainstream rock. Nickelback signed a record deal with EMI and Roadrunner Records in 1999. The State, was released by Nickelback in 2000 by Roadrunner Records and EMI Canada. The State, was released in Europe in 2001. It spawned 4 singles: "Old Enough", "Worthy to Say", "Leader of Men" and "Breathe", the last two being Top 10 rock hits. The album was the band's first album to be certified gold status and it later went into platinum status in 2008, after the success of their later albums. The album entered the Billboard 200 at number 130 and peaked at number 3 in the Billboard Top Heatseekers albums chart and peaked at number 6 on the Billboard Top Independent albums chart. CANNOTANSWER	In 1996, the band recorded and released their first full-length album, Curb. "	Nickelback is a Canadian rock band formed in 1995 in Hanna, Alberta. It is composed of guitarist and lead vocalist Chad Kroeger, guitarist, keyboardist and backing vocalist Ryan Peake, bassist Mike Kroeger, and drummer Daniel Adair. It went through several drummer changes between 1995 and 2005, achieving its current lineup when Adair replaced Ryan Vikedal. Nickelback is one of the most commercially successful Canadian rock bands, having sold more than 50 million albums worldwide. In 2009, Billboard ranked it the most successful rock group of that decade; "How You Remind Me" was the best-selling rock song and the fourth-best overall. The band ranked at No. 7 on the Billboard top artist of the decade list, with four albums among the publication's top albums of the decade. The band signed with Roadrunner Records in 1999 and re-released its once-independent second studio album The State. This album was commercially successful, as was its follow-up, Silver Side Up, in 2001. The band then released its biggest hit, "How You Remind Me", a No. 1 on the Billboard and Canadian Singles Charts. The fourth album, The Long Road, was released in 2003 and spawned five singles, including Canadian No. 1 "Someday", which also reached No. 7 on the Billboard Hot 100. In 2005, the band's best-selling album to date, All the Right Reasons, produced three top-ten and five top-twenty singles on the Billboard Hot 100, including "Photograph", "Far Away", and "Rockstar". Dark Horse sold well in 2008, producing eight singles, one cracking the top ten on the Billboard Hot 100 and two in the top twenty. In 2011, the seventh album, Here and Now, topped the charts. The eighth, No Fixed Address, was released in 2014, followed by Feed the Machine in 2017. Nickelback is based in Vancouver, British Columbia. It originally published through EMI Canada before signing a global distribution deal with Roadrunner Records. For Here and Now, it left EMI Canada for Universal Music Canada. History Formation (1995) The band was formed in the early 1990s as a cover band called "Village Idiot" by brothers Mike and Chad Kroeger with their cousin Brandon Kroeger and Ryan Peake. The band later changed its name to Nickelback, which originated from the nickel in change that band member Mike Kroeger gave customers at his job at Starbucks; he would frequently say, "Here's your nickel back." The band performed covers of songs from Led Zeppelin and Metallica. Chad Kroeger then asked his step-father to give him $4,000 so that the band could record their first demo, a seven-track EP of original material, called Hesher (1996). The band spent half the money to record the EP, and spent the other half on magic mushrooms. Curb and The State (1996–2000) In 1996, the band recorded and released their first full-length album, Curb. "Fly" was included on both Hesher and Curb and was the first single produced by Nickelback. In 1997, Brandon Kroeger left the band and the band searched for a new drummer. Later that year Mitch Guindon joined the band, but he decided to leave in 1998. While initially reported due to him starting work at a car company, Guindon's departure came due to him "not [being] meant for the road". Chad Kroeger stated that his skin was not able to handle cold weather and they convinced him to leave. In Summer 1998, Ryan Vikedal joined the band. Roadrunner A&R Ron Burman told HitQuarters that one of his West Coast scouts sent him the self-released album and, suitably impressed, he travelled to Vancouver to see them perform live. Although an unknown property in the industry at the time, the venue was packed out. In Burman's words: "I immediately got the chills! I thought their song 'Leader of Men' was a smash hit." Off the stage he was impressed by their industry and initiative in managing their career. Despite this, it still took Burman three months for him to convince his label bosses to approve the signing, a decision that would mark Roadrunner's first move into mainstream rock. Nickelback signed a record deal with EMI and Roadrunner Records in 1999. The State was released by Nickelback in 2000 by Roadrunner Records and EMI Canada, followed by its release in Europe in 2001. It spawned 4 singles: "Old Enough", "Worthy to Say", "Leader of Men" and "Breathe", the last two being Top 10 rock hits. The album was the band's first album to be certified gold status and it later went into platinum status in 2008, after the success of their later albums. The album entered the Billboard 200 at number 130 and peaked at number 3 in the Billboard Top Heatseekers albums chart and peaked at number 6 on the Billboard Top Independent albums chart. Silver Side Up and The Long Road (2001–2004) Around 2001, Chad Kroeger started "studying every piece, everything sonically, everything lyrically, everything musically, chord structure. I would dissect every single song that I would hear on the radio or every song that had ever done well on a chart and I would say, 'Why did this do well?'" Kroeger said that Nickelback's single "How You Remind Me" sold so well because it was about romantic relationships, a universal subject, and contained memorable hooks. To record their third album Silver Side Up, Nickelback collaborated with producer Rick Parashar. The album was written before the release of The State and was recorded at the same studio. The album was released on Tuesday, September 11, 2001. The album peaked at number two on the Billboard 200 with over 177,000 copies sold in its first week and peaked at number one at the Canadian albums chart, making it the band's first album to do so. The single "How You Remind Me" was a number one single on the Mainstream and Modern rock charts, as well as the pop chart. It also peaked at number two on Adult Top 40 and became the Billboard Hot 100 number one single of the year for 2002. The next single was "Too Bad", which also reached number one on the Mainstream Rock Chart. The final single from the album was "Never Again", which also hit number one on Mainstream Rock. In 2002, Chad Kroeger collaborated with Josey Scott on the Spider-Man theme song, "Hero". This recording also featured Tyler Connolly, Mike Kroeger, Matt Cameron, and Jeremy Taggart. In 2002, Nickelback released their first DVD Live at Home. On August 19, 2002, an incident occurred while the band was performing at the Ilha do Ermal festival in Portugal. While performing the second song of their set, Chad Kroeger was sprayed with a full bottle of water hurled from somewhere within the audience. After finishing the song, Chad asked the crowd, "Do you want to hear some rock 'n' roll or do you want to go home?" A person in the audience then threw a rock at Chad's head. The band then left stage, with Chad and Vikedal giving the finger to the audience as they left. The band's label, Roadrunner, posted video footage of the entire incident on their website. In 2003, Nickelback released The Long Road. The album was certified 3x Platinum by the RIAA in March 2005 and it had sold 3,591,000 copies as of April 2011. It has sold over 5 million copies worldwide and, in 2003 alone, the album sold 2 million copies worldwide. It debuted at No. 6 on the Billboard 200. This was their first album produced by Joey Moi, a former classmate of the band's. The Long Road was ranked No. 157 on Billboards 200 Albums of the Decade. It spawned five singles. The lead single was "Someday". The band also released "Feelin' Way Too Damn Good" as a single, which peaked at number three on the Mainstream Rock Charts. "Figured You Out" was also released as a single and topped the Mainstream Rock Charts for 13 consecutive weeks. All the Right Reasons (2005–2007) Just after New Year's Day 2005, drummer Ryan Vikedal was replaced by 3 Doors Down's drummer Daniel Adair. Nickelback promptly went into the studio with their new drummer from January through May 2005. The sessions resulted in their fifth studio album, All the Right Reasons which was released on October 3, 2005. It peaked at number one on the Billboard 200 with 323,350 copies in its first week in the United States, as well as producing five U.S. Hot 100 top 20 singles: "Photograph", "Savin' Me", "Far Away", "If Everyone Cared" and "Rockstar". Three of these became U.S. Hot 100 top 10 singles. Also, the album peaked at number one on the Canadian albums chart. The album sold more than 12 million singles and over 9 million ringtones. The album also made Nickelback the first band in Nielsen BDS history to have 5 singles on the CHR charts. It included appearances by Billy Gibbons of ZZ Top, who played a guitar solo on the song "Follow You Home" and sang backing vocals on "Rock Star"—and a posthumously sampled appearance by Chad Kroeger's friend Dimebag Darrell from Pantera, culled from guitar outtakes. All the Right Reasons had sold over 7 million copies in the U.S. to June 19, 2010. The band spent much of 2006 and 2007 touring across the globe. In the fall of 2006, the band opened for Bon Jovi on the European leg of the Have a Nice Day Tour. Over 2 million fans attended Nickelback's shows during those two years. The band played at Sturgis, South Dakota to over 35,000 people at the 2006 Sturgis Bike Rally. The performance was filmed with 15 high-definition cameras. They released the DVD and Blu-ray of it in 2009, several years after the performance. In November 2006, the band won an American Music Award for best pop/rock album, surprising the band itself. "We just kinda showed up because we were supposed to give one of these away tonight," Chad Kroeger said after receiving the award. Chad Kroeger added he had thought the Red Hot Chili Peppers would win the award. Dark Horse (2008–2010) After taking much of 2007 off, the band started recording a new album in earnest. In July 2008, the band signed with Live Nation for three touring and album cycles, with an option for a fourth. On September 4, 2008, it was announced that the first single from the upcoming album would be "If Today Was Your Last Day", to be released on September 30, 2008. This announcement was however never confirmed: Roadrunner Records actually chose to release another song, "Gotta Be Somebody," as the first single. It became Nickelback's 5th and so far final single to hit the No. 1 spot on the U.S. Adult Top 40 chart. The new album, produced by Mutt Lange and titled Dark Horse, was released on November 18, 2008. "Something in Your Mouth" was released as the second single to rock radio only on December 15, 2008, where it reached number one. "If Today Was Your Last Day" was eventually released as a single after all on March 31, 2009: it became the third single from the album. Four more singles were released later in 2009, "I'd Come for You", "Burn It to the Ground" and "Never Gonna Be Alone" released in September and "Shakin' Hands" as the seventh single on November 16. Its eighth single, "This Afternoon", was released on March 23, 2010. Dark Horse was certified platinum by the Recording Industry Association of America (RIAA) on December 9, 2008, only three weeks after its North American release. All eight singles were major hits which finished at or near the top of at least one high-profile chart. On November 26, 2008, the band announced the tour for the support of the album. Live Nation produced the tour and the band kicked off in Nashville, Tennessee, with Seether, and Saving Abel as their opening acts. The band then announced that they were about to tour in the UK with Black Stone Cherry as their opening act. The band then announced the second leg of the tour of North America with the opening acts being Hinder, Papa Roach, and once again, Saving Abel. The band then went on tour around Australia and New Zealand with Sick Puppies as their supporting act. For the second leg of the Europe tour, the band played with their opening act Daughtry. The third leg of the North America tour kicked off with Breaking Benjamin, Sick Puppies and Shinedown opening up for the band. The band concluded their tour with the fourth leg in North America which included Buckcherry and Three Days Grace. The tour was very successful and the band sold over 1.6 million tickets with 146 shows. The album also remained in the top 20 on the Billboard 200 for weeks after its release. The album was certified two times platinum in April 2009, and had by April 2010 sold over 3 million copies in the U.S. However, critical reception of the album has been mostly mixed to negative. In 2009, the band won three Juno Awards for Juno Fan Choice Award, group of the year, and album of the year; the band performed their single "Something In Your Mouth" at the ceremony. In 2010, Billboard year end charts listed Dark Horse as the top-selling rock and metal album of the year. The band was also listed at the top selling hard rock artist. On January 29, 2010 they released a Tap-Tap rhythm game for on the App Store, contrary to the band's prior comments against other music related video games such as Guitar Hero. On February 28, 2010, Nickelback gave a performance at the beginning of the concert portion of the 2010 Winter Olympics closing ceremony, performing "Burn It to the Ground". In October 2010 Nickelback finished their Dark Horse Tour. Here and Now (2011–2013) Chad Kroeger said in an interview with Billboard.com in September 2010 that songwriting for the next Nickelback album was planned to commence as early as February 2011 with "about four tunes" already in mind. Adair mentioned that the band wanted to go back to the musical style of All The Right Reasons, which he described as "more organic." Nickelback announced their new album, Here and Now, on September 8, 2011, along with its two lead singles, "Bottoms Up" and "When We Stand Together". Kroeger said "We’re four people who love making music, the way we like to make it. We entered the studio this year with a vision, and it all came together. We’re extremely happy with the results, and can’t wait to share them with our fans." The album was released on November 21, 2011, with the band calling it "Nickelblack Monday", a play on Nickelback and Black Monday. Two singles were released to radio stations on September 26, and September 27 for purchase on iTunes. Here and Now peaked at number two on the Billboard 200, selling 226,714 copies in its first week of release, with Christmas by Michael Bublé taking number one by a margin of only 419 copies. As part of promotion for the album, Nickelback was booked to perform at the halftime shows for both an NFL Thanksgiving Day game at Ford Field in Detroit on November 24, and the 99th Grey Cup in the band's hometown of Vancouver on November 27. Also, as a promotion the band played to Jimmy Kimmel upon the album's release. The band is nominated for 4 Juno Awards in 2012, and scheduled to perform at the ceremony. Nickelback announced their Here and Now Tour on January 11, 2012, they are going to tour with Seether, Bush and My Darkest Days. The band released a music video for their fourth single off of the album Lullaby. The band officially announced the compilation album The Best of Nickelback Volume 1 through social media on October 3, 2013. Frontman Chad Kroeger had previously stated in an interview that the greatest hits album was to feature songs from previous albums along with new songs but the unveiled track listing ultimately contained only previously released material. No Fixed Address and Feed the Machine (2014–2018) According to an interview with Chad Kroeger on CFOX-FM, the band planned to release their eighth studio album before the end of 2014. The lead rock single was also announced, "Edge of a Revolution", was released in August 2014. The track was described as a 'departure' for Nickelback and a political song. Frequent collaborator Chris Lord-Alge returned to mix some of the tracks on the album. It was also announced the band had signed to Republic Records. The lead single from the album is titled "Edge of a Revolution", and was scheduled to be sent for adds on Rock radio and be released to iTunes on August 18. The lead pop single, and second overall, was announced to be "What Are You Waiting For?", and was released in September. "What Are You Waiting For?" was released as a single on digital retailers on September 9, 2014. On August 22, 2014, Nickelback announced the album's title to be No Fixed Address, and released it on November 17, 2014. No Fixed Address Tour was their fifth headlining concert tour, in support of No Fixed Address. The tour was announced on November 5, 2014, as well as The Pretty Reckless, Pop Evil, and Lifehouse as the support act for the majority of the shows in North American while Monster Truck was support act in Australia and Europe (2016). The second North American leg of the tour had to be canceled when lead vocalist Chad Kroeger required surgery for a cyst on his voice box. The entire leg of the European tour was postponed until Autumn 2016. On August 19, 2016, Nickelback released a cover of Don Henley's song "Dirty Laundry" to streaming services. On January 23, 2017, a new single, "Feed the Machine" was announced to be released on February 1, alongside specific details of a 2017 tour. On January 25, Nickelback signed with BMG Rights Management to release their ninth album, also titled Feed the Machine. The album was released on June 16, 2017. The band released their second single from the album, "Song on Fire", on April 28, 2017. Shortly after the release of the album, the band began a 44-city tour on June 23, 2017 in North America, co-headlined with Daughtry, Shaman's Harvest and Cheap Trick as supporting acts. Upcoming tenth studio album (2019–present) In early 2019, band members spoke of recording a tenth studio album, though Chad Kroeger conceded there was no timetable or rush for the band to complete it. Mike Kroeger spoke of his personal desire to move in more of a heavy metal direction, or wanting to do an album of Slayer cover songs. On August 14, 2020, the band released a cover of The Charlie Daniels Band song "The Devil Went Down to Georgia", featuring Dave Martone. Musical style and influences Nickelback has been described as various genres, including post-grunge, hard rock, pop rock, alternative rock, heavy metal, alternative metal, and nu metal. Their earlier sound has been classified as grunge. Nickelback have cited bands and musicians such as Creedence Clearwater Revival, Bob Marley, Metallica, Nirvana, Red Hot Chili Peppers, and U2 as influential or inspirational. Reception Review aggregator Metacritic reports that five of Nickelback's six most recent studio albums since becoming a mainstream act—The Long Road, All the Right Reasons, Dark Horse, Here and Now, and No Fixed Address—have scores of 62, 41, 49, 51, and 54, respectively, out of 100, indicating generally mixed reviews. AllMusic reviewer Liana Jones gave their first commercially successful album, Silver Side Up, 3 stars out of 5, and complimented their "intensity and raw passion" and realistic storytelling. Despite their commercial success, Nickelback has been the subject of numerous jokes and a vocal negative response for some audiences, some of which is attributed to the perceived derivative, repetitive and formulaic nature of their music, as well as their over-use of hedonistic themes involving strippers, sex, prostitutes, drugs, and alcohol consumption. However, in a review for the band's latest album Feed the Machine, AllMusic reviewer Stephen Thomas Erlewine noted that they had mostly done away with the crude and vulgar lyrical content they'd become known for, and praised the band for evolving their sound. In the 2010s, Nickelback became the subject of internet memes that were critical of their music, a status that the band came to embrace. In May 2013, the readers of Rolling Stone magazine named Nickelback the second-worst band of the 1990s, behind only Creed. In November 2011, users of the music-oriented dating site Tastebuds.fm voted Nickelback as the number one "musical turnoff." In March 2019, U.S. representatives Mark Pocan and Rodney Davis got into a friendly debate of the merits of the band while speaking on the floor of the House of Representatives. In an interview in 2014, Kroeger commented that the criticism helped him "grow a thick skin," and that without it, they would be "this just whatever band." Following their 2008 album, Dark Horse, ChartAttack credited the band's success to knowing their target audience: "Chad Kroeger is a genius because he knows exactly what people want and precisely how far he can go. He turned out an extremely racy album that's loaded with songs about gettin' drunk and doin' it all without breaking any taboos, and with enough love and moral authority to grease its passage into the mainstream. Rejoice, North America. This is your world." Billboard gave praise to the band: "The bulletproof Nickelback provides affordable fun that promises good returns in hard times." Various fellow musicians like Chris Martin of Coldplay as well as R&B singers Timbaland and Keyshia Cole support the band. Band membersCurrent members Chad Kroeger – lead vocals, lead guitar (1995–present); rhythm guitar (2008–present) Ryan Peake – rhythm guitar, backing vocals (1995–present); keyboards (2002–present); lead guitar (2008–present) Mike Kroeger – bass (1995–present) Daniel Adair – drums, percussion, backing vocals (2005–present)Former members''' Brandon Kroeger – drums (1995–1997) Mitch Guindon – drums (1997–1998) Ryan Vikedal – drums, percussion (1998–2005) Timeline Discography Studio albumsCurb (1996)The State (1998)Silver Side Up (2001)The Long Road (2003)All the Right Reasons (2005)Dark Horse (2008)Here and Now (2011)No Fixed Address (2014)Feed the Machine'' (2017) Awards 2003 – Won SOCAN International Achievement Award for the song "How You Remind Me" 2004 – Won SOCAN International Achievement Award 2005 – Won SOCAN International Achievement Award 2007 – Won SOCAN International Achievement Award 2008 – Won SOCAN International Achievement Award References External links Atlantic Records artists 1995 establishments in Alberta Canadian alternative metal musical groups Canadian hard rock musical groups Canadian heavy metal musical groups Canadian pop rock music groups Canadian post-grunge groups Juno Award for Single of the Year winners Musical groups established in 1995 Musical groups from Alberta Musical quartets Republic Records artists Roadrunner Records artists Juno Award for Album of the Year winners Juno Award for Breakthrough Group of the Year winners Juno Award for Rock Album of the Year winners Juno Award for Group of the Year winners Juno Fan Choice Award winners Musical families	true	[ "Star De Azlan (born Esther Gonzalez) is an American country music singer. Signed to Curb Records in 2007, she released her debut single \"She's Pretty\" in early 2008; the song peaked at No. 51 on the Billboard Hot Country Songs charts.\n\nDe Azlan's parents owned a family restaurant in San Marcos, Texas, where her father would sometimes feature mariachi music. After performing at Fiesta San Antonio when she was 12, she returned often to perform in the city's Market Square area. While attending San Marcos High School (Texas), she was in the school's mariachi band and performing regularly at Cheatham Street, a local live music venue, as well. While performing at Cheatham Street, she was asked to audition for Curb Records after label head, Mike Curb heard her perform.\n\nDe Azlan released her debut single under Curb Records titled \"She's Pretty\" in 2007. On the chart week ending January 14, 2008, \"She's Pretty\" debuted at number 52 on the U.S. Billboard Hot Country Songs chart; it reached a peak of number 51 in its second week and spent eight weeks on the chart. It was followed in 2009 by her second single, \"Like a Rose,\" which failed to chart. A third single, \"A Man Who Can Dance,\" was released in 2011, and also failed to chart before de Azlan and Curb eventually parted ways.\n\nDiscography\n\nExtended plays\n\nSingles\n\nMusic Videos\n\nReferences\n\nAmerican women country singers\nAmerican country singer-songwriters\nCurb Records artists\nLiving people\nAfrican-American country musicians\nYear of birth missing (living people)\nAfrican-American songwriters\nAfrican-American women musicians\n21st-century African-American people\n21st-century African-American women", "was a Japanese record producer from Hiroshima. He was based in Kyoto. He was one half of the duo Yanokami along with Akiko Yano.\n\nBiography\nRei Harakami released his debut EP, titled Rei Harakami EP, in 1997. His first studio album, Unrest, was released in 1998. It was followed by Opaq (1999), Red Curb (2001), and Lust (2005).\n\nHe died of a brain hemorrhage on 27 July 2011.\n\nDiscography\n\nStudio albums\n Unrest (1998)\n Opaq (1999)\n Red Curb (2001)\n Lust (2005)\n The World of Kawagoe Rendezvous (2011)\n\nCompilation albums\n Wide world (1990–1991)\n Small world: rei harakami selected works 1991–1993 (1991–1993)\n Trace of Red Curb (2001)\n Wasuremono (2006)\n Colors of the Dark (2006) \n Asage: Selected Re-Mix & Re-Arrangement Works 1 (2009)\n Yūge: Selected Re-Mix & Re-Arrangement Works 2 (2009)\n\nSoundtrack albums\n Tennen Kokekkō (2007)\n\nEPs\n Rei Harakami EP (1997)\n November EP (1998)\n Blind / Swap EP (2000)\n Joy for Joy EP (2005)\n Evaporater EP (2006)\n\nSingles\n \"Red Curb Again\" (2001)\n\nReferences\n\nExternal links\n \n\n1970 births\n2011 deaths\nJapanese electronic musicians\nMusicians from Hiroshima Prefecture\n20th-century Japanese musicians" ]
[ "Nickelback", "Curb and The State (1996-2000)", "When was Curb released?", "In 1996, the band recorded and released their first full-length album, Curb. \"" ]	C_d506639b766c4317b6e3b986b4e91860_1	What singles were on that album?	2	What singles were on Curb and The State album?	Nickelback	In 1996, the band recorded and released their first full-length album, Curb. "Fly" was included on both Hesher and Curb and was the first single produced by Nickelback. In 1997, Brandon Kroeger left the band and the band searched for a new drummer. Later that year Mitch Guindon joined the band, but he decided to leave in 1998 because he started working in a car company. In Summer 1998, Ryan Vikedal joined the band. Roadrunner A&R Ron Burman told HitQuarters that one of his West Coast scouts sent him the self-released album and, suitably impressed, he travelled to Vancouver to see them perform live. Although an unknown property in the industry at the time, the venue was packed out. In Burman's words: "I immediately got the chills! I thought their song 'Leader of Men' was a smash hit." Off the stage he was impressed by their industry and initiative in managing their career. Despite this, it still took Burman three months for him to convince his label bosses to approve the signing, a decision that would mark Roadrunner's first move into mainstream rock. Nickelback signed a record deal with EMI and Roadrunner Records in 1999. The State, was released by Nickelback in 2000 by Roadrunner Records and EMI Canada. The State, was released in Europe in 2001. It spawned 4 singles: "Old Enough", "Worthy to Say", "Leader of Men" and "Breathe", the last two being Top 10 rock hits. The album was the band's first album to be certified gold status and it later went into platinum status in 2008, after the success of their later albums. The album entered the Billboard 200 at number 130 and peaked at number 3 in the Billboard Top Heatseekers albums chart and peaked at number 6 on the Billboard Top Independent albums chart. CANNOTANSWER	"Fly" was included on both Hesher and Curb and was the first single produced by Nickelback.	Nickelback is a Canadian rock band formed in 1995 in Hanna, Alberta. It is composed of guitarist and lead vocalist Chad Kroeger, guitarist, keyboardist and backing vocalist Ryan Peake, bassist Mike Kroeger, and drummer Daniel Adair. It went through several drummer changes between 1995 and 2005, achieving its current lineup when Adair replaced Ryan Vikedal. Nickelback is one of the most commercially successful Canadian rock bands, having sold more than 50 million albums worldwide. In 2009, Billboard ranked it the most successful rock group of that decade; "How You Remind Me" was the best-selling rock song and the fourth-best overall. The band ranked at No. 7 on the Billboard top artist of the decade list, with four albums among the publication's top albums of the decade. The band signed with Roadrunner Records in 1999 and re-released its once-independent second studio album The State. This album was commercially successful, as was its follow-up, Silver Side Up, in 2001. The band then released its biggest hit, "How You Remind Me", a No. 1 on the Billboard and Canadian Singles Charts. The fourth album, The Long Road, was released in 2003 and spawned five singles, including Canadian No. 1 "Someday", which also reached No. 7 on the Billboard Hot 100. In 2005, the band's best-selling album to date, All the Right Reasons, produced three top-ten and five top-twenty singles on the Billboard Hot 100, including "Photograph", "Far Away", and "Rockstar". Dark Horse sold well in 2008, producing eight singles, one cracking the top ten on the Billboard Hot 100 and two in the top twenty. In 2011, the seventh album, Here and Now, topped the charts. The eighth, No Fixed Address, was released in 2014, followed by Feed the Machine in 2017. Nickelback is based in Vancouver, British Columbia. It originally published through EMI Canada before signing a global distribution deal with Roadrunner Records. For Here and Now, it left EMI Canada for Universal Music Canada. History Formation (1995) The band was formed in the early 1990s as a cover band called "Village Idiot" by brothers Mike and Chad Kroeger with their cousin Brandon Kroeger and Ryan Peake. The band later changed its name to Nickelback, which originated from the nickel in change that band member Mike Kroeger gave customers at his job at Starbucks; he would frequently say, "Here's your nickel back." The band performed covers of songs from Led Zeppelin and Metallica. Chad Kroeger then asked his step-father to give him $4,000 so that the band could record their first demo, a seven-track EP of original material, called Hesher (1996). The band spent half the money to record the EP, and spent the other half on magic mushrooms. Curb and The State (1996–2000) In 1996, the band recorded and released their first full-length album, Curb. "Fly" was included on both Hesher and Curb and was the first single produced by Nickelback. In 1997, Brandon Kroeger left the band and the band searched for a new drummer. Later that year Mitch Guindon joined the band, but he decided to leave in 1998. While initially reported due to him starting work at a car company, Guindon's departure came due to him "not [being] meant for the road". Chad Kroeger stated that his skin was not able to handle cold weather and they convinced him to leave. In Summer 1998, Ryan Vikedal joined the band. Roadrunner A&R Ron Burman told HitQuarters that one of his West Coast scouts sent him the self-released album and, suitably impressed, he travelled to Vancouver to see them perform live. Although an unknown property in the industry at the time, the venue was packed out. In Burman's words: "I immediately got the chills! I thought their song 'Leader of Men' was a smash hit." Off the stage he was impressed by their industry and initiative in managing their career. Despite this, it still took Burman three months for him to convince his label bosses to approve the signing, a decision that would mark Roadrunner's first move into mainstream rock. Nickelback signed a record deal with EMI and Roadrunner Records in 1999. The State was released by Nickelback in 2000 by Roadrunner Records and EMI Canada, followed by its release in Europe in 2001. It spawned 4 singles: "Old Enough", "Worthy to Say", "Leader of Men" and "Breathe", the last two being Top 10 rock hits. The album was the band's first album to be certified gold status and it later went into platinum status in 2008, after the success of their later albums. The album entered the Billboard 200 at number 130 and peaked at number 3 in the Billboard Top Heatseekers albums chart and peaked at number 6 on the Billboard Top Independent albums chart. Silver Side Up and The Long Road (2001–2004) Around 2001, Chad Kroeger started "studying every piece, everything sonically, everything lyrically, everything musically, chord structure. I would dissect every single song that I would hear on the radio or every song that had ever done well on a chart and I would say, 'Why did this do well?'" Kroeger said that Nickelback's single "How You Remind Me" sold so well because it was about romantic relationships, a universal subject, and contained memorable hooks. To record their third album Silver Side Up, Nickelback collaborated with producer Rick Parashar. The album was written before the release of The State and was recorded at the same studio. The album was released on Tuesday, September 11, 2001. The album peaked at number two on the Billboard 200 with over 177,000 copies sold in its first week and peaked at number one at the Canadian albums chart, making it the band's first album to do so. The single "How You Remind Me" was a number one single on the Mainstream and Modern rock charts, as well as the pop chart. It also peaked at number two on Adult Top 40 and became the Billboard Hot 100 number one single of the year for 2002. The next single was "Too Bad", which also reached number one on the Mainstream Rock Chart. The final single from the album was "Never Again", which also hit number one on Mainstream Rock. In 2002, Chad Kroeger collaborated with Josey Scott on the Spider-Man theme song, "Hero". This recording also featured Tyler Connolly, Mike Kroeger, Matt Cameron, and Jeremy Taggart. In 2002, Nickelback released their first DVD Live at Home. On August 19, 2002, an incident occurred while the band was performing at the Ilha do Ermal festival in Portugal. While performing the second song of their set, Chad Kroeger was sprayed with a full bottle of water hurled from somewhere within the audience. After finishing the song, Chad asked the crowd, "Do you want to hear some rock 'n' roll or do you want to go home?" A person in the audience then threw a rock at Chad's head. The band then left stage, with Chad and Vikedal giving the finger to the audience as they left. The band's label, Roadrunner, posted video footage of the entire incident on their website. In 2003, Nickelback released The Long Road. The album was certified 3x Platinum by the RIAA in March 2005 and it had sold 3,591,000 copies as of April 2011. It has sold over 5 million copies worldwide and, in 2003 alone, the album sold 2 million copies worldwide. It debuted at No. 6 on the Billboard 200. This was their first album produced by Joey Moi, a former classmate of the band's. The Long Road was ranked No. 157 on Billboards 200 Albums of the Decade. It spawned five singles. The lead single was "Someday". The band also released "Feelin' Way Too Damn Good" as a single, which peaked at number three on the Mainstream Rock Charts. "Figured You Out" was also released as a single and topped the Mainstream Rock Charts for 13 consecutive weeks. All the Right Reasons (2005–2007) Just after New Year's Day 2005, drummer Ryan Vikedal was replaced by 3 Doors Down's drummer Daniel Adair. Nickelback promptly went into the studio with their new drummer from January through May 2005. The sessions resulted in their fifth studio album, All the Right Reasons which was released on October 3, 2005. It peaked at number one on the Billboard 200 with 323,350 copies in its first week in the United States, as well as producing five U.S. Hot 100 top 20 singles: "Photograph", "Savin' Me", "Far Away", "If Everyone Cared" and "Rockstar". Three of these became U.S. Hot 100 top 10 singles. Also, the album peaked at number one on the Canadian albums chart. The album sold more than 12 million singles and over 9 million ringtones. The album also made Nickelback the first band in Nielsen BDS history to have 5 singles on the CHR charts. It included appearances by Billy Gibbons of ZZ Top, who played a guitar solo on the song "Follow You Home" and sang backing vocals on "Rock Star"—and a posthumously sampled appearance by Chad Kroeger's friend Dimebag Darrell from Pantera, culled from guitar outtakes. All the Right Reasons had sold over 7 million copies in the U.S. to June 19, 2010. The band spent much of 2006 and 2007 touring across the globe. In the fall of 2006, the band opened for Bon Jovi on the European leg of the Have a Nice Day Tour. Over 2 million fans attended Nickelback's shows during those two years. The band played at Sturgis, South Dakota to over 35,000 people at the 2006 Sturgis Bike Rally. The performance was filmed with 15 high-definition cameras. They released the DVD and Blu-ray of it in 2009, several years after the performance. In November 2006, the band won an American Music Award for best pop/rock album, surprising the band itself. "We just kinda showed up because we were supposed to give one of these away tonight," Chad Kroeger said after receiving the award. Chad Kroeger added he had thought the Red Hot Chili Peppers would win the award. Dark Horse (2008–2010) After taking much of 2007 off, the band started recording a new album in earnest. In July 2008, the band signed with Live Nation for three touring and album cycles, with an option for a fourth. On September 4, 2008, it was announced that the first single from the upcoming album would be "If Today Was Your Last Day", to be released on September 30, 2008. This announcement was however never confirmed: Roadrunner Records actually chose to release another song, "Gotta Be Somebody," as the first single. It became Nickelback's 5th and so far final single to hit the No. 1 spot on the U.S. Adult Top 40 chart. The new album, produced by Mutt Lange and titled Dark Horse, was released on November 18, 2008. "Something in Your Mouth" was released as the second single to rock radio only on December 15, 2008, where it reached number one. "If Today Was Your Last Day" was eventually released as a single after all on March 31, 2009: it became the third single from the album. Four more singles were released later in 2009, "I'd Come for You", "Burn It to the Ground" and "Never Gonna Be Alone" released in September and "Shakin' Hands" as the seventh single on November 16. Its eighth single, "This Afternoon", was released on March 23, 2010. Dark Horse was certified platinum by the Recording Industry Association of America (RIAA) on December 9, 2008, only three weeks after its North American release. All eight singles were major hits which finished at or near the top of at least one high-profile chart. On November 26, 2008, the band announced the tour for the support of the album. Live Nation produced the tour and the band kicked off in Nashville, Tennessee, with Seether, and Saving Abel as their opening acts. The band then announced that they were about to tour in the UK with Black Stone Cherry as their opening act. The band then announced the second leg of the tour of North America with the opening acts being Hinder, Papa Roach, and once again, Saving Abel. The band then went on tour around Australia and New Zealand with Sick Puppies as their supporting act. For the second leg of the Europe tour, the band played with their opening act Daughtry. The third leg of the North America tour kicked off with Breaking Benjamin, Sick Puppies and Shinedown opening up for the band. The band concluded their tour with the fourth leg in North America which included Buckcherry and Three Days Grace. The tour was very successful and the band sold over 1.6 million tickets with 146 shows. The album also remained in the top 20 on the Billboard 200 for weeks after its release. The album was certified two times platinum in April 2009, and had by April 2010 sold over 3 million copies in the U.S. However, critical reception of the album has been mostly mixed to negative. In 2009, the band won three Juno Awards for Juno Fan Choice Award, group of the year, and album of the year; the band performed their single "Something In Your Mouth" at the ceremony. In 2010, Billboard year end charts listed Dark Horse as the top-selling rock and metal album of the year. The band was also listed at the top selling hard rock artist. On January 29, 2010 they released a Tap-Tap rhythm game for on the App Store, contrary to the band's prior comments against other music related video games such as Guitar Hero. On February 28, 2010, Nickelback gave a performance at the beginning of the concert portion of the 2010 Winter Olympics closing ceremony, performing "Burn It to the Ground". In October 2010 Nickelback finished their Dark Horse Tour. Here and Now (2011–2013) Chad Kroeger said in an interview with Billboard.com in September 2010 that songwriting for the next Nickelback album was planned to commence as early as February 2011 with "about four tunes" already in mind. Adair mentioned that the band wanted to go back to the musical style of All The Right Reasons, which he described as "more organic." Nickelback announced their new album, Here and Now, on September 8, 2011, along with its two lead singles, "Bottoms Up" and "When We Stand Together". Kroeger said "We’re four people who love making music, the way we like to make it. We entered the studio this year with a vision, and it all came together. We’re extremely happy with the results, and can’t wait to share them with our fans." The album was released on November 21, 2011, with the band calling it "Nickelblack Monday", a play on Nickelback and Black Monday. Two singles were released to radio stations on September 26, and September 27 for purchase on iTunes. Here and Now peaked at number two on the Billboard 200, selling 226,714 copies in its first week of release, with Christmas by Michael Bublé taking number one by a margin of only 419 copies. As part of promotion for the album, Nickelback was booked to perform at the halftime shows for both an NFL Thanksgiving Day game at Ford Field in Detroit on November 24, and the 99th Grey Cup in the band's hometown of Vancouver on November 27. Also, as a promotion the band played to Jimmy Kimmel upon the album's release. The band is nominated for 4 Juno Awards in 2012, and scheduled to perform at the ceremony. Nickelback announced their Here and Now Tour on January 11, 2012, they are going to tour with Seether, Bush and My Darkest Days. The band released a music video for their fourth single off of the album Lullaby. The band officially announced the compilation album The Best of Nickelback Volume 1 through social media on October 3, 2013. Frontman Chad Kroeger had previously stated in an interview that the greatest hits album was to feature songs from previous albums along with new songs but the unveiled track listing ultimately contained only previously released material. No Fixed Address and Feed the Machine (2014–2018) According to an interview with Chad Kroeger on CFOX-FM, the band planned to release their eighth studio album before the end of 2014. The lead rock single was also announced, "Edge of a Revolution", was released in August 2014. The track was described as a 'departure' for Nickelback and a political song. Frequent collaborator Chris Lord-Alge returned to mix some of the tracks on the album. It was also announced the band had signed to Republic Records. The lead single from the album is titled "Edge of a Revolution", and was scheduled to be sent for adds on Rock radio and be released to iTunes on August 18. The lead pop single, and second overall, was announced to be "What Are You Waiting For?", and was released in September. "What Are You Waiting For?" was released as a single on digital retailers on September 9, 2014. On August 22, 2014, Nickelback announced the album's title to be No Fixed Address, and released it on November 17, 2014. No Fixed Address Tour was their fifth headlining concert tour, in support of No Fixed Address. The tour was announced on November 5, 2014, as well as The Pretty Reckless, Pop Evil, and Lifehouse as the support act for the majority of the shows in North American while Monster Truck was support act in Australia and Europe (2016). The second North American leg of the tour had to be canceled when lead vocalist Chad Kroeger required surgery for a cyst on his voice box. The entire leg of the European tour was postponed until Autumn 2016. On August 19, 2016, Nickelback released a cover of Don Henley's song "Dirty Laundry" to streaming services. On January 23, 2017, a new single, "Feed the Machine" was announced to be released on February 1, alongside specific details of a 2017 tour. On January 25, Nickelback signed with BMG Rights Management to release their ninth album, also titled Feed the Machine. The album was released on June 16, 2017. The band released their second single from the album, "Song on Fire", on April 28, 2017. Shortly after the release of the album, the band began a 44-city tour on June 23, 2017 in North America, co-headlined with Daughtry, Shaman's Harvest and Cheap Trick as supporting acts. Upcoming tenth studio album (2019–present) In early 2019, band members spoke of recording a tenth studio album, though Chad Kroeger conceded there was no timetable or rush for the band to complete it. Mike Kroeger spoke of his personal desire to move in more of a heavy metal direction, or wanting to do an album of Slayer cover songs. On August 14, 2020, the band released a cover of The Charlie Daniels Band song "The Devil Went Down to Georgia", featuring Dave Martone. Musical style and influences Nickelback has been described as various genres, including post-grunge, hard rock, pop rock, alternative rock, heavy metal, alternative metal, and nu metal. Their earlier sound has been classified as grunge. Nickelback have cited bands and musicians such as Creedence Clearwater Revival, Bob Marley, Metallica, Nirvana, Red Hot Chili Peppers, and U2 as influential or inspirational. Reception Review aggregator Metacritic reports that five of Nickelback's six most recent studio albums since becoming a mainstream act—The Long Road, All the Right Reasons, Dark Horse, Here and Now, and No Fixed Address—have scores of 62, 41, 49, 51, and 54, respectively, out of 100, indicating generally mixed reviews. AllMusic reviewer Liana Jones gave their first commercially successful album, Silver Side Up, 3 stars out of 5, and complimented their "intensity and raw passion" and realistic storytelling. Despite their commercial success, Nickelback has been the subject of numerous jokes and a vocal negative response for some audiences, some of which is attributed to the perceived derivative, repetitive and formulaic nature of their music, as well as their over-use of hedonistic themes involving strippers, sex, prostitutes, drugs, and alcohol consumption. However, in a review for the band's latest album Feed the Machine, AllMusic reviewer Stephen Thomas Erlewine noted that they had mostly done away with the crude and vulgar lyrical content they'd become known for, and praised the band for evolving their sound. In the 2010s, Nickelback became the subject of internet memes that were critical of their music, a status that the band came to embrace. In May 2013, the readers of Rolling Stone magazine named Nickelback the second-worst band of the 1990s, behind only Creed. In November 2011, users of the music-oriented dating site Tastebuds.fm voted Nickelback as the number one "musical turnoff." In March 2019, U.S. representatives Mark Pocan and Rodney Davis got into a friendly debate of the merits of the band while speaking on the floor of the House of Representatives. In an interview in 2014, Kroeger commented that the criticism helped him "grow a thick skin," and that without it, they would be "this just whatever band." Following their 2008 album, Dark Horse, ChartAttack credited the band's success to knowing their target audience: "Chad Kroeger is a genius because he knows exactly what people want and precisely how far he can go. He turned out an extremely racy album that's loaded with songs about gettin' drunk and doin' it all without breaking any taboos, and with enough love and moral authority to grease its passage into the mainstream. Rejoice, North America. This is your world." Billboard gave praise to the band: "The bulletproof Nickelback provides affordable fun that promises good returns in hard times." Various fellow musicians like Chris Martin of Coldplay as well as R&B singers Timbaland and Keyshia Cole support the band. Band membersCurrent members Chad Kroeger – lead vocals, lead guitar (1995–present); rhythm guitar (2008–present) Ryan Peake – rhythm guitar, backing vocals (1995–present); keyboards (2002–present); lead guitar (2008–present) Mike Kroeger – bass (1995–present) Daniel Adair – drums, percussion, backing vocals (2005–present)Former members''' Brandon Kroeger – drums (1995–1997) Mitch Guindon – drums (1997–1998) Ryan Vikedal – drums, percussion (1998–2005) Timeline Discography Studio albumsCurb (1996)The State (1998)Silver Side Up (2001)The Long Road (2003)All the Right Reasons (2005)Dark Horse (2008)Here and Now (2011)No Fixed Address (2014)Feed the Machine'' (2017) Awards 2003 – Won SOCAN International Achievement Award for the song "How You Remind Me" 2004 – Won SOCAN International Achievement Award 2005 – Won SOCAN International Achievement Award 2007 – Won SOCAN International Achievement Award 2008 – Won SOCAN International Achievement Award References External links Atlantic Records artists 1995 establishments in Alberta Canadian alternative metal musical groups Canadian hard rock musical groups Canadian heavy metal musical groups Canadian pop rock music groups Canadian post-grunge groups Juno Award for Single of the Year winners Musical groups established in 1995 Musical groups from Alberta Musical quartets Republic Records artists Roadrunner Records artists Juno Award for Album of the Year winners Juno Award for Breakthrough Group of the Year winners Juno Award for Rock Album of the Year winners Juno Award for Group of the Year winners Juno Fan Choice Award winners Musical families	true	[ "This is a comprehensive listing of official releases by Nick Lachey, an American pop singer. Nick has released four studio albums, eight singles, and four music videos under Motown Records, Universal Records and Jive Records.\n\nLachey's debut album, SoulO, was released on November 11, 2003 reached #51 on the U.S. Billboard 200 chart. Two singles were released: \"Shut Up\" and \"This I Swear\". However, only the latter charted, where it reached #11 on the U.S. Billboard Bubbling Under Hot 100 chart. \n\nHis second album, What's Left of Me, was released on May 9, 2006. It was a bigger success on the Billboard charts, where it reached a number 2 peak. The title track was released as the first single from the album and it became Lachey's first Top 10 single on the Hot 100. The following single, \"I Can't Hate You Anymore\", only reached number 87 on the Hot 100. A third and final single, \"Resolution\" was released, however, it only reached number 77 on the Pop 100 (now the Mainstream Top 40).\n\nIn 2009, two more singles were released. They were intended on being the lead singles for an upcoming third studio album, however, the album has been pushed back several times. It was expected that the album would be released sometime in 2010, however it was revealed in January 2010 that Lachey's label, Jive Records, have put the new album on hold indefinitely.\n\nAlbums\n\nSingles\n\nNotes\n\nReferences\n\nDiscographies of American artists\nPop music discographies\nDiscography", "\"I Can't Believe What You Say (For Seeing What You Do)\" is a song written by Ike Turner. It was originally released by R&B duo Ike & Tina Turner on Kent Records in 1964.\n\nRelease \n\"I Can't Believe What You Say (For Seeing What You Do)\" was written and produced by Ike Turner. It was released as a non-album track on Kent Records in September 1964. The single reached No. 95 on the Billboard Hot 100 and No. 33 on the Record World R&B chart. It was the best-selling R&B record for Kent in 1965. Tina Turner performed the song on Shindig! in August 1965. A different version of the song appeared on Ike & Tina Turner's album Get It – Get It, which was remixed and reissued as Her Man…His Woman in 1971. Ike Turner released another version on the album The Edge in 1980.\n\nCritical reception \nThe single was selected for Cash Box magazine's Pick of the Week.\n\nCash Box (October 10, 1964): \"This Kent outing for Ike & Tina Turner is already stirring up a heap of attention. Tagged I Can’t Believe What You Say, it’s a high-speed handclapping twister that sports a host of ultra-commercial vocal and instrumental sounds. Watch it. Backing's a soul-filled shuflle-rock blueser that Tina wails with loads of feeling.\"\n\nCover versions \n\n 1965: Manfred Mann released a version as the B-side to \"My Little Red Book\" from their album My Little Red Book Of Winners\n 1965: British singer Val McKenna released a rendition on Piccadilly Records in the UK\n 1967: Danish rock group The Defenders released the song as a single on Sonet Records from their album Looking at You\n 1972: Toots and The Maytals released a version on their album Funky Kingston\n 2000: Henning Stærk released the song on his album Hit House\n\nChart performance\n\nReferences \n\n1964 songs\n1964 singles\nIke & Tina Turner songs\nSongs written by Ike Turner\nSong recordings produced by Ike Turner\nKent Records singles\nManfred Mann songs\n1965 singles\n1967 singles\nPiccadilly Records singles" ]
[ "Nickelback", "Curb and The State (1996-2000)", "When was Curb released?", "In 1996, the band recorded and released their first full-length album, Curb. \"", "What singles were on that album?", "\"Fly\" was included on both Hesher and Curb and was the first single produced by Nickelback." ]	C_d506639b766c4317b6e3b986b4e91860_1	Was this album successful?	3	Was Curb and The State album successful?	Nickelback	In 1996, the band recorded and released their first full-length album, Curb. "Fly" was included on both Hesher and Curb and was the first single produced by Nickelback. In 1997, Brandon Kroeger left the band and the band searched for a new drummer. Later that year Mitch Guindon joined the band, but he decided to leave in 1998 because he started working in a car company. In Summer 1998, Ryan Vikedal joined the band. Roadrunner A&R Ron Burman told HitQuarters that one of his West Coast scouts sent him the self-released album and, suitably impressed, he travelled to Vancouver to see them perform live. Although an unknown property in the industry at the time, the venue was packed out. In Burman's words: "I immediately got the chills! I thought their song 'Leader of Men' was a smash hit." Off the stage he was impressed by their industry and initiative in managing their career. Despite this, it still took Burman three months for him to convince his label bosses to approve the signing, a decision that would mark Roadrunner's first move into mainstream rock. Nickelback signed a record deal with EMI and Roadrunner Records in 1999. The State, was released by Nickelback in 2000 by Roadrunner Records and EMI Canada. The State, was released in Europe in 2001. It spawned 4 singles: "Old Enough", "Worthy to Say", "Leader of Men" and "Breathe", the last two being Top 10 rock hits. The album was the band's first album to be certified gold status and it later went into platinum status in 2008, after the success of their later albums. The album entered the Billboard 200 at number 130 and peaked at number 3 in the Billboard Top Heatseekers albums chart and peaked at number 6 on the Billboard Top Independent albums chart. CANNOTANSWER	Ron Burman told HitQuarters that one of his West Coast scouts sent him the self-released album and, suitably impressed,	Nickelback is a Canadian rock band formed in 1995 in Hanna, Alberta. It is composed of guitarist and lead vocalist Chad Kroeger, guitarist, keyboardist and backing vocalist Ryan Peake, bassist Mike Kroeger, and drummer Daniel Adair. It went through several drummer changes between 1995 and 2005, achieving its current lineup when Adair replaced Ryan Vikedal. Nickelback is one of the most commercially successful Canadian rock bands, having sold more than 50 million albums worldwide. In 2009, Billboard ranked it the most successful rock group of that decade; "How You Remind Me" was the best-selling rock song and the fourth-best overall. The band ranked at No. 7 on the Billboard top artist of the decade list, with four albums among the publication's top albums of the decade. The band signed with Roadrunner Records in 1999 and re-released its once-independent second studio album The State. This album was commercially successful, as was its follow-up, Silver Side Up, in 2001. The band then released its biggest hit, "How You Remind Me", a No. 1 on the Billboard and Canadian Singles Charts. The fourth album, The Long Road, was released in 2003 and spawned five singles, including Canadian No. 1 "Someday", which also reached No. 7 on the Billboard Hot 100. In 2005, the band's best-selling album to date, All the Right Reasons, produced three top-ten and five top-twenty singles on the Billboard Hot 100, including "Photograph", "Far Away", and "Rockstar". Dark Horse sold well in 2008, producing eight singles, one cracking the top ten on the Billboard Hot 100 and two in the top twenty. In 2011, the seventh album, Here and Now, topped the charts. The eighth, No Fixed Address, was released in 2014, followed by Feed the Machine in 2017. Nickelback is based in Vancouver, British Columbia. It originally published through EMI Canada before signing a global distribution deal with Roadrunner Records. For Here and Now, it left EMI Canada for Universal Music Canada. History Formation (1995) The band was formed in the early 1990s as a cover band called "Village Idiot" by brothers Mike and Chad Kroeger with their cousin Brandon Kroeger and Ryan Peake. The band later changed its name to Nickelback, which originated from the nickel in change that band member Mike Kroeger gave customers at his job at Starbucks; he would frequently say, "Here's your nickel back." The band performed covers of songs from Led Zeppelin and Metallica. Chad Kroeger then asked his step-father to give him $4,000 so that the band could record their first demo, a seven-track EP of original material, called Hesher (1996). The band spent half the money to record the EP, and spent the other half on magic mushrooms. Curb and The State (1996–2000) In 1996, the band recorded and released their first full-length album, Curb. "Fly" was included on both Hesher and Curb and was the first single produced by Nickelback. In 1997, Brandon Kroeger left the band and the band searched for a new drummer. Later that year Mitch Guindon joined the band, but he decided to leave in 1998. While initially reported due to him starting work at a car company, Guindon's departure came due to him "not [being] meant for the road". Chad Kroeger stated that his skin was not able to handle cold weather and they convinced him to leave. In Summer 1998, Ryan Vikedal joined the band. Roadrunner A&R Ron Burman told HitQuarters that one of his West Coast scouts sent him the self-released album and, suitably impressed, he travelled to Vancouver to see them perform live. Although an unknown property in the industry at the time, the venue was packed out. In Burman's words: "I immediately got the chills! I thought their song 'Leader of Men' was a smash hit." Off the stage he was impressed by their industry and initiative in managing their career. Despite this, it still took Burman three months for him to convince his label bosses to approve the signing, a decision that would mark Roadrunner's first move into mainstream rock. Nickelback signed a record deal with EMI and Roadrunner Records in 1999. The State was released by Nickelback in 2000 by Roadrunner Records and EMI Canada, followed by its release in Europe in 2001. It spawned 4 singles: "Old Enough", "Worthy to Say", "Leader of Men" and "Breathe", the last two being Top 10 rock hits. The album was the band's first album to be certified gold status and it later went into platinum status in 2008, after the success of their later albums. The album entered the Billboard 200 at number 130 and peaked at number 3 in the Billboard Top Heatseekers albums chart and peaked at number 6 on the Billboard Top Independent albums chart. Silver Side Up and The Long Road (2001–2004) Around 2001, Chad Kroeger started "studying every piece, everything sonically, everything lyrically, everything musically, chord structure. I would dissect every single song that I would hear on the radio or every song that had ever done well on a chart and I would say, 'Why did this do well?'" Kroeger said that Nickelback's single "How You Remind Me" sold so well because it was about romantic relationships, a universal subject, and contained memorable hooks. To record their third album Silver Side Up, Nickelback collaborated with producer Rick Parashar. The album was written before the release of The State and was recorded at the same studio. The album was released on Tuesday, September 11, 2001. The album peaked at number two on the Billboard 200 with over 177,000 copies sold in its first week and peaked at number one at the Canadian albums chart, making it the band's first album to do so. The single "How You Remind Me" was a number one single on the Mainstream and Modern rock charts, as well as the pop chart. It also peaked at number two on Adult Top 40 and became the Billboard Hot 100 number one single of the year for 2002. The next single was "Too Bad", which also reached number one on the Mainstream Rock Chart. The final single from the album was "Never Again", which also hit number one on Mainstream Rock. In 2002, Chad Kroeger collaborated with Josey Scott on the Spider-Man theme song, "Hero". This recording also featured Tyler Connolly, Mike Kroeger, Matt Cameron, and Jeremy Taggart. In 2002, Nickelback released their first DVD Live at Home. On August 19, 2002, an incident occurred while the band was performing at the Ilha do Ermal festival in Portugal. While performing the second song of their set, Chad Kroeger was sprayed with a full bottle of water hurled from somewhere within the audience. After finishing the song, Chad asked the crowd, "Do you want to hear some rock 'n' roll or do you want to go home?" A person in the audience then threw a rock at Chad's head. The band then left stage, with Chad and Vikedal giving the finger to the audience as they left. The band's label, Roadrunner, posted video footage of the entire incident on their website. In 2003, Nickelback released The Long Road. The album was certified 3x Platinum by the RIAA in March 2005 and it had sold 3,591,000 copies as of April 2011. It has sold over 5 million copies worldwide and, in 2003 alone, the album sold 2 million copies worldwide. It debuted at No. 6 on the Billboard 200. This was their first album produced by Joey Moi, a former classmate of the band's. The Long Road was ranked No. 157 on Billboards 200 Albums of the Decade. It spawned five singles. The lead single was "Someday". The band also released "Feelin' Way Too Damn Good" as a single, which peaked at number three on the Mainstream Rock Charts. "Figured You Out" was also released as a single and topped the Mainstream Rock Charts for 13 consecutive weeks. All the Right Reasons (2005–2007) Just after New Year's Day 2005, drummer Ryan Vikedal was replaced by 3 Doors Down's drummer Daniel Adair. Nickelback promptly went into the studio with their new drummer from January through May 2005. The sessions resulted in their fifth studio album, All the Right Reasons which was released on October 3, 2005. It peaked at number one on the Billboard 200 with 323,350 copies in its first week in the United States, as well as producing five U.S. Hot 100 top 20 singles: "Photograph", "Savin' Me", "Far Away", "If Everyone Cared" and "Rockstar". Three of these became U.S. Hot 100 top 10 singles. Also, the album peaked at number one on the Canadian albums chart. The album sold more than 12 million singles and over 9 million ringtones. The album also made Nickelback the first band in Nielsen BDS history to have 5 singles on the CHR charts. It included appearances by Billy Gibbons of ZZ Top, who played a guitar solo on the song "Follow You Home" and sang backing vocals on "Rock Star"—and a posthumously sampled appearance by Chad Kroeger's friend Dimebag Darrell from Pantera, culled from guitar outtakes. All the Right Reasons had sold over 7 million copies in the U.S. to June 19, 2010. The band spent much of 2006 and 2007 touring across the globe. In the fall of 2006, the band opened for Bon Jovi on the European leg of the Have a Nice Day Tour. Over 2 million fans attended Nickelback's shows during those two years. The band played at Sturgis, South Dakota to over 35,000 people at the 2006 Sturgis Bike Rally. The performance was filmed with 15 high-definition cameras. They released the DVD and Blu-ray of it in 2009, several years after the performance. In November 2006, the band won an American Music Award for best pop/rock album, surprising the band itself. "We just kinda showed up because we were supposed to give one of these away tonight," Chad Kroeger said after receiving the award. Chad Kroeger added he had thought the Red Hot Chili Peppers would win the award. Dark Horse (2008–2010) After taking much of 2007 off, the band started recording a new album in earnest. In July 2008, the band signed with Live Nation for three touring and album cycles, with an option for a fourth. On September 4, 2008, it was announced that the first single from the upcoming album would be "If Today Was Your Last Day", to be released on September 30, 2008. This announcement was however never confirmed: Roadrunner Records actually chose to release another song, "Gotta Be Somebody," as the first single. It became Nickelback's 5th and so far final single to hit the No. 1 spot on the U.S. Adult Top 40 chart. The new album, produced by Mutt Lange and titled Dark Horse, was released on November 18, 2008. "Something in Your Mouth" was released as the second single to rock radio only on December 15, 2008, where it reached number one. "If Today Was Your Last Day" was eventually released as a single after all on March 31, 2009: it became the third single from the album. Four more singles were released later in 2009, "I'd Come for You", "Burn It to the Ground" and "Never Gonna Be Alone" released in September and "Shakin' Hands" as the seventh single on November 16. Its eighth single, "This Afternoon", was released on March 23, 2010. Dark Horse was certified platinum by the Recording Industry Association of America (RIAA) on December 9, 2008, only three weeks after its North American release. All eight singles were major hits which finished at or near the top of at least one high-profile chart. On November 26, 2008, the band announced the tour for the support of the album. Live Nation produced the tour and the band kicked off in Nashville, Tennessee, with Seether, and Saving Abel as their opening acts. The band then announced that they were about to tour in the UK with Black Stone Cherry as their opening act. The band then announced the second leg of the tour of North America with the opening acts being Hinder, Papa Roach, and once again, Saving Abel. The band then went on tour around Australia and New Zealand with Sick Puppies as their supporting act. For the second leg of the Europe tour, the band played with their opening act Daughtry. The third leg of the North America tour kicked off with Breaking Benjamin, Sick Puppies and Shinedown opening up for the band. The band concluded their tour with the fourth leg in North America which included Buckcherry and Three Days Grace. The tour was very successful and the band sold over 1.6 million tickets with 146 shows. The album also remained in the top 20 on the Billboard 200 for weeks after its release. The album was certified two times platinum in April 2009, and had by April 2010 sold over 3 million copies in the U.S. However, critical reception of the album has been mostly mixed to negative. In 2009, the band won three Juno Awards for Juno Fan Choice Award, group of the year, and album of the year; the band performed their single "Something In Your Mouth" at the ceremony. In 2010, Billboard year end charts listed Dark Horse as the top-selling rock and metal album of the year. The band was also listed at the top selling hard rock artist. On January 29, 2010 they released a Tap-Tap rhythm game for on the App Store, contrary to the band's prior comments against other music related video games such as Guitar Hero. On February 28, 2010, Nickelback gave a performance at the beginning of the concert portion of the 2010 Winter Olympics closing ceremony, performing "Burn It to the Ground". In October 2010 Nickelback finished their Dark Horse Tour. Here and Now (2011–2013) Chad Kroeger said in an interview with Billboard.com in September 2010 that songwriting for the next Nickelback album was planned to commence as early as February 2011 with "about four tunes" already in mind. Adair mentioned that the band wanted to go back to the musical style of All The Right Reasons, which he described as "more organic." Nickelback announced their new album, Here and Now, on September 8, 2011, along with its two lead singles, "Bottoms Up" and "When We Stand Together". Kroeger said "We’re four people who love making music, the way we like to make it. We entered the studio this year with a vision, and it all came together. We’re extremely happy with the results, and can’t wait to share them with our fans." The album was released on November 21, 2011, with the band calling it "Nickelblack Monday", a play on Nickelback and Black Monday. Two singles were released to radio stations on September 26, and September 27 for purchase on iTunes. Here and Now peaked at number two on the Billboard 200, selling 226,714 copies in its first week of release, with Christmas by Michael Bublé taking number one by a margin of only 419 copies. As part of promotion for the album, Nickelback was booked to perform at the halftime shows for both an NFL Thanksgiving Day game at Ford Field in Detroit on November 24, and the 99th Grey Cup in the band's hometown of Vancouver on November 27. Also, as a promotion the band played to Jimmy Kimmel upon the album's release. The band is nominated for 4 Juno Awards in 2012, and scheduled to perform at the ceremony. Nickelback announced their Here and Now Tour on January 11, 2012, they are going to tour with Seether, Bush and My Darkest Days. The band released a music video for their fourth single off of the album Lullaby. The band officially announced the compilation album The Best of Nickelback Volume 1 through social media on October 3, 2013. Frontman Chad Kroeger had previously stated in an interview that the greatest hits album was to feature songs from previous albums along with new songs but the unveiled track listing ultimately contained only previously released material. No Fixed Address and Feed the Machine (2014–2018) According to an interview with Chad Kroeger on CFOX-FM, the band planned to release their eighth studio album before the end of 2014. The lead rock single was also announced, "Edge of a Revolution", was released in August 2014. The track was described as a 'departure' for Nickelback and a political song. Frequent collaborator Chris Lord-Alge returned to mix some of the tracks on the album. It was also announced the band had signed to Republic Records. The lead single from the album is titled "Edge of a Revolution", and was scheduled to be sent for adds on Rock radio and be released to iTunes on August 18. The lead pop single, and second overall, was announced to be "What Are You Waiting For?", and was released in September. "What Are You Waiting For?" was released as a single on digital retailers on September 9, 2014. On August 22, 2014, Nickelback announced the album's title to be No Fixed Address, and released it on November 17, 2014. No Fixed Address Tour was their fifth headlining concert tour, in support of No Fixed Address. The tour was announced on November 5, 2014, as well as The Pretty Reckless, Pop Evil, and Lifehouse as the support act for the majority of the shows in North American while Monster Truck was support act in Australia and Europe (2016). The second North American leg of the tour had to be canceled when lead vocalist Chad Kroeger required surgery for a cyst on his voice box. The entire leg of the European tour was postponed until Autumn 2016. On August 19, 2016, Nickelback released a cover of Don Henley's song "Dirty Laundry" to streaming services. On January 23, 2017, a new single, "Feed the Machine" was announced to be released on February 1, alongside specific details of a 2017 tour. On January 25, Nickelback signed with BMG Rights Management to release their ninth album, also titled Feed the Machine. The album was released on June 16, 2017. The band released their second single from the album, "Song on Fire", on April 28, 2017. Shortly after the release of the album, the band began a 44-city tour on June 23, 2017 in North America, co-headlined with Daughtry, Shaman's Harvest and Cheap Trick as supporting acts. Upcoming tenth studio album (2019–present) In early 2019, band members spoke of recording a tenth studio album, though Chad Kroeger conceded there was no timetable or rush for the band to complete it. Mike Kroeger spoke of his personal desire to move in more of a heavy metal direction, or wanting to do an album of Slayer cover songs. On August 14, 2020, the band released a cover of The Charlie Daniels Band song "The Devil Went Down to Georgia", featuring Dave Martone. Musical style and influences Nickelback has been described as various genres, including post-grunge, hard rock, pop rock, alternative rock, heavy metal, alternative metal, and nu metal. Their earlier sound has been classified as grunge. Nickelback have cited bands and musicians such as Creedence Clearwater Revival, Bob Marley, Metallica, Nirvana, Red Hot Chili Peppers, and U2 as influential or inspirational. Reception Review aggregator Metacritic reports that five of Nickelback's six most recent studio albums since becoming a mainstream act—The Long Road, All the Right Reasons, Dark Horse, Here and Now, and No Fixed Address—have scores of 62, 41, 49, 51, and 54, respectively, out of 100, indicating generally mixed reviews. AllMusic reviewer Liana Jones gave their first commercially successful album, Silver Side Up, 3 stars out of 5, and complimented their "intensity and raw passion" and realistic storytelling. Despite their commercial success, Nickelback has been the subject of numerous jokes and a vocal negative response for some audiences, some of which is attributed to the perceived derivative, repetitive and formulaic nature of their music, as well as their over-use of hedonistic themes involving strippers, sex, prostitutes, drugs, and alcohol consumption. However, in a review for the band's latest album Feed the Machine, AllMusic reviewer Stephen Thomas Erlewine noted that they had mostly done away with the crude and vulgar lyrical content they'd become known for, and praised the band for evolving their sound. In the 2010s, Nickelback became the subject of internet memes that were critical of their music, a status that the band came to embrace. In May 2013, the readers of Rolling Stone magazine named Nickelback the second-worst band of the 1990s, behind only Creed. In November 2011, users of the music-oriented dating site Tastebuds.fm voted Nickelback as the number one "musical turnoff." In March 2019, U.S. representatives Mark Pocan and Rodney Davis got into a friendly debate of the merits of the band while speaking on the floor of the House of Representatives. In an interview in 2014, Kroeger commented that the criticism helped him "grow a thick skin," and that without it, they would be "this just whatever band." Following their 2008 album, Dark Horse, ChartAttack credited the band's success to knowing their target audience: "Chad Kroeger is a genius because he knows exactly what people want and precisely how far he can go. He turned out an extremely racy album that's loaded with songs about gettin' drunk and doin' it all without breaking any taboos, and with enough love and moral authority to grease its passage into the mainstream. Rejoice, North America. This is your world." Billboard gave praise to the band: "The bulletproof Nickelback provides affordable fun that promises good returns in hard times." Various fellow musicians like Chris Martin of Coldplay as well as R&B singers Timbaland and Keyshia Cole support the band. Band membersCurrent members Chad Kroeger – lead vocals, lead guitar (1995–present); rhythm guitar (2008–present) Ryan Peake – rhythm guitar, backing vocals (1995–present); keyboards (2002–present); lead guitar (2008–present) Mike Kroeger – bass (1995–present) Daniel Adair – drums, percussion, backing vocals (2005–present)Former members''' Brandon Kroeger – drums (1995–1997) Mitch Guindon – drums (1997–1998) Ryan Vikedal – drums, percussion (1998–2005) Timeline Discography Studio albumsCurb (1996)The State (1998)Silver Side Up (2001)The Long Road (2003)All the Right Reasons (2005)Dark Horse (2008)Here and Now (2011)No Fixed Address (2014)Feed the Machine'' (2017) Awards 2003 – Won SOCAN International Achievement Award for the song "How You Remind Me" 2004 – Won SOCAN International Achievement Award 2005 – Won SOCAN International Achievement Award 2007 – Won SOCAN International Achievement Award 2008 – Won SOCAN International Achievement Award References External links Atlantic Records artists 1995 establishments in Alberta Canadian alternative metal musical groups Canadian hard rock musical groups Canadian heavy metal musical groups Canadian pop rock music groups Canadian post-grunge groups Juno Award for Single of the Year winners Musical groups established in 1995 Musical groups from Alberta Musical quartets Republic Records artists Roadrunner Records artists Juno Award for Album of the Year winners Juno Award for Breakthrough Group of the Year winners Juno Award for Rock Album of the Year winners Juno Award for Group of the Year winners Juno Fan Choice Award winners Musical families	true	[ "Rough and Ready Volume 2 is a studio album released by Shabba Ranks. This album was not as successful as Volume 1 and it was going to be difficult to create an album as successful as its predecessor, X-tra Naked, which won a Grammy. Volume 2 was criticised for lacking variety.\n\nTrack listing\n\nReferences\n\n1993 albums\nShabba Ranks albums\nEpic Records albums", "Aniksi (Greek: Άνοιξη; English: Springtime) is a successful studio album by Greek artist Glykeria. It was released in mid-2004 by Sony Music Greece. The album was certified Gold by IFPI Greece.\n\nThe album also includes several well-known collaborations including Kitrina Podilata, Antonis Vardis and Dimirtis Zervoudakis.\n\nTrack listing\n\nChart performance\nAniksi was a successful album in Cyprus and Greece, however the album was only certified Gold in Greece over 2 years after its release.\n\n2004 albums\nGlykeria albums\nGreek-language albums\nSony Music Greece albums" ]
[ "Nickelback", "Curb and The State (1996-2000)", "When was Curb released?", "In 1996, the band recorded and released their first full-length album, Curb. \"", "What singles were on that album?", "\"Fly\" was included on both Hesher and Curb and was the first single produced by Nickelback.", "Was this album successful?", "Ron Burman told HitQuarters that one of his West Coast scouts sent him the self-released album and, suitably impressed," ]	C_d506639b766c4317b6e3b986b4e91860_1	Did they tour during the release of this album?	4	Did Nickleback tour during the release of the Curb and The State album?	Nickelback	In 1996, the band recorded and released their first full-length album, Curb. "Fly" was included on both Hesher and Curb and was the first single produced by Nickelback. In 1997, Brandon Kroeger left the band and the band searched for a new drummer. Later that year Mitch Guindon joined the band, but he decided to leave in 1998 because he started working in a car company. In Summer 1998, Ryan Vikedal joined the band. Roadrunner A&R Ron Burman told HitQuarters that one of his West Coast scouts sent him the self-released album and, suitably impressed, he travelled to Vancouver to see them perform live. Although an unknown property in the industry at the time, the venue was packed out. In Burman's words: "I immediately got the chills! I thought their song 'Leader of Men' was a smash hit." Off the stage he was impressed by their industry and initiative in managing their career. Despite this, it still took Burman three months for him to convince his label bosses to approve the signing, a decision that would mark Roadrunner's first move into mainstream rock. Nickelback signed a record deal with EMI and Roadrunner Records in 1999. The State, was released by Nickelback in 2000 by Roadrunner Records and EMI Canada. The State, was released in Europe in 2001. It spawned 4 singles: "Old Enough", "Worthy to Say", "Leader of Men" and "Breathe", the last two being Top 10 rock hits. The album was the band's first album to be certified gold status and it later went into platinum status in 2008, after the success of their later albums. The album entered the Billboard 200 at number 130 and peaked at number 3 in the Billboard Top Heatseekers albums chart and peaked at number 6 on the Billboard Top Independent albums chart. CANNOTANSWER	travelled to Vancouver to see them perform live.	Nickelback is a Canadian rock band formed in 1995 in Hanna, Alberta. It is composed of guitarist and lead vocalist Chad Kroeger, guitarist, keyboardist and backing vocalist Ryan Peake, bassist Mike Kroeger, and drummer Daniel Adair. It went through several drummer changes between 1995 and 2005, achieving its current lineup when Adair replaced Ryan Vikedal. Nickelback is one of the most commercially successful Canadian rock bands, having sold more than 50 million albums worldwide. In 2009, Billboard ranked it the most successful rock group of that decade; "How You Remind Me" was the best-selling rock song and the fourth-best overall. The band ranked at No. 7 on the Billboard top artist of the decade list, with four albums among the publication's top albums of the decade. The band signed with Roadrunner Records in 1999 and re-released its once-independent second studio album The State. This album was commercially successful, as was its follow-up, Silver Side Up, in 2001. The band then released its biggest hit, "How You Remind Me", a No. 1 on the Billboard and Canadian Singles Charts. The fourth album, The Long Road, was released in 2003 and spawned five singles, including Canadian No. 1 "Someday", which also reached No. 7 on the Billboard Hot 100. In 2005, the band's best-selling album to date, All the Right Reasons, produced three top-ten and five top-twenty singles on the Billboard Hot 100, including "Photograph", "Far Away", and "Rockstar". Dark Horse sold well in 2008, producing eight singles, one cracking the top ten on the Billboard Hot 100 and two in the top twenty. In 2011, the seventh album, Here and Now, topped the charts. The eighth, No Fixed Address, was released in 2014, followed by Feed the Machine in 2017. Nickelback is based in Vancouver, British Columbia. It originally published through EMI Canada before signing a global distribution deal with Roadrunner Records. For Here and Now, it left EMI Canada for Universal Music Canada. History Formation (1995) The band was formed in the early 1990s as a cover band called "Village Idiot" by brothers Mike and Chad Kroeger with their cousin Brandon Kroeger and Ryan Peake. The band later changed its name to Nickelback, which originated from the nickel in change that band member Mike Kroeger gave customers at his job at Starbucks; he would frequently say, "Here's your nickel back." The band performed covers of songs from Led Zeppelin and Metallica. Chad Kroeger then asked his step-father to give him $4,000 so that the band could record their first demo, a seven-track EP of original material, called Hesher (1996). The band spent half the money to record the EP, and spent the other half on magic mushrooms. Curb and The State (1996–2000) In 1996, the band recorded and released their first full-length album, Curb. "Fly" was included on both Hesher and Curb and was the first single produced by Nickelback. In 1997, Brandon Kroeger left the band and the band searched for a new drummer. Later that year Mitch Guindon joined the band, but he decided to leave in 1998. While initially reported due to him starting work at a car company, Guindon's departure came due to him "not [being] meant for the road". Chad Kroeger stated that his skin was not able to handle cold weather and they convinced him to leave. In Summer 1998, Ryan Vikedal joined the band. Roadrunner A&R Ron Burman told HitQuarters that one of his West Coast scouts sent him the self-released album and, suitably impressed, he travelled to Vancouver to see them perform live. Although an unknown property in the industry at the time, the venue was packed out. In Burman's words: "I immediately got the chills! I thought their song 'Leader of Men' was a smash hit." Off the stage he was impressed by their industry and initiative in managing their career. Despite this, it still took Burman three months for him to convince his label bosses to approve the signing, a decision that would mark Roadrunner's first move into mainstream rock. Nickelback signed a record deal with EMI and Roadrunner Records in 1999. The State was released by Nickelback in 2000 by Roadrunner Records and EMI Canada, followed by its release in Europe in 2001. It spawned 4 singles: "Old Enough", "Worthy to Say", "Leader of Men" and "Breathe", the last two being Top 10 rock hits. The album was the band's first album to be certified gold status and it later went into platinum status in 2008, after the success of their later albums. The album entered the Billboard 200 at number 130 and peaked at number 3 in the Billboard Top Heatseekers albums chart and peaked at number 6 on the Billboard Top Independent albums chart. Silver Side Up and The Long Road (2001–2004) Around 2001, Chad Kroeger started "studying every piece, everything sonically, everything lyrically, everything musically, chord structure. I would dissect every single song that I would hear on the radio or every song that had ever done well on a chart and I would say, 'Why did this do well?'" Kroeger said that Nickelback's single "How You Remind Me" sold so well because it was about romantic relationships, a universal subject, and contained memorable hooks. To record their third album Silver Side Up, Nickelback collaborated with producer Rick Parashar. The album was written before the release of The State and was recorded at the same studio. The album was released on Tuesday, September 11, 2001. The album peaked at number two on the Billboard 200 with over 177,000 copies sold in its first week and peaked at number one at the Canadian albums chart, making it the band's first album to do so. The single "How You Remind Me" was a number one single on the Mainstream and Modern rock charts, as well as the pop chart. It also peaked at number two on Adult Top 40 and became the Billboard Hot 100 number one single of the year for 2002. The next single was "Too Bad", which also reached number one on the Mainstream Rock Chart. The final single from the album was "Never Again", which also hit number one on Mainstream Rock. In 2002, Chad Kroeger collaborated with Josey Scott on the Spider-Man theme song, "Hero". This recording also featured Tyler Connolly, Mike Kroeger, Matt Cameron, and Jeremy Taggart. In 2002, Nickelback released their first DVD Live at Home. On August 19, 2002, an incident occurred while the band was performing at the Ilha do Ermal festival in Portugal. While performing the second song of their set, Chad Kroeger was sprayed with a full bottle of water hurled from somewhere within the audience. After finishing the song, Chad asked the crowd, "Do you want to hear some rock 'n' roll or do you want to go home?" A person in the audience then threw a rock at Chad's head. The band then left stage, with Chad and Vikedal giving the finger to the audience as they left. The band's label, Roadrunner, posted video footage of the entire incident on their website. In 2003, Nickelback released The Long Road. The album was certified 3x Platinum by the RIAA in March 2005 and it had sold 3,591,000 copies as of April 2011. It has sold over 5 million copies worldwide and, in 2003 alone, the album sold 2 million copies worldwide. It debuted at No. 6 on the Billboard 200. This was their first album produced by Joey Moi, a former classmate of the band's. The Long Road was ranked No. 157 on Billboards 200 Albums of the Decade. It spawned five singles. The lead single was "Someday". The band also released "Feelin' Way Too Damn Good" as a single, which peaked at number three on the Mainstream Rock Charts. "Figured You Out" was also released as a single and topped the Mainstream Rock Charts for 13 consecutive weeks. All the Right Reasons (2005–2007) Just after New Year's Day 2005, drummer Ryan Vikedal was replaced by 3 Doors Down's drummer Daniel Adair. Nickelback promptly went into the studio with their new drummer from January through May 2005. The sessions resulted in their fifth studio album, All the Right Reasons which was released on October 3, 2005. It peaked at number one on the Billboard 200 with 323,350 copies in its first week in the United States, as well as producing five U.S. Hot 100 top 20 singles: "Photograph", "Savin' Me", "Far Away", "If Everyone Cared" and "Rockstar". Three of these became U.S. Hot 100 top 10 singles. Also, the album peaked at number one on the Canadian albums chart. The album sold more than 12 million singles and over 9 million ringtones. The album also made Nickelback the first band in Nielsen BDS history to have 5 singles on the CHR charts. It included appearances by Billy Gibbons of ZZ Top, who played a guitar solo on the song "Follow You Home" and sang backing vocals on "Rock Star"—and a posthumously sampled appearance by Chad Kroeger's friend Dimebag Darrell from Pantera, culled from guitar outtakes. All the Right Reasons had sold over 7 million copies in the U.S. to June 19, 2010. The band spent much of 2006 and 2007 touring across the globe. In the fall of 2006, the band opened for Bon Jovi on the European leg of the Have a Nice Day Tour. Over 2 million fans attended Nickelback's shows during those two years. The band played at Sturgis, South Dakota to over 35,000 people at the 2006 Sturgis Bike Rally. The performance was filmed with 15 high-definition cameras. They released the DVD and Blu-ray of it in 2009, several years after the performance. In November 2006, the band won an American Music Award for best pop/rock album, surprising the band itself. "We just kinda showed up because we were supposed to give one of these away tonight," Chad Kroeger said after receiving the award. Chad Kroeger added he had thought the Red Hot Chili Peppers would win the award. Dark Horse (2008–2010) After taking much of 2007 off, the band started recording a new album in earnest. In July 2008, the band signed with Live Nation for three touring and album cycles, with an option for a fourth. On September 4, 2008, it was announced that the first single from the upcoming album would be "If Today Was Your Last Day", to be released on September 30, 2008. This announcement was however never confirmed: Roadrunner Records actually chose to release another song, "Gotta Be Somebody," as the first single. It became Nickelback's 5th and so far final single to hit the No. 1 spot on the U.S. Adult Top 40 chart. The new album, produced by Mutt Lange and titled Dark Horse, was released on November 18, 2008. "Something in Your Mouth" was released as the second single to rock radio only on December 15, 2008, where it reached number one. "If Today Was Your Last Day" was eventually released as a single after all on March 31, 2009: it became the third single from the album. Four more singles were released later in 2009, "I'd Come for You", "Burn It to the Ground" and "Never Gonna Be Alone" released in September and "Shakin' Hands" as the seventh single on November 16. Its eighth single, "This Afternoon", was released on March 23, 2010. Dark Horse was certified platinum by the Recording Industry Association of America (RIAA) on December 9, 2008, only three weeks after its North American release. All eight singles were major hits which finished at or near the top of at least one high-profile chart. On November 26, 2008, the band announced the tour for the support of the album. Live Nation produced the tour and the band kicked off in Nashville, Tennessee, with Seether, and Saving Abel as their opening acts. The band then announced that they were about to tour in the UK with Black Stone Cherry as their opening act. The band then announced the second leg of the tour of North America with the opening acts being Hinder, Papa Roach, and once again, Saving Abel. The band then went on tour around Australia and New Zealand with Sick Puppies as their supporting act. For the second leg of the Europe tour, the band played with their opening act Daughtry. The third leg of the North America tour kicked off with Breaking Benjamin, Sick Puppies and Shinedown opening up for the band. The band concluded their tour with the fourth leg in North America which included Buckcherry and Three Days Grace. The tour was very successful and the band sold over 1.6 million tickets with 146 shows. The album also remained in the top 20 on the Billboard 200 for weeks after its release. The album was certified two times platinum in April 2009, and had by April 2010 sold over 3 million copies in the U.S. However, critical reception of the album has been mostly mixed to negative. In 2009, the band won three Juno Awards for Juno Fan Choice Award, group of the year, and album of the year; the band performed their single "Something In Your Mouth" at the ceremony. In 2010, Billboard year end charts listed Dark Horse as the top-selling rock and metal album of the year. The band was also listed at the top selling hard rock artist. On January 29, 2010 they released a Tap-Tap rhythm game for on the App Store, contrary to the band's prior comments against other music related video games such as Guitar Hero. On February 28, 2010, Nickelback gave a performance at the beginning of the concert portion of the 2010 Winter Olympics closing ceremony, performing "Burn It to the Ground". In October 2010 Nickelback finished their Dark Horse Tour. Here and Now (2011–2013) Chad Kroeger said in an interview with Billboard.com in September 2010 that songwriting for the next Nickelback album was planned to commence as early as February 2011 with "about four tunes" already in mind. Adair mentioned that the band wanted to go back to the musical style of All The Right Reasons, which he described as "more organic." Nickelback announced their new album, Here and Now, on September 8, 2011, along with its two lead singles, "Bottoms Up" and "When We Stand Together". Kroeger said "We’re four people who love making music, the way we like to make it. We entered the studio this year with a vision, and it all came together. We’re extremely happy with the results, and can’t wait to share them with our fans." The album was released on November 21, 2011, with the band calling it "Nickelblack Monday", a play on Nickelback and Black Monday. Two singles were released to radio stations on September 26, and September 27 for purchase on iTunes. Here and Now peaked at number two on the Billboard 200, selling 226,714 copies in its first week of release, with Christmas by Michael Bublé taking number one by a margin of only 419 copies. As part of promotion for the album, Nickelback was booked to perform at the halftime shows for both an NFL Thanksgiving Day game at Ford Field in Detroit on November 24, and the 99th Grey Cup in the band's hometown of Vancouver on November 27. Also, as a promotion the band played to Jimmy Kimmel upon the album's release. The band is nominated for 4 Juno Awards in 2012, and scheduled to perform at the ceremony. Nickelback announced their Here and Now Tour on January 11, 2012, they are going to tour with Seether, Bush and My Darkest Days. The band released a music video for their fourth single off of the album Lullaby. The band officially announced the compilation album The Best of Nickelback Volume 1 through social media on October 3, 2013. Frontman Chad Kroeger had previously stated in an interview that the greatest hits album was to feature songs from previous albums along with new songs but the unveiled track listing ultimately contained only previously released material. No Fixed Address and Feed the Machine (2014–2018) According to an interview with Chad Kroeger on CFOX-FM, the band planned to release their eighth studio album before the end of 2014. The lead rock single was also announced, "Edge of a Revolution", was released in August 2014. The track was described as a 'departure' for Nickelback and a political song. Frequent collaborator Chris Lord-Alge returned to mix some of the tracks on the album. It was also announced the band had signed to Republic Records. The lead single from the album is titled "Edge of a Revolution", and was scheduled to be sent for adds on Rock radio and be released to iTunes on August 18. The lead pop single, and second overall, was announced to be "What Are You Waiting For?", and was released in September. "What Are You Waiting For?" was released as a single on digital retailers on September 9, 2014. On August 22, 2014, Nickelback announced the album's title to be No Fixed Address, and released it on November 17, 2014. No Fixed Address Tour was their fifth headlining concert tour, in support of No Fixed Address. The tour was announced on November 5, 2014, as well as The Pretty Reckless, Pop Evil, and Lifehouse as the support act for the majority of the shows in North American while Monster Truck was support act in Australia and Europe (2016). The second North American leg of the tour had to be canceled when lead vocalist Chad Kroeger required surgery for a cyst on his voice box. The entire leg of the European tour was postponed until Autumn 2016. On August 19, 2016, Nickelback released a cover of Don Henley's song "Dirty Laundry" to streaming services. On January 23, 2017, a new single, "Feed the Machine" was announced to be released on February 1, alongside specific details of a 2017 tour. On January 25, Nickelback signed with BMG Rights Management to release their ninth album, also titled Feed the Machine. The album was released on June 16, 2017. The band released their second single from the album, "Song on Fire", on April 28, 2017. Shortly after the release of the album, the band began a 44-city tour on June 23, 2017 in North America, co-headlined with Daughtry, Shaman's Harvest and Cheap Trick as supporting acts. Upcoming tenth studio album (2019–present) In early 2019, band members spoke of recording a tenth studio album, though Chad Kroeger conceded there was no timetable or rush for the band to complete it. Mike Kroeger spoke of his personal desire to move in more of a heavy metal direction, or wanting to do an album of Slayer cover songs. On August 14, 2020, the band released a cover of The Charlie Daniels Band song "The Devil Went Down to Georgia", featuring Dave Martone. Musical style and influences Nickelback has been described as various genres, including post-grunge, hard rock, pop rock, alternative rock, heavy metal, alternative metal, and nu metal. Their earlier sound has been classified as grunge. Nickelback have cited bands and musicians such as Creedence Clearwater Revival, Bob Marley, Metallica, Nirvana, Red Hot Chili Peppers, and U2 as influential or inspirational. Reception Review aggregator Metacritic reports that five of Nickelback's six most recent studio albums since becoming a mainstream act—The Long Road, All the Right Reasons, Dark Horse, Here and Now, and No Fixed Address—have scores of 62, 41, 49, 51, and 54, respectively, out of 100, indicating generally mixed reviews. AllMusic reviewer Liana Jones gave their first commercially successful album, Silver Side Up, 3 stars out of 5, and complimented their "intensity and raw passion" and realistic storytelling. Despite their commercial success, Nickelback has been the subject of numerous jokes and a vocal negative response for some audiences, some of which is attributed to the perceived derivative, repetitive and formulaic nature of their music, as well as their over-use of hedonistic themes involving strippers, sex, prostitutes, drugs, and alcohol consumption. However, in a review for the band's latest album Feed the Machine, AllMusic reviewer Stephen Thomas Erlewine noted that they had mostly done away with the crude and vulgar lyrical content they'd become known for, and praised the band for evolving their sound. In the 2010s, Nickelback became the subject of internet memes that were critical of their music, a status that the band came to embrace. In May 2013, the readers of Rolling Stone magazine named Nickelback the second-worst band of the 1990s, behind only Creed. In November 2011, users of the music-oriented dating site Tastebuds.fm voted Nickelback as the number one "musical turnoff." In March 2019, U.S. representatives Mark Pocan and Rodney Davis got into a friendly debate of the merits of the band while speaking on the floor of the House of Representatives. In an interview in 2014, Kroeger commented that the criticism helped him "grow a thick skin," and that without it, they would be "this just whatever band." Following their 2008 album, Dark Horse, ChartAttack credited the band's success to knowing their target audience: "Chad Kroeger is a genius because he knows exactly what people want and precisely how far he can go. He turned out an extremely racy album that's loaded with songs about gettin' drunk and doin' it all without breaking any taboos, and with enough love and moral authority to grease its passage into the mainstream. Rejoice, North America. This is your world." Billboard gave praise to the band: "The bulletproof Nickelback provides affordable fun that promises good returns in hard times." Various fellow musicians like Chris Martin of Coldplay as well as R&B singers Timbaland and Keyshia Cole support the band. Band membersCurrent members Chad Kroeger – lead vocals, lead guitar (1995–present); rhythm guitar (2008–present) Ryan Peake – rhythm guitar, backing vocals (1995–present); keyboards (2002–present); lead guitar (2008–present) Mike Kroeger – bass (1995–present) Daniel Adair – drums, percussion, backing vocals (2005–present)Former members''' Brandon Kroeger – drums (1995–1997) Mitch Guindon – drums (1997–1998) Ryan Vikedal – drums, percussion (1998–2005) Timeline Discography Studio albumsCurb (1996)The State (1998)Silver Side Up (2001)The Long Road (2003)All the Right Reasons (2005)Dark Horse (2008)Here and Now (2011)No Fixed Address (2014)Feed the Machine'' (2017) Awards 2003 – Won SOCAN International Achievement Award for the song "How You Remind Me" 2004 – Won SOCAN International Achievement Award 2005 – Won SOCAN International Achievement Award 2007 – Won SOCAN International Achievement Award 2008 – Won SOCAN International Achievement Award References External links Atlantic Records artists 1995 establishments in Alberta Canadian alternative metal musical groups Canadian hard rock musical groups Canadian heavy metal musical groups Canadian pop rock music groups Canadian post-grunge groups Juno Award for Single of the Year winners Musical groups established in 1995 Musical groups from Alberta Musical quartets Republic Records artists Roadrunner Records artists Juno Award for Album of the Year winners Juno Award for Breakthrough Group of the Year winners Juno Award for Rock Album of the Year winners Juno Award for Group of the Year winners Juno Fan Choice Award winners Musical families	true	[ "Travel III EP is the sixth album by the Christian rock band Future of Forestry, and the third in the \"Travel Series.\" The recording of the album “officially” started on February 11. It was released on June 29, 2010. Frontman Eric Owyoung wrote all of the songs for this EP and his wife, Tamara Owyoung, painted the cover art for the album. The band subsequently departed on what was called \"The 3 Tour\" to go along with the release. The tour was self-booked and took place in the West and Midwest regions of the United States starting on June 27, 2010 and ending on July 13, 2010.\n\nTrack listing\nThe names (and respective order) of the songs were released on the band's Myspace page leading up to the release of the CD, as they did for the rest of the Travel Series EPs. However, on Travel III, for the first time, Future of Forestry released the tracks out-of-order.\n\n \"Bold and Underlined\" - 4:04\n \"Working to Be Loved\" - 3:48\n \"Did You Lose Yourself\" - 4:47\n \"Protection\" - 4:14\n \"Horizon Rainfall\" - 2:53\n \"Your Day's Not Over\" - 5:00\n\nAwards\nThe album was nominated for a Dove Award for Rock Album of the Year at the 42nd GMA Dove Awards.\n\nReferences \n\n2010 EPs\nFuture of Forestry albums", "The Judds in Concert is the first live album by American country duo, The Judds. It was released on August 29, 1995 via Curb Records and RCA Nashville. It was produced by Steve Lindsey. In Concert was the first live studio offering by the duo in their career. A second live release would follow in 2000. The album was one of several released during the 1990s following the duo's departure in 1991.\n\nBackground, release and reception\nThe Judds had their biggest commercial success in the 1980s. They had multiple number one singles and top ten hits before disbanding in 1991. Their final studio album was released in 1990 entitled Love Can Build a Bridge. The Judds in Concert was their first album offering (with the exception of compilations) since their departure. The album had been recorded in 1985 during a major concert tour but had not been released to the public until this point. The album was produced by Steve Lindsey. \n\nThe album consisted of a total of 12 tracks. Eleven of the album's tracks were previously recorded by the duo. This included the hits \"Had a Dream (For the Heart),\" \"Why Not Me,\" \"Mama He's Crazy,\" \"Girls' Night Out\" and \"Love Is Alive.\" The twelfth track, \"Don't You Hear Jerusalem Moan,\" was not previously recorded by the duo.\n\nThe Judds in Concert was released on August 29, 1995 via Curb and RCA Records. It was the duo's first live release. The Judds would later release a second live album in 2000 after embarking on a reunion tour. The album was issued as a compact disc by Curb and RCA. The album did not reach any peak positions on national publication charts, notably Billboard. It also did not spawn any singles to radio. In later years, the album received a rating from Allmusic, which only gave it two out of five stars.\n\nTrack listing\n\nPersonnel\nAll credits are adapted from the liner notes of The Judds in Concert.\n\nMusical and technical personnel\n Pat Holt – mixing\n Naomi Judd – harmony vocals\n Wynonna Judd – lead vocals\n Steve Lindsey – producer\n Benny Quin – mixing\n\nRelease history\n\nReferences\n\n1995 live albums\nCurb Records albums\nThe Judds albums\nRCA Records albums" ]
[ "Nickelback", "Curb and The State (1996-2000)", "When was Curb released?", "In 1996, the band recorded and released their first full-length album, Curb. \"", "What singles were on that album?", "\"Fly\" was included on both Hesher and Curb and was the first single produced by Nickelback.", "Was this album successful?", "Ron Burman told HitQuarters that one of his West Coast scouts sent him the self-released album and, suitably impressed,", "Did they tour during the release of this album?", "travelled to Vancouver to see them perform live." ]	C_d506639b766c4317b6e3b986b4e91860_1	When was The State released?	5	When was Curb and The State album released?	Nickelback	In 1996, the band recorded and released their first full-length album, Curb. "Fly" was included on both Hesher and Curb and was the first single produced by Nickelback. In 1997, Brandon Kroeger left the band and the band searched for a new drummer. Later that year Mitch Guindon joined the band, but he decided to leave in 1998 because he started working in a car company. In Summer 1998, Ryan Vikedal joined the band. Roadrunner A&R Ron Burman told HitQuarters that one of his West Coast scouts sent him the self-released album and, suitably impressed, he travelled to Vancouver to see them perform live. Although an unknown property in the industry at the time, the venue was packed out. In Burman's words: "I immediately got the chills! I thought their song 'Leader of Men' was a smash hit." Off the stage he was impressed by their industry and initiative in managing their career. Despite this, it still took Burman three months for him to convince his label bosses to approve the signing, a decision that would mark Roadrunner's first move into mainstream rock. Nickelback signed a record deal with EMI and Roadrunner Records in 1999. The State, was released by Nickelback in 2000 by Roadrunner Records and EMI Canada. The State, was released in Europe in 2001. It spawned 4 singles: "Old Enough", "Worthy to Say", "Leader of Men" and "Breathe", the last two being Top 10 rock hits. The album was the band's first album to be certified gold status and it later went into platinum status in 2008, after the success of their later albums. The album entered the Billboard 200 at number 130 and peaked at number 3 in the Billboard Top Heatseekers albums chart and peaked at number 6 on the Billboard Top Independent albums chart. CANNOTANSWER	The State, was released by Nickelback in 2000 by Roadrunner Records	Nickelback is a Canadian rock band formed in 1995 in Hanna, Alberta. It is composed of guitarist and lead vocalist Chad Kroeger, guitarist, keyboardist and backing vocalist Ryan Peake, bassist Mike Kroeger, and drummer Daniel Adair. It went through several drummer changes between 1995 and 2005, achieving its current lineup when Adair replaced Ryan Vikedal. Nickelback is one of the most commercially successful Canadian rock bands, having sold more than 50 million albums worldwide. In 2009, Billboard ranked it the most successful rock group of that decade; "How You Remind Me" was the best-selling rock song and the fourth-best overall. The band ranked at No. 7 on the Billboard top artist of the decade list, with four albums among the publication's top albums of the decade. The band signed with Roadrunner Records in 1999 and re-released its once-independent second studio album The State. This album was commercially successful, as was its follow-up, Silver Side Up, in 2001. The band then released its biggest hit, "How You Remind Me", a No. 1 on the Billboard and Canadian Singles Charts. The fourth album, The Long Road, was released in 2003 and spawned five singles, including Canadian No. 1 "Someday", which also reached No. 7 on the Billboard Hot 100. In 2005, the band's best-selling album to date, All the Right Reasons, produced three top-ten and five top-twenty singles on the Billboard Hot 100, including "Photograph", "Far Away", and "Rockstar". Dark Horse sold well in 2008, producing eight singles, one cracking the top ten on the Billboard Hot 100 and two in the top twenty. In 2011, the seventh album, Here and Now, topped the charts. The eighth, No Fixed Address, was released in 2014, followed by Feed the Machine in 2017. Nickelback is based in Vancouver, British Columbia. It originally published through EMI Canada before signing a global distribution deal with Roadrunner Records. For Here and Now, it left EMI Canada for Universal Music Canada. History Formation (1995) The band was formed in the early 1990s as a cover band called "Village Idiot" by brothers Mike and Chad Kroeger with their cousin Brandon Kroeger and Ryan Peake. The band later changed its name to Nickelback, which originated from the nickel in change that band member Mike Kroeger gave customers at his job at Starbucks; he would frequently say, "Here's your nickel back." The band performed covers of songs from Led Zeppelin and Metallica. Chad Kroeger then asked his step-father to give him $4,000 so that the band could record their first demo, a seven-track EP of original material, called Hesher (1996). The band spent half the money to record the EP, and spent the other half on magic mushrooms. Curb and The State (1996–2000) In 1996, the band recorded and released their first full-length album, Curb. "Fly" was included on both Hesher and Curb and was the first single produced by Nickelback. In 1997, Brandon Kroeger left the band and the band searched for a new drummer. Later that year Mitch Guindon joined the band, but he decided to leave in 1998. While initially reported due to him starting work at a car company, Guindon's departure came due to him "not [being] meant for the road". Chad Kroeger stated that his skin was not able to handle cold weather and they convinced him to leave. In Summer 1998, Ryan Vikedal joined the band. Roadrunner A&R Ron Burman told HitQuarters that one of his West Coast scouts sent him the self-released album and, suitably impressed, he travelled to Vancouver to see them perform live. Although an unknown property in the industry at the time, the venue was packed out. In Burman's words: "I immediately got the chills! I thought their song 'Leader of Men' was a smash hit." Off the stage he was impressed by their industry and initiative in managing their career. Despite this, it still took Burman three months for him to convince his label bosses to approve the signing, a decision that would mark Roadrunner's first move into mainstream rock. Nickelback signed a record deal with EMI and Roadrunner Records in 1999. The State was released by Nickelback in 2000 by Roadrunner Records and EMI Canada, followed by its release in Europe in 2001. It spawned 4 singles: "Old Enough", "Worthy to Say", "Leader of Men" and "Breathe", the last two being Top 10 rock hits. The album was the band's first album to be certified gold status and it later went into platinum status in 2008, after the success of their later albums. The album entered the Billboard 200 at number 130 and peaked at number 3 in the Billboard Top Heatseekers albums chart and peaked at number 6 on the Billboard Top Independent albums chart. Silver Side Up and The Long Road (2001–2004) Around 2001, Chad Kroeger started "studying every piece, everything sonically, everything lyrically, everything musically, chord structure. I would dissect every single song that I would hear on the radio or every song that had ever done well on a chart and I would say, 'Why did this do well?'" Kroeger said that Nickelback's single "How You Remind Me" sold so well because it was about romantic relationships, a universal subject, and contained memorable hooks. To record their third album Silver Side Up, Nickelback collaborated with producer Rick Parashar. The album was written before the release of The State and was recorded at the same studio. The album was released on Tuesday, September 11, 2001. The album peaked at number two on the Billboard 200 with over 177,000 copies sold in its first week and peaked at number one at the Canadian albums chart, making it the band's first album to do so. The single "How You Remind Me" was a number one single on the Mainstream and Modern rock charts, as well as the pop chart. It also peaked at number two on Adult Top 40 and became the Billboard Hot 100 number one single of the year for 2002. The next single was "Too Bad", which also reached number one on the Mainstream Rock Chart. The final single from the album was "Never Again", which also hit number one on Mainstream Rock. In 2002, Chad Kroeger collaborated with Josey Scott on the Spider-Man theme song, "Hero". This recording also featured Tyler Connolly, Mike Kroeger, Matt Cameron, and Jeremy Taggart. In 2002, Nickelback released their first DVD Live at Home. On August 19, 2002, an incident occurred while the band was performing at the Ilha do Ermal festival in Portugal. While performing the second song of their set, Chad Kroeger was sprayed with a full bottle of water hurled from somewhere within the audience. After finishing the song, Chad asked the crowd, "Do you want to hear some rock 'n' roll or do you want to go home?" A person in the audience then threw a rock at Chad's head. The band then left stage, with Chad and Vikedal giving the finger to the audience as they left. The band's label, Roadrunner, posted video footage of the entire incident on their website. In 2003, Nickelback released The Long Road. The album was certified 3x Platinum by the RIAA in March 2005 and it had sold 3,591,000 copies as of April 2011. It has sold over 5 million copies worldwide and, in 2003 alone, the album sold 2 million copies worldwide. It debuted at No. 6 on the Billboard 200. This was their first album produced by Joey Moi, a former classmate of the band's. The Long Road was ranked No. 157 on Billboards 200 Albums of the Decade. It spawned five singles. The lead single was "Someday". The band also released "Feelin' Way Too Damn Good" as a single, which peaked at number three on the Mainstream Rock Charts. "Figured You Out" was also released as a single and topped the Mainstream Rock Charts for 13 consecutive weeks. All the Right Reasons (2005–2007) Just after New Year's Day 2005, drummer Ryan Vikedal was replaced by 3 Doors Down's drummer Daniel Adair. Nickelback promptly went into the studio with their new drummer from January through May 2005. The sessions resulted in their fifth studio album, All the Right Reasons which was released on October 3, 2005. It peaked at number one on the Billboard 200 with 323,350 copies in its first week in the United States, as well as producing five U.S. Hot 100 top 20 singles: "Photograph", "Savin' Me", "Far Away", "If Everyone Cared" and "Rockstar". Three of these became U.S. Hot 100 top 10 singles. Also, the album peaked at number one on the Canadian albums chart. The album sold more than 12 million singles and over 9 million ringtones. The album also made Nickelback the first band in Nielsen BDS history to have 5 singles on the CHR charts. It included appearances by Billy Gibbons of ZZ Top, who played a guitar solo on the song "Follow You Home" and sang backing vocals on "Rock Star"—and a posthumously sampled appearance by Chad Kroeger's friend Dimebag Darrell from Pantera, culled from guitar outtakes. All the Right Reasons had sold over 7 million copies in the U.S. to June 19, 2010. The band spent much of 2006 and 2007 touring across the globe. In the fall of 2006, the band opened for Bon Jovi on the European leg of the Have a Nice Day Tour. Over 2 million fans attended Nickelback's shows during those two years. The band played at Sturgis, South Dakota to over 35,000 people at the 2006 Sturgis Bike Rally. The performance was filmed with 15 high-definition cameras. They released the DVD and Blu-ray of it in 2009, several years after the performance. In November 2006, the band won an American Music Award for best pop/rock album, surprising the band itself. "We just kinda showed up because we were supposed to give one of these away tonight," Chad Kroeger said after receiving the award. Chad Kroeger added he had thought the Red Hot Chili Peppers would win the award. Dark Horse (2008–2010) After taking much of 2007 off, the band started recording a new album in earnest. In July 2008, the band signed with Live Nation for three touring and album cycles, with an option for a fourth. On September 4, 2008, it was announced that the first single from the upcoming album would be "If Today Was Your Last Day", to be released on September 30, 2008. This announcement was however never confirmed: Roadrunner Records actually chose to release another song, "Gotta Be Somebody," as the first single. It became Nickelback's 5th and so far final single to hit the No. 1 spot on the U.S. Adult Top 40 chart. The new album, produced by Mutt Lange and titled Dark Horse, was released on November 18, 2008. "Something in Your Mouth" was released as the second single to rock radio only on December 15, 2008, where it reached number one. "If Today Was Your Last Day" was eventually released as a single after all on March 31, 2009: it became the third single from the album. Four more singles were released later in 2009, "I'd Come for You", "Burn It to the Ground" and "Never Gonna Be Alone" released in September and "Shakin' Hands" as the seventh single on November 16. Its eighth single, "This Afternoon", was released on March 23, 2010. Dark Horse was certified platinum by the Recording Industry Association of America (RIAA) on December 9, 2008, only three weeks after its North American release. All eight singles were major hits which finished at or near the top of at least one high-profile chart. On November 26, 2008, the band announced the tour for the support of the album. Live Nation produced the tour and the band kicked off in Nashville, Tennessee, with Seether, and Saving Abel as their opening acts. The band then announced that they were about to tour in the UK with Black Stone Cherry as their opening act. The band then announced the second leg of the tour of North America with the opening acts being Hinder, Papa Roach, and once again, Saving Abel. The band then went on tour around Australia and New Zealand with Sick Puppies as their supporting act. For the second leg of the Europe tour, the band played with their opening act Daughtry. The third leg of the North America tour kicked off with Breaking Benjamin, Sick Puppies and Shinedown opening up for the band. The band concluded their tour with the fourth leg in North America which included Buckcherry and Three Days Grace. The tour was very successful and the band sold over 1.6 million tickets with 146 shows. The album also remained in the top 20 on the Billboard 200 for weeks after its release. The album was certified two times platinum in April 2009, and had by April 2010 sold over 3 million copies in the U.S. However, critical reception of the album has been mostly mixed to negative. In 2009, the band won three Juno Awards for Juno Fan Choice Award, group of the year, and album of the year; the band performed their single "Something In Your Mouth" at the ceremony. In 2010, Billboard year end charts listed Dark Horse as the top-selling rock and metal album of the year. The band was also listed at the top selling hard rock artist. On January 29, 2010 they released a Tap-Tap rhythm game for on the App Store, contrary to the band's prior comments against other music related video games such as Guitar Hero. On February 28, 2010, Nickelback gave a performance at the beginning of the concert portion of the 2010 Winter Olympics closing ceremony, performing "Burn It to the Ground". In October 2010 Nickelback finished their Dark Horse Tour. Here and Now (2011–2013) Chad Kroeger said in an interview with Billboard.com in September 2010 that songwriting for the next Nickelback album was planned to commence as early as February 2011 with "about four tunes" already in mind. Adair mentioned that the band wanted to go back to the musical style of All The Right Reasons, which he described as "more organic." Nickelback announced their new album, Here and Now, on September 8, 2011, along with its two lead singles, "Bottoms Up" and "When We Stand Together". Kroeger said "We’re four people who love making music, the way we like to make it. We entered the studio this year with a vision, and it all came together. We’re extremely happy with the results, and can’t wait to share them with our fans." The album was released on November 21, 2011, with the band calling it "Nickelblack Monday", a play on Nickelback and Black Monday. Two singles were released to radio stations on September 26, and September 27 for purchase on iTunes. Here and Now peaked at number two on the Billboard 200, selling 226,714 copies in its first week of release, with Christmas by Michael Bublé taking number one by a margin of only 419 copies. As part of promotion for the album, Nickelback was booked to perform at the halftime shows for both an NFL Thanksgiving Day game at Ford Field in Detroit on November 24, and the 99th Grey Cup in the band's hometown of Vancouver on November 27. Also, as a promotion the band played to Jimmy Kimmel upon the album's release. The band is nominated for 4 Juno Awards in 2012, and scheduled to perform at the ceremony. Nickelback announced their Here and Now Tour on January 11, 2012, they are going to tour with Seether, Bush and My Darkest Days. The band released a music video for their fourth single off of the album Lullaby. The band officially announced the compilation album The Best of Nickelback Volume 1 through social media on October 3, 2013. Frontman Chad Kroeger had previously stated in an interview that the greatest hits album was to feature songs from previous albums along with new songs but the unveiled track listing ultimately contained only previously released material. No Fixed Address and Feed the Machine (2014–2018) According to an interview with Chad Kroeger on CFOX-FM, the band planned to release their eighth studio album before the end of 2014. The lead rock single was also announced, "Edge of a Revolution", was released in August 2014. The track was described as a 'departure' for Nickelback and a political song. Frequent collaborator Chris Lord-Alge returned to mix some of the tracks on the album. It was also announced the band had signed to Republic Records. The lead single from the album is titled "Edge of a Revolution", and was scheduled to be sent for adds on Rock radio and be released to iTunes on August 18. The lead pop single, and second overall, was announced to be "What Are You Waiting For?", and was released in September. "What Are You Waiting For?" was released as a single on digital retailers on September 9, 2014. On August 22, 2014, Nickelback announced the album's title to be No Fixed Address, and released it on November 17, 2014. No Fixed Address Tour was their fifth headlining concert tour, in support of No Fixed Address. The tour was announced on November 5, 2014, as well as The Pretty Reckless, Pop Evil, and Lifehouse as the support act for the majority of the shows in North American while Monster Truck was support act in Australia and Europe (2016). The second North American leg of the tour had to be canceled when lead vocalist Chad Kroeger required surgery for a cyst on his voice box. The entire leg of the European tour was postponed until Autumn 2016. On August 19, 2016, Nickelback released a cover of Don Henley's song "Dirty Laundry" to streaming services. On January 23, 2017, a new single, "Feed the Machine" was announced to be released on February 1, alongside specific details of a 2017 tour. On January 25, Nickelback signed with BMG Rights Management to release their ninth album, also titled Feed the Machine. The album was released on June 16, 2017. The band released their second single from the album, "Song on Fire", on April 28, 2017. Shortly after the release of the album, the band began a 44-city tour on June 23, 2017 in North America, co-headlined with Daughtry, Shaman's Harvest and Cheap Trick as supporting acts. Upcoming tenth studio album (2019–present) In early 2019, band members spoke of recording a tenth studio album, though Chad Kroeger conceded there was no timetable or rush for the band to complete it. Mike Kroeger spoke of his personal desire to move in more of a heavy metal direction, or wanting to do an album of Slayer cover songs. On August 14, 2020, the band released a cover of The Charlie Daniels Band song "The Devil Went Down to Georgia", featuring Dave Martone. Musical style and influences Nickelback has been described as various genres, including post-grunge, hard rock, pop rock, alternative rock, heavy metal, alternative metal, and nu metal. Their earlier sound has been classified as grunge. Nickelback have cited bands and musicians such as Creedence Clearwater Revival, Bob Marley, Metallica, Nirvana, Red Hot Chili Peppers, and U2 as influential or inspirational. Reception Review aggregator Metacritic reports that five of Nickelback's six most recent studio albums since becoming a mainstream act—The Long Road, All the Right Reasons, Dark Horse, Here and Now, and No Fixed Address—have scores of 62, 41, 49, 51, and 54, respectively, out of 100, indicating generally mixed reviews. AllMusic reviewer Liana Jones gave their first commercially successful album, Silver Side Up, 3 stars out of 5, and complimented their "intensity and raw passion" and realistic storytelling. Despite their commercial success, Nickelback has been the subject of numerous jokes and a vocal negative response for some audiences, some of which is attributed to the perceived derivative, repetitive and formulaic nature of their music, as well as their over-use of hedonistic themes involving strippers, sex, prostitutes, drugs, and alcohol consumption. However, in a review for the band's latest album Feed the Machine, AllMusic reviewer Stephen Thomas Erlewine noted that they had mostly done away with the crude and vulgar lyrical content they'd become known for, and praised the band for evolving their sound. In the 2010s, Nickelback became the subject of internet memes that were critical of their music, a status that the band came to embrace. In May 2013, the readers of Rolling Stone magazine named Nickelback the second-worst band of the 1990s, behind only Creed. In November 2011, users of the music-oriented dating site Tastebuds.fm voted Nickelback as the number one "musical turnoff." In March 2019, U.S. representatives Mark Pocan and Rodney Davis got into a friendly debate of the merits of the band while speaking on the floor of the House of Representatives. In an interview in 2014, Kroeger commented that the criticism helped him "grow a thick skin," and that without it, they would be "this just whatever band." Following their 2008 album, Dark Horse, ChartAttack credited the band's success to knowing their target audience: "Chad Kroeger is a genius because he knows exactly what people want and precisely how far he can go. He turned out an extremely racy album that's loaded with songs about gettin' drunk and doin' it all without breaking any taboos, and with enough love and moral authority to grease its passage into the mainstream. Rejoice, North America. This is your world." Billboard gave praise to the band: "The bulletproof Nickelback provides affordable fun that promises good returns in hard times." Various fellow musicians like Chris Martin of Coldplay as well as R&B singers Timbaland and Keyshia Cole support the band. Band membersCurrent members Chad Kroeger – lead vocals, lead guitar (1995–present); rhythm guitar (2008–present) Ryan Peake – rhythm guitar, backing vocals (1995–present); keyboards (2002–present); lead guitar (2008–present) Mike Kroeger – bass (1995–present) Daniel Adair – drums, percussion, backing vocals (2005–present)Former members''' Brandon Kroeger – drums (1995–1997) Mitch Guindon – drums (1997–1998) Ryan Vikedal – drums, percussion (1998–2005) Timeline Discography Studio albumsCurb (1996)The State (1998)Silver Side Up (2001)The Long Road (2003)All the Right Reasons (2005)Dark Horse (2008)Here and Now (2011)No Fixed Address (2014)Feed the Machine'' (2017) Awards 2003 – Won SOCAN International Achievement Award for the song "How You Remind Me" 2004 – Won SOCAN International Achievement Award 2005 – Won SOCAN International Achievement Award 2007 – Won SOCAN International Achievement Award 2008 – Won SOCAN International Achievement Award References External links Atlantic Records artists 1995 establishments in Alberta Canadian alternative metal musical groups Canadian hard rock musical groups Canadian heavy metal musical groups Canadian pop rock music groups Canadian post-grunge groups Juno Award for Single of the Year winners Musical groups established in 1995 Musical groups from Alberta Musical quartets Republic Records artists Roadrunner Records artists Juno Award for Album of the Year winners Juno Award for Breakthrough Group of the Year winners Juno Award for Rock Album of the Year winners Juno Award for Group of the Year winners Juno Fan Choice Award winners Musical families	false	[ "Timothy J. Anderson (born November 22, 1980) is a former American football defensive tackle who played in the National Football League. He was drafted by the Buffalo Bills in the third round of the 2004 NFL Draft. He played college football at Ohio State.\nAnderson was also a member of the Atlanta Falcons and Dallas Cowboys of the NFL and the Hartford Colonials of the United Football League.\n\nEarly years\nAnderson played high school football in Clyde, Ohio where he received both All-Ohio and All-American honors. Tim also was a wrestling standout winning Ohio's division II state title his junior and senior seasons in the 275 class.\n\nCollege career\nHe then attended Ohio State University, where he was a starter for three years. As a freshman, Anderson played behind Ryan Pickett on the depth chart. When Pickett skipped his senior season to enter the NFL draft, Anderson stepped up and that season recorded three sacks and nine tackles for loss. Anderson's best remembered play at Ohio State came in the 2002 national championship season, when he batted down a fourth-down pass from Illinois's Jon Beutjer in overtime to preserve Ohio State's 23-16 victory.\n\nProfessional career\n\nBuffalo Bills\nAnderson was selected by the Bills in the third round of the 2004 NFL Draft. Anderson played in only one game in 2004, but started several in 2005. On October 16, 2005 against the New York Jets, Anderson tackled Jets quarterback Vinny Testaverde for the first and only sack of his career. Anderson was released by the Bills on October 20, 2007\n\nAtlanta Falcons\nOn November 1, 2007, he signed with the Falcons. He re-signed with the team on March 10, 2008. He was released on September 1, 2008.\n\nDallas Cowboys\nAfter spending the 2008 season out of football, Anderson was signed by the Dallas Cowboys on January 26, 2009. He was released on August 15, 2009.\n\nHartford Colonials\nAfter spending the 2009 season out of football, Anderson was signed by the Hartford Colonials of the United Football League on July 23, 2010. He was released on September 3.\n\nReferences\n\n1980 births\nLiving people\nPeople from Clyde, Ohio\nPlayers of American football from Ohio\nAmerican football defensive tackles\nOhio State Buckeyes football players\nBuffalo Bills players\nAtlanta Falcons players\nDallas Cowboys players\nHartford Colonials players", "Nicholas James McDonald (born June 27, 1987) is an American football center who is currently a free agent. McDonald was signed as an undrafted free agent by the Green Bay Packers in 2010. In that year, he won Super Bowl XLV with the team against the Pittsburgh Steelers. He played college football at Grand Valley State University.\n\nProfessional career\n\nGreen Bay Packers\nAfter going the 2010 NFL Draft, McDonald signed with the Green Bay Packers on April 30, 2010.\n\nMcDonald was on the roster when the Packers won Super Bowl XLV over the Pittsburgh Steelers.\n\nHe was waived by the Packers on September 3, 2011.\n\nNew England Patriots\nMcDonald was signed to the New England Patriots' practice squad on September 4, 2011. He was released from the squad on September 15, but was re-signed the following day. On December 3, 2011, he was promoted to the active roster to replace the released Taylor Price. McDonald was part of the Patriots postseason team for Super Bowl XLVI but his hopes for a second straight championship came short when the Patriots lost the game to the New York Giants. On July 31, 2013, McDonald was waived by the New England Patriots.\n\nSan Diego Chargers\nOn January 16, 2014, McDonald signed a reserves/futures contract with the San Diego Chargers. On July 21, 2014, he was released.\n\nCleveland Browns\nOn July 22, 2014, McDonald was claimed by the Cleveland Browns. On May 27, 2015, he was released by the Browns.\n\nReferences\n\nExternal links\nGreen Bay Packers bio\nSan Diego Chargers bio\n\n1987 births\nLiving people\nAmerican football offensive guards\nCleveland Browns players\nGrand Valley State Lakers football players\nGreen Bay Packers players\nNew England Patriots players\nSan Diego Chargers players\nSportspeople from Salinas, California\nPlayers of American football from California" ]
[ "Nickelback", "Curb and The State (1996-2000)", "When was Curb released?", "In 1996, the band recorded and released their first full-length album, Curb. \"", "What singles were on that album?", "\"Fly\" was included on both Hesher and Curb and was the first single produced by Nickelback.", "Was this album successful?", "Ron Burman told HitQuarters that one of his West Coast scouts sent him the self-released album and, suitably impressed,", "Did they tour during the release of this album?", "travelled to Vancouver to see them perform live.", "When was The State released?", "The State, was released by Nickelback in 2000 by Roadrunner Records" ]	C_d506639b766c4317b6e3b986b4e91860_1	What songs were on The State album?	6	What songs were on Curb and The State album?	Nickelback	In 1996, the band recorded and released their first full-length album, Curb. "Fly" was included on both Hesher and Curb and was the first single produced by Nickelback. In 1997, Brandon Kroeger left the band and the band searched for a new drummer. Later that year Mitch Guindon joined the band, but he decided to leave in 1998 because he started working in a car company. In Summer 1998, Ryan Vikedal joined the band. Roadrunner A&R Ron Burman told HitQuarters that one of his West Coast scouts sent him the self-released album and, suitably impressed, he travelled to Vancouver to see them perform live. Although an unknown property in the industry at the time, the venue was packed out. In Burman's words: "I immediately got the chills! I thought their song 'Leader of Men' was a smash hit." Off the stage he was impressed by their industry and initiative in managing their career. Despite this, it still took Burman three months for him to convince his label bosses to approve the signing, a decision that would mark Roadrunner's first move into mainstream rock. Nickelback signed a record deal with EMI and Roadrunner Records in 1999. The State, was released by Nickelback in 2000 by Roadrunner Records and EMI Canada. The State, was released in Europe in 2001. It spawned 4 singles: "Old Enough", "Worthy to Say", "Leader of Men" and "Breathe", the last two being Top 10 rock hits. The album was the band's first album to be certified gold status and it later went into platinum status in 2008, after the success of their later albums. The album entered the Billboard 200 at number 130 and peaked at number 3 in the Billboard Top Heatseekers albums chart and peaked at number 6 on the Billboard Top Independent albums chart. CANNOTANSWER	It spawned 4 singles: "Old Enough", "Worthy to Say", "Leader of Men" and "Breathe",	Nickelback is a Canadian rock band formed in 1995 in Hanna, Alberta. It is composed of guitarist and lead vocalist Chad Kroeger, guitarist, keyboardist and backing vocalist Ryan Peake, bassist Mike Kroeger, and drummer Daniel Adair. It went through several drummer changes between 1995 and 2005, achieving its current lineup when Adair replaced Ryan Vikedal. Nickelback is one of the most commercially successful Canadian rock bands, having sold more than 50 million albums worldwide. In 2009, Billboard ranked it the most successful rock group of that decade; "How You Remind Me" was the best-selling rock song and the fourth-best overall. The band ranked at No. 7 on the Billboard top artist of the decade list, with four albums among the publication's top albums of the decade. The band signed with Roadrunner Records in 1999 and re-released its once-independent second studio album The State. This album was commercially successful, as was its follow-up, Silver Side Up, in 2001. The band then released its biggest hit, "How You Remind Me", a No. 1 on the Billboard and Canadian Singles Charts. The fourth album, The Long Road, was released in 2003 and spawned five singles, including Canadian No. 1 "Someday", which also reached No. 7 on the Billboard Hot 100. In 2005, the band's best-selling album to date, All the Right Reasons, produced three top-ten and five top-twenty singles on the Billboard Hot 100, including "Photograph", "Far Away", and "Rockstar". Dark Horse sold well in 2008, producing eight singles, one cracking the top ten on the Billboard Hot 100 and two in the top twenty. In 2011, the seventh album, Here and Now, topped the charts. The eighth, No Fixed Address, was released in 2014, followed by Feed the Machine in 2017. Nickelback is based in Vancouver, British Columbia. It originally published through EMI Canada before signing a global distribution deal with Roadrunner Records. For Here and Now, it left EMI Canada for Universal Music Canada. History Formation (1995) The band was formed in the early 1990s as a cover band called "Village Idiot" by brothers Mike and Chad Kroeger with their cousin Brandon Kroeger and Ryan Peake. The band later changed its name to Nickelback, which originated from the nickel in change that band member Mike Kroeger gave customers at his job at Starbucks; he would frequently say, "Here's your nickel back." The band performed covers of songs from Led Zeppelin and Metallica. Chad Kroeger then asked his step-father to give him $4,000 so that the band could record their first demo, a seven-track EP of original material, called Hesher (1996). The band spent half the money to record the EP, and spent the other half on magic mushrooms. Curb and The State (1996–2000) In 1996, the band recorded and released their first full-length album, Curb. "Fly" was included on both Hesher and Curb and was the first single produced by Nickelback. In 1997, Brandon Kroeger left the band and the band searched for a new drummer. Later that year Mitch Guindon joined the band, but he decided to leave in 1998. While initially reported due to him starting work at a car company, Guindon's departure came due to him "not [being] meant for the road". Chad Kroeger stated that his skin was not able to handle cold weather and they convinced him to leave. In Summer 1998, Ryan Vikedal joined the band. Roadrunner A&R Ron Burman told HitQuarters that one of his West Coast scouts sent him the self-released album and, suitably impressed, he travelled to Vancouver to see them perform live. Although an unknown property in the industry at the time, the venue was packed out. In Burman's words: "I immediately got the chills! I thought their song 'Leader of Men' was a smash hit." Off the stage he was impressed by their industry and initiative in managing their career. Despite this, it still took Burman three months for him to convince his label bosses to approve the signing, a decision that would mark Roadrunner's first move into mainstream rock. Nickelback signed a record deal with EMI and Roadrunner Records in 1999. The State was released by Nickelback in 2000 by Roadrunner Records and EMI Canada, followed by its release in Europe in 2001. It spawned 4 singles: "Old Enough", "Worthy to Say", "Leader of Men" and "Breathe", the last two being Top 10 rock hits. The album was the band's first album to be certified gold status and it later went into platinum status in 2008, after the success of their later albums. The album entered the Billboard 200 at number 130 and peaked at number 3 in the Billboard Top Heatseekers albums chart and peaked at number 6 on the Billboard Top Independent albums chart. Silver Side Up and The Long Road (2001–2004) Around 2001, Chad Kroeger started "studying every piece, everything sonically, everything lyrically, everything musically, chord structure. I would dissect every single song that I would hear on the radio or every song that had ever done well on a chart and I would say, 'Why did this do well?'" Kroeger said that Nickelback's single "How You Remind Me" sold so well because it was about romantic relationships, a universal subject, and contained memorable hooks. To record their third album Silver Side Up, Nickelback collaborated with producer Rick Parashar. The album was written before the release of The State and was recorded at the same studio. The album was released on Tuesday, September 11, 2001. The album peaked at number two on the Billboard 200 with over 177,000 copies sold in its first week and peaked at number one at the Canadian albums chart, making it the band's first album to do so. The single "How You Remind Me" was a number one single on the Mainstream and Modern rock charts, as well as the pop chart. It also peaked at number two on Adult Top 40 and became the Billboard Hot 100 number one single of the year for 2002. The next single was "Too Bad", which also reached number one on the Mainstream Rock Chart. The final single from the album was "Never Again", which also hit number one on Mainstream Rock. In 2002, Chad Kroeger collaborated with Josey Scott on the Spider-Man theme song, "Hero". This recording also featured Tyler Connolly, Mike Kroeger, Matt Cameron, and Jeremy Taggart. In 2002, Nickelback released their first DVD Live at Home. On August 19, 2002, an incident occurred while the band was performing at the Ilha do Ermal festival in Portugal. While performing the second song of their set, Chad Kroeger was sprayed with a full bottle of water hurled from somewhere within the audience. After finishing the song, Chad asked the crowd, "Do you want to hear some rock 'n' roll or do you want to go home?" A person in the audience then threw a rock at Chad's head. The band then left stage, with Chad and Vikedal giving the finger to the audience as they left. The band's label, Roadrunner, posted video footage of the entire incident on their website. In 2003, Nickelback released The Long Road. The album was certified 3x Platinum by the RIAA in March 2005 and it had sold 3,591,000 copies as of April 2011. It has sold over 5 million copies worldwide and, in 2003 alone, the album sold 2 million copies worldwide. It debuted at No. 6 on the Billboard 200. This was their first album produced by Joey Moi, a former classmate of the band's. The Long Road was ranked No. 157 on Billboards 200 Albums of the Decade. It spawned five singles. The lead single was "Someday". The band also released "Feelin' Way Too Damn Good" as a single, which peaked at number three on the Mainstream Rock Charts. "Figured You Out" was also released as a single and topped the Mainstream Rock Charts for 13 consecutive weeks. All the Right Reasons (2005–2007) Just after New Year's Day 2005, drummer Ryan Vikedal was replaced by 3 Doors Down's drummer Daniel Adair. Nickelback promptly went into the studio with their new drummer from January through May 2005. The sessions resulted in their fifth studio album, All the Right Reasons which was released on October 3, 2005. It peaked at number one on the Billboard 200 with 323,350 copies in its first week in the United States, as well as producing five U.S. Hot 100 top 20 singles: "Photograph", "Savin' Me", "Far Away", "If Everyone Cared" and "Rockstar". Three of these became U.S. Hot 100 top 10 singles. Also, the album peaked at number one on the Canadian albums chart. The album sold more than 12 million singles and over 9 million ringtones. The album also made Nickelback the first band in Nielsen BDS history to have 5 singles on the CHR charts. It included appearances by Billy Gibbons of ZZ Top, who played a guitar solo on the song "Follow You Home" and sang backing vocals on "Rock Star"—and a posthumously sampled appearance by Chad Kroeger's friend Dimebag Darrell from Pantera, culled from guitar outtakes. All the Right Reasons had sold over 7 million copies in the U.S. to June 19, 2010. The band spent much of 2006 and 2007 touring across the globe. In the fall of 2006, the band opened for Bon Jovi on the European leg of the Have a Nice Day Tour. Over 2 million fans attended Nickelback's shows during those two years. The band played at Sturgis, South Dakota to over 35,000 people at the 2006 Sturgis Bike Rally. The performance was filmed with 15 high-definition cameras. They released the DVD and Blu-ray of it in 2009, several years after the performance. In November 2006, the band won an American Music Award for best pop/rock album, surprising the band itself. "We just kinda showed up because we were supposed to give one of these away tonight," Chad Kroeger said after receiving the award. Chad Kroeger added he had thought the Red Hot Chili Peppers would win the award. Dark Horse (2008–2010) After taking much of 2007 off, the band started recording a new album in earnest. In July 2008, the band signed with Live Nation for three touring and album cycles, with an option for a fourth. On September 4, 2008, it was announced that the first single from the upcoming album would be "If Today Was Your Last Day", to be released on September 30, 2008. This announcement was however never confirmed: Roadrunner Records actually chose to release another song, "Gotta Be Somebody," as the first single. It became Nickelback's 5th and so far final single to hit the No. 1 spot on the U.S. Adult Top 40 chart. The new album, produced by Mutt Lange and titled Dark Horse, was released on November 18, 2008. "Something in Your Mouth" was released as the second single to rock radio only on December 15, 2008, where it reached number one. "If Today Was Your Last Day" was eventually released as a single after all on March 31, 2009: it became the third single from the album. Four more singles were released later in 2009, "I'd Come for You", "Burn It to the Ground" and "Never Gonna Be Alone" released in September and "Shakin' Hands" as the seventh single on November 16. Its eighth single, "This Afternoon", was released on March 23, 2010. Dark Horse was certified platinum by the Recording Industry Association of America (RIAA) on December 9, 2008, only three weeks after its North American release. All eight singles were major hits which finished at or near the top of at least one high-profile chart. On November 26, 2008, the band announced the tour for the support of the album. Live Nation produced the tour and the band kicked off in Nashville, Tennessee, with Seether, and Saving Abel as their opening acts. The band then announced that they were about to tour in the UK with Black Stone Cherry as their opening act. The band then announced the second leg of the tour of North America with the opening acts being Hinder, Papa Roach, and once again, Saving Abel. The band then went on tour around Australia and New Zealand with Sick Puppies as their supporting act. For the second leg of the Europe tour, the band played with their opening act Daughtry. The third leg of the North America tour kicked off with Breaking Benjamin, Sick Puppies and Shinedown opening up for the band. The band concluded their tour with the fourth leg in North America which included Buckcherry and Three Days Grace. The tour was very successful and the band sold over 1.6 million tickets with 146 shows. The album also remained in the top 20 on the Billboard 200 for weeks after its release. The album was certified two times platinum in April 2009, and had by April 2010 sold over 3 million copies in the U.S. However, critical reception of the album has been mostly mixed to negative. In 2009, the band won three Juno Awards for Juno Fan Choice Award, group of the year, and album of the year; the band performed their single "Something In Your Mouth" at the ceremony. In 2010, Billboard year end charts listed Dark Horse as the top-selling rock and metal album of the year. The band was also listed at the top selling hard rock artist. On January 29, 2010 they released a Tap-Tap rhythm game for on the App Store, contrary to the band's prior comments against other music related video games such as Guitar Hero. On February 28, 2010, Nickelback gave a performance at the beginning of the concert portion of the 2010 Winter Olympics closing ceremony, performing "Burn It to the Ground". In October 2010 Nickelback finished their Dark Horse Tour. Here and Now (2011–2013) Chad Kroeger said in an interview with Billboard.com in September 2010 that songwriting for the next Nickelback album was planned to commence as early as February 2011 with "about four tunes" already in mind. Adair mentioned that the band wanted to go back to the musical style of All The Right Reasons, which he described as "more organic." Nickelback announced their new album, Here and Now, on September 8, 2011, along with its two lead singles, "Bottoms Up" and "When We Stand Together". Kroeger said "We’re four people who love making music, the way we like to make it. We entered the studio this year with a vision, and it all came together. We’re extremely happy with the results, and can’t wait to share them with our fans." The album was released on November 21, 2011, with the band calling it "Nickelblack Monday", a play on Nickelback and Black Monday. Two singles were released to radio stations on September 26, and September 27 for purchase on iTunes. Here and Now peaked at number two on the Billboard 200, selling 226,714 copies in its first week of release, with Christmas by Michael Bublé taking number one by a margin of only 419 copies. As part of promotion for the album, Nickelback was booked to perform at the halftime shows for both an NFL Thanksgiving Day game at Ford Field in Detroit on November 24, and the 99th Grey Cup in the band's hometown of Vancouver on November 27. Also, as a promotion the band played to Jimmy Kimmel upon the album's release. The band is nominated for 4 Juno Awards in 2012, and scheduled to perform at the ceremony. Nickelback announced their Here and Now Tour on January 11, 2012, they are going to tour with Seether, Bush and My Darkest Days. The band released a music video for their fourth single off of the album Lullaby. The band officially announced the compilation album The Best of Nickelback Volume 1 through social media on October 3, 2013. Frontman Chad Kroeger had previously stated in an interview that the greatest hits album was to feature songs from previous albums along with new songs but the unveiled track listing ultimately contained only previously released material. No Fixed Address and Feed the Machine (2014–2018) According to an interview with Chad Kroeger on CFOX-FM, the band planned to release their eighth studio album before the end of 2014. The lead rock single was also announced, "Edge of a Revolution", was released in August 2014. The track was described as a 'departure' for Nickelback and a political song. Frequent collaborator Chris Lord-Alge returned to mix some of the tracks on the album. It was also announced the band had signed to Republic Records. The lead single from the album is titled "Edge of a Revolution", and was scheduled to be sent for adds on Rock radio and be released to iTunes on August 18. The lead pop single, and second overall, was announced to be "What Are You Waiting For?", and was released in September. "What Are You Waiting For?" was released as a single on digital retailers on September 9, 2014. On August 22, 2014, Nickelback announced the album's title to be No Fixed Address, and released it on November 17, 2014. No Fixed Address Tour was their fifth headlining concert tour, in support of No Fixed Address. The tour was announced on November 5, 2014, as well as The Pretty Reckless, Pop Evil, and Lifehouse as the support act for the majority of the shows in North American while Monster Truck was support act in Australia and Europe (2016). The second North American leg of the tour had to be canceled when lead vocalist Chad Kroeger required surgery for a cyst on his voice box. The entire leg of the European tour was postponed until Autumn 2016. On August 19, 2016, Nickelback released a cover of Don Henley's song "Dirty Laundry" to streaming services. On January 23, 2017, a new single, "Feed the Machine" was announced to be released on February 1, alongside specific details of a 2017 tour. On January 25, Nickelback signed with BMG Rights Management to release their ninth album, also titled Feed the Machine. The album was released on June 16, 2017. The band released their second single from the album, "Song on Fire", on April 28, 2017. Shortly after the release of the album, the band began a 44-city tour on June 23, 2017 in North America, co-headlined with Daughtry, Shaman's Harvest and Cheap Trick as supporting acts. Upcoming tenth studio album (2019–present) In early 2019, band members spoke of recording a tenth studio album, though Chad Kroeger conceded there was no timetable or rush for the band to complete it. Mike Kroeger spoke of his personal desire to move in more of a heavy metal direction, or wanting to do an album of Slayer cover songs. On August 14, 2020, the band released a cover of The Charlie Daniels Band song "The Devil Went Down to Georgia", featuring Dave Martone. Musical style and influences Nickelback has been described as various genres, including post-grunge, hard rock, pop rock, alternative rock, heavy metal, alternative metal, and nu metal. Their earlier sound has been classified as grunge. Nickelback have cited bands and musicians such as Creedence Clearwater Revival, Bob Marley, Metallica, Nirvana, Red Hot Chili Peppers, and U2 as influential or inspirational. Reception Review aggregator Metacritic reports that five of Nickelback's six most recent studio albums since becoming a mainstream act—The Long Road, All the Right Reasons, Dark Horse, Here and Now, and No Fixed Address—have scores of 62, 41, 49, 51, and 54, respectively, out of 100, indicating generally mixed reviews. AllMusic reviewer Liana Jones gave their first commercially successful album, Silver Side Up, 3 stars out of 5, and complimented their "intensity and raw passion" and realistic storytelling. Despite their commercial success, Nickelback has been the subject of numerous jokes and a vocal negative response for some audiences, some of which is attributed to the perceived derivative, repetitive and formulaic nature of their music, as well as their over-use of hedonistic themes involving strippers, sex, prostitutes, drugs, and alcohol consumption. However, in a review for the band's latest album Feed the Machine, AllMusic reviewer Stephen Thomas Erlewine noted that they had mostly done away with the crude and vulgar lyrical content they'd become known for, and praised the band for evolving their sound. In the 2010s, Nickelback became the subject of internet memes that were critical of their music, a status that the band came to embrace. In May 2013, the readers of Rolling Stone magazine named Nickelback the second-worst band of the 1990s, behind only Creed. In November 2011, users of the music-oriented dating site Tastebuds.fm voted Nickelback as the number one "musical turnoff." In March 2019, U.S. representatives Mark Pocan and Rodney Davis got into a friendly debate of the merits of the band while speaking on the floor of the House of Representatives. In an interview in 2014, Kroeger commented that the criticism helped him "grow a thick skin," and that without it, they would be "this just whatever band." Following their 2008 album, Dark Horse, ChartAttack credited the band's success to knowing their target audience: "Chad Kroeger is a genius because he knows exactly what people want and precisely how far he can go. He turned out an extremely racy album that's loaded with songs about gettin' drunk and doin' it all without breaking any taboos, and with enough love and moral authority to grease its passage into the mainstream. Rejoice, North America. This is your world." Billboard gave praise to the band: "The bulletproof Nickelback provides affordable fun that promises good returns in hard times." Various fellow musicians like Chris Martin of Coldplay as well as R&B singers Timbaland and Keyshia Cole support the band. Band membersCurrent members Chad Kroeger – lead vocals, lead guitar (1995–present); rhythm guitar (2008–present) Ryan Peake – rhythm guitar, backing vocals (1995–present); keyboards (2002–present); lead guitar (2008–present) Mike Kroeger – bass (1995–present) Daniel Adair – drums, percussion, backing vocals (2005–present)Former members''' Brandon Kroeger – drums (1995–1997) Mitch Guindon – drums (1997–1998) Ryan Vikedal – drums, percussion (1998–2005) Timeline Discography Studio albumsCurb (1996)The State (1998)Silver Side Up (2001)The Long Road (2003)All the Right Reasons (2005)Dark Horse (2008)Here and Now (2011)No Fixed Address (2014)Feed the Machine'' (2017) Awards 2003 – Won SOCAN International Achievement Award for the song "How You Remind Me" 2004 – Won SOCAN International Achievement Award 2005 – Won SOCAN International Achievement Award 2007 – Won SOCAN International Achievement Award 2008 – Won SOCAN International Achievement Award References External links Atlantic Records artists 1995 establishments in Alberta Canadian alternative metal musical groups Canadian hard rock musical groups Canadian heavy metal musical groups Canadian pop rock music groups Canadian post-grunge groups Juno Award for Single of the Year winners Musical groups established in 1995 Musical groups from Alberta Musical quartets Republic Records artists Roadrunner Records artists Juno Award for Album of the Year winners Juno Award for Breakthrough Group of the Year winners Juno Award for Rock Album of the Year winners Juno Award for Group of the Year winners Juno Fan Choice Award winners Musical families	true	[ "Followers is an album by the American contemporary Christian music (CCM) band Tenth Avenue North. It was released by Provident Label Group, a division of Sony Music Entertainment, under its Reunion Records label, on October 14, 2016. The album reached No. 5 on the Billboard Christian Albums chart, and No. 151 on the Billboard 200. Three singles from the album were released: \"What You Want\" in 2016, and \"I Have This Hope\" and \"Control (Somehow You Want Me)\" in 2017, all of which appeared on the Billboard Hot Christian Songs chart.\n\nRelease and performance \n\nFollowers was released on October 14, 2016, by Provident Label Group LLC, a division of Sony Music Entertainment. It first charted on both the US Billboard Christian Albums and Billboard 200 on the week of November 5, 2016, peaking that week on both charts at No. 5 and No. 151, respectively.\n\nThree singles were released from the album. The first, \"What You Want\", was released five months in advance of the album on May 13, 2016, and charted on the Billboard Hot Christian Songs list, peaking at No. 17 on September 3, 2016. The other two were released in 2017 after the album, and reached the top 10 on Hot Christian Songs: \"I Have This Hope\" peaked at No. 5 on June 10, 2017, and \"Control (Somehow You Want Me)\" peaked at No. 7 on January 13, 2018.\n\nReception \n\nCCM Magazine gave the album 4 out of 5 stars, and cited its \"killer vocal work on honest, relatable lyrics paired with ... strong songwriting.\"\n\nChristian review website JesusFreakHideout rated the album 3.5 out of 5 stars. The review said the album was \"pretty much what you would expect from a CCM release\" and wrote that \"What You Want\" was \"the most energetic song on the album\". It singled out the opening track as \"excellent\" and the closing track as \"powerful\", and characterized the remaining songs as \"eight solid but otherwise ordinary tracks.\"\n\nTrack listing\n\"Afraid\" (3:48)\n\"What You Want\" (3:37)\n\"Overflow\" (3:40)\n\"I Have This Hope\" (3:24)\n\"One Thing\" (3:28)\n\"Sparrow (Under Heaven's Eyes)\" (3:59)\n\"No One Can Steal Our Joy\" (3:40)\n\"Control (Somehow You Want Me)\" (4:08)\n\"Fighting for You\" (3:22)\n\"I Confess\" (5:15)\n\nChart performance\n\nReferences\n\n2016 albums\nTenth Avenue North albums", "\"Lies\" is a song written by Beau Charles and Buddy Randell, performed by The Knickerbockers; the single was produced by Jerry Fuller. It reached #20 on the U.S. pop chart in 1965. It was featured on their 1966 album Lies and is famous for often being mistaken for a Beatles track due to its similarities to their style and harmonies.\n\nBackground\nHere is what original Knickerbockers member Beau Charles said about the song's behind-the-scenes story:\n\n\"We desperately tried to write something that sounded like the British Invasion'. We wrote 'Lies' in less than one half hour. We demo-ed it in New York.\" After a Jerry Fuller inspired re-arrangement, the track was recorded at Sunset Sound in West Hollywood with Bruce Botnick as the Engineer. Things were not quite right, so the multi-track master was taken to Leon Russell's house in Hollywood Hills. Jerry Fuller knew Leon and \"Leon had this great little studio - just a four track\". The band recorded the vocals there and overdubbed a new guitar part that was recorded from a beat up old Fender guitar amp that gave the guitar sound a meaty, edgy feel\".\n\nOther versions\nThe Ventures on their 1965 album Where the Action Is.\nNancy Sinatra on her 1966 album Boots.\nThe T-Bones on their 1966 album No Matter What Shape (Your Stomach's In).\nGary Lewis & the Playboys on their 1967 album Gary Lewis & the Playboys.\nLulu on her 1966 album From Lulu...with Love.\nStyx on their 1974 album Man of Miracles.\nTarney/Spencer Band on their 1979 album Run for Your Life.\nLinda Ronstadt on her 1982 album Get Closer.\nThe Delmonas on their 1985 album Dangerous Charms.\nThe Undead on their 1986 album Never Say Die!\nThe Landlords on their 1987 EP Our Favorite Songs!\nThe Basement Wall on their 1993 compilation album There Goes the Neighborhood! Volume 2 Featuring The Basement Wall.\nThe Fireballs on their 2006 compilation album Firebeat! The Great Lost Vocal Album.\nThe Brymers on their 2007 compilation album Sacrifice.\nThe Black Belles as the B-side to their 2010 single \"What Can I Do?\"\n\nSee also\n List of 1960s one-hit wonders in the United States\n\nReferences\n\n1965 songs\n1965 singles\nThe Ventures songs\nNancy Sinatra songs\nGary Lewis & the Playboys songs\nLulu (singer) songs\nStyx (band) songs\nLinda Ronstadt songs\nThe Fireballs songs\nSong recordings produced by Jerry Fuller" ]
[ "Nickelback", "Curb and The State (1996-2000)", "When was Curb released?", "In 1996, the band recorded and released their first full-length album, Curb. \"", "What singles were on that album?", "\"Fly\" was included on both Hesher and Curb and was the first single produced by Nickelback.", "Was this album successful?", "Ron Burman told HitQuarters that one of his West Coast scouts sent him the self-released album and, suitably impressed,", "Did they tour during the release of this album?", "travelled to Vancouver to see them perform live.", "When was The State released?", "The State, was released by Nickelback in 2000 by Roadrunner Records", "What songs were on The State album?", "It spawned 4 singles: \"Old Enough\", \"Worthy to Say\", \"Leader of Men\" and \"Breathe\"," ]	C_d506639b766c4317b6e3b986b4e91860_1	Did it do well on the charts?	7	Did Curb and The State do well on the charts?	Nickelback	In 1996, the band recorded and released their first full-length album, Curb. "Fly" was included on both Hesher and Curb and was the first single produced by Nickelback. In 1997, Brandon Kroeger left the band and the band searched for a new drummer. Later that year Mitch Guindon joined the band, but he decided to leave in 1998 because he started working in a car company. In Summer 1998, Ryan Vikedal joined the band. Roadrunner A&R Ron Burman told HitQuarters that one of his West Coast scouts sent him the self-released album and, suitably impressed, he travelled to Vancouver to see them perform live. Although an unknown property in the industry at the time, the venue was packed out. In Burman's words: "I immediately got the chills! I thought their song 'Leader of Men' was a smash hit." Off the stage he was impressed by their industry and initiative in managing their career. Despite this, it still took Burman three months for him to convince his label bosses to approve the signing, a decision that would mark Roadrunner's first move into mainstream rock. Nickelback signed a record deal with EMI and Roadrunner Records in 1999. The State, was released by Nickelback in 2000 by Roadrunner Records and EMI Canada. The State, was released in Europe in 2001. It spawned 4 singles: "Old Enough", "Worthy to Say", "Leader of Men" and "Breathe", the last two being Top 10 rock hits. The album was the band's first album to be certified gold status and it later went into platinum status in 2008, after the success of their later albums. The album entered the Billboard 200 at number 130 and peaked at number 3 in the Billboard Top Heatseekers albums chart and peaked at number 6 on the Billboard Top Independent albums chart. CANNOTANSWER	The album was the band's first album to be certified gold status and it later went into platinum status in 2008,	Nickelback is a Canadian rock band formed in 1995 in Hanna, Alberta. It is composed of guitarist and lead vocalist Chad Kroeger, guitarist, keyboardist and backing vocalist Ryan Peake, bassist Mike Kroeger, and drummer Daniel Adair. It went through several drummer changes between 1995 and 2005, achieving its current lineup when Adair replaced Ryan Vikedal. Nickelback is one of the most commercially successful Canadian rock bands, having sold more than 50 million albums worldwide. In 2009, Billboard ranked it the most successful rock group of that decade; "How You Remind Me" was the best-selling rock song and the fourth-best overall. The band ranked at No. 7 on the Billboard top artist of the decade list, with four albums among the publication's top albums of the decade. The band signed with Roadrunner Records in 1999 and re-released its once-independent second studio album The State. This album was commercially successful, as was its follow-up, Silver Side Up, in 2001. The band then released its biggest hit, "How You Remind Me", a No. 1 on the Billboard and Canadian Singles Charts. The fourth album, The Long Road, was released in 2003 and spawned five singles, including Canadian No. 1 "Someday", which also reached No. 7 on the Billboard Hot 100. In 2005, the band's best-selling album to date, All the Right Reasons, produced three top-ten and five top-twenty singles on the Billboard Hot 100, including "Photograph", "Far Away", and "Rockstar". Dark Horse sold well in 2008, producing eight singles, one cracking the top ten on the Billboard Hot 100 and two in the top twenty. In 2011, the seventh album, Here and Now, topped the charts. The eighth, No Fixed Address, was released in 2014, followed by Feed the Machine in 2017. Nickelback is based in Vancouver, British Columbia. It originally published through EMI Canada before signing a global distribution deal with Roadrunner Records. For Here and Now, it left EMI Canada for Universal Music Canada. History Formation (1995) The band was formed in the early 1990s as a cover band called "Village Idiot" by brothers Mike and Chad Kroeger with their cousin Brandon Kroeger and Ryan Peake. The band later changed its name to Nickelback, which originated from the nickel in change that band member Mike Kroeger gave customers at his job at Starbucks; he would frequently say, "Here's your nickel back." The band performed covers of songs from Led Zeppelin and Metallica. Chad Kroeger then asked his step-father to give him $4,000 so that the band could record their first demo, a seven-track EP of original material, called Hesher (1996). The band spent half the money to record the EP, and spent the other half on magic mushrooms. Curb and The State (1996–2000) In 1996, the band recorded and released their first full-length album, Curb. "Fly" was included on both Hesher and Curb and was the first single produced by Nickelback. In 1997, Brandon Kroeger left the band and the band searched for a new drummer. Later that year Mitch Guindon joined the band, but he decided to leave in 1998. While initially reported due to him starting work at a car company, Guindon's departure came due to him "not [being] meant for the road". Chad Kroeger stated that his skin was not able to handle cold weather and they convinced him to leave. In Summer 1998, Ryan Vikedal joined the band. Roadrunner A&R Ron Burman told HitQuarters that one of his West Coast scouts sent him the self-released album and, suitably impressed, he travelled to Vancouver to see them perform live. Although an unknown property in the industry at the time, the venue was packed out. In Burman's words: "I immediately got the chills! I thought their song 'Leader of Men' was a smash hit." Off the stage he was impressed by their industry and initiative in managing their career. Despite this, it still took Burman three months for him to convince his label bosses to approve the signing, a decision that would mark Roadrunner's first move into mainstream rock. Nickelback signed a record deal with EMI and Roadrunner Records in 1999. The State was released by Nickelback in 2000 by Roadrunner Records and EMI Canada, followed by its release in Europe in 2001. It spawned 4 singles: "Old Enough", "Worthy to Say", "Leader of Men" and "Breathe", the last two being Top 10 rock hits. The album was the band's first album to be certified gold status and it later went into platinum status in 2008, after the success of their later albums. The album entered the Billboard 200 at number 130 and peaked at number 3 in the Billboard Top Heatseekers albums chart and peaked at number 6 on the Billboard Top Independent albums chart. Silver Side Up and The Long Road (2001–2004) Around 2001, Chad Kroeger started "studying every piece, everything sonically, everything lyrically, everything musically, chord structure. I would dissect every single song that I would hear on the radio or every song that had ever done well on a chart and I would say, 'Why did this do well?'" Kroeger said that Nickelback's single "How You Remind Me" sold so well because it was about romantic relationships, a universal subject, and contained memorable hooks. To record their third album Silver Side Up, Nickelback collaborated with producer Rick Parashar. The album was written before the release of The State and was recorded at the same studio. The album was released on Tuesday, September 11, 2001. The album peaked at number two on the Billboard 200 with over 177,000 copies sold in its first week and peaked at number one at the Canadian albums chart, making it the band's first album to do so. The single "How You Remind Me" was a number one single on the Mainstream and Modern rock charts, as well as the pop chart. It also peaked at number two on Adult Top 40 and became the Billboard Hot 100 number one single of the year for 2002. The next single was "Too Bad", which also reached number one on the Mainstream Rock Chart. The final single from the album was "Never Again", which also hit number one on Mainstream Rock. In 2002, Chad Kroeger collaborated with Josey Scott on the Spider-Man theme song, "Hero". This recording also featured Tyler Connolly, Mike Kroeger, Matt Cameron, and Jeremy Taggart. In 2002, Nickelback released their first DVD Live at Home. On August 19, 2002, an incident occurred while the band was performing at the Ilha do Ermal festival in Portugal. While performing the second song of their set, Chad Kroeger was sprayed with a full bottle of water hurled from somewhere within the audience. After finishing the song, Chad asked the crowd, "Do you want to hear some rock 'n' roll or do you want to go home?" A person in the audience then threw a rock at Chad's head. The band then left stage, with Chad and Vikedal giving the finger to the audience as they left. The band's label, Roadrunner, posted video footage of the entire incident on their website. In 2003, Nickelback released The Long Road. The album was certified 3x Platinum by the RIAA in March 2005 and it had sold 3,591,000 copies as of April 2011. It has sold over 5 million copies worldwide and, in 2003 alone, the album sold 2 million copies worldwide. It debuted at No. 6 on the Billboard 200. This was their first album produced by Joey Moi, a former classmate of the band's. The Long Road was ranked No. 157 on Billboards 200 Albums of the Decade. It spawned five singles. The lead single was "Someday". The band also released "Feelin' Way Too Damn Good" as a single, which peaked at number three on the Mainstream Rock Charts. "Figured You Out" was also released as a single and topped the Mainstream Rock Charts for 13 consecutive weeks. All the Right Reasons (2005–2007) Just after New Year's Day 2005, drummer Ryan Vikedal was replaced by 3 Doors Down's drummer Daniel Adair. Nickelback promptly went into the studio with their new drummer from January through May 2005. The sessions resulted in their fifth studio album, All the Right Reasons which was released on October 3, 2005. It peaked at number one on the Billboard 200 with 323,350 copies in its first week in the United States, as well as producing five U.S. Hot 100 top 20 singles: "Photograph", "Savin' Me", "Far Away", "If Everyone Cared" and "Rockstar". Three of these became U.S. Hot 100 top 10 singles. Also, the album peaked at number one on the Canadian albums chart. The album sold more than 12 million singles and over 9 million ringtones. The album also made Nickelback the first band in Nielsen BDS history to have 5 singles on the CHR charts. It included appearances by Billy Gibbons of ZZ Top, who played a guitar solo on the song "Follow You Home" and sang backing vocals on "Rock Star"—and a posthumously sampled appearance by Chad Kroeger's friend Dimebag Darrell from Pantera, culled from guitar outtakes. All the Right Reasons had sold over 7 million copies in the U.S. to June 19, 2010. The band spent much of 2006 and 2007 touring across the globe. In the fall of 2006, the band opened for Bon Jovi on the European leg of the Have a Nice Day Tour. Over 2 million fans attended Nickelback's shows during those two years. The band played at Sturgis, South Dakota to over 35,000 people at the 2006 Sturgis Bike Rally. The performance was filmed with 15 high-definition cameras. They released the DVD and Blu-ray of it in 2009, several years after the performance. In November 2006, the band won an American Music Award for best pop/rock album, surprising the band itself. "We just kinda showed up because we were supposed to give one of these away tonight," Chad Kroeger said after receiving the award. Chad Kroeger added he had thought the Red Hot Chili Peppers would win the award. Dark Horse (2008–2010) After taking much of 2007 off, the band started recording a new album in earnest. In July 2008, the band signed with Live Nation for three touring and album cycles, with an option for a fourth. On September 4, 2008, it was announced that the first single from the upcoming album would be "If Today Was Your Last Day", to be released on September 30, 2008. This announcement was however never confirmed: Roadrunner Records actually chose to release another song, "Gotta Be Somebody," as the first single. It became Nickelback's 5th and so far final single to hit the No. 1 spot on the U.S. Adult Top 40 chart. The new album, produced by Mutt Lange and titled Dark Horse, was released on November 18, 2008. "Something in Your Mouth" was released as the second single to rock radio only on December 15, 2008, where it reached number one. "If Today Was Your Last Day" was eventually released as a single after all on March 31, 2009: it became the third single from the album. Four more singles were released later in 2009, "I'd Come for You", "Burn It to the Ground" and "Never Gonna Be Alone" released in September and "Shakin' Hands" as the seventh single on November 16. Its eighth single, "This Afternoon", was released on March 23, 2010. Dark Horse was certified platinum by the Recording Industry Association of America (RIAA) on December 9, 2008, only three weeks after its North American release. All eight singles were major hits which finished at or near the top of at least one high-profile chart. On November 26, 2008, the band announced the tour for the support of the album. Live Nation produced the tour and the band kicked off in Nashville, Tennessee, with Seether, and Saving Abel as their opening acts. The band then announced that they were about to tour in the UK with Black Stone Cherry as their opening act. The band then announced the second leg of the tour of North America with the opening acts being Hinder, Papa Roach, and once again, Saving Abel. The band then went on tour around Australia and New Zealand with Sick Puppies as their supporting act. For the second leg of the Europe tour, the band played with their opening act Daughtry. The third leg of the North America tour kicked off with Breaking Benjamin, Sick Puppies and Shinedown opening up for the band. The band concluded their tour with the fourth leg in North America which included Buckcherry and Three Days Grace. The tour was very successful and the band sold over 1.6 million tickets with 146 shows. The album also remained in the top 20 on the Billboard 200 for weeks after its release. The album was certified two times platinum in April 2009, and had by April 2010 sold over 3 million copies in the U.S. However, critical reception of the album has been mostly mixed to negative. In 2009, the band won three Juno Awards for Juno Fan Choice Award, group of the year, and album of the year; the band performed their single "Something In Your Mouth" at the ceremony. In 2010, Billboard year end charts listed Dark Horse as the top-selling rock and metal album of the year. The band was also listed at the top selling hard rock artist. On January 29, 2010 they released a Tap-Tap rhythm game for on the App Store, contrary to the band's prior comments against other music related video games such as Guitar Hero. On February 28, 2010, Nickelback gave a performance at the beginning of the concert portion of the 2010 Winter Olympics closing ceremony, performing "Burn It to the Ground". In October 2010 Nickelback finished their Dark Horse Tour. Here and Now (2011–2013) Chad Kroeger said in an interview with Billboard.com in September 2010 that songwriting for the next Nickelback album was planned to commence as early as February 2011 with "about four tunes" already in mind. Adair mentioned that the band wanted to go back to the musical style of All The Right Reasons, which he described as "more organic." Nickelback announced their new album, Here and Now, on September 8, 2011, along with its two lead singles, "Bottoms Up" and "When We Stand Together". Kroeger said "We’re four people who love making music, the way we like to make it. We entered the studio this year with a vision, and it all came together. We’re extremely happy with the results, and can’t wait to share them with our fans." The album was released on November 21, 2011, with the band calling it "Nickelblack Monday", a play on Nickelback and Black Monday. Two singles were released to radio stations on September 26, and September 27 for purchase on iTunes. Here and Now peaked at number two on the Billboard 200, selling 226,714 copies in its first week of release, with Christmas by Michael Bublé taking number one by a margin of only 419 copies. As part of promotion for the album, Nickelback was booked to perform at the halftime shows for both an NFL Thanksgiving Day game at Ford Field in Detroit on November 24, and the 99th Grey Cup in the band's hometown of Vancouver on November 27. Also, as a promotion the band played to Jimmy Kimmel upon the album's release. The band is nominated for 4 Juno Awards in 2012, and scheduled to perform at the ceremony. Nickelback announced their Here and Now Tour on January 11, 2012, they are going to tour with Seether, Bush and My Darkest Days. The band released a music video for their fourth single off of the album Lullaby. The band officially announced the compilation album The Best of Nickelback Volume 1 through social media on October 3, 2013. Frontman Chad Kroeger had previously stated in an interview that the greatest hits album was to feature songs from previous albums along with new songs but the unveiled track listing ultimately contained only previously released material. No Fixed Address and Feed the Machine (2014–2018) According to an interview with Chad Kroeger on CFOX-FM, the band planned to release their eighth studio album before the end of 2014. The lead rock single was also announced, "Edge of a Revolution", was released in August 2014. The track was described as a 'departure' for Nickelback and a political song. Frequent collaborator Chris Lord-Alge returned to mix some of the tracks on the album. It was also announced the band had signed to Republic Records. The lead single from the album is titled "Edge of a Revolution", and was scheduled to be sent for adds on Rock radio and be released to iTunes on August 18. The lead pop single, and second overall, was announced to be "What Are You Waiting For?", and was released in September. "What Are You Waiting For?" was released as a single on digital retailers on September 9, 2014. On August 22, 2014, Nickelback announced the album's title to be No Fixed Address, and released it on November 17, 2014. No Fixed Address Tour was their fifth headlining concert tour, in support of No Fixed Address. The tour was announced on November 5, 2014, as well as The Pretty Reckless, Pop Evil, and Lifehouse as the support act for the majority of the shows in North American while Monster Truck was support act in Australia and Europe (2016). The second North American leg of the tour had to be canceled when lead vocalist Chad Kroeger required surgery for a cyst on his voice box. The entire leg of the European tour was postponed until Autumn 2016. On August 19, 2016, Nickelback released a cover of Don Henley's song "Dirty Laundry" to streaming services. On January 23, 2017, a new single, "Feed the Machine" was announced to be released on February 1, alongside specific details of a 2017 tour. On January 25, Nickelback signed with BMG Rights Management to release their ninth album, also titled Feed the Machine. The album was released on June 16, 2017. The band released their second single from the album, "Song on Fire", on April 28, 2017. Shortly after the release of the album, the band began a 44-city tour on June 23, 2017 in North America, co-headlined with Daughtry, Shaman's Harvest and Cheap Trick as supporting acts. Upcoming tenth studio album (2019–present) In early 2019, band members spoke of recording a tenth studio album, though Chad Kroeger conceded there was no timetable or rush for the band to complete it. Mike Kroeger spoke of his personal desire to move in more of a heavy metal direction, or wanting to do an album of Slayer cover songs. On August 14, 2020, the band released a cover of The Charlie Daniels Band song "The Devil Went Down to Georgia", featuring Dave Martone. Musical style and influences Nickelback has been described as various genres, including post-grunge, hard rock, pop rock, alternative rock, heavy metal, alternative metal, and nu metal. Their earlier sound has been classified as grunge. Nickelback have cited bands and musicians such as Creedence Clearwater Revival, Bob Marley, Metallica, Nirvana, Red Hot Chili Peppers, and U2 as influential or inspirational. Reception Review aggregator Metacritic reports that five of Nickelback's six most recent studio albums since becoming a mainstream act—The Long Road, All the Right Reasons, Dark Horse, Here and Now, and No Fixed Address—have scores of 62, 41, 49, 51, and 54, respectively, out of 100, indicating generally mixed reviews. AllMusic reviewer Liana Jones gave their first commercially successful album, Silver Side Up, 3 stars out of 5, and complimented their "intensity and raw passion" and realistic storytelling. Despite their commercial success, Nickelback has been the subject of numerous jokes and a vocal negative response for some audiences, some of which is attributed to the perceived derivative, repetitive and formulaic nature of their music, as well as their over-use of hedonistic themes involving strippers, sex, prostitutes, drugs, and alcohol consumption. However, in a review for the band's latest album Feed the Machine, AllMusic reviewer Stephen Thomas Erlewine noted that they had mostly done away with the crude and vulgar lyrical content they'd become known for, and praised the band for evolving their sound. In the 2010s, Nickelback became the subject of internet memes that were critical of their music, a status that the band came to embrace. In May 2013, the readers of Rolling Stone magazine named Nickelback the second-worst band of the 1990s, behind only Creed. In November 2011, users of the music-oriented dating site Tastebuds.fm voted Nickelback as the number one "musical turnoff." In March 2019, U.S. representatives Mark Pocan and Rodney Davis got into a friendly debate of the merits of the band while speaking on the floor of the House of Representatives. In an interview in 2014, Kroeger commented that the criticism helped him "grow a thick skin," and that without it, they would be "this just whatever band." Following their 2008 album, Dark Horse, ChartAttack credited the band's success to knowing their target audience: "Chad Kroeger is a genius because he knows exactly what people want and precisely how far he can go. He turned out an extremely racy album that's loaded with songs about gettin' drunk and doin' it all without breaking any taboos, and with enough love and moral authority to grease its passage into the mainstream. Rejoice, North America. This is your world." Billboard gave praise to the band: "The bulletproof Nickelback provides affordable fun that promises good returns in hard times." Various fellow musicians like Chris Martin of Coldplay as well as R&B singers Timbaland and Keyshia Cole support the band. Band membersCurrent members Chad Kroeger – lead vocals, lead guitar (1995–present); rhythm guitar (2008–present) Ryan Peake – rhythm guitar, backing vocals (1995–present); keyboards (2002–present); lead guitar (2008–present) Mike Kroeger – bass (1995–present) Daniel Adair – drums, percussion, backing vocals (2005–present)Former members''' Brandon Kroeger – drums (1995–1997) Mitch Guindon – drums (1997–1998) Ryan Vikedal – drums, percussion (1998–2005) Timeline Discography Studio albumsCurb (1996)The State (1998)Silver Side Up (2001)The Long Road (2003)All the Right Reasons (2005)Dark Horse (2008)Here and Now (2011)No Fixed Address (2014)Feed the Machine'' (2017) Awards 2003 – Won SOCAN International Achievement Award for the song "How You Remind Me" 2004 – Won SOCAN International Achievement Award 2005 – Won SOCAN International Achievement Award 2007 – Won SOCAN International Achievement Award 2008 – Won SOCAN International Achievement Award References External links Atlantic Records artists 1995 establishments in Alberta Canadian alternative metal musical groups Canadian hard rock musical groups Canadian heavy metal musical groups Canadian pop rock music groups Canadian post-grunge groups Juno Award for Single of the Year winners Musical groups established in 1995 Musical groups from Alberta Musical quartets Republic Records artists Roadrunner Records artists Juno Award for Album of the Year winners Juno Award for Breakthrough Group of the Year winners Juno Award for Rock Album of the Year winners Juno Award for Group of the Year winners Juno Fan Choice Award winners Musical families	true	[ "Treddin' on Thin Ice is the debut album by UK grime artist Wiley released on XL Recordings. It was released on 26 April 2004. The album is seen as a critical success in grime music with an enduring and influential forward facing sound. However, commercially the album did not do as well, with one single (\"Wot Do U Call It\", a song addressing the debate over the categorization of grime) making the top 40 in the UK music charts.\n\nTrack listing\n\nCertifications\n\nReferences\n\n2004 debut albums\nWiley (musician) albums\nXL Recordings albums", "\"Do The Limbo Dance\" is a song by American actor and singer David Hasselhoff. It was released in July 1991 as the lead single from Hasselhoff's fifth studio album David (1991). The song was produced by Jack White, and written by him and Charles Blackwell. The song was a huge hit in Austria, where it reached number one.\n\nRelease and promotion\n\"Do The Limbo Dance\" was released in July 1990, and Hasselhoff performed the song live on several TV shows across Europe, including Kultnacht in Germany and Le monde est la vous in France. The song went on to became part of the set-list of Hasselhoff's concert tours, starting with the Dreams Come True Tour in November 1991.\n\nChart performance\nIn Austria, \"Do The Limbo Dance\" debuted at number 25, and reached number one on its seventh week, becoming Hasselhoff's second chart-topper single in the country, following \"Looking for Freedom\" (1988), and remained for a total of 28 weeks, and later certified Gold in the country. The song also did well in Germany, where it peaked at number 12 and remained for 22 weeks. In Switzerland, the song peaked at number 19 and remained for eight weeks. It also reached number 35 on the European Hot 100 Singles.\n\nTrack listing\n \"Do The Limbo Dance\" (Long Version) — 5:20\n \"Do The Limbo Dance\" (Radio Version) — 3:55\n \"Do The Limbo Dance\" (Instrumental) — 3:55\n\nCharts and sales\n\nWeekly charts\n\nCertifications and sales\n\nYear-end charts\n\nDecade-end charts\n\nReferences\n\n1991 singles\nDavid Hasselhoff songs\nSongs written by Jack White (music producer)" ]
[ "Nickelback", "Curb and The State (1996-2000)", "When was Curb released?", "In 1996, the band recorded and released their first full-length album, Curb. \"", "What singles were on that album?", "\"Fly\" was included on both Hesher and Curb and was the first single produced by Nickelback.", "Was this album successful?", "Ron Burman told HitQuarters that one of his West Coast scouts sent him the self-released album and, suitably impressed,", "Did they tour during the release of this album?", "travelled to Vancouver to see them perform live.", "When was The State released?", "The State, was released by Nickelback in 2000 by Roadrunner Records", "What songs were on The State album?", "It spawned 4 singles: \"Old Enough\", \"Worthy to Say\", \"Leader of Men\" and \"Breathe\",", "Did it do well on the charts?", "The album was the band's first album to be certified gold status and it later went into platinum status in 2008," ]	C_d506639b766c4317b6e3b986b4e91860_1	Are there any other interesting aspects about this article?	8	Other than Curb and The State are there any other interesting aspects about this article?	Nickelback	In 1996, the band recorded and released their first full-length album, Curb. "Fly" was included on both Hesher and Curb and was the first single produced by Nickelback. In 1997, Brandon Kroeger left the band and the band searched for a new drummer. Later that year Mitch Guindon joined the band, but he decided to leave in 1998 because he started working in a car company. In Summer 1998, Ryan Vikedal joined the band. Roadrunner A&R Ron Burman told HitQuarters that one of his West Coast scouts sent him the self-released album and, suitably impressed, he travelled to Vancouver to see them perform live. Although an unknown property in the industry at the time, the venue was packed out. In Burman's words: "I immediately got the chills! I thought their song 'Leader of Men' was a smash hit." Off the stage he was impressed by their industry and initiative in managing their career. Despite this, it still took Burman three months for him to convince his label bosses to approve the signing, a decision that would mark Roadrunner's first move into mainstream rock. Nickelback signed a record deal with EMI and Roadrunner Records in 1999. The State, was released by Nickelback in 2000 by Roadrunner Records and EMI Canada. The State, was released in Europe in 2001. It spawned 4 singles: "Old Enough", "Worthy to Say", "Leader of Men" and "Breathe", the last two being Top 10 rock hits. The album was the band's first album to be certified gold status and it later went into platinum status in 2008, after the success of their later albums. The album entered the Billboard 200 at number 130 and peaked at number 3 in the Billboard Top Heatseekers albums chart and peaked at number 6 on the Billboard Top Independent albums chart. CANNOTANSWER	it still took Burman three months for him to convince his label bosses to approve the signing, a decision that would mark Roadrunner's first move into mainstream rock.	Nickelback is a Canadian rock band formed in 1995 in Hanna, Alberta. It is composed of guitarist and lead vocalist Chad Kroeger, guitarist, keyboardist and backing vocalist Ryan Peake, bassist Mike Kroeger, and drummer Daniel Adair. It went through several drummer changes between 1995 and 2005, achieving its current lineup when Adair replaced Ryan Vikedal. Nickelback is one of the most commercially successful Canadian rock bands, having sold more than 50 million albums worldwide. In 2009, Billboard ranked it the most successful rock group of that decade; "How You Remind Me" was the best-selling rock song and the fourth-best overall. The band ranked at No. 7 on the Billboard top artist of the decade list, with four albums among the publication's top albums of the decade. The band signed with Roadrunner Records in 1999 and re-released its once-independent second studio album The State. This album was commercially successful, as was its follow-up, Silver Side Up, in 2001. The band then released its biggest hit, "How You Remind Me", a No. 1 on the Billboard and Canadian Singles Charts. The fourth album, The Long Road, was released in 2003 and spawned five singles, including Canadian No. 1 "Someday", which also reached No. 7 on the Billboard Hot 100. In 2005, the band's best-selling album to date, All the Right Reasons, produced three top-ten and five top-twenty singles on the Billboard Hot 100, including "Photograph", "Far Away", and "Rockstar". Dark Horse sold well in 2008, producing eight singles, one cracking the top ten on the Billboard Hot 100 and two in the top twenty. In 2011, the seventh album, Here and Now, topped the charts. The eighth, No Fixed Address, was released in 2014, followed by Feed the Machine in 2017. Nickelback is based in Vancouver, British Columbia. It originally published through EMI Canada before signing a global distribution deal with Roadrunner Records. For Here and Now, it left EMI Canada for Universal Music Canada. History Formation (1995) The band was formed in the early 1990s as a cover band called "Village Idiot" by brothers Mike and Chad Kroeger with their cousin Brandon Kroeger and Ryan Peake. The band later changed its name to Nickelback, which originated from the nickel in change that band member Mike Kroeger gave customers at his job at Starbucks; he would frequently say, "Here's your nickel back." The band performed covers of songs from Led Zeppelin and Metallica. Chad Kroeger then asked his step-father to give him $4,000 so that the band could record their first demo, a seven-track EP of original material, called Hesher (1996). The band spent half the money to record the EP, and spent the other half on magic mushrooms. Curb and The State (1996–2000) In 1996, the band recorded and released their first full-length album, Curb. "Fly" was included on both Hesher and Curb and was the first single produced by Nickelback. In 1997, Brandon Kroeger left the band and the band searched for a new drummer. Later that year Mitch Guindon joined the band, but he decided to leave in 1998. While initially reported due to him starting work at a car company, Guindon's departure came due to him "not [being] meant for the road". Chad Kroeger stated that his skin was not able to handle cold weather and they convinced him to leave. In Summer 1998, Ryan Vikedal joined the band. Roadrunner A&R Ron Burman told HitQuarters that one of his West Coast scouts sent him the self-released album and, suitably impressed, he travelled to Vancouver to see them perform live. Although an unknown property in the industry at the time, the venue was packed out. In Burman's words: "I immediately got the chills! I thought their song 'Leader of Men' was a smash hit." Off the stage he was impressed by their industry and initiative in managing their career. Despite this, it still took Burman three months for him to convince his label bosses to approve the signing, a decision that would mark Roadrunner's first move into mainstream rock. Nickelback signed a record deal with EMI and Roadrunner Records in 1999. The State was released by Nickelback in 2000 by Roadrunner Records and EMI Canada, followed by its release in Europe in 2001. It spawned 4 singles: "Old Enough", "Worthy to Say", "Leader of Men" and "Breathe", the last two being Top 10 rock hits. The album was the band's first album to be certified gold status and it later went into platinum status in 2008, after the success of their later albums. The album entered the Billboard 200 at number 130 and peaked at number 3 in the Billboard Top Heatseekers albums chart and peaked at number 6 on the Billboard Top Independent albums chart. Silver Side Up and The Long Road (2001–2004) Around 2001, Chad Kroeger started "studying every piece, everything sonically, everything lyrically, everything musically, chord structure. I would dissect every single song that I would hear on the radio or every song that had ever done well on a chart and I would say, 'Why did this do well?'" Kroeger said that Nickelback's single "How You Remind Me" sold so well because it was about romantic relationships, a universal subject, and contained memorable hooks. To record their third album Silver Side Up, Nickelback collaborated with producer Rick Parashar. The album was written before the release of The State and was recorded at the same studio. The album was released on Tuesday, September 11, 2001. The album peaked at number two on the Billboard 200 with over 177,000 copies sold in its first week and peaked at number one at the Canadian albums chart, making it the band's first album to do so. The single "How You Remind Me" was a number one single on the Mainstream and Modern rock charts, as well as the pop chart. It also peaked at number two on Adult Top 40 and became the Billboard Hot 100 number one single of the year for 2002. The next single was "Too Bad", which also reached number one on the Mainstream Rock Chart. The final single from the album was "Never Again", which also hit number one on Mainstream Rock. In 2002, Chad Kroeger collaborated with Josey Scott on the Spider-Man theme song, "Hero". This recording also featured Tyler Connolly, Mike Kroeger, Matt Cameron, and Jeremy Taggart. In 2002, Nickelback released their first DVD Live at Home. On August 19, 2002, an incident occurred while the band was performing at the Ilha do Ermal festival in Portugal. While performing the second song of their set, Chad Kroeger was sprayed with a full bottle of water hurled from somewhere within the audience. After finishing the song, Chad asked the crowd, "Do you want to hear some rock 'n' roll or do you want to go home?" A person in the audience then threw a rock at Chad's head. The band then left stage, with Chad and Vikedal giving the finger to the audience as they left. The band's label, Roadrunner, posted video footage of the entire incident on their website. In 2003, Nickelback released The Long Road. The album was certified 3x Platinum by the RIAA in March 2005 and it had sold 3,591,000 copies as of April 2011. It has sold over 5 million copies worldwide and, in 2003 alone, the album sold 2 million copies worldwide. It debuted at No. 6 on the Billboard 200. This was their first album produced by Joey Moi, a former classmate of the band's. The Long Road was ranked No. 157 on Billboards 200 Albums of the Decade. It spawned five singles. The lead single was "Someday". The band also released "Feelin' Way Too Damn Good" as a single, which peaked at number three on the Mainstream Rock Charts. "Figured You Out" was also released as a single and topped the Mainstream Rock Charts for 13 consecutive weeks. All the Right Reasons (2005–2007) Just after New Year's Day 2005, drummer Ryan Vikedal was replaced by 3 Doors Down's drummer Daniel Adair. Nickelback promptly went into the studio with their new drummer from January through May 2005. The sessions resulted in their fifth studio album, All the Right Reasons which was released on October 3, 2005. It peaked at number one on the Billboard 200 with 323,350 copies in its first week in the United States, as well as producing five U.S. Hot 100 top 20 singles: "Photograph", "Savin' Me", "Far Away", "If Everyone Cared" and "Rockstar". Three of these became U.S. Hot 100 top 10 singles. Also, the album peaked at number one on the Canadian albums chart. The album sold more than 12 million singles and over 9 million ringtones. The album also made Nickelback the first band in Nielsen BDS history to have 5 singles on the CHR charts. It included appearances by Billy Gibbons of ZZ Top, who played a guitar solo on the song "Follow You Home" and sang backing vocals on "Rock Star"—and a posthumously sampled appearance by Chad Kroeger's friend Dimebag Darrell from Pantera, culled from guitar outtakes. All the Right Reasons had sold over 7 million copies in the U.S. to June 19, 2010. The band spent much of 2006 and 2007 touring across the globe. In the fall of 2006, the band opened for Bon Jovi on the European leg of the Have a Nice Day Tour. Over 2 million fans attended Nickelback's shows during those two years. The band played at Sturgis, South Dakota to over 35,000 people at the 2006 Sturgis Bike Rally. The performance was filmed with 15 high-definition cameras. They released the DVD and Blu-ray of it in 2009, several years after the performance. In November 2006, the band won an American Music Award for best pop/rock album, surprising the band itself. "We just kinda showed up because we were supposed to give one of these away tonight," Chad Kroeger said after receiving the award. Chad Kroeger added he had thought the Red Hot Chili Peppers would win the award. Dark Horse (2008–2010) After taking much of 2007 off, the band started recording a new album in earnest. In July 2008, the band signed with Live Nation for three touring and album cycles, with an option for a fourth. On September 4, 2008, it was announced that the first single from the upcoming album would be "If Today Was Your Last Day", to be released on September 30, 2008. This announcement was however never confirmed: Roadrunner Records actually chose to release another song, "Gotta Be Somebody," as the first single. It became Nickelback's 5th and so far final single to hit the No. 1 spot on the U.S. Adult Top 40 chart. The new album, produced by Mutt Lange and titled Dark Horse, was released on November 18, 2008. "Something in Your Mouth" was released as the second single to rock radio only on December 15, 2008, where it reached number one. "If Today Was Your Last Day" was eventually released as a single after all on March 31, 2009: it became the third single from the album. Four more singles were released later in 2009, "I'd Come for You", "Burn It to the Ground" and "Never Gonna Be Alone" released in September and "Shakin' Hands" as the seventh single on November 16. Its eighth single, "This Afternoon", was released on March 23, 2010. Dark Horse was certified platinum by the Recording Industry Association of America (RIAA) on December 9, 2008, only three weeks after its North American release. All eight singles were major hits which finished at or near the top of at least one high-profile chart. On November 26, 2008, the band announced the tour for the support of the album. Live Nation produced the tour and the band kicked off in Nashville, Tennessee, with Seether, and Saving Abel as their opening acts. The band then announced that they were about to tour in the UK with Black Stone Cherry as their opening act. The band then announced the second leg of the tour of North America with the opening acts being Hinder, Papa Roach, and once again, Saving Abel. The band then went on tour around Australia and New Zealand with Sick Puppies as their supporting act. For the second leg of the Europe tour, the band played with their opening act Daughtry. The third leg of the North America tour kicked off with Breaking Benjamin, Sick Puppies and Shinedown opening up for the band. The band concluded their tour with the fourth leg in North America which included Buckcherry and Three Days Grace. The tour was very successful and the band sold over 1.6 million tickets with 146 shows. The album also remained in the top 20 on the Billboard 200 for weeks after its release. The album was certified two times platinum in April 2009, and had by April 2010 sold over 3 million copies in the U.S. However, critical reception of the album has been mostly mixed to negative. In 2009, the band won three Juno Awards for Juno Fan Choice Award, group of the year, and album of the year; the band performed their single "Something In Your Mouth" at the ceremony. In 2010, Billboard year end charts listed Dark Horse as the top-selling rock and metal album of the year. The band was also listed at the top selling hard rock artist. On January 29, 2010 they released a Tap-Tap rhythm game for on the App Store, contrary to the band's prior comments against other music related video games such as Guitar Hero. On February 28, 2010, Nickelback gave a performance at the beginning of the concert portion of the 2010 Winter Olympics closing ceremony, performing "Burn It to the Ground". In October 2010 Nickelback finished their Dark Horse Tour. Here and Now (2011–2013) Chad Kroeger said in an interview with Billboard.com in September 2010 that songwriting for the next Nickelback album was planned to commence as early as February 2011 with "about four tunes" already in mind. Adair mentioned that the band wanted to go back to the musical style of All The Right Reasons, which he described as "more organic." Nickelback announced their new album, Here and Now, on September 8, 2011, along with its two lead singles, "Bottoms Up" and "When We Stand Together". Kroeger said "We’re four people who love making music, the way we like to make it. We entered the studio this year with a vision, and it all came together. We’re extremely happy with the results, and can’t wait to share them with our fans." The album was released on November 21, 2011, with the band calling it "Nickelblack Monday", a play on Nickelback and Black Monday. Two singles were released to radio stations on September 26, and September 27 for purchase on iTunes. Here and Now peaked at number two on the Billboard 200, selling 226,714 copies in its first week of release, with Christmas by Michael Bublé taking number one by a margin of only 419 copies. As part of promotion for the album, Nickelback was booked to perform at the halftime shows for both an NFL Thanksgiving Day game at Ford Field in Detroit on November 24, and the 99th Grey Cup in the band's hometown of Vancouver on November 27. Also, as a promotion the band played to Jimmy Kimmel upon the album's release. The band is nominated for 4 Juno Awards in 2012, and scheduled to perform at the ceremony. Nickelback announced their Here and Now Tour on January 11, 2012, they are going to tour with Seether, Bush and My Darkest Days. The band released a music video for their fourth single off of the album Lullaby. The band officially announced the compilation album The Best of Nickelback Volume 1 through social media on October 3, 2013. Frontman Chad Kroeger had previously stated in an interview that the greatest hits album was to feature songs from previous albums along with new songs but the unveiled track listing ultimately contained only previously released material. No Fixed Address and Feed the Machine (2014–2018) According to an interview with Chad Kroeger on CFOX-FM, the band planned to release their eighth studio album before the end of 2014. The lead rock single was also announced, "Edge of a Revolution", was released in August 2014. The track was described as a 'departure' for Nickelback and a political song. Frequent collaborator Chris Lord-Alge returned to mix some of the tracks on the album. It was also announced the band had signed to Republic Records. The lead single from the album is titled "Edge of a Revolution", and was scheduled to be sent for adds on Rock radio and be released to iTunes on August 18. The lead pop single, and second overall, was announced to be "What Are You Waiting For?", and was released in September. "What Are You Waiting For?" was released as a single on digital retailers on September 9, 2014. On August 22, 2014, Nickelback announced the album's title to be No Fixed Address, and released it on November 17, 2014. No Fixed Address Tour was their fifth headlining concert tour, in support of No Fixed Address. The tour was announced on November 5, 2014, as well as The Pretty Reckless, Pop Evil, and Lifehouse as the support act for the majority of the shows in North American while Monster Truck was support act in Australia and Europe (2016). The second North American leg of the tour had to be canceled when lead vocalist Chad Kroeger required surgery for a cyst on his voice box. The entire leg of the European tour was postponed until Autumn 2016. On August 19, 2016, Nickelback released a cover of Don Henley's song "Dirty Laundry" to streaming services. On January 23, 2017, a new single, "Feed the Machine" was announced to be released on February 1, alongside specific details of a 2017 tour. On January 25, Nickelback signed with BMG Rights Management to release their ninth album, also titled Feed the Machine. The album was released on June 16, 2017. The band released their second single from the album, "Song on Fire", on April 28, 2017. Shortly after the release of the album, the band began a 44-city tour on June 23, 2017 in North America, co-headlined with Daughtry, Shaman's Harvest and Cheap Trick as supporting acts. Upcoming tenth studio album (2019–present) In early 2019, band members spoke of recording a tenth studio album, though Chad Kroeger conceded there was no timetable or rush for the band to complete it. Mike Kroeger spoke of his personal desire to move in more of a heavy metal direction, or wanting to do an album of Slayer cover songs. On August 14, 2020, the band released a cover of The Charlie Daniels Band song "The Devil Went Down to Georgia", featuring Dave Martone. Musical style and influences Nickelback has been described as various genres, including post-grunge, hard rock, pop rock, alternative rock, heavy metal, alternative metal, and nu metal. Their earlier sound has been classified as grunge. Nickelback have cited bands and musicians such as Creedence Clearwater Revival, Bob Marley, Metallica, Nirvana, Red Hot Chili Peppers, and U2 as influential or inspirational. Reception Review aggregator Metacritic reports that five of Nickelback's six most recent studio albums since becoming a mainstream act—The Long Road, All the Right Reasons, Dark Horse, Here and Now, and No Fixed Address—have scores of 62, 41, 49, 51, and 54, respectively, out of 100, indicating generally mixed reviews. AllMusic reviewer Liana Jones gave their first commercially successful album, Silver Side Up, 3 stars out of 5, and complimented their "intensity and raw passion" and realistic storytelling. Despite their commercial success, Nickelback has been the subject of numerous jokes and a vocal negative response for some audiences, some of which is attributed to the perceived derivative, repetitive and formulaic nature of their music, as well as their over-use of hedonistic themes involving strippers, sex, prostitutes, drugs, and alcohol consumption. However, in a review for the band's latest album Feed the Machine, AllMusic reviewer Stephen Thomas Erlewine noted that they had mostly done away with the crude and vulgar lyrical content they'd become known for, and praised the band for evolving their sound. In the 2010s, Nickelback became the subject of internet memes that were critical of their music, a status that the band came to embrace. In May 2013, the readers of Rolling Stone magazine named Nickelback the second-worst band of the 1990s, behind only Creed. In November 2011, users of the music-oriented dating site Tastebuds.fm voted Nickelback as the number one "musical turnoff." In March 2019, U.S. representatives Mark Pocan and Rodney Davis got into a friendly debate of the merits of the band while speaking on the floor of the House of Representatives. In an interview in 2014, Kroeger commented that the criticism helped him "grow a thick skin," and that without it, they would be "this just whatever band." Following their 2008 album, Dark Horse, ChartAttack credited the band's success to knowing their target audience: "Chad Kroeger is a genius because he knows exactly what people want and precisely how far he can go. He turned out an extremely racy album that's loaded with songs about gettin' drunk and doin' it all without breaking any taboos, and with enough love and moral authority to grease its passage into the mainstream. Rejoice, North America. This is your world." Billboard gave praise to the band: "The bulletproof Nickelback provides affordable fun that promises good returns in hard times." Various fellow musicians like Chris Martin of Coldplay as well as R&B singers Timbaland and Keyshia Cole support the band. Band membersCurrent members Chad Kroeger – lead vocals, lead guitar (1995–present); rhythm guitar (2008–present) Ryan Peake – rhythm guitar, backing vocals (1995–present); keyboards (2002–present); lead guitar (2008–present) Mike Kroeger – bass (1995–present) Daniel Adair – drums, percussion, backing vocals (2005–present)Former members''' Brandon Kroeger – drums (1995–1997) Mitch Guindon – drums (1997–1998) Ryan Vikedal – drums, percussion (1998–2005) Timeline Discography Studio albumsCurb (1996)The State (1998)Silver Side Up (2001)The Long Road (2003)All the Right Reasons (2005)Dark Horse (2008)Here and Now (2011)No Fixed Address (2014)Feed the Machine'' (2017) Awards 2003 – Won SOCAN International Achievement Award for the song "How You Remind Me" 2004 – Won SOCAN International Achievement Award 2005 – Won SOCAN International Achievement Award 2007 – Won SOCAN International Achievement Award 2008 – Won SOCAN International Achievement Award References External links Atlantic Records artists 1995 establishments in Alberta Canadian alternative metal musical groups Canadian hard rock musical groups Canadian heavy metal musical groups Canadian pop rock music groups Canadian post-grunge groups Juno Award for Single of the Year winners Musical groups established in 1995 Musical groups from Alberta Musical quartets Republic Records artists Roadrunner Records artists Juno Award for Album of the Year winners Juno Award for Breakthrough Group of the Year winners Juno Award for Rock Album of the Year winners Juno Award for Group of the Year winners Juno Fan Choice Award winners Musical families	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" ]
[ "Nickelback", "Curb and The State (1996-2000)", "When was Curb released?", "In 1996, the band recorded and released their first full-length album, Curb. \"", "What singles were on that album?", "\"Fly\" was included on both Hesher and Curb and was the first single produced by Nickelback.", "Was this album successful?", "Ron Burman told HitQuarters that one of his West Coast scouts sent him the self-released album and, suitably impressed,", "Did they tour during the release of this album?", "travelled to Vancouver to see them perform live.", "When was The State released?", "The State, was released by Nickelback in 2000 by Roadrunner Records", "What songs were on The State album?", "It spawned 4 singles: \"Old Enough\", \"Worthy to Say\", \"Leader of Men\" and \"Breathe\",", "Did it do well on the charts?", "The album was the band's first album to be certified gold status and it later went into platinum status in 2008,", "Are there any other interesting aspects about this article?", "it still took Burman three months for him to convince his label bosses to approve the signing, a decision that would mark Roadrunner's first move into mainstream rock." ]	C_d506639b766c4317b6e3b986b4e91860_1	Did they tour at all during this time period?	9	Did Nickleback tour at all during the 2008 time period?	Nickelback	In 1996, the band recorded and released their first full-length album, Curb. "Fly" was included on both Hesher and Curb and was the first single produced by Nickelback. In 1997, Brandon Kroeger left the band and the band searched for a new drummer. Later that year Mitch Guindon joined the band, but he decided to leave in 1998 because he started working in a car company. In Summer 1998, Ryan Vikedal joined the band. Roadrunner A&R Ron Burman told HitQuarters that one of his West Coast scouts sent him the self-released album and, suitably impressed, he travelled to Vancouver to see them perform live. Although an unknown property in the industry at the time, the venue was packed out. In Burman's words: "I immediately got the chills! I thought their song 'Leader of Men' was a smash hit." Off the stage he was impressed by their industry and initiative in managing their career. Despite this, it still took Burman three months for him to convince his label bosses to approve the signing, a decision that would mark Roadrunner's first move into mainstream rock. Nickelback signed a record deal with EMI and Roadrunner Records in 1999. The State, was released by Nickelback in 2000 by Roadrunner Records and EMI Canada. The State, was released in Europe in 2001. It spawned 4 singles: "Old Enough", "Worthy to Say", "Leader of Men" and "Breathe", the last two being Top 10 rock hits. The album was the band's first album to be certified gold status and it later went into platinum status in 2008, after the success of their later albums. The album entered the Billboard 200 at number 130 and peaked at number 3 in the Billboard Top Heatseekers albums chart and peaked at number 6 on the Billboard Top Independent albums chart. CANNOTANSWER	CANNOTANSWER	Nickelback is a Canadian rock band formed in 1995 in Hanna, Alberta. It is composed of guitarist and lead vocalist Chad Kroeger, guitarist, keyboardist and backing vocalist Ryan Peake, bassist Mike Kroeger, and drummer Daniel Adair. It went through several drummer changes between 1995 and 2005, achieving its current lineup when Adair replaced Ryan Vikedal. Nickelback is one of the most commercially successful Canadian rock bands, having sold more than 50 million albums worldwide. In 2009, Billboard ranked it the most successful rock group of that decade; "How You Remind Me" was the best-selling rock song and the fourth-best overall. The band ranked at No. 7 on the Billboard top artist of the decade list, with four albums among the publication's top albums of the decade. The band signed with Roadrunner Records in 1999 and re-released its once-independent second studio album The State. This album was commercially successful, as was its follow-up, Silver Side Up, in 2001. The band then released its biggest hit, "How You Remind Me", a No. 1 on the Billboard and Canadian Singles Charts. The fourth album, The Long Road, was released in 2003 and spawned five singles, including Canadian No. 1 "Someday", which also reached No. 7 on the Billboard Hot 100. In 2005, the band's best-selling album to date, All the Right Reasons, produced three top-ten and five top-twenty singles on the Billboard Hot 100, including "Photograph", "Far Away", and "Rockstar". Dark Horse sold well in 2008, producing eight singles, one cracking the top ten on the Billboard Hot 100 and two in the top twenty. In 2011, the seventh album, Here and Now, topped the charts. The eighth, No Fixed Address, was released in 2014, followed by Feed the Machine in 2017. Nickelback is based in Vancouver, British Columbia. It originally published through EMI Canada before signing a global distribution deal with Roadrunner Records. For Here and Now, it left EMI Canada for Universal Music Canada. History Formation (1995) The band was formed in the early 1990s as a cover band called "Village Idiot" by brothers Mike and Chad Kroeger with their cousin Brandon Kroeger and Ryan Peake. The band later changed its name to Nickelback, which originated from the nickel in change that band member Mike Kroeger gave customers at his job at Starbucks; he would frequently say, "Here's your nickel back." The band performed covers of songs from Led Zeppelin and Metallica. Chad Kroeger then asked his step-father to give him $4,000 so that the band could record their first demo, a seven-track EP of original material, called Hesher (1996). The band spent half the money to record the EP, and spent the other half on magic mushrooms. Curb and The State (1996–2000) In 1996, the band recorded and released their first full-length album, Curb. "Fly" was included on both Hesher and Curb and was the first single produced by Nickelback. In 1997, Brandon Kroeger left the band and the band searched for a new drummer. Later that year Mitch Guindon joined the band, but he decided to leave in 1998. While initially reported due to him starting work at a car company, Guindon's departure came due to him "not [being] meant for the road". Chad Kroeger stated that his skin was not able to handle cold weather and they convinced him to leave. In Summer 1998, Ryan Vikedal joined the band. Roadrunner A&R Ron Burman told HitQuarters that one of his West Coast scouts sent him the self-released album and, suitably impressed, he travelled to Vancouver to see them perform live. Although an unknown property in the industry at the time, the venue was packed out. In Burman's words: "I immediately got the chills! I thought their song 'Leader of Men' was a smash hit." Off the stage he was impressed by their industry and initiative in managing their career. Despite this, it still took Burman three months for him to convince his label bosses to approve the signing, a decision that would mark Roadrunner's first move into mainstream rock. Nickelback signed a record deal with EMI and Roadrunner Records in 1999. The State was released by Nickelback in 2000 by Roadrunner Records and EMI Canada, followed by its release in Europe in 2001. It spawned 4 singles: "Old Enough", "Worthy to Say", "Leader of Men" and "Breathe", the last two being Top 10 rock hits. The album was the band's first album to be certified gold status and it later went into platinum status in 2008, after the success of their later albums. The album entered the Billboard 200 at number 130 and peaked at number 3 in the Billboard Top Heatseekers albums chart and peaked at number 6 on the Billboard Top Independent albums chart. Silver Side Up and The Long Road (2001–2004) Around 2001, Chad Kroeger started "studying every piece, everything sonically, everything lyrically, everything musically, chord structure. I would dissect every single song that I would hear on the radio or every song that had ever done well on a chart and I would say, 'Why did this do well?'" Kroeger said that Nickelback's single "How You Remind Me" sold so well because it was about romantic relationships, a universal subject, and contained memorable hooks. To record their third album Silver Side Up, Nickelback collaborated with producer Rick Parashar. The album was written before the release of The State and was recorded at the same studio. The album was released on Tuesday, September 11, 2001. The album peaked at number two on the Billboard 200 with over 177,000 copies sold in its first week and peaked at number one at the Canadian albums chart, making it the band's first album to do so. The single "How You Remind Me" was a number one single on the Mainstream and Modern rock charts, as well as the pop chart. It also peaked at number two on Adult Top 40 and became the Billboard Hot 100 number one single of the year for 2002. The next single was "Too Bad", which also reached number one on the Mainstream Rock Chart. The final single from the album was "Never Again", which also hit number one on Mainstream Rock. In 2002, Chad Kroeger collaborated with Josey Scott on the Spider-Man theme song, "Hero". This recording also featured Tyler Connolly, Mike Kroeger, Matt Cameron, and Jeremy Taggart. In 2002, Nickelback released their first DVD Live at Home. On August 19, 2002, an incident occurred while the band was performing at the Ilha do Ermal festival in Portugal. While performing the second song of their set, Chad Kroeger was sprayed with a full bottle of water hurled from somewhere within the audience. After finishing the song, Chad asked the crowd, "Do you want to hear some rock 'n' roll or do you want to go home?" A person in the audience then threw a rock at Chad's head. The band then left stage, with Chad and Vikedal giving the finger to the audience as they left. The band's label, Roadrunner, posted video footage of the entire incident on their website. In 2003, Nickelback released The Long Road. The album was certified 3x Platinum by the RIAA in March 2005 and it had sold 3,591,000 copies as of April 2011. It has sold over 5 million copies worldwide and, in 2003 alone, the album sold 2 million copies worldwide. It debuted at No. 6 on the Billboard 200. This was their first album produced by Joey Moi, a former classmate of the band's. The Long Road was ranked No. 157 on Billboards 200 Albums of the Decade. It spawned five singles. The lead single was "Someday". The band also released "Feelin' Way Too Damn Good" as a single, which peaked at number three on the Mainstream Rock Charts. "Figured You Out" was also released as a single and topped the Mainstream Rock Charts for 13 consecutive weeks. All the Right Reasons (2005–2007) Just after New Year's Day 2005, drummer Ryan Vikedal was replaced by 3 Doors Down's drummer Daniel Adair. Nickelback promptly went into the studio with their new drummer from January through May 2005. The sessions resulted in their fifth studio album, All the Right Reasons which was released on October 3, 2005. It peaked at number one on the Billboard 200 with 323,350 copies in its first week in the United States, as well as producing five U.S. Hot 100 top 20 singles: "Photograph", "Savin' Me", "Far Away", "If Everyone Cared" and "Rockstar". Three of these became U.S. Hot 100 top 10 singles. Also, the album peaked at number one on the Canadian albums chart. The album sold more than 12 million singles and over 9 million ringtones. The album also made Nickelback the first band in Nielsen BDS history to have 5 singles on the CHR charts. It included appearances by Billy Gibbons of ZZ Top, who played a guitar solo on the song "Follow You Home" and sang backing vocals on "Rock Star"—and a posthumously sampled appearance by Chad Kroeger's friend Dimebag Darrell from Pantera, culled from guitar outtakes. All the Right Reasons had sold over 7 million copies in the U.S. to June 19, 2010. The band spent much of 2006 and 2007 touring across the globe. In the fall of 2006, the band opened for Bon Jovi on the European leg of the Have a Nice Day Tour. Over 2 million fans attended Nickelback's shows during those two years. The band played at Sturgis, South Dakota to over 35,000 people at the 2006 Sturgis Bike Rally. The performance was filmed with 15 high-definition cameras. They released the DVD and Blu-ray of it in 2009, several years after the performance. In November 2006, the band won an American Music Award for best pop/rock album, surprising the band itself. "We just kinda showed up because we were supposed to give one of these away tonight," Chad Kroeger said after receiving the award. Chad Kroeger added he had thought the Red Hot Chili Peppers would win the award. Dark Horse (2008–2010) After taking much of 2007 off, the band started recording a new album in earnest. In July 2008, the band signed with Live Nation for three touring and album cycles, with an option for a fourth. On September 4, 2008, it was announced that the first single from the upcoming album would be "If Today Was Your Last Day", to be released on September 30, 2008. This announcement was however never confirmed: Roadrunner Records actually chose to release another song, "Gotta Be Somebody," as the first single. It became Nickelback's 5th and so far final single to hit the No. 1 spot on the U.S. Adult Top 40 chart. The new album, produced by Mutt Lange and titled Dark Horse, was released on November 18, 2008. "Something in Your Mouth" was released as the second single to rock radio only on December 15, 2008, where it reached number one. "If Today Was Your Last Day" was eventually released as a single after all on March 31, 2009: it became the third single from the album. Four more singles were released later in 2009, "I'd Come for You", "Burn It to the Ground" and "Never Gonna Be Alone" released in September and "Shakin' Hands" as the seventh single on November 16. Its eighth single, "This Afternoon", was released on March 23, 2010. Dark Horse was certified platinum by the Recording Industry Association of America (RIAA) on December 9, 2008, only three weeks after its North American release. All eight singles were major hits which finished at or near the top of at least one high-profile chart. On November 26, 2008, the band announced the tour for the support of the album. Live Nation produced the tour and the band kicked off in Nashville, Tennessee, with Seether, and Saving Abel as their opening acts. The band then announced that they were about to tour in the UK with Black Stone Cherry as their opening act. The band then announced the second leg of the tour of North America with the opening acts being Hinder, Papa Roach, and once again, Saving Abel. The band then went on tour around Australia and New Zealand with Sick Puppies as their supporting act. For the second leg of the Europe tour, the band played with their opening act Daughtry. The third leg of the North America tour kicked off with Breaking Benjamin, Sick Puppies and Shinedown opening up for the band. The band concluded their tour with the fourth leg in North America which included Buckcherry and Three Days Grace. The tour was very successful and the band sold over 1.6 million tickets with 146 shows. The album also remained in the top 20 on the Billboard 200 for weeks after its release. The album was certified two times platinum in April 2009, and had by April 2010 sold over 3 million copies in the U.S. However, critical reception of the album has been mostly mixed to negative. In 2009, the band won three Juno Awards for Juno Fan Choice Award, group of the year, and album of the year; the band performed their single "Something In Your Mouth" at the ceremony. In 2010, Billboard year end charts listed Dark Horse as the top-selling rock and metal album of the year. The band was also listed at the top selling hard rock artist. On January 29, 2010 they released a Tap-Tap rhythm game for on the App Store, contrary to the band's prior comments against other music related video games such as Guitar Hero. On February 28, 2010, Nickelback gave a performance at the beginning of the concert portion of the 2010 Winter Olympics closing ceremony, performing "Burn It to the Ground". In October 2010 Nickelback finished their Dark Horse Tour. Here and Now (2011–2013) Chad Kroeger said in an interview with Billboard.com in September 2010 that songwriting for the next Nickelback album was planned to commence as early as February 2011 with "about four tunes" already in mind. Adair mentioned that the band wanted to go back to the musical style of All The Right Reasons, which he described as "more organic." Nickelback announced their new album, Here and Now, on September 8, 2011, along with its two lead singles, "Bottoms Up" and "When We Stand Together". Kroeger said "We’re four people who love making music, the way we like to make it. We entered the studio this year with a vision, and it all came together. We’re extremely happy with the results, and can’t wait to share them with our fans." The album was released on November 21, 2011, with the band calling it "Nickelblack Monday", a play on Nickelback and Black Monday. Two singles were released to radio stations on September 26, and September 27 for purchase on iTunes. Here and Now peaked at number two on the Billboard 200, selling 226,714 copies in its first week of release, with Christmas by Michael Bublé taking number one by a margin of only 419 copies. As part of promotion for the album, Nickelback was booked to perform at the halftime shows for both an NFL Thanksgiving Day game at Ford Field in Detroit on November 24, and the 99th Grey Cup in the band's hometown of Vancouver on November 27. Also, as a promotion the band played to Jimmy Kimmel upon the album's release. The band is nominated for 4 Juno Awards in 2012, and scheduled to perform at the ceremony. Nickelback announced their Here and Now Tour on January 11, 2012, they are going to tour with Seether, Bush and My Darkest Days. The band released a music video for their fourth single off of the album Lullaby. The band officially announced the compilation album The Best of Nickelback Volume 1 through social media on October 3, 2013. Frontman Chad Kroeger had previously stated in an interview that the greatest hits album was to feature songs from previous albums along with new songs but the unveiled track listing ultimately contained only previously released material. No Fixed Address and Feed the Machine (2014–2018) According to an interview with Chad Kroeger on CFOX-FM, the band planned to release their eighth studio album before the end of 2014. The lead rock single was also announced, "Edge of a Revolution", was released in August 2014. The track was described as a 'departure' for Nickelback and a political song. Frequent collaborator Chris Lord-Alge returned to mix some of the tracks on the album. It was also announced the band had signed to Republic Records. The lead single from the album is titled "Edge of a Revolution", and was scheduled to be sent for adds on Rock radio and be released to iTunes on August 18. The lead pop single, and second overall, was announced to be "What Are You Waiting For?", and was released in September. "What Are You Waiting For?" was released as a single on digital retailers on September 9, 2014. On August 22, 2014, Nickelback announced the album's title to be No Fixed Address, and released it on November 17, 2014. No Fixed Address Tour was their fifth headlining concert tour, in support of No Fixed Address. The tour was announced on November 5, 2014, as well as The Pretty Reckless, Pop Evil, and Lifehouse as the support act for the majority of the shows in North American while Monster Truck was support act in Australia and Europe (2016). The second North American leg of the tour had to be canceled when lead vocalist Chad Kroeger required surgery for a cyst on his voice box. The entire leg of the European tour was postponed until Autumn 2016. On August 19, 2016, Nickelback released a cover of Don Henley's song "Dirty Laundry" to streaming services. On January 23, 2017, a new single, "Feed the Machine" was announced to be released on February 1, alongside specific details of a 2017 tour. On January 25, Nickelback signed with BMG Rights Management to release their ninth album, also titled Feed the Machine. The album was released on June 16, 2017. The band released their second single from the album, "Song on Fire", on April 28, 2017. Shortly after the release of the album, the band began a 44-city tour on June 23, 2017 in North America, co-headlined with Daughtry, Shaman's Harvest and Cheap Trick as supporting acts. Upcoming tenth studio album (2019–present) In early 2019, band members spoke of recording a tenth studio album, though Chad Kroeger conceded there was no timetable or rush for the band to complete it. Mike Kroeger spoke of his personal desire to move in more of a heavy metal direction, or wanting to do an album of Slayer cover songs. On August 14, 2020, the band released a cover of The Charlie Daniels Band song "The Devil Went Down to Georgia", featuring Dave Martone. Musical style and influences Nickelback has been described as various genres, including post-grunge, hard rock, pop rock, alternative rock, heavy metal, alternative metal, and nu metal. Their earlier sound has been classified as grunge. Nickelback have cited bands and musicians such as Creedence Clearwater Revival, Bob Marley, Metallica, Nirvana, Red Hot Chili Peppers, and U2 as influential or inspirational. Reception Review aggregator Metacritic reports that five of Nickelback's six most recent studio albums since becoming a mainstream act—The Long Road, All the Right Reasons, Dark Horse, Here and Now, and No Fixed Address—have scores of 62, 41, 49, 51, and 54, respectively, out of 100, indicating generally mixed reviews. AllMusic reviewer Liana Jones gave their first commercially successful album, Silver Side Up, 3 stars out of 5, and complimented their "intensity and raw passion" and realistic storytelling. Despite their commercial success, Nickelback has been the subject of numerous jokes and a vocal negative response for some audiences, some of which is attributed to the perceived derivative, repetitive and formulaic nature of their music, as well as their over-use of hedonistic themes involving strippers, sex, prostitutes, drugs, and alcohol consumption. However, in a review for the band's latest album Feed the Machine, AllMusic reviewer Stephen Thomas Erlewine noted that they had mostly done away with the crude and vulgar lyrical content they'd become known for, and praised the band for evolving their sound. In the 2010s, Nickelback became the subject of internet memes that were critical of their music, a status that the band came to embrace. In May 2013, the readers of Rolling Stone magazine named Nickelback the second-worst band of the 1990s, behind only Creed. In November 2011, users of the music-oriented dating site Tastebuds.fm voted Nickelback as the number one "musical turnoff." In March 2019, U.S. representatives Mark Pocan and Rodney Davis got into a friendly debate of the merits of the band while speaking on the floor of the House of Representatives. In an interview in 2014, Kroeger commented that the criticism helped him "grow a thick skin," and that without it, they would be "this just whatever band." Following their 2008 album, Dark Horse, ChartAttack credited the band's success to knowing their target audience: "Chad Kroeger is a genius because he knows exactly what people want and precisely how far he can go. He turned out an extremely racy album that's loaded with songs about gettin' drunk and doin' it all without breaking any taboos, and with enough love and moral authority to grease its passage into the mainstream. Rejoice, North America. This is your world." Billboard gave praise to the band: "The bulletproof Nickelback provides affordable fun that promises good returns in hard times." Various fellow musicians like Chris Martin of Coldplay as well as R&B singers Timbaland and Keyshia Cole support the band. Band membersCurrent members Chad Kroeger – lead vocals, lead guitar (1995–present); rhythm guitar (2008–present) Ryan Peake – rhythm guitar, backing vocals (1995–present); keyboards (2002–present); lead guitar (2008–present) Mike Kroeger – bass (1995–present) Daniel Adair – drums, percussion, backing vocals (2005–present)Former members''' Brandon Kroeger – drums (1995–1997) Mitch Guindon – drums (1997–1998) Ryan Vikedal – drums, percussion (1998–2005) Timeline Discography Studio albumsCurb (1996)The State (1998)Silver Side Up (2001)The Long Road (2003)All the Right Reasons (2005)Dark Horse (2008)Here and Now (2011)No Fixed Address (2014)Feed the Machine'' (2017) Awards 2003 – Won SOCAN International Achievement Award for the song "How You Remind Me" 2004 – Won SOCAN International Achievement Award 2005 – Won SOCAN International Achievement Award 2007 – Won SOCAN International Achievement Award 2008 – Won SOCAN International Achievement Award References External links Atlantic Records artists 1995 establishments in Alberta Canadian alternative metal musical groups Canadian hard rock musical groups Canadian heavy metal musical groups Canadian pop rock music groups Canadian post-grunge groups Juno Award for Single of the Year winners Musical groups established in 1995 Musical groups from Alberta Musical quartets Republic Records artists Roadrunner Records artists Juno Award for Album of the Year winners Juno Award for Breakthrough Group of the Year winners Juno Award for Rock Album of the Year winners Juno Award for Group of the Year winners Juno Fan Choice Award winners Musical families	false	[ "Rod Spittle (born 18 July 1955) is a Canadian professional golfer.\n\nSpittle was born in St. Catharines, Ontario. He played college golf at Ohio State University where his teammates included John Cook and Joey Sindelar. He won the Canadian Amateur in 1977 and 1978. After graduating in 1978, with a degree in Business Administration, he did not turn professional in golf, instead choosing to sell insurance, which he did for 25 years. He moved to Ohio, and played amateur golf at a high standard during this period.\n\nSpittle turned professional in 2004, shortly before turning 50. He began playing on the Champions Tour in 2005. His best finish in his first four years was a T-2 at the 2007 Greater Hickory Classic at Rock Barn. He did not play the Champions Tour at all in 2009. In 2010, he Monday-qualified into the AT&T Championship, and won the event in a one-hole sudden-death playoff over Jeff Sluman.\n\nAmateur wins\n1977 Canadian Amateur\n1978 Canadian Amateur\n2000 Ohio Mid-Amateur\n2001 Ohio Mid-Amateur\n2003 Ohio Mid-Amateur\n\nProfessional wins (1)\n\nChampions Tour wins (1)\n\nChampions Tour playoff record (1–0)\n\nReferences\n\nExternal links\n\nCanadian male golfers\nOhio State Buckeyes men's golfers\nPGA Tour Champions golfers\nGolfing people from Ontario\nSportspeople from St. Catharines\n1955 births\nLiving people", "Les Chevaliers du fiel are au duo of French comedians, composed by Eric Carriere and Francis Ginibre.\n\nFounding\nAt the end of the 1980s, Eric Carriere, PhD in sociology, and Francis Ginibre, graduated from the National French School of Beaux-Arts, went on stage in a \"cave-spectacle\", little room in a pub, in Toulouse. After their meeting with Gilles Petit in 1984, they created their own first show, \"Le détournement d’avion le plus fou de l’année\" (1984) which was successful and gave birth to the Chevaliers du fiel (3 comedians until 1990).\n\nTheir first apparitions on TV were on TLT (a local television channel from Toulouse). After having participated for many years at the Festival d’Avignon (French exhibition of theater shows in Avignon), the duo of comedians appeared in Paris. They went on stage in September 1995 at the Européen (Parisian theater) but their show wasn’t a success. This failure was due to the famous strike in Parisian public transport. This bad period was going to turn into financial difficulties.\n\nBut the duo didn’t give up, and, in 1996, they performed for three weeks at the theater Grévin (another Parisian theater). Actually, the success of their show enabled them to be on stage for four months. During the same year, their humorous song \"La Simca 1000\" came out and was sold in 400.000 copies for six months.\n\nIn 1997, they created a new show performed at the Grand Palais des Glaces (famous theater in Paris) and went on a tour of 100 representations with 100 000 spectators. In 1998, they went on stage for one week at the Casino de Paris. In January 1999, the duo performed at the Olympia, ensured their tour and produced a video pick up at the Zenith of Paris.\n\n2000s\nIn the 2000s, les Chevaliers du Fiel confirmed the success of their humor. In 2000, they went on stage at the Casino de Paris and ensured a tour of 140 shows. The duo of comedians broadcast a daily show on Sud Radio (a French radio).\n\nIn 2001, they created « Repas de famille » in Toulouse and about 4.000 spectators went to see the first representations. The show became a tour all over France. At the same time, they broadcast a daily show on the French radio Rires & Chansons. In February 2001, they published their book: \"Les Chevaliers du fiel balancent tout! \". A videotape and a DVD of their show \"Repas de famille\" came out during the same year. In 2002, they were awarded the Golden Video for their show \"Repas de famille\". As from 7 November, they were at the Théâtre Trévise, in Paris, and ensured another tour in France.\nIn 2004, they went on a national tour in France, and their DVD « special South » came out.\n\nIn 2006, les Chevaliers du Fiel kept went on their tour and published a book called \"365 Histoires drôles\". They went on stage at the festival d’Avignon during all July at the theater Rouge Gorge. The duo obtained very big audience numbers on Sud Radio.\n\n2010s\nIn 2010, they were still working for Sud Radio. On October 13, 2010, the direct broadcasting of their show « Bienvenue chez les Chevaliers du Fiel\", anthology of their sketches, allowed France 4 (a French TV channel) to obtain 850.000 viewers.\nAs from the autumn of 2010, they did a new show: « Les vacances d’enfer\". They were at the Théâtre du Gymnase Marie Bell at the beginning of 2011.\n\nAt the end of 2010, they bought the theater \"La Comédie de Toulouse\".In the summer of 2012, they started shooting their first full-length, the adaptation of their play \"Repas de famille\".\" Since January 2013, they have been performing their show \"Croisière d’enfer\" which is simply the sequel to their play \"Vacances d’enfer\".\n\nReferences\n\nFrench comedians" ]
[ "Nickelback", "Curb and The State (1996-2000)", "When was Curb released?", "In 1996, the band recorded and released their first full-length album, Curb. \"", "What singles were on that album?", "\"Fly\" was included on both Hesher and Curb and was the first single produced by Nickelback.", "Was this album successful?", "Ron Burman told HitQuarters that one of his West Coast scouts sent him the self-released album and, suitably impressed,", "Did they tour during the release of this album?", "travelled to Vancouver to see them perform live.", "When was The State released?", "The State, was released by Nickelback in 2000 by Roadrunner Records", "What songs were on The State album?", "It spawned 4 singles: \"Old Enough\", \"Worthy to Say\", \"Leader of Men\" and \"Breathe\",", "Did it do well on the charts?", "The album was the band's first album to be certified gold status and it later went into platinum status in 2008,", "Are there any other interesting aspects about this article?", "it still took Burman three months for him to convince his label bosses to approve the signing, a decision that would mark Roadrunner's first move into mainstream rock.", "Did they tour at all during this time period?", "I don't know." ]	C_d506639b766c4317b6e3b986b4e91860_1	Any other hits released during this time?	10	Other than "Old Enough", "Worthy to Say", "Leader of Men" and "Breathe" where any other hits released during the 2008 time?	Nickelback	In 1996, the band recorded and released their first full-length album, Curb. "Fly" was included on both Hesher and Curb and was the first single produced by Nickelback. In 1997, Brandon Kroeger left the band and the band searched for a new drummer. Later that year Mitch Guindon joined the band, but he decided to leave in 1998 because he started working in a car company. In Summer 1998, Ryan Vikedal joined the band. Roadrunner A&R Ron Burman told HitQuarters that one of his West Coast scouts sent him the self-released album and, suitably impressed, he travelled to Vancouver to see them perform live. Although an unknown property in the industry at the time, the venue was packed out. In Burman's words: "I immediately got the chills! I thought their song 'Leader of Men' was a smash hit." Off the stage he was impressed by their industry and initiative in managing their career. Despite this, it still took Burman three months for him to convince his label bosses to approve the signing, a decision that would mark Roadrunner's first move into mainstream rock. Nickelback signed a record deal with EMI and Roadrunner Records in 1999. The State, was released by Nickelback in 2000 by Roadrunner Records and EMI Canada. The State, was released in Europe in 2001. It spawned 4 singles: "Old Enough", "Worthy to Say", "Leader of Men" and "Breathe", the last two being Top 10 rock hits. The album was the band's first album to be certified gold status and it later went into platinum status in 2008, after the success of their later albums. The album entered the Billboard 200 at number 130 and peaked at number 3 in the Billboard Top Heatseekers albums chart and peaked at number 6 on the Billboard Top Independent albums chart. CANNOTANSWER	Heatseekers albums chart and peaked at number 6 on the Billboard Top Independent albums chart.	Nickelback is a Canadian rock band formed in 1995 in Hanna, Alberta. It is composed of guitarist and lead vocalist Chad Kroeger, guitarist, keyboardist and backing vocalist Ryan Peake, bassist Mike Kroeger, and drummer Daniel Adair. It went through several drummer changes between 1995 and 2005, achieving its current lineup when Adair replaced Ryan Vikedal. Nickelback is one of the most commercially successful Canadian rock bands, having sold more than 50 million albums worldwide. In 2009, Billboard ranked it the most successful rock group of that decade; "How You Remind Me" was the best-selling rock song and the fourth-best overall. The band ranked at No. 7 on the Billboard top artist of the decade list, with four albums among the publication's top albums of the decade. The band signed with Roadrunner Records in 1999 and re-released its once-independent second studio album The State. This album was commercially successful, as was its follow-up, Silver Side Up, in 2001. The band then released its biggest hit, "How You Remind Me", a No. 1 on the Billboard and Canadian Singles Charts. The fourth album, The Long Road, was released in 2003 and spawned five singles, including Canadian No. 1 "Someday", which also reached No. 7 on the Billboard Hot 100. In 2005, the band's best-selling album to date, All the Right Reasons, produced three top-ten and five top-twenty singles on the Billboard Hot 100, including "Photograph", "Far Away", and "Rockstar". Dark Horse sold well in 2008, producing eight singles, one cracking the top ten on the Billboard Hot 100 and two in the top twenty. In 2011, the seventh album, Here and Now, topped the charts. The eighth, No Fixed Address, was released in 2014, followed by Feed the Machine in 2017. Nickelback is based in Vancouver, British Columbia. It originally published through EMI Canada before signing a global distribution deal with Roadrunner Records. For Here and Now, it left EMI Canada for Universal Music Canada. History Formation (1995) The band was formed in the early 1990s as a cover band called "Village Idiot" by brothers Mike and Chad Kroeger with their cousin Brandon Kroeger and Ryan Peake. The band later changed its name to Nickelback, which originated from the nickel in change that band member Mike Kroeger gave customers at his job at Starbucks; he would frequently say, "Here's your nickel back." The band performed covers of songs from Led Zeppelin and Metallica. Chad Kroeger then asked his step-father to give him $4,000 so that the band could record their first demo, a seven-track EP of original material, called Hesher (1996). The band spent half the money to record the EP, and spent the other half on magic mushrooms. Curb and The State (1996–2000) In 1996, the band recorded and released their first full-length album, Curb. "Fly" was included on both Hesher and Curb and was the first single produced by Nickelback. In 1997, Brandon Kroeger left the band and the band searched for a new drummer. Later that year Mitch Guindon joined the band, but he decided to leave in 1998. While initially reported due to him starting work at a car company, Guindon's departure came due to him "not [being] meant for the road". Chad Kroeger stated that his skin was not able to handle cold weather and they convinced him to leave. In Summer 1998, Ryan Vikedal joined the band. Roadrunner A&R Ron Burman told HitQuarters that one of his West Coast scouts sent him the self-released album and, suitably impressed, he travelled to Vancouver to see them perform live. Although an unknown property in the industry at the time, the venue was packed out. In Burman's words: "I immediately got the chills! I thought their song 'Leader of Men' was a smash hit." Off the stage he was impressed by their industry and initiative in managing their career. Despite this, it still took Burman three months for him to convince his label bosses to approve the signing, a decision that would mark Roadrunner's first move into mainstream rock. Nickelback signed a record deal with EMI and Roadrunner Records in 1999. The State was released by Nickelback in 2000 by Roadrunner Records and EMI Canada, followed by its release in Europe in 2001. It spawned 4 singles: "Old Enough", "Worthy to Say", "Leader of Men" and "Breathe", the last two being Top 10 rock hits. The album was the band's first album to be certified gold status and it later went into platinum status in 2008, after the success of their later albums. The album entered the Billboard 200 at number 130 and peaked at number 3 in the Billboard Top Heatseekers albums chart and peaked at number 6 on the Billboard Top Independent albums chart. Silver Side Up and The Long Road (2001–2004) Around 2001, Chad Kroeger started "studying every piece, everything sonically, everything lyrically, everything musically, chord structure. I would dissect every single song that I would hear on the radio or every song that had ever done well on a chart and I would say, 'Why did this do well?'" Kroeger said that Nickelback's single "How You Remind Me" sold so well because it was about romantic relationships, a universal subject, and contained memorable hooks. To record their third album Silver Side Up, Nickelback collaborated with producer Rick Parashar. The album was written before the release of The State and was recorded at the same studio. The album was released on Tuesday, September 11, 2001. The album peaked at number two on the Billboard 200 with over 177,000 copies sold in its first week and peaked at number one at the Canadian albums chart, making it the band's first album to do so. The single "How You Remind Me" was a number one single on the Mainstream and Modern rock charts, as well as the pop chart. It also peaked at number two on Adult Top 40 and became the Billboard Hot 100 number one single of the year for 2002. The next single was "Too Bad", which also reached number one on the Mainstream Rock Chart. The final single from the album was "Never Again", which also hit number one on Mainstream Rock. In 2002, Chad Kroeger collaborated with Josey Scott on the Spider-Man theme song, "Hero". This recording also featured Tyler Connolly, Mike Kroeger, Matt Cameron, and Jeremy Taggart. In 2002, Nickelback released their first DVD Live at Home. On August 19, 2002, an incident occurred while the band was performing at the Ilha do Ermal festival in Portugal. While performing the second song of their set, Chad Kroeger was sprayed with a full bottle of water hurled from somewhere within the audience. After finishing the song, Chad asked the crowd, "Do you want to hear some rock 'n' roll or do you want to go home?" A person in the audience then threw a rock at Chad's head. The band then left stage, with Chad and Vikedal giving the finger to the audience as they left. The band's label, Roadrunner, posted video footage of the entire incident on their website. In 2003, Nickelback released The Long Road. The album was certified 3x Platinum by the RIAA in March 2005 and it had sold 3,591,000 copies as of April 2011. It has sold over 5 million copies worldwide and, in 2003 alone, the album sold 2 million copies worldwide. It debuted at No. 6 on the Billboard 200. This was their first album produced by Joey Moi, a former classmate of the band's. The Long Road was ranked No. 157 on Billboards 200 Albums of the Decade. It spawned five singles. The lead single was "Someday". The band also released "Feelin' Way Too Damn Good" as a single, which peaked at number three on the Mainstream Rock Charts. "Figured You Out" was also released as a single and topped the Mainstream Rock Charts for 13 consecutive weeks. All the Right Reasons (2005–2007) Just after New Year's Day 2005, drummer Ryan Vikedal was replaced by 3 Doors Down's drummer Daniel Adair. Nickelback promptly went into the studio with their new drummer from January through May 2005. The sessions resulted in their fifth studio album, All the Right Reasons which was released on October 3, 2005. It peaked at number one on the Billboard 200 with 323,350 copies in its first week in the United States, as well as producing five U.S. Hot 100 top 20 singles: "Photograph", "Savin' Me", "Far Away", "If Everyone Cared" and "Rockstar". Three of these became U.S. Hot 100 top 10 singles. Also, the album peaked at number one on the Canadian albums chart. The album sold more than 12 million singles and over 9 million ringtones. The album also made Nickelback the first band in Nielsen BDS history to have 5 singles on the CHR charts. It included appearances by Billy Gibbons of ZZ Top, who played a guitar solo on the song "Follow You Home" and sang backing vocals on "Rock Star"—and a posthumously sampled appearance by Chad Kroeger's friend Dimebag Darrell from Pantera, culled from guitar outtakes. All the Right Reasons had sold over 7 million copies in the U.S. to June 19, 2010. The band spent much of 2006 and 2007 touring across the globe. In the fall of 2006, the band opened for Bon Jovi on the European leg of the Have a Nice Day Tour. Over 2 million fans attended Nickelback's shows during those two years. The band played at Sturgis, South Dakota to over 35,000 people at the 2006 Sturgis Bike Rally. The performance was filmed with 15 high-definition cameras. They released the DVD and Blu-ray of it in 2009, several years after the performance. In November 2006, the band won an American Music Award for best pop/rock album, surprising the band itself. "We just kinda showed up because we were supposed to give one of these away tonight," Chad Kroeger said after receiving the award. Chad Kroeger added he had thought the Red Hot Chili Peppers would win the award. Dark Horse (2008–2010) After taking much of 2007 off, the band started recording a new album in earnest. In July 2008, the band signed with Live Nation for three touring and album cycles, with an option for a fourth. On September 4, 2008, it was announced that the first single from the upcoming album would be "If Today Was Your Last Day", to be released on September 30, 2008. This announcement was however never confirmed: Roadrunner Records actually chose to release another song, "Gotta Be Somebody," as the first single. It became Nickelback's 5th and so far final single to hit the No. 1 spot on the U.S. Adult Top 40 chart. The new album, produced by Mutt Lange and titled Dark Horse, was released on November 18, 2008. "Something in Your Mouth" was released as the second single to rock radio only on December 15, 2008, where it reached number one. "If Today Was Your Last Day" was eventually released as a single after all on March 31, 2009: it became the third single from the album. Four more singles were released later in 2009, "I'd Come for You", "Burn It to the Ground" and "Never Gonna Be Alone" released in September and "Shakin' Hands" as the seventh single on November 16. Its eighth single, "This Afternoon", was released on March 23, 2010. Dark Horse was certified platinum by the Recording Industry Association of America (RIAA) on December 9, 2008, only three weeks after its North American release. All eight singles were major hits which finished at or near the top of at least one high-profile chart. On November 26, 2008, the band announced the tour for the support of the album. Live Nation produced the tour and the band kicked off in Nashville, Tennessee, with Seether, and Saving Abel as their opening acts. The band then announced that they were about to tour in the UK with Black Stone Cherry as their opening act. The band then announced the second leg of the tour of North America with the opening acts being Hinder, Papa Roach, and once again, Saving Abel. The band then went on tour around Australia and New Zealand with Sick Puppies as their supporting act. For the second leg of the Europe tour, the band played with their opening act Daughtry. The third leg of the North America tour kicked off with Breaking Benjamin, Sick Puppies and Shinedown opening up for the band. The band concluded their tour with the fourth leg in North America which included Buckcherry and Three Days Grace. The tour was very successful and the band sold over 1.6 million tickets with 146 shows. The album also remained in the top 20 on the Billboard 200 for weeks after its release. The album was certified two times platinum in April 2009, and had by April 2010 sold over 3 million copies in the U.S. However, critical reception of the album has been mostly mixed to negative. In 2009, the band won three Juno Awards for Juno Fan Choice Award, group of the year, and album of the year; the band performed their single "Something In Your Mouth" at the ceremony. In 2010, Billboard year end charts listed Dark Horse as the top-selling rock and metal album of the year. The band was also listed at the top selling hard rock artist. On January 29, 2010 they released a Tap-Tap rhythm game for on the App Store, contrary to the band's prior comments against other music related video games such as Guitar Hero. On February 28, 2010, Nickelback gave a performance at the beginning of the concert portion of the 2010 Winter Olympics closing ceremony, performing "Burn It to the Ground". In October 2010 Nickelback finished their Dark Horse Tour. Here and Now (2011–2013) Chad Kroeger said in an interview with Billboard.com in September 2010 that songwriting for the next Nickelback album was planned to commence as early as February 2011 with "about four tunes" already in mind. Adair mentioned that the band wanted to go back to the musical style of All The Right Reasons, which he described as "more organic." Nickelback announced their new album, Here and Now, on September 8, 2011, along with its two lead singles, "Bottoms Up" and "When We Stand Together". Kroeger said "We’re four people who love making music, the way we like to make it. We entered the studio this year with a vision, and it all came together. We’re extremely happy with the results, and can’t wait to share them with our fans." The album was released on November 21, 2011, with the band calling it "Nickelblack Monday", a play on Nickelback and Black Monday. Two singles were released to radio stations on September 26, and September 27 for purchase on iTunes. Here and Now peaked at number two on the Billboard 200, selling 226,714 copies in its first week of release, with Christmas by Michael Bublé taking number one by a margin of only 419 copies. As part of promotion for the album, Nickelback was booked to perform at the halftime shows for both an NFL Thanksgiving Day game at Ford Field in Detroit on November 24, and the 99th Grey Cup in the band's hometown of Vancouver on November 27. Also, as a promotion the band played to Jimmy Kimmel upon the album's release. The band is nominated for 4 Juno Awards in 2012, and scheduled to perform at the ceremony. Nickelback announced their Here and Now Tour on January 11, 2012, they are going to tour with Seether, Bush and My Darkest Days. The band released a music video for their fourth single off of the album Lullaby. The band officially announced the compilation album The Best of Nickelback Volume 1 through social media on October 3, 2013. Frontman Chad Kroeger had previously stated in an interview that the greatest hits album was to feature songs from previous albums along with new songs but the unveiled track listing ultimately contained only previously released material. No Fixed Address and Feed the Machine (2014–2018) According to an interview with Chad Kroeger on CFOX-FM, the band planned to release their eighth studio album before the end of 2014. The lead rock single was also announced, "Edge of a Revolution", was released in August 2014. The track was described as a 'departure' for Nickelback and a political song. Frequent collaborator Chris Lord-Alge returned to mix some of the tracks on the album. It was also announced the band had signed to Republic Records. The lead single from the album is titled "Edge of a Revolution", and was scheduled to be sent for adds on Rock radio and be released to iTunes on August 18. The lead pop single, and second overall, was announced to be "What Are You Waiting For?", and was released in September. "What Are You Waiting For?" was released as a single on digital retailers on September 9, 2014. On August 22, 2014, Nickelback announced the album's title to be No Fixed Address, and released it on November 17, 2014. No Fixed Address Tour was their fifth headlining concert tour, in support of No Fixed Address. The tour was announced on November 5, 2014, as well as The Pretty Reckless, Pop Evil, and Lifehouse as the support act for the majority of the shows in North American while Monster Truck was support act in Australia and Europe (2016). The second North American leg of the tour had to be canceled when lead vocalist Chad Kroeger required surgery for a cyst on his voice box. The entire leg of the European tour was postponed until Autumn 2016. On August 19, 2016, Nickelback released a cover of Don Henley's song "Dirty Laundry" to streaming services. On January 23, 2017, a new single, "Feed the Machine" was announced to be released on February 1, alongside specific details of a 2017 tour. On January 25, Nickelback signed with BMG Rights Management to release their ninth album, also titled Feed the Machine. The album was released on June 16, 2017. The band released their second single from the album, "Song on Fire", on April 28, 2017. Shortly after the release of the album, the band began a 44-city tour on June 23, 2017 in North America, co-headlined with Daughtry, Shaman's Harvest and Cheap Trick as supporting acts. Upcoming tenth studio album (2019–present) In early 2019, band members spoke of recording a tenth studio album, though Chad Kroeger conceded there was no timetable or rush for the band to complete it. Mike Kroeger spoke of his personal desire to move in more of a heavy metal direction, or wanting to do an album of Slayer cover songs. On August 14, 2020, the band released a cover of The Charlie Daniels Band song "The Devil Went Down to Georgia", featuring Dave Martone. Musical style and influences Nickelback has been described as various genres, including post-grunge, hard rock, pop rock, alternative rock, heavy metal, alternative metal, and nu metal. Their earlier sound has been classified as grunge. Nickelback have cited bands and musicians such as Creedence Clearwater Revival, Bob Marley, Metallica, Nirvana, Red Hot Chili Peppers, and U2 as influential or inspirational. Reception Review aggregator Metacritic reports that five of Nickelback's six most recent studio albums since becoming a mainstream act—The Long Road, All the Right Reasons, Dark Horse, Here and Now, and No Fixed Address—have scores of 62, 41, 49, 51, and 54, respectively, out of 100, indicating generally mixed reviews. AllMusic reviewer Liana Jones gave their first commercially successful album, Silver Side Up, 3 stars out of 5, and complimented their "intensity and raw passion" and realistic storytelling. Despite their commercial success, Nickelback has been the subject of numerous jokes and a vocal negative response for some audiences, some of which is attributed to the perceived derivative, repetitive and formulaic nature of their music, as well as their over-use of hedonistic themes involving strippers, sex, prostitutes, drugs, and alcohol consumption. However, in a review for the band's latest album Feed the Machine, AllMusic reviewer Stephen Thomas Erlewine noted that they had mostly done away with the crude and vulgar lyrical content they'd become known for, and praised the band for evolving their sound. In the 2010s, Nickelback became the subject of internet memes that were critical of their music, a status that the band came to embrace. In May 2013, the readers of Rolling Stone magazine named Nickelback the second-worst band of the 1990s, behind only Creed. In November 2011, users of the music-oriented dating site Tastebuds.fm voted Nickelback as the number one "musical turnoff." In March 2019, U.S. representatives Mark Pocan and Rodney Davis got into a friendly debate of the merits of the band while speaking on the floor of the House of Representatives. In an interview in 2014, Kroeger commented that the criticism helped him "grow a thick skin," and that without it, they would be "this just whatever band." Following their 2008 album, Dark Horse, ChartAttack credited the band's success to knowing their target audience: "Chad Kroeger is a genius because he knows exactly what people want and precisely how far he can go. He turned out an extremely racy album that's loaded with songs about gettin' drunk and doin' it all without breaking any taboos, and with enough love and moral authority to grease its passage into the mainstream. Rejoice, North America. This is your world." Billboard gave praise to the band: "The bulletproof Nickelback provides affordable fun that promises good returns in hard times." Various fellow musicians like Chris Martin of Coldplay as well as R&B singers Timbaland and Keyshia Cole support the band. Band membersCurrent members Chad Kroeger – lead vocals, lead guitar (1995–present); rhythm guitar (2008–present) Ryan Peake – rhythm guitar, backing vocals (1995–present); keyboards (2002–present); lead guitar (2008–present) Mike Kroeger – bass (1995–present) Daniel Adair – drums, percussion, backing vocals (2005–present)Former members''' Brandon Kroeger – drums (1995–1997) Mitch Guindon – drums (1997–1998) Ryan Vikedal – drums, percussion (1998–2005) Timeline Discography Studio albumsCurb (1996)The State (1998)Silver Side Up (2001)The Long Road (2003)All the Right Reasons (2005)Dark Horse (2008)Here and Now (2011)No Fixed Address (2014)Feed the Machine'' (2017) Awards 2003 – Won SOCAN International Achievement Award for the song "How You Remind Me" 2004 – Won SOCAN International Achievement Award 2005 – Won SOCAN International Achievement Award 2007 – Won SOCAN International Achievement Award 2008 – Won SOCAN International Achievement Award References External links Atlantic Records artists 1995 establishments in Alberta Canadian alternative metal musical groups Canadian hard rock musical groups Canadian heavy metal musical groups Canadian pop rock music groups Canadian post-grunge groups Juno Award for Single of the Year winners Musical groups established in 1995 Musical groups from Alberta Musical quartets Republic Records artists Roadrunner Records artists Juno Award for Album of the Year winners Juno Award for Breakthrough Group of the Year winners Juno Award for Rock Album of the Year winners Juno Award for Group of the Year winners Juno Fan Choice Award winners Musical families	true	[ "ABBA 18 Hits was released by Polar Music International on 8 September 2005, and is a compilation of hits by ABBA.\n\nThe 18 Hits set was released as a mid-price alternative to the best-selling full-price collection ABBA Gold: Greatest Hits and features 14 of the group's biggest hits and concludes with four non-English versions; \"Honey Honey\" (Swedish version), \"Waterloo\" (French version), \"Ring Ring\" (German version) and the Spanish version of \"Gimme! Gimme! Gimme! (A Man After Midnight)\", entitled \"Dame! Dame! Dame!\". Among the more notable omissions on the 18 Hits collection are one of the band's biggest hits, \"Dancing Queen\", as well as \"Chiquitita\", \"Take a Chance on Me\" and \"I Have a Dream\".\n\nThe Swedish edition of 18 Hits, also released in 2005, featured four Swedish language recordings instead of the four non-English versions; \"Waterloo\", \"Honey Honey\", \"Ring Ring (Bara Du Slog En Signal)\" and \"Åh Vilka Tider\". This is the first ABBA CD to include \"Åh Vilka Tider\", which had originally been released as the B-side to the Swedish version of \"Ring Ring\". It would also appear worldwide on The Complete Studio Recordings. A budget-priced DVD entitled 16 Hits was released simultaneously.\n\nWhile numerous other similar hits compilations with the group have been released both before and since, 18 Hits has proved to be one of Universal Music's bestselling ABBA products, peaking in the Top 10 in Poland and the Top 20 in the UK, Spain and Hungary and re-entering the charts in many territories after the premiere of movie Mamma Mia! in the summer of 2008. It never included any songs from The Visitors or any other songs released from 1981 to 1982.\n\nThis compilation is not available digitally, as many tracks, featured in this compilation, are part of other ABBA compilations available in digital distribution. It is, eventually, still repressed on CD for many regions of the world.\n\nTrack listing\n\nPersonnel\n\nAgnetha Fältskog - lead vocals , co-lead vocals , backing vocals\nAnni-Frid Lyngstad - lead vocals , co-lead vocals , backing vocals\nBjörn Ulvaeus - acoustic guitar, backing vocals\n Benny Andersson – synthesizer, keyboards, backing vocals\n\nCharts\n\nWeekly charts\n\nYear-end charts\n\nCertifications\n\nReferences\n\nABBA compilation albums\n2005 greatest hits albums\nAlbums recorded at Polar Studios\nAlbums produced by Björn Ulvaeus\nAlbums produced by Benny Andersson", "Hits - also commonly known as The Hits Album - is a long-running compilation album series containing contemporary chart music. It originally ran in the United Kingdom and parts of Europe for over twenty years from 1984 until 2006. It was compiled as a joint venture, variously between the compilation arms of the Sony Music, RCA/BMG, and Warner Music groups to rival the Now That's What I Call Music series that had launched a year earlier in 1983, compiled by rival companies EMI and Virgin. Initially, the Hits brand was arguably as popular as its main rival and all of the first eight volumes achieved at least a platinum BPI award, with several of the very early albums going multi-platinum.\n\nDuring 1989, five years into the Hits series' run, a drop in sales resulted in several re-brands meaning that for a period of time, the series lost momentum with the release pattern and the numbering of each volume.\n\nThe series was briefly retired, and in 1992, there were not any Hits compilations released. The following year, BMG partnered with compilation specialist company Telstar Records for a brief run of five volumes of the Hits 93 and Hits 94 single-CD/MC/LP compilations.\n\nIn December 1995, BMG and Warner Music partnered for a new series of Hits albums, and Hits 96 was the first compilation containing the relaunched brand. This proved very successful, and once again the Hits series started to rival the success of the contemporaneous Now releases of the time. Unlike the earlier Hits output of two issues a year, there was a notable increase of up to five compilations, and instead of a volume or issue number, they all have varied titles: Hits, New Hits, Fresh Hits, Big Hits and Huge Hits – this title is then always followed by the year of release; for example, Fresh Hits 1997.\n\nIn December 2000, Hits 2001 was released, and this indicated that in 2001, there would be a continuation of the standard release pattern of New, Fresh, Big, and Huge Hits. However, the compilers decided to rename Hits to \"Music: The Definitive Hits Collection\", and the new series was billed to contain a much broader range of chart hits designed to appeal to buyers of the hugely successful and long-running Now That's What I Call Music series.\n\nFinally, after two volumes of Music in 2001, the end of the year saw \"Hits 50\" released, and this was a return to the original numbering format the Hits series had long abandoned in 1989. This lasted for eleven volumes and continued to Hits 60 in 2004, after which, there was a return to having random Hits titles and sporadic release dates again. By 2006, almost twenty two years after the first Hits Album was released, the tired brand could not compete with the evergreen Now series. Seen as no longer profitable or relevant, the last Hits album was called Summer Hits 2006 and this left the Now That's What I Call Music series as the only hits compilation brand still going strong on the UK Compilation Album chart as of .\n\nThe Hits Album was also a well received compilation series in the rest of Europe, and there are several European variants.\n\nHits 1 to The Hits Album\n\nOriginal series 1984–1991\n\nThe original series of The Hits Album began in November 1984 and fourteen volumes of Hits Album were released between November 1984 and June 1991. The early albums contained 32 tracks, as opposed to 30 usually found on the Now compilations and reached either number 1 or number 2 on the UK Top 100 Album Chart. All of the albums from this period achieved at least a platinum BPI award, with the exception of the ninth volume.\n\nWhen the Hits Album series began, it was a joint venture by CBS and WEA; RCA Ariola (later BMG) joined the partnership in 1986, and it would be a combination of these three companies, and later, Telstar TV, that would release The Hits Album for the rest of its long run. The LP and CD (from 1986) variations were called \"The Hits Album (Volume number)\" whilst the cassette tapes were often called \"The Hits Tape (volume number)\"\n\nJust like the Now series, The Hits Album collections brought together all the big hits from the partnering record companies and was seen as the music collectors companion to the equally popular Now releases. The Hits Album often featured songs by artists such as Madonna, Prince, Bruce Springsteen, Michael Jackson, Fleetwood Mac, Cher, Whitney Houston and other big international acts that did not generally appear on the rival Now compilations, as well exclusives from hugely popular UK artists of the time, such as Wham! and George Michael, Paul Young and Alison Moyet. It is probably for this reason the albums were equally popular throughout the 1980s. The first Hits Album managed to keep the rival Now album (Now 4) from the number 1 position in December 1984 (the only Now album never to reach number 1) and it spent a total of 7 weeks at the top of the UK Top 100 Album chart.\n\nIn 1986, Hits 5 was the first album of the series to be released on a single CD, with The Hits Album 7 being the first to be released as a double-CD the following year. A video compilation was often released at the same time as the albums, but not always. Like the Now compilations, the artwork for The Hits Album was equally eye catching and glossy, often including three dimensional numbers and shapes. The whole Hits package included background information about the artists and tracks, often including chart positions and an album credit. This appeared in the inner gatefold of the standard album, and in a small booklet with the cassette and CD, although a few of the later editions did not include this feature.\n\nThe Hits Album plus an issue number was released through to June 1989 and stopped at The Hits Album 10, although the ninth volume had previously been released in December 1988 as simply The Hits Album. Subsequent releases through to 1991 were released without an issue number and this successive refreshing of the Hits brand could be seen as minor relaunches of the series, each time in the face of the continuing success and strength of the rival Now brand.\n\nFrom November 1989, the albums in the Hits series started using alternative titles such as Monster Hits and The Hit Pack. They are however considered an extension of the original series as these albums were all issued by BMG, CBS and WEA. and also contained the word Hit somewhere in the title. From November 1989 to July 1991, The Hits Albums were released with these titles:\n Monster Hits \n(CBS/BMG/WEA. CDHITS 11. November 1989)\n Snap It Up! Monster Hits 2 \n(CBS/BMG/WEA. CDHITS 12. August 1990)\n\nBoth Monster Hits and Snap it Up! Monster Hits 2 featured a cartoon gimmick, \"The Hits Monster\", in the artwork and advertising campaign, in a similar way a cartoon pig was used during earlier Now That's What I Call Music releases.\n\n The Hit Pack \n(CBS/BMG/WEA. COMP CD1. December 1990)\n\nWhen the Monster Hits theme ended after only two volumes, The Hit Pack was released with much more restrained artwork and advertising. It is unique because it was not released on LP and only issued on cassette with 24 tracks, and as a 21 track single-CD.\n\n The Hits Album \n(Sony Music/BMG/Cookie Jar TV. HITS CD 15. June 1991)\n\nThe series went full circle and became simply The Hits Album again, although this release was listed as The Hits Album 15 in some chart statistic publications due to the catalogue number 'HITSCD15'; however, the volume suffix '15' is not included after The Hits Album anywhere on this albums actual artwork. This album was also a joint venture with Cookie Jar Records, a division of Polygram Records specialising in TV marketed compilations.\n\nAlthough The Hits Album in 1991 was a success, the partners behind the series decided to retire the Hits brand in 1991. There was not a version of The Hits Album 14 issued by BMG, CBS or WEA in any title variation or format and technically, what is listed as The Hits Album 15 is actually the fourteenth volume of the series.\n\nHits 93 and Hits 94\n\nTelstar series 1993 to 1994\n\nWith the Hits brand retired, Telstar Records launched the Hits '93 compilation series in association with its parent distribution company BMG, who originally joined the Hits series with WEA and CBS in 1986. Unlike the albums put out by the respective Sony BMG and Warner labels of the era, Hits '93 was formatted as a single-CD, MC and LP, and included a larger percentage of dance acts compared to the original Hits releases. Even though these albums could be seen as an extension of other Telstar Hit themed compilations (such as 100% Hits) these albums are categorized under the Hits brand in the Complete Book Of British Charts, which is probably due to BMG's former and Telstar's subsequent involvement in the series. The Hits '93 series ran for four volumes during 1993, and one volume of Hits '94 with the concept eventually being replaced by the resurrection of Telstar and BMG's short-lived single-CD version of The Hits Album later in the year, which also lasted one volume.\n\nWhen the Hits series developed a new era starting from 1995 through to 2001 (see below), BMG and Telstar went on to release Pure Hits 97 in 1997 which is (spiritually) a sequel to the Hits '93 and Hits '94 series due to its very similar cover artwork.\n\nHits 96 Relaunch\n\nSecond series 1995 to 2000\n\nIn the summer of 1995, an album called Hitz Blitz was released by Global Television, and encouraged by its success, decided to relaunch The Hits Album as simply \"Hits\", and the first in the new series was released in December 1995 (with the BMG compilations arm trading as Global Television, and WSM being similarly labeled as warner.esp.tv). The relaunched series did not resume the original numbering system used until 1989; this was replaced in favour of different titles, for example, New Hits or Fresh Hits, and the year following the word 'Hits'. This was the most successful branding of the Hits series since the earlier volumes, and both Sony Music TV and compilation specialist company Telstar Records joined forces with BMG and Warner Music early in the series run. Originally, the albums were divided into four distinct parts: Part One contained the biggest hits; Part Two had all the big dance hits; Part Three featured indie and rock tracks and Part Four would generally hoover up any left over hits the compilers had access to. This theme ended in 1997.\n\nUnlike the earlier Hits albums (and all of the Now main series), the inlay booklets contained no pictures or trivia relating to the track; the only exception is New Hits 2000, which is uniquely the only compilation in this Hits era to include this feature, however, the cover artwork and design is very similar to the Now albums of the period. In 2000, there were two volumes of Fresh Hits and both featured a new cover design, but this rebrand was short-lived, and the series reverted to the established artwork and design for the final two volumes of this period; Huge Hits 2000 and Hits 2001.\n\nNotably, New Hits 96 holds the distinction for the most consecutive weeks at number 1 in the UK Top 20 Compilation Chart since its launch on 14 January 1989. It spent 9 weeks at number 1 from 18 May 1996 to 13 July 1996. It shares this record with Now 29 which similarly held the position for 9 weeks.\n\nThere is not a compilation entitled Hits 98. This is due to the compilers adding the Big Hits name to the series in December 1997. The next Big Hits was issued in September 1998, therefore, a Hits 99 followed in December, as per the release pattern established in 1995.\n\nTitles in this Hits series\n\nThe earlier volumes of The Hits Album were generally released twice a year but this Hits series saw a noticeable increase to four, and then five, compilations a year:\n\n Hits\nThis was the first in the relaunched series by Global Television and Warner Bros, then trading as WMTV, and was released in December 1995. Simply 'Hits' and the following year would then be released in December, beginning that year's series of collections.\n New Hits\nCompilations with this title were always released in March/April; the first album was New Hits 96.\n Fresh Hits\nSony Music TV rejoined the Hits venture when this album was released in 1996; Fresh Hits were always released in July.\n Big Hits\nAdditional title, added to the series in December 1997, with the next released in September 1998.\n Huge Hits\nYear-end Hits collections were always preceded with Huge and were always released in early November.\n\nHits: The Modern Years\n\n2001 to 2006\n\nIn March 2001, and following the traditional Hits 2001 release, another relaunch occurred, and this was reported in Music Week to be an attempt to appeal to the broader range of Now That's What I Call Music buyers. Sony BMG, Warner Strategic Marketing, and now with Telstar TV on board, rebranded the well-established Hits series to \"Music\", which was considered a more classy name and image. \"Music: The Definitive Hits Collection\" was launched in March, and \"Music: Today's Definitive Hits Collection Volume 2\" was released four months later, with both volumes issued in a glossy cardboard slipcase with slick minimalistic artwork based around the letter \"M\" (stylised as \"M\"usic) - but, much like the attempted Fresh Hits spin-off the year before, this new concept also failed to catch-on, and neither compilation managed to reach the Top 3 - so the Hits series went full-circle again, and returned to the volume numbering format it originally abandoned in 1989: Hits was rebranded, relaunched, and somewhat retconned, to Hits 50 in late September 2001, and Hits 51 swiftly followed in December.\n\nThis relaunch saw heavy promotional emphasis on the fact that both Hits 50 and Hits 51 included 50 tracks, with 25 tracks on each disc. However, each song's running time was reduced to fit 25 tracks on a single disc (usually by an early fade-out), therefore, the new format was not a success, and sales for Hits 51 were much lower than Hits 50, and charted only at #10 – possibly because buyers were aware of the 50 track edited format. This practice was stopped and Hits 52 featured 40 tracks which were not edited. Hits 52 also started another short tradition; a music video as a bonus feature on CD2 when it is entered into a computer. The final volume to feature a music video was Hits 54.\n\nBy 2004, Hits 60 was released and this had three discs with sixty tracks, instead of two discs, once again trying a new concept to compete with the double-CD Now compilations. After this, the Hits series began to run out of steam: the numbering system was once again discontinued, with what would have been Hits 61 being issued as Red Hot Hits. Only a few remaining 'Hits' albums have been released since then with Essential Hits released in late 2005, followed by Summer Hits 2006, which became the final Hits album, and there have not been any more releases since.\n\n2014 to present (2020)\n\nIn 2014, Warner Music released the download compilation Top Hits, which could be considered a revival of the series.\n\nIn April 2019, Sony Music released three budget compilations under The Hits Album name in partnership with Universal Music under their UMC (Universal Music Catalogue) label. A further three compilations were released in August 2019, followed by another three in November 2019 and January 2020, and another two in July 2020 and October 2020, and further albums in December 2020, February 2021, March 2021, July 2021, December 2021 and January 2022. These compilations are unlike the original Hits Album collections. They are 3 or 4-disc, genre or era defined retrospectives (70s, 80s, 90s, chill-out, soft rock, etc.), and do not include any contemporary hits.\n\nChristmas Hits\nHits albums themed to Christmas music had begun in 2001. The releases all had the same name, but with different subtitles, and were:\nChristmas Hits (50 Festive Favourites) (2001): An album that had 50 tracks over 2 discs (being one in four Hits albums to do so). Re-released in 2002 and 2003. Once again, as with the regular Hits series, some tracks had to be edited for the ability to use 25 tracks. \nChristmas Hits (60 Festive Favourites) (2004): Contains 60 tracks over 3 discs. Re-released in 2005, 2006 and 2007.\nChristmas Hits (80 Festive Favourites) (2008): Contains 80 tracks over 4 discs, with the fourth disc being an exclusive studio album containing new recordings of carols. The digital version is titled Christmas Hits (Digital Edition). Re-released in 2009.\n\nThe Now series' album Now That's What I Call Xmas was released in 2005 to rival the 2005 re-release of Christmas Hits (60 Festive Favourites) and both albums continued to be re-released annually to rival each other with varying success until Christmas Hits was revamped with a new track list and artwork in 2008. Now...Xmas later followed suit by doing the same.\n\nComplete chronology \n\n The first Hits compilation to be released on Compact Disc: like The Hits Album 6 the following year, it was a single CD with a selection of tracks taken from the standard LP/MC versions.\n The first Hits Album to be released on double CD. Henceforth all subsequent Hits CD releases would be identical to their LP/MC counterparts, where applicable.\n These compilations are titled only as The Hits Album and do not include volume number artwork. Their catalogue numbers do, however, allude to their numerical position in the \"Hits\" series canon.\n As Global TV/Sony Music/Warner were owners of the Hits series at the time of its release, Telstar's Pure Hits 97 is arguably not a part of the main Hits series, but rather a continuation, and conclusion, of the Hits albums released in 1993/94 by BMG and Telstar. This is substantiated by the similarities in artwork between those particular releases. The aforementioned 1993/94 releases are, however, considered to be part of the main Hits series.\n Had the chronological numbering system of Hits releases been strictly followed, then this compilation should have been titled 'Hits 48'. If the fourteenth release is considered to be 'Hits 15' then Hits 50 should have been titled 'Hits 49'. If Pure Hits 97 is also taken as being part of the main series then Hits 50 is correctly titled. Hits 50 would also be correctly titled if Telstar's The Hits Album 1997 was added into the main series alongside their Pure Hits 97 album, but only if 'Hits 15' is considered to be 'Hits 14'. To further complicate matters Huge Hits 2003 and Huge Hits 2004 are not included in the numbering system, whereas the earlier Huge Hits titles are. It should also be noted that the title \"Hits 50\" may have been given to this particular release with little regard to any strict numbering system, but rather as an attempt to more closely compete with the Now That's What I Call Music! series which would see the release of Now 50 three months later.\n Some of the songs found on Hits 58 and Hits 59 made their way onto Hits 60: e.g. \"Life for Rent\" by Dido, \"Left Outside Alone\" by Anastacia, \"Love is Only a Feeling\" by The Darkness, \"Hold Onto Our Love\" by James Fox and \"If I Thought You'd Ever Change Your Mind\" by Agnetha Faltskog.\n These were 'year-end' collections, combining the biggest hits of previous volumes with a few new additions. There was not an edition of Huge Hits 2001 nor Huge Hits 2002, although Huge Hits 2000 was released in 2000, Huge Hits 2003 was released in 2002, and Huge Hits 2004 was released in 2003, thus making 2001 the only year without a Huge Hits release between the 1996 and 2004 volumes.\n The first Hits album to be released as a digital download.\n\nReferences\nInline:\n\nGeneral:\n\nCompilation album series\n \nMass media franchises introduced in 1984" ]
[ "Shoaib Akhtar", "International career" ]	C_35cb609390134c1f9075c3c8f4df3cde_1	how did his career start?	1	how did Shoaib Akhtar's career start?	Shoaib Akhtar	Considering his subsequent high profile in cricket, Akhtar's test career started rather modestly. He was first picked to play on his home ground in Rawalpindi during the 2nd Test of the West Indies 1997/98 tour of Pakistan. He was subsequently included in the tour of South Africa during the winter of 1998, where he played in all three tests. He was notably the spearhead of a depleted Pakistani bowling attack in the Peshawar Test against the visiting Australians later in 1998, when Mark Taylor scored his famous 334 n.o. in Australia's first innings. Subsequently, after 8 tests and 16 innings, Akhtar had accumulated only 18 wickets to his name. Akhtar's run of impressive performances started in 1999, during a pre-World Cup series against India. It was followed by outstanding bowling performances in Sharjah and later in the 1999 Cricket World Cup. His most significant performance was in India in 1999 when he captured eight wickets in the Asian Test championship match at Calcutta - including the wickets of Indian batsmen Rahul Dravid and Sachin Tendulkar when he bowled both batsmen off successive deliveries. It was the first ball he ever bowled to Tendulkar. In 2002, he was selected for the Pakistan team against Australia and achieved success. However he performed poorly during the 2003 Cricket World Cup and after the tournament he was dropped from the Pakistan squad. He was selected back into the Pakistan squad in the 2004 Test match series against New Zealand, but struggled in a losing Test series against India in 2004. The series ended with a controversy when he left the field citing an injury leading to suspicions by former Pakistan captain, Inzamam-ul-Haq, about his commitment to the team. As a result, his relationship with Inzamam-ul-Haq and former Pakistan coach Bob Woolmer deteriorated. A medical panel was set up by the Pakistan Cricket Board to investigate the nature of his injury, however Pakistan officials dispelled all suspicions. In 2005, Akhtar regained his reputation as a fast bowler for his side. Playing in a three Test home series against England, he made a series of impressive bowling performances. His effective use of slower deliveries proved to be unplayable by the English batsmen. Akhtar emerged as the highest wicket taker of the series with seventeen wickets. His comeback was also remarkable as prior to his return, he had been criticised from all corners; such as by the Worcestershire chairman John Elliot for his celebrity attitude and lack of commitment to the team. His performance was also acknowledged by the English captain Michael Vaughan, who remarked "I thought he (Shoaib) was a big difference between the two teams". He is also known as one of only three bowlers to have ever broken the 100 mph barrier in cricket history, with a delivery of 100.2 mph, during a one-day international against England in World cup 2003 CANNOTANSWER	Akhtar's test career started rather modestly. He was first picked to play on his home ground in Rawalpindi during the 2nd Test	Shoaib Akhtar (; born 13 August 1975) is a Pakistani former cricketer and commentator. Nicknamed the "Rawalpindi Express", he was the first bowler to be recorded bowling at 100 miles per hour, a feat he achieved twice in his career. Akhtar made his Test match debut in November 1997 as an opening fast bowler and played his first One Day International three months later. He has been involved in several controversies during his career, often accused of unsportsmanlike conduct. Akhtar was sent home during a Test match series in Australia in 2005 for alleged poor attitude and a year later received a ban after testing positive for the performance-enhancing substance nandrolone. However, the ban imposed on him was lifted on appeal. In 2008, Akhtar was banned for five years for publicly criticising the Pakistan Cricket Board, although in October 2008, the Lahore High Court suspended the ban and Akhtar was selected in the 15-man squad for the Twenty20 Quadrangular Tournament in Canada. Akhtar retired from international cricket after the 2011 World Cup. Personal life Akhtar was born in the small town of Morgah in Rawalpindi, Punjab, Pakistan. His father, Mohammad Akhtar, whom Shoaib describes as very religious and “from a hardworking, economically unprivileged family of the Gujjar community”, worked as a night watchman at a petrol station belonging to the Attock oil refinery, and married his mother, Hameeda Awan, when she was still a teenager, and they had five children: four sons, Shoaib being the fourth, followed by a daughter. Shoaib's name, which in Arabic means both “the one who brings people together” and “the one who separates”, was chosen by his mother. He married Rubab Khan on 11 November 2014. Beginnings A good student, Akhtar was admitted to the Asghar Mall College, but disrupted his studies to attend trials for the PIA team's Karachi division to be held in Lahore. Lacking the money for a bus ticket, he waited for the bus to start and got onto the roof. After some struggle, starting his List A career during the 1993/1994 season and his first-class career during the 1994/1995 one, he caught the eye of Majid Khan, then the chief executive of the PCB, and after a good performance for the Pakistan A team's tour of England, in 1996, he was rewarded his maiden Test cap against the West Indies, in 1997. International career Considering his subsequent high profile in cricket, Akhtar's test career started rather modestly. He was first picked to play on his home ground in Rawalpindi during the 2nd Test of the West Indies 1997/98 tour of Pakistan. He was subsequently included in the tour of South Africa during the winter of 1998, where he played in all three Tests. He was notably the spearhead of a depleted Pakistani bowling attack in the Peshawar Test against the visiting Australians later in 1998, where Mark Taylor scored his famous unbeaten 334 in Australia's first innings. Subsequently, after 8 tests and 16 innings, Akhtar had accumulated only 18 wickets. Akhtar's run of impressive performances started in 1999, during a pre-World Cup series against India. It was followed by outstanding bowling performances in Sharjah and later in the 1999 Cricket World Cup. His most significant performance was in India in 1999 when he captured eight wickets in the Asian Test championship match at Calcutta – including the wickets of Indian batsmen Rahul Dravid and Sachin Tendulkar when he bowled both batsmen off successive deliveries. It was the first ball he ever bowled to Tendulkar. In 2002, he was selected for the Pakistan team against Australia and achieved a small amount of success. However the team performed poorly during the 2003 Cricket World Cup and after the tournament he was dropped from the Pakistan squad. He was selected back into the Pakistan squad as they had no choice in the 2003 Test match series against New Zealand, but struggled in a losing Test series against India in 2004. The series ended with a controversy when he left the field citing an injury leading to suspicions by former Pakistan captain, Inzamam-ul-Haq, about his commitment to the team. As a result, his relationship with Inzamam-ul-Haq and former Pakistan coach Bob Woolmer deteriorated. A medical panel was set up by the Pakistan Cricket Board to investigate the nature of his injury, however Pakistan officials dispelled all suspicions. In 2005, Akhtar regained his reputation as a fast bowler for his side. Playing in a three Test home series against England, he made a series of impressive bowling performances. His effective use of slower deliveries proved to be unplayable by the English batsmen. Akhtar emerged as the highest wicket taker of the series with seventeen wickets. His comeback was also remarkable as prior to his return, he had been criticised from all corners; such as by the Worcestershire chairman John Elliot for his celebrity attitude and lack of commitment to the team. His performance was also acknowledged by the English captain Michael Vaughan, who remarked "I thought he (Shoaib) was a big difference between the two teams". Throughout his career, he was regarded as one of the fastest bowlers in the history of international cricket. He achieved the record of the fastest bowl at 161 kph after the introduction of speed measuring devices at the international cricket in 1998. He is also known as one of only three bowlers to have ever broken the 100 mph barrier in cricket history, with a delivery of 100.2 mph, during a one-day international against England in World cup 2003. Struggle for form and consistent injuries (2007–2009) On 29 October 2007, Akhtar made his return to cricket from his 13 match ban and performed very well, he took 4 wickets for 43 runs against South Africa in the fifth and deciding One Day International series in Lahore in Pakistan. Subsequently, he was included in the 16-man Pakistan squad for the 2007 tour of India. Rehabilitation and final years (2010–2011) Akhtar made a return to international cricket albeit in the shorter format of the game. In May 2010, PCB named him in a list of 35 probables for the Asia Cup. On 15 June 2010, Akhtar made his return, taking 3 wickets for 28 runs in the first match of the Asia Cup against Sri Lanka. He narrowly missed out a spot in the 2010 ICC World Twenty20 in place of the injured Umar Gul. In July 2010, he was selected for the Twenty20 series against Australia but the selectors decided not to play him in the Test squad so that he would not get injured. He was subsequently selected for the ODI and Twenty20 series against England in September 2010. Akhtar returned to the national side representing the country against England in the Twenty20 International. He bowled an impressive spell and returned with figures of 2 wickets for 23 runs. He continued to bowl well in the ODI series in the absence of regular fast-bowlers, Mohammad Asif and Mohammad Amir, who were suspended by the International Cricket Council amid allegations of Spot-fixing. Despite his relatively good bowling form, Pakistani coach Waqar Younis insisted that the bowling attack must not become reliant on Akhtar, as he is 35 years of age and fitness troubles continue to affect him. Akhtar was selected for the tour of New Zealand and started his campaign off well with 3 wickets on Boxing Day in the first of two Twenty20 Internationals against New Zealand. Akhtar was selected in Pakistan's 15-man squad to play in the 2011 World Cup hosted by Bangladesh, India, and Sri Lanka in February to March. During the tournament, he announced that he would retire from international cricket at the end of the World Cup. He was dropped from the squad after group matches and was not included in the quarter final either. Domestic career England county cricket Akhtar has played for three English county cricket clubs: Somerset in 2001, Durham in 2003 and 2004 and Worcestershire in 2005. He did achieve his moments of success, such as taking 5 wickets for 35 runs for Durham against Somerset in the National League in 2003 and claiming 6 wickets for 16 runs in the same competition for Worcestershire against Gloucestershire two years later, but he suffered from fitness problems, as well as a perception that he was less than interested in his task. This was particularly the case at Worcestershire: chairman John Elliott said "Players like that are no good to our club. In fact, Akhtar has been no good for any club he's been at. He's a superstar and just does what he wants." Indian Premier League Akhtar made a successful return to cricket in his first game in the Indian Premier League, playing for the Kolkata Knight Riders against the Delhi Daredevils. Defending a low score of 133 runs, Akhtar took four top order wickets which ultimately led to the Daredevils being restricted to 110 runs. He ended with figures of 4 wickets for 11 runs from three overs, a performance which earned him the player of the match award. Akhtar denied that he had any point to prove with his performance, stating, "I just wanted to win the game." Knight Riders' captain Sourav Ganguly also acknowledged Akhtar's performance, "He came to the country with lots [of things] happening behind him...But he showed a lot of character." Cricket controversies and injuries Akhtar's career has been plagued with injuries, controversies and accusations of poor attitude. After Pakistan's poor performance in the 2003 Cricket World Cup, he got involved in a verbal conflict with former Pakistan captain and fast bowler Waqar Younis. Later on Akhtar was sacked along with other players, including Younis. In a triangular series in 2003 held in Sri Lanka, he was caught ball tampering making him the second player in cricket to be banned on ball tampering charges. The same year he was banned for one Test match and two One Day International matches for abusing South African spin bowler Paul Adams, during a match against South Africa. In the 2004 home series with India, he struggled with wrist and back injuries, which raised questions about his commitment to the team. He was sent back from the 2005 Australia tour with a hamstring injury amid rumours of indiscipline, lack of commitment and attitudinal complaints. He was subsequently fined by the Pakistan Cricket Board for avoiding a late night curfew. The rest of his cricketing career was riddled with ankle and knee injuries which forced him to undergo a surgery in February 2006, until finally he was banned for two years for allegedly using performance-enhancing drugs. Drug scandal On 16 October 2006 Akhtar was suspended by the Pakistan Cricket Board, along with Mohammed Asif after they tested positive for a performance-enhancing substance nandrolone. They were consequently pulled out from the 2006 ICC Champions Trophy. Former Pakistan Cricket Board chairman later stated that he had always suspected Akhtar of substance abuse due to his consistent "reservations" to drug tests. Former Pakistan captain Inzamam ul-Haq had also previously complained about Akhtar's drug abuse but was not reported to the Pakistan Cricket Board. Akhtar immediately declared his innocence and he declined knowingly taking any performance-enhancing drugs. In a statement issued to the press, he claimed that he could never cheat teammates or opponents. During a hearing with the Pakistan Cricket Board Anti-Doping Committee, he along with Asif maintained taking non-steroidal dietary supplements. He, however, failed to convince the committee of his innocence. In its report submitted to the Pakistan Cricket Board, the Anti-Doping Committee recommended a two-year ban. On 1 November 2006 the Pakistan Cricket Board handed down a two-year suspension to Akhtar and a one-year suspension to Asif, banning them from professional cricket during the period. Shoaib had subsequently been added to Pakistan Olympic Association list of doping offenders. However, on 5 December 2006 represented by his lawyer Abid Hassan Minto, Akhtar was cleared on appeal. On 5 December 2006 Akhtar and Asif were acquitted by the tribunal appointed to review their appeals. After a clear hearing from Akhtar's lawyer Abid Hassan Minto, the three-man committee, voted two to one in favour of the acquittal. Justice Fakhruddin Ebrahim, committee head, and Haseeb Ahsan, former Test cricketer, were in favour of the acquittal. The third member, Danish Zaheer, differed. "Exceptional circumstances" were cited including discrepancies between the instantaneous offence charges of doping that were laid and the quick delivery of a very harsh verdict. The complete drug testing procedure was concluded to have been technically flawed as it did not follow standard procedures. Other established facts by the committee included that the duo were not aware of the banned drug to be present in their supplements because the Pakistan Cricket Board itself had not informed them of the dangers of contaminated supplements. Akhtar and Asif, however, did not play in the subsequent Test match series against the West Indies because the Pakistan Cricket Board had recommended that they play domestic games first to recover form and fitness. On 1 March 2007 Akhtar and Asif were ruled out of the Pakistani squad for the 2007 Cricket World Cup by team officials, minutes before the squad was to depart for the West Indies. The team management along with the Pakistan Cricket Board said their injuries were too severe to risk taking them to the Caribbean. Since neither of the two had been declared fit they did not undergo official doping tests. World Anti-Doping Agency ( WADA) challenged Pakistan's decision to lift bans on fast bowlers Akhtar and Asif by taking the case to the Court of Arbitration for Sport in Lausanne, Switzerland. The ICC supported the WADA appeal adding that it was committed to a dope free game. On 2 July 2007, the Court of Arbitration for Sport dropped the case, ruling it had no jurisdiction to challenge the decision made by PCB. Other controversies In August 2007, Akhtar was reported to have used foul language against Pakistan Cricket Board protesting the imposing of fine of Rs. 300,000 for indiscipline during the national camp in Karachi. In the week before the inaugural World Twenty20, held in South Africa, Akhtar was rumoured to have hit Pakistani teammate Mohammad Asif with a bat after an argument in the dressing room. It started after Akhtar was ridiculed by Asif and Shahid Afridi for comparing himself with Imran Khan. After the initial inquiry, Akhtar was found to be at fault and was subsequently recalled from the Twenty20 World Cup squad and was sent home. He was also banned for 5 matches by the Pakistan Cricket Board. Akhtar later claimed that Afridi was responsible for the fight, saying "He made some ill remarks about my family. And I could not tolerate them." Afridi however, denied these allegations adding that Asif would have suffered more injuries but for his intervention. Even Asif chipped in saying that Akhtar was lying and that "Shahid Afridi had nothing to do with the fight", saying that "he has not apologised to me." On 1 April 2008 Akhtar was banned for five years for violating the players' code of conduct. The ban extended to all cricket for and in Pakistan. Despite the ban not preventing him from playing in the Indian Premier League, the IPL governing council decided not to allow Akhtar to play in the tournament until the end of the ban or unless it is lifted. IS Bindra, a member of the council, was quoted as saying, "Even though they [the PCB] have cleared him to play for IPL, we felt that international discipline needs to be respected." Meanwhile, Akhtar vowed to go to great lengths to fight the ban, "I will appeal, as is my right. If that fails I will go to court, if that fails then I will go to the Supreme Court." On 3 April, Pakistan Cricket Board chairman Nasim Ashraf served a legal notice on Akhtar, calling on him to retract statements he made to a news channel, alleging the ban was punishment in return for refusing to give the chairman a share of his earnings from the Indian Premier League, Ashraf also sought damages of Rs 100 million (approximately US$1.6 million) for "defaming him personally" and an additional Rs 100 million to the Pakistan Cricket Board for "sullying the name of the Pakistan Cricket Board and the Pakistan Cricket team." A three-man appellate tribunal announced on 30 April that they had temporarily upheld Akhtar's five-year ban, deciding to revist the appeal hearing in June. Despite Akhtar's later retracting his claims and also issuing an unconditional apology for "any grief or embarrassment that may have been caused to the nation, particularly to the Pakistan Cricket Board chairman Dr Nasim Ashraf", Ashraf's legal counsel filed a Rs 220 million (approx US$3.37 million) defamation suit against Akhtar in a civil court in Lahore on 2 May. On 4 May, the Pakistan Cricket Board's appellate tribunal suspended the five-year ban for one month, until they reconvene on 4 June, allowing Akhtar to take part in the ongoing Indian Premier League. A day later, the Pakistan Cricket Board announced that they will no longer pursue the defamation suit following a reconciliation between Akhtar and chairman Nasim Ashraf at the house of Rehman Malik, a key political official, in Islamabad. "My honour has been vindicated and now the defamation lawsuit will not be pursued," Ashraf was quoted as saying. On 4 September 2008, Akhtar was sent back home from Heathrow airport by British immigration officials on visa grounds; Akhtar only had a visit visa but not a working visa, which is required to play in county cricket. He subsequently obtained the necessary visa and returned to play with English county club Surrey. On 21 May 2009, Akhtar was dropped from 2009 ICC World Twenty20 Pakistan squad because of genital viral warts. In July 2012, Akhtar accused the PCB stating that there was too much "politics" in the Board and some of its officials did not want Pakistani team to win. Beyond cricket Book In September 2011, few months after his retirement from international cricket, he released his autobiography Controversially Yours, co-written with Indian social anthropologist and journalist Anshu Dogra. It was met with positive reviews, observers noting the interest of having Shoaib's comments, nearly always critical, on issues pertaining to the administration of cricket in Pakistan, the controversies surrounding ball tampering and his views on cricketers, from Pakistan as well outside. Television References External links 1975 births ACC Asian XI One Day International cricketers Zarai Taraqiati Bank Limited cricketers Chittagong Division cricketers Cricketers at the 1998 Commonwealth Games Cricketers at the 1999 Cricket World Cup Cricketers at the 2003 Cricket World Cup Cricketers at the 2007 Cricket World Cup Cricketers at the 2011 Cricket World Cup Durham cricketers Federal Areas cricketers ICC World XI One Day International cricketers Islamabad cricketers Islamabad Leopards cricketers Khan Research Laboratories cricketers Kolkata Knight Riders cricketers Living people Pakistani autobiographers Pakistani cricketers Doping cases in Pakistani cricket Pakistan International Airlines cricketers Pakistan One Day International cricketers Pakistan Test cricketers Pakistan Twenty20 International cricketers Cricketers from Rawalpindi Punjabi people Rawalpindi cricketers Rawalpindi B cricketers Rawalpindi Rams cricketers Somerset cricketers Surrey cricketers Worcestershire cricketers Pakistani cricket commentators Pakistani expatriates in India Pakistani YouTubers Commonwealth Games competitors for Pakistan	true	[ "Miguel Start (born 30 November 1987) is a former Samoa international rugby league footballer who played as a .\n\nBackground\nStart was born in Auckland, New Zealand.\n\nPlaying career\nStart was educated at Mount Albert Grammar School, and played for the Pakuranga Jaguars in the Auckland Rugby League competition.\n\nIn 2005 Start represented the Junior Kiwis in 2005. He played for both the New Zealand Residents and Samoa in 2006.\n\nStart was signed with the New Zealand Warriors in the National Rugby League competition for 2007. Start did not make his NRL debut but did appear in the NSWRL Premier League for the Auckland Lions.\n\nReferences\n\nNew Zealand rugby league players\n1987 births\nLiving people\nPakuranga Jaguars players\nAuckland rugby league team players\nNew Zealand people of Samoan descent\nSamoa national rugby league team players\nJunior Kiwis players\nRugby league centres", "Jonas Deumeland (born 9 February 1988) is a German footballer who plays as a goalkeeper for Start.\n\nClub career\nDeumeland started his career with VfL Wolfsburg, but did not become a regular until his three seasons in Belgian outfit K.A.S. Eupen.\n\nFollowing retirement he made a comeback with SpVgg Greuther Fürth II in 2016–17. In 2018 he was signed by Norwegian club IK Start who was left with only one goalkeeper when first-choice Håkon Opdal was injured. In Deumeland's second match, he too sustained an injury.\n\nCareer statistics\n\nClub\n\nReferences\n\n1988 births\nLiving people\nGerman footballers\nGerman expatriate footballers\nExpatriate footballers in Belgium\nGerman expatriate sportspeople in Belgium\nExpatriate footballers in Norway\nGerman expatriate sportspeople in Norway\nAssociation football goalkeepers\nRot-Weiß Oberhausen players\nVfL Wolfsburg II players\nK.A.S. Eupen players\nSpVgg Greuther Fürth II players\nIK Start players\nRegionalliga players\nBelgian First Division B players\nEliteserien players\nNorwegian First Division players" ]
[ "Shoaib Akhtar", "International career", "how did his career start?", "Akhtar's test career started rather modestly. He was first picked to play on his home ground in Rawalpindi during the 2nd Test" ]	C_35cb609390134c1f9075c3c8f4df3cde_1	What year did his career start?	2	What year did Shoaib Akhtar's career start?	Shoaib Akhtar	Considering his subsequent high profile in cricket, Akhtar's test career started rather modestly. He was first picked to play on his home ground in Rawalpindi during the 2nd Test of the West Indies 1997/98 tour of Pakistan. He was subsequently included in the tour of South Africa during the winter of 1998, where he played in all three tests. He was notably the spearhead of a depleted Pakistani bowling attack in the Peshawar Test against the visiting Australians later in 1998, when Mark Taylor scored his famous 334 n.o. in Australia's first innings. Subsequently, after 8 tests and 16 innings, Akhtar had accumulated only 18 wickets to his name. Akhtar's run of impressive performances started in 1999, during a pre-World Cup series against India. It was followed by outstanding bowling performances in Sharjah and later in the 1999 Cricket World Cup. His most significant performance was in India in 1999 when he captured eight wickets in the Asian Test championship match at Calcutta - including the wickets of Indian batsmen Rahul Dravid and Sachin Tendulkar when he bowled both batsmen off successive deliveries. It was the first ball he ever bowled to Tendulkar. In 2002, he was selected for the Pakistan team against Australia and achieved success. However he performed poorly during the 2003 Cricket World Cup and after the tournament he was dropped from the Pakistan squad. He was selected back into the Pakistan squad in the 2004 Test match series against New Zealand, but struggled in a losing Test series against India in 2004. The series ended with a controversy when he left the field citing an injury leading to suspicions by former Pakistan captain, Inzamam-ul-Haq, about his commitment to the team. As a result, his relationship with Inzamam-ul-Haq and former Pakistan coach Bob Woolmer deteriorated. A medical panel was set up by the Pakistan Cricket Board to investigate the nature of his injury, however Pakistan officials dispelled all suspicions. In 2005, Akhtar regained his reputation as a fast bowler for his side. Playing in a three Test home series against England, he made a series of impressive bowling performances. His effective use of slower deliveries proved to be unplayable by the English batsmen. Akhtar emerged as the highest wicket taker of the series with seventeen wickets. His comeback was also remarkable as prior to his return, he had been criticised from all corners; such as by the Worcestershire chairman John Elliot for his celebrity attitude and lack of commitment to the team. His performance was also acknowledged by the English captain Michael Vaughan, who remarked "I thought he (Shoaib) was a big difference between the two teams". He is also known as one of only three bowlers to have ever broken the 100 mph barrier in cricket history, with a delivery of 100.2 mph, during a one-day international against England in World cup 2003 CANNOTANSWER	1997/98 tour of Pakistan.	Shoaib Akhtar (; born 13 August 1975) is a Pakistani former cricketer and commentator. Nicknamed the "Rawalpindi Express", he was the first bowler to be recorded bowling at 100 miles per hour, a feat he achieved twice in his career. Akhtar made his Test match debut in November 1997 as an opening fast bowler and played his first One Day International three months later. He has been involved in several controversies during his career, often accused of unsportsmanlike conduct. Akhtar was sent home during a Test match series in Australia in 2005 for alleged poor attitude and a year later received a ban after testing positive for the performance-enhancing substance nandrolone. However, the ban imposed on him was lifted on appeal. In 2008, Akhtar was banned for five years for publicly criticising the Pakistan Cricket Board, although in October 2008, the Lahore High Court suspended the ban and Akhtar was selected in the 15-man squad for the Twenty20 Quadrangular Tournament in Canada. Akhtar retired from international cricket after the 2011 World Cup. Personal life Akhtar was born in the small town of Morgah in Rawalpindi, Punjab, Pakistan. His father, Mohammad Akhtar, whom Shoaib describes as very religious and “from a hardworking, economically unprivileged family of the Gujjar community”, worked as a night watchman at a petrol station belonging to the Attock oil refinery, and married his mother, Hameeda Awan, when she was still a teenager, and they had five children: four sons, Shoaib being the fourth, followed by a daughter. Shoaib's name, which in Arabic means both “the one who brings people together” and “the one who separates”, was chosen by his mother. He married Rubab Khan on 11 November 2014. Beginnings A good student, Akhtar was admitted to the Asghar Mall College, but disrupted his studies to attend trials for the PIA team's Karachi division to be held in Lahore. Lacking the money for a bus ticket, he waited for the bus to start and got onto the roof. After some struggle, starting his List A career during the 1993/1994 season and his first-class career during the 1994/1995 one, he caught the eye of Majid Khan, then the chief executive of the PCB, and after a good performance for the Pakistan A team's tour of England, in 1996, he was rewarded his maiden Test cap against the West Indies, in 1997. International career Considering his subsequent high profile in cricket, Akhtar's test career started rather modestly. He was first picked to play on his home ground in Rawalpindi during the 2nd Test of the West Indies 1997/98 tour of Pakistan. He was subsequently included in the tour of South Africa during the winter of 1998, where he played in all three Tests. He was notably the spearhead of a depleted Pakistani bowling attack in the Peshawar Test against the visiting Australians later in 1998, where Mark Taylor scored his famous unbeaten 334 in Australia's first innings. Subsequently, after 8 tests and 16 innings, Akhtar had accumulated only 18 wickets. Akhtar's run of impressive performances started in 1999, during a pre-World Cup series against India. It was followed by outstanding bowling performances in Sharjah and later in the 1999 Cricket World Cup. His most significant performance was in India in 1999 when he captured eight wickets in the Asian Test championship match at Calcutta – including the wickets of Indian batsmen Rahul Dravid and Sachin Tendulkar when he bowled both batsmen off successive deliveries. It was the first ball he ever bowled to Tendulkar. In 2002, he was selected for the Pakistan team against Australia and achieved a small amount of success. However the team performed poorly during the 2003 Cricket World Cup and after the tournament he was dropped from the Pakistan squad. He was selected back into the Pakistan squad as they had no choice in the 2003 Test match series against New Zealand, but struggled in a losing Test series against India in 2004. The series ended with a controversy when he left the field citing an injury leading to suspicions by former Pakistan captain, Inzamam-ul-Haq, about his commitment to the team. As a result, his relationship with Inzamam-ul-Haq and former Pakistan coach Bob Woolmer deteriorated. A medical panel was set up by the Pakistan Cricket Board to investigate the nature of his injury, however Pakistan officials dispelled all suspicions. In 2005, Akhtar regained his reputation as a fast bowler for his side. Playing in a three Test home series against England, he made a series of impressive bowling performances. His effective use of slower deliveries proved to be unplayable by the English batsmen. Akhtar emerged as the highest wicket taker of the series with seventeen wickets. His comeback was also remarkable as prior to his return, he had been criticised from all corners; such as by the Worcestershire chairman John Elliot for his celebrity attitude and lack of commitment to the team. His performance was also acknowledged by the English captain Michael Vaughan, who remarked "I thought he (Shoaib) was a big difference between the two teams". Throughout his career, he was regarded as one of the fastest bowlers in the history of international cricket. He achieved the record of the fastest bowl at 161 kph after the introduction of speed measuring devices at the international cricket in 1998. He is also known as one of only three bowlers to have ever broken the 100 mph barrier in cricket history, with a delivery of 100.2 mph, during a one-day international against England in World cup 2003. Struggle for form and consistent injuries (2007–2009) On 29 October 2007, Akhtar made his return to cricket from his 13 match ban and performed very well, he took 4 wickets for 43 runs against South Africa in the fifth and deciding One Day International series in Lahore in Pakistan. Subsequently, he was included in the 16-man Pakistan squad for the 2007 tour of India. Rehabilitation and final years (2010–2011) Akhtar made a return to international cricket albeit in the shorter format of the game. In May 2010, PCB named him in a list of 35 probables for the Asia Cup. On 15 June 2010, Akhtar made his return, taking 3 wickets for 28 runs in the first match of the Asia Cup against Sri Lanka. He narrowly missed out a spot in the 2010 ICC World Twenty20 in place of the injured Umar Gul. In July 2010, he was selected for the Twenty20 series against Australia but the selectors decided not to play him in the Test squad so that he would not get injured. He was subsequently selected for the ODI and Twenty20 series against England in September 2010. Akhtar returned to the national side representing the country against England in the Twenty20 International. He bowled an impressive spell and returned with figures of 2 wickets for 23 runs. He continued to bowl well in the ODI series in the absence of regular fast-bowlers, Mohammad Asif and Mohammad Amir, who were suspended by the International Cricket Council amid allegations of Spot-fixing. Despite his relatively good bowling form, Pakistani coach Waqar Younis insisted that the bowling attack must not become reliant on Akhtar, as he is 35 years of age and fitness troubles continue to affect him. Akhtar was selected for the tour of New Zealand and started his campaign off well with 3 wickets on Boxing Day in the first of two Twenty20 Internationals against New Zealand. Akhtar was selected in Pakistan's 15-man squad to play in the 2011 World Cup hosted by Bangladesh, India, and Sri Lanka in February to March. During the tournament, he announced that he would retire from international cricket at the end of the World Cup. He was dropped from the squad after group matches and was not included in the quarter final either. Domestic career England county cricket Akhtar has played for three English county cricket clubs: Somerset in 2001, Durham in 2003 and 2004 and Worcestershire in 2005. He did achieve his moments of success, such as taking 5 wickets for 35 runs for Durham against Somerset in the National League in 2003 and claiming 6 wickets for 16 runs in the same competition for Worcestershire against Gloucestershire two years later, but he suffered from fitness problems, as well as a perception that he was less than interested in his task. This was particularly the case at Worcestershire: chairman John Elliott said "Players like that are no good to our club. In fact, Akhtar has been no good for any club he's been at. He's a superstar and just does what he wants." Indian Premier League Akhtar made a successful return to cricket in his first game in the Indian Premier League, playing for the Kolkata Knight Riders against the Delhi Daredevils. Defending a low score of 133 runs, Akhtar took four top order wickets which ultimately led to the Daredevils being restricted to 110 runs. He ended with figures of 4 wickets for 11 runs from three overs, a performance which earned him the player of the match award. Akhtar denied that he had any point to prove with his performance, stating, "I just wanted to win the game." Knight Riders' captain Sourav Ganguly also acknowledged Akhtar's performance, "He came to the country with lots [of things] happening behind him...But he showed a lot of character." Cricket controversies and injuries Akhtar's career has been plagued with injuries, controversies and accusations of poor attitude. After Pakistan's poor performance in the 2003 Cricket World Cup, he got involved in a verbal conflict with former Pakistan captain and fast bowler Waqar Younis. Later on Akhtar was sacked along with other players, including Younis. In a triangular series in 2003 held in Sri Lanka, he was caught ball tampering making him the second player in cricket to be banned on ball tampering charges. The same year he was banned for one Test match and two One Day International matches for abusing South African spin bowler Paul Adams, during a match against South Africa. In the 2004 home series with India, he struggled with wrist and back injuries, which raised questions about his commitment to the team. He was sent back from the 2005 Australia tour with a hamstring injury amid rumours of indiscipline, lack of commitment and attitudinal complaints. He was subsequently fined by the Pakistan Cricket Board for avoiding a late night curfew. The rest of his cricketing career was riddled with ankle and knee injuries which forced him to undergo a surgery in February 2006, until finally he was banned for two years for allegedly using performance-enhancing drugs. Drug scandal On 16 October 2006 Akhtar was suspended by the Pakistan Cricket Board, along with Mohammed Asif after they tested positive for a performance-enhancing substance nandrolone. They were consequently pulled out from the 2006 ICC Champions Trophy. Former Pakistan Cricket Board chairman later stated that he had always suspected Akhtar of substance abuse due to his consistent "reservations" to drug tests. Former Pakistan captain Inzamam ul-Haq had also previously complained about Akhtar's drug abuse but was not reported to the Pakistan Cricket Board. Akhtar immediately declared his innocence and he declined knowingly taking any performance-enhancing drugs. In a statement issued to the press, he claimed that he could never cheat teammates or opponents. During a hearing with the Pakistan Cricket Board Anti-Doping Committee, he along with Asif maintained taking non-steroidal dietary supplements. He, however, failed to convince the committee of his innocence. In its report submitted to the Pakistan Cricket Board, the Anti-Doping Committee recommended a two-year ban. On 1 November 2006 the Pakistan Cricket Board handed down a two-year suspension to Akhtar and a one-year suspension to Asif, banning them from professional cricket during the period. Shoaib had subsequently been added to Pakistan Olympic Association list of doping offenders. However, on 5 December 2006 represented by his lawyer Abid Hassan Minto, Akhtar was cleared on appeal. On 5 December 2006 Akhtar and Asif were acquitted by the tribunal appointed to review their appeals. After a clear hearing from Akhtar's lawyer Abid Hassan Minto, the three-man committee, voted two to one in favour of the acquittal. Justice Fakhruddin Ebrahim, committee head, and Haseeb Ahsan, former Test cricketer, were in favour of the acquittal. The third member, Danish Zaheer, differed. "Exceptional circumstances" were cited including discrepancies between the instantaneous offence charges of doping that were laid and the quick delivery of a very harsh verdict. The complete drug testing procedure was concluded to have been technically flawed as it did not follow standard procedures. Other established facts by the committee included that the duo were not aware of the banned drug to be present in their supplements because the Pakistan Cricket Board itself had not informed them of the dangers of contaminated supplements. Akhtar and Asif, however, did not play in the subsequent Test match series against the West Indies because the Pakistan Cricket Board had recommended that they play domestic games first to recover form and fitness. On 1 March 2007 Akhtar and Asif were ruled out of the Pakistani squad for the 2007 Cricket World Cup by team officials, minutes before the squad was to depart for the West Indies. The team management along with the Pakistan Cricket Board said their injuries were too severe to risk taking them to the Caribbean. Since neither of the two had been declared fit they did not undergo official doping tests. World Anti-Doping Agency ( WADA) challenged Pakistan's decision to lift bans on fast bowlers Akhtar and Asif by taking the case to the Court of Arbitration for Sport in Lausanne, Switzerland. The ICC supported the WADA appeal adding that it was committed to a dope free game. On 2 July 2007, the Court of Arbitration for Sport dropped the case, ruling it had no jurisdiction to challenge the decision made by PCB. Other controversies In August 2007, Akhtar was reported to have used foul language against Pakistan Cricket Board protesting the imposing of fine of Rs. 300,000 for indiscipline during the national camp in Karachi. In the week before the inaugural World Twenty20, held in South Africa, Akhtar was rumoured to have hit Pakistani teammate Mohammad Asif with a bat after an argument in the dressing room. It started after Akhtar was ridiculed by Asif and Shahid Afridi for comparing himself with Imran Khan. After the initial inquiry, Akhtar was found to be at fault and was subsequently recalled from the Twenty20 World Cup squad and was sent home. He was also banned for 5 matches by the Pakistan Cricket Board. Akhtar later claimed that Afridi was responsible for the fight, saying "He made some ill remarks about my family. And I could not tolerate them." Afridi however, denied these allegations adding that Asif would have suffered more injuries but for his intervention. Even Asif chipped in saying that Akhtar was lying and that "Shahid Afridi had nothing to do with the fight", saying that "he has not apologised to me." On 1 April 2008 Akhtar was banned for five years for violating the players' code of conduct. The ban extended to all cricket for and in Pakistan. Despite the ban not preventing him from playing in the Indian Premier League, the IPL governing council decided not to allow Akhtar to play in the tournament until the end of the ban or unless it is lifted. IS Bindra, a member of the council, was quoted as saying, "Even though they [the PCB] have cleared him to play for IPL, we felt that international discipline needs to be respected." Meanwhile, Akhtar vowed to go to great lengths to fight the ban, "I will appeal, as is my right. If that fails I will go to court, if that fails then I will go to the Supreme Court." On 3 April, Pakistan Cricket Board chairman Nasim Ashraf served a legal notice on Akhtar, calling on him to retract statements he made to a news channel, alleging the ban was punishment in return for refusing to give the chairman a share of his earnings from the Indian Premier League, Ashraf also sought damages of Rs 100 million (approximately US$1.6 million) for "defaming him personally" and an additional Rs 100 million to the Pakistan Cricket Board for "sullying the name of the Pakistan Cricket Board and the Pakistan Cricket team." A three-man appellate tribunal announced on 30 April that they had temporarily upheld Akhtar's five-year ban, deciding to revist the appeal hearing in June. Despite Akhtar's later retracting his claims and also issuing an unconditional apology for "any grief or embarrassment that may have been caused to the nation, particularly to the Pakistan Cricket Board chairman Dr Nasim Ashraf", Ashraf's legal counsel filed a Rs 220 million (approx US$3.37 million) defamation suit against Akhtar in a civil court in Lahore on 2 May. On 4 May, the Pakistan Cricket Board's appellate tribunal suspended the five-year ban for one month, until they reconvene on 4 June, allowing Akhtar to take part in the ongoing Indian Premier League. A day later, the Pakistan Cricket Board announced that they will no longer pursue the defamation suit following a reconciliation between Akhtar and chairman Nasim Ashraf at the house of Rehman Malik, a key political official, in Islamabad. "My honour has been vindicated and now the defamation lawsuit will not be pursued," Ashraf was quoted as saying. On 4 September 2008, Akhtar was sent back home from Heathrow airport by British immigration officials on visa grounds; Akhtar only had a visit visa but not a working visa, which is required to play in county cricket. He subsequently obtained the necessary visa and returned to play with English county club Surrey. On 21 May 2009, Akhtar was dropped from 2009 ICC World Twenty20 Pakistan squad because of genital viral warts. In July 2012, Akhtar accused the PCB stating that there was too much "politics" in the Board and some of its officials did not want Pakistani team to win. Beyond cricket Book In September 2011, few months after his retirement from international cricket, he released his autobiography Controversially Yours, co-written with Indian social anthropologist and journalist Anshu Dogra. It was met with positive reviews, observers noting the interest of having Shoaib's comments, nearly always critical, on issues pertaining to the administration of cricket in Pakistan, the controversies surrounding ball tampering and his views on cricketers, from Pakistan as well outside. Television References External links 1975 births ACC Asian XI One Day International cricketers Zarai Taraqiati Bank Limited cricketers Chittagong Division cricketers Cricketers at the 1998 Commonwealth Games Cricketers at the 1999 Cricket World Cup Cricketers at the 2003 Cricket World Cup Cricketers at the 2007 Cricket World Cup Cricketers at the 2011 Cricket World Cup Durham cricketers Federal Areas cricketers ICC World XI One Day International cricketers Islamabad cricketers Islamabad Leopards cricketers Khan Research Laboratories cricketers Kolkata Knight Riders cricketers Living people Pakistani autobiographers Pakistani cricketers Doping cases in Pakistani cricket Pakistan International Airlines cricketers Pakistan One Day International cricketers Pakistan Test cricketers Pakistan Twenty20 International cricketers Cricketers from Rawalpindi Punjabi people Rawalpindi cricketers Rawalpindi B cricketers Rawalpindi Rams cricketers Somerset cricketers Surrey cricketers Worcestershire cricketers Pakistani cricket commentators Pakistani expatriates in India Pakistani YouTubers Commonwealth Games competitors for Pakistan	true	[ "Dustin Skinner (born April 20, 1985) is an American former stock car racing driver. He has competed in one NASCAR Craftsman Truck Series race, in 2008 at Martinsville Speedway. He is the son of Mike Skinner.\n\nRacing career\nSkinner started his racing career in 1998, driving go-karts. He later moved on to Fast Trucks at various Florida racetracks, and ran Daytona International Speedway as a part of the IPOWER Dash series in 2004. He tested a NASCAR Craftsman Truck at New Smyrna Speedway in October 2007. In October 2008, Skinner made his only NASCAR Craftsman Truck Series start at Martinsville Speedway, starting 31st and finishing 34th after an early-race incident in turn three derailed his efforts. The start came with Germain Racing, an affiliate of Toyota Racing Development, whom Skinner had also worked with in late model racing. The start with Germain came after a driver development program with Key Motorsports did not come to fruition; in March 2008 the team announced that they were looking to field Skinner in up to six Truck races that year, dependent on sponsorship.\n\nAfter his driving career finished, Skinner transitioned into a mechanic role, working in Florida to prepare racecars in that state. He also helps, along with brother Jamie Skinner, on father Mike Skinner's late model efforts.\n\nIn 2020, Skinner came under fire for racist comments made regarding Bubba Wallace, the only Black full-time Cup Series driver in NASCAR, after a noose was found in Wallace's garage stall at Talladega Superspeedway. Skinner stated, \"Frankly I wish they would've tied [the noose] to [Wallace] and drug him around the pits because he has single handedly destroyed what I grew up watching and cared about for 30 years now.\" Skinner later backtracked his statement, saying, \"I disagree with what [Wallace] is doing, but it was stupidly foolish for me to say what I said and I truly regret every bit of it. If there was a way to take last night back I would. All I can do is say I'm sorry.\"\n\nMotorsports career results\n\nNASCAR\n(key) (Bold – Pole position awarded by qualifying time. Italics – Pole position earned by points standings or practice time. * – Most laps led.)\n\nCraftsman Truck Series\n\nReferences\n\nExternal links\n \n\n1985 births\nLiving people\nNASCAR drivers\nRacing drivers from North Carolina\nSportspeople from Greensboro, North Carolina", "Conrad Burr (born November 23, 1968) is an American former stock car racing driver. He competed part-time in the Craftsman Truck Series from 2000 to 2003. Burr also drove numerous races in the NASCAR Southeast Series, particularly in the mid and late 1990s, where he ran nearly full seasons and picked up one win in 1999.\n\nRacing career\nBurr made his debut in 2000, when he drove the Jim Rosenblum Racing No. 28 Chevy into the field at Martinsville. He started the event in 31st, but only managed 25th. Yet, he did finish the event, a tall task at the short track.\n\nBurr made another solo start in 2001, driving for his own team at Nashville. He started the event in last (36th) and only made it up to 34th before retiring early.\n\nBurr returned to Rosenblum's team in 2002 for a five race schedule. He did well, finishing all but one race with the low-budget team. He had a good run at Las Vegas, earning his season best of 23rd, while at Texas Burr started 27th for his best start of the year. His 46th-place finish in points would prove to be his career high.\n\nBurr made four starts as 2003 would prove to be his last year. Returning to a family-owned team, Burr earned two top-20 finishes in his starts. The better of those would prove to be a 15th at Dover, coupled with the 18th at Memphis. Also, at Charlotte, Burr earned his best career start of 25th.\n\nDespite having his best year in 2003, Burr's team folded and he never made another NASCAR start after that.\n\nMotorsports career results\n\nNASCAR\n(key) (Bold – Pole position awarded by qualifying time. Italics – Pole position earned by points standings or practice time. * – Most laps led.)\n\nCraftsman Truck Series\n\nReferences\n\nExternal links\n \n\n1968 births\nNASCAR drivers\nLiving people\nPeople from China Grove, North Carolina\nRacing drivers from North Carolina" ]
[ "Shoaib Akhtar", "International career", "how did his career start?", "Akhtar's test career started rather modestly. He was first picked to play on his home ground in Rawalpindi during the 2nd Test", "What year did his career start?", "1997/98 tour of Pakistan." ]	C_35cb609390134c1f9075c3c8f4df3cde_1	What records does he hold?	3	What records does Shoaib Akhtar hold?	Shoaib Akhtar	Considering his subsequent high profile in cricket, Akhtar's test career started rather modestly. He was first picked to play on his home ground in Rawalpindi during the 2nd Test of the West Indies 1997/98 tour of Pakistan. He was subsequently included in the tour of South Africa during the winter of 1998, where he played in all three tests. He was notably the spearhead of a depleted Pakistani bowling attack in the Peshawar Test against the visiting Australians later in 1998, when Mark Taylor scored his famous 334 n.o. in Australia's first innings. Subsequently, after 8 tests and 16 innings, Akhtar had accumulated only 18 wickets to his name. Akhtar's run of impressive performances started in 1999, during a pre-World Cup series against India. It was followed by outstanding bowling performances in Sharjah and later in the 1999 Cricket World Cup. His most significant performance was in India in 1999 when he captured eight wickets in the Asian Test championship match at Calcutta - including the wickets of Indian batsmen Rahul Dravid and Sachin Tendulkar when he bowled both batsmen off successive deliveries. It was the first ball he ever bowled to Tendulkar. In 2002, he was selected for the Pakistan team against Australia and achieved success. However he performed poorly during the 2003 Cricket World Cup and after the tournament he was dropped from the Pakistan squad. He was selected back into the Pakistan squad in the 2004 Test match series against New Zealand, but struggled in a losing Test series against India in 2004. The series ended with a controversy when he left the field citing an injury leading to suspicions by former Pakistan captain, Inzamam-ul-Haq, about his commitment to the team. As a result, his relationship with Inzamam-ul-Haq and former Pakistan coach Bob Woolmer deteriorated. A medical panel was set up by the Pakistan Cricket Board to investigate the nature of his injury, however Pakistan officials dispelled all suspicions. In 2005, Akhtar regained his reputation as a fast bowler for his side. Playing in a three Test home series against England, he made a series of impressive bowling performances. His effective use of slower deliveries proved to be unplayable by the English batsmen. Akhtar emerged as the highest wicket taker of the series with seventeen wickets. His comeback was also remarkable as prior to his return, he had been criticised from all corners; such as by the Worcestershire chairman John Elliot for his celebrity attitude and lack of commitment to the team. His performance was also acknowledged by the English captain Michael Vaughan, who remarked "I thought he (Shoaib) was a big difference between the two teams". He is also known as one of only three bowlers to have ever broken the 100 mph barrier in cricket history, with a delivery of 100.2 mph, during a one-day international against England in World cup 2003 CANNOTANSWER	He is also known as one of only three bowlers to have ever broken the 100 mph barrier in cricket history,	Shoaib Akhtar (; born 13 August 1975) is a Pakistani former cricketer and commentator. Nicknamed the "Rawalpindi Express", he was the first bowler to be recorded bowling at 100 miles per hour, a feat he achieved twice in his career. Akhtar made his Test match debut in November 1997 as an opening fast bowler and played his first One Day International three months later. He has been involved in several controversies during his career, often accused of unsportsmanlike conduct. Akhtar was sent home during a Test match series in Australia in 2005 for alleged poor attitude and a year later received a ban after testing positive for the performance-enhancing substance nandrolone. However, the ban imposed on him was lifted on appeal. In 2008, Akhtar was banned for five years for publicly criticising the Pakistan Cricket Board, although in October 2008, the Lahore High Court suspended the ban and Akhtar was selected in the 15-man squad for the Twenty20 Quadrangular Tournament in Canada. Akhtar retired from international cricket after the 2011 World Cup. Personal life Akhtar was born in the small town of Morgah in Rawalpindi, Punjab, Pakistan. His father, Mohammad Akhtar, whom Shoaib describes as very religious and “from a hardworking, economically unprivileged family of the Gujjar community”, worked as a night watchman at a petrol station belonging to the Attock oil refinery, and married his mother, Hameeda Awan, when she was still a teenager, and they had five children: four sons, Shoaib being the fourth, followed by a daughter. Shoaib's name, which in Arabic means both “the one who brings people together” and “the one who separates”, was chosen by his mother. He married Rubab Khan on 11 November 2014. Beginnings A good student, Akhtar was admitted to the Asghar Mall College, but disrupted his studies to attend trials for the PIA team's Karachi division to be held in Lahore. Lacking the money for a bus ticket, he waited for the bus to start and got onto the roof. After some struggle, starting his List A career during the 1993/1994 season and his first-class career during the 1994/1995 one, he caught the eye of Majid Khan, then the chief executive of the PCB, and after a good performance for the Pakistan A team's tour of England, in 1996, he was rewarded his maiden Test cap against the West Indies, in 1997. International career Considering his subsequent high profile in cricket, Akhtar's test career started rather modestly. He was first picked to play on his home ground in Rawalpindi during the 2nd Test of the West Indies 1997/98 tour of Pakistan. He was subsequently included in the tour of South Africa during the winter of 1998, where he played in all three Tests. He was notably the spearhead of a depleted Pakistani bowling attack in the Peshawar Test against the visiting Australians later in 1998, where Mark Taylor scored his famous unbeaten 334 in Australia's first innings. Subsequently, after 8 tests and 16 innings, Akhtar had accumulated only 18 wickets. Akhtar's run of impressive performances started in 1999, during a pre-World Cup series against India. It was followed by outstanding bowling performances in Sharjah and later in the 1999 Cricket World Cup. His most significant performance was in India in 1999 when he captured eight wickets in the Asian Test championship match at Calcutta – including the wickets of Indian batsmen Rahul Dravid and Sachin Tendulkar when he bowled both batsmen off successive deliveries. It was the first ball he ever bowled to Tendulkar. In 2002, he was selected for the Pakistan team against Australia and achieved a small amount of success. However the team performed poorly during the 2003 Cricket World Cup and after the tournament he was dropped from the Pakistan squad. He was selected back into the Pakistan squad as they had no choice in the 2003 Test match series against New Zealand, but struggled in a losing Test series against India in 2004. The series ended with a controversy when he left the field citing an injury leading to suspicions by former Pakistan captain, Inzamam-ul-Haq, about his commitment to the team. As a result, his relationship with Inzamam-ul-Haq and former Pakistan coach Bob Woolmer deteriorated. A medical panel was set up by the Pakistan Cricket Board to investigate the nature of his injury, however Pakistan officials dispelled all suspicions. In 2005, Akhtar regained his reputation as a fast bowler for his side. Playing in a three Test home series against England, he made a series of impressive bowling performances. His effective use of slower deliveries proved to be unplayable by the English batsmen. Akhtar emerged as the highest wicket taker of the series with seventeen wickets. His comeback was also remarkable as prior to his return, he had been criticised from all corners; such as by the Worcestershire chairman John Elliot for his celebrity attitude and lack of commitment to the team. His performance was also acknowledged by the English captain Michael Vaughan, who remarked "I thought he (Shoaib) was a big difference between the two teams". Throughout his career, he was regarded as one of the fastest bowlers in the history of international cricket. He achieved the record of the fastest bowl at 161 kph after the introduction of speed measuring devices at the international cricket in 1998. He is also known as one of only three bowlers to have ever broken the 100 mph barrier in cricket history, with a delivery of 100.2 mph, during a one-day international against England in World cup 2003. Struggle for form and consistent injuries (2007–2009) On 29 October 2007, Akhtar made his return to cricket from his 13 match ban and performed very well, he took 4 wickets for 43 runs against South Africa in the fifth and deciding One Day International series in Lahore in Pakistan. Subsequently, he was included in the 16-man Pakistan squad for the 2007 tour of India. Rehabilitation and final years (2010–2011) Akhtar made a return to international cricket albeit in the shorter format of the game. In May 2010, PCB named him in a list of 35 probables for the Asia Cup. On 15 June 2010, Akhtar made his return, taking 3 wickets for 28 runs in the first match of the Asia Cup against Sri Lanka. He narrowly missed out a spot in the 2010 ICC World Twenty20 in place of the injured Umar Gul. In July 2010, he was selected for the Twenty20 series against Australia but the selectors decided not to play him in the Test squad so that he would not get injured. He was subsequently selected for the ODI and Twenty20 series against England in September 2010. Akhtar returned to the national side representing the country against England in the Twenty20 International. He bowled an impressive spell and returned with figures of 2 wickets for 23 runs. He continued to bowl well in the ODI series in the absence of regular fast-bowlers, Mohammad Asif and Mohammad Amir, who were suspended by the International Cricket Council amid allegations of Spot-fixing. Despite his relatively good bowling form, Pakistani coach Waqar Younis insisted that the bowling attack must not become reliant on Akhtar, as he is 35 years of age and fitness troubles continue to affect him. Akhtar was selected for the tour of New Zealand and started his campaign off well with 3 wickets on Boxing Day in the first of two Twenty20 Internationals against New Zealand. Akhtar was selected in Pakistan's 15-man squad to play in the 2011 World Cup hosted by Bangladesh, India, and Sri Lanka in February to March. During the tournament, he announced that he would retire from international cricket at the end of the World Cup. He was dropped from the squad after group matches and was not included in the quarter final either. Domestic career England county cricket Akhtar has played for three English county cricket clubs: Somerset in 2001, Durham in 2003 and 2004 and Worcestershire in 2005. He did achieve his moments of success, such as taking 5 wickets for 35 runs for Durham against Somerset in the National League in 2003 and claiming 6 wickets for 16 runs in the same competition for Worcestershire against Gloucestershire two years later, but he suffered from fitness problems, as well as a perception that he was less than interested in his task. This was particularly the case at Worcestershire: chairman John Elliott said "Players like that are no good to our club. In fact, Akhtar has been no good for any club he's been at. He's a superstar and just does what he wants." Indian Premier League Akhtar made a successful return to cricket in his first game in the Indian Premier League, playing for the Kolkata Knight Riders against the Delhi Daredevils. Defending a low score of 133 runs, Akhtar took four top order wickets which ultimately led to the Daredevils being restricted to 110 runs. He ended with figures of 4 wickets for 11 runs from three overs, a performance which earned him the player of the match award. Akhtar denied that he had any point to prove with his performance, stating, "I just wanted to win the game." Knight Riders' captain Sourav Ganguly also acknowledged Akhtar's performance, "He came to the country with lots [of things] happening behind him...But he showed a lot of character." Cricket controversies and injuries Akhtar's career has been plagued with injuries, controversies and accusations of poor attitude. After Pakistan's poor performance in the 2003 Cricket World Cup, he got involved in a verbal conflict with former Pakistan captain and fast bowler Waqar Younis. Later on Akhtar was sacked along with other players, including Younis. In a triangular series in 2003 held in Sri Lanka, he was caught ball tampering making him the second player in cricket to be banned on ball tampering charges. The same year he was banned for one Test match and two One Day International matches for abusing South African spin bowler Paul Adams, during a match against South Africa. In the 2004 home series with India, he struggled with wrist and back injuries, which raised questions about his commitment to the team. He was sent back from the 2005 Australia tour with a hamstring injury amid rumours of indiscipline, lack of commitment and attitudinal complaints. He was subsequently fined by the Pakistan Cricket Board for avoiding a late night curfew. The rest of his cricketing career was riddled with ankle and knee injuries which forced him to undergo a surgery in February 2006, until finally he was banned for two years for allegedly using performance-enhancing drugs. Drug scandal On 16 October 2006 Akhtar was suspended by the Pakistan Cricket Board, along with Mohammed Asif after they tested positive for a performance-enhancing substance nandrolone. They were consequently pulled out from the 2006 ICC Champions Trophy. Former Pakistan Cricket Board chairman later stated that he had always suspected Akhtar of substance abuse due to his consistent "reservations" to drug tests. Former Pakistan captain Inzamam ul-Haq had also previously complained about Akhtar's drug abuse but was not reported to the Pakistan Cricket Board. Akhtar immediately declared his innocence and he declined knowingly taking any performance-enhancing drugs. In a statement issued to the press, he claimed that he could never cheat teammates or opponents. During a hearing with the Pakistan Cricket Board Anti-Doping Committee, he along with Asif maintained taking non-steroidal dietary supplements. He, however, failed to convince the committee of his innocence. In its report submitted to the Pakistan Cricket Board, the Anti-Doping Committee recommended a two-year ban. On 1 November 2006 the Pakistan Cricket Board handed down a two-year suspension to Akhtar and a one-year suspension to Asif, banning them from professional cricket during the period. Shoaib had subsequently been added to Pakistan Olympic Association list of doping offenders. However, on 5 December 2006 represented by his lawyer Abid Hassan Minto, Akhtar was cleared on appeal. On 5 December 2006 Akhtar and Asif were acquitted by the tribunal appointed to review their appeals. After a clear hearing from Akhtar's lawyer Abid Hassan Minto, the three-man committee, voted two to one in favour of the acquittal. Justice Fakhruddin Ebrahim, committee head, and Haseeb Ahsan, former Test cricketer, were in favour of the acquittal. The third member, Danish Zaheer, differed. "Exceptional circumstances" were cited including discrepancies between the instantaneous offence charges of doping that were laid and the quick delivery of a very harsh verdict. The complete drug testing procedure was concluded to have been technically flawed as it did not follow standard procedures. Other established facts by the committee included that the duo were not aware of the banned drug to be present in their supplements because the Pakistan Cricket Board itself had not informed them of the dangers of contaminated supplements. Akhtar and Asif, however, did not play in the subsequent Test match series against the West Indies because the Pakistan Cricket Board had recommended that they play domestic games first to recover form and fitness. On 1 March 2007 Akhtar and Asif were ruled out of the Pakistani squad for the 2007 Cricket World Cup by team officials, minutes before the squad was to depart for the West Indies. The team management along with the Pakistan Cricket Board said their injuries were too severe to risk taking them to the Caribbean. Since neither of the two had been declared fit they did not undergo official doping tests. World Anti-Doping Agency ( WADA) challenged Pakistan's decision to lift bans on fast bowlers Akhtar and Asif by taking the case to the Court of Arbitration for Sport in Lausanne, Switzerland. The ICC supported the WADA appeal adding that it was committed to a dope free game. On 2 July 2007, the Court of Arbitration for Sport dropped the case, ruling it had no jurisdiction to challenge the decision made by PCB. Other controversies In August 2007, Akhtar was reported to have used foul language against Pakistan Cricket Board protesting the imposing of fine of Rs. 300,000 for indiscipline during the national camp in Karachi. In the week before the inaugural World Twenty20, held in South Africa, Akhtar was rumoured to have hit Pakistani teammate Mohammad Asif with a bat after an argument in the dressing room. It started after Akhtar was ridiculed by Asif and Shahid Afridi for comparing himself with Imran Khan. After the initial inquiry, Akhtar was found to be at fault and was subsequently recalled from the Twenty20 World Cup squad and was sent home. He was also banned for 5 matches by the Pakistan Cricket Board. Akhtar later claimed that Afridi was responsible for the fight, saying "He made some ill remarks about my family. And I could not tolerate them." Afridi however, denied these allegations adding that Asif would have suffered more injuries but for his intervention. Even Asif chipped in saying that Akhtar was lying and that "Shahid Afridi had nothing to do with the fight", saying that "he has not apologised to me." On 1 April 2008 Akhtar was banned for five years for violating the players' code of conduct. The ban extended to all cricket for and in Pakistan. Despite the ban not preventing him from playing in the Indian Premier League, the IPL governing council decided not to allow Akhtar to play in the tournament until the end of the ban or unless it is lifted. IS Bindra, a member of the council, was quoted as saying, "Even though they [the PCB] have cleared him to play for IPL, we felt that international discipline needs to be respected." Meanwhile, Akhtar vowed to go to great lengths to fight the ban, "I will appeal, as is my right. If that fails I will go to court, if that fails then I will go to the Supreme Court." On 3 April, Pakistan Cricket Board chairman Nasim Ashraf served a legal notice on Akhtar, calling on him to retract statements he made to a news channel, alleging the ban was punishment in return for refusing to give the chairman a share of his earnings from the Indian Premier League, Ashraf also sought damages of Rs 100 million (approximately US$1.6 million) for "defaming him personally" and an additional Rs 100 million to the Pakistan Cricket Board for "sullying the name of the Pakistan Cricket Board and the Pakistan Cricket team." A three-man appellate tribunal announced on 30 April that they had temporarily upheld Akhtar's five-year ban, deciding to revist the appeal hearing in June. Despite Akhtar's later retracting his claims and also issuing an unconditional apology for "any grief or embarrassment that may have been caused to the nation, particularly to the Pakistan Cricket Board chairman Dr Nasim Ashraf", Ashraf's legal counsel filed a Rs 220 million (approx US$3.37 million) defamation suit against Akhtar in a civil court in Lahore on 2 May. On 4 May, the Pakistan Cricket Board's appellate tribunal suspended the five-year ban for one month, until they reconvene on 4 June, allowing Akhtar to take part in the ongoing Indian Premier League. A day later, the Pakistan Cricket Board announced that they will no longer pursue the defamation suit following a reconciliation between Akhtar and chairman Nasim Ashraf at the house of Rehman Malik, a key political official, in Islamabad. "My honour has been vindicated and now the defamation lawsuit will not be pursued," Ashraf was quoted as saying. On 4 September 2008, Akhtar was sent back home from Heathrow airport by British immigration officials on visa grounds; Akhtar only had a visit visa but not a working visa, which is required to play in county cricket. He subsequently obtained the necessary visa and returned to play with English county club Surrey. On 21 May 2009, Akhtar was dropped from 2009 ICC World Twenty20 Pakistan squad because of genital viral warts. In July 2012, Akhtar accused the PCB stating that there was too much "politics" in the Board and some of its officials did not want Pakistani team to win. Beyond cricket Book In September 2011, few months after his retirement from international cricket, he released his autobiography Controversially Yours, co-written with Indian social anthropologist and journalist Anshu Dogra. It was met with positive reviews, observers noting the interest of having Shoaib's comments, nearly always critical, on issues pertaining to the administration of cricket in Pakistan, the controversies surrounding ball tampering and his views on cricketers, from Pakistan as well outside. Television References External links 1975 births ACC Asian XI One Day International cricketers Zarai Taraqiati Bank Limited cricketers Chittagong Division cricketers Cricketers at the 1998 Commonwealth Games Cricketers at the 1999 Cricket World Cup Cricketers at the 2003 Cricket World Cup Cricketers at the 2007 Cricket World Cup Cricketers at the 2011 Cricket World Cup Durham cricketers Federal Areas cricketers ICC World XI One Day International cricketers Islamabad cricketers Islamabad Leopards cricketers Khan Research Laboratories cricketers Kolkata Knight Riders cricketers Living people Pakistani autobiographers Pakistani cricketers Doping cases in Pakistani cricket Pakistan International Airlines cricketers Pakistan One Day International cricketers Pakistan Test cricketers Pakistan Twenty20 International cricketers Cricketers from Rawalpindi Punjabi people Rawalpindi cricketers Rawalpindi B cricketers Rawalpindi Rams cricketers Somerset cricketers Surrey cricketers Worcestershire cricketers Pakistani cricket commentators Pakistani expatriates in India Pakistani YouTubers Commonwealth Games competitors for Pakistan	false	[ "The Essential Toto is a greatest hits album by American rock band Toto. It was released in 2003 by Sony BMG, as part of the Essential series. Originally a single-disc compilation, a two-disc edition was released in 2004.\n\nThe single-disc compilation was re-released as Playlist: The Very Best of Toto on April 17, 2009.\n\nTrack listing\n\nSingle-disc edition\n \"Hold the Line\" – 3:56\n \"Rosanna\" – 5:30\n \"Africa\" – 4:58\n \"99\" – 5:15\n \"Make Believe\" – 3:43\n \"I'll Supply the Love\" – 3:46\n \"Georgy Porgy\" – 4:10\n \"I Won't Hold You Back\" – 4:56\n \"I'll Be Over You\" – 3:50\n \"Without Your Love\" – 4:53\n \"Pamela\" – 5:10\n \"The Turning Point\" – 5:27\n \"Mindfields\" – 6:13\n \"On the Run\" (Live) – 6:59\n\nDouble-disc re-release\n\nDisc 1\n \"Rosanna\" (single version) – 4:01\n \"Stop Loving You\" – 4:28\n \"Hold the Line\" (single version) – 3:31\n \"Caught In the Balance\" – 6:21\n \"99\" – 5:11\n \"The Other Side\" – 4:39\n \"I Won't Hold You Back\" – 4:56\n \"Africa\" (single version) – 4:21\n \"Don't Chain My Heart\" – 4:42\n \"2 Hearts\" – 5:06\n \"Waiting for Your Love\" – 4:12\n \"Make Believe\" – 3:43\n \"Goodbye Elenore\" – 4:53\n \"Home of the Brave\" – 6:45\n \"How Does It Feel\" – 3:50\n \"The Road Goes On\" – 4:24\n\nDisc 2\n \"I Will Remember\" – 4:22\n \"Georgy Porgy\" – 4:08\n \"Just Can't Get to You\" – 5:02\n \"Pamela\" (single version) – 4:30\n \"Baby He's Your Man\" – 5:40\n \"I'll Supply the Love\" – 3:45\n \"Holyanna\" – 4:15\n \"The Turning Point\" (single version) – 4:03\n \"If You Belong to Me\" – 3:58\n \"Can You Hear What I'm Saying\" – 4:58\n \"Slipped Away\" – 5:16\n \"Dave's Gone Skiing\" – 4:59\n \"Without Your Love\" (single version) – 4:29\n \"Stranger In Town\" – 4:43\n \"Till the End\" – 5:27\n \"I'll Be Over You\" – 3:48\n\nNotes and references\n\nToto (band) albums\n2003 greatest hits albums\nColumbia Records compilation albums", "Lyceum is an album by The Orchids, released on Sarah Records in 1989.\n\nIt was the first album release by the group (and also by the label) and was originally only available as an 8 track, 10\" mini-album on vinyl. As was usual for albums on Sarah Records, no singles were released from it, although the later 2005 reissue contained all the early singles.\n\nIt was reviewed in Melody Maker as \"Another fountainhead of unqualified greatness\".\n\nTrack listing\n\"It's Only Obvious\" \n\"A Place Called Home\" \n\"Caveman\" \n\"York Song\" \n\"Carrole-Anne\" \n\"Hold On\" \n\"Blue Light\" \n\"If You Can't Find Love\"\n\n2005 re-issue\n\"It's Only Obvious\"\n\"A Place Called Home\" \n\"Caveman\" \n\"York Song\" \n\"Carrole-Anne\" \n\"Hold On\" \n\"Blue Light\" \n\"If You Can't Find Love\"\n\"I've Got a Habit\" – First single on Sarah Records, 1988\n\"Apologies\" – Single B-side\n\"Give Me Some Peppermint Freedom\" - from Shadow Factory compilation, Sarah Records 1989\n\"Defy the Law \" - From \"Underneath the Window\" EP, Sarah Records 1988\n\"Underneath the Window, Underneath the Sink\" - From \"Underneath the Window\" EP\n\"Tiny Words\" - From \"Underneath the Window\" EP\n\"Walter\" - From \"Underneath the Window\" EP\n\"What Will We Do Next\" - What Will We Do Next Single A-side Sarah Records 1989\n\"As Times Goes By\" - What Will We Do Next Single B-side \n\"Yawn\" - What Will We Do Next Single B-side \n\"Ill Wind That Blows\" - 7\" A-side, Caff 1990\n\"All Those Things\" - 7\" B-side, Caff 1990\n\n1989 albums\nThe Orchids albums\nSarah Records albums" ]
[ "Shoaib Akhtar", "International career", "how did his career start?", "Akhtar's test career started rather modestly. He was first picked to play on his home ground in Rawalpindi during the 2nd Test", "What year did his career start?", "1997/98 tour of Pakistan.", "What records does he hold?", "He is also known as one of only three bowlers to have ever broken the 100 mph barrier in cricket history," ]	C_35cb609390134c1f9075c3c8f4df3cde_1	What are his stats?	4	What are Shoaib Akhtar's cricket stats?	Shoaib Akhtar	Considering his subsequent high profile in cricket, Akhtar's test career started rather modestly. He was first picked to play on his home ground in Rawalpindi during the 2nd Test of the West Indies 1997/98 tour of Pakistan. He was subsequently included in the tour of South Africa during the winter of 1998, where he played in all three tests. He was notably the spearhead of a depleted Pakistani bowling attack in the Peshawar Test against the visiting Australians later in 1998, when Mark Taylor scored his famous 334 n.o. in Australia's first innings. Subsequently, after 8 tests and 16 innings, Akhtar had accumulated only 18 wickets to his name. Akhtar's run of impressive performances started in 1999, during a pre-World Cup series against India. It was followed by outstanding bowling performances in Sharjah and later in the 1999 Cricket World Cup. His most significant performance was in India in 1999 when he captured eight wickets in the Asian Test championship match at Calcutta - including the wickets of Indian batsmen Rahul Dravid and Sachin Tendulkar when he bowled both batsmen off successive deliveries. It was the first ball he ever bowled to Tendulkar. In 2002, he was selected for the Pakistan team against Australia and achieved success. However he performed poorly during the 2003 Cricket World Cup and after the tournament he was dropped from the Pakistan squad. He was selected back into the Pakistan squad in the 2004 Test match series against New Zealand, but struggled in a losing Test series against India in 2004. The series ended with a controversy when he left the field citing an injury leading to suspicions by former Pakistan captain, Inzamam-ul-Haq, about his commitment to the team. As a result, his relationship with Inzamam-ul-Haq and former Pakistan coach Bob Woolmer deteriorated. A medical panel was set up by the Pakistan Cricket Board to investigate the nature of his injury, however Pakistan officials dispelled all suspicions. In 2005, Akhtar regained his reputation as a fast bowler for his side. Playing in a three Test home series against England, he made a series of impressive bowling performances. His effective use of slower deliveries proved to be unplayable by the English batsmen. Akhtar emerged as the highest wicket taker of the series with seventeen wickets. His comeback was also remarkable as prior to his return, he had been criticised from all corners; such as by the Worcestershire chairman John Elliot for his celebrity attitude and lack of commitment to the team. His performance was also acknowledged by the English captain Michael Vaughan, who remarked "I thought he (Shoaib) was a big difference between the two teams". He is also known as one of only three bowlers to have ever broken the 100 mph barrier in cricket history, with a delivery of 100.2 mph, during a one-day international against England in World cup 2003 CANNOTANSWER	a delivery of 100.2 mph, during a one-day international against England in World cup 2003	Shoaib Akhtar (; born 13 August 1975) is a Pakistani former cricketer and commentator. Nicknamed the "Rawalpindi Express", he was the first bowler to be recorded bowling at 100 miles per hour, a feat he achieved twice in his career. Akhtar made his Test match debut in November 1997 as an opening fast bowler and played his first One Day International three months later. He has been involved in several controversies during his career, often accused of unsportsmanlike conduct. Akhtar was sent home during a Test match series in Australia in 2005 for alleged poor attitude and a year later received a ban after testing positive for the performance-enhancing substance nandrolone. However, the ban imposed on him was lifted on appeal. In 2008, Akhtar was banned for five years for publicly criticising the Pakistan Cricket Board, although in October 2008, the Lahore High Court suspended the ban and Akhtar was selected in the 15-man squad for the Twenty20 Quadrangular Tournament in Canada. Akhtar retired from international cricket after the 2011 World Cup. Personal life Akhtar was born in the small town of Morgah in Rawalpindi, Punjab, Pakistan. His father, Mohammad Akhtar, whom Shoaib describes as very religious and “from a hardworking, economically unprivileged family of the Gujjar community”, worked as a night watchman at a petrol station belonging to the Attock oil refinery, and married his mother, Hameeda Awan, when she was still a teenager, and they had five children: four sons, Shoaib being the fourth, followed by a daughter. Shoaib's name, which in Arabic means both “the one who brings people together” and “the one who separates”, was chosen by his mother. He married Rubab Khan on 11 November 2014. Beginnings A good student, Akhtar was admitted to the Asghar Mall College, but disrupted his studies to attend trials for the PIA team's Karachi division to be held in Lahore. Lacking the money for a bus ticket, he waited for the bus to start and got onto the roof. After some struggle, starting his List A career during the 1993/1994 season and his first-class career during the 1994/1995 one, he caught the eye of Majid Khan, then the chief executive of the PCB, and after a good performance for the Pakistan A team's tour of England, in 1996, he was rewarded his maiden Test cap against the West Indies, in 1997. International career Considering his subsequent high profile in cricket, Akhtar's test career started rather modestly. He was first picked to play on his home ground in Rawalpindi during the 2nd Test of the West Indies 1997/98 tour of Pakistan. He was subsequently included in the tour of South Africa during the winter of 1998, where he played in all three Tests. He was notably the spearhead of a depleted Pakistani bowling attack in the Peshawar Test against the visiting Australians later in 1998, where Mark Taylor scored his famous unbeaten 334 in Australia's first innings. Subsequently, after 8 tests and 16 innings, Akhtar had accumulated only 18 wickets. Akhtar's run of impressive performances started in 1999, during a pre-World Cup series against India. It was followed by outstanding bowling performances in Sharjah and later in the 1999 Cricket World Cup. His most significant performance was in India in 1999 when he captured eight wickets in the Asian Test championship match at Calcutta – including the wickets of Indian batsmen Rahul Dravid and Sachin Tendulkar when he bowled both batsmen off successive deliveries. It was the first ball he ever bowled to Tendulkar. In 2002, he was selected for the Pakistan team against Australia and achieved a small amount of success. However the team performed poorly during the 2003 Cricket World Cup and after the tournament he was dropped from the Pakistan squad. He was selected back into the Pakistan squad as they had no choice in the 2003 Test match series against New Zealand, but struggled in a losing Test series against India in 2004. The series ended with a controversy when he left the field citing an injury leading to suspicions by former Pakistan captain, Inzamam-ul-Haq, about his commitment to the team. As a result, his relationship with Inzamam-ul-Haq and former Pakistan coach Bob Woolmer deteriorated. A medical panel was set up by the Pakistan Cricket Board to investigate the nature of his injury, however Pakistan officials dispelled all suspicions. In 2005, Akhtar regained his reputation as a fast bowler for his side. Playing in a three Test home series against England, he made a series of impressive bowling performances. His effective use of slower deliveries proved to be unplayable by the English batsmen. Akhtar emerged as the highest wicket taker of the series with seventeen wickets. His comeback was also remarkable as prior to his return, he had been criticised from all corners; such as by the Worcestershire chairman John Elliot for his celebrity attitude and lack of commitment to the team. His performance was also acknowledged by the English captain Michael Vaughan, who remarked "I thought he (Shoaib) was a big difference between the two teams". Throughout his career, he was regarded as one of the fastest bowlers in the history of international cricket. He achieved the record of the fastest bowl at 161 kph after the introduction of speed measuring devices at the international cricket in 1998. He is also known as one of only three bowlers to have ever broken the 100 mph barrier in cricket history, with a delivery of 100.2 mph, during a one-day international against England in World cup 2003. Struggle for form and consistent injuries (2007–2009) On 29 October 2007, Akhtar made his return to cricket from his 13 match ban and performed very well, he took 4 wickets for 43 runs against South Africa in the fifth and deciding One Day International series in Lahore in Pakistan. Subsequently, he was included in the 16-man Pakistan squad for the 2007 tour of India. Rehabilitation and final years (2010–2011) Akhtar made a return to international cricket albeit in the shorter format of the game. In May 2010, PCB named him in a list of 35 probables for the Asia Cup. On 15 June 2010, Akhtar made his return, taking 3 wickets for 28 runs in the first match of the Asia Cup against Sri Lanka. He narrowly missed out a spot in the 2010 ICC World Twenty20 in place of the injured Umar Gul. In July 2010, he was selected for the Twenty20 series against Australia but the selectors decided not to play him in the Test squad so that he would not get injured. He was subsequently selected for the ODI and Twenty20 series against England in September 2010. Akhtar returned to the national side representing the country against England in the Twenty20 International. He bowled an impressive spell and returned with figures of 2 wickets for 23 runs. He continued to bowl well in the ODI series in the absence of regular fast-bowlers, Mohammad Asif and Mohammad Amir, who were suspended by the International Cricket Council amid allegations of Spot-fixing. Despite his relatively good bowling form, Pakistani coach Waqar Younis insisted that the bowling attack must not become reliant on Akhtar, as he is 35 years of age and fitness troubles continue to affect him. Akhtar was selected for the tour of New Zealand and started his campaign off well with 3 wickets on Boxing Day in the first of two Twenty20 Internationals against New Zealand. Akhtar was selected in Pakistan's 15-man squad to play in the 2011 World Cup hosted by Bangladesh, India, and Sri Lanka in February to March. During the tournament, he announced that he would retire from international cricket at the end of the World Cup. He was dropped from the squad after group matches and was not included in the quarter final either. Domestic career England county cricket Akhtar has played for three English county cricket clubs: Somerset in 2001, Durham in 2003 and 2004 and Worcestershire in 2005. He did achieve his moments of success, such as taking 5 wickets for 35 runs for Durham against Somerset in the National League in 2003 and claiming 6 wickets for 16 runs in the same competition for Worcestershire against Gloucestershire two years later, but he suffered from fitness problems, as well as a perception that he was less than interested in his task. This was particularly the case at Worcestershire: chairman John Elliott said "Players like that are no good to our club. In fact, Akhtar has been no good for any club he's been at. He's a superstar and just does what he wants." Indian Premier League Akhtar made a successful return to cricket in his first game in the Indian Premier League, playing for the Kolkata Knight Riders against the Delhi Daredevils. Defending a low score of 133 runs, Akhtar took four top order wickets which ultimately led to the Daredevils being restricted to 110 runs. He ended with figures of 4 wickets for 11 runs from three overs, a performance which earned him the player of the match award. Akhtar denied that he had any point to prove with his performance, stating, "I just wanted to win the game." Knight Riders' captain Sourav Ganguly also acknowledged Akhtar's performance, "He came to the country with lots [of things] happening behind him...But he showed a lot of character." Cricket controversies and injuries Akhtar's career has been plagued with injuries, controversies and accusations of poor attitude. After Pakistan's poor performance in the 2003 Cricket World Cup, he got involved in a verbal conflict with former Pakistan captain and fast bowler Waqar Younis. Later on Akhtar was sacked along with other players, including Younis. In a triangular series in 2003 held in Sri Lanka, he was caught ball tampering making him the second player in cricket to be banned on ball tampering charges. The same year he was banned for one Test match and two One Day International matches for abusing South African spin bowler Paul Adams, during a match against South Africa. In the 2004 home series with India, he struggled with wrist and back injuries, which raised questions about his commitment to the team. He was sent back from the 2005 Australia tour with a hamstring injury amid rumours of indiscipline, lack of commitment and attitudinal complaints. He was subsequently fined by the Pakistan Cricket Board for avoiding a late night curfew. The rest of his cricketing career was riddled with ankle and knee injuries which forced him to undergo a surgery in February 2006, until finally he was banned for two years for allegedly using performance-enhancing drugs. Drug scandal On 16 October 2006 Akhtar was suspended by the Pakistan Cricket Board, along with Mohammed Asif after they tested positive for a performance-enhancing substance nandrolone. They were consequently pulled out from the 2006 ICC Champions Trophy. Former Pakistan Cricket Board chairman later stated that he had always suspected Akhtar of substance abuse due to his consistent "reservations" to drug tests. Former Pakistan captain Inzamam ul-Haq had also previously complained about Akhtar's drug abuse but was not reported to the Pakistan Cricket Board. Akhtar immediately declared his innocence and he declined knowingly taking any performance-enhancing drugs. In a statement issued to the press, he claimed that he could never cheat teammates or opponents. During a hearing with the Pakistan Cricket Board Anti-Doping Committee, he along with Asif maintained taking non-steroidal dietary supplements. He, however, failed to convince the committee of his innocence. In its report submitted to the Pakistan Cricket Board, the Anti-Doping Committee recommended a two-year ban. On 1 November 2006 the Pakistan Cricket Board handed down a two-year suspension to Akhtar and a one-year suspension to Asif, banning them from professional cricket during the period. Shoaib had subsequently been added to Pakistan Olympic Association list of doping offenders. However, on 5 December 2006 represented by his lawyer Abid Hassan Minto, Akhtar was cleared on appeal. On 5 December 2006 Akhtar and Asif were acquitted by the tribunal appointed to review their appeals. After a clear hearing from Akhtar's lawyer Abid Hassan Minto, the three-man committee, voted two to one in favour of the acquittal. Justice Fakhruddin Ebrahim, committee head, and Haseeb Ahsan, former Test cricketer, were in favour of the acquittal. The third member, Danish Zaheer, differed. "Exceptional circumstances" were cited including discrepancies between the instantaneous offence charges of doping that were laid and the quick delivery of a very harsh verdict. The complete drug testing procedure was concluded to have been technically flawed as it did not follow standard procedures. Other established facts by the committee included that the duo were not aware of the banned drug to be present in their supplements because the Pakistan Cricket Board itself had not informed them of the dangers of contaminated supplements. Akhtar and Asif, however, did not play in the subsequent Test match series against the West Indies because the Pakistan Cricket Board had recommended that they play domestic games first to recover form and fitness. On 1 March 2007 Akhtar and Asif were ruled out of the Pakistani squad for the 2007 Cricket World Cup by team officials, minutes before the squad was to depart for the West Indies. The team management along with the Pakistan Cricket Board said their injuries were too severe to risk taking them to the Caribbean. Since neither of the two had been declared fit they did not undergo official doping tests. World Anti-Doping Agency ( WADA) challenged Pakistan's decision to lift bans on fast bowlers Akhtar and Asif by taking the case to the Court of Arbitration for Sport in Lausanne, Switzerland. The ICC supported the WADA appeal adding that it was committed to a dope free game. On 2 July 2007, the Court of Arbitration for Sport dropped the case, ruling it had no jurisdiction to challenge the decision made by PCB. Other controversies In August 2007, Akhtar was reported to have used foul language against Pakistan Cricket Board protesting the imposing of fine of Rs. 300,000 for indiscipline during the national camp in Karachi. In the week before the inaugural World Twenty20, held in South Africa, Akhtar was rumoured to have hit Pakistani teammate Mohammad Asif with a bat after an argument in the dressing room. It started after Akhtar was ridiculed by Asif and Shahid Afridi for comparing himself with Imran Khan. After the initial inquiry, Akhtar was found to be at fault and was subsequently recalled from the Twenty20 World Cup squad and was sent home. He was also banned for 5 matches by the Pakistan Cricket Board. Akhtar later claimed that Afridi was responsible for the fight, saying "He made some ill remarks about my family. And I could not tolerate them." Afridi however, denied these allegations adding that Asif would have suffered more injuries but for his intervention. Even Asif chipped in saying that Akhtar was lying and that "Shahid Afridi had nothing to do with the fight", saying that "he has not apologised to me." On 1 April 2008 Akhtar was banned for five years for violating the players' code of conduct. The ban extended to all cricket for and in Pakistan. Despite the ban not preventing him from playing in the Indian Premier League, the IPL governing council decided not to allow Akhtar to play in the tournament until the end of the ban or unless it is lifted. IS Bindra, a member of the council, was quoted as saying, "Even though they [the PCB] have cleared him to play for IPL, we felt that international discipline needs to be respected." Meanwhile, Akhtar vowed to go to great lengths to fight the ban, "I will appeal, as is my right. If that fails I will go to court, if that fails then I will go to the Supreme Court." On 3 April, Pakistan Cricket Board chairman Nasim Ashraf served a legal notice on Akhtar, calling on him to retract statements he made to a news channel, alleging the ban was punishment in return for refusing to give the chairman a share of his earnings from the Indian Premier League, Ashraf also sought damages of Rs 100 million (approximately US$1.6 million) for "defaming him personally" and an additional Rs 100 million to the Pakistan Cricket Board for "sullying the name of the Pakistan Cricket Board and the Pakistan Cricket team." A three-man appellate tribunal announced on 30 April that they had temporarily upheld Akhtar's five-year ban, deciding to revist the appeal hearing in June. Despite Akhtar's later retracting his claims and also issuing an unconditional apology for "any grief or embarrassment that may have been caused to the nation, particularly to the Pakistan Cricket Board chairman Dr Nasim Ashraf", Ashraf's legal counsel filed a Rs 220 million (approx US$3.37 million) defamation suit against Akhtar in a civil court in Lahore on 2 May. On 4 May, the Pakistan Cricket Board's appellate tribunal suspended the five-year ban for one month, until they reconvene on 4 June, allowing Akhtar to take part in the ongoing Indian Premier League. A day later, the Pakistan Cricket Board announced that they will no longer pursue the defamation suit following a reconciliation between Akhtar and chairman Nasim Ashraf at the house of Rehman Malik, a key political official, in Islamabad. "My honour has been vindicated and now the defamation lawsuit will not be pursued," Ashraf was quoted as saying. On 4 September 2008, Akhtar was sent back home from Heathrow airport by British immigration officials on visa grounds; Akhtar only had a visit visa but not a working visa, which is required to play in county cricket. He subsequently obtained the necessary visa and returned to play with English county club Surrey. On 21 May 2009, Akhtar was dropped from 2009 ICC World Twenty20 Pakistan squad because of genital viral warts. In July 2012, Akhtar accused the PCB stating that there was too much "politics" in the Board and some of its officials did not want Pakistani team to win. Beyond cricket Book In September 2011, few months after his retirement from international cricket, he released his autobiography Controversially Yours, co-written with Indian social anthropologist and journalist Anshu Dogra. It was met with positive reviews, observers noting the interest of having Shoaib's comments, nearly always critical, on issues pertaining to the administration of cricket in Pakistan, the controversies surrounding ball tampering and his views on cricketers, from Pakistan as well outside. Television References External links 1975 births ACC Asian XI One Day International cricketers Zarai Taraqiati Bank Limited cricketers Chittagong Division cricketers Cricketers at the 1998 Commonwealth Games Cricketers at the 1999 Cricket World Cup Cricketers at the 2003 Cricket World Cup Cricketers at the 2007 Cricket World Cup Cricketers at the 2011 Cricket World Cup Durham cricketers Federal Areas cricketers ICC World XI One Day International cricketers Islamabad cricketers Islamabad Leopards cricketers Khan Research Laboratories cricketers Kolkata Knight Riders cricketers Living people Pakistani autobiographers Pakistani cricketers Doping cases in Pakistani cricket Pakistan International Airlines cricketers Pakistan One Day International cricketers Pakistan Test cricketers Pakistan Twenty20 International cricketers Cricketers from Rawalpindi Punjabi people Rawalpindi cricketers Rawalpindi B cricketers Rawalpindi Rams cricketers Somerset cricketers Surrey cricketers Worcestershire cricketers Pakistani cricket commentators Pakistani expatriates in India Pakistani YouTubers Commonwealth Games competitors for Pakistan	false	[ "Greek Basketball Championship career statistical leaders are the all-time stats leaders of the top-tier level Greek Basketball Championship, since the league first formed its A National Category, starting with the 1963–64 season. The all-time stats leaders are divided into separate categories, based on total stats counted since the A National Category of the league was first formed, beginning with the 1963–64 season, total stats counted since the A1 National Category was first formed, beginning with the 1986–87 season, and total stats counted since the 1992–93 season, when the league first became recognized by FIBA as a fully and entirely 100% professional league of basketball.\n\nCareer stats for the Greek Basket League's history are only officially counted since the 1992–93 season (the professional era of the competition).\n\nA National Category all-time stats leaders since the 1963–64 season\n\n This counts all the stats since the Alpha (A) National Category was formed, starting with the 1963–64 season.\n Counting only games played in the A Division, and not counting any games played in the A2 Division or the Greek Cup:\n 1963–64 to 1985–86: A National Category\n 1986–87 to 1991–92: A1 National Category\n 1992–93 to 2009–10: HEBA A1\n 2010–11 to present: Greek Basket League\n\nPoints Scored\n\nMost points scored in one game\n\nHead coaches with the most games coached in the A National Category since the 1963–64 season\n(through 2019–20 season):\n Denotes active head coaches:\n\nA1 National Category all-time cumulative stats leaders since the 1986–87 season\n\n This counts only the stats since the two divisions were formed, starting with the 1986–87 season.\n Counting only games played in the A1 Division, and not counting any games played in the A2 Division or the Greek Cup:\n 1986–87 to 1991–92: A1 National Category\n 1992–93 to 2009–10: HEBA A1\n 2010–11 to present: Greek Basket League\n Currently Active Players in the A1 Division (Greek Basket League)\nLast update: (through 2019–20 season)\n\nGames Played\n\nPoints Scored\n\nTotal Rebounds\n\nAssists\n\nSteals\n\nBlocks\n\n3 pointers made\n\nInternational players with the most games played since the 1986–87 season\nA1 National Category all-time cumulative stats leaders.\n\nSome players also have dual nationality, which is noted in those cases.\nLast update: (through 2019–20 season)\n\nTop scoring international players since the 1986–87 season\nA1 National Category all-time cumulative stats leaders.\n\nSome players also have dual nationality, which is noted in those cases.\nLast update: (through 2019–20 season)\n\nHEBA professional era all-time cumulative stats leaders since the 1992–93 season\n\nReferences\n\nExternal links\nOfficial HEBA Site \nGreek Basket League Official English Site \nInsports.gr Greek League First Scorers In Points \nSport24.gr Greek League Season By Season Best Performers \nEurobasket.com Greek A1 League By Season\nGalanis Sports Data\n\nstatistical leaders\nBasketball statistics", "Greek Basket League individual statistics are the season by season stats leaders of the top-tier level Greek Basket League, since the league first formed its A National Category, starting with the 1963–64 season. The season by season stats leaders in each statistical category are listed by the number of total accumulated stats in a given season, rather than by per game average, and include both the regular season and playoffs, as that is how the league counts its season by season stats leaders.\n\nTop Scorers (since the 1963–64 season)\n\nThe Greek Basket League counts official stats leaders by stats totals, and not by per game averages. It also counts the total stats for both regular season and playoffs combined. The league first held a playoffs round in the 1986–87 season.\n\nThis list includes all of the top scorers of each season of the Greek Basket League, since the league first formed the A National Category, starting with the 1963–64 season.\n\nPerformance Index Rating leaders (since the 1993–94 season)\n\nThe Greek Basket League counts official stats leaders by stats totals, and not by per game averages. It also counts the total stats for both regular season and playoffs combined. The league first held a playoffs round in the 1986–87 season.\n\nThis list includes all of the leaders in Performance Index Rating (PIR) of each season of the Greek Basket League, starting with the 1993–94 season.\n\nIn the 2014–15 and 2015–16 seasons, the Greek Basket League's regular season PIR leader was considered to be an unofficial statistical \"MVP award\", that was based solely on this statistic. This is not to be confused with the official Greek Basket League MVP award, which is an award that is based on a voting process, and that is awarded at the end of each season's playoffs.\n\nRebounding leaders (since the 1986–87 season)\nThe Greek Basket League counts official stats leaders by stats totals, and not by per game averages. It also counts the total stats for both regular season and playoffs combined. The league first held a playoffs round in the 1986–87 season.\n\nThis list includes all of the top rebounders of each season of the Greek Basket League, since the league first formed the A1 National Category, starting with the 1986–87 season.\n\nAssists leaders (since the 1988–89 season)\n\nThe Greek Basket League counts official stats leaders by stats totals, and not by per game averages. It also counts the total stats for both regular season and playoffs combined. The league first held a playoffs round in the 1986–87 season.\n\nThis list includes all of the assists leaders of each season of the Greek Basket League, since the league first formed the A1 National Category, starting with the 1988–89 season.\n\nReferences\n\nExternal links\nOfficial HEBA Site \nGreek Basket League Official English Site \nInsports.gr Greek League First Scorers In Points \nSport24.gr Greek League Season By Season Best Performers \nEurobasket.com Greek A1 League By Season\nGalanis Sports Data\n\nstatistical leaders\nBasketball statistics\n\nel:Πρώτοι σκόρερ Α' και Α1 εθνικής κατηγορίας καλαθοσφαίρισης ανδρών" ]
[ "Shoaib Akhtar", "International career", "how did his career start?", "Akhtar's test career started rather modestly. He was first picked to play on his home ground in Rawalpindi during the 2nd Test", "What year did his career start?", "1997/98 tour of Pakistan.", "What records does he hold?", "He is also known as one of only three bowlers to have ever broken the 100 mph barrier in cricket history,", "What are his stats?", "a delivery of 100.2 mph, during a one-day international against England in World cup 2003" ]	C_35cb609390134c1f9075c3c8f4df3cde_1	Did he play in other tournaments aside from the world cup?	5	Did Shoaib Akhtar play in other tournaments aside from the world cup?	Shoaib Akhtar	Considering his subsequent high profile in cricket, Akhtar's test career started rather modestly. He was first picked to play on his home ground in Rawalpindi during the 2nd Test of the West Indies 1997/98 tour of Pakistan. He was subsequently included in the tour of South Africa during the winter of 1998, where he played in all three tests. He was notably the spearhead of a depleted Pakistani bowling attack in the Peshawar Test against the visiting Australians later in 1998, when Mark Taylor scored his famous 334 n.o. in Australia's first innings. Subsequently, after 8 tests and 16 innings, Akhtar had accumulated only 18 wickets to his name. Akhtar's run of impressive performances started in 1999, during a pre-World Cup series against India. It was followed by outstanding bowling performances in Sharjah and later in the 1999 Cricket World Cup. His most significant performance was in India in 1999 when he captured eight wickets in the Asian Test championship match at Calcutta - including the wickets of Indian batsmen Rahul Dravid and Sachin Tendulkar when he bowled both batsmen off successive deliveries. It was the first ball he ever bowled to Tendulkar. In 2002, he was selected for the Pakistan team against Australia and achieved success. However he performed poorly during the 2003 Cricket World Cup and after the tournament he was dropped from the Pakistan squad. He was selected back into the Pakistan squad in the 2004 Test match series against New Zealand, but struggled in a losing Test series against India in 2004. The series ended with a controversy when he left the field citing an injury leading to suspicions by former Pakistan captain, Inzamam-ul-Haq, about his commitment to the team. As a result, his relationship with Inzamam-ul-Haq and former Pakistan coach Bob Woolmer deteriorated. A medical panel was set up by the Pakistan Cricket Board to investigate the nature of his injury, however Pakistan officials dispelled all suspicions. In 2005, Akhtar regained his reputation as a fast bowler for his side. Playing in a three Test home series against England, he made a series of impressive bowling performances. His effective use of slower deliveries proved to be unplayable by the English batsmen. Akhtar emerged as the highest wicket taker of the series with seventeen wickets. His comeback was also remarkable as prior to his return, he had been criticised from all corners; such as by the Worcestershire chairman John Elliot for his celebrity attitude and lack of commitment to the team. His performance was also acknowledged by the English captain Michael Vaughan, who remarked "I thought he (Shoaib) was a big difference between the two teams". He is also known as one of only three bowlers to have ever broken the 100 mph barrier in cricket history, with a delivery of 100.2 mph, during a one-day international against England in World cup 2003 CANNOTANSWER	In 2002, he was selected for the Pakistan team against Australia and achieved success.	Shoaib Akhtar (; born 13 August 1975) is a Pakistani former cricketer and commentator. Nicknamed the "Rawalpindi Express", he was the first bowler to be recorded bowling at 100 miles per hour, a feat he achieved twice in his career. Akhtar made his Test match debut in November 1997 as an opening fast bowler and played his first One Day International three months later. He has been involved in several controversies during his career, often accused of unsportsmanlike conduct. Akhtar was sent home during a Test match series in Australia in 2005 for alleged poor attitude and a year later received a ban after testing positive for the performance-enhancing substance nandrolone. However, the ban imposed on him was lifted on appeal. In 2008, Akhtar was banned for five years for publicly criticising the Pakistan Cricket Board, although in October 2008, the Lahore High Court suspended the ban and Akhtar was selected in the 15-man squad for the Twenty20 Quadrangular Tournament in Canada. Akhtar retired from international cricket after the 2011 World Cup. Personal life Akhtar was born in the small town of Morgah in Rawalpindi, Punjab, Pakistan. His father, Mohammad Akhtar, whom Shoaib describes as very religious and “from a hardworking, economically unprivileged family of the Gujjar community”, worked as a night watchman at a petrol station belonging to the Attock oil refinery, and married his mother, Hameeda Awan, when she was still a teenager, and they had five children: four sons, Shoaib being the fourth, followed by a daughter. Shoaib's name, which in Arabic means both “the one who brings people together” and “the one who separates”, was chosen by his mother. He married Rubab Khan on 11 November 2014. Beginnings A good student, Akhtar was admitted to the Asghar Mall College, but disrupted his studies to attend trials for the PIA team's Karachi division to be held in Lahore. Lacking the money for a bus ticket, he waited for the bus to start and got onto the roof. After some struggle, starting his List A career during the 1993/1994 season and his first-class career during the 1994/1995 one, he caught the eye of Majid Khan, then the chief executive of the PCB, and after a good performance for the Pakistan A team's tour of England, in 1996, he was rewarded his maiden Test cap against the West Indies, in 1997. International career Considering his subsequent high profile in cricket, Akhtar's test career started rather modestly. He was first picked to play on his home ground in Rawalpindi during the 2nd Test of the West Indies 1997/98 tour of Pakistan. He was subsequently included in the tour of South Africa during the winter of 1998, where he played in all three Tests. He was notably the spearhead of a depleted Pakistani bowling attack in the Peshawar Test against the visiting Australians later in 1998, where Mark Taylor scored his famous unbeaten 334 in Australia's first innings. Subsequently, after 8 tests and 16 innings, Akhtar had accumulated only 18 wickets. Akhtar's run of impressive performances started in 1999, during a pre-World Cup series against India. It was followed by outstanding bowling performances in Sharjah and later in the 1999 Cricket World Cup. His most significant performance was in India in 1999 when he captured eight wickets in the Asian Test championship match at Calcutta – including the wickets of Indian batsmen Rahul Dravid and Sachin Tendulkar when he bowled both batsmen off successive deliveries. It was the first ball he ever bowled to Tendulkar. In 2002, he was selected for the Pakistan team against Australia and achieved a small amount of success. However the team performed poorly during the 2003 Cricket World Cup and after the tournament he was dropped from the Pakistan squad. He was selected back into the Pakistan squad as they had no choice in the 2003 Test match series against New Zealand, but struggled in a losing Test series against India in 2004. The series ended with a controversy when he left the field citing an injury leading to suspicions by former Pakistan captain, Inzamam-ul-Haq, about his commitment to the team. As a result, his relationship with Inzamam-ul-Haq and former Pakistan coach Bob Woolmer deteriorated. A medical panel was set up by the Pakistan Cricket Board to investigate the nature of his injury, however Pakistan officials dispelled all suspicions. In 2005, Akhtar regained his reputation as a fast bowler for his side. Playing in a three Test home series against England, he made a series of impressive bowling performances. His effective use of slower deliveries proved to be unplayable by the English batsmen. Akhtar emerged as the highest wicket taker of the series with seventeen wickets. His comeback was also remarkable as prior to his return, he had been criticised from all corners; such as by the Worcestershire chairman John Elliot for his celebrity attitude and lack of commitment to the team. His performance was also acknowledged by the English captain Michael Vaughan, who remarked "I thought he (Shoaib) was a big difference between the two teams". Throughout his career, he was regarded as one of the fastest bowlers in the history of international cricket. He achieved the record of the fastest bowl at 161 kph after the introduction of speed measuring devices at the international cricket in 1998. He is also known as one of only three bowlers to have ever broken the 100 mph barrier in cricket history, with a delivery of 100.2 mph, during a one-day international against England in World cup 2003. Struggle for form and consistent injuries (2007–2009) On 29 October 2007, Akhtar made his return to cricket from his 13 match ban and performed very well, he took 4 wickets for 43 runs against South Africa in the fifth and deciding One Day International series in Lahore in Pakistan. Subsequently, he was included in the 16-man Pakistan squad for the 2007 tour of India. Rehabilitation and final years (2010–2011) Akhtar made a return to international cricket albeit in the shorter format of the game. In May 2010, PCB named him in a list of 35 probables for the Asia Cup. On 15 June 2010, Akhtar made his return, taking 3 wickets for 28 runs in the first match of the Asia Cup against Sri Lanka. He narrowly missed out a spot in the 2010 ICC World Twenty20 in place of the injured Umar Gul. In July 2010, he was selected for the Twenty20 series against Australia but the selectors decided not to play him in the Test squad so that he would not get injured. He was subsequently selected for the ODI and Twenty20 series against England in September 2010. Akhtar returned to the national side representing the country against England in the Twenty20 International. He bowled an impressive spell and returned with figures of 2 wickets for 23 runs. He continued to bowl well in the ODI series in the absence of regular fast-bowlers, Mohammad Asif and Mohammad Amir, who were suspended by the International Cricket Council amid allegations of Spot-fixing. Despite his relatively good bowling form, Pakistani coach Waqar Younis insisted that the bowling attack must not become reliant on Akhtar, as he is 35 years of age and fitness troubles continue to affect him. Akhtar was selected for the tour of New Zealand and started his campaign off well with 3 wickets on Boxing Day in the first of two Twenty20 Internationals against New Zealand. Akhtar was selected in Pakistan's 15-man squad to play in the 2011 World Cup hosted by Bangladesh, India, and Sri Lanka in February to March. During the tournament, he announced that he would retire from international cricket at the end of the World Cup. He was dropped from the squad after group matches and was not included in the quarter final either. Domestic career England county cricket Akhtar has played for three English county cricket clubs: Somerset in 2001, Durham in 2003 and 2004 and Worcestershire in 2005. He did achieve his moments of success, such as taking 5 wickets for 35 runs for Durham against Somerset in the National League in 2003 and claiming 6 wickets for 16 runs in the same competition for Worcestershire against Gloucestershire two years later, but he suffered from fitness problems, as well as a perception that he was less than interested in his task. This was particularly the case at Worcestershire: chairman John Elliott said "Players like that are no good to our club. In fact, Akhtar has been no good for any club he's been at. He's a superstar and just does what he wants." Indian Premier League Akhtar made a successful return to cricket in his first game in the Indian Premier League, playing for the Kolkata Knight Riders against the Delhi Daredevils. Defending a low score of 133 runs, Akhtar took four top order wickets which ultimately led to the Daredevils being restricted to 110 runs. He ended with figures of 4 wickets for 11 runs from three overs, a performance which earned him the player of the match award. Akhtar denied that he had any point to prove with his performance, stating, "I just wanted to win the game." Knight Riders' captain Sourav Ganguly also acknowledged Akhtar's performance, "He came to the country with lots [of things] happening behind him...But he showed a lot of character." Cricket controversies and injuries Akhtar's career has been plagued with injuries, controversies and accusations of poor attitude. After Pakistan's poor performance in the 2003 Cricket World Cup, he got involved in a verbal conflict with former Pakistan captain and fast bowler Waqar Younis. Later on Akhtar was sacked along with other players, including Younis. In a triangular series in 2003 held in Sri Lanka, he was caught ball tampering making him the second player in cricket to be banned on ball tampering charges. The same year he was banned for one Test match and two One Day International matches for abusing South African spin bowler Paul Adams, during a match against South Africa. In the 2004 home series with India, he struggled with wrist and back injuries, which raised questions about his commitment to the team. He was sent back from the 2005 Australia tour with a hamstring injury amid rumours of indiscipline, lack of commitment and attitudinal complaints. He was subsequently fined by the Pakistan Cricket Board for avoiding a late night curfew. The rest of his cricketing career was riddled with ankle and knee injuries which forced him to undergo a surgery in February 2006, until finally he was banned for two years for allegedly using performance-enhancing drugs. Drug scandal On 16 October 2006 Akhtar was suspended by the Pakistan Cricket Board, along with Mohammed Asif after they tested positive for a performance-enhancing substance nandrolone. They were consequently pulled out from the 2006 ICC Champions Trophy. Former Pakistan Cricket Board chairman later stated that he had always suspected Akhtar of substance abuse due to his consistent "reservations" to drug tests. Former Pakistan captain Inzamam ul-Haq had also previously complained about Akhtar's drug abuse but was not reported to the Pakistan Cricket Board. Akhtar immediately declared his innocence and he declined knowingly taking any performance-enhancing drugs. In a statement issued to the press, he claimed that he could never cheat teammates or opponents. During a hearing with the Pakistan Cricket Board Anti-Doping Committee, he along with Asif maintained taking non-steroidal dietary supplements. He, however, failed to convince the committee of his innocence. In its report submitted to the Pakistan Cricket Board, the Anti-Doping Committee recommended a two-year ban. On 1 November 2006 the Pakistan Cricket Board handed down a two-year suspension to Akhtar and a one-year suspension to Asif, banning them from professional cricket during the period. Shoaib had subsequently been added to Pakistan Olympic Association list of doping offenders. However, on 5 December 2006 represented by his lawyer Abid Hassan Minto, Akhtar was cleared on appeal. On 5 December 2006 Akhtar and Asif were acquitted by the tribunal appointed to review their appeals. After a clear hearing from Akhtar's lawyer Abid Hassan Minto, the three-man committee, voted two to one in favour of the acquittal. Justice Fakhruddin Ebrahim, committee head, and Haseeb Ahsan, former Test cricketer, were in favour of the acquittal. The third member, Danish Zaheer, differed. "Exceptional circumstances" were cited including discrepancies between the instantaneous offence charges of doping that were laid and the quick delivery of a very harsh verdict. The complete drug testing procedure was concluded to have been technically flawed as it did not follow standard procedures. Other established facts by the committee included that the duo were not aware of the banned drug to be present in their supplements because the Pakistan Cricket Board itself had not informed them of the dangers of contaminated supplements. Akhtar and Asif, however, did not play in the subsequent Test match series against the West Indies because the Pakistan Cricket Board had recommended that they play domestic games first to recover form and fitness. On 1 March 2007 Akhtar and Asif were ruled out of the Pakistani squad for the 2007 Cricket World Cup by team officials, minutes before the squad was to depart for the West Indies. The team management along with the Pakistan Cricket Board said their injuries were too severe to risk taking them to the Caribbean. Since neither of the two had been declared fit they did not undergo official doping tests. World Anti-Doping Agency ( WADA) challenged Pakistan's decision to lift bans on fast bowlers Akhtar and Asif by taking the case to the Court of Arbitration for Sport in Lausanne, Switzerland. The ICC supported the WADA appeal adding that it was committed to a dope free game. On 2 July 2007, the Court of Arbitration for Sport dropped the case, ruling it had no jurisdiction to challenge the decision made by PCB. Other controversies In August 2007, Akhtar was reported to have used foul language against Pakistan Cricket Board protesting the imposing of fine of Rs. 300,000 for indiscipline during the national camp in Karachi. In the week before the inaugural World Twenty20, held in South Africa, Akhtar was rumoured to have hit Pakistani teammate Mohammad Asif with a bat after an argument in the dressing room. It started after Akhtar was ridiculed by Asif and Shahid Afridi for comparing himself with Imran Khan. After the initial inquiry, Akhtar was found to be at fault and was subsequently recalled from the Twenty20 World Cup squad and was sent home. He was also banned for 5 matches by the Pakistan Cricket Board. Akhtar later claimed that Afridi was responsible for the fight, saying "He made some ill remarks about my family. And I could not tolerate them." Afridi however, denied these allegations adding that Asif would have suffered more injuries but for his intervention. Even Asif chipped in saying that Akhtar was lying and that "Shahid Afridi had nothing to do with the fight", saying that "he has not apologised to me." On 1 April 2008 Akhtar was banned for five years for violating the players' code of conduct. The ban extended to all cricket for and in Pakistan. Despite the ban not preventing him from playing in the Indian Premier League, the IPL governing council decided not to allow Akhtar to play in the tournament until the end of the ban or unless it is lifted. IS Bindra, a member of the council, was quoted as saying, "Even though they [the PCB] have cleared him to play for IPL, we felt that international discipline needs to be respected." Meanwhile, Akhtar vowed to go to great lengths to fight the ban, "I will appeal, as is my right. If that fails I will go to court, if that fails then I will go to the Supreme Court." On 3 April, Pakistan Cricket Board chairman Nasim Ashraf served a legal notice on Akhtar, calling on him to retract statements he made to a news channel, alleging the ban was punishment in return for refusing to give the chairman a share of his earnings from the Indian Premier League, Ashraf also sought damages of Rs 100 million (approximately US$1.6 million) for "defaming him personally" and an additional Rs 100 million to the Pakistan Cricket Board for "sullying the name of the Pakistan Cricket Board and the Pakistan Cricket team." A three-man appellate tribunal announced on 30 April that they had temporarily upheld Akhtar's five-year ban, deciding to revist the appeal hearing in June. Despite Akhtar's later retracting his claims and also issuing an unconditional apology for "any grief or embarrassment that may have been caused to the nation, particularly to the Pakistan Cricket Board chairman Dr Nasim Ashraf", Ashraf's legal counsel filed a Rs 220 million (approx US$3.37 million) defamation suit against Akhtar in a civil court in Lahore on 2 May. On 4 May, the Pakistan Cricket Board's appellate tribunal suspended the five-year ban for one month, until they reconvene on 4 June, allowing Akhtar to take part in the ongoing Indian Premier League. A day later, the Pakistan Cricket Board announced that they will no longer pursue the defamation suit following a reconciliation between Akhtar and chairman Nasim Ashraf at the house of Rehman Malik, a key political official, in Islamabad. "My honour has been vindicated and now the defamation lawsuit will not be pursued," Ashraf was quoted as saying. On 4 September 2008, Akhtar was sent back home from Heathrow airport by British immigration officials on visa grounds; Akhtar only had a visit visa but not a working visa, which is required to play in county cricket. He subsequently obtained the necessary visa and returned to play with English county club Surrey. On 21 May 2009, Akhtar was dropped from 2009 ICC World Twenty20 Pakistan squad because of genital viral warts. In July 2012, Akhtar accused the PCB stating that there was too much "politics" in the Board and some of its officials did not want Pakistani team to win. Beyond cricket Book In September 2011, few months after his retirement from international cricket, he released his autobiography Controversially Yours, co-written with Indian social anthropologist and journalist Anshu Dogra. It was met with positive reviews, observers noting the interest of having Shoaib's comments, nearly always critical, on issues pertaining to the administration of cricket in Pakistan, the controversies surrounding ball tampering and his views on cricketers, from Pakistan as well outside. Television References External links 1975 births ACC Asian XI One Day International cricketers Zarai Taraqiati Bank Limited cricketers Chittagong Division cricketers Cricketers at the 1998 Commonwealth Games Cricketers at the 1999 Cricket World Cup Cricketers at the 2003 Cricket World Cup Cricketers at the 2007 Cricket World Cup Cricketers at the 2011 Cricket World Cup Durham cricketers Federal Areas cricketers ICC World XI One Day International cricketers Islamabad cricketers Islamabad Leopards cricketers Khan Research Laboratories cricketers Kolkata Knight Riders cricketers Living people Pakistani autobiographers Pakistani cricketers Doping cases in Pakistani cricket Pakistan International Airlines cricketers Pakistan One Day International cricketers Pakistan Test cricketers Pakistan Twenty20 International cricketers Cricketers from Rawalpindi Punjabi people Rawalpindi cricketers Rawalpindi B cricketers Rawalpindi Rams cricketers Somerset cricketers Surrey cricketers Worcestershire cricketers Pakistani cricket commentators Pakistani expatriates in India Pakistani YouTubers Commonwealth Games competitors for Pakistan	false	[ "The 1989 Sudirman Cup was the first tournament of the World Mixed Team Badminton Championships, the Sudirman Cup. It was held from May 24 to May 29, 1989, in Central Jakarta, Indonesia.\n\nTeams\n28 teams around the world took part in this tournament. Geographically, they were 13 from Europe, 10 teams from Asia, two from Americas, two from Oceania and one from Africa. India and Pakistan entered the competition but ultimately did not participate.\n\nResults\n\nGroup 1\n\nSubgroup A\n\nSubroup B\n\nRelegation play-off\n\nSemi Finals\n\nFinal\n\nGroup 2\n\nGroup 3\n\nGroup 4\n\nGroup 5\n\nGroup 6\n\nGroup 7\n\nFinal classification\n\nReferences\n\nSudirman Cup\nSudirman Cup\nSudirman Cup\nSudirman Cup\nBadminton tournaments in Indonesia", "The 2023 Cricket World Cup Qualification process is the edition of Cricket World Cup qualification for the 2023 Cricket World Cup and the introduction of a new qualification process. A series of cricket competitions will determine which countries will take part in the 2023 Cricket World Cup. In total, 32 countries are taking part in the qualification process, from which 10 will qualify for the World Cup.\n\nThe 32 teams are divided into three leagues—Super League (13 teams), League 2 (7 teams) and Challenge League (12 teams). Based on the results of the leagues, teams either directly qualify for the World Cup, are eliminated from World Cup qualification, or advance to other supplementary qualifying tournaments through which they can qualify for the World Cup. The supplementary qualifying tournaments also determine the promotion and relegation between the leagues. As it was the first use of the new process, teams were allocated to the three leagues based on their ICC member status, ODI status and rank from the 2017–2019 ICC World Cricket League.\n\nOverview\n\nAs with the previous edition, the 2023 World Cup will feature ten teams. The main route for qualification is the 2020–23 Super League tournament. From the thirteen competitors in this tournament, the top seven sides plus the hosts (India) will qualify for the World Cup. The remaining five teams, along with five Associate sides, will proceed to the 2023 Qualifier, from which two teams will go through to the final tournament.\n\nTeams were eliminated from World Cup qualification as follows.\n\nQualifying leagues\n\nSuper League\n\nLeague 2\n\nThe outcomes from this tournament are as follows:\n\nChallenge League\n\nThe outcomes from this tournament are as follows:\n\nLeague A\n\nLeague B\n\nSupplementary qualifying tournaments\n\nQualifier Play-off\n\nSix teams will take part in the Qualifier Play-off: the bottom four teams from the League 2 along with the top teams in Groups A and B of the Challenge League. The top two teams from this tournament will progress to the Qualifier.\n\nTeams qualified for this tournament as follows:\n\nThe outcomes from this tournament are as follows:\n\nQualifier\n\nThe Qualifier will feature ten teams in total: the bottom five teams from the Super League not including World Cup hosts India; the top three teams from the League 2, and the top two teams from the Qualifier Play-off. The top two teams from this tournament will qualify for the World Cup.\n\nTeams qualified for this tournament as follows:\n\nThe outcomes from this tournament are as follows:\n\nSee also\n2023 ICC Cricket World Cup Challenge Play-off\n\nReferences\n\nOne Day International cricket competitions\nWorld Cup Qualification\nWorld Cup Qualification\nWorld Cup Qualification\nWorld Cup Qualification\nQualification for cricket competitions" ]
[ "Shoaib Akhtar", "International career", "how did his career start?", "Akhtar's test career started rather modestly. He was first picked to play on his home ground in Rawalpindi during the 2nd Test", "What year did his career start?", "1997/98 tour of Pakistan.", "What records does he hold?", "He is also known as one of only three bowlers to have ever broken the 100 mph barrier in cricket history,", "What are his stats?", "a delivery of 100.2 mph, during a one-day international against England in World cup 2003", "Did he play in other tournaments aside from the world cup?", "In 2002, he was selected for the Pakistan team against Australia and achieved success." ]	C_35cb609390134c1f9075c3c8f4df3cde_1	Did he have any other impressive games?	6	Did Shoaib Akhtar have any other impressive games besides the World Cup?	Shoaib Akhtar	Considering his subsequent high profile in cricket, Akhtar's test career started rather modestly. He was first picked to play on his home ground in Rawalpindi during the 2nd Test of the West Indies 1997/98 tour of Pakistan. He was subsequently included in the tour of South Africa during the winter of 1998, where he played in all three tests. He was notably the spearhead of a depleted Pakistani bowling attack in the Peshawar Test against the visiting Australians later in 1998, when Mark Taylor scored his famous 334 n.o. in Australia's first innings. Subsequently, after 8 tests and 16 innings, Akhtar had accumulated only 18 wickets to his name. Akhtar's run of impressive performances started in 1999, during a pre-World Cup series against India. It was followed by outstanding bowling performances in Sharjah and later in the 1999 Cricket World Cup. His most significant performance was in India in 1999 when he captured eight wickets in the Asian Test championship match at Calcutta - including the wickets of Indian batsmen Rahul Dravid and Sachin Tendulkar when he bowled both batsmen off successive deliveries. It was the first ball he ever bowled to Tendulkar. In 2002, he was selected for the Pakistan team against Australia and achieved success. However he performed poorly during the 2003 Cricket World Cup and after the tournament he was dropped from the Pakistan squad. He was selected back into the Pakistan squad in the 2004 Test match series against New Zealand, but struggled in a losing Test series against India in 2004. The series ended with a controversy when he left the field citing an injury leading to suspicions by former Pakistan captain, Inzamam-ul-Haq, about his commitment to the team. As a result, his relationship with Inzamam-ul-Haq and former Pakistan coach Bob Woolmer deteriorated. A medical panel was set up by the Pakistan Cricket Board to investigate the nature of his injury, however Pakistan officials dispelled all suspicions. In 2005, Akhtar regained his reputation as a fast bowler for his side. Playing in a three Test home series against England, he made a series of impressive bowling performances. His effective use of slower deliveries proved to be unplayable by the English batsmen. Akhtar emerged as the highest wicket taker of the series with seventeen wickets. His comeback was also remarkable as prior to his return, he had been criticised from all corners; such as by the Worcestershire chairman John Elliot for his celebrity attitude and lack of commitment to the team. His performance was also acknowledged by the English captain Michael Vaughan, who remarked "I thought he (Shoaib) was a big difference between the two teams". He is also known as one of only three bowlers to have ever broken the 100 mph barrier in cricket history, with a delivery of 100.2 mph, during a one-day international against England in World cup 2003 CANNOTANSWER	In 2005, Akhtar regained his reputation as a fast bowler for his side. Playing in a three Test home series against England,	Shoaib Akhtar (; born 13 August 1975) is a Pakistani former cricketer and commentator. Nicknamed the "Rawalpindi Express", he was the first bowler to be recorded bowling at 100 miles per hour, a feat he achieved twice in his career. Akhtar made his Test match debut in November 1997 as an opening fast bowler and played his first One Day International three months later. He has been involved in several controversies during his career, often accused of unsportsmanlike conduct. Akhtar was sent home during a Test match series in Australia in 2005 for alleged poor attitude and a year later received a ban after testing positive for the performance-enhancing substance nandrolone. However, the ban imposed on him was lifted on appeal. In 2008, Akhtar was banned for five years for publicly criticising the Pakistan Cricket Board, although in October 2008, the Lahore High Court suspended the ban and Akhtar was selected in the 15-man squad for the Twenty20 Quadrangular Tournament in Canada. Akhtar retired from international cricket after the 2011 World Cup. Personal life Akhtar was born in the small town of Morgah in Rawalpindi, Punjab, Pakistan. His father, Mohammad Akhtar, whom Shoaib describes as very religious and “from a hardworking, economically unprivileged family of the Gujjar community”, worked as a night watchman at a petrol station belonging to the Attock oil refinery, and married his mother, Hameeda Awan, when she was still a teenager, and they had five children: four sons, Shoaib being the fourth, followed by a daughter. Shoaib's name, which in Arabic means both “the one who brings people together” and “the one who separates”, was chosen by his mother. He married Rubab Khan on 11 November 2014. Beginnings A good student, Akhtar was admitted to the Asghar Mall College, but disrupted his studies to attend trials for the PIA team's Karachi division to be held in Lahore. Lacking the money for a bus ticket, he waited for the bus to start and got onto the roof. After some struggle, starting his List A career during the 1993/1994 season and his first-class career during the 1994/1995 one, he caught the eye of Majid Khan, then the chief executive of the PCB, and after a good performance for the Pakistan A team's tour of England, in 1996, he was rewarded his maiden Test cap against the West Indies, in 1997. International career Considering his subsequent high profile in cricket, Akhtar's test career started rather modestly. He was first picked to play on his home ground in Rawalpindi during the 2nd Test of the West Indies 1997/98 tour of Pakistan. He was subsequently included in the tour of South Africa during the winter of 1998, where he played in all three Tests. He was notably the spearhead of a depleted Pakistani bowling attack in the Peshawar Test against the visiting Australians later in 1998, where Mark Taylor scored his famous unbeaten 334 in Australia's first innings. Subsequently, after 8 tests and 16 innings, Akhtar had accumulated only 18 wickets. Akhtar's run of impressive performances started in 1999, during a pre-World Cup series against India. It was followed by outstanding bowling performances in Sharjah and later in the 1999 Cricket World Cup. His most significant performance was in India in 1999 when he captured eight wickets in the Asian Test championship match at Calcutta – including the wickets of Indian batsmen Rahul Dravid and Sachin Tendulkar when he bowled both batsmen off successive deliveries. It was the first ball he ever bowled to Tendulkar. In 2002, he was selected for the Pakistan team against Australia and achieved a small amount of success. However the team performed poorly during the 2003 Cricket World Cup and after the tournament he was dropped from the Pakistan squad. He was selected back into the Pakistan squad as they had no choice in the 2003 Test match series against New Zealand, but struggled in a losing Test series against India in 2004. The series ended with a controversy when he left the field citing an injury leading to suspicions by former Pakistan captain, Inzamam-ul-Haq, about his commitment to the team. As a result, his relationship with Inzamam-ul-Haq and former Pakistan coach Bob Woolmer deteriorated. A medical panel was set up by the Pakistan Cricket Board to investigate the nature of his injury, however Pakistan officials dispelled all suspicions. In 2005, Akhtar regained his reputation as a fast bowler for his side. Playing in a three Test home series against England, he made a series of impressive bowling performances. His effective use of slower deliveries proved to be unplayable by the English batsmen. Akhtar emerged as the highest wicket taker of the series with seventeen wickets. His comeback was also remarkable as prior to his return, he had been criticised from all corners; such as by the Worcestershire chairman John Elliot for his celebrity attitude and lack of commitment to the team. His performance was also acknowledged by the English captain Michael Vaughan, who remarked "I thought he (Shoaib) was a big difference between the two teams". Throughout his career, he was regarded as one of the fastest bowlers in the history of international cricket. He achieved the record of the fastest bowl at 161 kph after the introduction of speed measuring devices at the international cricket in 1998. He is also known as one of only three bowlers to have ever broken the 100 mph barrier in cricket history, with a delivery of 100.2 mph, during a one-day international against England in World cup 2003. Struggle for form and consistent injuries (2007–2009) On 29 October 2007, Akhtar made his return to cricket from his 13 match ban and performed very well, he took 4 wickets for 43 runs against South Africa in the fifth and deciding One Day International series in Lahore in Pakistan. Subsequently, he was included in the 16-man Pakistan squad for the 2007 tour of India. Rehabilitation and final years (2010–2011) Akhtar made a return to international cricket albeit in the shorter format of the game. In May 2010, PCB named him in a list of 35 probables for the Asia Cup. On 15 June 2010, Akhtar made his return, taking 3 wickets for 28 runs in the first match of the Asia Cup against Sri Lanka. He narrowly missed out a spot in the 2010 ICC World Twenty20 in place of the injured Umar Gul. In July 2010, he was selected for the Twenty20 series against Australia but the selectors decided not to play him in the Test squad so that he would not get injured. He was subsequently selected for the ODI and Twenty20 series against England in September 2010. Akhtar returned to the national side representing the country against England in the Twenty20 International. He bowled an impressive spell and returned with figures of 2 wickets for 23 runs. He continued to bowl well in the ODI series in the absence of regular fast-bowlers, Mohammad Asif and Mohammad Amir, who were suspended by the International Cricket Council amid allegations of Spot-fixing. Despite his relatively good bowling form, Pakistani coach Waqar Younis insisted that the bowling attack must not become reliant on Akhtar, as he is 35 years of age and fitness troubles continue to affect him. Akhtar was selected for the tour of New Zealand and started his campaign off well with 3 wickets on Boxing Day in the first of two Twenty20 Internationals against New Zealand. Akhtar was selected in Pakistan's 15-man squad to play in the 2011 World Cup hosted by Bangladesh, India, and Sri Lanka in February to March. During the tournament, he announced that he would retire from international cricket at the end of the World Cup. He was dropped from the squad after group matches and was not included in the quarter final either. Domestic career England county cricket Akhtar has played for three English county cricket clubs: Somerset in 2001, Durham in 2003 and 2004 and Worcestershire in 2005. He did achieve his moments of success, such as taking 5 wickets for 35 runs for Durham against Somerset in the National League in 2003 and claiming 6 wickets for 16 runs in the same competition for Worcestershire against Gloucestershire two years later, but he suffered from fitness problems, as well as a perception that he was less than interested in his task. This was particularly the case at Worcestershire: chairman John Elliott said "Players like that are no good to our club. In fact, Akhtar has been no good for any club he's been at. He's a superstar and just does what he wants." Indian Premier League Akhtar made a successful return to cricket in his first game in the Indian Premier League, playing for the Kolkata Knight Riders against the Delhi Daredevils. Defending a low score of 133 runs, Akhtar took four top order wickets which ultimately led to the Daredevils being restricted to 110 runs. He ended with figures of 4 wickets for 11 runs from three overs, a performance which earned him the player of the match award. Akhtar denied that he had any point to prove with his performance, stating, "I just wanted to win the game." Knight Riders' captain Sourav Ganguly also acknowledged Akhtar's performance, "He came to the country with lots [of things] happening behind him...But he showed a lot of character." Cricket controversies and injuries Akhtar's career has been plagued with injuries, controversies and accusations of poor attitude. After Pakistan's poor performance in the 2003 Cricket World Cup, he got involved in a verbal conflict with former Pakistan captain and fast bowler Waqar Younis. Later on Akhtar was sacked along with other players, including Younis. In a triangular series in 2003 held in Sri Lanka, he was caught ball tampering making him the second player in cricket to be banned on ball tampering charges. The same year he was banned for one Test match and two One Day International matches for abusing South African spin bowler Paul Adams, during a match against South Africa. In the 2004 home series with India, he struggled with wrist and back injuries, which raised questions about his commitment to the team. He was sent back from the 2005 Australia tour with a hamstring injury amid rumours of indiscipline, lack of commitment and attitudinal complaints. He was subsequently fined by the Pakistan Cricket Board for avoiding a late night curfew. The rest of his cricketing career was riddled with ankle and knee injuries which forced him to undergo a surgery in February 2006, until finally he was banned for two years for allegedly using performance-enhancing drugs. Drug scandal On 16 October 2006 Akhtar was suspended by the Pakistan Cricket Board, along with Mohammed Asif after they tested positive for a performance-enhancing substance nandrolone. They were consequently pulled out from the 2006 ICC Champions Trophy. Former Pakistan Cricket Board chairman later stated that he had always suspected Akhtar of substance abuse due to his consistent "reservations" to drug tests. Former Pakistan captain Inzamam ul-Haq had also previously complained about Akhtar's drug abuse but was not reported to the Pakistan Cricket Board. Akhtar immediately declared his innocence and he declined knowingly taking any performance-enhancing drugs. In a statement issued to the press, he claimed that he could never cheat teammates or opponents. During a hearing with the Pakistan Cricket Board Anti-Doping Committee, he along with Asif maintained taking non-steroidal dietary supplements. He, however, failed to convince the committee of his innocence. In its report submitted to the Pakistan Cricket Board, the Anti-Doping Committee recommended a two-year ban. On 1 November 2006 the Pakistan Cricket Board handed down a two-year suspension to Akhtar and a one-year suspension to Asif, banning them from professional cricket during the period. Shoaib had subsequently been added to Pakistan Olympic Association list of doping offenders. However, on 5 December 2006 represented by his lawyer Abid Hassan Minto, Akhtar was cleared on appeal. On 5 December 2006 Akhtar and Asif were acquitted by the tribunal appointed to review their appeals. After a clear hearing from Akhtar's lawyer Abid Hassan Minto, the three-man committee, voted two to one in favour of the acquittal. Justice Fakhruddin Ebrahim, committee head, and Haseeb Ahsan, former Test cricketer, were in favour of the acquittal. The third member, Danish Zaheer, differed. "Exceptional circumstances" were cited including discrepancies between the instantaneous offence charges of doping that were laid and the quick delivery of a very harsh verdict. The complete drug testing procedure was concluded to have been technically flawed as it did not follow standard procedures. Other established facts by the committee included that the duo were not aware of the banned drug to be present in their supplements because the Pakistan Cricket Board itself had not informed them of the dangers of contaminated supplements. Akhtar and Asif, however, did not play in the subsequent Test match series against the West Indies because the Pakistan Cricket Board had recommended that they play domestic games first to recover form and fitness. On 1 March 2007 Akhtar and Asif were ruled out of the Pakistani squad for the 2007 Cricket World Cup by team officials, minutes before the squad was to depart for the West Indies. The team management along with the Pakistan Cricket Board said their injuries were too severe to risk taking them to the Caribbean. Since neither of the two had been declared fit they did not undergo official doping tests. World Anti-Doping Agency ( WADA) challenged Pakistan's decision to lift bans on fast bowlers Akhtar and Asif by taking the case to the Court of Arbitration for Sport in Lausanne, Switzerland. The ICC supported the WADA appeal adding that it was committed to a dope free game. On 2 July 2007, the Court of Arbitration for Sport dropped the case, ruling it had no jurisdiction to challenge the decision made by PCB. Other controversies In August 2007, Akhtar was reported to have used foul language against Pakistan Cricket Board protesting the imposing of fine of Rs. 300,000 for indiscipline during the national camp in Karachi. In the week before the inaugural World Twenty20, held in South Africa, Akhtar was rumoured to have hit Pakistani teammate Mohammad Asif with a bat after an argument in the dressing room. It started after Akhtar was ridiculed by Asif and Shahid Afridi for comparing himself with Imran Khan. After the initial inquiry, Akhtar was found to be at fault and was subsequently recalled from the Twenty20 World Cup squad and was sent home. He was also banned for 5 matches by the Pakistan Cricket Board. Akhtar later claimed that Afridi was responsible for the fight, saying "He made some ill remarks about my family. And I could not tolerate them." Afridi however, denied these allegations adding that Asif would have suffered more injuries but for his intervention. Even Asif chipped in saying that Akhtar was lying and that "Shahid Afridi had nothing to do with the fight", saying that "he has not apologised to me." On 1 April 2008 Akhtar was banned for five years for violating the players' code of conduct. The ban extended to all cricket for and in Pakistan. Despite the ban not preventing him from playing in the Indian Premier League, the IPL governing council decided not to allow Akhtar to play in the tournament until the end of the ban or unless it is lifted. IS Bindra, a member of the council, was quoted as saying, "Even though they [the PCB] have cleared him to play for IPL, we felt that international discipline needs to be respected." Meanwhile, Akhtar vowed to go to great lengths to fight the ban, "I will appeal, as is my right. If that fails I will go to court, if that fails then I will go to the Supreme Court." On 3 April, Pakistan Cricket Board chairman Nasim Ashraf served a legal notice on Akhtar, calling on him to retract statements he made to a news channel, alleging the ban was punishment in return for refusing to give the chairman a share of his earnings from the Indian Premier League, Ashraf also sought damages of Rs 100 million (approximately US$1.6 million) for "defaming him personally" and an additional Rs 100 million to the Pakistan Cricket Board for "sullying the name of the Pakistan Cricket Board and the Pakistan Cricket team." A three-man appellate tribunal announced on 30 April that they had temporarily upheld Akhtar's five-year ban, deciding to revist the appeal hearing in June. Despite Akhtar's later retracting his claims and also issuing an unconditional apology for "any grief or embarrassment that may have been caused to the nation, particularly to the Pakistan Cricket Board chairman Dr Nasim Ashraf", Ashraf's legal counsel filed a Rs 220 million (approx US$3.37 million) defamation suit against Akhtar in a civil court in Lahore on 2 May. On 4 May, the Pakistan Cricket Board's appellate tribunal suspended the five-year ban for one month, until they reconvene on 4 June, allowing Akhtar to take part in the ongoing Indian Premier League. A day later, the Pakistan Cricket Board announced that they will no longer pursue the defamation suit following a reconciliation between Akhtar and chairman Nasim Ashraf at the house of Rehman Malik, a key political official, in Islamabad. "My honour has been vindicated and now the defamation lawsuit will not be pursued," Ashraf was quoted as saying. On 4 September 2008, Akhtar was sent back home from Heathrow airport by British immigration officials on visa grounds; Akhtar only had a visit visa but not a working visa, which is required to play in county cricket. He subsequently obtained the necessary visa and returned to play with English county club Surrey. On 21 May 2009, Akhtar was dropped from 2009 ICC World Twenty20 Pakistan squad because of genital viral warts. In July 2012, Akhtar accused the PCB stating that there was too much "politics" in the Board and some of its officials did not want Pakistani team to win. Beyond cricket Book In September 2011, few months after his retirement from international cricket, he released his autobiography Controversially Yours, co-written with Indian social anthropologist and journalist Anshu Dogra. It was met with positive reviews, observers noting the interest of having Shoaib's comments, nearly always critical, on issues pertaining to the administration of cricket in Pakistan, the controversies surrounding ball tampering and his views on cricketers, from Pakistan as well outside. Television References External links 1975 births ACC Asian XI One Day International cricketers Zarai Taraqiati Bank Limited cricketers Chittagong Division cricketers Cricketers at the 1998 Commonwealth Games Cricketers at the 1999 Cricket World Cup Cricketers at the 2003 Cricket World Cup Cricketers at the 2007 Cricket World Cup Cricketers at the 2011 Cricket World Cup Durham cricketers Federal Areas cricketers ICC World XI One Day International cricketers Islamabad cricketers Islamabad Leopards cricketers Khan Research Laboratories cricketers Kolkata Knight Riders cricketers Living people Pakistani autobiographers Pakistani cricketers Doping cases in Pakistani cricket Pakistan International Airlines cricketers Pakistan One Day International cricketers Pakistan Test cricketers Pakistan Twenty20 International cricketers Cricketers from Rawalpindi Punjabi people Rawalpindi cricketers Rawalpindi B cricketers Rawalpindi Rams cricketers Somerset cricketers Surrey cricketers Worcestershire cricketers Pakistani cricket commentators Pakistani expatriates in India Pakistani YouTubers Commonwealth Games competitors for Pakistan	true	[ "The AD&D Masterpiece Collection is a collection of roleplaying games for Microsoft Windows, produced by Mindscape/SSI in 1996.\n\nContents\nThe Masterpiece Collection included six of SSI's official AD&D licensed games in one box: Dark Sun: Shattered Lands, Dark Sun: Wake of the Ravager, Ravenloft: Strahd's Possession, Ravenloft: Stone Prophet, Al-Qadim: The Genie's Curse, and Forgotten Realms: Menzoberranzan. The games are all contained on four CD-ROMs, each of which also contains the relevant manuals in Adobe Acrobat format, allowing them to be printed out with exactly the same layout that they had originally.\n\nReception\nAndy Butcher reviewed the Masterpiece Collection for Arcane magazine, rating it a 6 out of 10 overall. He concluded that \"six complete PC roleplaying games in one rather impressive box is certainly good value for the money\". He noted that an Acrobat viewer is included to read and print the manuals, which allowed SSI to \"save on the cost of including six relatively hefty booklets. Of course, if you haven't got access to a printer this isn't going to be very useful, but most of the games are fairly simple to get to grips with, provided you have at least a passing familiarity with the AD&D rules.\" He only felt that Wake of the Ravager, Stone Prophet, and The Genie's Curse were actually any good, and that the rest \"struggle to attain varying degrees of averageness\". Despite that, he did conclude that \"even three decent (if not quite inspired) computer games for the price of one is still a great bargain - there's enough gameplay in this set to keep you going for several months at least\".\n\nReferences\n\n1996 video games\nDungeons & Dragons video games\nRole-playing video games\nSingle-player video games\nVideo game compilations\nVideo games developed in the United States\nWindows games", "This page lists all association football national teams which managed to remain undefeated in either a FIFA World Cup main tournament, the qualifying process for that tournament, or both.\n\nFixtures decided by a penalty shoot-out are counted as draws and not as defeats. The tables only include teams which played at least one match in the particular final or qualifying tournament. They do not include teams which qualified automatically or by walkover, or teams which withdrew or were disqualified without playing any matches.\n\nAll but four World Cup winning teams were unbeaten in the finals. The four teams that won the World Cup despite losing a game in the finals were: West Germany in 1954 and again in 1974; Argentina in 1978; and Spain in 2010.\n\nAnother part of the teams listed below were eliminated despite not losing any games in the finals, or failed to qualify despite not losing any qualifying games. They exited the competition by various means: withdrawal; inferior points total or goal difference within a group; drawing of lots, away goals, or penalty shoot-out.\n\nGeneral statistics \n\nBrazil have remained unbeaten in a total of seven World Cup final tournaments, more than any other team, including all five tournaments where they triumphed as world champions. Italy are a close second with six, and England and France are third with three each. No other nation has achieved this more than twice.\n\nGermany (including West Germany) have had a record twelve unbeaten World Cup qualifying campaigns. In fact the German national team has lost only three World Cup qualifying games in its history: against Portugal in 1985, against England in 2001 and against North Macedonia in 2021.\n\nA number of teams have managed not to record any losses during an entire FIFA World Cup cycle (qualifying and final tournaments):\n Italy (1934 and 1998), Brazil (1958, 1970, 1978 and 1986), West Germany/Germany (1990 and 2014), Spain (2002 and 2018), France (2006) and Netherlands (2014) all remained unbeaten during both the qualification and the finals (in 1970 Brazil actually did not record any draws either, managing to win every single match en route to the title).\n Uruguay (1930), Italy (1938 and 1990), Brazil (1962), England (1966), Mexico (1986) and France (1998) all did not have to go through qualifying tournaments, and did not lose any games in the finals (Uruguay in 1930 and Italy in 1938 did not draw any games either).\n Uruguay in 1950 qualified without playing any matches due to the withdrawal of their opponents, and did not lose any games in the finals.\n Several teams remained undefeated during a qualifying campaign but nevertheless did not appear in the subsequent final tournament. Each of Cuba, Lesotho, Morocco and Tunisia have had this fate twice. For others, see the tables below.\n\nLegend to the tables \n\n The Result column indicates what stage the team reached in the particular final tournament: , , , , , , , , .\nOther columns: , , , , , .\n The Lost to column indicates what opponent progressed at the expense of the team in question.\n\nBy tournament\n\n1930\n\n1934\n\n1938\n\n1950\n\n1954\n\n1958\n\n1962\n\n1966\n\n1970\n\n1974\n\n1978\n\n1982\n\n1986\n\n1990\n\n1994\n\n1998\n\n2002\n\n2006\n\n2010\n\n2014\n\n2018\n\n2022\n\nReferences\n\nExternal links \n Previous FIFA World Cups, FIFA\n World Cup 1930-2006, Rec.Sport.Soccer Statistics Foundation\n\nFIFA World Cup records and statistics" ]
[ "Shoaib Akhtar", "International career", "how did his career start?", "Akhtar's test career started rather modestly. He was first picked to play on his home ground in Rawalpindi during the 2nd Test", "What year did his career start?", "1997/98 tour of Pakistan.", "What records does he hold?", "He is also known as one of only three bowlers to have ever broken the 100 mph barrier in cricket history,", "What are his stats?", "a delivery of 100.2 mph, during a one-day international against England in World cup 2003", "Did he play in other tournaments aside from the world cup?", "In 2002, he was selected for the Pakistan team against Australia and achieved success.", "Did he have any other impressive games?", "In 2005, Akhtar regained his reputation as a fast bowler for his side. Playing in a three Test home series against England," ]	C_35cb609390134c1f9075c3c8f4df3cde_1	Did he play with anybody famous?	7	Did Shoaib Akhtar play with anybody famous?	Shoaib Akhtar	Considering his subsequent high profile in cricket, Akhtar's test career started rather modestly. He was first picked to play on his home ground in Rawalpindi during the 2nd Test of the West Indies 1997/98 tour of Pakistan. He was subsequently included in the tour of South Africa during the winter of 1998, where he played in all three tests. He was notably the spearhead of a depleted Pakistani bowling attack in the Peshawar Test against the visiting Australians later in 1998, when Mark Taylor scored his famous 334 n.o. in Australia's first innings. Subsequently, after 8 tests and 16 innings, Akhtar had accumulated only 18 wickets to his name. Akhtar's run of impressive performances started in 1999, during a pre-World Cup series against India. It was followed by outstanding bowling performances in Sharjah and later in the 1999 Cricket World Cup. His most significant performance was in India in 1999 when he captured eight wickets in the Asian Test championship match at Calcutta - including the wickets of Indian batsmen Rahul Dravid and Sachin Tendulkar when he bowled both batsmen off successive deliveries. It was the first ball he ever bowled to Tendulkar. In 2002, he was selected for the Pakistan team against Australia and achieved success. However he performed poorly during the 2003 Cricket World Cup and after the tournament he was dropped from the Pakistan squad. He was selected back into the Pakistan squad in the 2004 Test match series against New Zealand, but struggled in a losing Test series against India in 2004. The series ended with a controversy when he left the field citing an injury leading to suspicions by former Pakistan captain, Inzamam-ul-Haq, about his commitment to the team. As a result, his relationship with Inzamam-ul-Haq and former Pakistan coach Bob Woolmer deteriorated. A medical panel was set up by the Pakistan Cricket Board to investigate the nature of his injury, however Pakistan officials dispelled all suspicions. In 2005, Akhtar regained his reputation as a fast bowler for his side. Playing in a three Test home series against England, he made a series of impressive bowling performances. His effective use of slower deliveries proved to be unplayable by the English batsmen. Akhtar emerged as the highest wicket taker of the series with seventeen wickets. His comeback was also remarkable as prior to his return, he had been criticised from all corners; such as by the Worcestershire chairman John Elliot for his celebrity attitude and lack of commitment to the team. His performance was also acknowledged by the English captain Michael Vaughan, who remarked "I thought he (Shoaib) was a big difference between the two teams". He is also known as one of only three bowlers to have ever broken the 100 mph barrier in cricket history, with a delivery of 100.2 mph, during a one-day international against England in World cup 2003 CANNOTANSWER	CANNOTANSWER	Shoaib Akhtar (; born 13 August 1975) is a Pakistani former cricketer and commentator. Nicknamed the "Rawalpindi Express", he was the first bowler to be recorded bowling at 100 miles per hour, a feat he achieved twice in his career. Akhtar made his Test match debut in November 1997 as an opening fast bowler and played his first One Day International three months later. He has been involved in several controversies during his career, often accused of unsportsmanlike conduct. Akhtar was sent home during a Test match series in Australia in 2005 for alleged poor attitude and a year later received a ban after testing positive for the performance-enhancing substance nandrolone. However, the ban imposed on him was lifted on appeal. In 2008, Akhtar was banned for five years for publicly criticising the Pakistan Cricket Board, although in October 2008, the Lahore High Court suspended the ban and Akhtar was selected in the 15-man squad for the Twenty20 Quadrangular Tournament in Canada. Akhtar retired from international cricket after the 2011 World Cup. Personal life Akhtar was born in the small town of Morgah in Rawalpindi, Punjab, Pakistan. His father, Mohammad Akhtar, whom Shoaib describes as very religious and “from a hardworking, economically unprivileged family of the Gujjar community”, worked as a night watchman at a petrol station belonging to the Attock oil refinery, and married his mother, Hameeda Awan, when she was still a teenager, and they had five children: four sons, Shoaib being the fourth, followed by a daughter. Shoaib's name, which in Arabic means both “the one who brings people together” and “the one who separates”, was chosen by his mother. He married Rubab Khan on 11 November 2014. Beginnings A good student, Akhtar was admitted to the Asghar Mall College, but disrupted his studies to attend trials for the PIA team's Karachi division to be held in Lahore. Lacking the money for a bus ticket, he waited for the bus to start and got onto the roof. After some struggle, starting his List A career during the 1993/1994 season and his first-class career during the 1994/1995 one, he caught the eye of Majid Khan, then the chief executive of the PCB, and after a good performance for the Pakistan A team's tour of England, in 1996, he was rewarded his maiden Test cap against the West Indies, in 1997. International career Considering his subsequent high profile in cricket, Akhtar's test career started rather modestly. He was first picked to play on his home ground in Rawalpindi during the 2nd Test of the West Indies 1997/98 tour of Pakistan. He was subsequently included in the tour of South Africa during the winter of 1998, where he played in all three Tests. He was notably the spearhead of a depleted Pakistani bowling attack in the Peshawar Test against the visiting Australians later in 1998, where Mark Taylor scored his famous unbeaten 334 in Australia's first innings. Subsequently, after 8 tests and 16 innings, Akhtar had accumulated only 18 wickets. Akhtar's run of impressive performances started in 1999, during a pre-World Cup series against India. It was followed by outstanding bowling performances in Sharjah and later in the 1999 Cricket World Cup. His most significant performance was in India in 1999 when he captured eight wickets in the Asian Test championship match at Calcutta – including the wickets of Indian batsmen Rahul Dravid and Sachin Tendulkar when he bowled both batsmen off successive deliveries. It was the first ball he ever bowled to Tendulkar. In 2002, he was selected for the Pakistan team against Australia and achieved a small amount of success. However the team performed poorly during the 2003 Cricket World Cup and after the tournament he was dropped from the Pakistan squad. He was selected back into the Pakistan squad as they had no choice in the 2003 Test match series against New Zealand, but struggled in a losing Test series against India in 2004. The series ended with a controversy when he left the field citing an injury leading to suspicions by former Pakistan captain, Inzamam-ul-Haq, about his commitment to the team. As a result, his relationship with Inzamam-ul-Haq and former Pakistan coach Bob Woolmer deteriorated. A medical panel was set up by the Pakistan Cricket Board to investigate the nature of his injury, however Pakistan officials dispelled all suspicions. In 2005, Akhtar regained his reputation as a fast bowler for his side. Playing in a three Test home series against England, he made a series of impressive bowling performances. His effective use of slower deliveries proved to be unplayable by the English batsmen. Akhtar emerged as the highest wicket taker of the series with seventeen wickets. His comeback was also remarkable as prior to his return, he had been criticised from all corners; such as by the Worcestershire chairman John Elliot for his celebrity attitude and lack of commitment to the team. His performance was also acknowledged by the English captain Michael Vaughan, who remarked "I thought he (Shoaib) was a big difference between the two teams". Throughout his career, he was regarded as one of the fastest bowlers in the history of international cricket. He achieved the record of the fastest bowl at 161 kph after the introduction of speed measuring devices at the international cricket in 1998. He is also known as one of only three bowlers to have ever broken the 100 mph barrier in cricket history, with a delivery of 100.2 mph, during a one-day international against England in World cup 2003. Struggle for form and consistent injuries (2007–2009) On 29 October 2007, Akhtar made his return to cricket from his 13 match ban and performed very well, he took 4 wickets for 43 runs against South Africa in the fifth and deciding One Day International series in Lahore in Pakistan. Subsequently, he was included in the 16-man Pakistan squad for the 2007 tour of India. Rehabilitation and final years (2010–2011) Akhtar made a return to international cricket albeit in the shorter format of the game. In May 2010, PCB named him in a list of 35 probables for the Asia Cup. On 15 June 2010, Akhtar made his return, taking 3 wickets for 28 runs in the first match of the Asia Cup against Sri Lanka. He narrowly missed out a spot in the 2010 ICC World Twenty20 in place of the injured Umar Gul. In July 2010, he was selected for the Twenty20 series against Australia but the selectors decided not to play him in the Test squad so that he would not get injured. He was subsequently selected for the ODI and Twenty20 series against England in September 2010. Akhtar returned to the national side representing the country against England in the Twenty20 International. He bowled an impressive spell and returned with figures of 2 wickets for 23 runs. He continued to bowl well in the ODI series in the absence of regular fast-bowlers, Mohammad Asif and Mohammad Amir, who were suspended by the International Cricket Council amid allegations of Spot-fixing. Despite his relatively good bowling form, Pakistani coach Waqar Younis insisted that the bowling attack must not become reliant on Akhtar, as he is 35 years of age and fitness troubles continue to affect him. Akhtar was selected for the tour of New Zealand and started his campaign off well with 3 wickets on Boxing Day in the first of two Twenty20 Internationals against New Zealand. Akhtar was selected in Pakistan's 15-man squad to play in the 2011 World Cup hosted by Bangladesh, India, and Sri Lanka in February to March. During the tournament, he announced that he would retire from international cricket at the end of the World Cup. He was dropped from the squad after group matches and was not included in the quarter final either. Domestic career England county cricket Akhtar has played for three English county cricket clubs: Somerset in 2001, Durham in 2003 and 2004 and Worcestershire in 2005. He did achieve his moments of success, such as taking 5 wickets for 35 runs for Durham against Somerset in the National League in 2003 and claiming 6 wickets for 16 runs in the same competition for Worcestershire against Gloucestershire two years later, but he suffered from fitness problems, as well as a perception that he was less than interested in his task. This was particularly the case at Worcestershire: chairman John Elliott said "Players like that are no good to our club. In fact, Akhtar has been no good for any club he's been at. He's a superstar and just does what he wants." Indian Premier League Akhtar made a successful return to cricket in his first game in the Indian Premier League, playing for the Kolkata Knight Riders against the Delhi Daredevils. Defending a low score of 133 runs, Akhtar took four top order wickets which ultimately led to the Daredevils being restricted to 110 runs. He ended with figures of 4 wickets for 11 runs from three overs, a performance which earned him the player of the match award. Akhtar denied that he had any point to prove with his performance, stating, "I just wanted to win the game." Knight Riders' captain Sourav Ganguly also acknowledged Akhtar's performance, "He came to the country with lots [of things] happening behind him...But he showed a lot of character." Cricket controversies and injuries Akhtar's career has been plagued with injuries, controversies and accusations of poor attitude. After Pakistan's poor performance in the 2003 Cricket World Cup, he got involved in a verbal conflict with former Pakistan captain and fast bowler Waqar Younis. Later on Akhtar was sacked along with other players, including Younis. In a triangular series in 2003 held in Sri Lanka, he was caught ball tampering making him the second player in cricket to be banned on ball tampering charges. The same year he was banned for one Test match and two One Day International matches for abusing South African spin bowler Paul Adams, during a match against South Africa. In the 2004 home series with India, he struggled with wrist and back injuries, which raised questions about his commitment to the team. He was sent back from the 2005 Australia tour with a hamstring injury amid rumours of indiscipline, lack of commitment and attitudinal complaints. He was subsequently fined by the Pakistan Cricket Board for avoiding a late night curfew. The rest of his cricketing career was riddled with ankle and knee injuries which forced him to undergo a surgery in February 2006, until finally he was banned for two years for allegedly using performance-enhancing drugs. Drug scandal On 16 October 2006 Akhtar was suspended by the Pakistan Cricket Board, along with Mohammed Asif after they tested positive for a performance-enhancing substance nandrolone. They were consequently pulled out from the 2006 ICC Champions Trophy. Former Pakistan Cricket Board chairman later stated that he had always suspected Akhtar of substance abuse due to his consistent "reservations" to drug tests. Former Pakistan captain Inzamam ul-Haq had also previously complained about Akhtar's drug abuse but was not reported to the Pakistan Cricket Board. Akhtar immediately declared his innocence and he declined knowingly taking any performance-enhancing drugs. In a statement issued to the press, he claimed that he could never cheat teammates or opponents. During a hearing with the Pakistan Cricket Board Anti-Doping Committee, he along with Asif maintained taking non-steroidal dietary supplements. He, however, failed to convince the committee of his innocence. In its report submitted to the Pakistan Cricket Board, the Anti-Doping Committee recommended a two-year ban. On 1 November 2006 the Pakistan Cricket Board handed down a two-year suspension to Akhtar and a one-year suspension to Asif, banning them from professional cricket during the period. Shoaib had subsequently been added to Pakistan Olympic Association list of doping offenders. However, on 5 December 2006 represented by his lawyer Abid Hassan Minto, Akhtar was cleared on appeal. On 5 December 2006 Akhtar and Asif were acquitted by the tribunal appointed to review their appeals. After a clear hearing from Akhtar's lawyer Abid Hassan Minto, the three-man committee, voted two to one in favour of the acquittal. Justice Fakhruddin Ebrahim, committee head, and Haseeb Ahsan, former Test cricketer, were in favour of the acquittal. The third member, Danish Zaheer, differed. "Exceptional circumstances" were cited including discrepancies between the instantaneous offence charges of doping that were laid and the quick delivery of a very harsh verdict. The complete drug testing procedure was concluded to have been technically flawed as it did not follow standard procedures. Other established facts by the committee included that the duo were not aware of the banned drug to be present in their supplements because the Pakistan Cricket Board itself had not informed them of the dangers of contaminated supplements. Akhtar and Asif, however, did not play in the subsequent Test match series against the West Indies because the Pakistan Cricket Board had recommended that they play domestic games first to recover form and fitness. On 1 March 2007 Akhtar and Asif were ruled out of the Pakistani squad for the 2007 Cricket World Cup by team officials, minutes before the squad was to depart for the West Indies. The team management along with the Pakistan Cricket Board said their injuries were too severe to risk taking them to the Caribbean. Since neither of the two had been declared fit they did not undergo official doping tests. World Anti-Doping Agency ( WADA) challenged Pakistan's decision to lift bans on fast bowlers Akhtar and Asif by taking the case to the Court of Arbitration for Sport in Lausanne, Switzerland. The ICC supported the WADA appeal adding that it was committed to a dope free game. On 2 July 2007, the Court of Arbitration for Sport dropped the case, ruling it had no jurisdiction to challenge the decision made by PCB. Other controversies In August 2007, Akhtar was reported to have used foul language against Pakistan Cricket Board protesting the imposing of fine of Rs. 300,000 for indiscipline during the national camp in Karachi. In the week before the inaugural World Twenty20, held in South Africa, Akhtar was rumoured to have hit Pakistani teammate Mohammad Asif with a bat after an argument in the dressing room. It started after Akhtar was ridiculed by Asif and Shahid Afridi for comparing himself with Imran Khan. After the initial inquiry, Akhtar was found to be at fault and was subsequently recalled from the Twenty20 World Cup squad and was sent home. He was also banned for 5 matches by the Pakistan Cricket Board. Akhtar later claimed that Afridi was responsible for the fight, saying "He made some ill remarks about my family. And I could not tolerate them." Afridi however, denied these allegations adding that Asif would have suffered more injuries but for his intervention. Even Asif chipped in saying that Akhtar was lying and that "Shahid Afridi had nothing to do with the fight", saying that "he has not apologised to me." On 1 April 2008 Akhtar was banned for five years for violating the players' code of conduct. The ban extended to all cricket for and in Pakistan. Despite the ban not preventing him from playing in the Indian Premier League, the IPL governing council decided not to allow Akhtar to play in the tournament until the end of the ban or unless it is lifted. IS Bindra, a member of the council, was quoted as saying, "Even though they [the PCB] have cleared him to play for IPL, we felt that international discipline needs to be respected." Meanwhile, Akhtar vowed to go to great lengths to fight the ban, "I will appeal, as is my right. If that fails I will go to court, if that fails then I will go to the Supreme Court." On 3 April, Pakistan Cricket Board chairman Nasim Ashraf served a legal notice on Akhtar, calling on him to retract statements he made to a news channel, alleging the ban was punishment in return for refusing to give the chairman a share of his earnings from the Indian Premier League, Ashraf also sought damages of Rs 100 million (approximately US$1.6 million) for "defaming him personally" and an additional Rs 100 million to the Pakistan Cricket Board for "sullying the name of the Pakistan Cricket Board and the Pakistan Cricket team." A three-man appellate tribunal announced on 30 April that they had temporarily upheld Akhtar's five-year ban, deciding to revist the appeal hearing in June. Despite Akhtar's later retracting his claims and also issuing an unconditional apology for "any grief or embarrassment that may have been caused to the nation, particularly to the Pakistan Cricket Board chairman Dr Nasim Ashraf", Ashraf's legal counsel filed a Rs 220 million (approx US$3.37 million) defamation suit against Akhtar in a civil court in Lahore on 2 May. On 4 May, the Pakistan Cricket Board's appellate tribunal suspended the five-year ban for one month, until they reconvene on 4 June, allowing Akhtar to take part in the ongoing Indian Premier League. A day later, the Pakistan Cricket Board announced that they will no longer pursue the defamation suit following a reconciliation between Akhtar and chairman Nasim Ashraf at the house of Rehman Malik, a key political official, in Islamabad. "My honour has been vindicated and now the defamation lawsuit will not be pursued," Ashraf was quoted as saying. On 4 September 2008, Akhtar was sent back home from Heathrow airport by British immigration officials on visa grounds; Akhtar only had a visit visa but not a working visa, which is required to play in county cricket. He subsequently obtained the necessary visa and returned to play with English county club Surrey. On 21 May 2009, Akhtar was dropped from 2009 ICC World Twenty20 Pakistan squad because of genital viral warts. In July 2012, Akhtar accused the PCB stating that there was too much "politics" in the Board and some of its officials did not want Pakistani team to win. Beyond cricket Book In September 2011, few months after his retirement from international cricket, he released his autobiography Controversially Yours, co-written with Indian social anthropologist and journalist Anshu Dogra. It was met with positive reviews, observers noting the interest of having Shoaib's comments, nearly always critical, on issues pertaining to the administration of cricket in Pakistan, the controversies surrounding ball tampering and his views on cricketers, from Pakistan as well outside. Television References External links 1975 births ACC Asian XI One Day International cricketers Zarai Taraqiati Bank Limited cricketers Chittagong Division cricketers Cricketers at the 1998 Commonwealth Games Cricketers at the 1999 Cricket World Cup Cricketers at the 2003 Cricket World Cup Cricketers at the 2007 Cricket World Cup Cricketers at the 2011 Cricket World Cup Durham cricketers Federal Areas cricketers ICC World XI One Day International cricketers Islamabad cricketers Islamabad Leopards cricketers Khan Research Laboratories cricketers Kolkata Knight Riders cricketers Living people Pakistani autobiographers Pakistani cricketers Doping cases in Pakistani cricket Pakistan International Airlines cricketers Pakistan One Day International cricketers Pakistan Test cricketers Pakistan Twenty20 International cricketers Cricketers from Rawalpindi Punjabi people Rawalpindi cricketers Rawalpindi B cricketers Rawalpindi Rams cricketers Somerset cricketers Surrey cricketers Worcestershire cricketers Pakistani cricket commentators Pakistani expatriates in India Pakistani YouTubers Commonwealth Games competitors for Pakistan	false	[ "\"Is There Anybody Out There?\" is a song from the Pink Floyd album, The Wall.\n\nMusic\n\nThe first half of the piece has the same concept of \"Hey You\", being a distress call from Pink. Musically, it's a droning bass synthesizer with various sound effects layered on top, and a repeating chorus of \"Is there anybody out there?\". The shrill siren-like sound effect used during this song is also used in an earlier Pink Floyd work, \"Echoes\". The noise is mimicking a seagull cry. The seagull noise was created by David Gilmour using a wah-wah pedal with the guitar and output leads plugged in the wrong way round.\n\nThe second half of the song is an instrumental classical guitar solo. In interviews, David Gilmour has said that he tried to perform it, and was not satisfied with the final result (\"I could play it with a leather pick but couldn't play it properly fingerstyle\"). Accordingly, session musician Joe DiBlasi was brought in by Michael Kamen to play with the rest of the orchestra. He was wrongly credited as \"Ron DiBlasi\" on the album sleeve and Pink Floyd website because Roger Waters only remembered that it was a three-letter name; Ron was the closest name he could remember to Joe when creating the record.\n\nPlot\nAt this point in the plot, the bitter and alienated Pink is attempting to reach anybody outside of his self-built wall. The repeated question \"Is there anybody out there?\" suggests that no response is heard.\n\nOn the other hand, Comfortably Numb, some songs later in the album, starts with the sentence \"Hello, Is there anybody in there?\" addressed to Pink.\n\nFilm Version\n\nIn the film, during the ominous opening to the song, Pink is standing in front of the completed wall, and throws himself against it several times as if trying to escape. Then, during the acoustic guitar section, it cuts to Pink laying out all his possessions on the floor of the hotel room in neat piles. At the end of the song, it cuts to the bathroom where Pink shaves off his eyebrows and body hair, and tries to cut off his nipples with the razor, severing them.\n\nTV excerpts\nThere are two excerpts from the TV programmes Gunsmoke and Gomer Pyle, U.S.M.C. overlaid in the background of the track.\n\nThe Gunsmoke excerpt is from the episode entitled \"Fandango\" (first aired: 11 February 1967); Dialog starts at 32:54 of the show; the dialogue is as follows:\n\nThe Gomer Pyle, U.S.M.C. excerpt is from the episode entitled \"Gomer Says 'Hey' to the President\" (first aired: 20 October 1967); Dialog starts at 1:45 of the show; the dialogue is as follows:\n\nPersonnel\nDavid Gilmour – whale/seagull sound (electric guitar and wah-wah pedal), backing vocals\nRoger Waters – lead vocals, bass guitar\nRichard Wright – Prophet-5 synthesizer\n\nwith:\n\nBob Ezrin – synthesizer, string synth\nJoe DiBlasi – classical guitar\nMichael Kamen – orchestral arrangement\n\nPersonnel per Fitch and Mahon.\n\nVersions\n An alternate version appears in the film Pink Floyd – The Wall\n The Oliver Hart song \"Ode to the Wall\", from The Many Faces of Oliver Hart, samples this song extensively.\n The Zac Brown Band song \"Junkyard\", from Jekyll + Hyde, samples the song extensively.\n\nReferences\n\n1979 songs\nPink Floyd songs\nSongs written by Roger Waters\nSong recordings produced by Bob Ezrin\nSong recordings produced by David Gilmour\nSong recordings produced by Roger Waters\nSongs about loneliness", "\"I Don't Know Anybody Else\" is a song by the Italian music group Black Box. It was the second single from their debut album Dreamland (1990), and was originally released in the United States in December 1989. It was released worldwide in the early months of 1990 and had a great success in record charts, including Ireland, Switzerland, Norway and the United Kingdom, where it reached the Top 5. In other countries, it peaked between number 5 and number 10. It entered the UK Singles Chart on February 17, 1990 and remained for eight weeks.\n\nThe song features an uncredited Martha Wash on lead vocals. The title is a misheard lyric lifted from \"Love Sensation\" by Loleatta Holloway, the original line being \"I love nobody else\", using the same melody line as the chorus of \"I Don't Know Anybody Else\".\n\nCritical reception\nBillboard stated that the \"groove remains in trendy Italo-house vein with diva-styled vocals fueling the fire of tune's brain-imbedding hook.\" A reviewer from Cash Box wrote that \"the group who surprised everyone by breaking out of clubs and onto the pop charts clocks in with its second single, driven by the same intense vocals and formidable House groove that skyrocketed its U.S. debut single, \"Everybody, Everybody\".\" The Daily Vault's Michael R. Smith described it as \"effective and timeless\" in his review of Dreamland, and added that it now \"sound fresher and fuller of life than ever.\" Gene Sandbloom from The Network Forty wrote that the song \"has every bit the house power, but this time lead vocalist Katrin Quinol kicks off with an Annie Lennox intro that leaves you almost exhausted after four minutes.\" Chris Heath from Smash Hits noted that it is \"exceedingly similar\" to \"Ride on Time\" and said it is \"slightly brilliant\".\n\nVibe magazine listed the song at number 11 in their list of Before EDM: 30 Dance Tracks from The '90s That Changed the Game in 2013. They wrote that the song \"helped propel Italian house group Black Box into international fame thanks to the track’s strong vocals (exhibited by Martha Wash) fused with beats laid down by club DJ Daniele Davoli and keyboard wiz Mirko Limoni\".\n\nChart performance\n\"I Don't Know Anybody Else\" was successful on the charts on several continents. In Europe, it managed to climb into the Top 10 in Austria, Finland (number two), France, Ireland (number two), Norway, Sweden, Switzerland and the United Kingdom, as well as on the Eurochart Hot 100, where it hit number five. In the UK, the single peaked at number four in its second week at the UK Singles Chart, on February 18, 1990. Additionally, it was a Top 20 hit in West Germany and a Top 30 hit in the Netherlands. Outside Europe, it peaked at number-one on the Billboard Hot Dance Club Play in the United States and was a Top 10 hit in Australia, where it peaked at number six and was awarded a gold record after 35,000 singles were sold there. In New Zealand, it went to number 25.\n\nMusic video\nA music video was made for \"I Don't Know Anybody Else\", directed by Judith Briant. It features the group performing the song in a club. Briant also directed the video for \"Ride on Time\" (with Greg Copeland). \"I Don't Know Anybody Else\" was later published on Black Box' official YouTube channel in June 2009. The video has amassed more than 7,1 million views as of September 2021.\n\nTrack listings\n\n CD maxi\n \"I Don't Know Anybody Else\" (we got salsoul mix) — 5:40\n \"I Don't Know Anybody Else\" (DJ Lelewel mix) — 6:47\n \"I Don't Know Anybody Else\" (a cappella) — 3:40\n \"I Don't Know Anybody Else\" (hurley's house mix) — 7:00\n \"I Don't Know Anybody Else\" (hurley's house dub) — 5:08\n \"I Don't Know Anybody Else\" (deephouse instrumental) — 4:30\n\n 12\" maxi\n \"I Don't Know Anybody Else\" (melody mix) — 6:36\n \"I Don't Know Anybody Else\" (house club) — 6:15\n\n 7\" single\n \"I Don't Know Anybody Else\" (melody mix) — 4:30\n \"I Don't Know Anybody Else\" (house club) — 4:00\n\nCharts\n\nWeekly charts\n\nYear-end charts\n\nCertifications and sales\n\nSee also\n List of number-one dance singles of 1991 (U.S.)\n\nReferences\n\n1990 singles\nBlack Box (band) songs\nMartha Wash songs\n1989 songs\nPolydor Records singles" ]
[ "Shoaib Akhtar", "International career", "how did his career start?", "Akhtar's test career started rather modestly. He was first picked to play on his home ground in Rawalpindi during the 2nd Test", "What year did his career start?", "1997/98 tour of Pakistan.", "What records does he hold?", "He is also known as one of only three bowlers to have ever broken the 100 mph barrier in cricket history,", "What are his stats?", "a delivery of 100.2 mph, during a one-day international against England in World cup 2003", "Did he play in other tournaments aside from the world cup?", "In 2002, he was selected for the Pakistan team against Australia and achieved success.", "Did he have any other impressive games?", "In 2005, Akhtar regained his reputation as a fast bowler for his side. Playing in a three Test home series against England,", "Did he play with anybody famous?", "I don't know." ]	C_35cb609390134c1f9075c3c8f4df3cde_1	anything else interesting?	8	Besides Shoaib Akhtar playing in a three test home series against England, anything else interesting?	Shoaib Akhtar	Considering his subsequent high profile in cricket, Akhtar's test career started rather modestly. He was first picked to play on his home ground in Rawalpindi during the 2nd Test of the West Indies 1997/98 tour of Pakistan. He was subsequently included in the tour of South Africa during the winter of 1998, where he played in all three tests. He was notably the spearhead of a depleted Pakistani bowling attack in the Peshawar Test against the visiting Australians later in 1998, when Mark Taylor scored his famous 334 n.o. in Australia's first innings. Subsequently, after 8 tests and 16 innings, Akhtar had accumulated only 18 wickets to his name. Akhtar's run of impressive performances started in 1999, during a pre-World Cup series against India. It was followed by outstanding bowling performances in Sharjah and later in the 1999 Cricket World Cup. His most significant performance was in India in 1999 when he captured eight wickets in the Asian Test championship match at Calcutta - including the wickets of Indian batsmen Rahul Dravid and Sachin Tendulkar when he bowled both batsmen off successive deliveries. It was the first ball he ever bowled to Tendulkar. In 2002, he was selected for the Pakistan team against Australia and achieved success. However he performed poorly during the 2003 Cricket World Cup and after the tournament he was dropped from the Pakistan squad. He was selected back into the Pakistan squad in the 2004 Test match series against New Zealand, but struggled in a losing Test series against India in 2004. The series ended with a controversy when he left the field citing an injury leading to suspicions by former Pakistan captain, Inzamam-ul-Haq, about his commitment to the team. As a result, his relationship with Inzamam-ul-Haq and former Pakistan coach Bob Woolmer deteriorated. A medical panel was set up by the Pakistan Cricket Board to investigate the nature of his injury, however Pakistan officials dispelled all suspicions. In 2005, Akhtar regained his reputation as a fast bowler for his side. Playing in a three Test home series against England, he made a series of impressive bowling performances. His effective use of slower deliveries proved to be unplayable by the English batsmen. Akhtar emerged as the highest wicket taker of the series with seventeen wickets. His comeback was also remarkable as prior to his return, he had been criticised from all corners; such as by the Worcestershire chairman John Elliot for his celebrity attitude and lack of commitment to the team. His performance was also acknowledged by the English captain Michael Vaughan, who remarked "I thought he (Shoaib) was a big difference between the two teams". He is also known as one of only three bowlers to have ever broken the 100 mph barrier in cricket history, with a delivery of 100.2 mph, during a one-day international against England in World cup 2003 CANNOTANSWER	Akhtar's run of impressive performances started in 1999, during a pre-World Cup series against India.	Shoaib Akhtar (; born 13 August 1975) is a Pakistani former cricketer and commentator. Nicknamed the "Rawalpindi Express", he was the first bowler to be recorded bowling at 100 miles per hour, a feat he achieved twice in his career. Akhtar made his Test match debut in November 1997 as an opening fast bowler and played his first One Day International three months later. He has been involved in several controversies during his career, often accused of unsportsmanlike conduct. Akhtar was sent home during a Test match series in Australia in 2005 for alleged poor attitude and a year later received a ban after testing positive for the performance-enhancing substance nandrolone. However, the ban imposed on him was lifted on appeal. In 2008, Akhtar was banned for five years for publicly criticising the Pakistan Cricket Board, although in October 2008, the Lahore High Court suspended the ban and Akhtar was selected in the 15-man squad for the Twenty20 Quadrangular Tournament in Canada. Akhtar retired from international cricket after the 2011 World Cup. Personal life Akhtar was born in the small town of Morgah in Rawalpindi, Punjab, Pakistan. His father, Mohammad Akhtar, whom Shoaib describes as very religious and “from a hardworking, economically unprivileged family of the Gujjar community”, worked as a night watchman at a petrol station belonging to the Attock oil refinery, and married his mother, Hameeda Awan, when she was still a teenager, and they had five children: four sons, Shoaib being the fourth, followed by a daughter. Shoaib's name, which in Arabic means both “the one who brings people together” and “the one who separates”, was chosen by his mother. He married Rubab Khan on 11 November 2014. Beginnings A good student, Akhtar was admitted to the Asghar Mall College, but disrupted his studies to attend trials for the PIA team's Karachi division to be held in Lahore. Lacking the money for a bus ticket, he waited for the bus to start and got onto the roof. After some struggle, starting his List A career during the 1993/1994 season and his first-class career during the 1994/1995 one, he caught the eye of Majid Khan, then the chief executive of the PCB, and after a good performance for the Pakistan A team's tour of England, in 1996, he was rewarded his maiden Test cap against the West Indies, in 1997. International career Considering his subsequent high profile in cricket, Akhtar's test career started rather modestly. He was first picked to play on his home ground in Rawalpindi during the 2nd Test of the West Indies 1997/98 tour of Pakistan. He was subsequently included in the tour of South Africa during the winter of 1998, where he played in all three Tests. He was notably the spearhead of a depleted Pakistani bowling attack in the Peshawar Test against the visiting Australians later in 1998, where Mark Taylor scored his famous unbeaten 334 in Australia's first innings. Subsequently, after 8 tests and 16 innings, Akhtar had accumulated only 18 wickets. Akhtar's run of impressive performances started in 1999, during a pre-World Cup series against India. It was followed by outstanding bowling performances in Sharjah and later in the 1999 Cricket World Cup. His most significant performance was in India in 1999 when he captured eight wickets in the Asian Test championship match at Calcutta – including the wickets of Indian batsmen Rahul Dravid and Sachin Tendulkar when he bowled both batsmen off successive deliveries. It was the first ball he ever bowled to Tendulkar. In 2002, he was selected for the Pakistan team against Australia and achieved a small amount of success. However the team performed poorly during the 2003 Cricket World Cup and after the tournament he was dropped from the Pakistan squad. He was selected back into the Pakistan squad as they had no choice in the 2003 Test match series against New Zealand, but struggled in a losing Test series against India in 2004. The series ended with a controversy when he left the field citing an injury leading to suspicions by former Pakistan captain, Inzamam-ul-Haq, about his commitment to the team. As a result, his relationship with Inzamam-ul-Haq and former Pakistan coach Bob Woolmer deteriorated. A medical panel was set up by the Pakistan Cricket Board to investigate the nature of his injury, however Pakistan officials dispelled all suspicions. In 2005, Akhtar regained his reputation as a fast bowler for his side. Playing in a three Test home series against England, he made a series of impressive bowling performances. His effective use of slower deliveries proved to be unplayable by the English batsmen. Akhtar emerged as the highest wicket taker of the series with seventeen wickets. His comeback was also remarkable as prior to his return, he had been criticised from all corners; such as by the Worcestershire chairman John Elliot for his celebrity attitude and lack of commitment to the team. His performance was also acknowledged by the English captain Michael Vaughan, who remarked "I thought he (Shoaib) was a big difference between the two teams". Throughout his career, he was regarded as one of the fastest bowlers in the history of international cricket. He achieved the record of the fastest bowl at 161 kph after the introduction of speed measuring devices at the international cricket in 1998. He is also known as one of only three bowlers to have ever broken the 100 mph barrier in cricket history, with a delivery of 100.2 mph, during a one-day international against England in World cup 2003. Struggle for form and consistent injuries (2007–2009) On 29 October 2007, Akhtar made his return to cricket from his 13 match ban and performed very well, he took 4 wickets for 43 runs against South Africa in the fifth and deciding One Day International series in Lahore in Pakistan. Subsequently, he was included in the 16-man Pakistan squad for the 2007 tour of India. Rehabilitation and final years (2010–2011) Akhtar made a return to international cricket albeit in the shorter format of the game. In May 2010, PCB named him in a list of 35 probables for the Asia Cup. On 15 June 2010, Akhtar made his return, taking 3 wickets for 28 runs in the first match of the Asia Cup against Sri Lanka. He narrowly missed out a spot in the 2010 ICC World Twenty20 in place of the injured Umar Gul. In July 2010, he was selected for the Twenty20 series against Australia but the selectors decided not to play him in the Test squad so that he would not get injured. He was subsequently selected for the ODI and Twenty20 series against England in September 2010. Akhtar returned to the national side representing the country against England in the Twenty20 International. He bowled an impressive spell and returned with figures of 2 wickets for 23 runs. He continued to bowl well in the ODI series in the absence of regular fast-bowlers, Mohammad Asif and Mohammad Amir, who were suspended by the International Cricket Council amid allegations of Spot-fixing. Despite his relatively good bowling form, Pakistani coach Waqar Younis insisted that the bowling attack must not become reliant on Akhtar, as he is 35 years of age and fitness troubles continue to affect him. Akhtar was selected for the tour of New Zealand and started his campaign off well with 3 wickets on Boxing Day in the first of two Twenty20 Internationals against New Zealand. Akhtar was selected in Pakistan's 15-man squad to play in the 2011 World Cup hosted by Bangladesh, India, and Sri Lanka in February to March. During the tournament, he announced that he would retire from international cricket at the end of the World Cup. He was dropped from the squad after group matches and was not included in the quarter final either. Domestic career England county cricket Akhtar has played for three English county cricket clubs: Somerset in 2001, Durham in 2003 and 2004 and Worcestershire in 2005. He did achieve his moments of success, such as taking 5 wickets for 35 runs for Durham against Somerset in the National League in 2003 and claiming 6 wickets for 16 runs in the same competition for Worcestershire against Gloucestershire two years later, but he suffered from fitness problems, as well as a perception that he was less than interested in his task. This was particularly the case at Worcestershire: chairman John Elliott said "Players like that are no good to our club. In fact, Akhtar has been no good for any club he's been at. He's a superstar and just does what he wants." Indian Premier League Akhtar made a successful return to cricket in his first game in the Indian Premier League, playing for the Kolkata Knight Riders against the Delhi Daredevils. Defending a low score of 133 runs, Akhtar took four top order wickets which ultimately led to the Daredevils being restricted to 110 runs. He ended with figures of 4 wickets for 11 runs from three overs, a performance which earned him the player of the match award. Akhtar denied that he had any point to prove with his performance, stating, "I just wanted to win the game." Knight Riders' captain Sourav Ganguly also acknowledged Akhtar's performance, "He came to the country with lots [of things] happening behind him...But he showed a lot of character." Cricket controversies and injuries Akhtar's career has been plagued with injuries, controversies and accusations of poor attitude. After Pakistan's poor performance in the 2003 Cricket World Cup, he got involved in a verbal conflict with former Pakistan captain and fast bowler Waqar Younis. Later on Akhtar was sacked along with other players, including Younis. In a triangular series in 2003 held in Sri Lanka, he was caught ball tampering making him the second player in cricket to be banned on ball tampering charges. The same year he was banned for one Test match and two One Day International matches for abusing South African spin bowler Paul Adams, during a match against South Africa. In the 2004 home series with India, he struggled with wrist and back injuries, which raised questions about his commitment to the team. He was sent back from the 2005 Australia tour with a hamstring injury amid rumours of indiscipline, lack of commitment and attitudinal complaints. He was subsequently fined by the Pakistan Cricket Board for avoiding a late night curfew. The rest of his cricketing career was riddled with ankle and knee injuries which forced him to undergo a surgery in February 2006, until finally he was banned for two years for allegedly using performance-enhancing drugs. Drug scandal On 16 October 2006 Akhtar was suspended by the Pakistan Cricket Board, along with Mohammed Asif after they tested positive for a performance-enhancing substance nandrolone. They were consequently pulled out from the 2006 ICC Champions Trophy. Former Pakistan Cricket Board chairman later stated that he had always suspected Akhtar of substance abuse due to his consistent "reservations" to drug tests. Former Pakistan captain Inzamam ul-Haq had also previously complained about Akhtar's drug abuse but was not reported to the Pakistan Cricket Board. Akhtar immediately declared his innocence and he declined knowingly taking any performance-enhancing drugs. In a statement issued to the press, he claimed that he could never cheat teammates or opponents. During a hearing with the Pakistan Cricket Board Anti-Doping Committee, he along with Asif maintained taking non-steroidal dietary supplements. He, however, failed to convince the committee of his innocence. In its report submitted to the Pakistan Cricket Board, the Anti-Doping Committee recommended a two-year ban. On 1 November 2006 the Pakistan Cricket Board handed down a two-year suspension to Akhtar and a one-year suspension to Asif, banning them from professional cricket during the period. Shoaib had subsequently been added to Pakistan Olympic Association list of doping offenders. However, on 5 December 2006 represented by his lawyer Abid Hassan Minto, Akhtar was cleared on appeal. On 5 December 2006 Akhtar and Asif were acquitted by the tribunal appointed to review their appeals. After a clear hearing from Akhtar's lawyer Abid Hassan Minto, the three-man committee, voted two to one in favour of the acquittal. Justice Fakhruddin Ebrahim, committee head, and Haseeb Ahsan, former Test cricketer, were in favour of the acquittal. The third member, Danish Zaheer, differed. "Exceptional circumstances" were cited including discrepancies between the instantaneous offence charges of doping that were laid and the quick delivery of a very harsh verdict. The complete drug testing procedure was concluded to have been technically flawed as it did not follow standard procedures. Other established facts by the committee included that the duo were not aware of the banned drug to be present in their supplements because the Pakistan Cricket Board itself had not informed them of the dangers of contaminated supplements. Akhtar and Asif, however, did not play in the subsequent Test match series against the West Indies because the Pakistan Cricket Board had recommended that they play domestic games first to recover form and fitness. On 1 March 2007 Akhtar and Asif were ruled out of the Pakistani squad for the 2007 Cricket World Cup by team officials, minutes before the squad was to depart for the West Indies. The team management along with the Pakistan Cricket Board said their injuries were too severe to risk taking them to the Caribbean. Since neither of the two had been declared fit they did not undergo official doping tests. World Anti-Doping Agency ( WADA) challenged Pakistan's decision to lift bans on fast bowlers Akhtar and Asif by taking the case to the Court of Arbitration for Sport in Lausanne, Switzerland. The ICC supported the WADA appeal adding that it was committed to a dope free game. On 2 July 2007, the Court of Arbitration for Sport dropped the case, ruling it had no jurisdiction to challenge the decision made by PCB. Other controversies In August 2007, Akhtar was reported to have used foul language against Pakistan Cricket Board protesting the imposing of fine of Rs. 300,000 for indiscipline during the national camp in Karachi. In the week before the inaugural World Twenty20, held in South Africa, Akhtar was rumoured to have hit Pakistani teammate Mohammad Asif with a bat after an argument in the dressing room. It started after Akhtar was ridiculed by Asif and Shahid Afridi for comparing himself with Imran Khan. After the initial inquiry, Akhtar was found to be at fault and was subsequently recalled from the Twenty20 World Cup squad and was sent home. He was also banned for 5 matches by the Pakistan Cricket Board. Akhtar later claimed that Afridi was responsible for the fight, saying "He made some ill remarks about my family. And I could not tolerate them." Afridi however, denied these allegations adding that Asif would have suffered more injuries but for his intervention. Even Asif chipped in saying that Akhtar was lying and that "Shahid Afridi had nothing to do with the fight", saying that "he has not apologised to me." On 1 April 2008 Akhtar was banned for five years for violating the players' code of conduct. The ban extended to all cricket for and in Pakistan. Despite the ban not preventing him from playing in the Indian Premier League, the IPL governing council decided not to allow Akhtar to play in the tournament until the end of the ban or unless it is lifted. IS Bindra, a member of the council, was quoted as saying, "Even though they [the PCB] have cleared him to play for IPL, we felt that international discipline needs to be respected." Meanwhile, Akhtar vowed to go to great lengths to fight the ban, "I will appeal, as is my right. If that fails I will go to court, if that fails then I will go to the Supreme Court." On 3 April, Pakistan Cricket Board chairman Nasim Ashraf served a legal notice on Akhtar, calling on him to retract statements he made to a news channel, alleging the ban was punishment in return for refusing to give the chairman a share of his earnings from the Indian Premier League, Ashraf also sought damages of Rs 100 million (approximately US$1.6 million) for "defaming him personally" and an additional Rs 100 million to the Pakistan Cricket Board for "sullying the name of the Pakistan Cricket Board and the Pakistan Cricket team." A three-man appellate tribunal announced on 30 April that they had temporarily upheld Akhtar's five-year ban, deciding to revist the appeal hearing in June. Despite Akhtar's later retracting his claims and also issuing an unconditional apology for "any grief or embarrassment that may have been caused to the nation, particularly to the Pakistan Cricket Board chairman Dr Nasim Ashraf", Ashraf's legal counsel filed a Rs 220 million (approx US$3.37 million) defamation suit against Akhtar in a civil court in Lahore on 2 May. On 4 May, the Pakistan Cricket Board's appellate tribunal suspended the five-year ban for one month, until they reconvene on 4 June, allowing Akhtar to take part in the ongoing Indian Premier League. A day later, the Pakistan Cricket Board announced that they will no longer pursue the defamation suit following a reconciliation between Akhtar and chairman Nasim Ashraf at the house of Rehman Malik, a key political official, in Islamabad. "My honour has been vindicated and now the defamation lawsuit will not be pursued," Ashraf was quoted as saying. On 4 September 2008, Akhtar was sent back home from Heathrow airport by British immigration officials on visa grounds; Akhtar only had a visit visa but not a working visa, which is required to play in county cricket. He subsequently obtained the necessary visa and returned to play with English county club Surrey. On 21 May 2009, Akhtar was dropped from 2009 ICC World Twenty20 Pakistan squad because of genital viral warts. In July 2012, Akhtar accused the PCB stating that there was too much "politics" in the Board and some of its officials did not want Pakistani team to win. Beyond cricket Book In September 2011, few months after his retirement from international cricket, he released his autobiography Controversially Yours, co-written with Indian social anthropologist and journalist Anshu Dogra. It was met with positive reviews, observers noting the interest of having Shoaib's comments, nearly always critical, on issues pertaining to the administration of cricket in Pakistan, the controversies surrounding ball tampering and his views on cricketers, from Pakistan as well outside. Television References External links 1975 births ACC Asian XI One Day International cricketers Zarai Taraqiati Bank Limited cricketers Chittagong Division cricketers Cricketers at the 1998 Commonwealth Games Cricketers at the 1999 Cricket World Cup Cricketers at the 2003 Cricket World Cup Cricketers at the 2007 Cricket World Cup Cricketers at the 2011 Cricket World Cup Durham cricketers Federal Areas cricketers ICC World XI One Day International cricketers Islamabad cricketers Islamabad Leopards cricketers Khan Research Laboratories cricketers Kolkata Knight Riders cricketers Living people Pakistani autobiographers Pakistani cricketers Doping cases in Pakistani cricket Pakistan International Airlines cricketers Pakistan One Day International cricketers Pakistan Test cricketers Pakistan Twenty20 International cricketers Cricketers from Rawalpindi Punjabi people Rawalpindi cricketers Rawalpindi B cricketers Rawalpindi Rams cricketers Somerset cricketers Surrey cricketers Worcestershire cricketers Pakistani cricket commentators Pakistani expatriates in India Pakistani YouTubers Commonwealth Games competitors for Pakistan	true	[ "\"How Interesting: A Tiny Man\" is a 2010 science fiction/magical realism short story by American writer Harlan Ellison. It was first published in Realms of Fantasy.\n\nPlot summary\nA scientist creates a tiny man. The tiny man is initially very popular, but then draws the hatred of the world, and so the tiny man must flee, together with the scientist (who is now likewise hated, for having created the tiny man).\n\nReception\n\"How Interesting: A Tiny Man\" won the 2010 Nebula Award for Best Short Story, tied with Kij Johnson's \"Ponies\". It was Ellison's final Nebula nomination and win, of his record-setting eight nominations and three wins.\n\nTor.com calls the story \"deceptively simple\", with \"execution (that) is flawless\" and a \"Geppetto-like\" narrator, while Publishers Weekly describes it as \"memorably depict(ing) humanity's smallness of spirit\". The SF Site, however, felt it was \"contrived and less than profound\".\n\nNick Mamatas compared \"How Interesting: A Tiny Man\" negatively to Ellison's other Nebula-winning short stories, and stated that the story's two mutually exclusive endings (in one, the tiny man is killed; in the other, he becomes God) are evocative of the process of writing short stories. Ben Peek considered it to be \"more allegory than (...) anything else\", and interpreted it as being about how the media \"give(s) everyone a voice\", and also about how Ellison was treated by science fiction fandom.\n\nReferences\n\nExternal links\nAudio version of ''How Interesting: A Tiny Man, at StarShipSofa\nHow Interesting: A Tiny Man, at the Internet Speculative Fiction Database\n\nNebula Award for Best Short Story-winning works\nShort stories by Harlan Ellison", "Say Anything may refer to:\n\nFilm and television\n Say Anything..., a 1989 American film by Cameron Crowe\n \"Say Anything\" (BoJack Horseman), a television episode\n\nMusic\n Say Anything (band), an American rock band\n Say Anything (album), a 2009 album by the band\n \"Say Anything\", a 2012 song by Say Anything from Anarchy, My Dear\n \"Say Anything\" (Marianas Trench song), 2006\n \"Say Anything\" (X Japan song), 1991\n \"Say Anything\", a song by Aimee Mann from Whatever, 1993\n \"Say Anything\", a song by the Bouncing Souls from The Bouncing Souls, 1997\n \"Say Anything\", a song by Good Charlotte from The Young and the Hopeless, 2002\n \"Say Anything\", a song by Girl in Red, 2018\n \"Say Anything\", a song by Will Young from Lexicon, 2019\n \"Say Anything (Else)\", a song by Cartel from Chroma, 2005\n\nOther uses\n Say Anything (party game), a 2008 board game published by North Star Games\n \"Say Anything\", a column in YM magazine\n\nSee also\n Say Something (disambiguation)" ]
[ "Shoaib Akhtar", "International career", "how did his career start?", "Akhtar's test career started rather modestly. He was first picked to play on his home ground in Rawalpindi during the 2nd Test", "What year did his career start?", "1997/98 tour of Pakistan.", "What records does he hold?", "He is also known as one of only three bowlers to have ever broken the 100 mph barrier in cricket history,", "What are his stats?", "a delivery of 100.2 mph, during a one-day international against England in World cup 2003", "Did he play in other tournaments aside from the world cup?", "In 2002, he was selected for the Pakistan team against Australia and achieved success.", "Did he have any other impressive games?", "In 2005, Akhtar regained his reputation as a fast bowler for his side. Playing in a three Test home series against England,", "Did he play with anybody famous?", "I don't know.", "anything else interesting?", "Akhtar's run of impressive performances started in 1999, during a pre-World Cup series against India." ]	C_35cb609390134c1f9075c3c8f4df3cde_1	Did he play against other countries besides India?	9	Did Shoaib Akhtar play against other countries besides India?	Shoaib Akhtar	Considering his subsequent high profile in cricket, Akhtar's test career started rather modestly. He was first picked to play on his home ground in Rawalpindi during the 2nd Test of the West Indies 1997/98 tour of Pakistan. He was subsequently included in the tour of South Africa during the winter of 1998, where he played in all three tests. He was notably the spearhead of a depleted Pakistani bowling attack in the Peshawar Test against the visiting Australians later in 1998, when Mark Taylor scored his famous 334 n.o. in Australia's first innings. Subsequently, after 8 tests and 16 innings, Akhtar had accumulated only 18 wickets to his name. Akhtar's run of impressive performances started in 1999, during a pre-World Cup series against India. It was followed by outstanding bowling performances in Sharjah and later in the 1999 Cricket World Cup. His most significant performance was in India in 1999 when he captured eight wickets in the Asian Test championship match at Calcutta - including the wickets of Indian batsmen Rahul Dravid and Sachin Tendulkar when he bowled both batsmen off successive deliveries. It was the first ball he ever bowled to Tendulkar. In 2002, he was selected for the Pakistan team against Australia and achieved success. However he performed poorly during the 2003 Cricket World Cup and after the tournament he was dropped from the Pakistan squad. He was selected back into the Pakistan squad in the 2004 Test match series against New Zealand, but struggled in a losing Test series against India in 2004. The series ended with a controversy when he left the field citing an injury leading to suspicions by former Pakistan captain, Inzamam-ul-Haq, about his commitment to the team. As a result, his relationship with Inzamam-ul-Haq and former Pakistan coach Bob Woolmer deteriorated. A medical panel was set up by the Pakistan Cricket Board to investigate the nature of his injury, however Pakistan officials dispelled all suspicions. In 2005, Akhtar regained his reputation as a fast bowler for his side. Playing in a three Test home series against England, he made a series of impressive bowling performances. His effective use of slower deliveries proved to be unplayable by the English batsmen. Akhtar emerged as the highest wicket taker of the series with seventeen wickets. His comeback was also remarkable as prior to his return, he had been criticised from all corners; such as by the Worcestershire chairman John Elliot for his celebrity attitude and lack of commitment to the team. His performance was also acknowledged by the English captain Michael Vaughan, who remarked "I thought he (Shoaib) was a big difference between the two teams". He is also known as one of only three bowlers to have ever broken the 100 mph barrier in cricket history, with a delivery of 100.2 mph, during a one-day international against England in World cup 2003 CANNOTANSWER	the 2004 Test match series against New Zealand,	Shoaib Akhtar (; born 13 August 1975) is a Pakistani former cricketer and commentator. Nicknamed the "Rawalpindi Express", he was the first bowler to be recorded bowling at 100 miles per hour, a feat he achieved twice in his career. Akhtar made his Test match debut in November 1997 as an opening fast bowler and played his first One Day International three months later. He has been involved in several controversies during his career, often accused of unsportsmanlike conduct. Akhtar was sent home during a Test match series in Australia in 2005 for alleged poor attitude and a year later received a ban after testing positive for the performance-enhancing substance nandrolone. However, the ban imposed on him was lifted on appeal. In 2008, Akhtar was banned for five years for publicly criticising the Pakistan Cricket Board, although in October 2008, the Lahore High Court suspended the ban and Akhtar was selected in the 15-man squad for the Twenty20 Quadrangular Tournament in Canada. Akhtar retired from international cricket after the 2011 World Cup. Personal life Akhtar was born in the small town of Morgah in Rawalpindi, Punjab, Pakistan. His father, Mohammad Akhtar, whom Shoaib describes as very religious and “from a hardworking, economically unprivileged family of the Gujjar community”, worked as a night watchman at a petrol station belonging to the Attock oil refinery, and married his mother, Hameeda Awan, when she was still a teenager, and they had five children: four sons, Shoaib being the fourth, followed by a daughter. Shoaib's name, which in Arabic means both “the one who brings people together” and “the one who separates”, was chosen by his mother. He married Rubab Khan on 11 November 2014. Beginnings A good student, Akhtar was admitted to the Asghar Mall College, but disrupted his studies to attend trials for the PIA team's Karachi division to be held in Lahore. Lacking the money for a bus ticket, he waited for the bus to start and got onto the roof. After some struggle, starting his List A career during the 1993/1994 season and his first-class career during the 1994/1995 one, he caught the eye of Majid Khan, then the chief executive of the PCB, and after a good performance for the Pakistan A team's tour of England, in 1996, he was rewarded his maiden Test cap against the West Indies, in 1997. International career Considering his subsequent high profile in cricket, Akhtar's test career started rather modestly. He was first picked to play on his home ground in Rawalpindi during the 2nd Test of the West Indies 1997/98 tour of Pakistan. He was subsequently included in the tour of South Africa during the winter of 1998, where he played in all three Tests. He was notably the spearhead of a depleted Pakistani bowling attack in the Peshawar Test against the visiting Australians later in 1998, where Mark Taylor scored his famous unbeaten 334 in Australia's first innings. Subsequently, after 8 tests and 16 innings, Akhtar had accumulated only 18 wickets. Akhtar's run of impressive performances started in 1999, during a pre-World Cup series against India. It was followed by outstanding bowling performances in Sharjah and later in the 1999 Cricket World Cup. His most significant performance was in India in 1999 when he captured eight wickets in the Asian Test championship match at Calcutta – including the wickets of Indian batsmen Rahul Dravid and Sachin Tendulkar when he bowled both batsmen off successive deliveries. It was the first ball he ever bowled to Tendulkar. In 2002, he was selected for the Pakistan team against Australia and achieved a small amount of success. However the team performed poorly during the 2003 Cricket World Cup and after the tournament he was dropped from the Pakistan squad. He was selected back into the Pakistan squad as they had no choice in the 2003 Test match series against New Zealand, but struggled in a losing Test series against India in 2004. The series ended with a controversy when he left the field citing an injury leading to suspicions by former Pakistan captain, Inzamam-ul-Haq, about his commitment to the team. As a result, his relationship with Inzamam-ul-Haq and former Pakistan coach Bob Woolmer deteriorated. A medical panel was set up by the Pakistan Cricket Board to investigate the nature of his injury, however Pakistan officials dispelled all suspicions. In 2005, Akhtar regained his reputation as a fast bowler for his side. Playing in a three Test home series against England, he made a series of impressive bowling performances. His effective use of slower deliveries proved to be unplayable by the English batsmen. Akhtar emerged as the highest wicket taker of the series with seventeen wickets. His comeback was also remarkable as prior to his return, he had been criticised from all corners; such as by the Worcestershire chairman John Elliot for his celebrity attitude and lack of commitment to the team. His performance was also acknowledged by the English captain Michael Vaughan, who remarked "I thought he (Shoaib) was a big difference between the two teams". Throughout his career, he was regarded as one of the fastest bowlers in the history of international cricket. He achieved the record of the fastest bowl at 161 kph after the introduction of speed measuring devices at the international cricket in 1998. He is also known as one of only three bowlers to have ever broken the 100 mph barrier in cricket history, with a delivery of 100.2 mph, during a one-day international against England in World cup 2003. Struggle for form and consistent injuries (2007–2009) On 29 October 2007, Akhtar made his return to cricket from his 13 match ban and performed very well, he took 4 wickets for 43 runs against South Africa in the fifth and deciding One Day International series in Lahore in Pakistan. Subsequently, he was included in the 16-man Pakistan squad for the 2007 tour of India. Rehabilitation and final years (2010–2011) Akhtar made a return to international cricket albeit in the shorter format of the game. In May 2010, PCB named him in a list of 35 probables for the Asia Cup. On 15 June 2010, Akhtar made his return, taking 3 wickets for 28 runs in the first match of the Asia Cup against Sri Lanka. He narrowly missed out a spot in the 2010 ICC World Twenty20 in place of the injured Umar Gul. In July 2010, he was selected for the Twenty20 series against Australia but the selectors decided not to play him in the Test squad so that he would not get injured. He was subsequently selected for the ODI and Twenty20 series against England in September 2010. Akhtar returned to the national side representing the country against England in the Twenty20 International. He bowled an impressive spell and returned with figures of 2 wickets for 23 runs. He continued to bowl well in the ODI series in the absence of regular fast-bowlers, Mohammad Asif and Mohammad Amir, who were suspended by the International Cricket Council amid allegations of Spot-fixing. Despite his relatively good bowling form, Pakistani coach Waqar Younis insisted that the bowling attack must not become reliant on Akhtar, as he is 35 years of age and fitness troubles continue to affect him. Akhtar was selected for the tour of New Zealand and started his campaign off well with 3 wickets on Boxing Day in the first of two Twenty20 Internationals against New Zealand. Akhtar was selected in Pakistan's 15-man squad to play in the 2011 World Cup hosted by Bangladesh, India, and Sri Lanka in February to March. During the tournament, he announced that he would retire from international cricket at the end of the World Cup. He was dropped from the squad after group matches and was not included in the quarter final either. Domestic career England county cricket Akhtar has played for three English county cricket clubs: Somerset in 2001, Durham in 2003 and 2004 and Worcestershire in 2005. He did achieve his moments of success, such as taking 5 wickets for 35 runs for Durham against Somerset in the National League in 2003 and claiming 6 wickets for 16 runs in the same competition for Worcestershire against Gloucestershire two years later, but he suffered from fitness problems, as well as a perception that he was less than interested in his task. This was particularly the case at Worcestershire: chairman John Elliott said "Players like that are no good to our club. In fact, Akhtar has been no good for any club he's been at. He's a superstar and just does what he wants." Indian Premier League Akhtar made a successful return to cricket in his first game in the Indian Premier League, playing for the Kolkata Knight Riders against the Delhi Daredevils. Defending a low score of 133 runs, Akhtar took four top order wickets which ultimately led to the Daredevils being restricted to 110 runs. He ended with figures of 4 wickets for 11 runs from three overs, a performance which earned him the player of the match award. Akhtar denied that he had any point to prove with his performance, stating, "I just wanted to win the game." Knight Riders' captain Sourav Ganguly also acknowledged Akhtar's performance, "He came to the country with lots [of things] happening behind him...But he showed a lot of character." Cricket controversies and injuries Akhtar's career has been plagued with injuries, controversies and accusations of poor attitude. After Pakistan's poor performance in the 2003 Cricket World Cup, he got involved in a verbal conflict with former Pakistan captain and fast bowler Waqar Younis. Later on Akhtar was sacked along with other players, including Younis. In a triangular series in 2003 held in Sri Lanka, he was caught ball tampering making him the second player in cricket to be banned on ball tampering charges. The same year he was banned for one Test match and two One Day International matches for abusing South African spin bowler Paul Adams, during a match against South Africa. In the 2004 home series with India, he struggled with wrist and back injuries, which raised questions about his commitment to the team. He was sent back from the 2005 Australia tour with a hamstring injury amid rumours of indiscipline, lack of commitment and attitudinal complaints. He was subsequently fined by the Pakistan Cricket Board for avoiding a late night curfew. The rest of his cricketing career was riddled with ankle and knee injuries which forced him to undergo a surgery in February 2006, until finally he was banned for two years for allegedly using performance-enhancing drugs. Drug scandal On 16 October 2006 Akhtar was suspended by the Pakistan Cricket Board, along with Mohammed Asif after they tested positive for a performance-enhancing substance nandrolone. They were consequently pulled out from the 2006 ICC Champions Trophy. Former Pakistan Cricket Board chairman later stated that he had always suspected Akhtar of substance abuse due to his consistent "reservations" to drug tests. Former Pakistan captain Inzamam ul-Haq had also previously complained about Akhtar's drug abuse but was not reported to the Pakistan Cricket Board. Akhtar immediately declared his innocence and he declined knowingly taking any performance-enhancing drugs. In a statement issued to the press, he claimed that he could never cheat teammates or opponents. During a hearing with the Pakistan Cricket Board Anti-Doping Committee, he along with Asif maintained taking non-steroidal dietary supplements. He, however, failed to convince the committee of his innocence. In its report submitted to the Pakistan Cricket Board, the Anti-Doping Committee recommended a two-year ban. On 1 November 2006 the Pakistan Cricket Board handed down a two-year suspension to Akhtar and a one-year suspension to Asif, banning them from professional cricket during the period. Shoaib had subsequently been added to Pakistan Olympic Association list of doping offenders. However, on 5 December 2006 represented by his lawyer Abid Hassan Minto, Akhtar was cleared on appeal. On 5 December 2006 Akhtar and Asif were acquitted by the tribunal appointed to review their appeals. After a clear hearing from Akhtar's lawyer Abid Hassan Minto, the three-man committee, voted two to one in favour of the acquittal. Justice Fakhruddin Ebrahim, committee head, and Haseeb Ahsan, former Test cricketer, were in favour of the acquittal. The third member, Danish Zaheer, differed. "Exceptional circumstances" were cited including discrepancies between the instantaneous offence charges of doping that were laid and the quick delivery of a very harsh verdict. The complete drug testing procedure was concluded to have been technically flawed as it did not follow standard procedures. Other established facts by the committee included that the duo were not aware of the banned drug to be present in their supplements because the Pakistan Cricket Board itself had not informed them of the dangers of contaminated supplements. Akhtar and Asif, however, did not play in the subsequent Test match series against the West Indies because the Pakistan Cricket Board had recommended that they play domestic games first to recover form and fitness. On 1 March 2007 Akhtar and Asif were ruled out of the Pakistani squad for the 2007 Cricket World Cup by team officials, minutes before the squad was to depart for the West Indies. The team management along with the Pakistan Cricket Board said their injuries were too severe to risk taking them to the Caribbean. Since neither of the two had been declared fit they did not undergo official doping tests. World Anti-Doping Agency ( WADA) challenged Pakistan's decision to lift bans on fast bowlers Akhtar and Asif by taking the case to the Court of Arbitration for Sport in Lausanne, Switzerland. The ICC supported the WADA appeal adding that it was committed to a dope free game. On 2 July 2007, the Court of Arbitration for Sport dropped the case, ruling it had no jurisdiction to challenge the decision made by PCB. Other controversies In August 2007, Akhtar was reported to have used foul language against Pakistan Cricket Board protesting the imposing of fine of Rs. 300,000 for indiscipline during the national camp in Karachi. In the week before the inaugural World Twenty20, held in South Africa, Akhtar was rumoured to have hit Pakistani teammate Mohammad Asif with a bat after an argument in the dressing room. It started after Akhtar was ridiculed by Asif and Shahid Afridi for comparing himself with Imran Khan. After the initial inquiry, Akhtar was found to be at fault and was subsequently recalled from the Twenty20 World Cup squad and was sent home. He was also banned for 5 matches by the Pakistan Cricket Board. Akhtar later claimed that Afridi was responsible for the fight, saying "He made some ill remarks about my family. And I could not tolerate them." Afridi however, denied these allegations adding that Asif would have suffered more injuries but for his intervention. Even Asif chipped in saying that Akhtar was lying and that "Shahid Afridi had nothing to do with the fight", saying that "he has not apologised to me." On 1 April 2008 Akhtar was banned for five years for violating the players' code of conduct. The ban extended to all cricket for and in Pakistan. Despite the ban not preventing him from playing in the Indian Premier League, the IPL governing council decided not to allow Akhtar to play in the tournament until the end of the ban or unless it is lifted. IS Bindra, a member of the council, was quoted as saying, "Even though they [the PCB] have cleared him to play for IPL, we felt that international discipline needs to be respected." Meanwhile, Akhtar vowed to go to great lengths to fight the ban, "I will appeal, as is my right. If that fails I will go to court, if that fails then I will go to the Supreme Court." On 3 April, Pakistan Cricket Board chairman Nasim Ashraf served a legal notice on Akhtar, calling on him to retract statements he made to a news channel, alleging the ban was punishment in return for refusing to give the chairman a share of his earnings from the Indian Premier League, Ashraf also sought damages of Rs 100 million (approximately US$1.6 million) for "defaming him personally" and an additional Rs 100 million to the Pakistan Cricket Board for "sullying the name of the Pakistan Cricket Board and the Pakistan Cricket team." A three-man appellate tribunal announced on 30 April that they had temporarily upheld Akhtar's five-year ban, deciding to revist the appeal hearing in June. Despite Akhtar's later retracting his claims and also issuing an unconditional apology for "any grief or embarrassment that may have been caused to the nation, particularly to the Pakistan Cricket Board chairman Dr Nasim Ashraf", Ashraf's legal counsel filed a Rs 220 million (approx US$3.37 million) defamation suit against Akhtar in a civil court in Lahore on 2 May. On 4 May, the Pakistan Cricket Board's appellate tribunal suspended the five-year ban for one month, until they reconvene on 4 June, allowing Akhtar to take part in the ongoing Indian Premier League. A day later, the Pakistan Cricket Board announced that they will no longer pursue the defamation suit following a reconciliation between Akhtar and chairman Nasim Ashraf at the house of Rehman Malik, a key political official, in Islamabad. "My honour has been vindicated and now the defamation lawsuit will not be pursued," Ashraf was quoted as saying. On 4 September 2008, Akhtar was sent back home from Heathrow airport by British immigration officials on visa grounds; Akhtar only had a visit visa but not a working visa, which is required to play in county cricket. He subsequently obtained the necessary visa and returned to play with English county club Surrey. On 21 May 2009, Akhtar was dropped from 2009 ICC World Twenty20 Pakistan squad because of genital viral warts. In July 2012, Akhtar accused the PCB stating that there was too much "politics" in the Board and some of its officials did not want Pakistani team to win. Beyond cricket Book In September 2011, few months after his retirement from international cricket, he released his autobiography Controversially Yours, co-written with Indian social anthropologist and journalist Anshu Dogra. It was met with positive reviews, observers noting the interest of having Shoaib's comments, nearly always critical, on issues pertaining to the administration of cricket in Pakistan, the controversies surrounding ball tampering and his views on cricketers, from Pakistan as well outside. Television References External links 1975 births ACC Asian XI One Day International cricketers Zarai Taraqiati Bank Limited cricketers Chittagong Division cricketers Cricketers at the 1998 Commonwealth Games Cricketers at the 1999 Cricket World Cup Cricketers at the 2003 Cricket World Cup Cricketers at the 2007 Cricket World Cup Cricketers at the 2011 Cricket World Cup Durham cricketers Federal Areas cricketers ICC World XI One Day International cricketers Islamabad cricketers Islamabad Leopards cricketers Khan Research Laboratories cricketers Kolkata Knight Riders cricketers Living people Pakistani autobiographers Pakistani cricketers Doping cases in Pakistani cricket Pakistan International Airlines cricketers Pakistan One Day International cricketers Pakistan Test cricketers Pakistan Twenty20 International cricketers Cricketers from Rawalpindi Punjabi people Rawalpindi cricketers Rawalpindi B cricketers Rawalpindi Rams cricketers Somerset cricketers Surrey cricketers Worcestershire cricketers Pakistani cricket commentators Pakistani expatriates in India Pakistani YouTubers Commonwealth Games competitors for Pakistan	false	[ "Gopi Gajwani (born 1983 in Sind, India) is a painter, photographer, designer, and cartoonist from New Delhi, India. He graduated from the Delhi School of Art in 1959 with a degree in Graphic Designing.\n\nCareer \nGajwani did his graduation in arts from Delhi College of Arts. He was a designer at the American Centre for twenty-nine years, creating posters for plays, films, dances, and workshops, both home-grown and foreign. He contributed cartoons and caricatures to the magazine Span and other publications, besides working as an illustrator. Gajwani designed several coffee table books, some with his own photographs. He also worked as a filmmaker, making experimental short films from 1973 to 2014. His short films, including Time (1973) and The End (1974) were shown in Lalit Kala Akademi's Art in Cinema programme\n\nAs a painter, Gajwani had numerous one-man shows at the Shridharani Art Gallery in New Delhi. He also participated in over a hundred group shows in New Delhi and Mumbai, as well as countries outside India.\n\nReferences\n\nExternal links\nGopi Gajwani: Artist Website\nGopi Gajwani page at WorldCat\n\nIndian cartoonists\n1938 births\nLiving people", "Test cricket is the longest form of cricket. The women's variant of the game includes four innings to be completed over four days of play with eleven players in each side. The first women's Test was played between England and Australia in 1934. However, India did not play Test cricket until 1973 when the Women's Cricket Association of India was formed. The Indian women's team played their first Test match in 1976, against the West Indies. The Women's Cricket Association of India was merged with the Board of Control for Cricket in India in 2006 as part of the International Cricket Council's initiative to develop women's cricket.\n\nIndia have played 37 Tests, starting with their first Test in 1976 and including their most recent one in 2021. They first won a Test in Patna (1976), in front of over 25,000 spectators, against the West Indies but did not win again until 2002, when they won against South Africa. The team has remained unbeaten since 2006, over the course of three Test matches.\n\nTwo of India's players, Diana Edulji and Sudha Shah, have featured in more than 20 Test matches. Ten other players have played in ten or more Test matches. Sandhya Agarwal is India's all-time leading run scorer, and is ranked sixth among players from all countries. Among the top ten run scorers of all time, she has the fourth-highest average. Sandhya Agarwal and Mithali Raj, with scores of 190 and 214 respectively, were record holders for the most runs scored in an innings. Former captains Diana Edulji and Shubhangi Kulkarni are third and sixth in terms of most wickets taken in a career while Neetu David has the best bowling figures in an innings, having taken 8 wickets, conceding 53 runs in England's second innings in the hundredth women's Test.\n\nSince the team was formed, 90 women have represented India in Test cricket. This list includes all players who have played at least one Test match and is arranged in the order of debut appearance. Where more than one player won their first Test cap in the same Test match, those players are listed alphabetically by last name at the time of debut.\n\nKey\n\nTest cricketers\nStatistics are correct as of 3 October 2021.\n\nTest captains\n\nNotes\n\nReferences\n\n \nIndia\nWomen Test cricketers\nCricketers" ]
[ "Ralph Bakshi", "Coonskin (1973-1975)" ]	C_0425b70eeebf4afa91523e82d63c3bd2_1	Is coonskin a movie?	1	Is Coonskin a movie?	Ralph Bakshi	In 1973, Bakshi and Ruddy began the production of Harlem Nights, which Paramount was originally contracted to distribute. While Fritz the Cat and Heavy Traffic proved that adult-oriented animation could be financially successful, animated films were still not respected, and Bakshi's pictures were considered to be "dirty Disney flicks" that were "mature" only for depicting sex, drugs and profanity. Harlem Nights, based on Bakshi's firsthand experiences with racism, was an attack on racist prejudices and stereotypes. Bakshi cast Scatman Crothers, Philip Michael Thomas, Barry White and Charles Gordone in live-action and voice roles, cutting in and out of animation abruptly rather than seamlessly because he wanted to prove that the two mediums could "coexist with neither excuse nor apology". He wrote a song for Crothers to sing during the opening title sequence: "Ah'm a Niggerman". Its structure was rooted in the history of the slave plantation: slaves would "shout" lines from poems and stories great distances across fields in unison, creating a natural beat. Bakshi has described its vocal style, backed by fast guitar licks, as an "early version of rap". Bakshi intended to attack stereotypes by portraying them directly, culling imagery from blackface iconography. Early designs in which the main characters (Brother Rabbit, Brother Bear and Preacher Fox) resembled figures from The Wind in the Willows were rejected. Bakshi juxtaposed stereotypical designs of blacks with even more negative depictions of white racists, but the film's strongest criticism is directed at the Mafia. Bakshi said, "I was sick of all the hero worship these guys got because of The Godfather." Production concluded in 1973. During editing, the title was changed to Coonskin No More..., and finally to Coonskin. Bakshi hired several African American animators to work on Coonskin, including Brenda Banks, the first African American female animator. Bakshi also hired graffiti artists and trained them to work as animators. The film's release was delayed by protests from the Congress of Racial Equality, which called Bakshi and his film racist. After its distribution was contracted to the Bryanston Distributing Company, Paramount canceled a project that Bakshi and Ruddy were developing, The American Chronicles. Coonskin, advertised as an exploitation film, was given limited distribution and soon disappeared from theaters. Initial reviews were negative; Playboy commented that "Bakshi seems to throw in a little of everything and he can't quite pull it together." Eventually, positive reviews appeared in The Hollywood Reporter, New York Amsterdam News (an African American newspaper) and elsewhere. The New York Times' Richard Eder said the film "could be [Bakshi's] masterpiece [...] a shattering successful effort to use an uncommon form--cartoons and live action combined to convey the hallucinatory violence and frustration of American city life, specifically black city life [...] lyrically violent, yet in no way [does it] exploit violence". Variety called it a "brutal satire from the streets". A reviewer for the Los Angeles Herald-Examiner wrote, "Certainly, it will outrage some and, indeed, it's not Disney. [...] The dialog it has obviously generated--if not the box office obstacles--seems joltingly healthy." Bakshi called Coonskin his best film. CANNOTANSWER	Coonskin, advertised as an exploitation film,	Ralph Bakshi (; born October 29, 1938) is an American director of animated and live-action films. In the 1970s, he established an alternative to mainstream animation through independent and adult-oriented productions. Between 1972 and 1992, he directed nine theatrically released feature films, five of which he wrote. He has been involved in numerous television projects as director, writer, producer, and animator. Beginning his career at the Terrytoons television cartoon studio as a cel polisher, Bakshi was eventually promoted to animator, and then director. He moved to the animation division of Paramount Pictures in 1967 and started his own studio, Bakshi Productions, in 1968. Through producer Steve Krantz, Bakshi made his debut feature film, Fritz the Cat, released in 1972. It was based on the comic strip by Robert Crumb and was the first animated film to receive an X rating from the Motion Picture Association of America, and is the most successful independent animated feature of all time. Over the next 11 years, Bakshi directed seven additional animated features. He is well known for such films as Wizards (1977), The Lord of the Rings (1978), American Pop (1981), and Fire and Ice (1983). In 1987, Bakshi returned to television work, producing the series Mighty Mouse: The New Adventures, which ran for two years. After a nine-year hiatus from feature films, he directed Cool World (1992), which was largely rewritten during production and received poor reviews, consequently being his last theatrical feature-length film to date. Bakshi returned to television with the live-action film Cool and the Crazy (1994) and the anthology series Spicy City (1997). During the 2000s, he focused largely on fine art and painting, and in 2003, co-founded the Bakshi School of Animation with his son Eddie and Jess Gorell. Bakshi has received several awards for his work, including the 1980 Golden Gryphon for The Lord of the Rings at the Giffoni Film Festival, the 1988 Annie Award for Distinguished Contribution to the Art of Animation, and the 2003 Maverick Tribute Award at the Cinequest Film Festival. Early life Ralph Bakshi was born on October 29, 1938, in Haifa, British Mandate of Palestine (now Israel), to a Krymchak Jewish family. In 1939, his family migrated to the United States, and he grew up in the Brownsville neighborhood of Brooklyn. The family lived in a low-rent apartment, where Bakshi became fascinated with the urban milieu. As a child, he enjoyed comic books, and often dug through trash cans to find them. According to an interview in 2009, Ralph said he was very poor and the walls of his neighborhood were constantly repainted. He liked the feeling when he looked out the window and saw the sun as a little boy, and whenever he would walk out in the streets, someone would break the wooden crates, that were filled with food, in the push carts open. Ralph says this in the interview, "And the push carts were wood, and most of the buildings were made out of old wood, going back to the turn of the century, and they were repainted a lot but the paint was faded by, you know the hundred years of snow and rain, repainted and faded again." Bakshi loved the faded colors, the nails, the wooden crates, and he would build his own toys from the wood. Ralph recalls, "I had a great feeling with wood, cement, and nails". In the spring of 1947, Bakshi's father and uncle traveled to Washington, DC, in search of business opportunities, and soon moved the family to the black neighborhood of Foggy Bottom. Bakshi recalled, "All my friends were black, everyone we did business with was black, the school across the street was black. It was segregated, so everything was black. I went to see black movies; black girls sat on my lap. I went to black parties. I was another black kid on the block. No problem!" The racial segregation of local schools meant that the nearest white school was several miles away; Bakshi obtained his mother's permission to attend the nearby black school with his friends. Most of the students had no problem with Bakshi's presence, but a teacher sought advice from the principal, who called the police. Fearing that segregated whites would riot if they learned that a white, let alone Jewish, student was attending a black school, the police removed Bakshi from his classroom. Meanwhile, his father had been suffering from anxiety attacks. Within a few months, the family moved back to Brownsville, where they rarely spoke of these events. At the age of 15, after discovering Gene Byrnes' Complete Guide to Cartooning at the public library, Bakshi took up cartooning to document his experiences and create fantasy-influenced artwork. He stole a copy of the book and learned every lesson in it. During his teenaged years, Bakshi took up boxing. While attending Thomas Jefferson High School, he took little interest in academics, spending most of his time focusing on "broads, mouthing off, and doodling". After participating in a food fight and being caught smoking, Bakshi was sent to the principal's office. Believing Bakshi was unlikely to prosper at Thomas Jefferson, the principal transferred him to Manhattan's School of Industrial Art. In June 1956, Bakshi graduated from the school with an award in cartooning. Career Early career (1956–1968) When Bakshi was 18, his friend Cosmo Anzilotti was hired by the cartoon studio Terrytoons; Anzilotti recommended Bakshi to the studio's production manager, Frank Schudde. Bakshi was hired as a cel polisher and commuted four hours each day to the studio, based in suburban New Rochelle. His low-level position required Bakshi to carefully remove dirt and dust from animation cels. After a few months, Schudde was surprised that Bakshi was still showing up to work, so promoted him to cel painter. Bakshi began to practice animating; to give himself more time, at one point he slipped 10 cels he was supposed to work on into the "to-do" pile of a fellow painter, Leo Giuliani. Bakshi's deception was not noticed until two days later, when he was called to Schudde's office because the cels had been painted on the wrong side. When Bakshi explained that Giuliani had made the mistake, an argument ensued between the three. Schudde eventually took Bakshi's side. By this point, the studio's employees were aware of Bakshi's intention to become an animator, and he began to receive help and advice from established animators, including Connie Rasinski, Manny Davis, Jim Tyer, Larry Silverman, and Johnnie Gentilella. Bakshi married his first wife, Elaine, when he was 21. Their son, Mark, was born when Bakshi was 22. Elaine disliked his long work hours; parodying his marital problems, Bakshi drew Dum Dum and Dee Dee, a comic strip about a man determined "to get—and keep—the girl". As he perfected his animation style, he began to take on more jobs, including creating design tests for the studio's head director, Gene Deitch. Deitch was not convinced that Bakshi had a modern design sensibility. In response to the period's political climate and as a form of therapy, Bakshi drew the comic strips Bonefoot and Fudge, which satirized "idiots with an agenda", and Junktown, which focused on "misfit technology and discarded ideals". Bakshi's frustrations with his failing marriage and the state of the planet further drove his need to animate. In 1959, he moved his desk to join the rest of the animators; after asking Rasinski for material to animate, he received layouts of two scenes - a hat floating on water and a running Deputy Dawg, the lead character of a Terrytoons' series then being shown on CBS. Despite threats of repercussion from the animators' union, Rasinski fought to keep Bakshi as a layout artist. Bakshi began to see Rasinski as a father figure; Rasinski, childless, was happy to serve as Bakshi's mentor. At the age of 25, Bakshi was promoted to director. His first assignment was the series Sad Cat. Bakshi and his wife had separated by then, giving him the time to animate each short alone. Bakshi was dissatisfied with the traditional role of a Terrytoons director: "We didn't really 'direct' like you'd think. We were 'animation directors,' because the story department controlled the storyboards. We couldn't affect anything, but I still tried. I'd re-time, mix up soundtracks—I'd fuck with it so I could make it my own." Other animation studios, such as Hanna-Barbera, were selling shows to the networks, even as the series produced by Terrytoons (which was owned by CBS) were declining in popularity. In 1966, Bill Weiss asked Bakshi to help him carry presentation boards to Manhattan for a meeting with CBS. The network executives rejected all of Weiss's proposals as "too sophisticated", "too corny", or "too old-timey". As Fred Silverman, CBS's daytime programming chief, began to leave the office, an unprepared Bakshi pitched a superhero parody called The Mighty Heroes. He described the series' characters, including Strong Man, Tornado Man, Rope Man, Cuckoo Man, and Diaper Man: "They fought evil wherever they could, and the villains were stupider than they were." The executives loved the idea, and while Silverman required a few drawings before committing, Weiss immediately put Bakshi to work on the series' development. Once Silverman saw the character designs, he confirmed that CBS would greenlight the show, on the condition that Bakshi serve as its creative director. It would appear as a segment of Mighty Mouse Playhouse on the network's 1966–67 Saturday-morning schedule; the series was renamed Mighty Mouse and the Mighty Heroes in recognition of the new segment. Bakshi received a pay raise, but was not as satisfied with his career advancement as he had anticipated; Rasinski had died in 1965, Bakshi did not have creative control over The Mighty Heroes, and he was unhappy with the quality of the animation, writing, timing, and voice acting. Although the series' first 20 segments were successful, Bakshi wanted to leave Terrytoons to form his own company. In 1967, he drew up presentation pieces for a fantasy series called Tee-Witt, with help from Anzilotti, Johnnie Zago, and Bill Foucht. On the way to the CBS offices to make his pitch, he was involved in a car accident. At the auto body shop, he met Liz, who later became his second wife. Though CBS passed on Tee-Witt, its designs served as the basis for Bakshi's 1977 film Wizards. While leaving the network offices, he learned that Paramount Pictures had recently fired Shamus Culhane, the head of its animation division. Bakshi met with Burt Hampft, a lawyer for the studio, and was hired to replace Culhane. Bakshi enlisted comic-book and pulp-fiction artists and writers Harvey Kurtzman, Lin Carter, Gray Morrow, Archie Goodwin, Wally Wood, and Jim Steranko to work at the studio. After finishing Culhane's uncompleted shorts, he directed, produced, wrote, and designed four short films at Paramount: The Fuz, Mini-Squirts, Marvin Digs, and Mouse Trek. Marvin Digs, which Bakshi conceived as a "flower child picture", was not completed the way he had intended: It "was going to have curse words and sex scenes, and a lot more than that. [...] Of course, they wouldn't let me do that." He described the disappointing result as a "typical 1967 limited-animation theatrical". Animation historian Michael Barrier called the film "an offensively bad picture, the kind that makes people who love animation get up and leave the theater in disgust". Production of Mighty Heroes ended when Bakshi left Terrytoons. Bakshi served as head of the studio for eight months before Paramount closed its animation division on December 1, 1967. He learned that his position was always intended to be temporary and that Paramount never intended to pick up his pitches. Although Hampft was prepared to offer Bakshi a severance package, Bakshi immediately ripped up the contract. Hampft suggested that Bakshi work with producer Steve Krantz, who had recently fired Culhane as supervising director on the Canadian science-fiction series Rocket Robin Hood. Bakshi and background artist Johnnie Vita soon headed to Toronto, planning to commute between Canada and New York, with artists such as Morrow and Wood working from the United States. Unknown to Bakshi, Krantz and producer Al Guest were in the middle of a lawsuit. Failing to reach a settlement with Guest, Krantz told Bakshi to grab the series' model sheets and return to the United States. When the studio found out, a warrant for Bakshi's arrest was issued by the Toronto police. He narrowly avoided capture before being stopped by an American border guard, who asked him what he was doing. Bakshi responded, "All of these guys are heading into Canada to dodge the draft and I'm running back into the States. What the fuck is wrong with that!?" The guard laughed, and let Bakshi through. Vita was detained at the airport; he was searched and interrogated for six hours. Bakshi soon founded his own studio, Bakshi Productions, in the Garment District of Manhattan, where his mother used to work and which Bakshi described as "the worst neighborhood in the world". Bakshi Productions paid its employees higher salaries than other studios and expanded opportunities for female and minority animators. The studio began work on Rocket Robin Hood, and later took over the Spider-Man television series. Bakshi married Liz in August 1968. His second child, Preston, was born in June 1970. Fritz the Cat (1969–1972) In 1969, Ralph's Spot was founded as a division of Bakshi Productions to produce commercials for Coca-Cola and Max, the 2000-Year-Old Mouse, a series of educational shorts paid for by Encyclopædia Britannica. Bakshi was uninterested in the kind of animation the studio was turning out, and wanted to produce something personal. He soon developed Heavy Traffic, a tale of inner-city street life. Krantz told Bakshi that Hollywood studio executives would be unwilling to fund the film because of its content and Bakshi's lack of film experience, and would likely consider it if his first film was an adaptation. While browsing the East Side Book Store on St. Mark's Place, Bakshi came across a copy of Robert Crumb's Fritz the Cat. Impressed by Crumb's sharp satire, Bakshi purchased the book and suggested to Krantz that it would work as a film. Krantz arranged a meeting with Crumb, during which Bakshi presented the drawings he had created while learning the artist's distinctive style to prove that he could adapt Crumb's artwork to animation. Impressed by Bakshi's tenacity, Crumb lent him one of his sketchbooks for reference. Preparation began on a studio pitch that included a poster-sized cel featuring the comic's cast against a traced photo background—as Bakshi intended the film to appear. Despite Crumb's enthusiasm, the artist refused to sign the contract Krantz drew up. Artist Vaughn Bodē warned Bakshi against working with Crumb, describing him as "slick". Bakshi later agreed with Bodé's assessment, calling Crumb "one of the slickest hustlers you'll ever see in your life". Krantz sent Bakshi to San Francisco, where he stayed with Crumb and his wife, Dana, in an attempt to persuade Crumb to sign the contract. After a week, Crumb left, leaving the film's production status uncertain. Two weeks after Bakshi returned to New York, Krantz entered his office and told Bakshi that he had acquired the film rights through Dana, who had Crumb's power of attorney and signed the contract. Crumb was subsequently hostile both to the film and Bakshi. Krantz produced a sequel, The Nine Lives of Fritz the Cat (1974), to which Bakshi was steadfastly opposed, having wanted to kill Fritz off to avoid further movies. After Bakshi pitched the project to every major Hollywood studio, Warner Bros. bought it and promised an $850,000 budget. Bakshi hired animators with whom he had worked in the past, including Vita, Tyer, Anzilotti, and Nick Tafuri, and began the layouts and animation. The first completed sequence was a junkyard scene in Harlem, in which Fritz smokes marijuana, has sex, and incites a revolution. Krantz intended to release the sequence as a 15-minute short in case the picture's financing fell through; Bakshi, however, was determined to complete the film as a feature. They screened the sequence for Warner Bros. executives, who wanted the sexual content toned down and celebrities cast for the voice parts. Bakshi refused, and Warner Bros. pulled out, leading Krantz to seek funds elsewhere. He eventually made a deal with Jerry Gross, the owner of Cinemation Industries, a distributor specializing in exploitation films. Although Bakshi did not have enough time to pitch the film, Gross agreed to fund its production and distribute it, believing that it would fit in with his grindhouse slate. Despite receiving financing from other sources, including Saul Zaentz (who agreed to distribute the soundtrack album on his Fantasy Records label), the budget was tight enough to exclude pencil tests, so Bakshi had to test the animation by flipping an animator's drawings in his hand before they were inked and painted. When a cameraman realized that the cels for the desert scenes were not wide enough and revealed the transparency, Bakshi painted a cactus to cover the mistake. Very few storyboards were used. Bakshi and Vita walked around the Lower East Side, Washington Square Park, Chinatown, and Harlem, taking moody snapshots. Artist Ira Turek inked the outlines of these photographs onto cels with a Rapidograph, the technical pen preferred by Crumb, giving the film's backgrounds a stylized realism virtually unprecedented in animation. The tones of the watercolor backgrounds were influenced by the work of Ashcan School painters such as George Luks and John French Sloan. Among other unusual techniques, bent and fisheye camera perspectives were used to portray the way the film's hippies and hoodlums viewed the city. Many scenes featured documentary recordings of real conversations in place of scripted dialogue; this, too, would become a signature of Bakshi's. In May 1971, Bakshi moved his studio to Los Angeles to hire additional animators. Some, including Rod Scribner, Dick Lundy, Virgil Walter Ross, Norman McCabe, and John Sparey, welcomed Bakshi and felt that Fritz the Cat would bring diversity to the animation industry. Other animators were less pleased by Bakshi's arrival and placed an advertisement in The Hollywood Reporter, stating that his "filth" was unwelcome in California. By the time production wrapped, Cinemation had released Melvin Van Peebles' Sweet Sweetback's Baadasssss Song to considerable success, despite the X rating it had received. When the Motion Picture Association of America gave Bakshi's film an X rating, as well, Cinemation exploited it for promotional purposes, advertising Fritz the Cat as "90 minutes of violence, excitement, and SEX ... he's X-rated and animated!" Variety called it an "amusing, diverting, handsomely executed poke at youthful attitudes". John Grant writes in his book Masters of Animation that Fritz the Cat was "the breakthrough movie that opened brand new vistas to the commercial animator in the United States", presenting an "almost disturbingly accurate" portrayal "of a particular stratum of Western society during a particular era, [...] as such it has dated very well." Fritz the Cat was released on April 12, 1972, opening in Hollywood and Washington, D.C. A major hit, it became the most successful independent animated feature of all time. The same month as the film's release, Bakshi's daughter, Victoria, was born. Heavy Traffic (1972–1973) By the time Fritz the Cat was released, Bakshi had become a celebrity, but his reputation was primarily based upon his having directed the first "dirty" animated film. Facing criticism of his work on publicity tours and in trade publications, he began writing poetry to express his emotions. This became a tradition, and Bakshi wrote poems before beginning production on each of his films. The first of these poems was "Street Arabs", which preceded the production of Heavy Traffic in 1972. Inspiration for the film came from penny arcades, where Bakshi often played pinball, sometimes accompanied by his 12-year-old son, Mark. Bakshi pitched Heavy Traffic to Samuel Z. Arkoff, who expressed interest in his take on the "tortured underground cartoonist" and agreed to back the film. Krantz had not compensated Bakshi for his work on Fritz the Cat, and halfway through the production of Heavy Traffic, Bakshi asked when he would be paid. Krantz responded, "The picture didn't make any money, Ralph. It's just a lot of noise." Bakshi found Krantz's claims dubious, as the producer had recently purchased a new BMW and a mansion in Beverly Hills. Bakshi did not have a lawyer, so he sought advice from fellow directors with whom he had become friendly, including Martin Scorsese, Francis Ford Coppola, and Steven Spielberg. He soon accused Krantz of ripping him off, which the producer denied. As he continued to work on Heavy Traffic, Bakshi began pitching his next project, Harlem Nights, a film loosely based on the Uncle Remus story books. The idea interested producer Albert S. Ruddy, whom Bakshi encountered at a screening of The Godfather. Bakshi received a call from Krantz, who questioned him about Harlem Nights. Bakshi said, "I can't talk about that", and hung up. After locking Bakshi out of the studio the next day, Krantz called several directors, including Chuck Jones, in search of a replacement. Arkoff threatened to withdraw his financial backing unless Krantz rehired Bakshi, who returned a week later. Bakshi wanted the voices to sound organic, so he experimented with improvisation, allowing his actors to ad lib during the recording sessions. Several animation sequences appear as rough sketchbook pages. The film also incorporated live-action footage and photographs. Although Krantz, in an attempt to get the film an R rating, prepared different versions of scenes involving sex and violence, Heavy Traffic was rated X. Due to the success of Fritz the Cat, though, many theaters were willing to book adult-oriented animation, and the film did well at the box office. Bakshi became the first person in the animation industry since Walt Disney to have two financially successful movies released consecutively. Heavy Traffic was very well received by critics. Newsweek applauded its "black humor, powerful grotesquerie, and peculiar raw beauty." The Hollywood Reporter called it "shocking, outrageous, offensive, sometimes incoherent, occasionally unintelligent. However, it is also an authentic work of movie art and Bakshi is certainly the most creative American animator since Disney." Vincent Canby of The New York Times ranked Heavy Traffic among his "Ten Best Films of 1973". Upon release, the movie was banned by the Film Censorship Board in the province of Alberta, Canada. Coonskin (1973–1975) In 1973, Bakshi and Ruddy began the production of Harlem Nights, which Paramount was originally contracted to distribute. While Fritz the Cat and Heavy Traffic proved that adult-oriented animation could be financially successful, animated films were still not respected, and Bakshi's pictures were considered to be "dirty Disney flicks" that were "mature" only for depicting sex, drugs, and profanity. Harlem Nights, based on Bakshi's firsthand experiences with racism, was an attack on racist prejudices and stereotypes. Bakshi cast Scatman Crothers, Philip Michael Thomas, Barry White, and Charles Gordone in live-action and voice roles, cutting in and out of animation abruptly rather than seamlessly because he wanted to prove that the two media could "coexist with neither excuse nor apology". He wrote a song for Crothers to sing during the opening title sequence: "Ah'm a Niggerman". Its structure was rooted in the history of the slave plantation - slaves would "shout" lines from poems and stories great distances across fields in unison, creating a natural beat. Bakshi has described its vocal style, backed by fast guitar licks, as an "early version of rap". Bakshi intended to attack stereotypes by portraying them directly, culling imagery from blackface iconography. Early designs in which the main characters (Brother Rabbit, Brother Bear, and Preacher Fox) resembled figures from The Wind in the Willows were rejected. Bakshi juxtaposed stereotypical designs of blacks with even more negative depictions of white racists, but the film's strongest criticism is directed at the Mafia. Bakshi said, "I was sick of all the hero worship these guys got because of The Godfather." Production concluded in 1973. During editing, the title was changed to Coonskin No More..., and finally to Coonskin. Bakshi hired several African-American animators to work on Coonskin, including Brenda Banks, the first African-American female animator. Bakshi also hired graffiti artists and trained them to work as animators. The film's release was delayed by protests from the Congress of Racial Equality, which called Bakshi and his film racist. After its distribution was contracted to the Bryanston Distributing Company, Paramount cancelled a project that Bakshi and Ruddy were developing, The American Chronicles. Coonskin, advertised as an exploitation film, was given limited distribution and soon disappeared from theaters. Initial reviews were negative; Playboy commented that "Bakshi seems to throw in a little of everything and he can't quite pull it together." Eventually, positive reviews appeared in The Hollywood Reporter, New York Amsterdam News (an African-American newspaper), and elsewhere. The New York Times Richard Eder said the film "could be [Bakshi's] masterpiece [...] a shattering successful effort to use an uncommon form—cartoons and live action combined-to convey the hallucinatory violence and frustration of American city life, specifically black city life [...] lyrically violent, yet in no way [does it] exploit violence". Variety called it a "brutal satire from the streets". A reviewer for the Los Angeles Herald-Examiner wrote, "Certainly, it will outrage some and, indeed, it's not Disney. [...] The dialog it has obviously generated—if not the box-office obstacles—seems joltingly healthy." Bakshi called Coonskin his best film. Hey Good Lookin' (1973–1975/1982) After production concluded on Harlem Nights, Bakshi wanted to distinguish himself artistically by producing a film in which live action and animated characters would interact. Bakshi said, "The illusion I attempted to create was that of a completely live-action film. Making it work almost drove us crazy." Hey Good Lookin' is set in Brooklyn during the 1950s; its lead characters are Vinnie, the leader of a gang named "The Stompers", his friend Crazy Shapiro, and their girlfriends, Roz and Eva. Vinnie and Crazy Shapiro were based on Bakshi's high-school friends Norman Darrer and Allen Schechterman. Warner Bros. optioned the screenplay and greenlit the film in 1973. An initial version of Hey Good Lookin' was completed in 1975. A three-minute promotion of this version was screened at the 1975 Cannes Film Festival, and the film was scheduled for a Christmas 1975 release, but was moved to the summers of 1976 and later 1977, before ultimately being postponed indefinitely. Warner Bros. was concerned about any controversy the film would encounter as a result of the backlash over the film Coonskin, and felt that the film was "unreleasable" because of its mix of live action and animation, and it would not spend further money on the project. Bakshi financed the film's completion himself from the director's fees for other projects such as Wizards, The Lord of the Rings, and American Pop. The live-action sequences of Hey Good Lookin' were gradually replaced by animation; among the eliminated live-action sequences was one featuring the glam punk band New York Dolls. Singer Dan Hicks worked on the initial musical score, but the final version was scored by John Madara. Hey Good Lookin' opened in New York City on October 1, 1982, and was released in Los Angeles in January 1983. The film's release was limited, and went largely unnoticed in the United States, although it garnered respectable business in foreign markets. In a brief review, Vincent Canby wrote that it was "not exactly incoherent, but whatever it originally had on its mind seems to have slipped away". Animation historian Jerry Beck wrote, "the beginning of the film is quite promising, with a garbage can discussing life on the streets with some garbage. This is an example of what Bakshi did best—using the medium of animation to comment on society. Unfortunately, he doesn't do it enough in this film. There is a wildly imaginative fantasy sequence during the climax, when the character named Crazy starts hallucinating during a rooftop shooting spree. This scene almost justifies the whole film. But otherwise, this is a rehash of ideas better explored in Coonskin, Heavy Traffic, and Fritz the Cat." The film has since gained a cult following through cable television and home video. Quentin Tarantino stated that he preferred Hey Good Lookin' to Martin Scorsese's Mean Streets. Shift to fantasy film (1976–1978) In 1976, Bakshi pitched War Wizards to 20th Century Fox. Returning to the fantasy drawings he had created in high school for inspiration, Bakshi intended to prove that he could produce a "family picture" that had the same impact as his adult-oriented films. British illustrator Ian Miller and comic book artist Mike Ploog were hired to contribute backgrounds and designs. The crew included Vita, Turek, Sparey, Vitello and Spence, who had become comfortable with Bakshi's limited storyboarding and lack of pencil tests. As the production costs increased, Fox president Alan Ladd, Jr. declined Bakshi's requests for salary increases, and refused to give him $50,000 to complete the film. At the same time, Ladd was dealing with similar budget problems on George Lucas's Star Wars. Bakshi and Lucas had negotiated contracts entitling them to franchise ownership, merchandising and back-end payment, so Ladd suggested that they fund the completion of their films themselves. Bakshi chose rotoscoping as a cost-effective way to complete the movie's battle scenes with his own finances. Because he could not afford to hire a film crew or actors, or develop 35mm stock, Bakshi requested prints of films that contained the type of large battle scenes needed, including Sergei Eisenstein's Alexander Nevsky, and spliced together the footage he needed. However, the cost of printing photographs of each frame would have cost $3 million. Learning that IBM had introduced an industrial-sized photocopier, Bakshi asked one of the company's technical experts if he would be able to feed 35mm reels into the machine to produce enlarged copies of each frame. The experiment worked, and Bakshi got the pages he needed for a penny per copy. As War Wizards neared completion, Lucas requested that Bakshi change the title of his film to Wizards to avoid conflict with Star Wars; Bakshi agreed because Lucas had allowed Mark Hamill to take time off from Star Wars to record a voice for Wizards. Although Wizards received a limited release, it was successful in the theaters that showed it and developed a worldwide audience. Dave Kehr of The Chicago Reader saw it as "marred by cut-rate techniques and a shapeless screenplay". In the view of film historian Jerry Beck, the lead character, an aging sorcerer, "clearly owes much to cartoonist Vaughn Bodé's Cheech Wizard character." In late 1976, Bakshi learned that John Boorman was contracted to direct an adaptation of The Lord of the Rings, in which J. R. R. Tolkien's three-volume novel would be condensed into a single film. Bakshi arranged a meeting with Mike Medavoy, United Artists' head of production, who agreed to let Bakshi direct in exchange for the $3 million that had been spent on Boorman's screenplay. Down the hall from Medavoy was Metro-Goldwyn-Mayer president Dan Melnick, who interrupted a meeting with Peter Bogdanovich when he learned that Bakshi wanted to discuss acquiring the rights to The Lord of the Rings. Melnick agreed to pay United Artists $3 million, but was soon fired; the project was canceled by his replacement, Dick Shepherd. Bakshi contacted Saul Zaentz, who wrote a check to cover MGM's debt and agreed to fund the $8 million budget for the first of what was initially planned as a series of three films, and later negotiated down to two. Before production began, Bakshi and Zaentz insisted that the Tolkien estate receive residuals from the film. Bakshi did not want to produce a broad cartoon version of the tale, so he planned to shoot the entire film in live action and animate the footage with rotoscoping. The film also incorporated brief cel animation and straightforward live-action footage. Production of the live-action sequences took place in Spain. During the middle of a large shoot, union bosses called for a lunch break, and Bakshi secretly shot footage of actors in Orc costumes moving toward the craft service table, and used the footage in the film. Jerry Beck later wrote that, while he found the rotoscoped animation "beautiful", he felt that it was unclear whether the use of live action was an artistic choice or due to budgetary constraints. After the Spanish film development lab discovered that telephone lines, helicopters and cars were visible in the footage, they tried to incinerate it, telling Bakshi's first assistant director, "if that kind of sloppy cinematography got out, no one from Hollywood would ever come back to Spain to shoot again." When Bakshi returned to the United States, he learned that the cost of developing blown-up prints of each frame had risen. He did not want to repeat the process that had been used on Wizards, which was unsuitable for the level of detail he intended for The Lord of the Rings, so Bakshi and camera technician Ted Bemiller created their own photographic enlarger to process the footage cheaply. Live-action special effects and analog optics were used in place of animation to keep the visual effects budget low and give the film a more realistic look. Among the voice actors was the well-regarded John Hurt, who performed the role of Aragorn. The project's prominence brought heavy trade journal coverage, and fans such as Mick Jagger visited the studio for the chance to play a role. Animator Carl Bell loved drawing Aragorn so much that Bakshi gave Bell the live-action Aragorn costume, which he wore while animating. Viewing The Lord of the Rings as a holiday film, United Artists pressured Bakshi to complete it on schedule for its intended November 15, 1978, release. Once it was finished, Bakshi was told that audiences would not pay to see an incomplete story; over his objections, The Lord of the Rings was marketed with no indication that a second part would follow. Reviews of the film were mixed, but it was generally seen as a "flawed but inspired interpretation". Newsdays Joseph Gelmis wrote that "the film's principal reward is a visual experience unlike anything that other animated features are doing at the moment". Roger Ebert called Bakshi's effort a "mixed blessing" and "an entirely respectable, occasionally impressive job [which] still falls far short of the charm and sweep of the original story". Vincent Canby found it "both numbing and impressive". David Denby of New York felt that the film would not make sense to viewers who had not read the book. He wrote that it was too dark and lacked humor, concluding, "The lurid, meaningless violence of this movie left me exhausted and sickened by the end." The film, which cost $4 million to produce, grossed $30.5 million. The studio refused to fund the sequel, which would have adapted the remainder of the story. The Lord of the Rings won the Golden Gryphon at the 1980 Giffoni Film Festival. American Pop and Fire and Ice (1979–1983) Following the production struggles of The Lord of the Rings, Bakshi decided to work on something more personal. He pitched American Pop to Columbia Pictures president Dan Melnick. Bakshi wanted to produce a film in which songs would be given a new context in juxtaposition to the visuals. American Pop follows four generations of a Russian Jewish immigrant family of musicians, whose careers parallel the history of American pop and starred actor Ron Thompson in a dual lead role. While the film does not reflect Bakshi's own experiences, its themes were strongly influenced by people he had encountered in Brownsville. The film's crew included character layout and design artist Louise Zingarelli, Vita, Barry E. Jackson, and Marcia Adams. Bakshi again used rotoscoping, in an attempt to capture the range of emotions and movement required for the film's story. According to Bakshi, "Rotoscoping is terrible for subtleties, so it was tough to get facial performances to match the stage ones." Bakshi was able to acquire the rights to an extensive soundtrack—including songs by Janis Joplin, The Doors, George Gershwin, The Mamas & the Papas, Herbie Hancock, Lou Reed, and Louis Prima—for under $1 million. Released on February 12, 1981, the film was a financial success. The New York Times Vincent Canby wrote, "I'm amazed at the success that Mr. Bakshi has in turning animated characters into figures of real feelings." Jerry Beck called it "one of Bakshi's best films". Due to music clearance issues, it was not released on home video until 1998. By 1982, fantasy films such as The Beastmaster and Conan the Barbarian had proven successful at the box office, and Bakshi wanted to work with his long-time friend, the fantasy illustrator Frank Frazetta. Fire and Ice was financed by some of American Pops investors for $1.2 million, while 20th Century Fox agreed to distribute. Fire and Ice was the most action-oriented story Bakshi had directed, so he again used rotoscoping; the realism of the design and rotoscoped animation replicated Frazetta's artwork. Bakshi and Frazetta were heavily involved in the production of the live-action sequences, from casting sessions to the final shoot. The film's crew included background artists James Gurney and Thomas Kinkade, layout artist Peter Chung, and established Bakshi Productions artists Sparey, Steve Gordon, Bell and Banks. Chung greatly admired Bakshi's and Frazetta's work, and animated his sequences while working for The Walt Disney Company. The film was given a limited release, and was financially unsuccessful. Andrew Leal wrote, "The plot is standard [...] recalling nothing so much as a more graphic episode of Filmation's He-Man series. [...] Fire and Ice essentially stands as a footnote to the spate of barbarian films that followed in the wake of Arnold Schwarzenegger's appearance as Conan." Unproduced projects and temporary retirement (1983–1986) After production of Fire and Ice wrapped, Bakshi attempted several projects that fell through, including adaptations of Hunter S. Thompson's Fear and Loathing in Las Vegas, William Kotzwinkle's The Fan Man, E. R. Eddison's The Worm Ouroboros, Stephen Crane's Maggie: A Girl of the Streets, Mickey Spillane's Mike Hammer novels and an anthropomorphic depiction of Sherlock Holmes. He turned down offers to direct Ray Bradbury's Something Wicked This Way Comes and Philip K. Dick's Do Androids Dream of Electric Sheep?. He passed the latter to Ridley Scott, who adapted it into the 1982 film Blade Runner (although he was planning a TV version of said film). During this period, Bakshi reread J. D. Salinger's The Catcher in the Rye, which he had first read in high school, and saw parallels between his situation and that of the book's protagonist, Holden Caulfield. Inspired to seek the film rights, he intended to shoot the story's bracketing sequences in live action and to animate the core flashback scenes. Salinger had rejected previous offers to adapt the novel, and had not made a public appearance since 1965 or granted an interview since 1980. Bakshi sent Salinger a letter explaining why he should be allowed to adapt the novel; the writer responded by thanking Bakshi and asserting that the novel was unfit for any medium other than its original form. Prompted in part by Salinger's letter, Bakshi briefly retired to focus on painting. During this time he completed the screenplay for If I Catch Her, I'll Kill Her, a live-action feature he had been developing since the late 1960s. United Artists and Paramount Pictures each paid Bakshi to develop the film in the 1970s, but were unwilling to produce it, as were the studios he pitched the film to in the 1980s. According to Bakshi, "They thought that no one was going to admit that women can—and do—cheat on their husbands. They thought it was too hot, which made no sense." In 1985, he received a phone call from The Rolling Stones' manager, Tony King, who told Bakshi that the band had recorded a cover of Bob & Earl's "Harlem Shuffle", and wanted Bakshi to direct the music video. He was told that the live-action shoot needed to be completed within one day (January 28, 1986) for it to be shown at the Grammy Awards. Production designer Wolf Kroeger was forced to drastically compact his sets, and animation director and designer John Kricfalusi had to push his team, including Lynne Naylor, Jim Smith and Bob Jaques, to complete the animation within a few weeks. The band's arrival at the set was delayed by a snowstorm and several takes were ruined when the cameras crossed paths. Bakshi was forced to pay the union wages out of his own fees, and the continuity between Kricfalusi's animation and the live-action footage did not match; however, the video was completed on time. Bakshi recognized Kricfalusi's talent, and wanted to put him in charge of a project that would showcase the young animator's skills. Bakshi and Kricfalusi co-wrote the screenplay Bobby's Girl as a take on the teen films of the era. Jeff Sagansky, president of production at TriStar Pictures, put up $150,000 to develop the project, prompting Bakshi to move back to Los Angeles. When Sagansky left TriStar, Bakshi was forced to pitch the film again, but the studio's new executives did not understand its appeal and cut off financing. Bakshi and Zingarelli began to develop a feature about Hollywood's Golden Age, and Bakshi Productions crewmembers worked on proposed cartoons influenced by pulp fiction. Bobby's Girl was reworked as a potential prime time series called Suzy's in Love, but attracted no serious interest. They would try again in 2003 over at Spümcø, but nothing came from this either. Return to television (1987–1989) In April 1987, Bakshi set up a meeting with Judy Price, the head of CBS's Saturday morning block. Three days before the meeting, Bakshi, Kricfalusi, Naylor, Tom Minton, Eddie Fitzgerald and Jim Reardon met to brainstorm. Bakshi remembers, "My car was packed to the windows. Judy was my last stop before driving cross country back to New York to my family." Price rejected Bakshi's prepared pitches, but asked what else he had. He told her that he had the rights to Mighty Mouse, and she agreed to purchase the series. However, Bakshi did not own the rights and did not know who did. While researching the rights, he learned that CBS had acquired the entire Terrytoons library in 1955 and forgotten about it. According to Bakshi, "I sold them a show they already owned, so they just gave me the rights for nothin'!" Kricfalusi's team wrote story outlines for thirteen episodes in a week and pitched them to Price. By the next week, Kricfalusi had hired animators he knew who had been working at other studios. Mighty Mouse: The New Adventures went into production the month it was greenlighted; it was scheduled to premiere on September 19, 1987. This haste required the crew to be split into four teams, led by supervising director Kricfalusi, Fitzgerald, Steve Gordon and Bruce Woodside. Each team was given a handful of episodes, and operated almost entirely independently of the others. Although the scripts required approval by CBS executives, Kricfalusi insisted that the artists add visual gags as they drew. Bruce Timm, Andrew Stanton, Dave Marshall and Jeff Pidgeon were among the artists who worked on the series. Despite the time constraints, CBS was pleased with the way Bakshi Productions addressed the network's notes. During the production of the episode "The Littlest Tramp", editor Tom Klein expressed concern that a sequence showing Mighty Mouse sniffing the remains of a crushed flower resembled cocaine use. Bakshi did not initially view the footage; he believed that Klein was overreacting, but agreed to let him cut the scene. Kricfalusi expressed disbelief over the cut, insisting that the action was harmless and that the sequence should be restored. Following Kricfalusi's advice, Bakshi told Klein to restore the scene, which had been approved by network executives and the CBS standards and practices department. The episode aired on October 31, 1987, without controversy. In 1988, Bakshi received an Annie Award for "Distinguished Contribution to the Art of Animation". The same year, he began production on a series pilot loosely adapted from his Junktown comic strips. According to Bakshi, the proposed series "was going to be a revitalization of cartoon style from the '20s and '30s. It was gonna have Duke Ellington and Fats Waller jazzing up the soundtrack." Nickelodeon was initially willing to greenlight 39 episodes of Junktown. On June 6, 1988, Donald Wildmon, head of the American Family Association (AFA), alleged that "The Littlest Tramp" depicted cocaine use, instigating a media frenzy. The AFA, during its incarnation as the National Federation for Decency, had previously targeted CBS as an "accessory to murder" after a mother killed her daughter following an airing of Exorcist II: The Heretic. Concerning Bakshi's involvement with Mighty Mouse: The New Adventures, the AFA claimed that CBS "intentionally hired a known pornographer to do a cartoon for children, and then allowed him to insert a scene in which the cartoon hero is shown sniffing cocaine." Bakshi responded, "You could pick a still out of Lady and the Tramp and get the same impression. Fritz the Cat wasn't pornography. It was social commentary. This all smacks of burning books and the Third Reich. It smacks of McCarthyism. I'm not going to get into who sniffs what. This is lunacy!" On CBS's order, Klein removed the sequence from the master broadcast footage. Wildmon claimed that the edits were "a de facto admission that, indeed, Mighty Mouse was snorting cocaine". Despite receiving an award from Action for Children's Television, favorable reviews, and a ranking in Time magazine's "Best of '87" feature, Mighty Mouse: The New Adventures was canceled by CBS following the controversy. The incident had a ripple effect, weakening Nickelodeon's commitment to Junktown. Bakshi has also stated that "we were trying something different [...] but a series didn't make sense. It just didn't work". The series was scrapped, and the completed pilot aired as a special, Christmas in Tattertown, in December 1988. It was the first original animated special created for Nickelodeon. Bakshi moved into a warehouse loft in downtown Los Angeles to clear his head, and was offered $50,000 to direct a half-hour live-action film for PBS's Imagining America anthology series. Mark Bakshi produced the film, This Ain't Bebop, his first professional collaboration with his father. Bakshi wrote a poem influenced by Jack Kerouac, jazz, the Beat Generation and Brooklyn that served as the narration, which was spoken by Harvey Keitel. After a car crash, Bakshi completed the post-production in stitches and casts. Bakshi said of the work, "It's the most proud I've been of a picture since Coonskin—the last real thing I did with total integrity." As a result of the film, Bakshi received an offer to adapt Dr. Seuss's The Butter Battle Book for TNT. Ted Geisel had never been satisfied with the previous screen versions of his Dr. Seuss work. Bakshi wanted to produce an entirely faithful adaptation, and Geisel—who agreed to storyboard the special himself—was pleased with the final product. Bakshi next directed the pilot Hound Town for NBC; he described the result as "an embarrassing piece of shit". Besides Bakshi, sitcom alumus Rob Sternin and Prudence Fraser wrote and produced the project. Cool World, continued television projects and semi-retirement (1990–1997) In 1990, Bakshi pitched Cool World to Paramount Pictures as a partially animated horror film. The concept involved a cartoon and human having sex and conceiving a hybrid child who visits the real world to murder the father who abandoned him. The live-action footage was intended to look like "a living, walk-through painting", a visual concept Bakshi had long wanted to achieve. Massive sets were constructed on a sound stage in Las Vegas, based on enlargements of designer Barry Jackson's paintings. The animation was strongly influenced by the house styles of Fleischer Studios and Terrytoons. As the sets were being built, producer Frank Mancuso Jr., son of Paramount president Frank Mancuso Sr., had the screenplay rewritten in secret; the new version, by Michael Grais and Mark Victor, was radically different from Bakshi's original. Paramount threatened to sue Bakshi if he did not complete the film. As Bakshi and Mancuso wrangled over their creative differences, Bakshi and the studio also began to fight over the film's casting. To keep actor Brad Pitt, Bakshi had to replace Drew Barrymore, his original choice for the character of Holli Would, with Kim Basinger, a bigger box office draw at the time. The film's animators were never given a screenplay, and were instead told by Bakshi, "Do a scene that's funny, whatever you want to do!" Designer Milton Knight recalled that "audiences actually wanted a wilder, raunchier Cool World. The premiere audience I saw it with certainly did." The critical reaction to the film was generally negative. Roger Ebert wrote, "The DJ who was hosting the radio station's free preview of Cool World leaped onto the stage and promised the audience: 'If you liked Roger Rabbit, you'll love Cool World!' He was wrong, but you can't blame him—he hadn't seen the movie. I have, and I will now promise you that if you liked Roger Rabbit, quit while you're ahead." The film was a box-office disappointment. While other film projects followed, Bakshi began to focus more attention on painting. In 1993, Lou Arkoff, the son of Samuel Z. Arkoff, approached Bakshi to write and direct a low-budget live-action feature for Showtime's Rebel Highway series. For the third time, Bakshi revisited his screenplay for If I Catch Her, I'll Kill Her, which he retitled Cool and the Crazy. The picture, which aired September 16, 1994, starred Jared Leto, Alicia Silverstone, Jennifer Blanc and Matthew Flint. Reviewer Todd Everett noted that it had the same "hyperdrive visual sense" of Bakshi's animated films. He said, "Everything in 'Cool' [...] seems to exist in pastels and Bakshi shoots from more odd angles than any director since Sidney J. Furie in his heyday. And the closing sequences ably demonstrate how it's possible to present strong violence without any blood being shed onscreen. Bakshi pulls strong [performances] from a cadre of youngish and largely unknown actors". In 1995, Hanna-Barbera producer Fred Seibert offered Bakshi the chance to create two animated short films for Cartoon Network's What a Cartoon!: Malcom and Melvin and Babe, He Calls Me, focusing on a trumpet-playing cockroach named Malcom and his best friend, a clown named Melvin. Both were heavily edited after Bakshi turned them in and he disowned them as a result. Bakshi was subsequently contacted by HBO, which was looking to launch the first animated series specifically for adults, an interest stirred by discussions involving a series based upon Trey Parker and Matt Stone's video Christmas card, Jesus vs. Santa. Bakshi enlisted a team of writers, including his son Preston, to develop Spicy Detective, later renamed Spicy City, an anthology series set in a noir-ish, technology-driven future. Each episode was narrated by a female host named Raven, voiced by Michelle Phillips. The series premiered in July 1997—one month before the debut of Parker and Stone's South Park—and thus became the first "adults only" cartoon series. Although critical reaction was largely unfavorable, Spicy City received acceptable ratings. A second season was approved, but the network wanted to fire Bakshi's writing team and hire professional Los Angeles screenwriters. When Bakshi refused to cooperate, the series was canceled. Painting, teaching and new animation projects (2000–2013) Bakshi retired from animation once more, returning to his painting. In 2000, he began teaching an undergraduate animation class at New York's School of Visual Arts. On December 14, 2001, he did some paintings for the Cameron Crowe film Vanilla Sky. He later became involved in several screen projects, including a development deal with the Sci Fi Channel, In September 2002, Bakshi, Liz and their dogs moved to New Mexico, where he became more productive than ever in his painting and began development on the Last Days of Coney Island film. In 2003, he appeared as the Fire Chief in the episode "Fire Dogs 2" of John Kricfalusi's Ren & Stimpy "Adult Party Cartoon". In September 2008, Main Street Pictures announced that it would collaborate with Bakshi on a sequel to Wizards. In 2012, Bakshi began producing the short film series Bakshi Blues. The first of these shorts, Trickle Dickle Down, contains reused animation from Coonskin and criticizes 2012 Republican presidential candidate Mitt Romney. The shorts were to focus on "old and new characters" and comment on modern-day America. Last Days of Coney Island (2013–2016) In February 2013, Bakshi launched a successful Kickstarter campaign to obtain funding for his latest film, Last Days of Coney Island. Actor Matthew Modine was cast in the film in February 2013 after Modine, a longtime Bakshi fan, came across the film's Kickstarter campaign online. Last Days of Coney Island was released on Vimeo in 2015. Bakshi released the film for free on YouTube on 13 October 2016. Post-animation (2015–present) After he quit the animation industry, Bakshi did multiple interviews with the media and on podcasts. He continues to sell art on eBay and his website, both run by the Bakshi family. He currently sells an art series called Little Guys and Gals, which are fictional portraits of cartoon people. The series originated in November 2020 as random character sketches and officially began in January 2021, originally calling the series Little Gals and Little Guys. Bakshi appeared as a guest at a Canadian film festival which celebrates animation, SPARK Animation, which was held virtually, from October 28 to November 7, 2021. Accolades In 2003, Bakshi received a Maverick Tribute Award at the Cinequest San Jose Film Festival the same year he began teaching an animation class in New Mexico - this became The Bakshi School of Animation and Cartooning, which is run by Ralph's son Edward and his partner Jess Gorell. The Online Film Critics Society released a list of the "Top 100 Animated Features of All Time" in March 2003 that included four of Bakshi's films: Fritz the Cat, The Lord of the Rings, Coonskin and Fire and Ice. Fritz the Cat was ranked number 56 in the 2004 poll conducted by Britain's Channel 4 for its documentary The 100 Greatest Cartoons. The Museum of Modern Art has added Bakshi's films to its collection for preservation. In the 1980s and 1990s he served on the advisory board of the Los Angeles Student Film Institute. In 2021, Ralph Bakshi won the Animafest Zagreb Lifetime Achievement Award for his animation career and the impact of his films. Legacy The availability of Bakshi's work on the Internet sparked a resurgence of interest in his career, resulting in a three-day American Cinematheque retrospective held at Grauman's Egyptian Theatre in Hollywood and the Aero Theater in Santa Monica, California, in April 2005. Unfiltered: The Complete Ralph Bakshi, a hardcover book of Bakshi's art, was released on April 1, 2008. The foreword was written by Quentin Tarantino and the afterword by Bakshi. His rotoscoping techniques in Lord of the Rings inspired the animation rotoscoping techniques of the independent film The Spine of Night in which the animator developed his own rotoscope style by watching behind-the-scenes footage of Bakshi's warehouse and reverse-engineering it. Billie Eilish had the idea for an animated version of herself for her in the concert film Happier Than Ever: A Love Letter to Los Angeles (which is a promotion for the album of the same name) and suggested to director Patrick Osborne that the character should have a 1980s look and rotoscope-ish animation. Eilish referenced the works of Bakshi and animator Richard Williams to him. Gore Verbinski commented about Bakshi and showed that he was inspired by him during an interview in The Hollywood Reporter for his first animated movie, Rango, saying: "What happened to the Ralph Bakshis of the world? We're all sitting here talking family entertainment. Does animation have to be family entertainment? Audiences want something new; they just can't articulate what." On January 12, 2014, at The Egyptian Theatre in Hollywood, there was a special screening of Bakshi's film American Pop with actors Ron Thompson and Mews Small in attendance, it was the first time lead actor Ron Thompson had ever introduced the film before a live audience. At the Aero Theatre in Santa Monica, California, on March 27, 2015, there was a screening of Heavy Traffic and American Pop with Bakshi, Ron Thompson and Mews Small attending. Fritz the Cat has also been called an animated art film. Filmography Films Television I Selected episodes II Provided the voices of Connelly and Goldblum in the episode "Sex Drive", and Stevie in the episode "Mano's Hands" III Provided the voice of the Super Hero IV Animated in conjunction with Doug Compton V Provided the voice of Fire Chief in the episode "Fire Dogs 2" Releases and ratings Bibliography Ralph Bakshi: A Private selection of drawings released from the Bakshi Archives. 2018 - 2019; Book 1 (2019) Ralph Bakshi: No Rhyme or Reason; Book 2 (2020) See also Heavy Metal Ron Thompson John Kricfalusi Katsuhiro Otomo Rock & Rule Independent animation New Hollywood Notes References External links Official page filmography Archived 'American Pop'... Matters: Ron Thompson, the Illustrated Man Unsung interview at PopMatters Rotospective: Ralph Bakshi, Lessons in Artistry, Rebellion and Success a profile at AgentPalmer.com 1938 births American animators American comic strip cartoonists American experimental filmmakers American film producers American animated film producers American storyboard artists American television directors Television producers from New York City American television writers 20th-century American painters American male painters 21st-century American painters 21st-century American male writers American male screenwriters American male voice actors American animated film directors American people of Palestinian-Jewish descent Jewish American artists American satirists Jews in Mandatory Palestine Living people American male television writers People from Haifa Terrytoons people Underground cartoonists American voice directors Krymchaks Artists from New York City High School of Art and Design alumni Mandatory Palestine emigrants to the United States People from Brownsville, Brooklyn Thomas Jefferson High School (Brooklyn) alumni Film directors from New York (state) 21st-century American non-fiction writers American male non-fiction writers Screenwriters from New York (state) Inkpot Award winners Famous Studios people	true	[ "Schoenbaum Stadium is a soccer stadium in Charleston, West Virginia located in Coonskin Park. The 6,000-seat stadium is home to West Virginia Alliance FC of USL League Two.\n\nExternal links\nKanawha County Parks & Rec - Coonskin Park\n\nSports venues in West Virginia\nSoccer venues in West Virginia\nBuildings and structures in Charleston, West Virginia", "A coonskin cap is a hat fashioned from the skin and fur of a raccoon. The original coonskin cap consisted of the entire skin of the raccoon including its head and tail. Beginning as traditional Native American headgear, coonskin caps became associated with American frontiersmen of the 18th and 19th centuries, and were highly popular among boys in the United States, Canada, the United Kingdom and Australia in the 1950s.\n\nOrigin\nCoonskin caps were originally popular Native American article of clothing. With much of the land along the Eastern Seaboard already settled, immigrants from Germany, Scotland and Ireland (considered too 'rough' for the coastal towns by many) ventured into the forested and mountainous Appalachian region. These groups lived a subsistence lifestyle and often interacted with Native Americans in the area which included adopting some of their customs and dress. \n\nThe coonskin cap quickly became a part of the iconic image associated with American frontiersmen such as Daniel Boone and Davy Crockett. Boone did not actually wear coonskin caps, which he disliked, and instead wore felt hats, but explorer Meriwether Lewis wore a coonskin cap during the Lewis and Clark Expedition. Joseph L. Meek wore the coonskin cap in the mountains.\n\nAn account of actor Noah Ludlow introducing the popular song \"The Hunters of Kentucky\" while wearing a coonskin cap is shown to be spurious in Ludlow's autobiography. Ludlow recounted that initial performance of 1822: \n\nAs soon as the comedy of the night was over, I dressed myself in a buckskin hunting-shirt and leggins, which I borrowed off a river man, and with moccasins on my feet and an old slouched hat on my head, and a rifle on my shoulder, I presented myself before the audience.\"\n\n20th century popularity\n\nEstes Kefauver\nPolitician Estes Kefauver of Tennessee adopted the coonskin cap as a personal trademark during his successful 1948 campaign for election to the United States Senate. Tennessee political boss E. H. Crump had published advertisements accusing Kefauver of being a raccoon-like Communist puppet. In response, Kefauver put on a coonskin cap during a speech in Memphis, proclaiming: \"I may be a pet coon, but I'm not Boss Crump's pet coon.\" He continued to use the coonskin cap as a trademark throughout his political career, which included unsuccessful campaigns for the Democratic presidential nomination in 1952 and 1956, an unsuccessful campaign for the Vice Presidency as Adlai Stevenson's running mate in 1956, and successful Senatorial re-election campaigns in 1954 and 1960.\n\n1950s fad\n\nIn the 20th century, the iconic association was in large part due to Disney's television program Disneyland and the first three Davy Crockett episodes starring Fess Parker, which aired from December 1954 to February 1955. In the episodes, which once again made Crockett into one of the most popular men in the country, the frontier hero was portrayed wearing a coonskin cap. The show spawned several Disneyland Davy Crockett sequels as well as other similar shows and movies, with many of them featuring Parker as the lead actor. Parker went on to star in a Daniel Boone television series (1964-1970), again wearing a coonskin cap. \n\nCrockett's new popularity initiated a fad among boys all over the United States as well as a Davy Crockett craze in the United Kingdom. The look of the cap that was marketed to young boys was typically simplified; it was usually a faux fur lined skull cap with a raccoon tail attached. A variation was marketed to young girls as the Polly Crockett hat. It was similar in style to the boys' cap, including the long tail, but was made of all-white fur (faux or possibly rabbit). At the peak of the fad, coonskin caps sold at a rate of 5,000 caps a day. By the end of the 1950s, Crockett's popularity waned and the fad slowly died out. The fad is recalled by numerous cultural references, such as the wearing of coonskin caps as part of The Junior Woodchucks uniform in Disney's Donald Duck comics. Novelist Thomas Pynchon referenced both the hat and the fashion in his novel V., where he refers to the hat as a \"bushy Freudian hermaphrodite symbol\".\n\nOther uses\nCoonskin caps are powerful cultural symbols that continued to be seen in film, television, and other contexts in the latter decades of the 20th century.\n\n In the 1964 ABC-TV series The Addams Family, Uncle Fester occasionally wore a coonskin cap dyed black with a white strip running down the middle of both the crown and the tail, suggesting that it was made from the skin of a skunk.\n In Bob Dylan's song \"Subterranean Homesick Blues,\" \"The man in the coon-skin cap / By the big pen / Wants eleven dollar bills / You only got ten.\"\n The 1983 film A Christmas Story, which features various cultural artifacts of American childhood from the 1930s, 1940s, and 1950s, depicts a boy wearing a coonskin cap.\n The Simpsons depicts Jebediah Springfield, the early 19th-century founder of the fictional town of Springfield, in a coonskin cap.\n Florida politician Lawton Chiles put on a coonskin cap while celebrating his 1994 gubernatorial re-election victory over Republican Jeb Bush, recalling a campaign statement in which Chiles had predicted victory by saying \"the old he-coon walks just before the light of day.\"\n The Great Brain series features Parley Benson, a person who wears a coonskin cap.\n In Walt Disney's stories, the Junior Woodchucks Huey, Dewey and Louie Duck also wear coonskin caps.\n In the American History cartoon Histeria!, Kip Ling, the bow-haired girl, Froggo and Aka Pella are seen wearing coonskin caps when they sing a song about Philo Farnsworth. Toast has been seen wearing one on a bus with the Kid Chorus.\n Ferb from the American cartoon Phineas and Ferb is seen wearing a coonskin cap when he saws a log with Phineas (episode: She's the Mayor)\n Senator Jack S. Phogbound of Li'l Abner comic strip wears a coonskin cap\n Sam Shakusky. a lead character of Wes Anderson's 2012 film Moonrise Kingdom, is frequently seen wearing a coonskin cap. The film is set in 1965 and incorporates many elements of 1950s and 1960s youth culture.\n In the acclaimed Disney channel cartoon Gravity Falls, various characters can be seen wearing coonskin caps in the series, most notably Pacifica Northwest in the episode \"Irrational Treasure\".\n The Volunteer, one of the costumed mascots for the sports teams of the University of Tennessee, wears a coonskin cap and fringed buckskins, inspired by the frontier attire of many of Tennessee's volunteers in the War of 1812, the inspiration for the state and university's nickname.\n The first issue of Guardians of the Galaxy sees Rocket Raccoon pestering his teammates about the newly formed team's name. Upon suggesting \"Rocket Raccoon and His Human Hangers-On,\" Drax the Destroyer sarcastically replies \"How about 'Drax and his Coonskin Cap,' that grab you?\"\n One of the hats found in Little Nightmares II is a coonskin cap found in the Hunter's cabin.\n\nSee also\nUshanka\n\nReferences\n\nExternal links\n\nThe Coonskin Cap\nHeight of the Craze. 1957 Wales\n\n1950s fads and trends\nHistory of fashion\n1950s fashion\nMountain men\nFur trade\nCaps\nHats\nNative American clothing\nWestern wear\nHudson's Bay Company\nDavy Crockett\nAmerican fashion\nCanadian fashion\nRaccoons in popular culture" ]
[ "Ralph Bakshi", "Coonskin (1973-1975)", "Is coonskin a movie?", "Coonskin, advertised as an exploitation film," ]	C_0425b70eeebf4afa91523e82d63c3bd2_1	Who starred in coonskin?	2	Who starred in Coonskin?	Ralph Bakshi	In 1973, Bakshi and Ruddy began the production of Harlem Nights, which Paramount was originally contracted to distribute. While Fritz the Cat and Heavy Traffic proved that adult-oriented animation could be financially successful, animated films were still not respected, and Bakshi's pictures were considered to be "dirty Disney flicks" that were "mature" only for depicting sex, drugs and profanity. Harlem Nights, based on Bakshi's firsthand experiences with racism, was an attack on racist prejudices and stereotypes. Bakshi cast Scatman Crothers, Philip Michael Thomas, Barry White and Charles Gordone in live-action and voice roles, cutting in and out of animation abruptly rather than seamlessly because he wanted to prove that the two mediums could "coexist with neither excuse nor apology". He wrote a song for Crothers to sing during the opening title sequence: "Ah'm a Niggerman". Its structure was rooted in the history of the slave plantation: slaves would "shout" lines from poems and stories great distances across fields in unison, creating a natural beat. Bakshi has described its vocal style, backed by fast guitar licks, as an "early version of rap". Bakshi intended to attack stereotypes by portraying them directly, culling imagery from blackface iconography. Early designs in which the main characters (Brother Rabbit, Brother Bear and Preacher Fox) resembled figures from The Wind in the Willows were rejected. Bakshi juxtaposed stereotypical designs of blacks with even more negative depictions of white racists, but the film's strongest criticism is directed at the Mafia. Bakshi said, "I was sick of all the hero worship these guys got because of The Godfather." Production concluded in 1973. During editing, the title was changed to Coonskin No More..., and finally to Coonskin. Bakshi hired several African American animators to work on Coonskin, including Brenda Banks, the first African American female animator. Bakshi also hired graffiti artists and trained them to work as animators. The film's release was delayed by protests from the Congress of Racial Equality, which called Bakshi and his film racist. After its distribution was contracted to the Bryanston Distributing Company, Paramount canceled a project that Bakshi and Ruddy were developing, The American Chronicles. Coonskin, advertised as an exploitation film, was given limited distribution and soon disappeared from theaters. Initial reviews were negative; Playboy commented that "Bakshi seems to throw in a little of everything and he can't quite pull it together." Eventually, positive reviews appeared in The Hollywood Reporter, New York Amsterdam News (an African American newspaper) and elsewhere. The New York Times' Richard Eder said the film "could be [Bakshi's] masterpiece [...] a shattering successful effort to use an uncommon form--cartoons and live action combined to convey the hallucinatory violence and frustration of American city life, specifically black city life [...] lyrically violent, yet in no way [does it] exploit violence". Variety called it a "brutal satire from the streets". A reviewer for the Los Angeles Herald-Examiner wrote, "Certainly, it will outrage some and, indeed, it's not Disney. [...] The dialog it has obviously generated--if not the box office obstacles--seems joltingly healthy." Bakshi called Coonskin his best film. CANNOTANSWER	Bakshi hired several African American animators to work on Coonskin, including Brenda Banks, the first African American female animator.	Ralph Bakshi (; born October 29, 1938) is an American director of animated and live-action films. In the 1970s, he established an alternative to mainstream animation through independent and adult-oriented productions. Between 1972 and 1992, he directed nine theatrically released feature films, five of which he wrote. He has been involved in numerous television projects as director, writer, producer, and animator. Beginning his career at the Terrytoons television cartoon studio as a cel polisher, Bakshi was eventually promoted to animator, and then director. He moved to the animation division of Paramount Pictures in 1967 and started his own studio, Bakshi Productions, in 1968. Through producer Steve Krantz, Bakshi made his debut feature film, Fritz the Cat, released in 1972. It was based on the comic strip by Robert Crumb and was the first animated film to receive an X rating from the Motion Picture Association of America, and is the most successful independent animated feature of all time. Over the next 11 years, Bakshi directed seven additional animated features. He is well known for such films as Wizards (1977), The Lord of the Rings (1978), American Pop (1981), and Fire and Ice (1983). In 1987, Bakshi returned to television work, producing the series Mighty Mouse: The New Adventures, which ran for two years. After a nine-year hiatus from feature films, he directed Cool World (1992), which was largely rewritten during production and received poor reviews, consequently being his last theatrical feature-length film to date. Bakshi returned to television with the live-action film Cool and the Crazy (1994) and the anthology series Spicy City (1997). During the 2000s, he focused largely on fine art and painting, and in 2003, co-founded the Bakshi School of Animation with his son Eddie and Jess Gorell. Bakshi has received several awards for his work, including the 1980 Golden Gryphon for The Lord of the Rings at the Giffoni Film Festival, the 1988 Annie Award for Distinguished Contribution to the Art of Animation, and the 2003 Maverick Tribute Award at the Cinequest Film Festival. Early life Ralph Bakshi was born on October 29, 1938, in Haifa, British Mandate of Palestine (now Israel), to a Krymchak Jewish family. In 1939, his family migrated to the United States, and he grew up in the Brownsville neighborhood of Brooklyn. The family lived in a low-rent apartment, where Bakshi became fascinated with the urban milieu. As a child, he enjoyed comic books, and often dug through trash cans to find them. According to an interview in 2009, Ralph said he was very poor and the walls of his neighborhood were constantly repainted. He liked the feeling when he looked out the window and saw the sun as a little boy, and whenever he would walk out in the streets, someone would break the wooden crates, that were filled with food, in the push carts open. Ralph says this in the interview, "And the push carts were wood, and most of the buildings were made out of old wood, going back to the turn of the century, and they were repainted a lot but the paint was faded by, you know the hundred years of snow and rain, repainted and faded again." Bakshi loved the faded colors, the nails, the wooden crates, and he would build his own toys from the wood. Ralph recalls, "I had a great feeling with wood, cement, and nails". In the spring of 1947, Bakshi's father and uncle traveled to Washington, DC, in search of business opportunities, and soon moved the family to the black neighborhood of Foggy Bottom. Bakshi recalled, "All my friends were black, everyone we did business with was black, the school across the street was black. It was segregated, so everything was black. I went to see black movies; black girls sat on my lap. I went to black parties. I was another black kid on the block. No problem!" The racial segregation of local schools meant that the nearest white school was several miles away; Bakshi obtained his mother's permission to attend the nearby black school with his friends. Most of the students had no problem with Bakshi's presence, but a teacher sought advice from the principal, who called the police. Fearing that segregated whites would riot if they learned that a white, let alone Jewish, student was attending a black school, the police removed Bakshi from his classroom. Meanwhile, his father had been suffering from anxiety attacks. Within a few months, the family moved back to Brownsville, where they rarely spoke of these events. At the age of 15, after discovering Gene Byrnes' Complete Guide to Cartooning at the public library, Bakshi took up cartooning to document his experiences and create fantasy-influenced artwork. He stole a copy of the book and learned every lesson in it. During his teenaged years, Bakshi took up boxing. While attending Thomas Jefferson High School, he took little interest in academics, spending most of his time focusing on "broads, mouthing off, and doodling". After participating in a food fight and being caught smoking, Bakshi was sent to the principal's office. Believing Bakshi was unlikely to prosper at Thomas Jefferson, the principal transferred him to Manhattan's School of Industrial Art. In June 1956, Bakshi graduated from the school with an award in cartooning. Career Early career (1956–1968) When Bakshi was 18, his friend Cosmo Anzilotti was hired by the cartoon studio Terrytoons; Anzilotti recommended Bakshi to the studio's production manager, Frank Schudde. Bakshi was hired as a cel polisher and commuted four hours each day to the studio, based in suburban New Rochelle. His low-level position required Bakshi to carefully remove dirt and dust from animation cels. After a few months, Schudde was surprised that Bakshi was still showing up to work, so promoted him to cel painter. Bakshi began to practice animating; to give himself more time, at one point he slipped 10 cels he was supposed to work on into the "to-do" pile of a fellow painter, Leo Giuliani. Bakshi's deception was not noticed until two days later, when he was called to Schudde's office because the cels had been painted on the wrong side. When Bakshi explained that Giuliani had made the mistake, an argument ensued between the three. Schudde eventually took Bakshi's side. By this point, the studio's employees were aware of Bakshi's intention to become an animator, and he began to receive help and advice from established animators, including Connie Rasinski, Manny Davis, Jim Tyer, Larry Silverman, and Johnnie Gentilella. Bakshi married his first wife, Elaine, when he was 21. Their son, Mark, was born when Bakshi was 22. Elaine disliked his long work hours; parodying his marital problems, Bakshi drew Dum Dum and Dee Dee, a comic strip about a man determined "to get—and keep—the girl". As he perfected his animation style, he began to take on more jobs, including creating design tests for the studio's head director, Gene Deitch. Deitch was not convinced that Bakshi had a modern design sensibility. In response to the period's political climate and as a form of therapy, Bakshi drew the comic strips Bonefoot and Fudge, which satirized "idiots with an agenda", and Junktown, which focused on "misfit technology and discarded ideals". Bakshi's frustrations with his failing marriage and the state of the planet further drove his need to animate. In 1959, he moved his desk to join the rest of the animators; after asking Rasinski for material to animate, he received layouts of two scenes - a hat floating on water and a running Deputy Dawg, the lead character of a Terrytoons' series then being shown on CBS. Despite threats of repercussion from the animators' union, Rasinski fought to keep Bakshi as a layout artist. Bakshi began to see Rasinski as a father figure; Rasinski, childless, was happy to serve as Bakshi's mentor. At the age of 25, Bakshi was promoted to director. His first assignment was the series Sad Cat. Bakshi and his wife had separated by then, giving him the time to animate each short alone. Bakshi was dissatisfied with the traditional role of a Terrytoons director: "We didn't really 'direct' like you'd think. We were 'animation directors,' because the story department controlled the storyboards. We couldn't affect anything, but I still tried. I'd re-time, mix up soundtracks—I'd fuck with it so I could make it my own." Other animation studios, such as Hanna-Barbera, were selling shows to the networks, even as the series produced by Terrytoons (which was owned by CBS) were declining in popularity. In 1966, Bill Weiss asked Bakshi to help him carry presentation boards to Manhattan for a meeting with CBS. The network executives rejected all of Weiss's proposals as "too sophisticated", "too corny", or "too old-timey". As Fred Silverman, CBS's daytime programming chief, began to leave the office, an unprepared Bakshi pitched a superhero parody called The Mighty Heroes. He described the series' characters, including Strong Man, Tornado Man, Rope Man, Cuckoo Man, and Diaper Man: "They fought evil wherever they could, and the villains were stupider than they were." The executives loved the idea, and while Silverman required a few drawings before committing, Weiss immediately put Bakshi to work on the series' development. Once Silverman saw the character designs, he confirmed that CBS would greenlight the show, on the condition that Bakshi serve as its creative director. It would appear as a segment of Mighty Mouse Playhouse on the network's 1966–67 Saturday-morning schedule; the series was renamed Mighty Mouse and the Mighty Heroes in recognition of the new segment. Bakshi received a pay raise, but was not as satisfied with his career advancement as he had anticipated; Rasinski had died in 1965, Bakshi did not have creative control over The Mighty Heroes, and he was unhappy with the quality of the animation, writing, timing, and voice acting. Although the series' first 20 segments were successful, Bakshi wanted to leave Terrytoons to form his own company. In 1967, he drew up presentation pieces for a fantasy series called Tee-Witt, with help from Anzilotti, Johnnie Zago, and Bill Foucht. On the way to the CBS offices to make his pitch, he was involved in a car accident. At the auto body shop, he met Liz, who later became his second wife. Though CBS passed on Tee-Witt, its designs served as the basis for Bakshi's 1977 film Wizards. While leaving the network offices, he learned that Paramount Pictures had recently fired Shamus Culhane, the head of its animation division. Bakshi met with Burt Hampft, a lawyer for the studio, and was hired to replace Culhane. Bakshi enlisted comic-book and pulp-fiction artists and writers Harvey Kurtzman, Lin Carter, Gray Morrow, Archie Goodwin, Wally Wood, and Jim Steranko to work at the studio. After finishing Culhane's uncompleted shorts, he directed, produced, wrote, and designed four short films at Paramount: The Fuz, Mini-Squirts, Marvin Digs, and Mouse Trek. Marvin Digs, which Bakshi conceived as a "flower child picture", was not completed the way he had intended: It "was going to have curse words and sex scenes, and a lot more than that. [...] Of course, they wouldn't let me do that." He described the disappointing result as a "typical 1967 limited-animation theatrical". Animation historian Michael Barrier called the film "an offensively bad picture, the kind that makes people who love animation get up and leave the theater in disgust". Production of Mighty Heroes ended when Bakshi left Terrytoons. Bakshi served as head of the studio for eight months before Paramount closed its animation division on December 1, 1967. He learned that his position was always intended to be temporary and that Paramount never intended to pick up his pitches. Although Hampft was prepared to offer Bakshi a severance package, Bakshi immediately ripped up the contract. Hampft suggested that Bakshi work with producer Steve Krantz, who had recently fired Culhane as supervising director on the Canadian science-fiction series Rocket Robin Hood. Bakshi and background artist Johnnie Vita soon headed to Toronto, planning to commute between Canada and New York, with artists such as Morrow and Wood working from the United States. Unknown to Bakshi, Krantz and producer Al Guest were in the middle of a lawsuit. Failing to reach a settlement with Guest, Krantz told Bakshi to grab the series' model sheets and return to the United States. When the studio found out, a warrant for Bakshi's arrest was issued by the Toronto police. He narrowly avoided capture before being stopped by an American border guard, who asked him what he was doing. Bakshi responded, "All of these guys are heading into Canada to dodge the draft and I'm running back into the States. What the fuck is wrong with that!?" The guard laughed, and let Bakshi through. Vita was detained at the airport; he was searched and interrogated for six hours. Bakshi soon founded his own studio, Bakshi Productions, in the Garment District of Manhattan, where his mother used to work and which Bakshi described as "the worst neighborhood in the world". Bakshi Productions paid its employees higher salaries than other studios and expanded opportunities for female and minority animators. The studio began work on Rocket Robin Hood, and later took over the Spider-Man television series. Bakshi married Liz in August 1968. His second child, Preston, was born in June 1970. Fritz the Cat (1969–1972) In 1969, Ralph's Spot was founded as a division of Bakshi Productions to produce commercials for Coca-Cola and Max, the 2000-Year-Old Mouse, a series of educational shorts paid for by Encyclopædia Britannica. Bakshi was uninterested in the kind of animation the studio was turning out, and wanted to produce something personal. He soon developed Heavy Traffic, a tale of inner-city street life. Krantz told Bakshi that Hollywood studio executives would be unwilling to fund the film because of its content and Bakshi's lack of film experience, and would likely consider it if his first film was an adaptation. While browsing the East Side Book Store on St. Mark's Place, Bakshi came across a copy of Robert Crumb's Fritz the Cat. Impressed by Crumb's sharp satire, Bakshi purchased the book and suggested to Krantz that it would work as a film. Krantz arranged a meeting with Crumb, during which Bakshi presented the drawings he had created while learning the artist's distinctive style to prove that he could adapt Crumb's artwork to animation. Impressed by Bakshi's tenacity, Crumb lent him one of his sketchbooks for reference. Preparation began on a studio pitch that included a poster-sized cel featuring the comic's cast against a traced photo background—as Bakshi intended the film to appear. Despite Crumb's enthusiasm, the artist refused to sign the contract Krantz drew up. Artist Vaughn Bodē warned Bakshi against working with Crumb, describing him as "slick". Bakshi later agreed with Bodé's assessment, calling Crumb "one of the slickest hustlers you'll ever see in your life". Krantz sent Bakshi to San Francisco, where he stayed with Crumb and his wife, Dana, in an attempt to persuade Crumb to sign the contract. After a week, Crumb left, leaving the film's production status uncertain. Two weeks after Bakshi returned to New York, Krantz entered his office and told Bakshi that he had acquired the film rights through Dana, who had Crumb's power of attorney and signed the contract. Crumb was subsequently hostile both to the film and Bakshi. Krantz produced a sequel, The Nine Lives of Fritz the Cat (1974), to which Bakshi was steadfastly opposed, having wanted to kill Fritz off to avoid further movies. After Bakshi pitched the project to every major Hollywood studio, Warner Bros. bought it and promised an $850,000 budget. Bakshi hired animators with whom he had worked in the past, including Vita, Tyer, Anzilotti, and Nick Tafuri, and began the layouts and animation. The first completed sequence was a junkyard scene in Harlem, in which Fritz smokes marijuana, has sex, and incites a revolution. Krantz intended to release the sequence as a 15-minute short in case the picture's financing fell through; Bakshi, however, was determined to complete the film as a feature. They screened the sequence for Warner Bros. executives, who wanted the sexual content toned down and celebrities cast for the voice parts. Bakshi refused, and Warner Bros. pulled out, leading Krantz to seek funds elsewhere. He eventually made a deal with Jerry Gross, the owner of Cinemation Industries, a distributor specializing in exploitation films. Although Bakshi did not have enough time to pitch the film, Gross agreed to fund its production and distribute it, believing that it would fit in with his grindhouse slate. Despite receiving financing from other sources, including Saul Zaentz (who agreed to distribute the soundtrack album on his Fantasy Records label), the budget was tight enough to exclude pencil tests, so Bakshi had to test the animation by flipping an animator's drawings in his hand before they were inked and painted. When a cameraman realized that the cels for the desert scenes were not wide enough and revealed the transparency, Bakshi painted a cactus to cover the mistake. Very few storyboards were used. Bakshi and Vita walked around the Lower East Side, Washington Square Park, Chinatown, and Harlem, taking moody snapshots. Artist Ira Turek inked the outlines of these photographs onto cels with a Rapidograph, the technical pen preferred by Crumb, giving the film's backgrounds a stylized realism virtually unprecedented in animation. The tones of the watercolor backgrounds were influenced by the work of Ashcan School painters such as George Luks and John French Sloan. Among other unusual techniques, bent and fisheye camera perspectives were used to portray the way the film's hippies and hoodlums viewed the city. Many scenes featured documentary recordings of real conversations in place of scripted dialogue; this, too, would become a signature of Bakshi's. In May 1971, Bakshi moved his studio to Los Angeles to hire additional animators. Some, including Rod Scribner, Dick Lundy, Virgil Walter Ross, Norman McCabe, and John Sparey, welcomed Bakshi and felt that Fritz the Cat would bring diversity to the animation industry. Other animators were less pleased by Bakshi's arrival and placed an advertisement in The Hollywood Reporter, stating that his "filth" was unwelcome in California. By the time production wrapped, Cinemation had released Melvin Van Peebles' Sweet Sweetback's Baadasssss Song to considerable success, despite the X rating it had received. When the Motion Picture Association of America gave Bakshi's film an X rating, as well, Cinemation exploited it for promotional purposes, advertising Fritz the Cat as "90 minutes of violence, excitement, and SEX ... he's X-rated and animated!" Variety called it an "amusing, diverting, handsomely executed poke at youthful attitudes". John Grant writes in his book Masters of Animation that Fritz the Cat was "the breakthrough movie that opened brand new vistas to the commercial animator in the United States", presenting an "almost disturbingly accurate" portrayal "of a particular stratum of Western society during a particular era, [...] as such it has dated very well." Fritz the Cat was released on April 12, 1972, opening in Hollywood and Washington, D.C. A major hit, it became the most successful independent animated feature of all time. The same month as the film's release, Bakshi's daughter, Victoria, was born. Heavy Traffic (1972–1973) By the time Fritz the Cat was released, Bakshi had become a celebrity, but his reputation was primarily based upon his having directed the first "dirty" animated film. Facing criticism of his work on publicity tours and in trade publications, he began writing poetry to express his emotions. This became a tradition, and Bakshi wrote poems before beginning production on each of his films. The first of these poems was "Street Arabs", which preceded the production of Heavy Traffic in 1972. Inspiration for the film came from penny arcades, where Bakshi often played pinball, sometimes accompanied by his 12-year-old son, Mark. Bakshi pitched Heavy Traffic to Samuel Z. Arkoff, who expressed interest in his take on the "tortured underground cartoonist" and agreed to back the film. Krantz had not compensated Bakshi for his work on Fritz the Cat, and halfway through the production of Heavy Traffic, Bakshi asked when he would be paid. Krantz responded, "The picture didn't make any money, Ralph. It's just a lot of noise." Bakshi found Krantz's claims dubious, as the producer had recently purchased a new BMW and a mansion in Beverly Hills. Bakshi did not have a lawyer, so he sought advice from fellow directors with whom he had become friendly, including Martin Scorsese, Francis Ford Coppola, and Steven Spielberg. He soon accused Krantz of ripping him off, which the producer denied. As he continued to work on Heavy Traffic, Bakshi began pitching his next project, Harlem Nights, a film loosely based on the Uncle Remus story books. The idea interested producer Albert S. Ruddy, whom Bakshi encountered at a screening of The Godfather. Bakshi received a call from Krantz, who questioned him about Harlem Nights. Bakshi said, "I can't talk about that", and hung up. After locking Bakshi out of the studio the next day, Krantz called several directors, including Chuck Jones, in search of a replacement. Arkoff threatened to withdraw his financial backing unless Krantz rehired Bakshi, who returned a week later. Bakshi wanted the voices to sound organic, so he experimented with improvisation, allowing his actors to ad lib during the recording sessions. Several animation sequences appear as rough sketchbook pages. The film also incorporated live-action footage and photographs. Although Krantz, in an attempt to get the film an R rating, prepared different versions of scenes involving sex and violence, Heavy Traffic was rated X. Due to the success of Fritz the Cat, though, many theaters were willing to book adult-oriented animation, and the film did well at the box office. Bakshi became the first person in the animation industry since Walt Disney to have two financially successful movies released consecutively. Heavy Traffic was very well received by critics. Newsweek applauded its "black humor, powerful grotesquerie, and peculiar raw beauty." The Hollywood Reporter called it "shocking, outrageous, offensive, sometimes incoherent, occasionally unintelligent. However, it is also an authentic work of movie art and Bakshi is certainly the most creative American animator since Disney." Vincent Canby of The New York Times ranked Heavy Traffic among his "Ten Best Films of 1973". Upon release, the movie was banned by the Film Censorship Board in the province of Alberta, Canada. Coonskin (1973–1975) In 1973, Bakshi and Ruddy began the production of Harlem Nights, which Paramount was originally contracted to distribute. While Fritz the Cat and Heavy Traffic proved that adult-oriented animation could be financially successful, animated films were still not respected, and Bakshi's pictures were considered to be "dirty Disney flicks" that were "mature" only for depicting sex, drugs, and profanity. Harlem Nights, based on Bakshi's firsthand experiences with racism, was an attack on racist prejudices and stereotypes. Bakshi cast Scatman Crothers, Philip Michael Thomas, Barry White, and Charles Gordone in live-action and voice roles, cutting in and out of animation abruptly rather than seamlessly because he wanted to prove that the two media could "coexist with neither excuse nor apology". He wrote a song for Crothers to sing during the opening title sequence: "Ah'm a Niggerman". Its structure was rooted in the history of the slave plantation - slaves would "shout" lines from poems and stories great distances across fields in unison, creating a natural beat. Bakshi has described its vocal style, backed by fast guitar licks, as an "early version of rap". Bakshi intended to attack stereotypes by portraying them directly, culling imagery from blackface iconography. Early designs in which the main characters (Brother Rabbit, Brother Bear, and Preacher Fox) resembled figures from The Wind in the Willows were rejected. Bakshi juxtaposed stereotypical designs of blacks with even more negative depictions of white racists, but the film's strongest criticism is directed at the Mafia. Bakshi said, "I was sick of all the hero worship these guys got because of The Godfather." Production concluded in 1973. During editing, the title was changed to Coonskin No More..., and finally to Coonskin. Bakshi hired several African-American animators to work on Coonskin, including Brenda Banks, the first African-American female animator. Bakshi also hired graffiti artists and trained them to work as animators. The film's release was delayed by protests from the Congress of Racial Equality, which called Bakshi and his film racist. After its distribution was contracted to the Bryanston Distributing Company, Paramount cancelled a project that Bakshi and Ruddy were developing, The American Chronicles. Coonskin, advertised as an exploitation film, was given limited distribution and soon disappeared from theaters. Initial reviews were negative; Playboy commented that "Bakshi seems to throw in a little of everything and he can't quite pull it together." Eventually, positive reviews appeared in The Hollywood Reporter, New York Amsterdam News (an African-American newspaper), and elsewhere. The New York Times Richard Eder said the film "could be [Bakshi's] masterpiece [...] a shattering successful effort to use an uncommon form—cartoons and live action combined-to convey the hallucinatory violence and frustration of American city life, specifically black city life [...] lyrically violent, yet in no way [does it] exploit violence". Variety called it a "brutal satire from the streets". A reviewer for the Los Angeles Herald-Examiner wrote, "Certainly, it will outrage some and, indeed, it's not Disney. [...] The dialog it has obviously generated—if not the box-office obstacles—seems joltingly healthy." Bakshi called Coonskin his best film. Hey Good Lookin' (1973–1975/1982) After production concluded on Harlem Nights, Bakshi wanted to distinguish himself artistically by producing a film in which live action and animated characters would interact. Bakshi said, "The illusion I attempted to create was that of a completely live-action film. Making it work almost drove us crazy." Hey Good Lookin' is set in Brooklyn during the 1950s; its lead characters are Vinnie, the leader of a gang named "The Stompers", his friend Crazy Shapiro, and their girlfriends, Roz and Eva. Vinnie and Crazy Shapiro were based on Bakshi's high-school friends Norman Darrer and Allen Schechterman. Warner Bros. optioned the screenplay and greenlit the film in 1973. An initial version of Hey Good Lookin' was completed in 1975. A three-minute promotion of this version was screened at the 1975 Cannes Film Festival, and the film was scheduled for a Christmas 1975 release, but was moved to the summers of 1976 and later 1977, before ultimately being postponed indefinitely. Warner Bros. was concerned about any controversy the film would encounter as a result of the backlash over the film Coonskin, and felt that the film was "unreleasable" because of its mix of live action and animation, and it would not spend further money on the project. Bakshi financed the film's completion himself from the director's fees for other projects such as Wizards, The Lord of the Rings, and American Pop. The live-action sequences of Hey Good Lookin' were gradually replaced by animation; among the eliminated live-action sequences was one featuring the glam punk band New York Dolls. Singer Dan Hicks worked on the initial musical score, but the final version was scored by John Madara. Hey Good Lookin' opened in New York City on October 1, 1982, and was released in Los Angeles in January 1983. The film's release was limited, and went largely unnoticed in the United States, although it garnered respectable business in foreign markets. In a brief review, Vincent Canby wrote that it was "not exactly incoherent, but whatever it originally had on its mind seems to have slipped away". Animation historian Jerry Beck wrote, "the beginning of the film is quite promising, with a garbage can discussing life on the streets with some garbage. This is an example of what Bakshi did best—using the medium of animation to comment on society. Unfortunately, he doesn't do it enough in this film. There is a wildly imaginative fantasy sequence during the climax, when the character named Crazy starts hallucinating during a rooftop shooting spree. This scene almost justifies the whole film. But otherwise, this is a rehash of ideas better explored in Coonskin, Heavy Traffic, and Fritz the Cat." The film has since gained a cult following through cable television and home video. Quentin Tarantino stated that he preferred Hey Good Lookin' to Martin Scorsese's Mean Streets. Shift to fantasy film (1976–1978) In 1976, Bakshi pitched War Wizards to 20th Century Fox. Returning to the fantasy drawings he had created in high school for inspiration, Bakshi intended to prove that he could produce a "family picture" that had the same impact as his adult-oriented films. British illustrator Ian Miller and comic book artist Mike Ploog were hired to contribute backgrounds and designs. The crew included Vita, Turek, Sparey, Vitello and Spence, who had become comfortable with Bakshi's limited storyboarding and lack of pencil tests. As the production costs increased, Fox president Alan Ladd, Jr. declined Bakshi's requests for salary increases, and refused to give him $50,000 to complete the film. At the same time, Ladd was dealing with similar budget problems on George Lucas's Star Wars. Bakshi and Lucas had negotiated contracts entitling them to franchise ownership, merchandising and back-end payment, so Ladd suggested that they fund the completion of their films themselves. Bakshi chose rotoscoping as a cost-effective way to complete the movie's battle scenes with his own finances. Because he could not afford to hire a film crew or actors, or develop 35mm stock, Bakshi requested prints of films that contained the type of large battle scenes needed, including Sergei Eisenstein's Alexander Nevsky, and spliced together the footage he needed. However, the cost of printing photographs of each frame would have cost $3 million. Learning that IBM had introduced an industrial-sized photocopier, Bakshi asked one of the company's technical experts if he would be able to feed 35mm reels into the machine to produce enlarged copies of each frame. The experiment worked, and Bakshi got the pages he needed for a penny per copy. As War Wizards neared completion, Lucas requested that Bakshi change the title of his film to Wizards to avoid conflict with Star Wars; Bakshi agreed because Lucas had allowed Mark Hamill to take time off from Star Wars to record a voice for Wizards. Although Wizards received a limited release, it was successful in the theaters that showed it and developed a worldwide audience. Dave Kehr of The Chicago Reader saw it as "marred by cut-rate techniques and a shapeless screenplay". In the view of film historian Jerry Beck, the lead character, an aging sorcerer, "clearly owes much to cartoonist Vaughn Bodé's Cheech Wizard character." In late 1976, Bakshi learned that John Boorman was contracted to direct an adaptation of The Lord of the Rings, in which J. R. R. Tolkien's three-volume novel would be condensed into a single film. Bakshi arranged a meeting with Mike Medavoy, United Artists' head of production, who agreed to let Bakshi direct in exchange for the $3 million that had been spent on Boorman's screenplay. Down the hall from Medavoy was Metro-Goldwyn-Mayer president Dan Melnick, who interrupted a meeting with Peter Bogdanovich when he learned that Bakshi wanted to discuss acquiring the rights to The Lord of the Rings. Melnick agreed to pay United Artists $3 million, but was soon fired; the project was canceled by his replacement, Dick Shepherd. Bakshi contacted Saul Zaentz, who wrote a check to cover MGM's debt and agreed to fund the $8 million budget for the first of what was initially planned as a series of three films, and later negotiated down to two. Before production began, Bakshi and Zaentz insisted that the Tolkien estate receive residuals from the film. Bakshi did not want to produce a broad cartoon version of the tale, so he planned to shoot the entire film in live action and animate the footage with rotoscoping. The film also incorporated brief cel animation and straightforward live-action footage. Production of the live-action sequences took place in Spain. During the middle of a large shoot, union bosses called for a lunch break, and Bakshi secretly shot footage of actors in Orc costumes moving toward the craft service table, and used the footage in the film. Jerry Beck later wrote that, while he found the rotoscoped animation "beautiful", he felt that it was unclear whether the use of live action was an artistic choice or due to budgetary constraints. After the Spanish film development lab discovered that telephone lines, helicopters and cars were visible in the footage, they tried to incinerate it, telling Bakshi's first assistant director, "if that kind of sloppy cinematography got out, no one from Hollywood would ever come back to Spain to shoot again." When Bakshi returned to the United States, he learned that the cost of developing blown-up prints of each frame had risen. He did not want to repeat the process that had been used on Wizards, which was unsuitable for the level of detail he intended for The Lord of the Rings, so Bakshi and camera technician Ted Bemiller created their own photographic enlarger to process the footage cheaply. Live-action special effects and analog optics were used in place of animation to keep the visual effects budget low and give the film a more realistic look. Among the voice actors was the well-regarded John Hurt, who performed the role of Aragorn. The project's prominence brought heavy trade journal coverage, and fans such as Mick Jagger visited the studio for the chance to play a role. Animator Carl Bell loved drawing Aragorn so much that Bakshi gave Bell the live-action Aragorn costume, which he wore while animating. Viewing The Lord of the Rings as a holiday film, United Artists pressured Bakshi to complete it on schedule for its intended November 15, 1978, release. Once it was finished, Bakshi was told that audiences would not pay to see an incomplete story; over his objections, The Lord of the Rings was marketed with no indication that a second part would follow. Reviews of the film were mixed, but it was generally seen as a "flawed but inspired interpretation". Newsdays Joseph Gelmis wrote that "the film's principal reward is a visual experience unlike anything that other animated features are doing at the moment". Roger Ebert called Bakshi's effort a "mixed blessing" and "an entirely respectable, occasionally impressive job [which] still falls far short of the charm and sweep of the original story". Vincent Canby found it "both numbing and impressive". David Denby of New York felt that the film would not make sense to viewers who had not read the book. He wrote that it was too dark and lacked humor, concluding, "The lurid, meaningless violence of this movie left me exhausted and sickened by the end." The film, which cost $4 million to produce, grossed $30.5 million. The studio refused to fund the sequel, which would have adapted the remainder of the story. The Lord of the Rings won the Golden Gryphon at the 1980 Giffoni Film Festival. American Pop and Fire and Ice (1979–1983) Following the production struggles of The Lord of the Rings, Bakshi decided to work on something more personal. He pitched American Pop to Columbia Pictures president Dan Melnick. Bakshi wanted to produce a film in which songs would be given a new context in juxtaposition to the visuals. American Pop follows four generations of a Russian Jewish immigrant family of musicians, whose careers parallel the history of American pop and starred actor Ron Thompson in a dual lead role. While the film does not reflect Bakshi's own experiences, its themes were strongly influenced by people he had encountered in Brownsville. The film's crew included character layout and design artist Louise Zingarelli, Vita, Barry E. Jackson, and Marcia Adams. Bakshi again used rotoscoping, in an attempt to capture the range of emotions and movement required for the film's story. According to Bakshi, "Rotoscoping is terrible for subtleties, so it was tough to get facial performances to match the stage ones." Bakshi was able to acquire the rights to an extensive soundtrack—including songs by Janis Joplin, The Doors, George Gershwin, The Mamas & the Papas, Herbie Hancock, Lou Reed, and Louis Prima—for under $1 million. Released on February 12, 1981, the film was a financial success. The New York Times Vincent Canby wrote, "I'm amazed at the success that Mr. Bakshi has in turning animated characters into figures of real feelings." Jerry Beck called it "one of Bakshi's best films". Due to music clearance issues, it was not released on home video until 1998. By 1982, fantasy films such as The Beastmaster and Conan the Barbarian had proven successful at the box office, and Bakshi wanted to work with his long-time friend, the fantasy illustrator Frank Frazetta. Fire and Ice was financed by some of American Pops investors for $1.2 million, while 20th Century Fox agreed to distribute. Fire and Ice was the most action-oriented story Bakshi had directed, so he again used rotoscoping; the realism of the design and rotoscoped animation replicated Frazetta's artwork. Bakshi and Frazetta were heavily involved in the production of the live-action sequences, from casting sessions to the final shoot. The film's crew included background artists James Gurney and Thomas Kinkade, layout artist Peter Chung, and established Bakshi Productions artists Sparey, Steve Gordon, Bell and Banks. Chung greatly admired Bakshi's and Frazetta's work, and animated his sequences while working for The Walt Disney Company. The film was given a limited release, and was financially unsuccessful. Andrew Leal wrote, "The plot is standard [...] recalling nothing so much as a more graphic episode of Filmation's He-Man series. [...] Fire and Ice essentially stands as a footnote to the spate of barbarian films that followed in the wake of Arnold Schwarzenegger's appearance as Conan." Unproduced projects and temporary retirement (1983–1986) After production of Fire and Ice wrapped, Bakshi attempted several projects that fell through, including adaptations of Hunter S. Thompson's Fear and Loathing in Las Vegas, William Kotzwinkle's The Fan Man, E. R. Eddison's The Worm Ouroboros, Stephen Crane's Maggie: A Girl of the Streets, Mickey Spillane's Mike Hammer novels and an anthropomorphic depiction of Sherlock Holmes. He turned down offers to direct Ray Bradbury's Something Wicked This Way Comes and Philip K. Dick's Do Androids Dream of Electric Sheep?. He passed the latter to Ridley Scott, who adapted it into the 1982 film Blade Runner (although he was planning a TV version of said film). During this period, Bakshi reread J. D. Salinger's The Catcher in the Rye, which he had first read in high school, and saw parallels between his situation and that of the book's protagonist, Holden Caulfield. Inspired to seek the film rights, he intended to shoot the story's bracketing sequences in live action and to animate the core flashback scenes. Salinger had rejected previous offers to adapt the novel, and had not made a public appearance since 1965 or granted an interview since 1980. Bakshi sent Salinger a letter explaining why he should be allowed to adapt the novel; the writer responded by thanking Bakshi and asserting that the novel was unfit for any medium other than its original form. Prompted in part by Salinger's letter, Bakshi briefly retired to focus on painting. During this time he completed the screenplay for If I Catch Her, I'll Kill Her, a live-action feature he had been developing since the late 1960s. United Artists and Paramount Pictures each paid Bakshi to develop the film in the 1970s, but were unwilling to produce it, as were the studios he pitched the film to in the 1980s. According to Bakshi, "They thought that no one was going to admit that women can—and do—cheat on their husbands. They thought it was too hot, which made no sense." In 1985, he received a phone call from The Rolling Stones' manager, Tony King, who told Bakshi that the band had recorded a cover of Bob & Earl's "Harlem Shuffle", and wanted Bakshi to direct the music video. He was told that the live-action shoot needed to be completed within one day (January 28, 1986) for it to be shown at the Grammy Awards. Production designer Wolf Kroeger was forced to drastically compact his sets, and animation director and designer John Kricfalusi had to push his team, including Lynne Naylor, Jim Smith and Bob Jaques, to complete the animation within a few weeks. The band's arrival at the set was delayed by a snowstorm and several takes were ruined when the cameras crossed paths. Bakshi was forced to pay the union wages out of his own fees, and the continuity between Kricfalusi's animation and the live-action footage did not match; however, the video was completed on time. Bakshi recognized Kricfalusi's talent, and wanted to put him in charge of a project that would showcase the young animator's skills. Bakshi and Kricfalusi co-wrote the screenplay Bobby's Girl as a take on the teen films of the era. Jeff Sagansky, president of production at TriStar Pictures, put up $150,000 to develop the project, prompting Bakshi to move back to Los Angeles. When Sagansky left TriStar, Bakshi was forced to pitch the film again, but the studio's new executives did not understand its appeal and cut off financing. Bakshi and Zingarelli began to develop a feature about Hollywood's Golden Age, and Bakshi Productions crewmembers worked on proposed cartoons influenced by pulp fiction. Bobby's Girl was reworked as a potential prime time series called Suzy's in Love, but attracted no serious interest. They would try again in 2003 over at Spümcø, but nothing came from this either. Return to television (1987–1989) In April 1987, Bakshi set up a meeting with Judy Price, the head of CBS's Saturday morning block. Three days before the meeting, Bakshi, Kricfalusi, Naylor, Tom Minton, Eddie Fitzgerald and Jim Reardon met to brainstorm. Bakshi remembers, "My car was packed to the windows. Judy was my last stop before driving cross country back to New York to my family." Price rejected Bakshi's prepared pitches, but asked what else he had. He told her that he had the rights to Mighty Mouse, and she agreed to purchase the series. However, Bakshi did not own the rights and did not know who did. While researching the rights, he learned that CBS had acquired the entire Terrytoons library in 1955 and forgotten about it. According to Bakshi, "I sold them a show they already owned, so they just gave me the rights for nothin'!" Kricfalusi's team wrote story outlines for thirteen episodes in a week and pitched them to Price. By the next week, Kricfalusi had hired animators he knew who had been working at other studios. Mighty Mouse: The New Adventures went into production the month it was greenlighted; it was scheduled to premiere on September 19, 1987. This haste required the crew to be split into four teams, led by supervising director Kricfalusi, Fitzgerald, Steve Gordon and Bruce Woodside. Each team was given a handful of episodes, and operated almost entirely independently of the others. Although the scripts required approval by CBS executives, Kricfalusi insisted that the artists add visual gags as they drew. Bruce Timm, Andrew Stanton, Dave Marshall and Jeff Pidgeon were among the artists who worked on the series. Despite the time constraints, CBS was pleased with the way Bakshi Productions addressed the network's notes. During the production of the episode "The Littlest Tramp", editor Tom Klein expressed concern that a sequence showing Mighty Mouse sniffing the remains of a crushed flower resembled cocaine use. Bakshi did not initially view the footage; he believed that Klein was overreacting, but agreed to let him cut the scene. Kricfalusi expressed disbelief over the cut, insisting that the action was harmless and that the sequence should be restored. Following Kricfalusi's advice, Bakshi told Klein to restore the scene, which had been approved by network executives and the CBS standards and practices department. The episode aired on October 31, 1987, without controversy. In 1988, Bakshi received an Annie Award for "Distinguished Contribution to the Art of Animation". The same year, he began production on a series pilot loosely adapted from his Junktown comic strips. According to Bakshi, the proposed series "was going to be a revitalization of cartoon style from the '20s and '30s. It was gonna have Duke Ellington and Fats Waller jazzing up the soundtrack." Nickelodeon was initially willing to greenlight 39 episodes of Junktown. On June 6, 1988, Donald Wildmon, head of the American Family Association (AFA), alleged that "The Littlest Tramp" depicted cocaine use, instigating a media frenzy. The AFA, during its incarnation as the National Federation for Decency, had previously targeted CBS as an "accessory to murder" after a mother killed her daughter following an airing of Exorcist II: The Heretic. Concerning Bakshi's involvement with Mighty Mouse: The New Adventures, the AFA claimed that CBS "intentionally hired a known pornographer to do a cartoon for children, and then allowed him to insert a scene in which the cartoon hero is shown sniffing cocaine." Bakshi responded, "You could pick a still out of Lady and the Tramp and get the same impression. Fritz the Cat wasn't pornography. It was social commentary. This all smacks of burning books and the Third Reich. It smacks of McCarthyism. I'm not going to get into who sniffs what. This is lunacy!" On CBS's order, Klein removed the sequence from the master broadcast footage. Wildmon claimed that the edits were "a de facto admission that, indeed, Mighty Mouse was snorting cocaine". Despite receiving an award from Action for Children's Television, favorable reviews, and a ranking in Time magazine's "Best of '87" feature, Mighty Mouse: The New Adventures was canceled by CBS following the controversy. The incident had a ripple effect, weakening Nickelodeon's commitment to Junktown. Bakshi has also stated that "we were trying something different [...] but a series didn't make sense. It just didn't work". The series was scrapped, and the completed pilot aired as a special, Christmas in Tattertown, in December 1988. It was the first original animated special created for Nickelodeon. Bakshi moved into a warehouse loft in downtown Los Angeles to clear his head, and was offered $50,000 to direct a half-hour live-action film for PBS's Imagining America anthology series. Mark Bakshi produced the film, This Ain't Bebop, his first professional collaboration with his father. Bakshi wrote a poem influenced by Jack Kerouac, jazz, the Beat Generation and Brooklyn that served as the narration, which was spoken by Harvey Keitel. After a car crash, Bakshi completed the post-production in stitches and casts. Bakshi said of the work, "It's the most proud I've been of a picture since Coonskin—the last real thing I did with total integrity." As a result of the film, Bakshi received an offer to adapt Dr. Seuss's The Butter Battle Book for TNT. Ted Geisel had never been satisfied with the previous screen versions of his Dr. Seuss work. Bakshi wanted to produce an entirely faithful adaptation, and Geisel—who agreed to storyboard the special himself—was pleased with the final product. Bakshi next directed the pilot Hound Town for NBC; he described the result as "an embarrassing piece of shit". Besides Bakshi, sitcom alumus Rob Sternin and Prudence Fraser wrote and produced the project. Cool World, continued television projects and semi-retirement (1990–1997) In 1990, Bakshi pitched Cool World to Paramount Pictures as a partially animated horror film. The concept involved a cartoon and human having sex and conceiving a hybrid child who visits the real world to murder the father who abandoned him. The live-action footage was intended to look like "a living, walk-through painting", a visual concept Bakshi had long wanted to achieve. Massive sets were constructed on a sound stage in Las Vegas, based on enlargements of designer Barry Jackson's paintings. The animation was strongly influenced by the house styles of Fleischer Studios and Terrytoons. As the sets were being built, producer Frank Mancuso Jr., son of Paramount president Frank Mancuso Sr., had the screenplay rewritten in secret; the new version, by Michael Grais and Mark Victor, was radically different from Bakshi's original. Paramount threatened to sue Bakshi if he did not complete the film. As Bakshi and Mancuso wrangled over their creative differences, Bakshi and the studio also began to fight over the film's casting. To keep actor Brad Pitt, Bakshi had to replace Drew Barrymore, his original choice for the character of Holli Would, with Kim Basinger, a bigger box office draw at the time. The film's animators were never given a screenplay, and were instead told by Bakshi, "Do a scene that's funny, whatever you want to do!" Designer Milton Knight recalled that "audiences actually wanted a wilder, raunchier Cool World. The premiere audience I saw it with certainly did." The critical reaction to the film was generally negative. Roger Ebert wrote, "The DJ who was hosting the radio station's free preview of Cool World leaped onto the stage and promised the audience: 'If you liked Roger Rabbit, you'll love Cool World!' He was wrong, but you can't blame him—he hadn't seen the movie. I have, and I will now promise you that if you liked Roger Rabbit, quit while you're ahead." The film was a box-office disappointment. While other film projects followed, Bakshi began to focus more attention on painting. In 1993, Lou Arkoff, the son of Samuel Z. Arkoff, approached Bakshi to write and direct a low-budget live-action feature for Showtime's Rebel Highway series. For the third time, Bakshi revisited his screenplay for If I Catch Her, I'll Kill Her, which he retitled Cool and the Crazy. The picture, which aired September 16, 1994, starred Jared Leto, Alicia Silverstone, Jennifer Blanc and Matthew Flint. Reviewer Todd Everett noted that it had the same "hyperdrive visual sense" of Bakshi's animated films. He said, "Everything in 'Cool' [...] seems to exist in pastels and Bakshi shoots from more odd angles than any director since Sidney J. Furie in his heyday. And the closing sequences ably demonstrate how it's possible to present strong violence without any blood being shed onscreen. Bakshi pulls strong [performances] from a cadre of youngish and largely unknown actors". In 1995, Hanna-Barbera producer Fred Seibert offered Bakshi the chance to create two animated short films for Cartoon Network's What a Cartoon!: Malcom and Melvin and Babe, He Calls Me, focusing on a trumpet-playing cockroach named Malcom and his best friend, a clown named Melvin. Both were heavily edited after Bakshi turned them in and he disowned them as a result. Bakshi was subsequently contacted by HBO, which was looking to launch the first animated series specifically for adults, an interest stirred by discussions involving a series based upon Trey Parker and Matt Stone's video Christmas card, Jesus vs. Santa. Bakshi enlisted a team of writers, including his son Preston, to develop Spicy Detective, later renamed Spicy City, an anthology series set in a noir-ish, technology-driven future. Each episode was narrated by a female host named Raven, voiced by Michelle Phillips. The series premiered in July 1997—one month before the debut of Parker and Stone's South Park—and thus became the first "adults only" cartoon series. Although critical reaction was largely unfavorable, Spicy City received acceptable ratings. A second season was approved, but the network wanted to fire Bakshi's writing team and hire professional Los Angeles screenwriters. When Bakshi refused to cooperate, the series was canceled. Painting, teaching and new animation projects (2000–2013) Bakshi retired from animation once more, returning to his painting. In 2000, he began teaching an undergraduate animation class at New York's School of Visual Arts. On December 14, 2001, he did some paintings for the Cameron Crowe film Vanilla Sky. He later became involved in several screen projects, including a development deal with the Sci Fi Channel, In September 2002, Bakshi, Liz and their dogs moved to New Mexico, where he became more productive than ever in his painting and began development on the Last Days of Coney Island film. In 2003, he appeared as the Fire Chief in the episode "Fire Dogs 2" of John Kricfalusi's Ren & Stimpy "Adult Party Cartoon". In September 2008, Main Street Pictures announced that it would collaborate with Bakshi on a sequel to Wizards. In 2012, Bakshi began producing the short film series Bakshi Blues. The first of these shorts, Trickle Dickle Down, contains reused animation from Coonskin and criticizes 2012 Republican presidential candidate Mitt Romney. The shorts were to focus on "old and new characters" and comment on modern-day America. Last Days of Coney Island (2013–2016) In February 2013, Bakshi launched a successful Kickstarter campaign to obtain funding for his latest film, Last Days of Coney Island. Actor Matthew Modine was cast in the film in February 2013 after Modine, a longtime Bakshi fan, came across the film's Kickstarter campaign online. Last Days of Coney Island was released on Vimeo in 2015. Bakshi released the film for free on YouTube on 13 October 2016. Post-animation (2015–present) After he quit the animation industry, Bakshi did multiple interviews with the media and on podcasts. He continues to sell art on eBay and his website, both run by the Bakshi family. He currently sells an art series called Little Guys and Gals, which are fictional portraits of cartoon people. The series originated in November 2020 as random character sketches and officially began in January 2021, originally calling the series Little Gals and Little Guys. Bakshi appeared as a guest at a Canadian film festival which celebrates animation, SPARK Animation, which was held virtually, from October 28 to November 7, 2021. Accolades In 2003, Bakshi received a Maverick Tribute Award at the Cinequest San Jose Film Festival the same year he began teaching an animation class in New Mexico - this became The Bakshi School of Animation and Cartooning, which is run by Ralph's son Edward and his partner Jess Gorell. The Online Film Critics Society released a list of the "Top 100 Animated Features of All Time" in March 2003 that included four of Bakshi's films: Fritz the Cat, The Lord of the Rings, Coonskin and Fire and Ice. Fritz the Cat was ranked number 56 in the 2004 poll conducted by Britain's Channel 4 for its documentary The 100 Greatest Cartoons. The Museum of Modern Art has added Bakshi's films to its collection for preservation. In the 1980s and 1990s he served on the advisory board of the Los Angeles Student Film Institute. In 2021, Ralph Bakshi won the Animafest Zagreb Lifetime Achievement Award for his animation career and the impact of his films. Legacy The availability of Bakshi's work on the Internet sparked a resurgence of interest in his career, resulting in a three-day American Cinematheque retrospective held at Grauman's Egyptian Theatre in Hollywood and the Aero Theater in Santa Monica, California, in April 2005. Unfiltered: The Complete Ralph Bakshi, a hardcover book of Bakshi's art, was released on April 1, 2008. The foreword was written by Quentin Tarantino and the afterword by Bakshi. His rotoscoping techniques in Lord of the Rings inspired the animation rotoscoping techniques of the independent film The Spine of Night in which the animator developed his own rotoscope style by watching behind-the-scenes footage of Bakshi's warehouse and reverse-engineering it. Billie Eilish had the idea for an animated version of herself for her in the concert film Happier Than Ever: A Love Letter to Los Angeles (which is a promotion for the album of the same name) and suggested to director Patrick Osborne that the character should have a 1980s look and rotoscope-ish animation. Eilish referenced the works of Bakshi and animator Richard Williams to him. Gore Verbinski commented about Bakshi and showed that he was inspired by him during an interview in The Hollywood Reporter for his first animated movie, Rango, saying: "What happened to the Ralph Bakshis of the world? We're all sitting here talking family entertainment. Does animation have to be family entertainment? Audiences want something new; they just can't articulate what." On January 12, 2014, at The Egyptian Theatre in Hollywood, there was a special screening of Bakshi's film American Pop with actors Ron Thompson and Mews Small in attendance, it was the first time lead actor Ron Thompson had ever introduced the film before a live audience. At the Aero Theatre in Santa Monica, California, on March 27, 2015, there was a screening of Heavy Traffic and American Pop with Bakshi, Ron Thompson and Mews Small attending. Fritz the Cat has also been called an animated art film. Filmography Films Television I Selected episodes II Provided the voices of Connelly and Goldblum in the episode "Sex Drive", and Stevie in the episode "Mano's Hands" III Provided the voice of the Super Hero IV Animated in conjunction with Doug Compton V Provided the voice of Fire Chief in the episode "Fire Dogs 2" Releases and ratings Bibliography Ralph Bakshi: A Private selection of drawings released from the Bakshi Archives. 2018 - 2019; Book 1 (2019) Ralph Bakshi: No Rhyme or Reason; Book 2 (2020) See also Heavy Metal Ron Thompson John Kricfalusi Katsuhiro Otomo Rock & Rule Independent animation New Hollywood Notes References External links Official page filmography Archived 'American Pop'... Matters: Ron Thompson, the Illustrated Man Unsung interview at PopMatters Rotospective: Ralph Bakshi, Lessons in Artistry, Rebellion and Success a profile at AgentPalmer.com 1938 births American animators American comic strip cartoonists American experimental filmmakers American film producers American animated film producers American storyboard artists American television directors Television producers from New York City American television writers 20th-century American painters American male painters 21st-century American painters 21st-century American male writers American male screenwriters American male voice actors American animated film directors American people of Palestinian-Jewish descent Jewish American artists American satirists Jews in Mandatory Palestine Living people American male television writers People from Haifa Terrytoons people Underground cartoonists American voice directors Krymchaks Artists from New York City High School of Art and Design alumni Mandatory Palestine emigrants to the United States People from Brownsville, Brooklyn Thomas Jefferson High School (Brooklyn) alumni Film directors from New York (state) 21st-century American non-fiction writers American male non-fiction writers Screenwriters from New York (state) Inkpot Award winners Famous Studios people	false	[ "A coonskin cap is a hat fashioned from the skin and fur of a raccoon. The original coonskin cap consisted of the entire skin of the raccoon including its head and tail. Beginning as traditional Native American headgear, coonskin caps became associated with American frontiersmen of the 18th and 19th centuries, and were highly popular among boys in the United States, Canada, the United Kingdom and Australia in the 1950s.\n\nOrigin\nCoonskin caps were originally popular Native American article of clothing. With much of the land along the Eastern Seaboard already settled, immigrants from Germany, Scotland and Ireland (considered too 'rough' for the coastal towns by many) ventured into the forested and mountainous Appalachian region. These groups lived a subsistence lifestyle and often interacted with Native Americans in the area which included adopting some of their customs and dress. \n\nThe coonskin cap quickly became a part of the iconic image associated with American frontiersmen such as Daniel Boone and Davy Crockett. Boone did not actually wear coonskin caps, which he disliked, and instead wore felt hats, but explorer Meriwether Lewis wore a coonskin cap during the Lewis and Clark Expedition. Joseph L. Meek wore the coonskin cap in the mountains.\n\nAn account of actor Noah Ludlow introducing the popular song \"The Hunters of Kentucky\" while wearing a coonskin cap is shown to be spurious in Ludlow's autobiography. Ludlow recounted that initial performance of 1822: \n\nAs soon as the comedy of the night was over, I dressed myself in a buckskin hunting-shirt and leggins, which I borrowed off a river man, and with moccasins on my feet and an old slouched hat on my head, and a rifle on my shoulder, I presented myself before the audience.\"\n\n20th century popularity\n\nEstes Kefauver\nPolitician Estes Kefauver of Tennessee adopted the coonskin cap as a personal trademark during his successful 1948 campaign for election to the United States Senate. Tennessee political boss E. H. Crump had published advertisements accusing Kefauver of being a raccoon-like Communist puppet. In response, Kefauver put on a coonskin cap during a speech in Memphis, proclaiming: \"I may be a pet coon, but I'm not Boss Crump's pet coon.\" He continued to use the coonskin cap as a trademark throughout his political career, which included unsuccessful campaigns for the Democratic presidential nomination in 1952 and 1956, an unsuccessful campaign for the Vice Presidency as Adlai Stevenson's running mate in 1956, and successful Senatorial re-election campaigns in 1954 and 1960.\n\n1950s fad\n\nIn the 20th century, the iconic association was in large part due to Disney's television program Disneyland and the first three Davy Crockett episodes starring Fess Parker, which aired from December 1954 to February 1955. In the episodes, which once again made Crockett into one of the most popular men in the country, the frontier hero was portrayed wearing a coonskin cap. The show spawned several Disneyland Davy Crockett sequels as well as other similar shows and movies, with many of them featuring Parker as the lead actor. Parker went on to star in a Daniel Boone television series (1964-1970), again wearing a coonskin cap. \n\nCrockett's new popularity initiated a fad among boys all over the United States as well as a Davy Crockett craze in the United Kingdom. The look of the cap that was marketed to young boys was typically simplified; it was usually a faux fur lined skull cap with a raccoon tail attached. A variation was marketed to young girls as the Polly Crockett hat. It was similar in style to the boys' cap, including the long tail, but was made of all-white fur (faux or possibly rabbit). At the peak of the fad, coonskin caps sold at a rate of 5,000 caps a day. By the end of the 1950s, Crockett's popularity waned and the fad slowly died out. The fad is recalled by numerous cultural references, such as the wearing of coonskin caps as part of The Junior Woodchucks uniform in Disney's Donald Duck comics. Novelist Thomas Pynchon referenced both the hat and the fashion in his novel V., where he refers to the hat as a \"bushy Freudian hermaphrodite symbol\".\n\nOther uses\nCoonskin caps are powerful cultural symbols that continued to be seen in film, television, and other contexts in the latter decades of the 20th century.\n\n In the 1964 ABC-TV series The Addams Family, Uncle Fester occasionally wore a coonskin cap dyed black with a white strip running down the middle of both the crown and the tail, suggesting that it was made from the skin of a skunk.\n In Bob Dylan's song \"Subterranean Homesick Blues,\" \"The man in the coon-skin cap / By the big pen / Wants eleven dollar bills / You only got ten.\"\n The 1983 film A Christmas Story, which features various cultural artifacts of American childhood from the 1930s, 1940s, and 1950s, depicts a boy wearing a coonskin cap.\n The Simpsons depicts Jebediah Springfield, the early 19th-century founder of the fictional town of Springfield, in a coonskin cap.\n Florida politician Lawton Chiles put on a coonskin cap while celebrating his 1994 gubernatorial re-election victory over Republican Jeb Bush, recalling a campaign statement in which Chiles had predicted victory by saying \"the old he-coon walks just before the light of day.\"\n The Great Brain series features Parley Benson, a person who wears a coonskin cap.\n In Walt Disney's stories, the Junior Woodchucks Huey, Dewey and Louie Duck also wear coonskin caps.\n In the American History cartoon Histeria!, Kip Ling, the bow-haired girl, Froggo and Aka Pella are seen wearing coonskin caps when they sing a song about Philo Farnsworth. Toast has been seen wearing one on a bus with the Kid Chorus.\n Ferb from the American cartoon Phineas and Ferb is seen wearing a coonskin cap when he saws a log with Phineas (episode: She's the Mayor)\n Senator Jack S. Phogbound of Li'l Abner comic strip wears a coonskin cap\n Sam Shakusky. a lead character of Wes Anderson's 2012 film Moonrise Kingdom, is frequently seen wearing a coonskin cap. The film is set in 1965 and incorporates many elements of 1950s and 1960s youth culture.\n In the acclaimed Disney channel cartoon Gravity Falls, various characters can be seen wearing coonskin caps in the series, most notably Pacifica Northwest in the episode \"Irrational Treasure\".\n The Volunteer, one of the costumed mascots for the sports teams of the University of Tennessee, wears a coonskin cap and fringed buckskins, inspired by the frontier attire of many of Tennessee's volunteers in the War of 1812, the inspiration for the state and university's nickname.\n The first issue of Guardians of the Galaxy sees Rocket Raccoon pestering his teammates about the newly formed team's name. Upon suggesting \"Rocket Raccoon and His Human Hangers-On,\" Drax the Destroyer sarcastically replies \"How about 'Drax and his Coonskin Cap,' that grab you?\"\n One of the hats found in Little Nightmares II is a coonskin cap found in the Hunter's cabin.\n\nSee also\nUshanka\n\nReferences\n\nExternal links\n\nThe Coonskin Cap\nHeight of the Craze. 1957 Wales\n\n1950s fads and trends\nHistory of fashion\n1950s fashion\nMountain men\nFur trade\nCaps\nHats\nNative American clothing\nWestern wear\nHudson's Bay Company\nDavy Crockett\nAmerican fashion\nCanadian fashion\nRaccoons in popular culture", "Schoenbaum Stadium is a soccer stadium in Charleston, West Virginia located in Coonskin Park. The 6,000-seat stadium is home to West Virginia Alliance FC of USL League Two.\n\nExternal links\nKanawha County Parks & Rec - Coonskin Park\n\nSports venues in West Virginia\nSoccer venues in West Virginia\nBuildings and structures in Charleston, West Virginia" ]
[ "Ralph Bakshi", "Coonskin (1973-1975)", "Is coonskin a movie?", "Coonskin, advertised as an exploitation film,", "Who starred in coonskin?", "Bakshi hired several African American animators to work on Coonskin, including Brenda Banks, the first African American female animator." ]	C_0425b70eeebf4afa91523e82d63c3bd2_1	Was the movie a success?	3	Was the movie Coonskin a success?	Ralph Bakshi	In 1973, Bakshi and Ruddy began the production of Harlem Nights, which Paramount was originally contracted to distribute. While Fritz the Cat and Heavy Traffic proved that adult-oriented animation could be financially successful, animated films were still not respected, and Bakshi's pictures were considered to be "dirty Disney flicks" that were "mature" only for depicting sex, drugs and profanity. Harlem Nights, based on Bakshi's firsthand experiences with racism, was an attack on racist prejudices and stereotypes. Bakshi cast Scatman Crothers, Philip Michael Thomas, Barry White and Charles Gordone in live-action and voice roles, cutting in and out of animation abruptly rather than seamlessly because he wanted to prove that the two mediums could "coexist with neither excuse nor apology". He wrote a song for Crothers to sing during the opening title sequence: "Ah'm a Niggerman". Its structure was rooted in the history of the slave plantation: slaves would "shout" lines from poems and stories great distances across fields in unison, creating a natural beat. Bakshi has described its vocal style, backed by fast guitar licks, as an "early version of rap". Bakshi intended to attack stereotypes by portraying them directly, culling imagery from blackface iconography. Early designs in which the main characters (Brother Rabbit, Brother Bear and Preacher Fox) resembled figures from The Wind in the Willows were rejected. Bakshi juxtaposed stereotypical designs of blacks with even more negative depictions of white racists, but the film's strongest criticism is directed at the Mafia. Bakshi said, "I was sick of all the hero worship these guys got because of The Godfather." Production concluded in 1973. During editing, the title was changed to Coonskin No More..., and finally to Coonskin. Bakshi hired several African American animators to work on Coonskin, including Brenda Banks, the first African American female animator. Bakshi also hired graffiti artists and trained them to work as animators. The film's release was delayed by protests from the Congress of Racial Equality, which called Bakshi and his film racist. After its distribution was contracted to the Bryanston Distributing Company, Paramount canceled a project that Bakshi and Ruddy were developing, The American Chronicles. Coonskin, advertised as an exploitation film, was given limited distribution and soon disappeared from theaters. Initial reviews were negative; Playboy commented that "Bakshi seems to throw in a little of everything and he can't quite pull it together." Eventually, positive reviews appeared in The Hollywood Reporter, New York Amsterdam News (an African American newspaper) and elsewhere. The New York Times' Richard Eder said the film "could be [Bakshi's] masterpiece [...] a shattering successful effort to use an uncommon form--cartoons and live action combined to convey the hallucinatory violence and frustration of American city life, specifically black city life [...] lyrically violent, yet in no way [does it] exploit violence". Variety called it a "brutal satire from the streets". A reviewer for the Los Angeles Herald-Examiner wrote, "Certainly, it will outrage some and, indeed, it's not Disney. [...] The dialog it has obviously generated--if not the box office obstacles--seems joltingly healthy." Bakshi called Coonskin his best film. CANNOTANSWER	Coonskin, advertised as an exploitation film, was given limited distribution and soon disappeared from theaters. Initial reviews were negative;	Ralph Bakshi (; born October 29, 1938) is an American director of animated and live-action films. In the 1970s, he established an alternative to mainstream animation through independent and adult-oriented productions. Between 1972 and 1992, he directed nine theatrically released feature films, five of which he wrote. He has been involved in numerous television projects as director, writer, producer, and animator. Beginning his career at the Terrytoons television cartoon studio as a cel polisher, Bakshi was eventually promoted to animator, and then director. He moved to the animation division of Paramount Pictures in 1967 and started his own studio, Bakshi Productions, in 1968. Through producer Steve Krantz, Bakshi made his debut feature film, Fritz the Cat, released in 1972. It was based on the comic strip by Robert Crumb and was the first animated film to receive an X rating from the Motion Picture Association of America, and is the most successful independent animated feature of all time. Over the next 11 years, Bakshi directed seven additional animated features. He is well known for such films as Wizards (1977), The Lord of the Rings (1978), American Pop (1981), and Fire and Ice (1983). In 1987, Bakshi returned to television work, producing the series Mighty Mouse: The New Adventures, which ran for two years. After a nine-year hiatus from feature films, he directed Cool World (1992), which was largely rewritten during production and received poor reviews, consequently being his last theatrical feature-length film to date. Bakshi returned to television with the live-action film Cool and the Crazy (1994) and the anthology series Spicy City (1997). During the 2000s, he focused largely on fine art and painting, and in 2003, co-founded the Bakshi School of Animation with his son Eddie and Jess Gorell. Bakshi has received several awards for his work, including the 1980 Golden Gryphon for The Lord of the Rings at the Giffoni Film Festival, the 1988 Annie Award for Distinguished Contribution to the Art of Animation, and the 2003 Maverick Tribute Award at the Cinequest Film Festival. Early life Ralph Bakshi was born on October 29, 1938, in Haifa, British Mandate of Palestine (now Israel), to a Krymchak Jewish family. In 1939, his family migrated to the United States, and he grew up in the Brownsville neighborhood of Brooklyn. The family lived in a low-rent apartment, where Bakshi became fascinated with the urban milieu. As a child, he enjoyed comic books, and often dug through trash cans to find them. According to an interview in 2009, Ralph said he was very poor and the walls of his neighborhood were constantly repainted. He liked the feeling when he looked out the window and saw the sun as a little boy, and whenever he would walk out in the streets, someone would break the wooden crates, that were filled with food, in the push carts open. Ralph says this in the interview, "And the push carts were wood, and most of the buildings were made out of old wood, going back to the turn of the century, and they were repainted a lot but the paint was faded by, you know the hundred years of snow and rain, repainted and faded again." Bakshi loved the faded colors, the nails, the wooden crates, and he would build his own toys from the wood. Ralph recalls, "I had a great feeling with wood, cement, and nails". In the spring of 1947, Bakshi's father and uncle traveled to Washington, DC, in search of business opportunities, and soon moved the family to the black neighborhood of Foggy Bottom. Bakshi recalled, "All my friends were black, everyone we did business with was black, the school across the street was black. It was segregated, so everything was black. I went to see black movies; black girls sat on my lap. I went to black parties. I was another black kid on the block. No problem!" The racial segregation of local schools meant that the nearest white school was several miles away; Bakshi obtained his mother's permission to attend the nearby black school with his friends. Most of the students had no problem with Bakshi's presence, but a teacher sought advice from the principal, who called the police. Fearing that segregated whites would riot if they learned that a white, let alone Jewish, student was attending a black school, the police removed Bakshi from his classroom. Meanwhile, his father had been suffering from anxiety attacks. Within a few months, the family moved back to Brownsville, where they rarely spoke of these events. At the age of 15, after discovering Gene Byrnes' Complete Guide to Cartooning at the public library, Bakshi took up cartooning to document his experiences and create fantasy-influenced artwork. He stole a copy of the book and learned every lesson in it. During his teenaged years, Bakshi took up boxing. While attending Thomas Jefferson High School, he took little interest in academics, spending most of his time focusing on "broads, mouthing off, and doodling". After participating in a food fight and being caught smoking, Bakshi was sent to the principal's office. Believing Bakshi was unlikely to prosper at Thomas Jefferson, the principal transferred him to Manhattan's School of Industrial Art. In June 1956, Bakshi graduated from the school with an award in cartooning. Career Early career (1956–1968) When Bakshi was 18, his friend Cosmo Anzilotti was hired by the cartoon studio Terrytoons; Anzilotti recommended Bakshi to the studio's production manager, Frank Schudde. Bakshi was hired as a cel polisher and commuted four hours each day to the studio, based in suburban New Rochelle. His low-level position required Bakshi to carefully remove dirt and dust from animation cels. After a few months, Schudde was surprised that Bakshi was still showing up to work, so promoted him to cel painter. Bakshi began to practice animating; to give himself more time, at one point he slipped 10 cels he was supposed to work on into the "to-do" pile of a fellow painter, Leo Giuliani. Bakshi's deception was not noticed until two days later, when he was called to Schudde's office because the cels had been painted on the wrong side. When Bakshi explained that Giuliani had made the mistake, an argument ensued between the three. Schudde eventually took Bakshi's side. By this point, the studio's employees were aware of Bakshi's intention to become an animator, and he began to receive help and advice from established animators, including Connie Rasinski, Manny Davis, Jim Tyer, Larry Silverman, and Johnnie Gentilella. Bakshi married his first wife, Elaine, when he was 21. Their son, Mark, was born when Bakshi was 22. Elaine disliked his long work hours; parodying his marital problems, Bakshi drew Dum Dum and Dee Dee, a comic strip about a man determined "to get—and keep—the girl". As he perfected his animation style, he began to take on more jobs, including creating design tests for the studio's head director, Gene Deitch. Deitch was not convinced that Bakshi had a modern design sensibility. In response to the period's political climate and as a form of therapy, Bakshi drew the comic strips Bonefoot and Fudge, which satirized "idiots with an agenda", and Junktown, which focused on "misfit technology and discarded ideals". Bakshi's frustrations with his failing marriage and the state of the planet further drove his need to animate. In 1959, he moved his desk to join the rest of the animators; after asking Rasinski for material to animate, he received layouts of two scenes - a hat floating on water and a running Deputy Dawg, the lead character of a Terrytoons' series then being shown on CBS. Despite threats of repercussion from the animators' union, Rasinski fought to keep Bakshi as a layout artist. Bakshi began to see Rasinski as a father figure; Rasinski, childless, was happy to serve as Bakshi's mentor. At the age of 25, Bakshi was promoted to director. His first assignment was the series Sad Cat. Bakshi and his wife had separated by then, giving him the time to animate each short alone. Bakshi was dissatisfied with the traditional role of a Terrytoons director: "We didn't really 'direct' like you'd think. We were 'animation directors,' because the story department controlled the storyboards. We couldn't affect anything, but I still tried. I'd re-time, mix up soundtracks—I'd fuck with it so I could make it my own." Other animation studios, such as Hanna-Barbera, were selling shows to the networks, even as the series produced by Terrytoons (which was owned by CBS) were declining in popularity. In 1966, Bill Weiss asked Bakshi to help him carry presentation boards to Manhattan for a meeting with CBS. The network executives rejected all of Weiss's proposals as "too sophisticated", "too corny", or "too old-timey". As Fred Silverman, CBS's daytime programming chief, began to leave the office, an unprepared Bakshi pitched a superhero parody called The Mighty Heroes. He described the series' characters, including Strong Man, Tornado Man, Rope Man, Cuckoo Man, and Diaper Man: "They fought evil wherever they could, and the villains were stupider than they were." The executives loved the idea, and while Silverman required a few drawings before committing, Weiss immediately put Bakshi to work on the series' development. Once Silverman saw the character designs, he confirmed that CBS would greenlight the show, on the condition that Bakshi serve as its creative director. It would appear as a segment of Mighty Mouse Playhouse on the network's 1966–67 Saturday-morning schedule; the series was renamed Mighty Mouse and the Mighty Heroes in recognition of the new segment. Bakshi received a pay raise, but was not as satisfied with his career advancement as he had anticipated; Rasinski had died in 1965, Bakshi did not have creative control over The Mighty Heroes, and he was unhappy with the quality of the animation, writing, timing, and voice acting. Although the series' first 20 segments were successful, Bakshi wanted to leave Terrytoons to form his own company. In 1967, he drew up presentation pieces for a fantasy series called Tee-Witt, with help from Anzilotti, Johnnie Zago, and Bill Foucht. On the way to the CBS offices to make his pitch, he was involved in a car accident. At the auto body shop, he met Liz, who later became his second wife. Though CBS passed on Tee-Witt, its designs served as the basis for Bakshi's 1977 film Wizards. While leaving the network offices, he learned that Paramount Pictures had recently fired Shamus Culhane, the head of its animation division. Bakshi met with Burt Hampft, a lawyer for the studio, and was hired to replace Culhane. Bakshi enlisted comic-book and pulp-fiction artists and writers Harvey Kurtzman, Lin Carter, Gray Morrow, Archie Goodwin, Wally Wood, and Jim Steranko to work at the studio. After finishing Culhane's uncompleted shorts, he directed, produced, wrote, and designed four short films at Paramount: The Fuz, Mini-Squirts, Marvin Digs, and Mouse Trek. Marvin Digs, which Bakshi conceived as a "flower child picture", was not completed the way he had intended: It "was going to have curse words and sex scenes, and a lot more than that. [...] Of course, they wouldn't let me do that." He described the disappointing result as a "typical 1967 limited-animation theatrical". Animation historian Michael Barrier called the film "an offensively bad picture, the kind that makes people who love animation get up and leave the theater in disgust". Production of Mighty Heroes ended when Bakshi left Terrytoons. Bakshi served as head of the studio for eight months before Paramount closed its animation division on December 1, 1967. He learned that his position was always intended to be temporary and that Paramount never intended to pick up his pitches. Although Hampft was prepared to offer Bakshi a severance package, Bakshi immediately ripped up the contract. Hampft suggested that Bakshi work with producer Steve Krantz, who had recently fired Culhane as supervising director on the Canadian science-fiction series Rocket Robin Hood. Bakshi and background artist Johnnie Vita soon headed to Toronto, planning to commute between Canada and New York, with artists such as Morrow and Wood working from the United States. Unknown to Bakshi, Krantz and producer Al Guest were in the middle of a lawsuit. Failing to reach a settlement with Guest, Krantz told Bakshi to grab the series' model sheets and return to the United States. When the studio found out, a warrant for Bakshi's arrest was issued by the Toronto police. He narrowly avoided capture before being stopped by an American border guard, who asked him what he was doing. Bakshi responded, "All of these guys are heading into Canada to dodge the draft and I'm running back into the States. What the fuck is wrong with that!?" The guard laughed, and let Bakshi through. Vita was detained at the airport; he was searched and interrogated for six hours. Bakshi soon founded his own studio, Bakshi Productions, in the Garment District of Manhattan, where his mother used to work and which Bakshi described as "the worst neighborhood in the world". Bakshi Productions paid its employees higher salaries than other studios and expanded opportunities for female and minority animators. The studio began work on Rocket Robin Hood, and later took over the Spider-Man television series. Bakshi married Liz in August 1968. His second child, Preston, was born in June 1970. Fritz the Cat (1969–1972) In 1969, Ralph's Spot was founded as a division of Bakshi Productions to produce commercials for Coca-Cola and Max, the 2000-Year-Old Mouse, a series of educational shorts paid for by Encyclopædia Britannica. Bakshi was uninterested in the kind of animation the studio was turning out, and wanted to produce something personal. He soon developed Heavy Traffic, a tale of inner-city street life. Krantz told Bakshi that Hollywood studio executives would be unwilling to fund the film because of its content and Bakshi's lack of film experience, and would likely consider it if his first film was an adaptation. While browsing the East Side Book Store on St. Mark's Place, Bakshi came across a copy of Robert Crumb's Fritz the Cat. Impressed by Crumb's sharp satire, Bakshi purchased the book and suggested to Krantz that it would work as a film. Krantz arranged a meeting with Crumb, during which Bakshi presented the drawings he had created while learning the artist's distinctive style to prove that he could adapt Crumb's artwork to animation. Impressed by Bakshi's tenacity, Crumb lent him one of his sketchbooks for reference. Preparation began on a studio pitch that included a poster-sized cel featuring the comic's cast against a traced photo background—as Bakshi intended the film to appear. Despite Crumb's enthusiasm, the artist refused to sign the contract Krantz drew up. Artist Vaughn Bodē warned Bakshi against working with Crumb, describing him as "slick". Bakshi later agreed with Bodé's assessment, calling Crumb "one of the slickest hustlers you'll ever see in your life". Krantz sent Bakshi to San Francisco, where he stayed with Crumb and his wife, Dana, in an attempt to persuade Crumb to sign the contract. After a week, Crumb left, leaving the film's production status uncertain. Two weeks after Bakshi returned to New York, Krantz entered his office and told Bakshi that he had acquired the film rights through Dana, who had Crumb's power of attorney and signed the contract. Crumb was subsequently hostile both to the film and Bakshi. Krantz produced a sequel, The Nine Lives of Fritz the Cat (1974), to which Bakshi was steadfastly opposed, having wanted to kill Fritz off to avoid further movies. After Bakshi pitched the project to every major Hollywood studio, Warner Bros. bought it and promised an $850,000 budget. Bakshi hired animators with whom he had worked in the past, including Vita, Tyer, Anzilotti, and Nick Tafuri, and began the layouts and animation. The first completed sequence was a junkyard scene in Harlem, in which Fritz smokes marijuana, has sex, and incites a revolution. Krantz intended to release the sequence as a 15-minute short in case the picture's financing fell through; Bakshi, however, was determined to complete the film as a feature. They screened the sequence for Warner Bros. executives, who wanted the sexual content toned down and celebrities cast for the voice parts. Bakshi refused, and Warner Bros. pulled out, leading Krantz to seek funds elsewhere. He eventually made a deal with Jerry Gross, the owner of Cinemation Industries, a distributor specializing in exploitation films. Although Bakshi did not have enough time to pitch the film, Gross agreed to fund its production and distribute it, believing that it would fit in with his grindhouse slate. Despite receiving financing from other sources, including Saul Zaentz (who agreed to distribute the soundtrack album on his Fantasy Records label), the budget was tight enough to exclude pencil tests, so Bakshi had to test the animation by flipping an animator's drawings in his hand before they were inked and painted. When a cameraman realized that the cels for the desert scenes were not wide enough and revealed the transparency, Bakshi painted a cactus to cover the mistake. Very few storyboards were used. Bakshi and Vita walked around the Lower East Side, Washington Square Park, Chinatown, and Harlem, taking moody snapshots. Artist Ira Turek inked the outlines of these photographs onto cels with a Rapidograph, the technical pen preferred by Crumb, giving the film's backgrounds a stylized realism virtually unprecedented in animation. The tones of the watercolor backgrounds were influenced by the work of Ashcan School painters such as George Luks and John French Sloan. Among other unusual techniques, bent and fisheye camera perspectives were used to portray the way the film's hippies and hoodlums viewed the city. Many scenes featured documentary recordings of real conversations in place of scripted dialogue; this, too, would become a signature of Bakshi's. In May 1971, Bakshi moved his studio to Los Angeles to hire additional animators. Some, including Rod Scribner, Dick Lundy, Virgil Walter Ross, Norman McCabe, and John Sparey, welcomed Bakshi and felt that Fritz the Cat would bring diversity to the animation industry. Other animators were less pleased by Bakshi's arrival and placed an advertisement in The Hollywood Reporter, stating that his "filth" was unwelcome in California. By the time production wrapped, Cinemation had released Melvin Van Peebles' Sweet Sweetback's Baadasssss Song to considerable success, despite the X rating it had received. When the Motion Picture Association of America gave Bakshi's film an X rating, as well, Cinemation exploited it for promotional purposes, advertising Fritz the Cat as "90 minutes of violence, excitement, and SEX ... he's X-rated and animated!" Variety called it an "amusing, diverting, handsomely executed poke at youthful attitudes". John Grant writes in his book Masters of Animation that Fritz the Cat was "the breakthrough movie that opened brand new vistas to the commercial animator in the United States", presenting an "almost disturbingly accurate" portrayal "of a particular stratum of Western society during a particular era, [...] as such it has dated very well." Fritz the Cat was released on April 12, 1972, opening in Hollywood and Washington, D.C. A major hit, it became the most successful independent animated feature of all time. The same month as the film's release, Bakshi's daughter, Victoria, was born. Heavy Traffic (1972–1973) By the time Fritz the Cat was released, Bakshi had become a celebrity, but his reputation was primarily based upon his having directed the first "dirty" animated film. Facing criticism of his work on publicity tours and in trade publications, he began writing poetry to express his emotions. This became a tradition, and Bakshi wrote poems before beginning production on each of his films. The first of these poems was "Street Arabs", which preceded the production of Heavy Traffic in 1972. Inspiration for the film came from penny arcades, where Bakshi often played pinball, sometimes accompanied by his 12-year-old son, Mark. Bakshi pitched Heavy Traffic to Samuel Z. Arkoff, who expressed interest in his take on the "tortured underground cartoonist" and agreed to back the film. Krantz had not compensated Bakshi for his work on Fritz the Cat, and halfway through the production of Heavy Traffic, Bakshi asked when he would be paid. Krantz responded, "The picture didn't make any money, Ralph. It's just a lot of noise." Bakshi found Krantz's claims dubious, as the producer had recently purchased a new BMW and a mansion in Beverly Hills. Bakshi did not have a lawyer, so he sought advice from fellow directors with whom he had become friendly, including Martin Scorsese, Francis Ford Coppola, and Steven Spielberg. He soon accused Krantz of ripping him off, which the producer denied. As he continued to work on Heavy Traffic, Bakshi began pitching his next project, Harlem Nights, a film loosely based on the Uncle Remus story books. The idea interested producer Albert S. Ruddy, whom Bakshi encountered at a screening of The Godfather. Bakshi received a call from Krantz, who questioned him about Harlem Nights. Bakshi said, "I can't talk about that", and hung up. After locking Bakshi out of the studio the next day, Krantz called several directors, including Chuck Jones, in search of a replacement. Arkoff threatened to withdraw his financial backing unless Krantz rehired Bakshi, who returned a week later. Bakshi wanted the voices to sound organic, so he experimented with improvisation, allowing his actors to ad lib during the recording sessions. Several animation sequences appear as rough sketchbook pages. The film also incorporated live-action footage and photographs. Although Krantz, in an attempt to get the film an R rating, prepared different versions of scenes involving sex and violence, Heavy Traffic was rated X. Due to the success of Fritz the Cat, though, many theaters were willing to book adult-oriented animation, and the film did well at the box office. Bakshi became the first person in the animation industry since Walt Disney to have two financially successful movies released consecutively. Heavy Traffic was very well received by critics. Newsweek applauded its "black humor, powerful grotesquerie, and peculiar raw beauty." The Hollywood Reporter called it "shocking, outrageous, offensive, sometimes incoherent, occasionally unintelligent. However, it is also an authentic work of movie art and Bakshi is certainly the most creative American animator since Disney." Vincent Canby of The New York Times ranked Heavy Traffic among his "Ten Best Films of 1973". Upon release, the movie was banned by the Film Censorship Board in the province of Alberta, Canada. Coonskin (1973–1975) In 1973, Bakshi and Ruddy began the production of Harlem Nights, which Paramount was originally contracted to distribute. While Fritz the Cat and Heavy Traffic proved that adult-oriented animation could be financially successful, animated films were still not respected, and Bakshi's pictures were considered to be "dirty Disney flicks" that were "mature" only for depicting sex, drugs, and profanity. Harlem Nights, based on Bakshi's firsthand experiences with racism, was an attack on racist prejudices and stereotypes. Bakshi cast Scatman Crothers, Philip Michael Thomas, Barry White, and Charles Gordone in live-action and voice roles, cutting in and out of animation abruptly rather than seamlessly because he wanted to prove that the two media could "coexist with neither excuse nor apology". He wrote a song for Crothers to sing during the opening title sequence: "Ah'm a Niggerman". Its structure was rooted in the history of the slave plantation - slaves would "shout" lines from poems and stories great distances across fields in unison, creating a natural beat. Bakshi has described its vocal style, backed by fast guitar licks, as an "early version of rap". Bakshi intended to attack stereotypes by portraying them directly, culling imagery from blackface iconography. Early designs in which the main characters (Brother Rabbit, Brother Bear, and Preacher Fox) resembled figures from The Wind in the Willows were rejected. Bakshi juxtaposed stereotypical designs of blacks with even more negative depictions of white racists, but the film's strongest criticism is directed at the Mafia. Bakshi said, "I was sick of all the hero worship these guys got because of The Godfather." Production concluded in 1973. During editing, the title was changed to Coonskin No More..., and finally to Coonskin. Bakshi hired several African-American animators to work on Coonskin, including Brenda Banks, the first African-American female animator. Bakshi also hired graffiti artists and trained them to work as animators. The film's release was delayed by protests from the Congress of Racial Equality, which called Bakshi and his film racist. After its distribution was contracted to the Bryanston Distributing Company, Paramount cancelled a project that Bakshi and Ruddy were developing, The American Chronicles. Coonskin, advertised as an exploitation film, was given limited distribution and soon disappeared from theaters. Initial reviews were negative; Playboy commented that "Bakshi seems to throw in a little of everything and he can't quite pull it together." Eventually, positive reviews appeared in The Hollywood Reporter, New York Amsterdam News (an African-American newspaper), and elsewhere. The New York Times Richard Eder said the film "could be [Bakshi's] masterpiece [...] a shattering successful effort to use an uncommon form—cartoons and live action combined-to convey the hallucinatory violence and frustration of American city life, specifically black city life [...] lyrically violent, yet in no way [does it] exploit violence". Variety called it a "brutal satire from the streets". A reviewer for the Los Angeles Herald-Examiner wrote, "Certainly, it will outrage some and, indeed, it's not Disney. [...] The dialog it has obviously generated—if not the box-office obstacles—seems joltingly healthy." Bakshi called Coonskin his best film. Hey Good Lookin' (1973–1975/1982) After production concluded on Harlem Nights, Bakshi wanted to distinguish himself artistically by producing a film in which live action and animated characters would interact. Bakshi said, "The illusion I attempted to create was that of a completely live-action film. Making it work almost drove us crazy." Hey Good Lookin' is set in Brooklyn during the 1950s; its lead characters are Vinnie, the leader of a gang named "The Stompers", his friend Crazy Shapiro, and their girlfriends, Roz and Eva. Vinnie and Crazy Shapiro were based on Bakshi's high-school friends Norman Darrer and Allen Schechterman. Warner Bros. optioned the screenplay and greenlit the film in 1973. An initial version of Hey Good Lookin' was completed in 1975. A three-minute promotion of this version was screened at the 1975 Cannes Film Festival, and the film was scheduled for a Christmas 1975 release, but was moved to the summers of 1976 and later 1977, before ultimately being postponed indefinitely. Warner Bros. was concerned about any controversy the film would encounter as a result of the backlash over the film Coonskin, and felt that the film was "unreleasable" because of its mix of live action and animation, and it would not spend further money on the project. Bakshi financed the film's completion himself from the director's fees for other projects such as Wizards, The Lord of the Rings, and American Pop. The live-action sequences of Hey Good Lookin' were gradually replaced by animation; among the eliminated live-action sequences was one featuring the glam punk band New York Dolls. Singer Dan Hicks worked on the initial musical score, but the final version was scored by John Madara. Hey Good Lookin' opened in New York City on October 1, 1982, and was released in Los Angeles in January 1983. The film's release was limited, and went largely unnoticed in the United States, although it garnered respectable business in foreign markets. In a brief review, Vincent Canby wrote that it was "not exactly incoherent, but whatever it originally had on its mind seems to have slipped away". Animation historian Jerry Beck wrote, "the beginning of the film is quite promising, with a garbage can discussing life on the streets with some garbage. This is an example of what Bakshi did best—using the medium of animation to comment on society. Unfortunately, he doesn't do it enough in this film. There is a wildly imaginative fantasy sequence during the climax, when the character named Crazy starts hallucinating during a rooftop shooting spree. This scene almost justifies the whole film. But otherwise, this is a rehash of ideas better explored in Coonskin, Heavy Traffic, and Fritz the Cat." The film has since gained a cult following through cable television and home video. Quentin Tarantino stated that he preferred Hey Good Lookin' to Martin Scorsese's Mean Streets. Shift to fantasy film (1976–1978) In 1976, Bakshi pitched War Wizards to 20th Century Fox. Returning to the fantasy drawings he had created in high school for inspiration, Bakshi intended to prove that he could produce a "family picture" that had the same impact as his adult-oriented films. British illustrator Ian Miller and comic book artist Mike Ploog were hired to contribute backgrounds and designs. The crew included Vita, Turek, Sparey, Vitello and Spence, who had become comfortable with Bakshi's limited storyboarding and lack of pencil tests. As the production costs increased, Fox president Alan Ladd, Jr. declined Bakshi's requests for salary increases, and refused to give him $50,000 to complete the film. At the same time, Ladd was dealing with similar budget problems on George Lucas's Star Wars. Bakshi and Lucas had negotiated contracts entitling them to franchise ownership, merchandising and back-end payment, so Ladd suggested that they fund the completion of their films themselves. Bakshi chose rotoscoping as a cost-effective way to complete the movie's battle scenes with his own finances. Because he could not afford to hire a film crew or actors, or develop 35mm stock, Bakshi requested prints of films that contained the type of large battle scenes needed, including Sergei Eisenstein's Alexander Nevsky, and spliced together the footage he needed. However, the cost of printing photographs of each frame would have cost $3 million. Learning that IBM had introduced an industrial-sized photocopier, Bakshi asked one of the company's technical experts if he would be able to feed 35mm reels into the machine to produce enlarged copies of each frame. The experiment worked, and Bakshi got the pages he needed for a penny per copy. As War Wizards neared completion, Lucas requested that Bakshi change the title of his film to Wizards to avoid conflict with Star Wars; Bakshi agreed because Lucas had allowed Mark Hamill to take time off from Star Wars to record a voice for Wizards. Although Wizards received a limited release, it was successful in the theaters that showed it and developed a worldwide audience. Dave Kehr of The Chicago Reader saw it as "marred by cut-rate techniques and a shapeless screenplay". In the view of film historian Jerry Beck, the lead character, an aging sorcerer, "clearly owes much to cartoonist Vaughn Bodé's Cheech Wizard character." In late 1976, Bakshi learned that John Boorman was contracted to direct an adaptation of The Lord of the Rings, in which J. R. R. Tolkien's three-volume novel would be condensed into a single film. Bakshi arranged a meeting with Mike Medavoy, United Artists' head of production, who agreed to let Bakshi direct in exchange for the $3 million that had been spent on Boorman's screenplay. Down the hall from Medavoy was Metro-Goldwyn-Mayer president Dan Melnick, who interrupted a meeting with Peter Bogdanovich when he learned that Bakshi wanted to discuss acquiring the rights to The Lord of the Rings. Melnick agreed to pay United Artists $3 million, but was soon fired; the project was canceled by his replacement, Dick Shepherd. Bakshi contacted Saul Zaentz, who wrote a check to cover MGM's debt and agreed to fund the $8 million budget for the first of what was initially planned as a series of three films, and later negotiated down to two. Before production began, Bakshi and Zaentz insisted that the Tolkien estate receive residuals from the film. Bakshi did not want to produce a broad cartoon version of the tale, so he planned to shoot the entire film in live action and animate the footage with rotoscoping. The film also incorporated brief cel animation and straightforward live-action footage. Production of the live-action sequences took place in Spain. During the middle of a large shoot, union bosses called for a lunch break, and Bakshi secretly shot footage of actors in Orc costumes moving toward the craft service table, and used the footage in the film. Jerry Beck later wrote that, while he found the rotoscoped animation "beautiful", he felt that it was unclear whether the use of live action was an artistic choice or due to budgetary constraints. After the Spanish film development lab discovered that telephone lines, helicopters and cars were visible in the footage, they tried to incinerate it, telling Bakshi's first assistant director, "if that kind of sloppy cinematography got out, no one from Hollywood would ever come back to Spain to shoot again." When Bakshi returned to the United States, he learned that the cost of developing blown-up prints of each frame had risen. He did not want to repeat the process that had been used on Wizards, which was unsuitable for the level of detail he intended for The Lord of the Rings, so Bakshi and camera technician Ted Bemiller created their own photographic enlarger to process the footage cheaply. Live-action special effects and analog optics were used in place of animation to keep the visual effects budget low and give the film a more realistic look. Among the voice actors was the well-regarded John Hurt, who performed the role of Aragorn. The project's prominence brought heavy trade journal coverage, and fans such as Mick Jagger visited the studio for the chance to play a role. Animator Carl Bell loved drawing Aragorn so much that Bakshi gave Bell the live-action Aragorn costume, which he wore while animating. Viewing The Lord of the Rings as a holiday film, United Artists pressured Bakshi to complete it on schedule for its intended November 15, 1978, release. Once it was finished, Bakshi was told that audiences would not pay to see an incomplete story; over his objections, The Lord of the Rings was marketed with no indication that a second part would follow. Reviews of the film were mixed, but it was generally seen as a "flawed but inspired interpretation". Newsdays Joseph Gelmis wrote that "the film's principal reward is a visual experience unlike anything that other animated features are doing at the moment". Roger Ebert called Bakshi's effort a "mixed blessing" and "an entirely respectable, occasionally impressive job [which] still falls far short of the charm and sweep of the original story". Vincent Canby found it "both numbing and impressive". David Denby of New York felt that the film would not make sense to viewers who had not read the book. He wrote that it was too dark and lacked humor, concluding, "The lurid, meaningless violence of this movie left me exhausted and sickened by the end." The film, which cost $4 million to produce, grossed $30.5 million. The studio refused to fund the sequel, which would have adapted the remainder of the story. The Lord of the Rings won the Golden Gryphon at the 1980 Giffoni Film Festival. American Pop and Fire and Ice (1979–1983) Following the production struggles of The Lord of the Rings, Bakshi decided to work on something more personal. He pitched American Pop to Columbia Pictures president Dan Melnick. Bakshi wanted to produce a film in which songs would be given a new context in juxtaposition to the visuals. American Pop follows four generations of a Russian Jewish immigrant family of musicians, whose careers parallel the history of American pop and starred actor Ron Thompson in a dual lead role. While the film does not reflect Bakshi's own experiences, its themes were strongly influenced by people he had encountered in Brownsville. The film's crew included character layout and design artist Louise Zingarelli, Vita, Barry E. Jackson, and Marcia Adams. Bakshi again used rotoscoping, in an attempt to capture the range of emotions and movement required for the film's story. According to Bakshi, "Rotoscoping is terrible for subtleties, so it was tough to get facial performances to match the stage ones." Bakshi was able to acquire the rights to an extensive soundtrack—including songs by Janis Joplin, The Doors, George Gershwin, The Mamas & the Papas, Herbie Hancock, Lou Reed, and Louis Prima—for under $1 million. Released on February 12, 1981, the film was a financial success. The New York Times Vincent Canby wrote, "I'm amazed at the success that Mr. Bakshi has in turning animated characters into figures of real feelings." Jerry Beck called it "one of Bakshi's best films". Due to music clearance issues, it was not released on home video until 1998. By 1982, fantasy films such as The Beastmaster and Conan the Barbarian had proven successful at the box office, and Bakshi wanted to work with his long-time friend, the fantasy illustrator Frank Frazetta. Fire and Ice was financed by some of American Pops investors for $1.2 million, while 20th Century Fox agreed to distribute. Fire and Ice was the most action-oriented story Bakshi had directed, so he again used rotoscoping; the realism of the design and rotoscoped animation replicated Frazetta's artwork. Bakshi and Frazetta were heavily involved in the production of the live-action sequences, from casting sessions to the final shoot. The film's crew included background artists James Gurney and Thomas Kinkade, layout artist Peter Chung, and established Bakshi Productions artists Sparey, Steve Gordon, Bell and Banks. Chung greatly admired Bakshi's and Frazetta's work, and animated his sequences while working for The Walt Disney Company. The film was given a limited release, and was financially unsuccessful. Andrew Leal wrote, "The plot is standard [...] recalling nothing so much as a more graphic episode of Filmation's He-Man series. [...] Fire and Ice essentially stands as a footnote to the spate of barbarian films that followed in the wake of Arnold Schwarzenegger's appearance as Conan." Unproduced projects and temporary retirement (1983–1986) After production of Fire and Ice wrapped, Bakshi attempted several projects that fell through, including adaptations of Hunter S. Thompson's Fear and Loathing in Las Vegas, William Kotzwinkle's The Fan Man, E. R. Eddison's The Worm Ouroboros, Stephen Crane's Maggie: A Girl of the Streets, Mickey Spillane's Mike Hammer novels and an anthropomorphic depiction of Sherlock Holmes. He turned down offers to direct Ray Bradbury's Something Wicked This Way Comes and Philip K. Dick's Do Androids Dream of Electric Sheep?. He passed the latter to Ridley Scott, who adapted it into the 1982 film Blade Runner (although he was planning a TV version of said film). During this period, Bakshi reread J. D. Salinger's The Catcher in the Rye, which he had first read in high school, and saw parallels between his situation and that of the book's protagonist, Holden Caulfield. Inspired to seek the film rights, he intended to shoot the story's bracketing sequences in live action and to animate the core flashback scenes. Salinger had rejected previous offers to adapt the novel, and had not made a public appearance since 1965 or granted an interview since 1980. Bakshi sent Salinger a letter explaining why he should be allowed to adapt the novel; the writer responded by thanking Bakshi and asserting that the novel was unfit for any medium other than its original form. Prompted in part by Salinger's letter, Bakshi briefly retired to focus on painting. During this time he completed the screenplay for If I Catch Her, I'll Kill Her, a live-action feature he had been developing since the late 1960s. United Artists and Paramount Pictures each paid Bakshi to develop the film in the 1970s, but were unwilling to produce it, as were the studios he pitched the film to in the 1980s. According to Bakshi, "They thought that no one was going to admit that women can—and do—cheat on their husbands. They thought it was too hot, which made no sense." In 1985, he received a phone call from The Rolling Stones' manager, Tony King, who told Bakshi that the band had recorded a cover of Bob & Earl's "Harlem Shuffle", and wanted Bakshi to direct the music video. He was told that the live-action shoot needed to be completed within one day (January 28, 1986) for it to be shown at the Grammy Awards. Production designer Wolf Kroeger was forced to drastically compact his sets, and animation director and designer John Kricfalusi had to push his team, including Lynne Naylor, Jim Smith and Bob Jaques, to complete the animation within a few weeks. The band's arrival at the set was delayed by a snowstorm and several takes were ruined when the cameras crossed paths. Bakshi was forced to pay the union wages out of his own fees, and the continuity between Kricfalusi's animation and the live-action footage did not match; however, the video was completed on time. Bakshi recognized Kricfalusi's talent, and wanted to put him in charge of a project that would showcase the young animator's skills. Bakshi and Kricfalusi co-wrote the screenplay Bobby's Girl as a take on the teen films of the era. Jeff Sagansky, president of production at TriStar Pictures, put up $150,000 to develop the project, prompting Bakshi to move back to Los Angeles. When Sagansky left TriStar, Bakshi was forced to pitch the film again, but the studio's new executives did not understand its appeal and cut off financing. Bakshi and Zingarelli began to develop a feature about Hollywood's Golden Age, and Bakshi Productions crewmembers worked on proposed cartoons influenced by pulp fiction. Bobby's Girl was reworked as a potential prime time series called Suzy's in Love, but attracted no serious interest. They would try again in 2003 over at Spümcø, but nothing came from this either. Return to television (1987–1989) In April 1987, Bakshi set up a meeting with Judy Price, the head of CBS's Saturday morning block. Three days before the meeting, Bakshi, Kricfalusi, Naylor, Tom Minton, Eddie Fitzgerald and Jim Reardon met to brainstorm. Bakshi remembers, "My car was packed to the windows. Judy was my last stop before driving cross country back to New York to my family." Price rejected Bakshi's prepared pitches, but asked what else he had. He told her that he had the rights to Mighty Mouse, and she agreed to purchase the series. However, Bakshi did not own the rights and did not know who did. While researching the rights, he learned that CBS had acquired the entire Terrytoons library in 1955 and forgotten about it. According to Bakshi, "I sold them a show they already owned, so they just gave me the rights for nothin'!" Kricfalusi's team wrote story outlines for thirteen episodes in a week and pitched them to Price. By the next week, Kricfalusi had hired animators he knew who had been working at other studios. Mighty Mouse: The New Adventures went into production the month it was greenlighted; it was scheduled to premiere on September 19, 1987. This haste required the crew to be split into four teams, led by supervising director Kricfalusi, Fitzgerald, Steve Gordon and Bruce Woodside. Each team was given a handful of episodes, and operated almost entirely independently of the others. Although the scripts required approval by CBS executives, Kricfalusi insisted that the artists add visual gags as they drew. Bruce Timm, Andrew Stanton, Dave Marshall and Jeff Pidgeon were among the artists who worked on the series. Despite the time constraints, CBS was pleased with the way Bakshi Productions addressed the network's notes. During the production of the episode "The Littlest Tramp", editor Tom Klein expressed concern that a sequence showing Mighty Mouse sniffing the remains of a crushed flower resembled cocaine use. Bakshi did not initially view the footage; he believed that Klein was overreacting, but agreed to let him cut the scene. Kricfalusi expressed disbelief over the cut, insisting that the action was harmless and that the sequence should be restored. Following Kricfalusi's advice, Bakshi told Klein to restore the scene, which had been approved by network executives and the CBS standards and practices department. The episode aired on October 31, 1987, without controversy. In 1988, Bakshi received an Annie Award for "Distinguished Contribution to the Art of Animation". The same year, he began production on a series pilot loosely adapted from his Junktown comic strips. According to Bakshi, the proposed series "was going to be a revitalization of cartoon style from the '20s and '30s. It was gonna have Duke Ellington and Fats Waller jazzing up the soundtrack." Nickelodeon was initially willing to greenlight 39 episodes of Junktown. On June 6, 1988, Donald Wildmon, head of the American Family Association (AFA), alleged that "The Littlest Tramp" depicted cocaine use, instigating a media frenzy. The AFA, during its incarnation as the National Federation for Decency, had previously targeted CBS as an "accessory to murder" after a mother killed her daughter following an airing of Exorcist II: The Heretic. Concerning Bakshi's involvement with Mighty Mouse: The New Adventures, the AFA claimed that CBS "intentionally hired a known pornographer to do a cartoon for children, and then allowed him to insert a scene in which the cartoon hero is shown sniffing cocaine." Bakshi responded, "You could pick a still out of Lady and the Tramp and get the same impression. Fritz the Cat wasn't pornography. It was social commentary. This all smacks of burning books and the Third Reich. It smacks of McCarthyism. I'm not going to get into who sniffs what. This is lunacy!" On CBS's order, Klein removed the sequence from the master broadcast footage. Wildmon claimed that the edits were "a de facto admission that, indeed, Mighty Mouse was snorting cocaine". Despite receiving an award from Action for Children's Television, favorable reviews, and a ranking in Time magazine's "Best of '87" feature, Mighty Mouse: The New Adventures was canceled by CBS following the controversy. The incident had a ripple effect, weakening Nickelodeon's commitment to Junktown. Bakshi has also stated that "we were trying something different [...] but a series didn't make sense. It just didn't work". The series was scrapped, and the completed pilot aired as a special, Christmas in Tattertown, in December 1988. It was the first original animated special created for Nickelodeon. Bakshi moved into a warehouse loft in downtown Los Angeles to clear his head, and was offered $50,000 to direct a half-hour live-action film for PBS's Imagining America anthology series. Mark Bakshi produced the film, This Ain't Bebop, his first professional collaboration with his father. Bakshi wrote a poem influenced by Jack Kerouac, jazz, the Beat Generation and Brooklyn that served as the narration, which was spoken by Harvey Keitel. After a car crash, Bakshi completed the post-production in stitches and casts. Bakshi said of the work, "It's the most proud I've been of a picture since Coonskin—the last real thing I did with total integrity." As a result of the film, Bakshi received an offer to adapt Dr. Seuss's The Butter Battle Book for TNT. Ted Geisel had never been satisfied with the previous screen versions of his Dr. Seuss work. Bakshi wanted to produce an entirely faithful adaptation, and Geisel—who agreed to storyboard the special himself—was pleased with the final product. Bakshi next directed the pilot Hound Town for NBC; he described the result as "an embarrassing piece of shit". Besides Bakshi, sitcom alumus Rob Sternin and Prudence Fraser wrote and produced the project. Cool World, continued television projects and semi-retirement (1990–1997) In 1990, Bakshi pitched Cool World to Paramount Pictures as a partially animated horror film. The concept involved a cartoon and human having sex and conceiving a hybrid child who visits the real world to murder the father who abandoned him. The live-action footage was intended to look like "a living, walk-through painting", a visual concept Bakshi had long wanted to achieve. Massive sets were constructed on a sound stage in Las Vegas, based on enlargements of designer Barry Jackson's paintings. The animation was strongly influenced by the house styles of Fleischer Studios and Terrytoons. As the sets were being built, producer Frank Mancuso Jr., son of Paramount president Frank Mancuso Sr., had the screenplay rewritten in secret; the new version, by Michael Grais and Mark Victor, was radically different from Bakshi's original. Paramount threatened to sue Bakshi if he did not complete the film. As Bakshi and Mancuso wrangled over their creative differences, Bakshi and the studio also began to fight over the film's casting. To keep actor Brad Pitt, Bakshi had to replace Drew Barrymore, his original choice for the character of Holli Would, with Kim Basinger, a bigger box office draw at the time. The film's animators were never given a screenplay, and were instead told by Bakshi, "Do a scene that's funny, whatever you want to do!" Designer Milton Knight recalled that "audiences actually wanted a wilder, raunchier Cool World. The premiere audience I saw it with certainly did." The critical reaction to the film was generally negative. Roger Ebert wrote, "The DJ who was hosting the radio station's free preview of Cool World leaped onto the stage and promised the audience: 'If you liked Roger Rabbit, you'll love Cool World!' He was wrong, but you can't blame him—he hadn't seen the movie. I have, and I will now promise you that if you liked Roger Rabbit, quit while you're ahead." The film was a box-office disappointment. While other film projects followed, Bakshi began to focus more attention on painting. In 1993, Lou Arkoff, the son of Samuel Z. Arkoff, approached Bakshi to write and direct a low-budget live-action feature for Showtime's Rebel Highway series. For the third time, Bakshi revisited his screenplay for If I Catch Her, I'll Kill Her, which he retitled Cool and the Crazy. The picture, which aired September 16, 1994, starred Jared Leto, Alicia Silverstone, Jennifer Blanc and Matthew Flint. Reviewer Todd Everett noted that it had the same "hyperdrive visual sense" of Bakshi's animated films. He said, "Everything in 'Cool' [...] seems to exist in pastels and Bakshi shoots from more odd angles than any director since Sidney J. Furie in his heyday. And the closing sequences ably demonstrate how it's possible to present strong violence without any blood being shed onscreen. Bakshi pulls strong [performances] from a cadre of youngish and largely unknown actors". In 1995, Hanna-Barbera producer Fred Seibert offered Bakshi the chance to create two animated short films for Cartoon Network's What a Cartoon!: Malcom and Melvin and Babe, He Calls Me, focusing on a trumpet-playing cockroach named Malcom and his best friend, a clown named Melvin. Both were heavily edited after Bakshi turned them in and he disowned them as a result. Bakshi was subsequently contacted by HBO, which was looking to launch the first animated series specifically for adults, an interest stirred by discussions involving a series based upon Trey Parker and Matt Stone's video Christmas card, Jesus vs. Santa. Bakshi enlisted a team of writers, including his son Preston, to develop Spicy Detective, later renamed Spicy City, an anthology series set in a noir-ish, technology-driven future. Each episode was narrated by a female host named Raven, voiced by Michelle Phillips. The series premiered in July 1997—one month before the debut of Parker and Stone's South Park—and thus became the first "adults only" cartoon series. Although critical reaction was largely unfavorable, Spicy City received acceptable ratings. A second season was approved, but the network wanted to fire Bakshi's writing team and hire professional Los Angeles screenwriters. When Bakshi refused to cooperate, the series was canceled. Painting, teaching and new animation projects (2000–2013) Bakshi retired from animation once more, returning to his painting. In 2000, he began teaching an undergraduate animation class at New York's School of Visual Arts. On December 14, 2001, he did some paintings for the Cameron Crowe film Vanilla Sky. He later became involved in several screen projects, including a development deal with the Sci Fi Channel, In September 2002, Bakshi, Liz and their dogs moved to New Mexico, where he became more productive than ever in his painting and began development on the Last Days of Coney Island film. In 2003, he appeared as the Fire Chief in the episode "Fire Dogs 2" of John Kricfalusi's Ren & Stimpy "Adult Party Cartoon". In September 2008, Main Street Pictures announced that it would collaborate with Bakshi on a sequel to Wizards. In 2012, Bakshi began producing the short film series Bakshi Blues. The first of these shorts, Trickle Dickle Down, contains reused animation from Coonskin and criticizes 2012 Republican presidential candidate Mitt Romney. The shorts were to focus on "old and new characters" and comment on modern-day America. Last Days of Coney Island (2013–2016) In February 2013, Bakshi launched a successful Kickstarter campaign to obtain funding for his latest film, Last Days of Coney Island. Actor Matthew Modine was cast in the film in February 2013 after Modine, a longtime Bakshi fan, came across the film's Kickstarter campaign online. Last Days of Coney Island was released on Vimeo in 2015. Bakshi released the film for free on YouTube on 13 October 2016. Post-animation (2015–present) After he quit the animation industry, Bakshi did multiple interviews with the media and on podcasts. He continues to sell art on eBay and his website, both run by the Bakshi family. He currently sells an art series called Little Guys and Gals, which are fictional portraits of cartoon people. The series originated in November 2020 as random character sketches and officially began in January 2021, originally calling the series Little Gals and Little Guys. Bakshi appeared as a guest at a Canadian film festival which celebrates animation, SPARK Animation, which was held virtually, from October 28 to November 7, 2021. Accolades In 2003, Bakshi received a Maverick Tribute Award at the Cinequest San Jose Film Festival the same year he began teaching an animation class in New Mexico - this became The Bakshi School of Animation and Cartooning, which is run by Ralph's son Edward and his partner Jess Gorell. The Online Film Critics Society released a list of the "Top 100 Animated Features of All Time" in March 2003 that included four of Bakshi's films: Fritz the Cat, The Lord of the Rings, Coonskin and Fire and Ice. Fritz the Cat was ranked number 56 in the 2004 poll conducted by Britain's Channel 4 for its documentary The 100 Greatest Cartoons. The Museum of Modern Art has added Bakshi's films to its collection for preservation. In the 1980s and 1990s he served on the advisory board of the Los Angeles Student Film Institute. In 2021, Ralph Bakshi won the Animafest Zagreb Lifetime Achievement Award for his animation career and the impact of his films. Legacy The availability of Bakshi's work on the Internet sparked a resurgence of interest in his career, resulting in a three-day American Cinematheque retrospective held at Grauman's Egyptian Theatre in Hollywood and the Aero Theater in Santa Monica, California, in April 2005. Unfiltered: The Complete Ralph Bakshi, a hardcover book of Bakshi's art, was released on April 1, 2008. The foreword was written by Quentin Tarantino and the afterword by Bakshi. His rotoscoping techniques in Lord of the Rings inspired the animation rotoscoping techniques of the independent film The Spine of Night in which the animator developed his own rotoscope style by watching behind-the-scenes footage of Bakshi's warehouse and reverse-engineering it. Billie Eilish had the idea for an animated version of herself for her in the concert film Happier Than Ever: A Love Letter to Los Angeles (which is a promotion for the album of the same name) and suggested to director Patrick Osborne that the character should have a 1980s look and rotoscope-ish animation. Eilish referenced the works of Bakshi and animator Richard Williams to him. Gore Verbinski commented about Bakshi and showed that he was inspired by him during an interview in The Hollywood Reporter for his first animated movie, Rango, saying: "What happened to the Ralph Bakshis of the world? We're all sitting here talking family entertainment. Does animation have to be family entertainment? Audiences want something new; they just can't articulate what." On January 12, 2014, at The Egyptian Theatre in Hollywood, there was a special screening of Bakshi's film American Pop with actors Ron Thompson and Mews Small in attendance, it was the first time lead actor Ron Thompson had ever introduced the film before a live audience. At the Aero Theatre in Santa Monica, California, on March 27, 2015, there was a screening of Heavy Traffic and American Pop with Bakshi, Ron Thompson and Mews Small attending. Fritz the Cat has also been called an animated art film. Filmography Films Television I Selected episodes II Provided the voices of Connelly and Goldblum in the episode "Sex Drive", and Stevie in the episode "Mano's Hands" III Provided the voice of the Super Hero IV Animated in conjunction with Doug Compton V Provided the voice of Fire Chief in the episode "Fire Dogs 2" Releases and ratings Bibliography Ralph Bakshi: A Private selection of drawings released from the Bakshi Archives. 2018 - 2019; Book 1 (2019) Ralph Bakshi: No Rhyme or Reason; Book 2 (2020) See also Heavy Metal Ron Thompson John Kricfalusi Katsuhiro Otomo Rock & Rule Independent animation New Hollywood Notes References External links Official page filmography Archived 'American Pop'... Matters: Ron Thompson, the Illustrated Man Unsung interview at PopMatters Rotospective: Ralph Bakshi, Lessons in Artistry, Rebellion and Success a profile at AgentPalmer.com 1938 births American animators American comic strip cartoonists American experimental filmmakers American film producers American animated film producers American storyboard artists American television directors Television producers from New York City American television writers 20th-century American painters American male painters 21st-century American painters 21st-century American male writers American male screenwriters American male voice actors American animated film directors American people of Palestinian-Jewish descent Jewish American artists American satirists Jews in Mandatory Palestine Living people American male television writers People from Haifa Terrytoons people Underground cartoonists American voice directors Krymchaks Artists from New York City High School of Art and Design alumni Mandatory Palestine emigrants to the United States People from Brownsville, Brooklyn Thomas Jefferson High School (Brooklyn) alumni Film directors from New York (state) 21st-century American non-fiction writers American male non-fiction writers Screenwriters from New York (state) Inkpot Award winners Famous Studios people	true	[ "K. S. Ashoka known as Ashoka is an Indian movie director, writer.. He became popular in the wake of the success of his debut movie 6-5=2 Kannada. It was the first found footage movie in Kannada. with the grand success of the movie 6-5=2 Kannda version the same movie was Remade in Hindi with same title 6-5=2 Hindi and released in 2014 by different director. In Telugu, it was dubbed and released as Chitram kadu nizam. following the success of the movie 6-5=2. K S Ashoka directed second Movie name Dia which is critically acclaimed and was commercially successful as well.\n\nEarly life\nWith an Engineering degree from Sri Jayachamarajendra College of Engineering (SJCE) Mysuru, Ashoka was working In Citibank India where he found his colleague D Krishna Chaitanya as his first Movie 6-5=2 producer. following the success of the movie 6-5=2 they again collaborated to work together for the next movie Dia.\n\nFilmography\n\nAwards and nominations\n\nReferences\n\nExternal links\n \n\n21st-century Indian film directors\nKannada film directors\nFilm directors from Bangalore\nLiving people\nScreenwriters from Bangalore\n1982 births", "Deepu Karunakaran is an Indian film director who works in Malayalam cinema. He debuted in direction with movie \"Winter\", but as the release was late due to many reasons, his first movie came in theatre was in 2008 with the Dileep starrer Crazy Gopalan.\n\nCareer\n\nPrior to becoming an independent filmmaker, Deepu apprenticed as an assistant director under Priyadarshan. His first released film was in 2008, the thriller comedy Crazy Gopalan starring Dileep in the titular role. The movie opened to commercial success. His first made film horror thriller \"Winter\" with Jayaram in the lead was released subsequently. His third film was comedy entertainer Teja Bhai and Family starring Prithviraj in the lead, released in 2011 to commercial success. He directed Mammootty in the 2015 thriller Fireman, which was a success critically and commercially. His 5th movie Karinkunnam 6s, a sports movie with Manju Warrier in the lead, was released in 2016.\n\nPersonal life\n\nDeepu Karunakaran is married to Archana Mohan. The couple were married in Trivandrum on 17 January 2015. He is also the brother of actress Suchitra Murali.\n\nFilmography\n\nReferences\n\nExternal links \n\nLiving people\nFilm directors from Thiruvananthapuram\nMalayalam film directors\n21st-century Indian film directors\n1977 births" ]
[ "Ralph Bakshi", "Coonskin (1973-1975)", "Is coonskin a movie?", "Coonskin, advertised as an exploitation film,", "Who starred in coonskin?", "Bakshi hired several African American animators to work on Coonskin, including Brenda Banks, the first African American female animator.", "Was the movie a success?", "Coonskin, advertised as an exploitation film, was given limited distribution and soon disappeared from theaters. Initial reviews were negative;" ]	C_0425b70eeebf4afa91523e82d63c3bd2_1	How many copies were sold?	4	How many copies of Coonskin were sold?	Ralph Bakshi	In 1973, Bakshi and Ruddy began the production of Harlem Nights, which Paramount was originally contracted to distribute. While Fritz the Cat and Heavy Traffic proved that adult-oriented animation could be financially successful, animated films were still not respected, and Bakshi's pictures were considered to be "dirty Disney flicks" that were "mature" only for depicting sex, drugs and profanity. Harlem Nights, based on Bakshi's firsthand experiences with racism, was an attack on racist prejudices and stereotypes. Bakshi cast Scatman Crothers, Philip Michael Thomas, Barry White and Charles Gordone in live-action and voice roles, cutting in and out of animation abruptly rather than seamlessly because he wanted to prove that the two mediums could "coexist with neither excuse nor apology". He wrote a song for Crothers to sing during the opening title sequence: "Ah'm a Niggerman". Its structure was rooted in the history of the slave plantation: slaves would "shout" lines from poems and stories great distances across fields in unison, creating a natural beat. Bakshi has described its vocal style, backed by fast guitar licks, as an "early version of rap". Bakshi intended to attack stereotypes by portraying them directly, culling imagery from blackface iconography. Early designs in which the main characters (Brother Rabbit, Brother Bear and Preacher Fox) resembled figures from The Wind in the Willows were rejected. Bakshi juxtaposed stereotypical designs of blacks with even more negative depictions of white racists, but the film's strongest criticism is directed at the Mafia. Bakshi said, "I was sick of all the hero worship these guys got because of The Godfather." Production concluded in 1973. During editing, the title was changed to Coonskin No More..., and finally to Coonskin. Bakshi hired several African American animators to work on Coonskin, including Brenda Banks, the first African American female animator. Bakshi also hired graffiti artists and trained them to work as animators. The film's release was delayed by protests from the Congress of Racial Equality, which called Bakshi and his film racist. After its distribution was contracted to the Bryanston Distributing Company, Paramount canceled a project that Bakshi and Ruddy were developing, The American Chronicles. Coonskin, advertised as an exploitation film, was given limited distribution and soon disappeared from theaters. Initial reviews were negative; Playboy commented that "Bakshi seems to throw in a little of everything and he can't quite pull it together." Eventually, positive reviews appeared in The Hollywood Reporter, New York Amsterdam News (an African American newspaper) and elsewhere. The New York Times' Richard Eder said the film "could be [Bakshi's] masterpiece [...] a shattering successful effort to use an uncommon form--cartoons and live action combined to convey the hallucinatory violence and frustration of American city life, specifically black city life [...] lyrically violent, yet in no way [does it] exploit violence". Variety called it a "brutal satire from the streets". A reviewer for the Los Angeles Herald-Examiner wrote, "Certainly, it will outrage some and, indeed, it's not Disney. [...] The dialog it has obviously generated--if not the box office obstacles--seems joltingly healthy." Bakshi called Coonskin his best film. CANNOTANSWER	CANNOTANSWER	Ralph Bakshi (; born October 29, 1938) is an American director of animated and live-action films. In the 1970s, he established an alternative to mainstream animation through independent and adult-oriented productions. Between 1972 and 1992, he directed nine theatrically released feature films, five of which he wrote. He has been involved in numerous television projects as director, writer, producer, and animator. Beginning his career at the Terrytoons television cartoon studio as a cel polisher, Bakshi was eventually promoted to animator, and then director. He moved to the animation division of Paramount Pictures in 1967 and started his own studio, Bakshi Productions, in 1968. Through producer Steve Krantz, Bakshi made his debut feature film, Fritz the Cat, released in 1972. It was based on the comic strip by Robert Crumb and was the first animated film to receive an X rating from the Motion Picture Association of America, and is the most successful independent animated feature of all time. Over the next 11 years, Bakshi directed seven additional animated features. He is well known for such films as Wizards (1977), The Lord of the Rings (1978), American Pop (1981), and Fire and Ice (1983). In 1987, Bakshi returned to television work, producing the series Mighty Mouse: The New Adventures, which ran for two years. After a nine-year hiatus from feature films, he directed Cool World (1992), which was largely rewritten during production and received poor reviews, consequently being his last theatrical feature-length film to date. Bakshi returned to television with the live-action film Cool and the Crazy (1994) and the anthology series Spicy City (1997). During the 2000s, he focused largely on fine art and painting, and in 2003, co-founded the Bakshi School of Animation with his son Eddie and Jess Gorell. Bakshi has received several awards for his work, including the 1980 Golden Gryphon for The Lord of the Rings at the Giffoni Film Festival, the 1988 Annie Award for Distinguished Contribution to the Art of Animation, and the 2003 Maverick Tribute Award at the Cinequest Film Festival. Early life Ralph Bakshi was born on October 29, 1938, in Haifa, British Mandate of Palestine (now Israel), to a Krymchak Jewish family. In 1939, his family migrated to the United States, and he grew up in the Brownsville neighborhood of Brooklyn. The family lived in a low-rent apartment, where Bakshi became fascinated with the urban milieu. As a child, he enjoyed comic books, and often dug through trash cans to find them. According to an interview in 2009, Ralph said he was very poor and the walls of his neighborhood were constantly repainted. He liked the feeling when he looked out the window and saw the sun as a little boy, and whenever he would walk out in the streets, someone would break the wooden crates, that were filled with food, in the push carts open. Ralph says this in the interview, "And the push carts were wood, and most of the buildings were made out of old wood, going back to the turn of the century, and they were repainted a lot but the paint was faded by, you know the hundred years of snow and rain, repainted and faded again." Bakshi loved the faded colors, the nails, the wooden crates, and he would build his own toys from the wood. Ralph recalls, "I had a great feeling with wood, cement, and nails". In the spring of 1947, Bakshi's father and uncle traveled to Washington, DC, in search of business opportunities, and soon moved the family to the black neighborhood of Foggy Bottom. Bakshi recalled, "All my friends were black, everyone we did business with was black, the school across the street was black. It was segregated, so everything was black. I went to see black movies; black girls sat on my lap. I went to black parties. I was another black kid on the block. No problem!" The racial segregation of local schools meant that the nearest white school was several miles away; Bakshi obtained his mother's permission to attend the nearby black school with his friends. Most of the students had no problem with Bakshi's presence, but a teacher sought advice from the principal, who called the police. Fearing that segregated whites would riot if they learned that a white, let alone Jewish, student was attending a black school, the police removed Bakshi from his classroom. Meanwhile, his father had been suffering from anxiety attacks. Within a few months, the family moved back to Brownsville, where they rarely spoke of these events. At the age of 15, after discovering Gene Byrnes' Complete Guide to Cartooning at the public library, Bakshi took up cartooning to document his experiences and create fantasy-influenced artwork. He stole a copy of the book and learned every lesson in it. During his teenaged years, Bakshi took up boxing. While attending Thomas Jefferson High School, he took little interest in academics, spending most of his time focusing on "broads, mouthing off, and doodling". After participating in a food fight and being caught smoking, Bakshi was sent to the principal's office. Believing Bakshi was unlikely to prosper at Thomas Jefferson, the principal transferred him to Manhattan's School of Industrial Art. In June 1956, Bakshi graduated from the school with an award in cartooning. Career Early career (1956–1968) When Bakshi was 18, his friend Cosmo Anzilotti was hired by the cartoon studio Terrytoons; Anzilotti recommended Bakshi to the studio's production manager, Frank Schudde. Bakshi was hired as a cel polisher and commuted four hours each day to the studio, based in suburban New Rochelle. His low-level position required Bakshi to carefully remove dirt and dust from animation cels. After a few months, Schudde was surprised that Bakshi was still showing up to work, so promoted him to cel painter. Bakshi began to practice animating; to give himself more time, at one point he slipped 10 cels he was supposed to work on into the "to-do" pile of a fellow painter, Leo Giuliani. Bakshi's deception was not noticed until two days later, when he was called to Schudde's office because the cels had been painted on the wrong side. When Bakshi explained that Giuliani had made the mistake, an argument ensued between the three. Schudde eventually took Bakshi's side. By this point, the studio's employees were aware of Bakshi's intention to become an animator, and he began to receive help and advice from established animators, including Connie Rasinski, Manny Davis, Jim Tyer, Larry Silverman, and Johnnie Gentilella. Bakshi married his first wife, Elaine, when he was 21. Their son, Mark, was born when Bakshi was 22. Elaine disliked his long work hours; parodying his marital problems, Bakshi drew Dum Dum and Dee Dee, a comic strip about a man determined "to get—and keep—the girl". As he perfected his animation style, he began to take on more jobs, including creating design tests for the studio's head director, Gene Deitch. Deitch was not convinced that Bakshi had a modern design sensibility. In response to the period's political climate and as a form of therapy, Bakshi drew the comic strips Bonefoot and Fudge, which satirized "idiots with an agenda", and Junktown, which focused on "misfit technology and discarded ideals". Bakshi's frustrations with his failing marriage and the state of the planet further drove his need to animate. In 1959, he moved his desk to join the rest of the animators; after asking Rasinski for material to animate, he received layouts of two scenes - a hat floating on water and a running Deputy Dawg, the lead character of a Terrytoons' series then being shown on CBS. Despite threats of repercussion from the animators' union, Rasinski fought to keep Bakshi as a layout artist. Bakshi began to see Rasinski as a father figure; Rasinski, childless, was happy to serve as Bakshi's mentor. At the age of 25, Bakshi was promoted to director. His first assignment was the series Sad Cat. Bakshi and his wife had separated by then, giving him the time to animate each short alone. Bakshi was dissatisfied with the traditional role of a Terrytoons director: "We didn't really 'direct' like you'd think. We were 'animation directors,' because the story department controlled the storyboards. We couldn't affect anything, but I still tried. I'd re-time, mix up soundtracks—I'd fuck with it so I could make it my own." Other animation studios, such as Hanna-Barbera, were selling shows to the networks, even as the series produced by Terrytoons (which was owned by CBS) were declining in popularity. In 1966, Bill Weiss asked Bakshi to help him carry presentation boards to Manhattan for a meeting with CBS. The network executives rejected all of Weiss's proposals as "too sophisticated", "too corny", or "too old-timey". As Fred Silverman, CBS's daytime programming chief, began to leave the office, an unprepared Bakshi pitched a superhero parody called The Mighty Heroes. He described the series' characters, including Strong Man, Tornado Man, Rope Man, Cuckoo Man, and Diaper Man: "They fought evil wherever they could, and the villains were stupider than they were." The executives loved the idea, and while Silverman required a few drawings before committing, Weiss immediately put Bakshi to work on the series' development. Once Silverman saw the character designs, he confirmed that CBS would greenlight the show, on the condition that Bakshi serve as its creative director. It would appear as a segment of Mighty Mouse Playhouse on the network's 1966–67 Saturday-morning schedule; the series was renamed Mighty Mouse and the Mighty Heroes in recognition of the new segment. Bakshi received a pay raise, but was not as satisfied with his career advancement as he had anticipated; Rasinski had died in 1965, Bakshi did not have creative control over The Mighty Heroes, and he was unhappy with the quality of the animation, writing, timing, and voice acting. Although the series' first 20 segments were successful, Bakshi wanted to leave Terrytoons to form his own company. In 1967, he drew up presentation pieces for a fantasy series called Tee-Witt, with help from Anzilotti, Johnnie Zago, and Bill Foucht. On the way to the CBS offices to make his pitch, he was involved in a car accident. At the auto body shop, he met Liz, who later became his second wife. Though CBS passed on Tee-Witt, its designs served as the basis for Bakshi's 1977 film Wizards. While leaving the network offices, he learned that Paramount Pictures had recently fired Shamus Culhane, the head of its animation division. Bakshi met with Burt Hampft, a lawyer for the studio, and was hired to replace Culhane. Bakshi enlisted comic-book and pulp-fiction artists and writers Harvey Kurtzman, Lin Carter, Gray Morrow, Archie Goodwin, Wally Wood, and Jim Steranko to work at the studio. After finishing Culhane's uncompleted shorts, he directed, produced, wrote, and designed four short films at Paramount: The Fuz, Mini-Squirts, Marvin Digs, and Mouse Trek. Marvin Digs, which Bakshi conceived as a "flower child picture", was not completed the way he had intended: It "was going to have curse words and sex scenes, and a lot more than that. [...] Of course, they wouldn't let me do that." He described the disappointing result as a "typical 1967 limited-animation theatrical". Animation historian Michael Barrier called the film "an offensively bad picture, the kind that makes people who love animation get up and leave the theater in disgust". Production of Mighty Heroes ended when Bakshi left Terrytoons. Bakshi served as head of the studio for eight months before Paramount closed its animation division on December 1, 1967. He learned that his position was always intended to be temporary and that Paramount never intended to pick up his pitches. Although Hampft was prepared to offer Bakshi a severance package, Bakshi immediately ripped up the contract. Hampft suggested that Bakshi work with producer Steve Krantz, who had recently fired Culhane as supervising director on the Canadian science-fiction series Rocket Robin Hood. Bakshi and background artist Johnnie Vita soon headed to Toronto, planning to commute between Canada and New York, with artists such as Morrow and Wood working from the United States. Unknown to Bakshi, Krantz and producer Al Guest were in the middle of a lawsuit. Failing to reach a settlement with Guest, Krantz told Bakshi to grab the series' model sheets and return to the United States. When the studio found out, a warrant for Bakshi's arrest was issued by the Toronto police. He narrowly avoided capture before being stopped by an American border guard, who asked him what he was doing. Bakshi responded, "All of these guys are heading into Canada to dodge the draft and I'm running back into the States. What the fuck is wrong with that!?" The guard laughed, and let Bakshi through. Vita was detained at the airport; he was searched and interrogated for six hours. Bakshi soon founded his own studio, Bakshi Productions, in the Garment District of Manhattan, where his mother used to work and which Bakshi described as "the worst neighborhood in the world". Bakshi Productions paid its employees higher salaries than other studios and expanded opportunities for female and minority animators. The studio began work on Rocket Robin Hood, and later took over the Spider-Man television series. Bakshi married Liz in August 1968. His second child, Preston, was born in June 1970. Fritz the Cat (1969–1972) In 1969, Ralph's Spot was founded as a division of Bakshi Productions to produce commercials for Coca-Cola and Max, the 2000-Year-Old Mouse, a series of educational shorts paid for by Encyclopædia Britannica. Bakshi was uninterested in the kind of animation the studio was turning out, and wanted to produce something personal. He soon developed Heavy Traffic, a tale of inner-city street life. Krantz told Bakshi that Hollywood studio executives would be unwilling to fund the film because of its content and Bakshi's lack of film experience, and would likely consider it if his first film was an adaptation. While browsing the East Side Book Store on St. Mark's Place, Bakshi came across a copy of Robert Crumb's Fritz the Cat. Impressed by Crumb's sharp satire, Bakshi purchased the book and suggested to Krantz that it would work as a film. Krantz arranged a meeting with Crumb, during which Bakshi presented the drawings he had created while learning the artist's distinctive style to prove that he could adapt Crumb's artwork to animation. Impressed by Bakshi's tenacity, Crumb lent him one of his sketchbooks for reference. Preparation began on a studio pitch that included a poster-sized cel featuring the comic's cast against a traced photo background—as Bakshi intended the film to appear. Despite Crumb's enthusiasm, the artist refused to sign the contract Krantz drew up. Artist Vaughn Bodē warned Bakshi against working with Crumb, describing him as "slick". Bakshi later agreed with Bodé's assessment, calling Crumb "one of the slickest hustlers you'll ever see in your life". Krantz sent Bakshi to San Francisco, where he stayed with Crumb and his wife, Dana, in an attempt to persuade Crumb to sign the contract. After a week, Crumb left, leaving the film's production status uncertain. Two weeks after Bakshi returned to New York, Krantz entered his office and told Bakshi that he had acquired the film rights through Dana, who had Crumb's power of attorney and signed the contract. Crumb was subsequently hostile both to the film and Bakshi. Krantz produced a sequel, The Nine Lives of Fritz the Cat (1974), to which Bakshi was steadfastly opposed, having wanted to kill Fritz off to avoid further movies. After Bakshi pitched the project to every major Hollywood studio, Warner Bros. bought it and promised an $850,000 budget. Bakshi hired animators with whom he had worked in the past, including Vita, Tyer, Anzilotti, and Nick Tafuri, and began the layouts and animation. The first completed sequence was a junkyard scene in Harlem, in which Fritz smokes marijuana, has sex, and incites a revolution. Krantz intended to release the sequence as a 15-minute short in case the picture's financing fell through; Bakshi, however, was determined to complete the film as a feature. They screened the sequence for Warner Bros. executives, who wanted the sexual content toned down and celebrities cast for the voice parts. Bakshi refused, and Warner Bros. pulled out, leading Krantz to seek funds elsewhere. He eventually made a deal with Jerry Gross, the owner of Cinemation Industries, a distributor specializing in exploitation films. Although Bakshi did not have enough time to pitch the film, Gross agreed to fund its production and distribute it, believing that it would fit in with his grindhouse slate. Despite receiving financing from other sources, including Saul Zaentz (who agreed to distribute the soundtrack album on his Fantasy Records label), the budget was tight enough to exclude pencil tests, so Bakshi had to test the animation by flipping an animator's drawings in his hand before they were inked and painted. When a cameraman realized that the cels for the desert scenes were not wide enough and revealed the transparency, Bakshi painted a cactus to cover the mistake. Very few storyboards were used. Bakshi and Vita walked around the Lower East Side, Washington Square Park, Chinatown, and Harlem, taking moody snapshots. Artist Ira Turek inked the outlines of these photographs onto cels with a Rapidograph, the technical pen preferred by Crumb, giving the film's backgrounds a stylized realism virtually unprecedented in animation. The tones of the watercolor backgrounds were influenced by the work of Ashcan School painters such as George Luks and John French Sloan. Among other unusual techniques, bent and fisheye camera perspectives were used to portray the way the film's hippies and hoodlums viewed the city. Many scenes featured documentary recordings of real conversations in place of scripted dialogue; this, too, would become a signature of Bakshi's. In May 1971, Bakshi moved his studio to Los Angeles to hire additional animators. Some, including Rod Scribner, Dick Lundy, Virgil Walter Ross, Norman McCabe, and John Sparey, welcomed Bakshi and felt that Fritz the Cat would bring diversity to the animation industry. Other animators were less pleased by Bakshi's arrival and placed an advertisement in The Hollywood Reporter, stating that his "filth" was unwelcome in California. By the time production wrapped, Cinemation had released Melvin Van Peebles' Sweet Sweetback's Baadasssss Song to considerable success, despite the X rating it had received. When the Motion Picture Association of America gave Bakshi's film an X rating, as well, Cinemation exploited it for promotional purposes, advertising Fritz the Cat as "90 minutes of violence, excitement, and SEX ... he's X-rated and animated!" Variety called it an "amusing, diverting, handsomely executed poke at youthful attitudes". John Grant writes in his book Masters of Animation that Fritz the Cat was "the breakthrough movie that opened brand new vistas to the commercial animator in the United States", presenting an "almost disturbingly accurate" portrayal "of a particular stratum of Western society during a particular era, [...] as such it has dated very well." Fritz the Cat was released on April 12, 1972, opening in Hollywood and Washington, D.C. A major hit, it became the most successful independent animated feature of all time. The same month as the film's release, Bakshi's daughter, Victoria, was born. Heavy Traffic (1972–1973) By the time Fritz the Cat was released, Bakshi had become a celebrity, but his reputation was primarily based upon his having directed the first "dirty" animated film. Facing criticism of his work on publicity tours and in trade publications, he began writing poetry to express his emotions. This became a tradition, and Bakshi wrote poems before beginning production on each of his films. The first of these poems was "Street Arabs", which preceded the production of Heavy Traffic in 1972. Inspiration for the film came from penny arcades, where Bakshi often played pinball, sometimes accompanied by his 12-year-old son, Mark. Bakshi pitched Heavy Traffic to Samuel Z. Arkoff, who expressed interest in his take on the "tortured underground cartoonist" and agreed to back the film. Krantz had not compensated Bakshi for his work on Fritz the Cat, and halfway through the production of Heavy Traffic, Bakshi asked when he would be paid. Krantz responded, "The picture didn't make any money, Ralph. It's just a lot of noise." Bakshi found Krantz's claims dubious, as the producer had recently purchased a new BMW and a mansion in Beverly Hills. Bakshi did not have a lawyer, so he sought advice from fellow directors with whom he had become friendly, including Martin Scorsese, Francis Ford Coppola, and Steven Spielberg. He soon accused Krantz of ripping him off, which the producer denied. As he continued to work on Heavy Traffic, Bakshi began pitching his next project, Harlem Nights, a film loosely based on the Uncle Remus story books. The idea interested producer Albert S. Ruddy, whom Bakshi encountered at a screening of The Godfather. Bakshi received a call from Krantz, who questioned him about Harlem Nights. Bakshi said, "I can't talk about that", and hung up. After locking Bakshi out of the studio the next day, Krantz called several directors, including Chuck Jones, in search of a replacement. Arkoff threatened to withdraw his financial backing unless Krantz rehired Bakshi, who returned a week later. Bakshi wanted the voices to sound organic, so he experimented with improvisation, allowing his actors to ad lib during the recording sessions. Several animation sequences appear as rough sketchbook pages. The film also incorporated live-action footage and photographs. Although Krantz, in an attempt to get the film an R rating, prepared different versions of scenes involving sex and violence, Heavy Traffic was rated X. Due to the success of Fritz the Cat, though, many theaters were willing to book adult-oriented animation, and the film did well at the box office. Bakshi became the first person in the animation industry since Walt Disney to have two financially successful movies released consecutively. Heavy Traffic was very well received by critics. Newsweek applauded its "black humor, powerful grotesquerie, and peculiar raw beauty." The Hollywood Reporter called it "shocking, outrageous, offensive, sometimes incoherent, occasionally unintelligent. However, it is also an authentic work of movie art and Bakshi is certainly the most creative American animator since Disney." Vincent Canby of The New York Times ranked Heavy Traffic among his "Ten Best Films of 1973". Upon release, the movie was banned by the Film Censorship Board in the province of Alberta, Canada. Coonskin (1973–1975) In 1973, Bakshi and Ruddy began the production of Harlem Nights, which Paramount was originally contracted to distribute. While Fritz the Cat and Heavy Traffic proved that adult-oriented animation could be financially successful, animated films were still not respected, and Bakshi's pictures were considered to be "dirty Disney flicks" that were "mature" only for depicting sex, drugs, and profanity. Harlem Nights, based on Bakshi's firsthand experiences with racism, was an attack on racist prejudices and stereotypes. Bakshi cast Scatman Crothers, Philip Michael Thomas, Barry White, and Charles Gordone in live-action and voice roles, cutting in and out of animation abruptly rather than seamlessly because he wanted to prove that the two media could "coexist with neither excuse nor apology". He wrote a song for Crothers to sing during the opening title sequence: "Ah'm a Niggerman". Its structure was rooted in the history of the slave plantation - slaves would "shout" lines from poems and stories great distances across fields in unison, creating a natural beat. Bakshi has described its vocal style, backed by fast guitar licks, as an "early version of rap". Bakshi intended to attack stereotypes by portraying them directly, culling imagery from blackface iconography. Early designs in which the main characters (Brother Rabbit, Brother Bear, and Preacher Fox) resembled figures from The Wind in the Willows were rejected. Bakshi juxtaposed stereotypical designs of blacks with even more negative depictions of white racists, but the film's strongest criticism is directed at the Mafia. Bakshi said, "I was sick of all the hero worship these guys got because of The Godfather." Production concluded in 1973. During editing, the title was changed to Coonskin No More..., and finally to Coonskin. Bakshi hired several African-American animators to work on Coonskin, including Brenda Banks, the first African-American female animator. Bakshi also hired graffiti artists and trained them to work as animators. The film's release was delayed by protests from the Congress of Racial Equality, which called Bakshi and his film racist. After its distribution was contracted to the Bryanston Distributing Company, Paramount cancelled a project that Bakshi and Ruddy were developing, The American Chronicles. Coonskin, advertised as an exploitation film, was given limited distribution and soon disappeared from theaters. Initial reviews were negative; Playboy commented that "Bakshi seems to throw in a little of everything and he can't quite pull it together." Eventually, positive reviews appeared in The Hollywood Reporter, New York Amsterdam News (an African-American newspaper), and elsewhere. The New York Times Richard Eder said the film "could be [Bakshi's] masterpiece [...] a shattering successful effort to use an uncommon form—cartoons and live action combined-to convey the hallucinatory violence and frustration of American city life, specifically black city life [...] lyrically violent, yet in no way [does it] exploit violence". Variety called it a "brutal satire from the streets". A reviewer for the Los Angeles Herald-Examiner wrote, "Certainly, it will outrage some and, indeed, it's not Disney. [...] The dialog it has obviously generated—if not the box-office obstacles—seems joltingly healthy." Bakshi called Coonskin his best film. Hey Good Lookin' (1973–1975/1982) After production concluded on Harlem Nights, Bakshi wanted to distinguish himself artistically by producing a film in which live action and animated characters would interact. Bakshi said, "The illusion I attempted to create was that of a completely live-action film. Making it work almost drove us crazy." Hey Good Lookin' is set in Brooklyn during the 1950s; its lead characters are Vinnie, the leader of a gang named "The Stompers", his friend Crazy Shapiro, and their girlfriends, Roz and Eva. Vinnie and Crazy Shapiro were based on Bakshi's high-school friends Norman Darrer and Allen Schechterman. Warner Bros. optioned the screenplay and greenlit the film in 1973. An initial version of Hey Good Lookin' was completed in 1975. A three-minute promotion of this version was screened at the 1975 Cannes Film Festival, and the film was scheduled for a Christmas 1975 release, but was moved to the summers of 1976 and later 1977, before ultimately being postponed indefinitely. Warner Bros. was concerned about any controversy the film would encounter as a result of the backlash over the film Coonskin, and felt that the film was "unreleasable" because of its mix of live action and animation, and it would not spend further money on the project. Bakshi financed the film's completion himself from the director's fees for other projects such as Wizards, The Lord of the Rings, and American Pop. The live-action sequences of Hey Good Lookin' were gradually replaced by animation; among the eliminated live-action sequences was one featuring the glam punk band New York Dolls. Singer Dan Hicks worked on the initial musical score, but the final version was scored by John Madara. Hey Good Lookin' opened in New York City on October 1, 1982, and was released in Los Angeles in January 1983. The film's release was limited, and went largely unnoticed in the United States, although it garnered respectable business in foreign markets. In a brief review, Vincent Canby wrote that it was "not exactly incoherent, but whatever it originally had on its mind seems to have slipped away". Animation historian Jerry Beck wrote, "the beginning of the film is quite promising, with a garbage can discussing life on the streets with some garbage. This is an example of what Bakshi did best—using the medium of animation to comment on society. Unfortunately, he doesn't do it enough in this film. There is a wildly imaginative fantasy sequence during the climax, when the character named Crazy starts hallucinating during a rooftop shooting spree. This scene almost justifies the whole film. But otherwise, this is a rehash of ideas better explored in Coonskin, Heavy Traffic, and Fritz the Cat." The film has since gained a cult following through cable television and home video. Quentin Tarantino stated that he preferred Hey Good Lookin' to Martin Scorsese's Mean Streets. Shift to fantasy film (1976–1978) In 1976, Bakshi pitched War Wizards to 20th Century Fox. Returning to the fantasy drawings he had created in high school for inspiration, Bakshi intended to prove that he could produce a "family picture" that had the same impact as his adult-oriented films. British illustrator Ian Miller and comic book artist Mike Ploog were hired to contribute backgrounds and designs. The crew included Vita, Turek, Sparey, Vitello and Spence, who had become comfortable with Bakshi's limited storyboarding and lack of pencil tests. As the production costs increased, Fox president Alan Ladd, Jr. declined Bakshi's requests for salary increases, and refused to give him $50,000 to complete the film. At the same time, Ladd was dealing with similar budget problems on George Lucas's Star Wars. Bakshi and Lucas had negotiated contracts entitling them to franchise ownership, merchandising and back-end payment, so Ladd suggested that they fund the completion of their films themselves. Bakshi chose rotoscoping as a cost-effective way to complete the movie's battle scenes with his own finances. Because he could not afford to hire a film crew or actors, or develop 35mm stock, Bakshi requested prints of films that contained the type of large battle scenes needed, including Sergei Eisenstein's Alexander Nevsky, and spliced together the footage he needed. However, the cost of printing photographs of each frame would have cost $3 million. Learning that IBM had introduced an industrial-sized photocopier, Bakshi asked one of the company's technical experts if he would be able to feed 35mm reels into the machine to produce enlarged copies of each frame. The experiment worked, and Bakshi got the pages he needed for a penny per copy. As War Wizards neared completion, Lucas requested that Bakshi change the title of his film to Wizards to avoid conflict with Star Wars; Bakshi agreed because Lucas had allowed Mark Hamill to take time off from Star Wars to record a voice for Wizards. Although Wizards received a limited release, it was successful in the theaters that showed it and developed a worldwide audience. Dave Kehr of The Chicago Reader saw it as "marred by cut-rate techniques and a shapeless screenplay". In the view of film historian Jerry Beck, the lead character, an aging sorcerer, "clearly owes much to cartoonist Vaughn Bodé's Cheech Wizard character." In late 1976, Bakshi learned that John Boorman was contracted to direct an adaptation of The Lord of the Rings, in which J. R. R. Tolkien's three-volume novel would be condensed into a single film. Bakshi arranged a meeting with Mike Medavoy, United Artists' head of production, who agreed to let Bakshi direct in exchange for the $3 million that had been spent on Boorman's screenplay. Down the hall from Medavoy was Metro-Goldwyn-Mayer president Dan Melnick, who interrupted a meeting with Peter Bogdanovich when he learned that Bakshi wanted to discuss acquiring the rights to The Lord of the Rings. Melnick agreed to pay United Artists $3 million, but was soon fired; the project was canceled by his replacement, Dick Shepherd. Bakshi contacted Saul Zaentz, who wrote a check to cover MGM's debt and agreed to fund the $8 million budget for the first of what was initially planned as a series of three films, and later negotiated down to two. Before production began, Bakshi and Zaentz insisted that the Tolkien estate receive residuals from the film. Bakshi did not want to produce a broad cartoon version of the tale, so he planned to shoot the entire film in live action and animate the footage with rotoscoping. The film also incorporated brief cel animation and straightforward live-action footage. Production of the live-action sequences took place in Spain. During the middle of a large shoot, union bosses called for a lunch break, and Bakshi secretly shot footage of actors in Orc costumes moving toward the craft service table, and used the footage in the film. Jerry Beck later wrote that, while he found the rotoscoped animation "beautiful", he felt that it was unclear whether the use of live action was an artistic choice or due to budgetary constraints. After the Spanish film development lab discovered that telephone lines, helicopters and cars were visible in the footage, they tried to incinerate it, telling Bakshi's first assistant director, "if that kind of sloppy cinematography got out, no one from Hollywood would ever come back to Spain to shoot again." When Bakshi returned to the United States, he learned that the cost of developing blown-up prints of each frame had risen. He did not want to repeat the process that had been used on Wizards, which was unsuitable for the level of detail he intended for The Lord of the Rings, so Bakshi and camera technician Ted Bemiller created their own photographic enlarger to process the footage cheaply. Live-action special effects and analog optics were used in place of animation to keep the visual effects budget low and give the film a more realistic look. Among the voice actors was the well-regarded John Hurt, who performed the role of Aragorn. The project's prominence brought heavy trade journal coverage, and fans such as Mick Jagger visited the studio for the chance to play a role. Animator Carl Bell loved drawing Aragorn so much that Bakshi gave Bell the live-action Aragorn costume, which he wore while animating. Viewing The Lord of the Rings as a holiday film, United Artists pressured Bakshi to complete it on schedule for its intended November 15, 1978, release. Once it was finished, Bakshi was told that audiences would not pay to see an incomplete story; over his objections, The Lord of the Rings was marketed with no indication that a second part would follow. Reviews of the film were mixed, but it was generally seen as a "flawed but inspired interpretation". Newsdays Joseph Gelmis wrote that "the film's principal reward is a visual experience unlike anything that other animated features are doing at the moment". Roger Ebert called Bakshi's effort a "mixed blessing" and "an entirely respectable, occasionally impressive job [which] still falls far short of the charm and sweep of the original story". Vincent Canby found it "both numbing and impressive". David Denby of New York felt that the film would not make sense to viewers who had not read the book. He wrote that it was too dark and lacked humor, concluding, "The lurid, meaningless violence of this movie left me exhausted and sickened by the end." The film, which cost $4 million to produce, grossed $30.5 million. The studio refused to fund the sequel, which would have adapted the remainder of the story. The Lord of the Rings won the Golden Gryphon at the 1980 Giffoni Film Festival. American Pop and Fire and Ice (1979–1983) Following the production struggles of The Lord of the Rings, Bakshi decided to work on something more personal. He pitched American Pop to Columbia Pictures president Dan Melnick. Bakshi wanted to produce a film in which songs would be given a new context in juxtaposition to the visuals. American Pop follows four generations of a Russian Jewish immigrant family of musicians, whose careers parallel the history of American pop and starred actor Ron Thompson in a dual lead role. While the film does not reflect Bakshi's own experiences, its themes were strongly influenced by people he had encountered in Brownsville. The film's crew included character layout and design artist Louise Zingarelli, Vita, Barry E. Jackson, and Marcia Adams. Bakshi again used rotoscoping, in an attempt to capture the range of emotions and movement required for the film's story. According to Bakshi, "Rotoscoping is terrible for subtleties, so it was tough to get facial performances to match the stage ones." Bakshi was able to acquire the rights to an extensive soundtrack—including songs by Janis Joplin, The Doors, George Gershwin, The Mamas & the Papas, Herbie Hancock, Lou Reed, and Louis Prima—for under $1 million. Released on February 12, 1981, the film was a financial success. The New York Times Vincent Canby wrote, "I'm amazed at the success that Mr. Bakshi has in turning animated characters into figures of real feelings." Jerry Beck called it "one of Bakshi's best films". Due to music clearance issues, it was not released on home video until 1998. By 1982, fantasy films such as The Beastmaster and Conan the Barbarian had proven successful at the box office, and Bakshi wanted to work with his long-time friend, the fantasy illustrator Frank Frazetta. Fire and Ice was financed by some of American Pops investors for $1.2 million, while 20th Century Fox agreed to distribute. Fire and Ice was the most action-oriented story Bakshi had directed, so he again used rotoscoping; the realism of the design and rotoscoped animation replicated Frazetta's artwork. Bakshi and Frazetta were heavily involved in the production of the live-action sequences, from casting sessions to the final shoot. The film's crew included background artists James Gurney and Thomas Kinkade, layout artist Peter Chung, and established Bakshi Productions artists Sparey, Steve Gordon, Bell and Banks. Chung greatly admired Bakshi's and Frazetta's work, and animated his sequences while working for The Walt Disney Company. The film was given a limited release, and was financially unsuccessful. Andrew Leal wrote, "The plot is standard [...] recalling nothing so much as a more graphic episode of Filmation's He-Man series. [...] Fire and Ice essentially stands as a footnote to the spate of barbarian films that followed in the wake of Arnold Schwarzenegger's appearance as Conan." Unproduced projects and temporary retirement (1983–1986) After production of Fire and Ice wrapped, Bakshi attempted several projects that fell through, including adaptations of Hunter S. Thompson's Fear and Loathing in Las Vegas, William Kotzwinkle's The Fan Man, E. R. Eddison's The Worm Ouroboros, Stephen Crane's Maggie: A Girl of the Streets, Mickey Spillane's Mike Hammer novels and an anthropomorphic depiction of Sherlock Holmes. He turned down offers to direct Ray Bradbury's Something Wicked This Way Comes and Philip K. Dick's Do Androids Dream of Electric Sheep?. He passed the latter to Ridley Scott, who adapted it into the 1982 film Blade Runner (although he was planning a TV version of said film). During this period, Bakshi reread J. D. Salinger's The Catcher in the Rye, which he had first read in high school, and saw parallels between his situation and that of the book's protagonist, Holden Caulfield. Inspired to seek the film rights, he intended to shoot the story's bracketing sequences in live action and to animate the core flashback scenes. Salinger had rejected previous offers to adapt the novel, and had not made a public appearance since 1965 or granted an interview since 1980. Bakshi sent Salinger a letter explaining why he should be allowed to adapt the novel; the writer responded by thanking Bakshi and asserting that the novel was unfit for any medium other than its original form. Prompted in part by Salinger's letter, Bakshi briefly retired to focus on painting. During this time he completed the screenplay for If I Catch Her, I'll Kill Her, a live-action feature he had been developing since the late 1960s. United Artists and Paramount Pictures each paid Bakshi to develop the film in the 1970s, but were unwilling to produce it, as were the studios he pitched the film to in the 1980s. According to Bakshi, "They thought that no one was going to admit that women can—and do—cheat on their husbands. They thought it was too hot, which made no sense." In 1985, he received a phone call from The Rolling Stones' manager, Tony King, who told Bakshi that the band had recorded a cover of Bob & Earl's "Harlem Shuffle", and wanted Bakshi to direct the music video. He was told that the live-action shoot needed to be completed within one day (January 28, 1986) for it to be shown at the Grammy Awards. Production designer Wolf Kroeger was forced to drastically compact his sets, and animation director and designer John Kricfalusi had to push his team, including Lynne Naylor, Jim Smith and Bob Jaques, to complete the animation within a few weeks. The band's arrival at the set was delayed by a snowstorm and several takes were ruined when the cameras crossed paths. Bakshi was forced to pay the union wages out of his own fees, and the continuity between Kricfalusi's animation and the live-action footage did not match; however, the video was completed on time. Bakshi recognized Kricfalusi's talent, and wanted to put him in charge of a project that would showcase the young animator's skills. Bakshi and Kricfalusi co-wrote the screenplay Bobby's Girl as a take on the teen films of the era. Jeff Sagansky, president of production at TriStar Pictures, put up $150,000 to develop the project, prompting Bakshi to move back to Los Angeles. When Sagansky left TriStar, Bakshi was forced to pitch the film again, but the studio's new executives did not understand its appeal and cut off financing. Bakshi and Zingarelli began to develop a feature about Hollywood's Golden Age, and Bakshi Productions crewmembers worked on proposed cartoons influenced by pulp fiction. Bobby's Girl was reworked as a potential prime time series called Suzy's in Love, but attracted no serious interest. They would try again in 2003 over at Spümcø, but nothing came from this either. Return to television (1987–1989) In April 1987, Bakshi set up a meeting with Judy Price, the head of CBS's Saturday morning block. Three days before the meeting, Bakshi, Kricfalusi, Naylor, Tom Minton, Eddie Fitzgerald and Jim Reardon met to brainstorm. Bakshi remembers, "My car was packed to the windows. Judy was my last stop before driving cross country back to New York to my family." Price rejected Bakshi's prepared pitches, but asked what else he had. He told her that he had the rights to Mighty Mouse, and she agreed to purchase the series. However, Bakshi did not own the rights and did not know who did. While researching the rights, he learned that CBS had acquired the entire Terrytoons library in 1955 and forgotten about it. According to Bakshi, "I sold them a show they already owned, so they just gave me the rights for nothin'!" Kricfalusi's team wrote story outlines for thirteen episodes in a week and pitched them to Price. By the next week, Kricfalusi had hired animators he knew who had been working at other studios. Mighty Mouse: The New Adventures went into production the month it was greenlighted; it was scheduled to premiere on September 19, 1987. This haste required the crew to be split into four teams, led by supervising director Kricfalusi, Fitzgerald, Steve Gordon and Bruce Woodside. Each team was given a handful of episodes, and operated almost entirely independently of the others. Although the scripts required approval by CBS executives, Kricfalusi insisted that the artists add visual gags as they drew. Bruce Timm, Andrew Stanton, Dave Marshall and Jeff Pidgeon were among the artists who worked on the series. Despite the time constraints, CBS was pleased with the way Bakshi Productions addressed the network's notes. During the production of the episode "The Littlest Tramp", editor Tom Klein expressed concern that a sequence showing Mighty Mouse sniffing the remains of a crushed flower resembled cocaine use. Bakshi did not initially view the footage; he believed that Klein was overreacting, but agreed to let him cut the scene. Kricfalusi expressed disbelief over the cut, insisting that the action was harmless and that the sequence should be restored. Following Kricfalusi's advice, Bakshi told Klein to restore the scene, which had been approved by network executives and the CBS standards and practices department. The episode aired on October 31, 1987, without controversy. In 1988, Bakshi received an Annie Award for "Distinguished Contribution to the Art of Animation". The same year, he began production on a series pilot loosely adapted from his Junktown comic strips. According to Bakshi, the proposed series "was going to be a revitalization of cartoon style from the '20s and '30s. It was gonna have Duke Ellington and Fats Waller jazzing up the soundtrack." Nickelodeon was initially willing to greenlight 39 episodes of Junktown. On June 6, 1988, Donald Wildmon, head of the American Family Association (AFA), alleged that "The Littlest Tramp" depicted cocaine use, instigating a media frenzy. The AFA, during its incarnation as the National Federation for Decency, had previously targeted CBS as an "accessory to murder" after a mother killed her daughter following an airing of Exorcist II: The Heretic. Concerning Bakshi's involvement with Mighty Mouse: The New Adventures, the AFA claimed that CBS "intentionally hired a known pornographer to do a cartoon for children, and then allowed him to insert a scene in which the cartoon hero is shown sniffing cocaine." Bakshi responded, "You could pick a still out of Lady and the Tramp and get the same impression. Fritz the Cat wasn't pornography. It was social commentary. This all smacks of burning books and the Third Reich. It smacks of McCarthyism. I'm not going to get into who sniffs what. This is lunacy!" On CBS's order, Klein removed the sequence from the master broadcast footage. Wildmon claimed that the edits were "a de facto admission that, indeed, Mighty Mouse was snorting cocaine". Despite receiving an award from Action for Children's Television, favorable reviews, and a ranking in Time magazine's "Best of '87" feature, Mighty Mouse: The New Adventures was canceled by CBS following the controversy. The incident had a ripple effect, weakening Nickelodeon's commitment to Junktown. Bakshi has also stated that "we were trying something different [...] but a series didn't make sense. It just didn't work". The series was scrapped, and the completed pilot aired as a special, Christmas in Tattertown, in December 1988. It was the first original animated special created for Nickelodeon. Bakshi moved into a warehouse loft in downtown Los Angeles to clear his head, and was offered $50,000 to direct a half-hour live-action film for PBS's Imagining America anthology series. Mark Bakshi produced the film, This Ain't Bebop, his first professional collaboration with his father. Bakshi wrote a poem influenced by Jack Kerouac, jazz, the Beat Generation and Brooklyn that served as the narration, which was spoken by Harvey Keitel. After a car crash, Bakshi completed the post-production in stitches and casts. Bakshi said of the work, "It's the most proud I've been of a picture since Coonskin—the last real thing I did with total integrity." As a result of the film, Bakshi received an offer to adapt Dr. Seuss's The Butter Battle Book for TNT. Ted Geisel had never been satisfied with the previous screen versions of his Dr. Seuss work. Bakshi wanted to produce an entirely faithful adaptation, and Geisel—who agreed to storyboard the special himself—was pleased with the final product. Bakshi next directed the pilot Hound Town for NBC; he described the result as "an embarrassing piece of shit". Besides Bakshi, sitcom alumus Rob Sternin and Prudence Fraser wrote and produced the project. Cool World, continued television projects and semi-retirement (1990–1997) In 1990, Bakshi pitched Cool World to Paramount Pictures as a partially animated horror film. The concept involved a cartoon and human having sex and conceiving a hybrid child who visits the real world to murder the father who abandoned him. The live-action footage was intended to look like "a living, walk-through painting", a visual concept Bakshi had long wanted to achieve. Massive sets were constructed on a sound stage in Las Vegas, based on enlargements of designer Barry Jackson's paintings. The animation was strongly influenced by the house styles of Fleischer Studios and Terrytoons. As the sets were being built, producer Frank Mancuso Jr., son of Paramount president Frank Mancuso Sr., had the screenplay rewritten in secret; the new version, by Michael Grais and Mark Victor, was radically different from Bakshi's original. Paramount threatened to sue Bakshi if he did not complete the film. As Bakshi and Mancuso wrangled over their creative differences, Bakshi and the studio also began to fight over the film's casting. To keep actor Brad Pitt, Bakshi had to replace Drew Barrymore, his original choice for the character of Holli Would, with Kim Basinger, a bigger box office draw at the time. The film's animators were never given a screenplay, and were instead told by Bakshi, "Do a scene that's funny, whatever you want to do!" Designer Milton Knight recalled that "audiences actually wanted a wilder, raunchier Cool World. The premiere audience I saw it with certainly did." The critical reaction to the film was generally negative. Roger Ebert wrote, "The DJ who was hosting the radio station's free preview of Cool World leaped onto the stage and promised the audience: 'If you liked Roger Rabbit, you'll love Cool World!' He was wrong, but you can't blame him—he hadn't seen the movie. I have, and I will now promise you that if you liked Roger Rabbit, quit while you're ahead." The film was a box-office disappointment. While other film projects followed, Bakshi began to focus more attention on painting. In 1993, Lou Arkoff, the son of Samuel Z. Arkoff, approached Bakshi to write and direct a low-budget live-action feature for Showtime's Rebel Highway series. For the third time, Bakshi revisited his screenplay for If I Catch Her, I'll Kill Her, which he retitled Cool and the Crazy. The picture, which aired September 16, 1994, starred Jared Leto, Alicia Silverstone, Jennifer Blanc and Matthew Flint. Reviewer Todd Everett noted that it had the same "hyperdrive visual sense" of Bakshi's animated films. He said, "Everything in 'Cool' [...] seems to exist in pastels and Bakshi shoots from more odd angles than any director since Sidney J. Furie in his heyday. And the closing sequences ably demonstrate how it's possible to present strong violence without any blood being shed onscreen. Bakshi pulls strong [performances] from a cadre of youngish and largely unknown actors". In 1995, Hanna-Barbera producer Fred Seibert offered Bakshi the chance to create two animated short films for Cartoon Network's What a Cartoon!: Malcom and Melvin and Babe, He Calls Me, focusing on a trumpet-playing cockroach named Malcom and his best friend, a clown named Melvin. Both were heavily edited after Bakshi turned them in and he disowned them as a result. Bakshi was subsequently contacted by HBO, which was looking to launch the first animated series specifically for adults, an interest stirred by discussions involving a series based upon Trey Parker and Matt Stone's video Christmas card, Jesus vs. Santa. Bakshi enlisted a team of writers, including his son Preston, to develop Spicy Detective, later renamed Spicy City, an anthology series set in a noir-ish, technology-driven future. Each episode was narrated by a female host named Raven, voiced by Michelle Phillips. The series premiered in July 1997—one month before the debut of Parker and Stone's South Park—and thus became the first "adults only" cartoon series. Although critical reaction was largely unfavorable, Spicy City received acceptable ratings. A second season was approved, but the network wanted to fire Bakshi's writing team and hire professional Los Angeles screenwriters. When Bakshi refused to cooperate, the series was canceled. Painting, teaching and new animation projects (2000–2013) Bakshi retired from animation once more, returning to his painting. In 2000, he began teaching an undergraduate animation class at New York's School of Visual Arts. On December 14, 2001, he did some paintings for the Cameron Crowe film Vanilla Sky. He later became involved in several screen projects, including a development deal with the Sci Fi Channel, In September 2002, Bakshi, Liz and their dogs moved to New Mexico, where he became more productive than ever in his painting and began development on the Last Days of Coney Island film. In 2003, he appeared as the Fire Chief in the episode "Fire Dogs 2" of John Kricfalusi's Ren & Stimpy "Adult Party Cartoon". In September 2008, Main Street Pictures announced that it would collaborate with Bakshi on a sequel to Wizards. In 2012, Bakshi began producing the short film series Bakshi Blues. The first of these shorts, Trickle Dickle Down, contains reused animation from Coonskin and criticizes 2012 Republican presidential candidate Mitt Romney. The shorts were to focus on "old and new characters" and comment on modern-day America. Last Days of Coney Island (2013–2016) In February 2013, Bakshi launched a successful Kickstarter campaign to obtain funding for his latest film, Last Days of Coney Island. Actor Matthew Modine was cast in the film in February 2013 after Modine, a longtime Bakshi fan, came across the film's Kickstarter campaign online. Last Days of Coney Island was released on Vimeo in 2015. Bakshi released the film for free on YouTube on 13 October 2016. Post-animation (2015–present) After he quit the animation industry, Bakshi did multiple interviews with the media and on podcasts. He continues to sell art on eBay and his website, both run by the Bakshi family. He currently sells an art series called Little Guys and Gals, which are fictional portraits of cartoon people. The series originated in November 2020 as random character sketches and officially began in January 2021, originally calling the series Little Gals and Little Guys. Bakshi appeared as a guest at a Canadian film festival which celebrates animation, SPARK Animation, which was held virtually, from October 28 to November 7, 2021. Accolades In 2003, Bakshi received a Maverick Tribute Award at the Cinequest San Jose Film Festival the same year he began teaching an animation class in New Mexico - this became The Bakshi School of Animation and Cartooning, which is run by Ralph's son Edward and his partner Jess Gorell. The Online Film Critics Society released a list of the "Top 100 Animated Features of All Time" in March 2003 that included four of Bakshi's films: Fritz the Cat, The Lord of the Rings, Coonskin and Fire and Ice. Fritz the Cat was ranked number 56 in the 2004 poll conducted by Britain's Channel 4 for its documentary The 100 Greatest Cartoons. The Museum of Modern Art has added Bakshi's films to its collection for preservation. In the 1980s and 1990s he served on the advisory board of the Los Angeles Student Film Institute. In 2021, Ralph Bakshi won the Animafest Zagreb Lifetime Achievement Award for his animation career and the impact of his films. Legacy The availability of Bakshi's work on the Internet sparked a resurgence of interest in his career, resulting in a three-day American Cinematheque retrospective held at Grauman's Egyptian Theatre in Hollywood and the Aero Theater in Santa Monica, California, in April 2005. Unfiltered: The Complete Ralph Bakshi, a hardcover book of Bakshi's art, was released on April 1, 2008. The foreword was written by Quentin Tarantino and the afterword by Bakshi. His rotoscoping techniques in Lord of the Rings inspired the animation rotoscoping techniques of the independent film The Spine of Night in which the animator developed his own rotoscope style by watching behind-the-scenes footage of Bakshi's warehouse and reverse-engineering it. Billie Eilish had the idea for an animated version of herself for her in the concert film Happier Than Ever: A Love Letter to Los Angeles (which is a promotion for the album of the same name) and suggested to director Patrick Osborne that the character should have a 1980s look and rotoscope-ish animation. Eilish referenced the works of Bakshi and animator Richard Williams to him. Gore Verbinski commented about Bakshi and showed that he was inspired by him during an interview in The Hollywood Reporter for his first animated movie, Rango, saying: "What happened to the Ralph Bakshis of the world? We're all sitting here talking family entertainment. Does animation have to be family entertainment? Audiences want something new; they just can't articulate what." On January 12, 2014, at The Egyptian Theatre in Hollywood, there was a special screening of Bakshi's film American Pop with actors Ron Thompson and Mews Small in attendance, it was the first time lead actor Ron Thompson had ever introduced the film before a live audience. At the Aero Theatre in Santa Monica, California, on March 27, 2015, there was a screening of Heavy Traffic and American Pop with Bakshi, Ron Thompson and Mews Small attending. Fritz the Cat has also been called an animated art film. Filmography Films Television I Selected episodes II Provided the voices of Connelly and Goldblum in the episode "Sex Drive", and Stevie in the episode "Mano's Hands" III Provided the voice of the Super Hero IV Animated in conjunction with Doug Compton V Provided the voice of Fire Chief in the episode "Fire Dogs 2" Releases and ratings Bibliography Ralph Bakshi: A Private selection of drawings released from the Bakshi Archives. 2018 - 2019; Book 1 (2019) Ralph Bakshi: No Rhyme or Reason; Book 2 (2020) See also Heavy Metal Ron Thompson John Kricfalusi Katsuhiro Otomo Rock & Rule Independent animation New Hollywood Notes References External links Official page filmography Archived 'American Pop'... Matters: Ron Thompson, the Illustrated Man Unsung interview at PopMatters Rotospective: Ralph Bakshi, Lessons in Artistry, Rebellion and Success a profile at AgentPalmer.com 1938 births American animators American comic strip cartoonists American experimental filmmakers American film producers American animated film producers American storyboard artists American television directors Television producers from New York City American television writers 20th-century American painters American male painters 21st-century American painters 21st-century American male writers American male screenwriters American male voice actors American animated film directors American people of Palestinian-Jewish descent Jewish American artists American satirists Jews in Mandatory Palestine Living people American male television writers People from Haifa Terrytoons people Underground cartoonists American voice directors Krymchaks Artists from New York City High School of Art and Design alumni Mandatory Palestine emigrants to the United States People from Brownsville, Brooklyn Thomas Jefferson High School (Brooklyn) alumni Film directors from New York (state) 21st-century American non-fiction writers American male non-fiction writers Screenwriters from New York (state) Inkpot Award winners Famous Studios people	false	[ "Young-hu Kim is a South Korean music producer, songwriter and software engineer. He works mainly with SM Entertainment artists, and has written songs for Girls Generation, Exo, TVXQ, BoA, Shinee, f(x), Super Junior, Shinhwa, and Fly to the Sky.\n\nCareer\nBorn on November 7, 1981, in Seoul, South Korea, Young-hu Kim started his career when he was signed to SM Entertainment as the youngest producer at the age of 15. His first number 1 single was Shinhwa's \"I Pray For You\", with work on subsequent hits including TVXQ's \"Whatever They Say,\" Shinee's \"Replay,\" and Girls Generation's \"Oh.\" He co-founded XP Music Publishing based in Los Angeles, with offices in Seoul and Tokyo, taking on projects in tech and building the first online music publishing catalog system in South Korea. \nHe is currently the CEO of the technology company Qoop.\n\nDiscography\n\nSouth Korea\nBoA: My Prayer - 250,000 copies sold (2 platinum) \nBoA: If You Were Here - 120,000 copies sold (platinum)\nBoA: Girls on Top(English Version) \nExo: My Turn to Cry - 500,000 copies sold\nExo: Can't Bring Me Down - 1 Million copies sold\nFly to the Sky: How Many Nights, How Many Days - 200,000 copies sold (2 platinum)\nFly to the Sky: Magic Song - 170,000 copies sold (platinum) - Number 3 on biggest online chart\nFly to the Sky: My Never ending Story - 100,000 copies sold (platinum) \nF(x): Me + U - 100,000 copies sold (platinum)\nF(x): Goodbye Summer - 80,000 copies sold\nF(x): Summer Lover\nF(x): Diamond\nGirl's Generation: Let's Talk About Love - 100,000 copies sold(platinum)\nGirl's Girls Generation: Oh! - 300,000 copies sold (3 platinum) - number 1 on several countries. Number 1 on numerous music channels. Winner of Golden Disc Award \nGirl's Generation: Say Yes - 400,000 copies sold (4 platinum) - won Golden Disk Awards and Seoul Music Awards \nIsak N Jiyeon: I Dream Of You\nS.E.S.: You Told Me\nShinee: Replay\nShinee: Love Like Oxygen\nShinee: In my room - 150,000 copies sold(platinum) \nShinee: 차라리 때려 - 150,000 copies sold (platinum)\nShinee: Y.O.U. (Year Of Us) \nShinee: Runaway - 250,000 copies sold (2 platinum) \nShinhwa: Just 2 be with U - 400,000 copies sold (4 platinum)\nShinhwa: I pray 4 U - 400,000 copies sold (4 platinum) - Number 1 song on MBC Music Show, SBS Music Show and several online charts. Japanese Anime “Inuyasha” Korea Territory title song\nShinhwa: Soulmate - 300,000 copies sold (3 platinum)\nShinhwa: Hurricane - 100,000 copies sold (platinum)\nSuper Junior: Over - 100,000 copies sold (platinum)\nSuper Junior: You're my endless love - 200,000 copies sold (2 platinum)\nSuper Junior: She wants it - 300,000 copies sold (3 platinum)\nSuper Junior: Shake It Up! - 300,000 copies sold (3 platinum)\nSuper Junior: Over - 100,000 copies sold (platinum)\nThe Grace: Dancer In The Rain\nThe Grace: Catch The Shooting Star\nTim: Sarang Han Mankeum \nTim: My Destiny\nTim: Nae Ahn Eh Jun Jeng\nTim: Manual For My Heart\nTVXQ: Whatever They Say - 300,000 copies sold (3 platinum) - Number 4 on SBS music show. \nTVXQ: Free your mind\nTVXQ: Beautiful Life - 300,000 copies sold (3 platinum)\nTVXQ: 세상의단하나뿐인마음\nTVXQ: On & On - 535,000 copies sold (5 platinum) - Number 1 album of 2006 + Winner of Golden Disc Award.\nTVXQ: Crazy Love\nTVXQ: 넌 나의 노래 - 600,000 copies sold (6 platinum) - Number 1 album of 2008, Winner of Golden Disc Award.\nTVXQ: Here I stand - 300,000 copies sold (3 platinum)\nWhee Sung: Angel - 400,000 copies sold (4 platinum)\n\nJapan\nGirls Generation Oh! single: Oh! - 100,000 copies sold (gold) - Number One on Oricon Chart\nGirls Generation 2nd album: Oh! - 200,000 copies sold (gold)\nShinee 1st single album: Replay - 110,000 copies sold (gold)\nShinee 1st album: Replay - 120,000 copies sold (gold)\nTenjochiki Piranha album: Just for one day - 100,000 copies sold (gold)\nTVXQ 3rd album: Beautiful Life -150,000 copies sold (gold)\nTVXQ 3rd Album: You're my miracle - 150,000 copies sold (gold)\nTVXQ Bolero album: Wasurenaide - 150,000 copies sold (gold)\nTVXQ 4th album: Wasurenaide - 300,000 copies sold (platinum)\n\nReferences\n\nSM Entertainment people\nSouth Korean electronic musicians\nSouth Korean dance musicians\nSouth Korean songwriters\nSouth Korean record producers\n1981 births\nLiving people", "The Dresden Dolls is the self-titled debut EP by American dark cabaret band The Dresden Dolls, released in 2001. It is a completely separate release from the band's 2003 debut studio album, also titled The Dresden Dolls.\n\nThe CD was recorded and engineered at Sonics Studios and at Emerson College in Boston, MA by Owen Curtin in 2001 and mastered by Noah-Blumenson Cook, with guest Brian Knoth playing a guitar solo on \"Good Day\".\n\nThe album was first sold at the band's first appearance at The Middle East in Cambridge, MA. The band made 50 copies, all of which were sold at the show. The covers are slightly different from copies sold later.\n\nThe EP was sold by the band at shows until late 2003, via mail order until early 2004, and from drummer Brian Viglione while he was working at Toscanini's, an ice cream parlor in Cambridge. The EP is now completely out of print, although \"Girl Anachronism\" has been made available for download from the band's official web site.\n\nIt is unknown exactly how many copies exist, although singer Amanda Palmer has estimated that \"a few thousand copies\" exist.\n\nTrack listing \n\n \"Half Jack\" – 5:25\n \"Girl Anachronism\" – 3:01\n \"The Perfect Fit\" – 5:40\n \"Colorblind\" – 5:31\n \"Good Day\" – 5:36\n\n Note: The songs on the EP are demos.\n\nAlbum personnel \n\n Amanda Palmer – piano and vocals\n Brian Viglione – drums, acoustic guitar, bass\n Brian Knoth – guitar on \"Good Day\"\n Owen Curtin – recording and engineering\n Noah-Blumenson Cook – mastering\n\nReferences \n\nThe Dresden Dolls albums\n2001 debut EPs\nSelf-released EPs\nDemo albums" ]
[ "Ralph Bakshi", "Coonskin (1973-1975)", "Is coonskin a movie?", "Coonskin, advertised as an exploitation film,", "Who starred in coonskin?", "Bakshi hired several African American animators to work on Coonskin, including Brenda Banks, the first African American female animator.", "Was the movie a success?", "Coonskin, advertised as an exploitation film, was given limited distribution and soon disappeared from theaters. Initial reviews were negative;", "How many copies were sold?", "I don't know." ]	C_0425b70eeebf4afa91523e82d63c3bd2_1	Who directed the movie?	5	Who directed the movie Coonskin?	Ralph Bakshi	In 1973, Bakshi and Ruddy began the production of Harlem Nights, which Paramount was originally contracted to distribute. While Fritz the Cat and Heavy Traffic proved that adult-oriented animation could be financially successful, animated films were still not respected, and Bakshi's pictures were considered to be "dirty Disney flicks" that were "mature" only for depicting sex, drugs and profanity. Harlem Nights, based on Bakshi's firsthand experiences with racism, was an attack on racist prejudices and stereotypes. Bakshi cast Scatman Crothers, Philip Michael Thomas, Barry White and Charles Gordone in live-action and voice roles, cutting in and out of animation abruptly rather than seamlessly because he wanted to prove that the two mediums could "coexist with neither excuse nor apology". He wrote a song for Crothers to sing during the opening title sequence: "Ah'm a Niggerman". Its structure was rooted in the history of the slave plantation: slaves would "shout" lines from poems and stories great distances across fields in unison, creating a natural beat. Bakshi has described its vocal style, backed by fast guitar licks, as an "early version of rap". Bakshi intended to attack stereotypes by portraying them directly, culling imagery from blackface iconography. Early designs in which the main characters (Brother Rabbit, Brother Bear and Preacher Fox) resembled figures from The Wind in the Willows were rejected. Bakshi juxtaposed stereotypical designs of blacks with even more negative depictions of white racists, but the film's strongest criticism is directed at the Mafia. Bakshi said, "I was sick of all the hero worship these guys got because of The Godfather." Production concluded in 1973. During editing, the title was changed to Coonskin No More..., and finally to Coonskin. Bakshi hired several African American animators to work on Coonskin, including Brenda Banks, the first African American female animator. Bakshi also hired graffiti artists and trained them to work as animators. The film's release was delayed by protests from the Congress of Racial Equality, which called Bakshi and his film racist. After its distribution was contracted to the Bryanston Distributing Company, Paramount canceled a project that Bakshi and Ruddy were developing, The American Chronicles. Coonskin, advertised as an exploitation film, was given limited distribution and soon disappeared from theaters. Initial reviews were negative; Playboy commented that "Bakshi seems to throw in a little of everything and he can't quite pull it together." Eventually, positive reviews appeared in The Hollywood Reporter, New York Amsterdam News (an African American newspaper) and elsewhere. The New York Times' Richard Eder said the film "could be [Bakshi's] masterpiece [...] a shattering successful effort to use an uncommon form--cartoons and live action combined to convey the hallucinatory violence and frustration of American city life, specifically black city life [...] lyrically violent, yet in no way [does it] exploit violence". Variety called it a "brutal satire from the streets". A reviewer for the Los Angeles Herald-Examiner wrote, "Certainly, it will outrage some and, indeed, it's not Disney. [...] The dialog it has obviously generated--if not the box office obstacles--seems joltingly healthy." Bakshi called Coonskin his best film. CANNOTANSWER	CANNOTANSWER	Ralph Bakshi (; born October 29, 1938) is an American director of animated and live-action films. In the 1970s, he established an alternative to mainstream animation through independent and adult-oriented productions. Between 1972 and 1992, he directed nine theatrically released feature films, five of which he wrote. He has been involved in numerous television projects as director, writer, producer, and animator. Beginning his career at the Terrytoons television cartoon studio as a cel polisher, Bakshi was eventually promoted to animator, and then director. He moved to the animation division of Paramount Pictures in 1967 and started his own studio, Bakshi Productions, in 1968. Through producer Steve Krantz, Bakshi made his debut feature film, Fritz the Cat, released in 1972. It was based on the comic strip by Robert Crumb and was the first animated film to receive an X rating from the Motion Picture Association of America, and is the most successful independent animated feature of all time. Over the next 11 years, Bakshi directed seven additional animated features. He is well known for such films as Wizards (1977), The Lord of the Rings (1978), American Pop (1981), and Fire and Ice (1983). In 1987, Bakshi returned to television work, producing the series Mighty Mouse: The New Adventures, which ran for two years. After a nine-year hiatus from feature films, he directed Cool World (1992), which was largely rewritten during production and received poor reviews, consequently being his last theatrical feature-length film to date. Bakshi returned to television with the live-action film Cool and the Crazy (1994) and the anthology series Spicy City (1997). During the 2000s, he focused largely on fine art and painting, and in 2003, co-founded the Bakshi School of Animation with his son Eddie and Jess Gorell. Bakshi has received several awards for his work, including the 1980 Golden Gryphon for The Lord of the Rings at the Giffoni Film Festival, the 1988 Annie Award for Distinguished Contribution to the Art of Animation, and the 2003 Maverick Tribute Award at the Cinequest Film Festival. Early life Ralph Bakshi was born on October 29, 1938, in Haifa, British Mandate of Palestine (now Israel), to a Krymchak Jewish family. In 1939, his family migrated to the United States, and he grew up in the Brownsville neighborhood of Brooklyn. The family lived in a low-rent apartment, where Bakshi became fascinated with the urban milieu. As a child, he enjoyed comic books, and often dug through trash cans to find them. According to an interview in 2009, Ralph said he was very poor and the walls of his neighborhood were constantly repainted. He liked the feeling when he looked out the window and saw the sun as a little boy, and whenever he would walk out in the streets, someone would break the wooden crates, that were filled with food, in the push carts open. Ralph says this in the interview, "And the push carts were wood, and most of the buildings were made out of old wood, going back to the turn of the century, and they were repainted a lot but the paint was faded by, you know the hundred years of snow and rain, repainted and faded again." Bakshi loved the faded colors, the nails, the wooden crates, and he would build his own toys from the wood. Ralph recalls, "I had a great feeling with wood, cement, and nails". In the spring of 1947, Bakshi's father and uncle traveled to Washington, DC, in search of business opportunities, and soon moved the family to the black neighborhood of Foggy Bottom. Bakshi recalled, "All my friends were black, everyone we did business with was black, the school across the street was black. It was segregated, so everything was black. I went to see black movies; black girls sat on my lap. I went to black parties. I was another black kid on the block. No problem!" The racial segregation of local schools meant that the nearest white school was several miles away; Bakshi obtained his mother's permission to attend the nearby black school with his friends. Most of the students had no problem with Bakshi's presence, but a teacher sought advice from the principal, who called the police. Fearing that segregated whites would riot if they learned that a white, let alone Jewish, student was attending a black school, the police removed Bakshi from his classroom. Meanwhile, his father had been suffering from anxiety attacks. Within a few months, the family moved back to Brownsville, where they rarely spoke of these events. At the age of 15, after discovering Gene Byrnes' Complete Guide to Cartooning at the public library, Bakshi took up cartooning to document his experiences and create fantasy-influenced artwork. He stole a copy of the book and learned every lesson in it. During his teenaged years, Bakshi took up boxing. While attending Thomas Jefferson High School, he took little interest in academics, spending most of his time focusing on "broads, mouthing off, and doodling". After participating in a food fight and being caught smoking, Bakshi was sent to the principal's office. Believing Bakshi was unlikely to prosper at Thomas Jefferson, the principal transferred him to Manhattan's School of Industrial Art. In June 1956, Bakshi graduated from the school with an award in cartooning. Career Early career (1956–1968) When Bakshi was 18, his friend Cosmo Anzilotti was hired by the cartoon studio Terrytoons; Anzilotti recommended Bakshi to the studio's production manager, Frank Schudde. Bakshi was hired as a cel polisher and commuted four hours each day to the studio, based in suburban New Rochelle. His low-level position required Bakshi to carefully remove dirt and dust from animation cels. After a few months, Schudde was surprised that Bakshi was still showing up to work, so promoted him to cel painter. Bakshi began to practice animating; to give himself more time, at one point he slipped 10 cels he was supposed to work on into the "to-do" pile of a fellow painter, Leo Giuliani. Bakshi's deception was not noticed until two days later, when he was called to Schudde's office because the cels had been painted on the wrong side. When Bakshi explained that Giuliani had made the mistake, an argument ensued between the three. Schudde eventually took Bakshi's side. By this point, the studio's employees were aware of Bakshi's intention to become an animator, and he began to receive help and advice from established animators, including Connie Rasinski, Manny Davis, Jim Tyer, Larry Silverman, and Johnnie Gentilella. Bakshi married his first wife, Elaine, when he was 21. Their son, Mark, was born when Bakshi was 22. Elaine disliked his long work hours; parodying his marital problems, Bakshi drew Dum Dum and Dee Dee, a comic strip about a man determined "to get—and keep—the girl". As he perfected his animation style, he began to take on more jobs, including creating design tests for the studio's head director, Gene Deitch. Deitch was not convinced that Bakshi had a modern design sensibility. In response to the period's political climate and as a form of therapy, Bakshi drew the comic strips Bonefoot and Fudge, which satirized "idiots with an agenda", and Junktown, which focused on "misfit technology and discarded ideals". Bakshi's frustrations with his failing marriage and the state of the planet further drove his need to animate. In 1959, he moved his desk to join the rest of the animators; after asking Rasinski for material to animate, he received layouts of two scenes - a hat floating on water and a running Deputy Dawg, the lead character of a Terrytoons' series then being shown on CBS. Despite threats of repercussion from the animators' union, Rasinski fought to keep Bakshi as a layout artist. Bakshi began to see Rasinski as a father figure; Rasinski, childless, was happy to serve as Bakshi's mentor. At the age of 25, Bakshi was promoted to director. His first assignment was the series Sad Cat. Bakshi and his wife had separated by then, giving him the time to animate each short alone. Bakshi was dissatisfied with the traditional role of a Terrytoons director: "We didn't really 'direct' like you'd think. We were 'animation directors,' because the story department controlled the storyboards. We couldn't affect anything, but I still tried. I'd re-time, mix up soundtracks—I'd fuck with it so I could make it my own." Other animation studios, such as Hanna-Barbera, were selling shows to the networks, even as the series produced by Terrytoons (which was owned by CBS) were declining in popularity. In 1966, Bill Weiss asked Bakshi to help him carry presentation boards to Manhattan for a meeting with CBS. The network executives rejected all of Weiss's proposals as "too sophisticated", "too corny", or "too old-timey". As Fred Silverman, CBS's daytime programming chief, began to leave the office, an unprepared Bakshi pitched a superhero parody called The Mighty Heroes. He described the series' characters, including Strong Man, Tornado Man, Rope Man, Cuckoo Man, and Diaper Man: "They fought evil wherever they could, and the villains were stupider than they were." The executives loved the idea, and while Silverman required a few drawings before committing, Weiss immediately put Bakshi to work on the series' development. Once Silverman saw the character designs, he confirmed that CBS would greenlight the show, on the condition that Bakshi serve as its creative director. It would appear as a segment of Mighty Mouse Playhouse on the network's 1966–67 Saturday-morning schedule; the series was renamed Mighty Mouse and the Mighty Heroes in recognition of the new segment. Bakshi received a pay raise, but was not as satisfied with his career advancement as he had anticipated; Rasinski had died in 1965, Bakshi did not have creative control over The Mighty Heroes, and he was unhappy with the quality of the animation, writing, timing, and voice acting. Although the series' first 20 segments were successful, Bakshi wanted to leave Terrytoons to form his own company. In 1967, he drew up presentation pieces for a fantasy series called Tee-Witt, with help from Anzilotti, Johnnie Zago, and Bill Foucht. On the way to the CBS offices to make his pitch, he was involved in a car accident. At the auto body shop, he met Liz, who later became his second wife. Though CBS passed on Tee-Witt, its designs served as the basis for Bakshi's 1977 film Wizards. While leaving the network offices, he learned that Paramount Pictures had recently fired Shamus Culhane, the head of its animation division. Bakshi met with Burt Hampft, a lawyer for the studio, and was hired to replace Culhane. Bakshi enlisted comic-book and pulp-fiction artists and writers Harvey Kurtzman, Lin Carter, Gray Morrow, Archie Goodwin, Wally Wood, and Jim Steranko to work at the studio. After finishing Culhane's uncompleted shorts, he directed, produced, wrote, and designed four short films at Paramount: The Fuz, Mini-Squirts, Marvin Digs, and Mouse Trek. Marvin Digs, which Bakshi conceived as a "flower child picture", was not completed the way he had intended: It "was going to have curse words and sex scenes, and a lot more than that. [...] Of course, they wouldn't let me do that." He described the disappointing result as a "typical 1967 limited-animation theatrical". Animation historian Michael Barrier called the film "an offensively bad picture, the kind that makes people who love animation get up and leave the theater in disgust". Production of Mighty Heroes ended when Bakshi left Terrytoons. Bakshi served as head of the studio for eight months before Paramount closed its animation division on December 1, 1967. He learned that his position was always intended to be temporary and that Paramount never intended to pick up his pitches. Although Hampft was prepared to offer Bakshi a severance package, Bakshi immediately ripped up the contract. Hampft suggested that Bakshi work with producer Steve Krantz, who had recently fired Culhane as supervising director on the Canadian science-fiction series Rocket Robin Hood. Bakshi and background artist Johnnie Vita soon headed to Toronto, planning to commute between Canada and New York, with artists such as Morrow and Wood working from the United States. Unknown to Bakshi, Krantz and producer Al Guest were in the middle of a lawsuit. Failing to reach a settlement with Guest, Krantz told Bakshi to grab the series' model sheets and return to the United States. When the studio found out, a warrant for Bakshi's arrest was issued by the Toronto police. He narrowly avoided capture before being stopped by an American border guard, who asked him what he was doing. Bakshi responded, "All of these guys are heading into Canada to dodge the draft and I'm running back into the States. What the fuck is wrong with that!?" The guard laughed, and let Bakshi through. Vita was detained at the airport; he was searched and interrogated for six hours. Bakshi soon founded his own studio, Bakshi Productions, in the Garment District of Manhattan, where his mother used to work and which Bakshi described as "the worst neighborhood in the world". Bakshi Productions paid its employees higher salaries than other studios and expanded opportunities for female and minority animators. The studio began work on Rocket Robin Hood, and later took over the Spider-Man television series. Bakshi married Liz in August 1968. His second child, Preston, was born in June 1970. Fritz the Cat (1969–1972) In 1969, Ralph's Spot was founded as a division of Bakshi Productions to produce commercials for Coca-Cola and Max, the 2000-Year-Old Mouse, a series of educational shorts paid for by Encyclopædia Britannica. Bakshi was uninterested in the kind of animation the studio was turning out, and wanted to produce something personal. He soon developed Heavy Traffic, a tale of inner-city street life. Krantz told Bakshi that Hollywood studio executives would be unwilling to fund the film because of its content and Bakshi's lack of film experience, and would likely consider it if his first film was an adaptation. While browsing the East Side Book Store on St. Mark's Place, Bakshi came across a copy of Robert Crumb's Fritz the Cat. Impressed by Crumb's sharp satire, Bakshi purchased the book and suggested to Krantz that it would work as a film. Krantz arranged a meeting with Crumb, during which Bakshi presented the drawings he had created while learning the artist's distinctive style to prove that he could adapt Crumb's artwork to animation. Impressed by Bakshi's tenacity, Crumb lent him one of his sketchbooks for reference. Preparation began on a studio pitch that included a poster-sized cel featuring the comic's cast against a traced photo background—as Bakshi intended the film to appear. Despite Crumb's enthusiasm, the artist refused to sign the contract Krantz drew up. Artist Vaughn Bodē warned Bakshi against working with Crumb, describing him as "slick". Bakshi later agreed with Bodé's assessment, calling Crumb "one of the slickest hustlers you'll ever see in your life". Krantz sent Bakshi to San Francisco, where he stayed with Crumb and his wife, Dana, in an attempt to persuade Crumb to sign the contract. After a week, Crumb left, leaving the film's production status uncertain. Two weeks after Bakshi returned to New York, Krantz entered his office and told Bakshi that he had acquired the film rights through Dana, who had Crumb's power of attorney and signed the contract. Crumb was subsequently hostile both to the film and Bakshi. Krantz produced a sequel, The Nine Lives of Fritz the Cat (1974), to which Bakshi was steadfastly opposed, having wanted to kill Fritz off to avoid further movies. After Bakshi pitched the project to every major Hollywood studio, Warner Bros. bought it and promised an $850,000 budget. Bakshi hired animators with whom he had worked in the past, including Vita, Tyer, Anzilotti, and Nick Tafuri, and began the layouts and animation. The first completed sequence was a junkyard scene in Harlem, in which Fritz smokes marijuana, has sex, and incites a revolution. Krantz intended to release the sequence as a 15-minute short in case the picture's financing fell through; Bakshi, however, was determined to complete the film as a feature. They screened the sequence for Warner Bros. executives, who wanted the sexual content toned down and celebrities cast for the voice parts. Bakshi refused, and Warner Bros. pulled out, leading Krantz to seek funds elsewhere. He eventually made a deal with Jerry Gross, the owner of Cinemation Industries, a distributor specializing in exploitation films. Although Bakshi did not have enough time to pitch the film, Gross agreed to fund its production and distribute it, believing that it would fit in with his grindhouse slate. Despite receiving financing from other sources, including Saul Zaentz (who agreed to distribute the soundtrack album on his Fantasy Records label), the budget was tight enough to exclude pencil tests, so Bakshi had to test the animation by flipping an animator's drawings in his hand before they were inked and painted. When a cameraman realized that the cels for the desert scenes were not wide enough and revealed the transparency, Bakshi painted a cactus to cover the mistake. Very few storyboards were used. Bakshi and Vita walked around the Lower East Side, Washington Square Park, Chinatown, and Harlem, taking moody snapshots. Artist Ira Turek inked the outlines of these photographs onto cels with a Rapidograph, the technical pen preferred by Crumb, giving the film's backgrounds a stylized realism virtually unprecedented in animation. The tones of the watercolor backgrounds were influenced by the work of Ashcan School painters such as George Luks and John French Sloan. Among other unusual techniques, bent and fisheye camera perspectives were used to portray the way the film's hippies and hoodlums viewed the city. Many scenes featured documentary recordings of real conversations in place of scripted dialogue; this, too, would become a signature of Bakshi's. In May 1971, Bakshi moved his studio to Los Angeles to hire additional animators. Some, including Rod Scribner, Dick Lundy, Virgil Walter Ross, Norman McCabe, and John Sparey, welcomed Bakshi and felt that Fritz the Cat would bring diversity to the animation industry. Other animators were less pleased by Bakshi's arrival and placed an advertisement in The Hollywood Reporter, stating that his "filth" was unwelcome in California. By the time production wrapped, Cinemation had released Melvin Van Peebles' Sweet Sweetback's Baadasssss Song to considerable success, despite the X rating it had received. When the Motion Picture Association of America gave Bakshi's film an X rating, as well, Cinemation exploited it for promotional purposes, advertising Fritz the Cat as "90 minutes of violence, excitement, and SEX ... he's X-rated and animated!" Variety called it an "amusing, diverting, handsomely executed poke at youthful attitudes". John Grant writes in his book Masters of Animation that Fritz the Cat was "the breakthrough movie that opened brand new vistas to the commercial animator in the United States", presenting an "almost disturbingly accurate" portrayal "of a particular stratum of Western society during a particular era, [...] as such it has dated very well." Fritz the Cat was released on April 12, 1972, opening in Hollywood and Washington, D.C. A major hit, it became the most successful independent animated feature of all time. The same month as the film's release, Bakshi's daughter, Victoria, was born. Heavy Traffic (1972–1973) By the time Fritz the Cat was released, Bakshi had become a celebrity, but his reputation was primarily based upon his having directed the first "dirty" animated film. Facing criticism of his work on publicity tours and in trade publications, he began writing poetry to express his emotions. This became a tradition, and Bakshi wrote poems before beginning production on each of his films. The first of these poems was "Street Arabs", which preceded the production of Heavy Traffic in 1972. Inspiration for the film came from penny arcades, where Bakshi often played pinball, sometimes accompanied by his 12-year-old son, Mark. Bakshi pitched Heavy Traffic to Samuel Z. Arkoff, who expressed interest in his take on the "tortured underground cartoonist" and agreed to back the film. Krantz had not compensated Bakshi for his work on Fritz the Cat, and halfway through the production of Heavy Traffic, Bakshi asked when he would be paid. Krantz responded, "The picture didn't make any money, Ralph. It's just a lot of noise." Bakshi found Krantz's claims dubious, as the producer had recently purchased a new BMW and a mansion in Beverly Hills. Bakshi did not have a lawyer, so he sought advice from fellow directors with whom he had become friendly, including Martin Scorsese, Francis Ford Coppola, and Steven Spielberg. He soon accused Krantz of ripping him off, which the producer denied. As he continued to work on Heavy Traffic, Bakshi began pitching his next project, Harlem Nights, a film loosely based on the Uncle Remus story books. The idea interested producer Albert S. Ruddy, whom Bakshi encountered at a screening of The Godfather. Bakshi received a call from Krantz, who questioned him about Harlem Nights. Bakshi said, "I can't talk about that", and hung up. After locking Bakshi out of the studio the next day, Krantz called several directors, including Chuck Jones, in search of a replacement. Arkoff threatened to withdraw his financial backing unless Krantz rehired Bakshi, who returned a week later. Bakshi wanted the voices to sound organic, so he experimented with improvisation, allowing his actors to ad lib during the recording sessions. Several animation sequences appear as rough sketchbook pages. The film also incorporated live-action footage and photographs. Although Krantz, in an attempt to get the film an R rating, prepared different versions of scenes involving sex and violence, Heavy Traffic was rated X. Due to the success of Fritz the Cat, though, many theaters were willing to book adult-oriented animation, and the film did well at the box office. Bakshi became the first person in the animation industry since Walt Disney to have two financially successful movies released consecutively. Heavy Traffic was very well received by critics. Newsweek applauded its "black humor, powerful grotesquerie, and peculiar raw beauty." The Hollywood Reporter called it "shocking, outrageous, offensive, sometimes incoherent, occasionally unintelligent. However, it is also an authentic work of movie art and Bakshi is certainly the most creative American animator since Disney." Vincent Canby of The New York Times ranked Heavy Traffic among his "Ten Best Films of 1973". Upon release, the movie was banned by the Film Censorship Board in the province of Alberta, Canada. Coonskin (1973–1975) In 1973, Bakshi and Ruddy began the production of Harlem Nights, which Paramount was originally contracted to distribute. While Fritz the Cat and Heavy Traffic proved that adult-oriented animation could be financially successful, animated films were still not respected, and Bakshi's pictures were considered to be "dirty Disney flicks" that were "mature" only for depicting sex, drugs, and profanity. Harlem Nights, based on Bakshi's firsthand experiences with racism, was an attack on racist prejudices and stereotypes. Bakshi cast Scatman Crothers, Philip Michael Thomas, Barry White, and Charles Gordone in live-action and voice roles, cutting in and out of animation abruptly rather than seamlessly because he wanted to prove that the two media could "coexist with neither excuse nor apology". He wrote a song for Crothers to sing during the opening title sequence: "Ah'm a Niggerman". Its structure was rooted in the history of the slave plantation - slaves would "shout" lines from poems and stories great distances across fields in unison, creating a natural beat. Bakshi has described its vocal style, backed by fast guitar licks, as an "early version of rap". Bakshi intended to attack stereotypes by portraying them directly, culling imagery from blackface iconography. Early designs in which the main characters (Brother Rabbit, Brother Bear, and Preacher Fox) resembled figures from The Wind in the Willows were rejected. Bakshi juxtaposed stereotypical designs of blacks with even more negative depictions of white racists, but the film's strongest criticism is directed at the Mafia. Bakshi said, "I was sick of all the hero worship these guys got because of The Godfather." Production concluded in 1973. During editing, the title was changed to Coonskin No More..., and finally to Coonskin. Bakshi hired several African-American animators to work on Coonskin, including Brenda Banks, the first African-American female animator. Bakshi also hired graffiti artists and trained them to work as animators. The film's release was delayed by protests from the Congress of Racial Equality, which called Bakshi and his film racist. After its distribution was contracted to the Bryanston Distributing Company, Paramount cancelled a project that Bakshi and Ruddy were developing, The American Chronicles. Coonskin, advertised as an exploitation film, was given limited distribution and soon disappeared from theaters. Initial reviews were negative; Playboy commented that "Bakshi seems to throw in a little of everything and he can't quite pull it together." Eventually, positive reviews appeared in The Hollywood Reporter, New York Amsterdam News (an African-American newspaper), and elsewhere. The New York Times Richard Eder said the film "could be [Bakshi's] masterpiece [...] a shattering successful effort to use an uncommon form—cartoons and live action combined-to convey the hallucinatory violence and frustration of American city life, specifically black city life [...] lyrically violent, yet in no way [does it] exploit violence". Variety called it a "brutal satire from the streets". A reviewer for the Los Angeles Herald-Examiner wrote, "Certainly, it will outrage some and, indeed, it's not Disney. [...] The dialog it has obviously generated—if not the box-office obstacles—seems joltingly healthy." Bakshi called Coonskin his best film. Hey Good Lookin' (1973–1975/1982) After production concluded on Harlem Nights, Bakshi wanted to distinguish himself artistically by producing a film in which live action and animated characters would interact. Bakshi said, "The illusion I attempted to create was that of a completely live-action film. Making it work almost drove us crazy." Hey Good Lookin' is set in Brooklyn during the 1950s; its lead characters are Vinnie, the leader of a gang named "The Stompers", his friend Crazy Shapiro, and their girlfriends, Roz and Eva. Vinnie and Crazy Shapiro were based on Bakshi's high-school friends Norman Darrer and Allen Schechterman. Warner Bros. optioned the screenplay and greenlit the film in 1973. An initial version of Hey Good Lookin' was completed in 1975. A three-minute promotion of this version was screened at the 1975 Cannes Film Festival, and the film was scheduled for a Christmas 1975 release, but was moved to the summers of 1976 and later 1977, before ultimately being postponed indefinitely. Warner Bros. was concerned about any controversy the film would encounter as a result of the backlash over the film Coonskin, and felt that the film was "unreleasable" because of its mix of live action and animation, and it would not spend further money on the project. Bakshi financed the film's completion himself from the director's fees for other projects such as Wizards, The Lord of the Rings, and American Pop. The live-action sequences of Hey Good Lookin' were gradually replaced by animation; among the eliminated live-action sequences was one featuring the glam punk band New York Dolls. Singer Dan Hicks worked on the initial musical score, but the final version was scored by John Madara. Hey Good Lookin' opened in New York City on October 1, 1982, and was released in Los Angeles in January 1983. The film's release was limited, and went largely unnoticed in the United States, although it garnered respectable business in foreign markets. In a brief review, Vincent Canby wrote that it was "not exactly incoherent, but whatever it originally had on its mind seems to have slipped away". Animation historian Jerry Beck wrote, "the beginning of the film is quite promising, with a garbage can discussing life on the streets with some garbage. This is an example of what Bakshi did best—using the medium of animation to comment on society. Unfortunately, he doesn't do it enough in this film. There is a wildly imaginative fantasy sequence during the climax, when the character named Crazy starts hallucinating during a rooftop shooting spree. This scene almost justifies the whole film. But otherwise, this is a rehash of ideas better explored in Coonskin, Heavy Traffic, and Fritz the Cat." The film has since gained a cult following through cable television and home video. Quentin Tarantino stated that he preferred Hey Good Lookin' to Martin Scorsese's Mean Streets. Shift to fantasy film (1976–1978) In 1976, Bakshi pitched War Wizards to 20th Century Fox. Returning to the fantasy drawings he had created in high school for inspiration, Bakshi intended to prove that he could produce a "family picture" that had the same impact as his adult-oriented films. British illustrator Ian Miller and comic book artist Mike Ploog were hired to contribute backgrounds and designs. The crew included Vita, Turek, Sparey, Vitello and Spence, who had become comfortable with Bakshi's limited storyboarding and lack of pencil tests. As the production costs increased, Fox president Alan Ladd, Jr. declined Bakshi's requests for salary increases, and refused to give him $50,000 to complete the film. At the same time, Ladd was dealing with similar budget problems on George Lucas's Star Wars. Bakshi and Lucas had negotiated contracts entitling them to franchise ownership, merchandising and back-end payment, so Ladd suggested that they fund the completion of their films themselves. Bakshi chose rotoscoping as a cost-effective way to complete the movie's battle scenes with his own finances. Because he could not afford to hire a film crew or actors, or develop 35mm stock, Bakshi requested prints of films that contained the type of large battle scenes needed, including Sergei Eisenstein's Alexander Nevsky, and spliced together the footage he needed. However, the cost of printing photographs of each frame would have cost $3 million. Learning that IBM had introduced an industrial-sized photocopier, Bakshi asked one of the company's technical experts if he would be able to feed 35mm reels into the machine to produce enlarged copies of each frame. The experiment worked, and Bakshi got the pages he needed for a penny per copy. As War Wizards neared completion, Lucas requested that Bakshi change the title of his film to Wizards to avoid conflict with Star Wars; Bakshi agreed because Lucas had allowed Mark Hamill to take time off from Star Wars to record a voice for Wizards. Although Wizards received a limited release, it was successful in the theaters that showed it and developed a worldwide audience. Dave Kehr of The Chicago Reader saw it as "marred by cut-rate techniques and a shapeless screenplay". In the view of film historian Jerry Beck, the lead character, an aging sorcerer, "clearly owes much to cartoonist Vaughn Bodé's Cheech Wizard character." In late 1976, Bakshi learned that John Boorman was contracted to direct an adaptation of The Lord of the Rings, in which J. R. R. Tolkien's three-volume novel would be condensed into a single film. Bakshi arranged a meeting with Mike Medavoy, United Artists' head of production, who agreed to let Bakshi direct in exchange for the $3 million that had been spent on Boorman's screenplay. Down the hall from Medavoy was Metro-Goldwyn-Mayer president Dan Melnick, who interrupted a meeting with Peter Bogdanovich when he learned that Bakshi wanted to discuss acquiring the rights to The Lord of the Rings. Melnick agreed to pay United Artists $3 million, but was soon fired; the project was canceled by his replacement, Dick Shepherd. Bakshi contacted Saul Zaentz, who wrote a check to cover MGM's debt and agreed to fund the $8 million budget for the first of what was initially planned as a series of three films, and later negotiated down to two. Before production began, Bakshi and Zaentz insisted that the Tolkien estate receive residuals from the film. Bakshi did not want to produce a broad cartoon version of the tale, so he planned to shoot the entire film in live action and animate the footage with rotoscoping. The film also incorporated brief cel animation and straightforward live-action footage. Production of the live-action sequences took place in Spain. During the middle of a large shoot, union bosses called for a lunch break, and Bakshi secretly shot footage of actors in Orc costumes moving toward the craft service table, and used the footage in the film. Jerry Beck later wrote that, while he found the rotoscoped animation "beautiful", he felt that it was unclear whether the use of live action was an artistic choice or due to budgetary constraints. After the Spanish film development lab discovered that telephone lines, helicopters and cars were visible in the footage, they tried to incinerate it, telling Bakshi's first assistant director, "if that kind of sloppy cinematography got out, no one from Hollywood would ever come back to Spain to shoot again." When Bakshi returned to the United States, he learned that the cost of developing blown-up prints of each frame had risen. He did not want to repeat the process that had been used on Wizards, which was unsuitable for the level of detail he intended for The Lord of the Rings, so Bakshi and camera technician Ted Bemiller created their own photographic enlarger to process the footage cheaply. Live-action special effects and analog optics were used in place of animation to keep the visual effects budget low and give the film a more realistic look. Among the voice actors was the well-regarded John Hurt, who performed the role of Aragorn. The project's prominence brought heavy trade journal coverage, and fans such as Mick Jagger visited the studio for the chance to play a role. Animator Carl Bell loved drawing Aragorn so much that Bakshi gave Bell the live-action Aragorn costume, which he wore while animating. Viewing The Lord of the Rings as a holiday film, United Artists pressured Bakshi to complete it on schedule for its intended November 15, 1978, release. Once it was finished, Bakshi was told that audiences would not pay to see an incomplete story; over his objections, The Lord of the Rings was marketed with no indication that a second part would follow. Reviews of the film were mixed, but it was generally seen as a "flawed but inspired interpretation". Newsdays Joseph Gelmis wrote that "the film's principal reward is a visual experience unlike anything that other animated features are doing at the moment". Roger Ebert called Bakshi's effort a "mixed blessing" and "an entirely respectable, occasionally impressive job [which] still falls far short of the charm and sweep of the original story". Vincent Canby found it "both numbing and impressive". David Denby of New York felt that the film would not make sense to viewers who had not read the book. He wrote that it was too dark and lacked humor, concluding, "The lurid, meaningless violence of this movie left me exhausted and sickened by the end." The film, which cost $4 million to produce, grossed $30.5 million. The studio refused to fund the sequel, which would have adapted the remainder of the story. The Lord of the Rings won the Golden Gryphon at the 1980 Giffoni Film Festival. American Pop and Fire and Ice (1979–1983) Following the production struggles of The Lord of the Rings, Bakshi decided to work on something more personal. He pitched American Pop to Columbia Pictures president Dan Melnick. Bakshi wanted to produce a film in which songs would be given a new context in juxtaposition to the visuals. American Pop follows four generations of a Russian Jewish immigrant family of musicians, whose careers parallel the history of American pop and starred actor Ron Thompson in a dual lead role. While the film does not reflect Bakshi's own experiences, its themes were strongly influenced by people he had encountered in Brownsville. The film's crew included character layout and design artist Louise Zingarelli, Vita, Barry E. Jackson, and Marcia Adams. Bakshi again used rotoscoping, in an attempt to capture the range of emotions and movement required for the film's story. According to Bakshi, "Rotoscoping is terrible for subtleties, so it was tough to get facial performances to match the stage ones." Bakshi was able to acquire the rights to an extensive soundtrack—including songs by Janis Joplin, The Doors, George Gershwin, The Mamas & the Papas, Herbie Hancock, Lou Reed, and Louis Prima—for under $1 million. Released on February 12, 1981, the film was a financial success. The New York Times Vincent Canby wrote, "I'm amazed at the success that Mr. Bakshi has in turning animated characters into figures of real feelings." Jerry Beck called it "one of Bakshi's best films". Due to music clearance issues, it was not released on home video until 1998. By 1982, fantasy films such as The Beastmaster and Conan the Barbarian had proven successful at the box office, and Bakshi wanted to work with his long-time friend, the fantasy illustrator Frank Frazetta. Fire and Ice was financed by some of American Pops investors for $1.2 million, while 20th Century Fox agreed to distribute. Fire and Ice was the most action-oriented story Bakshi had directed, so he again used rotoscoping; the realism of the design and rotoscoped animation replicated Frazetta's artwork. Bakshi and Frazetta were heavily involved in the production of the live-action sequences, from casting sessions to the final shoot. The film's crew included background artists James Gurney and Thomas Kinkade, layout artist Peter Chung, and established Bakshi Productions artists Sparey, Steve Gordon, Bell and Banks. Chung greatly admired Bakshi's and Frazetta's work, and animated his sequences while working for The Walt Disney Company. The film was given a limited release, and was financially unsuccessful. Andrew Leal wrote, "The plot is standard [...] recalling nothing so much as a more graphic episode of Filmation's He-Man series. [...] Fire and Ice essentially stands as a footnote to the spate of barbarian films that followed in the wake of Arnold Schwarzenegger's appearance as Conan." Unproduced projects and temporary retirement (1983–1986) After production of Fire and Ice wrapped, Bakshi attempted several projects that fell through, including adaptations of Hunter S. Thompson's Fear and Loathing in Las Vegas, William Kotzwinkle's The Fan Man, E. R. Eddison's The Worm Ouroboros, Stephen Crane's Maggie: A Girl of the Streets, Mickey Spillane's Mike Hammer novels and an anthropomorphic depiction of Sherlock Holmes. He turned down offers to direct Ray Bradbury's Something Wicked This Way Comes and Philip K. Dick's Do Androids Dream of Electric Sheep?. He passed the latter to Ridley Scott, who adapted it into the 1982 film Blade Runner (although he was planning a TV version of said film). During this period, Bakshi reread J. D. Salinger's The Catcher in the Rye, which he had first read in high school, and saw parallels between his situation and that of the book's protagonist, Holden Caulfield. Inspired to seek the film rights, he intended to shoot the story's bracketing sequences in live action and to animate the core flashback scenes. Salinger had rejected previous offers to adapt the novel, and had not made a public appearance since 1965 or granted an interview since 1980. Bakshi sent Salinger a letter explaining why he should be allowed to adapt the novel; the writer responded by thanking Bakshi and asserting that the novel was unfit for any medium other than its original form. Prompted in part by Salinger's letter, Bakshi briefly retired to focus on painting. During this time he completed the screenplay for If I Catch Her, I'll Kill Her, a live-action feature he had been developing since the late 1960s. United Artists and Paramount Pictures each paid Bakshi to develop the film in the 1970s, but were unwilling to produce it, as were the studios he pitched the film to in the 1980s. According to Bakshi, "They thought that no one was going to admit that women can—and do—cheat on their husbands. They thought it was too hot, which made no sense." In 1985, he received a phone call from The Rolling Stones' manager, Tony King, who told Bakshi that the band had recorded a cover of Bob & Earl's "Harlem Shuffle", and wanted Bakshi to direct the music video. He was told that the live-action shoot needed to be completed within one day (January 28, 1986) for it to be shown at the Grammy Awards. Production designer Wolf Kroeger was forced to drastically compact his sets, and animation director and designer John Kricfalusi had to push his team, including Lynne Naylor, Jim Smith and Bob Jaques, to complete the animation within a few weeks. The band's arrival at the set was delayed by a snowstorm and several takes were ruined when the cameras crossed paths. Bakshi was forced to pay the union wages out of his own fees, and the continuity between Kricfalusi's animation and the live-action footage did not match; however, the video was completed on time. Bakshi recognized Kricfalusi's talent, and wanted to put him in charge of a project that would showcase the young animator's skills. Bakshi and Kricfalusi co-wrote the screenplay Bobby's Girl as a take on the teen films of the era. Jeff Sagansky, president of production at TriStar Pictures, put up $150,000 to develop the project, prompting Bakshi to move back to Los Angeles. When Sagansky left TriStar, Bakshi was forced to pitch the film again, but the studio's new executives did not understand its appeal and cut off financing. Bakshi and Zingarelli began to develop a feature about Hollywood's Golden Age, and Bakshi Productions crewmembers worked on proposed cartoons influenced by pulp fiction. Bobby's Girl was reworked as a potential prime time series called Suzy's in Love, but attracted no serious interest. They would try again in 2003 over at Spümcø, but nothing came from this either. Return to television (1987–1989) In April 1987, Bakshi set up a meeting with Judy Price, the head of CBS's Saturday morning block. Three days before the meeting, Bakshi, Kricfalusi, Naylor, Tom Minton, Eddie Fitzgerald and Jim Reardon met to brainstorm. Bakshi remembers, "My car was packed to the windows. Judy was my last stop before driving cross country back to New York to my family." Price rejected Bakshi's prepared pitches, but asked what else he had. He told her that he had the rights to Mighty Mouse, and she agreed to purchase the series. However, Bakshi did not own the rights and did not know who did. While researching the rights, he learned that CBS had acquired the entire Terrytoons library in 1955 and forgotten about it. According to Bakshi, "I sold them a show they already owned, so they just gave me the rights for nothin'!" Kricfalusi's team wrote story outlines for thirteen episodes in a week and pitched them to Price. By the next week, Kricfalusi had hired animators he knew who had been working at other studios. Mighty Mouse: The New Adventures went into production the month it was greenlighted; it was scheduled to premiere on September 19, 1987. This haste required the crew to be split into four teams, led by supervising director Kricfalusi, Fitzgerald, Steve Gordon and Bruce Woodside. Each team was given a handful of episodes, and operated almost entirely independently of the others. Although the scripts required approval by CBS executives, Kricfalusi insisted that the artists add visual gags as they drew. Bruce Timm, Andrew Stanton, Dave Marshall and Jeff Pidgeon were among the artists who worked on the series. Despite the time constraints, CBS was pleased with the way Bakshi Productions addressed the network's notes. During the production of the episode "The Littlest Tramp", editor Tom Klein expressed concern that a sequence showing Mighty Mouse sniffing the remains of a crushed flower resembled cocaine use. Bakshi did not initially view the footage; he believed that Klein was overreacting, but agreed to let him cut the scene. Kricfalusi expressed disbelief over the cut, insisting that the action was harmless and that the sequence should be restored. Following Kricfalusi's advice, Bakshi told Klein to restore the scene, which had been approved by network executives and the CBS standards and practices department. The episode aired on October 31, 1987, without controversy. In 1988, Bakshi received an Annie Award for "Distinguished Contribution to the Art of Animation". The same year, he began production on a series pilot loosely adapted from his Junktown comic strips. According to Bakshi, the proposed series "was going to be a revitalization of cartoon style from the '20s and '30s. It was gonna have Duke Ellington and Fats Waller jazzing up the soundtrack." Nickelodeon was initially willing to greenlight 39 episodes of Junktown. On June 6, 1988, Donald Wildmon, head of the American Family Association (AFA), alleged that "The Littlest Tramp" depicted cocaine use, instigating a media frenzy. The AFA, during its incarnation as the National Federation for Decency, had previously targeted CBS as an "accessory to murder" after a mother killed her daughter following an airing of Exorcist II: The Heretic. Concerning Bakshi's involvement with Mighty Mouse: The New Adventures, the AFA claimed that CBS "intentionally hired a known pornographer to do a cartoon for children, and then allowed him to insert a scene in which the cartoon hero is shown sniffing cocaine." Bakshi responded, "You could pick a still out of Lady and the Tramp and get the same impression. Fritz the Cat wasn't pornography. It was social commentary. This all smacks of burning books and the Third Reich. It smacks of McCarthyism. I'm not going to get into who sniffs what. This is lunacy!" On CBS's order, Klein removed the sequence from the master broadcast footage. Wildmon claimed that the edits were "a de facto admission that, indeed, Mighty Mouse was snorting cocaine". Despite receiving an award from Action for Children's Television, favorable reviews, and a ranking in Time magazine's "Best of '87" feature, Mighty Mouse: The New Adventures was canceled by CBS following the controversy. The incident had a ripple effect, weakening Nickelodeon's commitment to Junktown. Bakshi has also stated that "we were trying something different [...] but a series didn't make sense. It just didn't work". The series was scrapped, and the completed pilot aired as a special, Christmas in Tattertown, in December 1988. It was the first original animated special created for Nickelodeon. Bakshi moved into a warehouse loft in downtown Los Angeles to clear his head, and was offered $50,000 to direct a half-hour live-action film for PBS's Imagining America anthology series. Mark Bakshi produced the film, This Ain't Bebop, his first professional collaboration with his father. Bakshi wrote a poem influenced by Jack Kerouac, jazz, the Beat Generation and Brooklyn that served as the narration, which was spoken by Harvey Keitel. After a car crash, Bakshi completed the post-production in stitches and casts. Bakshi said of the work, "It's the most proud I've been of a picture since Coonskin—the last real thing I did with total integrity." As a result of the film, Bakshi received an offer to adapt Dr. Seuss's The Butter Battle Book for TNT. Ted Geisel had never been satisfied with the previous screen versions of his Dr. Seuss work. Bakshi wanted to produce an entirely faithful adaptation, and Geisel—who agreed to storyboard the special himself—was pleased with the final product. Bakshi next directed the pilot Hound Town for NBC; he described the result as "an embarrassing piece of shit". Besides Bakshi, sitcom alumus Rob Sternin and Prudence Fraser wrote and produced the project. Cool World, continued television projects and semi-retirement (1990–1997) In 1990, Bakshi pitched Cool World to Paramount Pictures as a partially animated horror film. The concept involved a cartoon and human having sex and conceiving a hybrid child who visits the real world to murder the father who abandoned him. The live-action footage was intended to look like "a living, walk-through painting", a visual concept Bakshi had long wanted to achieve. Massive sets were constructed on a sound stage in Las Vegas, based on enlargements of designer Barry Jackson's paintings. The animation was strongly influenced by the house styles of Fleischer Studios and Terrytoons. As the sets were being built, producer Frank Mancuso Jr., son of Paramount president Frank Mancuso Sr., had the screenplay rewritten in secret; the new version, by Michael Grais and Mark Victor, was radically different from Bakshi's original. Paramount threatened to sue Bakshi if he did not complete the film. As Bakshi and Mancuso wrangled over their creative differences, Bakshi and the studio also began to fight over the film's casting. To keep actor Brad Pitt, Bakshi had to replace Drew Barrymore, his original choice for the character of Holli Would, with Kim Basinger, a bigger box office draw at the time. The film's animators were never given a screenplay, and were instead told by Bakshi, "Do a scene that's funny, whatever you want to do!" Designer Milton Knight recalled that "audiences actually wanted a wilder, raunchier Cool World. The premiere audience I saw it with certainly did." The critical reaction to the film was generally negative. Roger Ebert wrote, "The DJ who was hosting the radio station's free preview of Cool World leaped onto the stage and promised the audience: 'If you liked Roger Rabbit, you'll love Cool World!' He was wrong, but you can't blame him—he hadn't seen the movie. I have, and I will now promise you that if you liked Roger Rabbit, quit while you're ahead." The film was a box-office disappointment. While other film projects followed, Bakshi began to focus more attention on painting. In 1993, Lou Arkoff, the son of Samuel Z. Arkoff, approached Bakshi to write and direct a low-budget live-action feature for Showtime's Rebel Highway series. For the third time, Bakshi revisited his screenplay for If I Catch Her, I'll Kill Her, which he retitled Cool and the Crazy. The picture, which aired September 16, 1994, starred Jared Leto, Alicia Silverstone, Jennifer Blanc and Matthew Flint. Reviewer Todd Everett noted that it had the same "hyperdrive visual sense" of Bakshi's animated films. He said, "Everything in 'Cool' [...] seems to exist in pastels and Bakshi shoots from more odd angles than any director since Sidney J. Furie in his heyday. And the closing sequences ably demonstrate how it's possible to present strong violence without any blood being shed onscreen. Bakshi pulls strong [performances] from a cadre of youngish and largely unknown actors". In 1995, Hanna-Barbera producer Fred Seibert offered Bakshi the chance to create two animated short films for Cartoon Network's What a Cartoon!: Malcom and Melvin and Babe, He Calls Me, focusing on a trumpet-playing cockroach named Malcom and his best friend, a clown named Melvin. Both were heavily edited after Bakshi turned them in and he disowned them as a result. Bakshi was subsequently contacted by HBO, which was looking to launch the first animated series specifically for adults, an interest stirred by discussions involving a series based upon Trey Parker and Matt Stone's video Christmas card, Jesus vs. Santa. Bakshi enlisted a team of writers, including his son Preston, to develop Spicy Detective, later renamed Spicy City, an anthology series set in a noir-ish, technology-driven future. Each episode was narrated by a female host named Raven, voiced by Michelle Phillips. The series premiered in July 1997—one month before the debut of Parker and Stone's South Park—and thus became the first "adults only" cartoon series. Although critical reaction was largely unfavorable, Spicy City received acceptable ratings. A second season was approved, but the network wanted to fire Bakshi's writing team and hire professional Los Angeles screenwriters. When Bakshi refused to cooperate, the series was canceled. Painting, teaching and new animation projects (2000–2013) Bakshi retired from animation once more, returning to his painting. In 2000, he began teaching an undergraduate animation class at New York's School of Visual Arts. On December 14, 2001, he did some paintings for the Cameron Crowe film Vanilla Sky. He later became involved in several screen projects, including a development deal with the Sci Fi Channel, In September 2002, Bakshi, Liz and their dogs moved to New Mexico, where he became more productive than ever in his painting and began development on the Last Days of Coney Island film. In 2003, he appeared as the Fire Chief in the episode "Fire Dogs 2" of John Kricfalusi's Ren & Stimpy "Adult Party Cartoon". In September 2008, Main Street Pictures announced that it would collaborate with Bakshi on a sequel to Wizards. In 2012, Bakshi began producing the short film series Bakshi Blues. The first of these shorts, Trickle Dickle Down, contains reused animation from Coonskin and criticizes 2012 Republican presidential candidate Mitt Romney. The shorts were to focus on "old and new characters" and comment on modern-day America. Last Days of Coney Island (2013–2016) In February 2013, Bakshi launched a successful Kickstarter campaign to obtain funding for his latest film, Last Days of Coney Island. Actor Matthew Modine was cast in the film in February 2013 after Modine, a longtime Bakshi fan, came across the film's Kickstarter campaign online. Last Days of Coney Island was released on Vimeo in 2015. Bakshi released the film for free on YouTube on 13 October 2016. Post-animation (2015–present) After he quit the animation industry, Bakshi did multiple interviews with the media and on podcasts. He continues to sell art on eBay and his website, both run by the Bakshi family. He currently sells an art series called Little Guys and Gals, which are fictional portraits of cartoon people. The series originated in November 2020 as random character sketches and officially began in January 2021, originally calling the series Little Gals and Little Guys. Bakshi appeared as a guest at a Canadian film festival which celebrates animation, SPARK Animation, which was held virtually, from October 28 to November 7, 2021. Accolades In 2003, Bakshi received a Maverick Tribute Award at the Cinequest San Jose Film Festival the same year he began teaching an animation class in New Mexico - this became The Bakshi School of Animation and Cartooning, which is run by Ralph's son Edward and his partner Jess Gorell. The Online Film Critics Society released a list of the "Top 100 Animated Features of All Time" in March 2003 that included four of Bakshi's films: Fritz the Cat, The Lord of the Rings, Coonskin and Fire and Ice. Fritz the Cat was ranked number 56 in the 2004 poll conducted by Britain's Channel 4 for its documentary The 100 Greatest Cartoons. The Museum of Modern Art has added Bakshi's films to its collection for preservation. In the 1980s and 1990s he served on the advisory board of the Los Angeles Student Film Institute. In 2021, Ralph Bakshi won the Animafest Zagreb Lifetime Achievement Award for his animation career and the impact of his films. Legacy The availability of Bakshi's work on the Internet sparked a resurgence of interest in his career, resulting in a three-day American Cinematheque retrospective held at Grauman's Egyptian Theatre in Hollywood and the Aero Theater in Santa Monica, California, in April 2005. Unfiltered: The Complete Ralph Bakshi, a hardcover book of Bakshi's art, was released on April 1, 2008. The foreword was written by Quentin Tarantino and the afterword by Bakshi. His rotoscoping techniques in Lord of the Rings inspired the animation rotoscoping techniques of the independent film The Spine of Night in which the animator developed his own rotoscope style by watching behind-the-scenes footage of Bakshi's warehouse and reverse-engineering it. Billie Eilish had the idea for an animated version of herself for her in the concert film Happier Than Ever: A Love Letter to Los Angeles (which is a promotion for the album of the same name) and suggested to director Patrick Osborne that the character should have a 1980s look and rotoscope-ish animation. Eilish referenced the works of Bakshi and animator Richard Williams to him. Gore Verbinski commented about Bakshi and showed that he was inspired by him during an interview in The Hollywood Reporter for his first animated movie, Rango, saying: "What happened to the Ralph Bakshis of the world? We're all sitting here talking family entertainment. Does animation have to be family entertainment? Audiences want something new; they just can't articulate what." On January 12, 2014, at The Egyptian Theatre in Hollywood, there was a special screening of Bakshi's film American Pop with actors Ron Thompson and Mews Small in attendance, it was the first time lead actor Ron Thompson had ever introduced the film before a live audience. At the Aero Theatre in Santa Monica, California, on March 27, 2015, there was a screening of Heavy Traffic and American Pop with Bakshi, Ron Thompson and Mews Small attending. Fritz the Cat has also been called an animated art film. Filmography Films Television I Selected episodes II Provided the voices of Connelly and Goldblum in the episode "Sex Drive", and Stevie in the episode "Mano's Hands" III Provided the voice of the Super Hero IV Animated in conjunction with Doug Compton V Provided the voice of Fire Chief in the episode "Fire Dogs 2" Releases and ratings Bibliography Ralph Bakshi: A Private selection of drawings released from the Bakshi Archives. 2018 - 2019; Book 1 (2019) Ralph Bakshi: No Rhyme or Reason; Book 2 (2020) See also Heavy Metal Ron Thompson John Kricfalusi Katsuhiro Otomo Rock & Rule Independent animation New Hollywood Notes References External links Official page filmography Archived 'American Pop'... Matters: Ron Thompson, the Illustrated Man Unsung interview at PopMatters Rotospective: Ralph Bakshi, Lessons in Artistry, Rebellion and Success a profile at AgentPalmer.com 1938 births American animators American comic strip cartoonists American experimental filmmakers American film producers American animated film producers American storyboard artists American television directors Television producers from New York City American television writers 20th-century American painters American male painters 21st-century American painters 21st-century American male writers American male screenwriters American male voice actors American animated film directors American people of Palestinian-Jewish descent Jewish American artists American satirists Jews in Mandatory Palestine Living people American male television writers People from Haifa Terrytoons people Underground cartoonists American voice directors Krymchaks Artists from New York City High School of Art and Design alumni Mandatory Palestine emigrants to the United States People from Brownsville, Brooklyn Thomas Jefferson High School (Brooklyn) alumni Film directors from New York (state) 21st-century American non-fiction writers American male non-fiction writers Screenwriters from New York (state) Inkpot Award winners Famous Studios people	false	[ "Venu Thottempudi (born 4 June 1976) is an Indian film actor who primarily works in Telugu cinema. He has appeared in several successful Telugu films as a lead actor.\n\nCareer\nAfter finishing his engineering from Dharwad Engineering College, Thottempudi started pursuing acting as his career. For his first acting job, he was cast as the main lead in a movie directed by Bharathiraja. After a brief period of shooting, the movie was stalled and later cancelled due to production problems. To promote Thottempudi , his friend Venkata Shyamprasad formed S. P. Entertainments. Under this banner, in 1999 Thottempudi started his career with the movie Swayamvaram, directed by K. Vijaya Bhaskar. Co-starring Laya, the movie was very successful at the box-office and Thottempudi won a Nandi Special Jury Award for the movie. Thottempudi became well known for his dialogue delivery, timing, expressions and clear portrayal of emotions. In 2000, Thottempudi won at the boxoffice once again with Chiru Navvuto. G. Ramprasad, who earlier worked with B. Gopal as an assistant director, was roped in as the director for this movie. This movie co-starring Shaheen Khan was produced once again by S. P. Entertainments. Chiru Navvuto became one of the milestones in Thottempudi 's career.\n\nAfter a couple of successful films, Thottempudi received several offers. Later he appeared in a few unsuccessful films like Manasu Paddanu Kaani directed by Veeru and Veedekkadi Mogudandi? directed by E. V. V. Satyanarayana. He later bounced back with a couple of hits like Hanuman Junction directed by M. Raja and Pellam Oorelithe directed by S. V. Krishna Reddy. In 2003, his movie Kalyana Ramudu, co-starring Prabhu Deva and Nikita Thukral, was directed by G. Ram Prasad. He also starred in Cheppave Chirugali, directed by noted Tamil director, Vikraman. His next releases were Sadaa Mee Sevalo (2005) directed by Neelakanta, Bahumati directed by S. V. Krishna Reddy and Allare Allari directed by Muppalaneni Siva.\n\nIn 2007, his movie Yamagola Malli Modalayindi co-starring Srikanth, Meera Jasmine and Reemma Sen was released. This movie was successful at the box-office. In 2008, he was seen in a small yet vital role in the movie Chintakayala Ravi starring Venkatesh. In 2009 he was seen in Gopi Gopika Godavari directed by Vamsy and co-starring Kamalinee Mukherjee. In 2011, Thottempudi was seen in Dileep Polan's Mayagadu opposite Charmy Kaur. His next release was titled Ramachari and directed by Eshawar. He is paired with Kamalinee Mukherjee in this movie. Thottempudi was also seen in N. T. Rama Rao Jr.'s movie Dammu, directed by Boyapati Srinu. After 9 years Venu will be Seen in Ravi Teja's movie Ramarao on Duty, directed by Sarath Mandava.\n\nFilmography\n\nAwards and nominations\n\nReferences\n\nExternal links\n\nLiving people\nTelugu people\nTelugu male actors\nIndian male film actors\nMale actors from Hyderabad, India\n1976 births\nTelugu comedians\nIndian male comedians\nMale actors in Telugu cinema\n21st-century Indian male actors", "The Artillery Sergeant Kalen (Polish: Ogniomistrz Kaleń) is a Polish war movie released in 1961. The movie was directed by Ewa Petelska and Czesław Petelski. The movie is about the fate of Polish soldier named Kaleń (acted by Wiesław Gołas) who fought with UPA in 1945.\n\nReferences\n\nExternal links\n\n Ogniomistrz Kaleń at the Filmweb.pl \n\nPolish films\nPolish war drama films\nPolish black-and-white films\nPolish-language films\n1960s war drama films\n1961 films\nFilms directed by Ewa Petelska\nFilms directed by Czesław Petelski\n1961 drama films\nPolish World War II films" ]
[ "Ralph Bakshi", "Coonskin (1973-1975)", "Is coonskin a movie?", "Coonskin, advertised as an exploitation film,", "Who starred in coonskin?", "Bakshi hired several African American animators to work on Coonskin, including Brenda Banks, the first African American female animator.", "Was the movie a success?", "Coonskin, advertised as an exploitation film, was given limited distribution and soon disappeared from theaters. Initial reviews were negative;", "How many copies were sold?", "I don't know.", "Who directed the movie?", "I don't know." ]	C_0425b70eeebf4afa91523e82d63c3bd2_1	Who produced the movie?	6	Who produced the movie Coonskin?	Ralph Bakshi	In 1973, Bakshi and Ruddy began the production of Harlem Nights, which Paramount was originally contracted to distribute. While Fritz the Cat and Heavy Traffic proved that adult-oriented animation could be financially successful, animated films were still not respected, and Bakshi's pictures were considered to be "dirty Disney flicks" that were "mature" only for depicting sex, drugs and profanity. Harlem Nights, based on Bakshi's firsthand experiences with racism, was an attack on racist prejudices and stereotypes. Bakshi cast Scatman Crothers, Philip Michael Thomas, Barry White and Charles Gordone in live-action and voice roles, cutting in and out of animation abruptly rather than seamlessly because he wanted to prove that the two mediums could "coexist with neither excuse nor apology". He wrote a song for Crothers to sing during the opening title sequence: "Ah'm a Niggerman". Its structure was rooted in the history of the slave plantation: slaves would "shout" lines from poems and stories great distances across fields in unison, creating a natural beat. Bakshi has described its vocal style, backed by fast guitar licks, as an "early version of rap". Bakshi intended to attack stereotypes by portraying them directly, culling imagery from blackface iconography. Early designs in which the main characters (Brother Rabbit, Brother Bear and Preacher Fox) resembled figures from The Wind in the Willows were rejected. Bakshi juxtaposed stereotypical designs of blacks with even more negative depictions of white racists, but the film's strongest criticism is directed at the Mafia. Bakshi said, "I was sick of all the hero worship these guys got because of The Godfather." Production concluded in 1973. During editing, the title was changed to Coonskin No More..., and finally to Coonskin. Bakshi hired several African American animators to work on Coonskin, including Brenda Banks, the first African American female animator. Bakshi also hired graffiti artists and trained them to work as animators. The film's release was delayed by protests from the Congress of Racial Equality, which called Bakshi and his film racist. After its distribution was contracted to the Bryanston Distributing Company, Paramount canceled a project that Bakshi and Ruddy were developing, The American Chronicles. Coonskin, advertised as an exploitation film, was given limited distribution and soon disappeared from theaters. Initial reviews were negative; Playboy commented that "Bakshi seems to throw in a little of everything and he can't quite pull it together." Eventually, positive reviews appeared in The Hollywood Reporter, New York Amsterdam News (an African American newspaper) and elsewhere. The New York Times' Richard Eder said the film "could be [Bakshi's] masterpiece [...] a shattering successful effort to use an uncommon form--cartoons and live action combined to convey the hallucinatory violence and frustration of American city life, specifically black city life [...] lyrically violent, yet in no way [does it] exploit violence". Variety called it a "brutal satire from the streets". A reviewer for the Los Angeles Herald-Examiner wrote, "Certainly, it will outrage some and, indeed, it's not Disney. [...] The dialog it has obviously generated--if not the box office obstacles--seems joltingly healthy." Bakshi called Coonskin his best film. CANNOTANSWER	Bakshi and Ruddy began the production of Harlem Nights,	Ralph Bakshi (; born October 29, 1938) is an American director of animated and live-action films. In the 1970s, he established an alternative to mainstream animation through independent and adult-oriented productions. Between 1972 and 1992, he directed nine theatrically released feature films, five of which he wrote. He has been involved in numerous television projects as director, writer, producer, and animator. Beginning his career at the Terrytoons television cartoon studio as a cel polisher, Bakshi was eventually promoted to animator, and then director. He moved to the animation division of Paramount Pictures in 1967 and started his own studio, Bakshi Productions, in 1968. Through producer Steve Krantz, Bakshi made his debut feature film, Fritz the Cat, released in 1972. It was based on the comic strip by Robert Crumb and was the first animated film to receive an X rating from the Motion Picture Association of America, and is the most successful independent animated feature of all time. Over the next 11 years, Bakshi directed seven additional animated features. He is well known for such films as Wizards (1977), The Lord of the Rings (1978), American Pop (1981), and Fire and Ice (1983). In 1987, Bakshi returned to television work, producing the series Mighty Mouse: The New Adventures, which ran for two years. After a nine-year hiatus from feature films, he directed Cool World (1992), which was largely rewritten during production and received poor reviews, consequently being his last theatrical feature-length film to date. Bakshi returned to television with the live-action film Cool and the Crazy (1994) and the anthology series Spicy City (1997). During the 2000s, he focused largely on fine art and painting, and in 2003, co-founded the Bakshi School of Animation with his son Eddie and Jess Gorell. Bakshi has received several awards for his work, including the 1980 Golden Gryphon for The Lord of the Rings at the Giffoni Film Festival, the 1988 Annie Award for Distinguished Contribution to the Art of Animation, and the 2003 Maverick Tribute Award at the Cinequest Film Festival. Early life Ralph Bakshi was born on October 29, 1938, in Haifa, British Mandate of Palestine (now Israel), to a Krymchak Jewish family. In 1939, his family migrated to the United States, and he grew up in the Brownsville neighborhood of Brooklyn. The family lived in a low-rent apartment, where Bakshi became fascinated with the urban milieu. As a child, he enjoyed comic books, and often dug through trash cans to find them. According to an interview in 2009, Ralph said he was very poor and the walls of his neighborhood were constantly repainted. He liked the feeling when he looked out the window and saw the sun as a little boy, and whenever he would walk out in the streets, someone would break the wooden crates, that were filled with food, in the push carts open. Ralph says this in the interview, "And the push carts were wood, and most of the buildings were made out of old wood, going back to the turn of the century, and they were repainted a lot but the paint was faded by, you know the hundred years of snow and rain, repainted and faded again." Bakshi loved the faded colors, the nails, the wooden crates, and he would build his own toys from the wood. Ralph recalls, "I had a great feeling with wood, cement, and nails". In the spring of 1947, Bakshi's father and uncle traveled to Washington, DC, in search of business opportunities, and soon moved the family to the black neighborhood of Foggy Bottom. Bakshi recalled, "All my friends were black, everyone we did business with was black, the school across the street was black. It was segregated, so everything was black. I went to see black movies; black girls sat on my lap. I went to black parties. I was another black kid on the block. No problem!" The racial segregation of local schools meant that the nearest white school was several miles away; Bakshi obtained his mother's permission to attend the nearby black school with his friends. Most of the students had no problem with Bakshi's presence, but a teacher sought advice from the principal, who called the police. Fearing that segregated whites would riot if they learned that a white, let alone Jewish, student was attending a black school, the police removed Bakshi from his classroom. Meanwhile, his father had been suffering from anxiety attacks. Within a few months, the family moved back to Brownsville, where they rarely spoke of these events. At the age of 15, after discovering Gene Byrnes' Complete Guide to Cartooning at the public library, Bakshi took up cartooning to document his experiences and create fantasy-influenced artwork. He stole a copy of the book and learned every lesson in it. During his teenaged years, Bakshi took up boxing. While attending Thomas Jefferson High School, he took little interest in academics, spending most of his time focusing on "broads, mouthing off, and doodling". After participating in a food fight and being caught smoking, Bakshi was sent to the principal's office. Believing Bakshi was unlikely to prosper at Thomas Jefferson, the principal transferred him to Manhattan's School of Industrial Art. In June 1956, Bakshi graduated from the school with an award in cartooning. Career Early career (1956–1968) When Bakshi was 18, his friend Cosmo Anzilotti was hired by the cartoon studio Terrytoons; Anzilotti recommended Bakshi to the studio's production manager, Frank Schudde. Bakshi was hired as a cel polisher and commuted four hours each day to the studio, based in suburban New Rochelle. His low-level position required Bakshi to carefully remove dirt and dust from animation cels. After a few months, Schudde was surprised that Bakshi was still showing up to work, so promoted him to cel painter. Bakshi began to practice animating; to give himself more time, at one point he slipped 10 cels he was supposed to work on into the "to-do" pile of a fellow painter, Leo Giuliani. Bakshi's deception was not noticed until two days later, when he was called to Schudde's office because the cels had been painted on the wrong side. When Bakshi explained that Giuliani had made the mistake, an argument ensued between the three. Schudde eventually took Bakshi's side. By this point, the studio's employees were aware of Bakshi's intention to become an animator, and he began to receive help and advice from established animators, including Connie Rasinski, Manny Davis, Jim Tyer, Larry Silverman, and Johnnie Gentilella. Bakshi married his first wife, Elaine, when he was 21. Their son, Mark, was born when Bakshi was 22. Elaine disliked his long work hours; parodying his marital problems, Bakshi drew Dum Dum and Dee Dee, a comic strip about a man determined "to get—and keep—the girl". As he perfected his animation style, he began to take on more jobs, including creating design tests for the studio's head director, Gene Deitch. Deitch was not convinced that Bakshi had a modern design sensibility. In response to the period's political climate and as a form of therapy, Bakshi drew the comic strips Bonefoot and Fudge, which satirized "idiots with an agenda", and Junktown, which focused on "misfit technology and discarded ideals". Bakshi's frustrations with his failing marriage and the state of the planet further drove his need to animate. In 1959, he moved his desk to join the rest of the animators; after asking Rasinski for material to animate, he received layouts of two scenes - a hat floating on water and a running Deputy Dawg, the lead character of a Terrytoons' series then being shown on CBS. Despite threats of repercussion from the animators' union, Rasinski fought to keep Bakshi as a layout artist. Bakshi began to see Rasinski as a father figure; Rasinski, childless, was happy to serve as Bakshi's mentor. At the age of 25, Bakshi was promoted to director. His first assignment was the series Sad Cat. Bakshi and his wife had separated by then, giving him the time to animate each short alone. Bakshi was dissatisfied with the traditional role of a Terrytoons director: "We didn't really 'direct' like you'd think. We were 'animation directors,' because the story department controlled the storyboards. We couldn't affect anything, but I still tried. I'd re-time, mix up soundtracks—I'd fuck with it so I could make it my own." Other animation studios, such as Hanna-Barbera, were selling shows to the networks, even as the series produced by Terrytoons (which was owned by CBS) were declining in popularity. In 1966, Bill Weiss asked Bakshi to help him carry presentation boards to Manhattan for a meeting with CBS. The network executives rejected all of Weiss's proposals as "too sophisticated", "too corny", or "too old-timey". As Fred Silverman, CBS's daytime programming chief, began to leave the office, an unprepared Bakshi pitched a superhero parody called The Mighty Heroes. He described the series' characters, including Strong Man, Tornado Man, Rope Man, Cuckoo Man, and Diaper Man: "They fought evil wherever they could, and the villains were stupider than they were." The executives loved the idea, and while Silverman required a few drawings before committing, Weiss immediately put Bakshi to work on the series' development. Once Silverman saw the character designs, he confirmed that CBS would greenlight the show, on the condition that Bakshi serve as its creative director. It would appear as a segment of Mighty Mouse Playhouse on the network's 1966–67 Saturday-morning schedule; the series was renamed Mighty Mouse and the Mighty Heroes in recognition of the new segment. Bakshi received a pay raise, but was not as satisfied with his career advancement as he had anticipated; Rasinski had died in 1965, Bakshi did not have creative control over The Mighty Heroes, and he was unhappy with the quality of the animation, writing, timing, and voice acting. Although the series' first 20 segments were successful, Bakshi wanted to leave Terrytoons to form his own company. In 1967, he drew up presentation pieces for a fantasy series called Tee-Witt, with help from Anzilotti, Johnnie Zago, and Bill Foucht. On the way to the CBS offices to make his pitch, he was involved in a car accident. At the auto body shop, he met Liz, who later became his second wife. Though CBS passed on Tee-Witt, its designs served as the basis for Bakshi's 1977 film Wizards. While leaving the network offices, he learned that Paramount Pictures had recently fired Shamus Culhane, the head of its animation division. Bakshi met with Burt Hampft, a lawyer for the studio, and was hired to replace Culhane. Bakshi enlisted comic-book and pulp-fiction artists and writers Harvey Kurtzman, Lin Carter, Gray Morrow, Archie Goodwin, Wally Wood, and Jim Steranko to work at the studio. After finishing Culhane's uncompleted shorts, he directed, produced, wrote, and designed four short films at Paramount: The Fuz, Mini-Squirts, Marvin Digs, and Mouse Trek. Marvin Digs, which Bakshi conceived as a "flower child picture", was not completed the way he had intended: It "was going to have curse words and sex scenes, and a lot more than that. [...] Of course, they wouldn't let me do that." He described the disappointing result as a "typical 1967 limited-animation theatrical". Animation historian Michael Barrier called the film "an offensively bad picture, the kind that makes people who love animation get up and leave the theater in disgust". Production of Mighty Heroes ended when Bakshi left Terrytoons. Bakshi served as head of the studio for eight months before Paramount closed its animation division on December 1, 1967. He learned that his position was always intended to be temporary and that Paramount never intended to pick up his pitches. Although Hampft was prepared to offer Bakshi a severance package, Bakshi immediately ripped up the contract. Hampft suggested that Bakshi work with producer Steve Krantz, who had recently fired Culhane as supervising director on the Canadian science-fiction series Rocket Robin Hood. Bakshi and background artist Johnnie Vita soon headed to Toronto, planning to commute between Canada and New York, with artists such as Morrow and Wood working from the United States. Unknown to Bakshi, Krantz and producer Al Guest were in the middle of a lawsuit. Failing to reach a settlement with Guest, Krantz told Bakshi to grab the series' model sheets and return to the United States. When the studio found out, a warrant for Bakshi's arrest was issued by the Toronto police. He narrowly avoided capture before being stopped by an American border guard, who asked him what he was doing. Bakshi responded, "All of these guys are heading into Canada to dodge the draft and I'm running back into the States. What the fuck is wrong with that!?" The guard laughed, and let Bakshi through. Vita was detained at the airport; he was searched and interrogated for six hours. Bakshi soon founded his own studio, Bakshi Productions, in the Garment District of Manhattan, where his mother used to work and which Bakshi described as "the worst neighborhood in the world". Bakshi Productions paid its employees higher salaries than other studios and expanded opportunities for female and minority animators. The studio began work on Rocket Robin Hood, and later took over the Spider-Man television series. Bakshi married Liz in August 1968. His second child, Preston, was born in June 1970. Fritz the Cat (1969–1972) In 1969, Ralph's Spot was founded as a division of Bakshi Productions to produce commercials for Coca-Cola and Max, the 2000-Year-Old Mouse, a series of educational shorts paid for by Encyclopædia Britannica. Bakshi was uninterested in the kind of animation the studio was turning out, and wanted to produce something personal. He soon developed Heavy Traffic, a tale of inner-city street life. Krantz told Bakshi that Hollywood studio executives would be unwilling to fund the film because of its content and Bakshi's lack of film experience, and would likely consider it if his first film was an adaptation. While browsing the East Side Book Store on St. Mark's Place, Bakshi came across a copy of Robert Crumb's Fritz the Cat. Impressed by Crumb's sharp satire, Bakshi purchased the book and suggested to Krantz that it would work as a film. Krantz arranged a meeting with Crumb, during which Bakshi presented the drawings he had created while learning the artist's distinctive style to prove that he could adapt Crumb's artwork to animation. Impressed by Bakshi's tenacity, Crumb lent him one of his sketchbooks for reference. Preparation began on a studio pitch that included a poster-sized cel featuring the comic's cast against a traced photo background—as Bakshi intended the film to appear. Despite Crumb's enthusiasm, the artist refused to sign the contract Krantz drew up. Artist Vaughn Bodē warned Bakshi against working with Crumb, describing him as "slick". Bakshi later agreed with Bodé's assessment, calling Crumb "one of the slickest hustlers you'll ever see in your life". Krantz sent Bakshi to San Francisco, where he stayed with Crumb and his wife, Dana, in an attempt to persuade Crumb to sign the contract. After a week, Crumb left, leaving the film's production status uncertain. Two weeks after Bakshi returned to New York, Krantz entered his office and told Bakshi that he had acquired the film rights through Dana, who had Crumb's power of attorney and signed the contract. Crumb was subsequently hostile both to the film and Bakshi. Krantz produced a sequel, The Nine Lives of Fritz the Cat (1974), to which Bakshi was steadfastly opposed, having wanted to kill Fritz off to avoid further movies. After Bakshi pitched the project to every major Hollywood studio, Warner Bros. bought it and promised an $850,000 budget. Bakshi hired animators with whom he had worked in the past, including Vita, Tyer, Anzilotti, and Nick Tafuri, and began the layouts and animation. The first completed sequence was a junkyard scene in Harlem, in which Fritz smokes marijuana, has sex, and incites a revolution. Krantz intended to release the sequence as a 15-minute short in case the picture's financing fell through; Bakshi, however, was determined to complete the film as a feature. They screened the sequence for Warner Bros. executives, who wanted the sexual content toned down and celebrities cast for the voice parts. Bakshi refused, and Warner Bros. pulled out, leading Krantz to seek funds elsewhere. He eventually made a deal with Jerry Gross, the owner of Cinemation Industries, a distributor specializing in exploitation films. Although Bakshi did not have enough time to pitch the film, Gross agreed to fund its production and distribute it, believing that it would fit in with his grindhouse slate. Despite receiving financing from other sources, including Saul Zaentz (who agreed to distribute the soundtrack album on his Fantasy Records label), the budget was tight enough to exclude pencil tests, so Bakshi had to test the animation by flipping an animator's drawings in his hand before they were inked and painted. When a cameraman realized that the cels for the desert scenes were not wide enough and revealed the transparency, Bakshi painted a cactus to cover the mistake. Very few storyboards were used. Bakshi and Vita walked around the Lower East Side, Washington Square Park, Chinatown, and Harlem, taking moody snapshots. Artist Ira Turek inked the outlines of these photographs onto cels with a Rapidograph, the technical pen preferred by Crumb, giving the film's backgrounds a stylized realism virtually unprecedented in animation. The tones of the watercolor backgrounds were influenced by the work of Ashcan School painters such as George Luks and John French Sloan. Among other unusual techniques, bent and fisheye camera perspectives were used to portray the way the film's hippies and hoodlums viewed the city. Many scenes featured documentary recordings of real conversations in place of scripted dialogue; this, too, would become a signature of Bakshi's. In May 1971, Bakshi moved his studio to Los Angeles to hire additional animators. Some, including Rod Scribner, Dick Lundy, Virgil Walter Ross, Norman McCabe, and John Sparey, welcomed Bakshi and felt that Fritz the Cat would bring diversity to the animation industry. Other animators were less pleased by Bakshi's arrival and placed an advertisement in The Hollywood Reporter, stating that his "filth" was unwelcome in California. By the time production wrapped, Cinemation had released Melvin Van Peebles' Sweet Sweetback's Baadasssss Song to considerable success, despite the X rating it had received. When the Motion Picture Association of America gave Bakshi's film an X rating, as well, Cinemation exploited it for promotional purposes, advertising Fritz the Cat as "90 minutes of violence, excitement, and SEX ... he's X-rated and animated!" Variety called it an "amusing, diverting, handsomely executed poke at youthful attitudes". John Grant writes in his book Masters of Animation that Fritz the Cat was "the breakthrough movie that opened brand new vistas to the commercial animator in the United States", presenting an "almost disturbingly accurate" portrayal "of a particular stratum of Western society during a particular era, [...] as such it has dated very well." Fritz the Cat was released on April 12, 1972, opening in Hollywood and Washington, D.C. A major hit, it became the most successful independent animated feature of all time. The same month as the film's release, Bakshi's daughter, Victoria, was born. Heavy Traffic (1972–1973) By the time Fritz the Cat was released, Bakshi had become a celebrity, but his reputation was primarily based upon his having directed the first "dirty" animated film. Facing criticism of his work on publicity tours and in trade publications, he began writing poetry to express his emotions. This became a tradition, and Bakshi wrote poems before beginning production on each of his films. The first of these poems was "Street Arabs", which preceded the production of Heavy Traffic in 1972. Inspiration for the film came from penny arcades, where Bakshi often played pinball, sometimes accompanied by his 12-year-old son, Mark. Bakshi pitched Heavy Traffic to Samuel Z. Arkoff, who expressed interest in his take on the "tortured underground cartoonist" and agreed to back the film. Krantz had not compensated Bakshi for his work on Fritz the Cat, and halfway through the production of Heavy Traffic, Bakshi asked when he would be paid. Krantz responded, "The picture didn't make any money, Ralph. It's just a lot of noise." Bakshi found Krantz's claims dubious, as the producer had recently purchased a new BMW and a mansion in Beverly Hills. Bakshi did not have a lawyer, so he sought advice from fellow directors with whom he had become friendly, including Martin Scorsese, Francis Ford Coppola, and Steven Spielberg. He soon accused Krantz of ripping him off, which the producer denied. As he continued to work on Heavy Traffic, Bakshi began pitching his next project, Harlem Nights, a film loosely based on the Uncle Remus story books. The idea interested producer Albert S. Ruddy, whom Bakshi encountered at a screening of The Godfather. Bakshi received a call from Krantz, who questioned him about Harlem Nights. Bakshi said, "I can't talk about that", and hung up. After locking Bakshi out of the studio the next day, Krantz called several directors, including Chuck Jones, in search of a replacement. Arkoff threatened to withdraw his financial backing unless Krantz rehired Bakshi, who returned a week later. Bakshi wanted the voices to sound organic, so he experimented with improvisation, allowing his actors to ad lib during the recording sessions. Several animation sequences appear as rough sketchbook pages. The film also incorporated live-action footage and photographs. Although Krantz, in an attempt to get the film an R rating, prepared different versions of scenes involving sex and violence, Heavy Traffic was rated X. Due to the success of Fritz the Cat, though, many theaters were willing to book adult-oriented animation, and the film did well at the box office. Bakshi became the first person in the animation industry since Walt Disney to have two financially successful movies released consecutively. Heavy Traffic was very well received by critics. Newsweek applauded its "black humor, powerful grotesquerie, and peculiar raw beauty." The Hollywood Reporter called it "shocking, outrageous, offensive, sometimes incoherent, occasionally unintelligent. However, it is also an authentic work of movie art and Bakshi is certainly the most creative American animator since Disney." Vincent Canby of The New York Times ranked Heavy Traffic among his "Ten Best Films of 1973". Upon release, the movie was banned by the Film Censorship Board in the province of Alberta, Canada. Coonskin (1973–1975) In 1973, Bakshi and Ruddy began the production of Harlem Nights, which Paramount was originally contracted to distribute. While Fritz the Cat and Heavy Traffic proved that adult-oriented animation could be financially successful, animated films were still not respected, and Bakshi's pictures were considered to be "dirty Disney flicks" that were "mature" only for depicting sex, drugs, and profanity. Harlem Nights, based on Bakshi's firsthand experiences with racism, was an attack on racist prejudices and stereotypes. Bakshi cast Scatman Crothers, Philip Michael Thomas, Barry White, and Charles Gordone in live-action and voice roles, cutting in and out of animation abruptly rather than seamlessly because he wanted to prove that the two media could "coexist with neither excuse nor apology". He wrote a song for Crothers to sing during the opening title sequence: "Ah'm a Niggerman". Its structure was rooted in the history of the slave plantation - slaves would "shout" lines from poems and stories great distances across fields in unison, creating a natural beat. Bakshi has described its vocal style, backed by fast guitar licks, as an "early version of rap". Bakshi intended to attack stereotypes by portraying them directly, culling imagery from blackface iconography. Early designs in which the main characters (Brother Rabbit, Brother Bear, and Preacher Fox) resembled figures from The Wind in the Willows were rejected. Bakshi juxtaposed stereotypical designs of blacks with even more negative depictions of white racists, but the film's strongest criticism is directed at the Mafia. Bakshi said, "I was sick of all the hero worship these guys got because of The Godfather." Production concluded in 1973. During editing, the title was changed to Coonskin No More..., and finally to Coonskin. Bakshi hired several African-American animators to work on Coonskin, including Brenda Banks, the first African-American female animator. Bakshi also hired graffiti artists and trained them to work as animators. The film's release was delayed by protests from the Congress of Racial Equality, which called Bakshi and his film racist. After its distribution was contracted to the Bryanston Distributing Company, Paramount cancelled a project that Bakshi and Ruddy were developing, The American Chronicles. Coonskin, advertised as an exploitation film, was given limited distribution and soon disappeared from theaters. Initial reviews were negative; Playboy commented that "Bakshi seems to throw in a little of everything and he can't quite pull it together." Eventually, positive reviews appeared in The Hollywood Reporter, New York Amsterdam News (an African-American newspaper), and elsewhere. The New York Times Richard Eder said the film "could be [Bakshi's] masterpiece [...] a shattering successful effort to use an uncommon form—cartoons and live action combined-to convey the hallucinatory violence and frustration of American city life, specifically black city life [...] lyrically violent, yet in no way [does it] exploit violence". Variety called it a "brutal satire from the streets". A reviewer for the Los Angeles Herald-Examiner wrote, "Certainly, it will outrage some and, indeed, it's not Disney. [...] The dialog it has obviously generated—if not the box-office obstacles—seems joltingly healthy." Bakshi called Coonskin his best film. Hey Good Lookin' (1973–1975/1982) After production concluded on Harlem Nights, Bakshi wanted to distinguish himself artistically by producing a film in which live action and animated characters would interact. Bakshi said, "The illusion I attempted to create was that of a completely live-action film. Making it work almost drove us crazy." Hey Good Lookin' is set in Brooklyn during the 1950s; its lead characters are Vinnie, the leader of a gang named "The Stompers", his friend Crazy Shapiro, and their girlfriends, Roz and Eva. Vinnie and Crazy Shapiro were based on Bakshi's high-school friends Norman Darrer and Allen Schechterman. Warner Bros. optioned the screenplay and greenlit the film in 1973. An initial version of Hey Good Lookin' was completed in 1975. A three-minute promotion of this version was screened at the 1975 Cannes Film Festival, and the film was scheduled for a Christmas 1975 release, but was moved to the summers of 1976 and later 1977, before ultimately being postponed indefinitely. Warner Bros. was concerned about any controversy the film would encounter as a result of the backlash over the film Coonskin, and felt that the film was "unreleasable" because of its mix of live action and animation, and it would not spend further money on the project. Bakshi financed the film's completion himself from the director's fees for other projects such as Wizards, The Lord of the Rings, and American Pop. The live-action sequences of Hey Good Lookin' were gradually replaced by animation; among the eliminated live-action sequences was one featuring the glam punk band New York Dolls. Singer Dan Hicks worked on the initial musical score, but the final version was scored by John Madara. Hey Good Lookin' opened in New York City on October 1, 1982, and was released in Los Angeles in January 1983. The film's release was limited, and went largely unnoticed in the United States, although it garnered respectable business in foreign markets. In a brief review, Vincent Canby wrote that it was "not exactly incoherent, but whatever it originally had on its mind seems to have slipped away". Animation historian Jerry Beck wrote, "the beginning of the film is quite promising, with a garbage can discussing life on the streets with some garbage. This is an example of what Bakshi did best—using the medium of animation to comment on society. Unfortunately, he doesn't do it enough in this film. There is a wildly imaginative fantasy sequence during the climax, when the character named Crazy starts hallucinating during a rooftop shooting spree. This scene almost justifies the whole film. But otherwise, this is a rehash of ideas better explored in Coonskin, Heavy Traffic, and Fritz the Cat." The film has since gained a cult following through cable television and home video. Quentin Tarantino stated that he preferred Hey Good Lookin' to Martin Scorsese's Mean Streets. Shift to fantasy film (1976–1978) In 1976, Bakshi pitched War Wizards to 20th Century Fox. Returning to the fantasy drawings he had created in high school for inspiration, Bakshi intended to prove that he could produce a "family picture" that had the same impact as his adult-oriented films. British illustrator Ian Miller and comic book artist Mike Ploog were hired to contribute backgrounds and designs. The crew included Vita, Turek, Sparey, Vitello and Spence, who had become comfortable with Bakshi's limited storyboarding and lack of pencil tests. As the production costs increased, Fox president Alan Ladd, Jr. declined Bakshi's requests for salary increases, and refused to give him $50,000 to complete the film. At the same time, Ladd was dealing with similar budget problems on George Lucas's Star Wars. Bakshi and Lucas had negotiated contracts entitling them to franchise ownership, merchandising and back-end payment, so Ladd suggested that they fund the completion of their films themselves. Bakshi chose rotoscoping as a cost-effective way to complete the movie's battle scenes with his own finances. Because he could not afford to hire a film crew or actors, or develop 35mm stock, Bakshi requested prints of films that contained the type of large battle scenes needed, including Sergei Eisenstein's Alexander Nevsky, and spliced together the footage he needed. However, the cost of printing photographs of each frame would have cost $3 million. Learning that IBM had introduced an industrial-sized photocopier, Bakshi asked one of the company's technical experts if he would be able to feed 35mm reels into the machine to produce enlarged copies of each frame. The experiment worked, and Bakshi got the pages he needed for a penny per copy. As War Wizards neared completion, Lucas requested that Bakshi change the title of his film to Wizards to avoid conflict with Star Wars; Bakshi agreed because Lucas had allowed Mark Hamill to take time off from Star Wars to record a voice for Wizards. Although Wizards received a limited release, it was successful in the theaters that showed it and developed a worldwide audience. Dave Kehr of The Chicago Reader saw it as "marred by cut-rate techniques and a shapeless screenplay". In the view of film historian Jerry Beck, the lead character, an aging sorcerer, "clearly owes much to cartoonist Vaughn Bodé's Cheech Wizard character." In late 1976, Bakshi learned that John Boorman was contracted to direct an adaptation of The Lord of the Rings, in which J. R. R. Tolkien's three-volume novel would be condensed into a single film. Bakshi arranged a meeting with Mike Medavoy, United Artists' head of production, who agreed to let Bakshi direct in exchange for the $3 million that had been spent on Boorman's screenplay. Down the hall from Medavoy was Metro-Goldwyn-Mayer president Dan Melnick, who interrupted a meeting with Peter Bogdanovich when he learned that Bakshi wanted to discuss acquiring the rights to The Lord of the Rings. Melnick agreed to pay United Artists $3 million, but was soon fired; the project was canceled by his replacement, Dick Shepherd. Bakshi contacted Saul Zaentz, who wrote a check to cover MGM's debt and agreed to fund the $8 million budget for the first of what was initially planned as a series of three films, and later negotiated down to two. Before production began, Bakshi and Zaentz insisted that the Tolkien estate receive residuals from the film. Bakshi did not want to produce a broad cartoon version of the tale, so he planned to shoot the entire film in live action and animate the footage with rotoscoping. The film also incorporated brief cel animation and straightforward live-action footage. Production of the live-action sequences took place in Spain. During the middle of a large shoot, union bosses called for a lunch break, and Bakshi secretly shot footage of actors in Orc costumes moving toward the craft service table, and used the footage in the film. Jerry Beck later wrote that, while he found the rotoscoped animation "beautiful", he felt that it was unclear whether the use of live action was an artistic choice or due to budgetary constraints. After the Spanish film development lab discovered that telephone lines, helicopters and cars were visible in the footage, they tried to incinerate it, telling Bakshi's first assistant director, "if that kind of sloppy cinematography got out, no one from Hollywood would ever come back to Spain to shoot again." When Bakshi returned to the United States, he learned that the cost of developing blown-up prints of each frame had risen. He did not want to repeat the process that had been used on Wizards, which was unsuitable for the level of detail he intended for The Lord of the Rings, so Bakshi and camera technician Ted Bemiller created their own photographic enlarger to process the footage cheaply. Live-action special effects and analog optics were used in place of animation to keep the visual effects budget low and give the film a more realistic look. Among the voice actors was the well-regarded John Hurt, who performed the role of Aragorn. The project's prominence brought heavy trade journal coverage, and fans such as Mick Jagger visited the studio for the chance to play a role. Animator Carl Bell loved drawing Aragorn so much that Bakshi gave Bell the live-action Aragorn costume, which he wore while animating. Viewing The Lord of the Rings as a holiday film, United Artists pressured Bakshi to complete it on schedule for its intended November 15, 1978, release. Once it was finished, Bakshi was told that audiences would not pay to see an incomplete story; over his objections, The Lord of the Rings was marketed with no indication that a second part would follow. Reviews of the film were mixed, but it was generally seen as a "flawed but inspired interpretation". Newsdays Joseph Gelmis wrote that "the film's principal reward is a visual experience unlike anything that other animated features are doing at the moment". Roger Ebert called Bakshi's effort a "mixed blessing" and "an entirely respectable, occasionally impressive job [which] still falls far short of the charm and sweep of the original story". Vincent Canby found it "both numbing and impressive". David Denby of New York felt that the film would not make sense to viewers who had not read the book. He wrote that it was too dark and lacked humor, concluding, "The lurid, meaningless violence of this movie left me exhausted and sickened by the end." The film, which cost $4 million to produce, grossed $30.5 million. The studio refused to fund the sequel, which would have adapted the remainder of the story. The Lord of the Rings won the Golden Gryphon at the 1980 Giffoni Film Festival. American Pop and Fire and Ice (1979–1983) Following the production struggles of The Lord of the Rings, Bakshi decided to work on something more personal. He pitched American Pop to Columbia Pictures president Dan Melnick. Bakshi wanted to produce a film in which songs would be given a new context in juxtaposition to the visuals. American Pop follows four generations of a Russian Jewish immigrant family of musicians, whose careers parallel the history of American pop and starred actor Ron Thompson in a dual lead role. While the film does not reflect Bakshi's own experiences, its themes were strongly influenced by people he had encountered in Brownsville. The film's crew included character layout and design artist Louise Zingarelli, Vita, Barry E. Jackson, and Marcia Adams. Bakshi again used rotoscoping, in an attempt to capture the range of emotions and movement required for the film's story. According to Bakshi, "Rotoscoping is terrible for subtleties, so it was tough to get facial performances to match the stage ones." Bakshi was able to acquire the rights to an extensive soundtrack—including songs by Janis Joplin, The Doors, George Gershwin, The Mamas & the Papas, Herbie Hancock, Lou Reed, and Louis Prima—for under $1 million. Released on February 12, 1981, the film was a financial success. The New York Times Vincent Canby wrote, "I'm amazed at the success that Mr. Bakshi has in turning animated characters into figures of real feelings." Jerry Beck called it "one of Bakshi's best films". Due to music clearance issues, it was not released on home video until 1998. By 1982, fantasy films such as The Beastmaster and Conan the Barbarian had proven successful at the box office, and Bakshi wanted to work with his long-time friend, the fantasy illustrator Frank Frazetta. Fire and Ice was financed by some of American Pops investors for $1.2 million, while 20th Century Fox agreed to distribute. Fire and Ice was the most action-oriented story Bakshi had directed, so he again used rotoscoping; the realism of the design and rotoscoped animation replicated Frazetta's artwork. Bakshi and Frazetta were heavily involved in the production of the live-action sequences, from casting sessions to the final shoot. The film's crew included background artists James Gurney and Thomas Kinkade, layout artist Peter Chung, and established Bakshi Productions artists Sparey, Steve Gordon, Bell and Banks. Chung greatly admired Bakshi's and Frazetta's work, and animated his sequences while working for The Walt Disney Company. The film was given a limited release, and was financially unsuccessful. Andrew Leal wrote, "The plot is standard [...] recalling nothing so much as a more graphic episode of Filmation's He-Man series. [...] Fire and Ice essentially stands as a footnote to the spate of barbarian films that followed in the wake of Arnold Schwarzenegger's appearance as Conan." Unproduced projects and temporary retirement (1983–1986) After production of Fire and Ice wrapped, Bakshi attempted several projects that fell through, including adaptations of Hunter S. Thompson's Fear and Loathing in Las Vegas, William Kotzwinkle's The Fan Man, E. R. Eddison's The Worm Ouroboros, Stephen Crane's Maggie: A Girl of the Streets, Mickey Spillane's Mike Hammer novels and an anthropomorphic depiction of Sherlock Holmes. He turned down offers to direct Ray Bradbury's Something Wicked This Way Comes and Philip K. Dick's Do Androids Dream of Electric Sheep?. He passed the latter to Ridley Scott, who adapted it into the 1982 film Blade Runner (although he was planning a TV version of said film). During this period, Bakshi reread J. D. Salinger's The Catcher in the Rye, which he had first read in high school, and saw parallels between his situation and that of the book's protagonist, Holden Caulfield. Inspired to seek the film rights, he intended to shoot the story's bracketing sequences in live action and to animate the core flashback scenes. Salinger had rejected previous offers to adapt the novel, and had not made a public appearance since 1965 or granted an interview since 1980. Bakshi sent Salinger a letter explaining why he should be allowed to adapt the novel; the writer responded by thanking Bakshi and asserting that the novel was unfit for any medium other than its original form. Prompted in part by Salinger's letter, Bakshi briefly retired to focus on painting. During this time he completed the screenplay for If I Catch Her, I'll Kill Her, a live-action feature he had been developing since the late 1960s. United Artists and Paramount Pictures each paid Bakshi to develop the film in the 1970s, but were unwilling to produce it, as were the studios he pitched the film to in the 1980s. According to Bakshi, "They thought that no one was going to admit that women can—and do—cheat on their husbands. They thought it was too hot, which made no sense." In 1985, he received a phone call from The Rolling Stones' manager, Tony King, who told Bakshi that the band had recorded a cover of Bob & Earl's "Harlem Shuffle", and wanted Bakshi to direct the music video. He was told that the live-action shoot needed to be completed within one day (January 28, 1986) for it to be shown at the Grammy Awards. Production designer Wolf Kroeger was forced to drastically compact his sets, and animation director and designer John Kricfalusi had to push his team, including Lynne Naylor, Jim Smith and Bob Jaques, to complete the animation within a few weeks. The band's arrival at the set was delayed by a snowstorm and several takes were ruined when the cameras crossed paths. Bakshi was forced to pay the union wages out of his own fees, and the continuity between Kricfalusi's animation and the live-action footage did not match; however, the video was completed on time. Bakshi recognized Kricfalusi's talent, and wanted to put him in charge of a project that would showcase the young animator's skills. Bakshi and Kricfalusi co-wrote the screenplay Bobby's Girl as a take on the teen films of the era. Jeff Sagansky, president of production at TriStar Pictures, put up $150,000 to develop the project, prompting Bakshi to move back to Los Angeles. When Sagansky left TriStar, Bakshi was forced to pitch the film again, but the studio's new executives did not understand its appeal and cut off financing. Bakshi and Zingarelli began to develop a feature about Hollywood's Golden Age, and Bakshi Productions crewmembers worked on proposed cartoons influenced by pulp fiction. Bobby's Girl was reworked as a potential prime time series called Suzy's in Love, but attracted no serious interest. They would try again in 2003 over at Spümcø, but nothing came from this either. Return to television (1987–1989) In April 1987, Bakshi set up a meeting with Judy Price, the head of CBS's Saturday morning block. Three days before the meeting, Bakshi, Kricfalusi, Naylor, Tom Minton, Eddie Fitzgerald and Jim Reardon met to brainstorm. Bakshi remembers, "My car was packed to the windows. Judy was my last stop before driving cross country back to New York to my family." Price rejected Bakshi's prepared pitches, but asked what else he had. He told her that he had the rights to Mighty Mouse, and she agreed to purchase the series. However, Bakshi did not own the rights and did not know who did. While researching the rights, he learned that CBS had acquired the entire Terrytoons library in 1955 and forgotten about it. According to Bakshi, "I sold them a show they already owned, so they just gave me the rights for nothin'!" Kricfalusi's team wrote story outlines for thirteen episodes in a week and pitched them to Price. By the next week, Kricfalusi had hired animators he knew who had been working at other studios. Mighty Mouse: The New Adventures went into production the month it was greenlighted; it was scheduled to premiere on September 19, 1987. This haste required the crew to be split into four teams, led by supervising director Kricfalusi, Fitzgerald, Steve Gordon and Bruce Woodside. Each team was given a handful of episodes, and operated almost entirely independently of the others. Although the scripts required approval by CBS executives, Kricfalusi insisted that the artists add visual gags as they drew. Bruce Timm, Andrew Stanton, Dave Marshall and Jeff Pidgeon were among the artists who worked on the series. Despite the time constraints, CBS was pleased with the way Bakshi Productions addressed the network's notes. During the production of the episode "The Littlest Tramp", editor Tom Klein expressed concern that a sequence showing Mighty Mouse sniffing the remains of a crushed flower resembled cocaine use. Bakshi did not initially view the footage; he believed that Klein was overreacting, but agreed to let him cut the scene. Kricfalusi expressed disbelief over the cut, insisting that the action was harmless and that the sequence should be restored. Following Kricfalusi's advice, Bakshi told Klein to restore the scene, which had been approved by network executives and the CBS standards and practices department. The episode aired on October 31, 1987, without controversy. In 1988, Bakshi received an Annie Award for "Distinguished Contribution to the Art of Animation". The same year, he began production on a series pilot loosely adapted from his Junktown comic strips. According to Bakshi, the proposed series "was going to be a revitalization of cartoon style from the '20s and '30s. It was gonna have Duke Ellington and Fats Waller jazzing up the soundtrack." Nickelodeon was initially willing to greenlight 39 episodes of Junktown. On June 6, 1988, Donald Wildmon, head of the American Family Association (AFA), alleged that "The Littlest Tramp" depicted cocaine use, instigating a media frenzy. The AFA, during its incarnation as the National Federation for Decency, had previously targeted CBS as an "accessory to murder" after a mother killed her daughter following an airing of Exorcist II: The Heretic. Concerning Bakshi's involvement with Mighty Mouse: The New Adventures, the AFA claimed that CBS "intentionally hired a known pornographer to do a cartoon for children, and then allowed him to insert a scene in which the cartoon hero is shown sniffing cocaine." Bakshi responded, "You could pick a still out of Lady and the Tramp and get the same impression. Fritz the Cat wasn't pornography. It was social commentary. This all smacks of burning books and the Third Reich. It smacks of McCarthyism. I'm not going to get into who sniffs what. This is lunacy!" On CBS's order, Klein removed the sequence from the master broadcast footage. Wildmon claimed that the edits were "a de facto admission that, indeed, Mighty Mouse was snorting cocaine". Despite receiving an award from Action for Children's Television, favorable reviews, and a ranking in Time magazine's "Best of '87" feature, Mighty Mouse: The New Adventures was canceled by CBS following the controversy. The incident had a ripple effect, weakening Nickelodeon's commitment to Junktown. Bakshi has also stated that "we were trying something different [...] but a series didn't make sense. It just didn't work". The series was scrapped, and the completed pilot aired as a special, Christmas in Tattertown, in December 1988. It was the first original animated special created for Nickelodeon. Bakshi moved into a warehouse loft in downtown Los Angeles to clear his head, and was offered $50,000 to direct a half-hour live-action film for PBS's Imagining America anthology series. Mark Bakshi produced the film, This Ain't Bebop, his first professional collaboration with his father. Bakshi wrote a poem influenced by Jack Kerouac, jazz, the Beat Generation and Brooklyn that served as the narration, which was spoken by Harvey Keitel. After a car crash, Bakshi completed the post-production in stitches and casts. Bakshi said of the work, "It's the most proud I've been of a picture since Coonskin—the last real thing I did with total integrity." As a result of the film, Bakshi received an offer to adapt Dr. Seuss's The Butter Battle Book for TNT. Ted Geisel had never been satisfied with the previous screen versions of his Dr. Seuss work. Bakshi wanted to produce an entirely faithful adaptation, and Geisel—who agreed to storyboard the special himself—was pleased with the final product. Bakshi next directed the pilot Hound Town for NBC; he described the result as "an embarrassing piece of shit". Besides Bakshi, sitcom alumus Rob Sternin and Prudence Fraser wrote and produced the project. Cool World, continued television projects and semi-retirement (1990–1997) In 1990, Bakshi pitched Cool World to Paramount Pictures as a partially animated horror film. The concept involved a cartoon and human having sex and conceiving a hybrid child who visits the real world to murder the father who abandoned him. The live-action footage was intended to look like "a living, walk-through painting", a visual concept Bakshi had long wanted to achieve. Massive sets were constructed on a sound stage in Las Vegas, based on enlargements of designer Barry Jackson's paintings. The animation was strongly influenced by the house styles of Fleischer Studios and Terrytoons. As the sets were being built, producer Frank Mancuso Jr., son of Paramount president Frank Mancuso Sr., had the screenplay rewritten in secret; the new version, by Michael Grais and Mark Victor, was radically different from Bakshi's original. Paramount threatened to sue Bakshi if he did not complete the film. As Bakshi and Mancuso wrangled over their creative differences, Bakshi and the studio also began to fight over the film's casting. To keep actor Brad Pitt, Bakshi had to replace Drew Barrymore, his original choice for the character of Holli Would, with Kim Basinger, a bigger box office draw at the time. The film's animators were never given a screenplay, and were instead told by Bakshi, "Do a scene that's funny, whatever you want to do!" Designer Milton Knight recalled that "audiences actually wanted a wilder, raunchier Cool World. The premiere audience I saw it with certainly did." The critical reaction to the film was generally negative. Roger Ebert wrote, "The DJ who was hosting the radio station's free preview of Cool World leaped onto the stage and promised the audience: 'If you liked Roger Rabbit, you'll love Cool World!' He was wrong, but you can't blame him—he hadn't seen the movie. I have, and I will now promise you that if you liked Roger Rabbit, quit while you're ahead." The film was a box-office disappointment. While other film projects followed, Bakshi began to focus more attention on painting. In 1993, Lou Arkoff, the son of Samuel Z. Arkoff, approached Bakshi to write and direct a low-budget live-action feature for Showtime's Rebel Highway series. For the third time, Bakshi revisited his screenplay for If I Catch Her, I'll Kill Her, which he retitled Cool and the Crazy. The picture, which aired September 16, 1994, starred Jared Leto, Alicia Silverstone, Jennifer Blanc and Matthew Flint. Reviewer Todd Everett noted that it had the same "hyperdrive visual sense" of Bakshi's animated films. He said, "Everything in 'Cool' [...] seems to exist in pastels and Bakshi shoots from more odd angles than any director since Sidney J. Furie in his heyday. And the closing sequences ably demonstrate how it's possible to present strong violence without any blood being shed onscreen. Bakshi pulls strong [performances] from a cadre of youngish and largely unknown actors". In 1995, Hanna-Barbera producer Fred Seibert offered Bakshi the chance to create two animated short films for Cartoon Network's What a Cartoon!: Malcom and Melvin and Babe, He Calls Me, focusing on a trumpet-playing cockroach named Malcom and his best friend, a clown named Melvin. Both were heavily edited after Bakshi turned them in and he disowned them as a result. Bakshi was subsequently contacted by HBO, which was looking to launch the first animated series specifically for adults, an interest stirred by discussions involving a series based upon Trey Parker and Matt Stone's video Christmas card, Jesus vs. Santa. Bakshi enlisted a team of writers, including his son Preston, to develop Spicy Detective, later renamed Spicy City, an anthology series set in a noir-ish, technology-driven future. Each episode was narrated by a female host named Raven, voiced by Michelle Phillips. The series premiered in July 1997—one month before the debut of Parker and Stone's South Park—and thus became the first "adults only" cartoon series. Although critical reaction was largely unfavorable, Spicy City received acceptable ratings. A second season was approved, but the network wanted to fire Bakshi's writing team and hire professional Los Angeles screenwriters. When Bakshi refused to cooperate, the series was canceled. Painting, teaching and new animation projects (2000–2013) Bakshi retired from animation once more, returning to his painting. In 2000, he began teaching an undergraduate animation class at New York's School of Visual Arts. On December 14, 2001, he did some paintings for the Cameron Crowe film Vanilla Sky. He later became involved in several screen projects, including a development deal with the Sci Fi Channel, In September 2002, Bakshi, Liz and their dogs moved to New Mexico, where he became more productive than ever in his painting and began development on the Last Days of Coney Island film. In 2003, he appeared as the Fire Chief in the episode "Fire Dogs 2" of John Kricfalusi's Ren & Stimpy "Adult Party Cartoon". In September 2008, Main Street Pictures announced that it would collaborate with Bakshi on a sequel to Wizards. In 2012, Bakshi began producing the short film series Bakshi Blues. The first of these shorts, Trickle Dickle Down, contains reused animation from Coonskin and criticizes 2012 Republican presidential candidate Mitt Romney. The shorts were to focus on "old and new characters" and comment on modern-day America. Last Days of Coney Island (2013–2016) In February 2013, Bakshi launched a successful Kickstarter campaign to obtain funding for his latest film, Last Days of Coney Island. Actor Matthew Modine was cast in the film in February 2013 after Modine, a longtime Bakshi fan, came across the film's Kickstarter campaign online. Last Days of Coney Island was released on Vimeo in 2015. Bakshi released the film for free on YouTube on 13 October 2016. Post-animation (2015–present) After he quit the animation industry, Bakshi did multiple interviews with the media and on podcasts. He continues to sell art on eBay and his website, both run by the Bakshi family. He currently sells an art series called Little Guys and Gals, which are fictional portraits of cartoon people. The series originated in November 2020 as random character sketches and officially began in January 2021, originally calling the series Little Gals and Little Guys. Bakshi appeared as a guest at a Canadian film festival which celebrates animation, SPARK Animation, which was held virtually, from October 28 to November 7, 2021. Accolades In 2003, Bakshi received a Maverick Tribute Award at the Cinequest San Jose Film Festival the same year he began teaching an animation class in New Mexico - this became The Bakshi School of Animation and Cartooning, which is run by Ralph's son Edward and his partner Jess Gorell. The Online Film Critics Society released a list of the "Top 100 Animated Features of All Time" in March 2003 that included four of Bakshi's films: Fritz the Cat, The Lord of the Rings, Coonskin and Fire and Ice. Fritz the Cat was ranked number 56 in the 2004 poll conducted by Britain's Channel 4 for its documentary The 100 Greatest Cartoons. The Museum of Modern Art has added Bakshi's films to its collection for preservation. In the 1980s and 1990s he served on the advisory board of the Los Angeles Student Film Institute. In 2021, Ralph Bakshi won the Animafest Zagreb Lifetime Achievement Award for his animation career and the impact of his films. Legacy The availability of Bakshi's work on the Internet sparked a resurgence of interest in his career, resulting in a three-day American Cinematheque retrospective held at Grauman's Egyptian Theatre in Hollywood and the Aero Theater in Santa Monica, California, in April 2005. Unfiltered: The Complete Ralph Bakshi, a hardcover book of Bakshi's art, was released on April 1, 2008. The foreword was written by Quentin Tarantino and the afterword by Bakshi. His rotoscoping techniques in Lord of the Rings inspired the animation rotoscoping techniques of the independent film The Spine of Night in which the animator developed his own rotoscope style by watching behind-the-scenes footage of Bakshi's warehouse and reverse-engineering it. Billie Eilish had the idea for an animated version of herself for her in the concert film Happier Than Ever: A Love Letter to Los Angeles (which is a promotion for the album of the same name) and suggested to director Patrick Osborne that the character should have a 1980s look and rotoscope-ish animation. Eilish referenced the works of Bakshi and animator Richard Williams to him. Gore Verbinski commented about Bakshi and showed that he was inspired by him during an interview in The Hollywood Reporter for his first animated movie, Rango, saying: "What happened to the Ralph Bakshis of the world? We're all sitting here talking family entertainment. Does animation have to be family entertainment? Audiences want something new; they just can't articulate what." On January 12, 2014, at The Egyptian Theatre in Hollywood, there was a special screening of Bakshi's film American Pop with actors Ron Thompson and Mews Small in attendance, it was the first time lead actor Ron Thompson had ever introduced the film before a live audience. At the Aero Theatre in Santa Monica, California, on March 27, 2015, there was a screening of Heavy Traffic and American Pop with Bakshi, Ron Thompson and Mews Small attending. Fritz the Cat has also been called an animated art film. Filmography Films Television I Selected episodes II Provided the voices of Connelly and Goldblum in the episode "Sex Drive", and Stevie in the episode "Mano's Hands" III Provided the voice of the Super Hero IV Animated in conjunction with Doug Compton V Provided the voice of Fire Chief in the episode "Fire Dogs 2" Releases and ratings Bibliography Ralph Bakshi: A Private selection of drawings released from the Bakshi Archives. 2018 - 2019; Book 1 (2019) Ralph Bakshi: No Rhyme or Reason; Book 2 (2020) See also Heavy Metal Ron Thompson John Kricfalusi Katsuhiro Otomo Rock & Rule Independent animation New Hollywood Notes References External links Official page filmography Archived 'American Pop'... Matters: Ron Thompson, the Illustrated Man Unsung interview at PopMatters Rotospective: Ralph Bakshi, Lessons in Artistry, Rebellion and Success a profile at AgentPalmer.com 1938 births American animators American comic strip cartoonists American experimental filmmakers American film producers American animated film producers American storyboard artists American television directors Television producers from New York City American television writers 20th-century American painters American male painters 21st-century American painters 21st-century American male writers American male screenwriters American male voice actors American animated film directors American people of Palestinian-Jewish descent Jewish American artists American satirists Jews in Mandatory Palestine Living people American male television writers People from Haifa Terrytoons people Underground cartoonists American voice directors Krymchaks Artists from New York City High School of Art and Design alumni Mandatory Palestine emigrants to the United States People from Brownsville, Brooklyn Thomas Jefferson High School (Brooklyn) alumni Film directors from New York (state) 21st-century American non-fiction writers American male non-fiction writers Screenwriters from New York (state) Inkpot Award winners Famous Studios people	true	[ "Steve Gukas is a Nollywood filmmaker, director and producer who believes that films should be used to address the ills of the society.\n\nEducation\nGukas studied Television Production at NTA TV College in Jos, Theatre Arts at the University of Jos and Film production at the London Film School, United Kingdom.\n\nCareer\nHe is a former managing director of a Nigerian radio station, WE FM.\n\nIn 2002, he directed the movie \"Keeping Faith\". In 2007, he produced the iconic movie, \"Namibia: The Struggle for Liberation\", featuring the American actor, Danny Glover; it was his first project.\n\nIn 2014, the film he directed and produced, \"A Place in the Stars\" was released. The film was produced in honour of Dora Akunyili, the late Director-General of the National Agency for Food and Drug Administration and Control (NAFDAC), who fought against the production, sales and usage of adulterated drugs in Nigeria. The movie starred Segun Arinze, Dejumo Lewis, Matilda Obaseki, Gideon Okeke, Yemi Blaq and Femi Branch. Later on, at the 2015 Africa Magic Viewers Choice Awards (AMVCA), the movie won the Best Movie (Drama) award.\n\nIn 2016, he directed the movie, \"93 Days\", a movie created in memory of Dr. Stella Ameyo Adadevoh, a late Nigerian physician who alongside other health workers in Lagos, helped stop the spread of the Ebola virus in Nigeria by sacrificing herself to the task in 2014. The movie featured Nollywood actors and Bimbo Akintola, Danny Glover, Seun Ajayi, Keppy Ekpeyong and Bimbo Manuel. The film streams on NETFLIX. The movie, alongside two others (\"Isoken\" and \"The Bridge\") were the first movies to be screened in the \"Nollywood in Hollywood\" initiative's first edition. The movie premiered in early September 2016 at the Toronto International Film Festival and at the Chicago International Film Festival.\n\nHe also produced, \"Keeping The Faith\" and \"Mr. Johnson\". He, as well desires to make a film on the Nigeria's Plateau State capital, Jos.\n\nHe was part of the discussants at the 2017 Rapid Lion South African International Film Festival in which participants discussed the present and future of the African Cinema.\n\nHe was a co-producer of a sequel to the movie which gave birth to Nigeria's Nollywood, titled \"Living in Bondage\", originally produced in 1992, who according to Ramsey Nouah, the film's director as well as an actor in reference to Gukas, had \"a reputation of doing big projects\". The film featured actors like Kenneth Okonkwo, Kanayo O. Kanayo and Bob-Manuel Udokwu, Enyinna Nwigwe and Kalu Ikeagwu.\n\nIn the AMVCA awards 2020, for the 2019 movie, \"Living in Bondage\", he won the \"Best Movie West Africa\" award, with a cash prize of N1,000,000, courtesy of Clorets, in support to the Nigerian Movie Industry.\n\nQuotes\n\nFilmography\n\nReferences\n\nExternal links\n Steve Gukas on IMDb\n Steve Gukas on SPLA\n \n\nNigerian filmmakers\nNigerian film directors\nNigerian film producers\nLiving people\nYear of birth missing (living people)", "Movie Underground was a weekly television program produced in the U.S. by WGN America that aired from 2008 to 2010.\n\nThe show revolved around the character The Night Watchman (played by Marc Chase) who guarded the Fortress of Television Innovation. His job was to guard the movie vault and protect the viewer from mediocre television. Every week, the Night Watchman mined a new movie from the vault for the show.\n\nEach movie included commentary and trivia facts from The Night Watchman and his sexy co-host, The Nightie Watchman, played by April Rose.\n\nMost segments were directed and produced by Paul Crossey with help from crews from local station WGN-TV.\n\nSegments were written by Michael 'Fin' Walter\n\nIn 2010, Movie Underground was dropped from the fall lineup.\n\nExternal links\n“Movie Underground” site\n\nAmerican motion picture television series\n2008 American television series debuts\n2010 American television series endings\nWGN America original programming" ]
[ "Ralph Bakshi", "Coonskin (1973-1975)", "Is coonskin a movie?", "Coonskin, advertised as an exploitation film,", "Who starred in coonskin?", "Bakshi hired several African American animators to work on Coonskin, including Brenda Banks, the first African American female animator.", "Was the movie a success?", "Coonskin, advertised as an exploitation film, was given limited distribution and soon disappeared from theaters. Initial reviews were negative;", "How many copies were sold?", "I don't know.", "Who directed the movie?", "I don't know.", "Who produced the movie?", "Bakshi and Ruddy began the production of Harlem Nights," ]	C_0425b70eeebf4afa91523e82d63c3bd2_1	Any important information?	7	Any important information about Coonskin?	Ralph Bakshi	In 1973, Bakshi and Ruddy began the production of Harlem Nights, which Paramount was originally contracted to distribute. While Fritz the Cat and Heavy Traffic proved that adult-oriented animation could be financially successful, animated films were still not respected, and Bakshi's pictures were considered to be "dirty Disney flicks" that were "mature" only for depicting sex, drugs and profanity. Harlem Nights, based on Bakshi's firsthand experiences with racism, was an attack on racist prejudices and stereotypes. Bakshi cast Scatman Crothers, Philip Michael Thomas, Barry White and Charles Gordone in live-action and voice roles, cutting in and out of animation abruptly rather than seamlessly because he wanted to prove that the two mediums could "coexist with neither excuse nor apology". He wrote a song for Crothers to sing during the opening title sequence: "Ah'm a Niggerman". Its structure was rooted in the history of the slave plantation: slaves would "shout" lines from poems and stories great distances across fields in unison, creating a natural beat. Bakshi has described its vocal style, backed by fast guitar licks, as an "early version of rap". Bakshi intended to attack stereotypes by portraying them directly, culling imagery from blackface iconography. Early designs in which the main characters (Brother Rabbit, Brother Bear and Preacher Fox) resembled figures from The Wind in the Willows were rejected. Bakshi juxtaposed stereotypical designs of blacks with even more negative depictions of white racists, but the film's strongest criticism is directed at the Mafia. Bakshi said, "I was sick of all the hero worship these guys got because of The Godfather." Production concluded in 1973. During editing, the title was changed to Coonskin No More..., and finally to Coonskin. Bakshi hired several African American animators to work on Coonskin, including Brenda Banks, the first African American female animator. Bakshi also hired graffiti artists and trained them to work as animators. The film's release was delayed by protests from the Congress of Racial Equality, which called Bakshi and his film racist. After its distribution was contracted to the Bryanston Distributing Company, Paramount canceled a project that Bakshi and Ruddy were developing, The American Chronicles. Coonskin, advertised as an exploitation film, was given limited distribution and soon disappeared from theaters. Initial reviews were negative; Playboy commented that "Bakshi seems to throw in a little of everything and he can't quite pull it together." Eventually, positive reviews appeared in The Hollywood Reporter, New York Amsterdam News (an African American newspaper) and elsewhere. The New York Times' Richard Eder said the film "could be [Bakshi's] masterpiece [...] a shattering successful effort to use an uncommon form--cartoons and live action combined to convey the hallucinatory violence and frustration of American city life, specifically black city life [...] lyrically violent, yet in no way [does it] exploit violence". Variety called it a "brutal satire from the streets". A reviewer for the Los Angeles Herald-Examiner wrote, "Certainly, it will outrage some and, indeed, it's not Disney. [...] The dialog it has obviously generated--if not the box office obstacles--seems joltingly healthy." Bakshi called Coonskin his best film. CANNOTANSWER	Bakshi juxtaposed stereotypical designs of blacks with even more negative depictions of white racists, but the film's strongest criticism is directed at the Mafia.	Ralph Bakshi (; born October 29, 1938) is an American director of animated and live-action films. In the 1970s, he established an alternative to mainstream animation through independent and adult-oriented productions. Between 1972 and 1992, he directed nine theatrically released feature films, five of which he wrote. He has been involved in numerous television projects as director, writer, producer, and animator. Beginning his career at the Terrytoons television cartoon studio as a cel polisher, Bakshi was eventually promoted to animator, and then director. He moved to the animation division of Paramount Pictures in 1967 and started his own studio, Bakshi Productions, in 1968. Through producer Steve Krantz, Bakshi made his debut feature film, Fritz the Cat, released in 1972. It was based on the comic strip by Robert Crumb and was the first animated film to receive an X rating from the Motion Picture Association of America, and is the most successful independent animated feature of all time. Over the next 11 years, Bakshi directed seven additional animated features. He is well known for such films as Wizards (1977), The Lord of the Rings (1978), American Pop (1981), and Fire and Ice (1983). In 1987, Bakshi returned to television work, producing the series Mighty Mouse: The New Adventures, which ran for two years. After a nine-year hiatus from feature films, he directed Cool World (1992), which was largely rewritten during production and received poor reviews, consequently being his last theatrical feature-length film to date. Bakshi returned to television with the live-action film Cool and the Crazy (1994) and the anthology series Spicy City (1997). During the 2000s, he focused largely on fine art and painting, and in 2003, co-founded the Bakshi School of Animation with his son Eddie and Jess Gorell. Bakshi has received several awards for his work, including the 1980 Golden Gryphon for The Lord of the Rings at the Giffoni Film Festival, the 1988 Annie Award for Distinguished Contribution to the Art of Animation, and the 2003 Maverick Tribute Award at the Cinequest Film Festival. Early life Ralph Bakshi was born on October 29, 1938, in Haifa, British Mandate of Palestine (now Israel), to a Krymchak Jewish family. In 1939, his family migrated to the United States, and he grew up in the Brownsville neighborhood of Brooklyn. The family lived in a low-rent apartment, where Bakshi became fascinated with the urban milieu. As a child, he enjoyed comic books, and often dug through trash cans to find them. According to an interview in 2009, Ralph said he was very poor and the walls of his neighborhood were constantly repainted. He liked the feeling when he looked out the window and saw the sun as a little boy, and whenever he would walk out in the streets, someone would break the wooden crates, that were filled with food, in the push carts open. Ralph says this in the interview, "And the push carts were wood, and most of the buildings were made out of old wood, going back to the turn of the century, and they were repainted a lot but the paint was faded by, you know the hundred years of snow and rain, repainted and faded again." Bakshi loved the faded colors, the nails, the wooden crates, and he would build his own toys from the wood. Ralph recalls, "I had a great feeling with wood, cement, and nails". In the spring of 1947, Bakshi's father and uncle traveled to Washington, DC, in search of business opportunities, and soon moved the family to the black neighborhood of Foggy Bottom. Bakshi recalled, "All my friends were black, everyone we did business with was black, the school across the street was black. It was segregated, so everything was black. I went to see black movies; black girls sat on my lap. I went to black parties. I was another black kid on the block. No problem!" The racial segregation of local schools meant that the nearest white school was several miles away; Bakshi obtained his mother's permission to attend the nearby black school with his friends. Most of the students had no problem with Bakshi's presence, but a teacher sought advice from the principal, who called the police. Fearing that segregated whites would riot if they learned that a white, let alone Jewish, student was attending a black school, the police removed Bakshi from his classroom. Meanwhile, his father had been suffering from anxiety attacks. Within a few months, the family moved back to Brownsville, where they rarely spoke of these events. At the age of 15, after discovering Gene Byrnes' Complete Guide to Cartooning at the public library, Bakshi took up cartooning to document his experiences and create fantasy-influenced artwork. He stole a copy of the book and learned every lesson in it. During his teenaged years, Bakshi took up boxing. While attending Thomas Jefferson High School, he took little interest in academics, spending most of his time focusing on "broads, mouthing off, and doodling". After participating in a food fight and being caught smoking, Bakshi was sent to the principal's office. Believing Bakshi was unlikely to prosper at Thomas Jefferson, the principal transferred him to Manhattan's School of Industrial Art. In June 1956, Bakshi graduated from the school with an award in cartooning. Career Early career (1956–1968) When Bakshi was 18, his friend Cosmo Anzilotti was hired by the cartoon studio Terrytoons; Anzilotti recommended Bakshi to the studio's production manager, Frank Schudde. Bakshi was hired as a cel polisher and commuted four hours each day to the studio, based in suburban New Rochelle. His low-level position required Bakshi to carefully remove dirt and dust from animation cels. After a few months, Schudde was surprised that Bakshi was still showing up to work, so promoted him to cel painter. Bakshi began to practice animating; to give himself more time, at one point he slipped 10 cels he was supposed to work on into the "to-do" pile of a fellow painter, Leo Giuliani. Bakshi's deception was not noticed until two days later, when he was called to Schudde's office because the cels had been painted on the wrong side. When Bakshi explained that Giuliani had made the mistake, an argument ensued between the three. Schudde eventually took Bakshi's side. By this point, the studio's employees were aware of Bakshi's intention to become an animator, and he began to receive help and advice from established animators, including Connie Rasinski, Manny Davis, Jim Tyer, Larry Silverman, and Johnnie Gentilella. Bakshi married his first wife, Elaine, when he was 21. Their son, Mark, was born when Bakshi was 22. Elaine disliked his long work hours; parodying his marital problems, Bakshi drew Dum Dum and Dee Dee, a comic strip about a man determined "to get—and keep—the girl". As he perfected his animation style, he began to take on more jobs, including creating design tests for the studio's head director, Gene Deitch. Deitch was not convinced that Bakshi had a modern design sensibility. In response to the period's political climate and as a form of therapy, Bakshi drew the comic strips Bonefoot and Fudge, which satirized "idiots with an agenda", and Junktown, which focused on "misfit technology and discarded ideals". Bakshi's frustrations with his failing marriage and the state of the planet further drove his need to animate. In 1959, he moved his desk to join the rest of the animators; after asking Rasinski for material to animate, he received layouts of two scenes - a hat floating on water and a running Deputy Dawg, the lead character of a Terrytoons' series then being shown on CBS. Despite threats of repercussion from the animators' union, Rasinski fought to keep Bakshi as a layout artist. Bakshi began to see Rasinski as a father figure; Rasinski, childless, was happy to serve as Bakshi's mentor. At the age of 25, Bakshi was promoted to director. His first assignment was the series Sad Cat. Bakshi and his wife had separated by then, giving him the time to animate each short alone. Bakshi was dissatisfied with the traditional role of a Terrytoons director: "We didn't really 'direct' like you'd think. We were 'animation directors,' because the story department controlled the storyboards. We couldn't affect anything, but I still tried. I'd re-time, mix up soundtracks—I'd fuck with it so I could make it my own." Other animation studios, such as Hanna-Barbera, were selling shows to the networks, even as the series produced by Terrytoons (which was owned by CBS) were declining in popularity. In 1966, Bill Weiss asked Bakshi to help him carry presentation boards to Manhattan for a meeting with CBS. The network executives rejected all of Weiss's proposals as "too sophisticated", "too corny", or "too old-timey". As Fred Silverman, CBS's daytime programming chief, began to leave the office, an unprepared Bakshi pitched a superhero parody called The Mighty Heroes. He described the series' characters, including Strong Man, Tornado Man, Rope Man, Cuckoo Man, and Diaper Man: "They fought evil wherever they could, and the villains were stupider than they were." The executives loved the idea, and while Silverman required a few drawings before committing, Weiss immediately put Bakshi to work on the series' development. Once Silverman saw the character designs, he confirmed that CBS would greenlight the show, on the condition that Bakshi serve as its creative director. It would appear as a segment of Mighty Mouse Playhouse on the network's 1966–67 Saturday-morning schedule; the series was renamed Mighty Mouse and the Mighty Heroes in recognition of the new segment. Bakshi received a pay raise, but was not as satisfied with his career advancement as he had anticipated; Rasinski had died in 1965, Bakshi did not have creative control over The Mighty Heroes, and he was unhappy with the quality of the animation, writing, timing, and voice acting. Although the series' first 20 segments were successful, Bakshi wanted to leave Terrytoons to form his own company. In 1967, he drew up presentation pieces for a fantasy series called Tee-Witt, with help from Anzilotti, Johnnie Zago, and Bill Foucht. On the way to the CBS offices to make his pitch, he was involved in a car accident. At the auto body shop, he met Liz, who later became his second wife. Though CBS passed on Tee-Witt, its designs served as the basis for Bakshi's 1977 film Wizards. While leaving the network offices, he learned that Paramount Pictures had recently fired Shamus Culhane, the head of its animation division. Bakshi met with Burt Hampft, a lawyer for the studio, and was hired to replace Culhane. Bakshi enlisted comic-book and pulp-fiction artists and writers Harvey Kurtzman, Lin Carter, Gray Morrow, Archie Goodwin, Wally Wood, and Jim Steranko to work at the studio. After finishing Culhane's uncompleted shorts, he directed, produced, wrote, and designed four short films at Paramount: The Fuz, Mini-Squirts, Marvin Digs, and Mouse Trek. Marvin Digs, which Bakshi conceived as a "flower child picture", was not completed the way he had intended: It "was going to have curse words and sex scenes, and a lot more than that. [...] Of course, they wouldn't let me do that." He described the disappointing result as a "typical 1967 limited-animation theatrical". Animation historian Michael Barrier called the film "an offensively bad picture, the kind that makes people who love animation get up and leave the theater in disgust". Production of Mighty Heroes ended when Bakshi left Terrytoons. Bakshi served as head of the studio for eight months before Paramount closed its animation division on December 1, 1967. He learned that his position was always intended to be temporary and that Paramount never intended to pick up his pitches. Although Hampft was prepared to offer Bakshi a severance package, Bakshi immediately ripped up the contract. Hampft suggested that Bakshi work with producer Steve Krantz, who had recently fired Culhane as supervising director on the Canadian science-fiction series Rocket Robin Hood. Bakshi and background artist Johnnie Vita soon headed to Toronto, planning to commute between Canada and New York, with artists such as Morrow and Wood working from the United States. Unknown to Bakshi, Krantz and producer Al Guest were in the middle of a lawsuit. Failing to reach a settlement with Guest, Krantz told Bakshi to grab the series' model sheets and return to the United States. When the studio found out, a warrant for Bakshi's arrest was issued by the Toronto police. He narrowly avoided capture before being stopped by an American border guard, who asked him what he was doing. Bakshi responded, "All of these guys are heading into Canada to dodge the draft and I'm running back into the States. What the fuck is wrong with that!?" The guard laughed, and let Bakshi through. Vita was detained at the airport; he was searched and interrogated for six hours. Bakshi soon founded his own studio, Bakshi Productions, in the Garment District of Manhattan, where his mother used to work and which Bakshi described as "the worst neighborhood in the world". Bakshi Productions paid its employees higher salaries than other studios and expanded opportunities for female and minority animators. The studio began work on Rocket Robin Hood, and later took over the Spider-Man television series. Bakshi married Liz in August 1968. His second child, Preston, was born in June 1970. Fritz the Cat (1969–1972) In 1969, Ralph's Spot was founded as a division of Bakshi Productions to produce commercials for Coca-Cola and Max, the 2000-Year-Old Mouse, a series of educational shorts paid for by Encyclopædia Britannica. Bakshi was uninterested in the kind of animation the studio was turning out, and wanted to produce something personal. He soon developed Heavy Traffic, a tale of inner-city street life. Krantz told Bakshi that Hollywood studio executives would be unwilling to fund the film because of its content and Bakshi's lack of film experience, and would likely consider it if his first film was an adaptation. While browsing the East Side Book Store on St. Mark's Place, Bakshi came across a copy of Robert Crumb's Fritz the Cat. Impressed by Crumb's sharp satire, Bakshi purchased the book and suggested to Krantz that it would work as a film. Krantz arranged a meeting with Crumb, during which Bakshi presented the drawings he had created while learning the artist's distinctive style to prove that he could adapt Crumb's artwork to animation. Impressed by Bakshi's tenacity, Crumb lent him one of his sketchbooks for reference. Preparation began on a studio pitch that included a poster-sized cel featuring the comic's cast against a traced photo background—as Bakshi intended the film to appear. Despite Crumb's enthusiasm, the artist refused to sign the contract Krantz drew up. Artist Vaughn Bodē warned Bakshi against working with Crumb, describing him as "slick". Bakshi later agreed with Bodé's assessment, calling Crumb "one of the slickest hustlers you'll ever see in your life". Krantz sent Bakshi to San Francisco, where he stayed with Crumb and his wife, Dana, in an attempt to persuade Crumb to sign the contract. After a week, Crumb left, leaving the film's production status uncertain. Two weeks after Bakshi returned to New York, Krantz entered his office and told Bakshi that he had acquired the film rights through Dana, who had Crumb's power of attorney and signed the contract. Crumb was subsequently hostile both to the film and Bakshi. Krantz produced a sequel, The Nine Lives of Fritz the Cat (1974), to which Bakshi was steadfastly opposed, having wanted to kill Fritz off to avoid further movies. After Bakshi pitched the project to every major Hollywood studio, Warner Bros. bought it and promised an $850,000 budget. Bakshi hired animators with whom he had worked in the past, including Vita, Tyer, Anzilotti, and Nick Tafuri, and began the layouts and animation. The first completed sequence was a junkyard scene in Harlem, in which Fritz smokes marijuana, has sex, and incites a revolution. Krantz intended to release the sequence as a 15-minute short in case the picture's financing fell through; Bakshi, however, was determined to complete the film as a feature. They screened the sequence for Warner Bros. executives, who wanted the sexual content toned down and celebrities cast for the voice parts. Bakshi refused, and Warner Bros. pulled out, leading Krantz to seek funds elsewhere. He eventually made a deal with Jerry Gross, the owner of Cinemation Industries, a distributor specializing in exploitation films. Although Bakshi did not have enough time to pitch the film, Gross agreed to fund its production and distribute it, believing that it would fit in with his grindhouse slate. Despite receiving financing from other sources, including Saul Zaentz (who agreed to distribute the soundtrack album on his Fantasy Records label), the budget was tight enough to exclude pencil tests, so Bakshi had to test the animation by flipping an animator's drawings in his hand before they were inked and painted. When a cameraman realized that the cels for the desert scenes were not wide enough and revealed the transparency, Bakshi painted a cactus to cover the mistake. Very few storyboards were used. Bakshi and Vita walked around the Lower East Side, Washington Square Park, Chinatown, and Harlem, taking moody snapshots. Artist Ira Turek inked the outlines of these photographs onto cels with a Rapidograph, the technical pen preferred by Crumb, giving the film's backgrounds a stylized realism virtually unprecedented in animation. The tones of the watercolor backgrounds were influenced by the work of Ashcan School painters such as George Luks and John French Sloan. Among other unusual techniques, bent and fisheye camera perspectives were used to portray the way the film's hippies and hoodlums viewed the city. Many scenes featured documentary recordings of real conversations in place of scripted dialogue; this, too, would become a signature of Bakshi's. In May 1971, Bakshi moved his studio to Los Angeles to hire additional animators. Some, including Rod Scribner, Dick Lundy, Virgil Walter Ross, Norman McCabe, and John Sparey, welcomed Bakshi and felt that Fritz the Cat would bring diversity to the animation industry. Other animators were less pleased by Bakshi's arrival and placed an advertisement in The Hollywood Reporter, stating that his "filth" was unwelcome in California. By the time production wrapped, Cinemation had released Melvin Van Peebles' Sweet Sweetback's Baadasssss Song to considerable success, despite the X rating it had received. When the Motion Picture Association of America gave Bakshi's film an X rating, as well, Cinemation exploited it for promotional purposes, advertising Fritz the Cat as "90 minutes of violence, excitement, and SEX ... he's X-rated and animated!" Variety called it an "amusing, diverting, handsomely executed poke at youthful attitudes". John Grant writes in his book Masters of Animation that Fritz the Cat was "the breakthrough movie that opened brand new vistas to the commercial animator in the United States", presenting an "almost disturbingly accurate" portrayal "of a particular stratum of Western society during a particular era, [...] as such it has dated very well." Fritz the Cat was released on April 12, 1972, opening in Hollywood and Washington, D.C. A major hit, it became the most successful independent animated feature of all time. The same month as the film's release, Bakshi's daughter, Victoria, was born. Heavy Traffic (1972–1973) By the time Fritz the Cat was released, Bakshi had become a celebrity, but his reputation was primarily based upon his having directed the first "dirty" animated film. Facing criticism of his work on publicity tours and in trade publications, he began writing poetry to express his emotions. This became a tradition, and Bakshi wrote poems before beginning production on each of his films. The first of these poems was "Street Arabs", which preceded the production of Heavy Traffic in 1972. Inspiration for the film came from penny arcades, where Bakshi often played pinball, sometimes accompanied by his 12-year-old son, Mark. Bakshi pitched Heavy Traffic to Samuel Z. Arkoff, who expressed interest in his take on the "tortured underground cartoonist" and agreed to back the film. Krantz had not compensated Bakshi for his work on Fritz the Cat, and halfway through the production of Heavy Traffic, Bakshi asked when he would be paid. Krantz responded, "The picture didn't make any money, Ralph. It's just a lot of noise." Bakshi found Krantz's claims dubious, as the producer had recently purchased a new BMW and a mansion in Beverly Hills. Bakshi did not have a lawyer, so he sought advice from fellow directors with whom he had become friendly, including Martin Scorsese, Francis Ford Coppola, and Steven Spielberg. He soon accused Krantz of ripping him off, which the producer denied. As he continued to work on Heavy Traffic, Bakshi began pitching his next project, Harlem Nights, a film loosely based on the Uncle Remus story books. The idea interested producer Albert S. Ruddy, whom Bakshi encountered at a screening of The Godfather. Bakshi received a call from Krantz, who questioned him about Harlem Nights. Bakshi said, "I can't talk about that", and hung up. After locking Bakshi out of the studio the next day, Krantz called several directors, including Chuck Jones, in search of a replacement. Arkoff threatened to withdraw his financial backing unless Krantz rehired Bakshi, who returned a week later. Bakshi wanted the voices to sound organic, so he experimented with improvisation, allowing his actors to ad lib during the recording sessions. Several animation sequences appear as rough sketchbook pages. The film also incorporated live-action footage and photographs. Although Krantz, in an attempt to get the film an R rating, prepared different versions of scenes involving sex and violence, Heavy Traffic was rated X. Due to the success of Fritz the Cat, though, many theaters were willing to book adult-oriented animation, and the film did well at the box office. Bakshi became the first person in the animation industry since Walt Disney to have two financially successful movies released consecutively. Heavy Traffic was very well received by critics. Newsweek applauded its "black humor, powerful grotesquerie, and peculiar raw beauty." The Hollywood Reporter called it "shocking, outrageous, offensive, sometimes incoherent, occasionally unintelligent. However, it is also an authentic work of movie art and Bakshi is certainly the most creative American animator since Disney." Vincent Canby of The New York Times ranked Heavy Traffic among his "Ten Best Films of 1973". Upon release, the movie was banned by the Film Censorship Board in the province of Alberta, Canada. Coonskin (1973–1975) In 1973, Bakshi and Ruddy began the production of Harlem Nights, which Paramount was originally contracted to distribute. While Fritz the Cat and Heavy Traffic proved that adult-oriented animation could be financially successful, animated films were still not respected, and Bakshi's pictures were considered to be "dirty Disney flicks" that were "mature" only for depicting sex, drugs, and profanity. Harlem Nights, based on Bakshi's firsthand experiences with racism, was an attack on racist prejudices and stereotypes. Bakshi cast Scatman Crothers, Philip Michael Thomas, Barry White, and Charles Gordone in live-action and voice roles, cutting in and out of animation abruptly rather than seamlessly because he wanted to prove that the two media could "coexist with neither excuse nor apology". He wrote a song for Crothers to sing during the opening title sequence: "Ah'm a Niggerman". Its structure was rooted in the history of the slave plantation - slaves would "shout" lines from poems and stories great distances across fields in unison, creating a natural beat. Bakshi has described its vocal style, backed by fast guitar licks, as an "early version of rap". Bakshi intended to attack stereotypes by portraying them directly, culling imagery from blackface iconography. Early designs in which the main characters (Brother Rabbit, Brother Bear, and Preacher Fox) resembled figures from The Wind in the Willows were rejected. Bakshi juxtaposed stereotypical designs of blacks with even more negative depictions of white racists, but the film's strongest criticism is directed at the Mafia. Bakshi said, "I was sick of all the hero worship these guys got because of The Godfather." Production concluded in 1973. During editing, the title was changed to Coonskin No More..., and finally to Coonskin. Bakshi hired several African-American animators to work on Coonskin, including Brenda Banks, the first African-American female animator. Bakshi also hired graffiti artists and trained them to work as animators. The film's release was delayed by protests from the Congress of Racial Equality, which called Bakshi and his film racist. After its distribution was contracted to the Bryanston Distributing Company, Paramount cancelled a project that Bakshi and Ruddy were developing, The American Chronicles. Coonskin, advertised as an exploitation film, was given limited distribution and soon disappeared from theaters. Initial reviews were negative; Playboy commented that "Bakshi seems to throw in a little of everything and he can't quite pull it together." Eventually, positive reviews appeared in The Hollywood Reporter, New York Amsterdam News (an African-American newspaper), and elsewhere. The New York Times Richard Eder said the film "could be [Bakshi's] masterpiece [...] a shattering successful effort to use an uncommon form—cartoons and live action combined-to convey the hallucinatory violence and frustration of American city life, specifically black city life [...] lyrically violent, yet in no way [does it] exploit violence". Variety called it a "brutal satire from the streets". A reviewer for the Los Angeles Herald-Examiner wrote, "Certainly, it will outrage some and, indeed, it's not Disney. [...] The dialog it has obviously generated—if not the box-office obstacles—seems joltingly healthy." Bakshi called Coonskin his best film. Hey Good Lookin' (1973–1975/1982) After production concluded on Harlem Nights, Bakshi wanted to distinguish himself artistically by producing a film in which live action and animated characters would interact. Bakshi said, "The illusion I attempted to create was that of a completely live-action film. Making it work almost drove us crazy." Hey Good Lookin' is set in Brooklyn during the 1950s; its lead characters are Vinnie, the leader of a gang named "The Stompers", his friend Crazy Shapiro, and their girlfriends, Roz and Eva. Vinnie and Crazy Shapiro were based on Bakshi's high-school friends Norman Darrer and Allen Schechterman. Warner Bros. optioned the screenplay and greenlit the film in 1973. An initial version of Hey Good Lookin' was completed in 1975. A three-minute promotion of this version was screened at the 1975 Cannes Film Festival, and the film was scheduled for a Christmas 1975 release, but was moved to the summers of 1976 and later 1977, before ultimately being postponed indefinitely. Warner Bros. was concerned about any controversy the film would encounter as a result of the backlash over the film Coonskin, and felt that the film was "unreleasable" because of its mix of live action and animation, and it would not spend further money on the project. Bakshi financed the film's completion himself from the director's fees for other projects such as Wizards, The Lord of the Rings, and American Pop. The live-action sequences of Hey Good Lookin' were gradually replaced by animation; among the eliminated live-action sequences was one featuring the glam punk band New York Dolls. Singer Dan Hicks worked on the initial musical score, but the final version was scored by John Madara. Hey Good Lookin' opened in New York City on October 1, 1982, and was released in Los Angeles in January 1983. The film's release was limited, and went largely unnoticed in the United States, although it garnered respectable business in foreign markets. In a brief review, Vincent Canby wrote that it was "not exactly incoherent, but whatever it originally had on its mind seems to have slipped away". Animation historian Jerry Beck wrote, "the beginning of the film is quite promising, with a garbage can discussing life on the streets with some garbage. This is an example of what Bakshi did best—using the medium of animation to comment on society. Unfortunately, he doesn't do it enough in this film. There is a wildly imaginative fantasy sequence during the climax, when the character named Crazy starts hallucinating during a rooftop shooting spree. This scene almost justifies the whole film. But otherwise, this is a rehash of ideas better explored in Coonskin, Heavy Traffic, and Fritz the Cat." The film has since gained a cult following through cable television and home video. Quentin Tarantino stated that he preferred Hey Good Lookin' to Martin Scorsese's Mean Streets. Shift to fantasy film (1976–1978) In 1976, Bakshi pitched War Wizards to 20th Century Fox. Returning to the fantasy drawings he had created in high school for inspiration, Bakshi intended to prove that he could produce a "family picture" that had the same impact as his adult-oriented films. British illustrator Ian Miller and comic book artist Mike Ploog were hired to contribute backgrounds and designs. The crew included Vita, Turek, Sparey, Vitello and Spence, who had become comfortable with Bakshi's limited storyboarding and lack of pencil tests. As the production costs increased, Fox president Alan Ladd, Jr. declined Bakshi's requests for salary increases, and refused to give him $50,000 to complete the film. At the same time, Ladd was dealing with similar budget problems on George Lucas's Star Wars. Bakshi and Lucas had negotiated contracts entitling them to franchise ownership, merchandising and back-end payment, so Ladd suggested that they fund the completion of their films themselves. Bakshi chose rotoscoping as a cost-effective way to complete the movie's battle scenes with his own finances. Because he could not afford to hire a film crew or actors, or develop 35mm stock, Bakshi requested prints of films that contained the type of large battle scenes needed, including Sergei Eisenstein's Alexander Nevsky, and spliced together the footage he needed. However, the cost of printing photographs of each frame would have cost $3 million. Learning that IBM had introduced an industrial-sized photocopier, Bakshi asked one of the company's technical experts if he would be able to feed 35mm reels into the machine to produce enlarged copies of each frame. The experiment worked, and Bakshi got the pages he needed for a penny per copy. As War Wizards neared completion, Lucas requested that Bakshi change the title of his film to Wizards to avoid conflict with Star Wars; Bakshi agreed because Lucas had allowed Mark Hamill to take time off from Star Wars to record a voice for Wizards. Although Wizards received a limited release, it was successful in the theaters that showed it and developed a worldwide audience. Dave Kehr of The Chicago Reader saw it as "marred by cut-rate techniques and a shapeless screenplay". In the view of film historian Jerry Beck, the lead character, an aging sorcerer, "clearly owes much to cartoonist Vaughn Bodé's Cheech Wizard character." In late 1976, Bakshi learned that John Boorman was contracted to direct an adaptation of The Lord of the Rings, in which J. R. R. Tolkien's three-volume novel would be condensed into a single film. Bakshi arranged a meeting with Mike Medavoy, United Artists' head of production, who agreed to let Bakshi direct in exchange for the $3 million that had been spent on Boorman's screenplay. Down the hall from Medavoy was Metro-Goldwyn-Mayer president Dan Melnick, who interrupted a meeting with Peter Bogdanovich when he learned that Bakshi wanted to discuss acquiring the rights to The Lord of the Rings. Melnick agreed to pay United Artists $3 million, but was soon fired; the project was canceled by his replacement, Dick Shepherd. Bakshi contacted Saul Zaentz, who wrote a check to cover MGM's debt and agreed to fund the $8 million budget for the first of what was initially planned as a series of three films, and later negotiated down to two. Before production began, Bakshi and Zaentz insisted that the Tolkien estate receive residuals from the film. Bakshi did not want to produce a broad cartoon version of the tale, so he planned to shoot the entire film in live action and animate the footage with rotoscoping. The film also incorporated brief cel animation and straightforward live-action footage. Production of the live-action sequences took place in Spain. During the middle of a large shoot, union bosses called for a lunch break, and Bakshi secretly shot footage of actors in Orc costumes moving toward the craft service table, and used the footage in the film. Jerry Beck later wrote that, while he found the rotoscoped animation "beautiful", he felt that it was unclear whether the use of live action was an artistic choice or due to budgetary constraints. After the Spanish film development lab discovered that telephone lines, helicopters and cars were visible in the footage, they tried to incinerate it, telling Bakshi's first assistant director, "if that kind of sloppy cinematography got out, no one from Hollywood would ever come back to Spain to shoot again." When Bakshi returned to the United States, he learned that the cost of developing blown-up prints of each frame had risen. He did not want to repeat the process that had been used on Wizards, which was unsuitable for the level of detail he intended for The Lord of the Rings, so Bakshi and camera technician Ted Bemiller created their own photographic enlarger to process the footage cheaply. Live-action special effects and analog optics were used in place of animation to keep the visual effects budget low and give the film a more realistic look. Among the voice actors was the well-regarded John Hurt, who performed the role of Aragorn. The project's prominence brought heavy trade journal coverage, and fans such as Mick Jagger visited the studio for the chance to play a role. Animator Carl Bell loved drawing Aragorn so much that Bakshi gave Bell the live-action Aragorn costume, which he wore while animating. Viewing The Lord of the Rings as a holiday film, United Artists pressured Bakshi to complete it on schedule for its intended November 15, 1978, release. Once it was finished, Bakshi was told that audiences would not pay to see an incomplete story; over his objections, The Lord of the Rings was marketed with no indication that a second part would follow. Reviews of the film were mixed, but it was generally seen as a "flawed but inspired interpretation". Newsdays Joseph Gelmis wrote that "the film's principal reward is a visual experience unlike anything that other animated features are doing at the moment". Roger Ebert called Bakshi's effort a "mixed blessing" and "an entirely respectable, occasionally impressive job [which] still falls far short of the charm and sweep of the original story". Vincent Canby found it "both numbing and impressive". David Denby of New York felt that the film would not make sense to viewers who had not read the book. He wrote that it was too dark and lacked humor, concluding, "The lurid, meaningless violence of this movie left me exhausted and sickened by the end." The film, which cost $4 million to produce, grossed $30.5 million. The studio refused to fund the sequel, which would have adapted the remainder of the story. The Lord of the Rings won the Golden Gryphon at the 1980 Giffoni Film Festival. American Pop and Fire and Ice (1979–1983) Following the production struggles of The Lord of the Rings, Bakshi decided to work on something more personal. He pitched American Pop to Columbia Pictures president Dan Melnick. Bakshi wanted to produce a film in which songs would be given a new context in juxtaposition to the visuals. American Pop follows four generations of a Russian Jewish immigrant family of musicians, whose careers parallel the history of American pop and starred actor Ron Thompson in a dual lead role. While the film does not reflect Bakshi's own experiences, its themes were strongly influenced by people he had encountered in Brownsville. The film's crew included character layout and design artist Louise Zingarelli, Vita, Barry E. Jackson, and Marcia Adams. Bakshi again used rotoscoping, in an attempt to capture the range of emotions and movement required for the film's story. According to Bakshi, "Rotoscoping is terrible for subtleties, so it was tough to get facial performances to match the stage ones." Bakshi was able to acquire the rights to an extensive soundtrack—including songs by Janis Joplin, The Doors, George Gershwin, The Mamas & the Papas, Herbie Hancock, Lou Reed, and Louis Prima—for under $1 million. Released on February 12, 1981, the film was a financial success. The New York Times Vincent Canby wrote, "I'm amazed at the success that Mr. Bakshi has in turning animated characters into figures of real feelings." Jerry Beck called it "one of Bakshi's best films". Due to music clearance issues, it was not released on home video until 1998. By 1982, fantasy films such as The Beastmaster and Conan the Barbarian had proven successful at the box office, and Bakshi wanted to work with his long-time friend, the fantasy illustrator Frank Frazetta. Fire and Ice was financed by some of American Pops investors for $1.2 million, while 20th Century Fox agreed to distribute. Fire and Ice was the most action-oriented story Bakshi had directed, so he again used rotoscoping; the realism of the design and rotoscoped animation replicated Frazetta's artwork. Bakshi and Frazetta were heavily involved in the production of the live-action sequences, from casting sessions to the final shoot. The film's crew included background artists James Gurney and Thomas Kinkade, layout artist Peter Chung, and established Bakshi Productions artists Sparey, Steve Gordon, Bell and Banks. Chung greatly admired Bakshi's and Frazetta's work, and animated his sequences while working for The Walt Disney Company. The film was given a limited release, and was financially unsuccessful. Andrew Leal wrote, "The plot is standard [...] recalling nothing so much as a more graphic episode of Filmation's He-Man series. [...] Fire and Ice essentially stands as a footnote to the spate of barbarian films that followed in the wake of Arnold Schwarzenegger's appearance as Conan." Unproduced projects and temporary retirement (1983–1986) After production of Fire and Ice wrapped, Bakshi attempted several projects that fell through, including adaptations of Hunter S. Thompson's Fear and Loathing in Las Vegas, William Kotzwinkle's The Fan Man, E. R. Eddison's The Worm Ouroboros, Stephen Crane's Maggie: A Girl of the Streets, Mickey Spillane's Mike Hammer novels and an anthropomorphic depiction of Sherlock Holmes. He turned down offers to direct Ray Bradbury's Something Wicked This Way Comes and Philip K. Dick's Do Androids Dream of Electric Sheep?. He passed the latter to Ridley Scott, who adapted it into the 1982 film Blade Runner (although he was planning a TV version of said film). During this period, Bakshi reread J. D. Salinger's The Catcher in the Rye, which he had first read in high school, and saw parallels between his situation and that of the book's protagonist, Holden Caulfield. Inspired to seek the film rights, he intended to shoot the story's bracketing sequences in live action and to animate the core flashback scenes. Salinger had rejected previous offers to adapt the novel, and had not made a public appearance since 1965 or granted an interview since 1980. Bakshi sent Salinger a letter explaining why he should be allowed to adapt the novel; the writer responded by thanking Bakshi and asserting that the novel was unfit for any medium other than its original form. Prompted in part by Salinger's letter, Bakshi briefly retired to focus on painting. During this time he completed the screenplay for If I Catch Her, I'll Kill Her, a live-action feature he had been developing since the late 1960s. United Artists and Paramount Pictures each paid Bakshi to develop the film in the 1970s, but were unwilling to produce it, as were the studios he pitched the film to in the 1980s. According to Bakshi, "They thought that no one was going to admit that women can—and do—cheat on their husbands. They thought it was too hot, which made no sense." In 1985, he received a phone call from The Rolling Stones' manager, Tony King, who told Bakshi that the band had recorded a cover of Bob & Earl's "Harlem Shuffle", and wanted Bakshi to direct the music video. He was told that the live-action shoot needed to be completed within one day (January 28, 1986) for it to be shown at the Grammy Awards. Production designer Wolf Kroeger was forced to drastically compact his sets, and animation director and designer John Kricfalusi had to push his team, including Lynne Naylor, Jim Smith and Bob Jaques, to complete the animation within a few weeks. The band's arrival at the set was delayed by a snowstorm and several takes were ruined when the cameras crossed paths. Bakshi was forced to pay the union wages out of his own fees, and the continuity between Kricfalusi's animation and the live-action footage did not match; however, the video was completed on time. Bakshi recognized Kricfalusi's talent, and wanted to put him in charge of a project that would showcase the young animator's skills. Bakshi and Kricfalusi co-wrote the screenplay Bobby's Girl as a take on the teen films of the era. Jeff Sagansky, president of production at TriStar Pictures, put up $150,000 to develop the project, prompting Bakshi to move back to Los Angeles. When Sagansky left TriStar, Bakshi was forced to pitch the film again, but the studio's new executives did not understand its appeal and cut off financing. Bakshi and Zingarelli began to develop a feature about Hollywood's Golden Age, and Bakshi Productions crewmembers worked on proposed cartoons influenced by pulp fiction. Bobby's Girl was reworked as a potential prime time series called Suzy's in Love, but attracted no serious interest. They would try again in 2003 over at Spümcø, but nothing came from this either. Return to television (1987–1989) In April 1987, Bakshi set up a meeting with Judy Price, the head of CBS's Saturday morning block. Three days before the meeting, Bakshi, Kricfalusi, Naylor, Tom Minton, Eddie Fitzgerald and Jim Reardon met to brainstorm. Bakshi remembers, "My car was packed to the windows. Judy was my last stop before driving cross country back to New York to my family." Price rejected Bakshi's prepared pitches, but asked what else he had. He told her that he had the rights to Mighty Mouse, and she agreed to purchase the series. However, Bakshi did not own the rights and did not know who did. While researching the rights, he learned that CBS had acquired the entire Terrytoons library in 1955 and forgotten about it. According to Bakshi, "I sold them a show they already owned, so they just gave me the rights for nothin'!" Kricfalusi's team wrote story outlines for thirteen episodes in a week and pitched them to Price. By the next week, Kricfalusi had hired animators he knew who had been working at other studios. Mighty Mouse: The New Adventures went into production the month it was greenlighted; it was scheduled to premiere on September 19, 1987. This haste required the crew to be split into four teams, led by supervising director Kricfalusi, Fitzgerald, Steve Gordon and Bruce Woodside. Each team was given a handful of episodes, and operated almost entirely independently of the others. Although the scripts required approval by CBS executives, Kricfalusi insisted that the artists add visual gags as they drew. Bruce Timm, Andrew Stanton, Dave Marshall and Jeff Pidgeon were among the artists who worked on the series. Despite the time constraints, CBS was pleased with the way Bakshi Productions addressed the network's notes. During the production of the episode "The Littlest Tramp", editor Tom Klein expressed concern that a sequence showing Mighty Mouse sniffing the remains of a crushed flower resembled cocaine use. Bakshi did not initially view the footage; he believed that Klein was overreacting, but agreed to let him cut the scene. Kricfalusi expressed disbelief over the cut, insisting that the action was harmless and that the sequence should be restored. Following Kricfalusi's advice, Bakshi told Klein to restore the scene, which had been approved by network executives and the CBS standards and practices department. The episode aired on October 31, 1987, without controversy. In 1988, Bakshi received an Annie Award for "Distinguished Contribution to the Art of Animation". The same year, he began production on a series pilot loosely adapted from his Junktown comic strips. According to Bakshi, the proposed series "was going to be a revitalization of cartoon style from the '20s and '30s. It was gonna have Duke Ellington and Fats Waller jazzing up the soundtrack." Nickelodeon was initially willing to greenlight 39 episodes of Junktown. On June 6, 1988, Donald Wildmon, head of the American Family Association (AFA), alleged that "The Littlest Tramp" depicted cocaine use, instigating a media frenzy. The AFA, during its incarnation as the National Federation for Decency, had previously targeted CBS as an "accessory to murder" after a mother killed her daughter following an airing of Exorcist II: The Heretic. Concerning Bakshi's involvement with Mighty Mouse: The New Adventures, the AFA claimed that CBS "intentionally hired a known pornographer to do a cartoon for children, and then allowed him to insert a scene in which the cartoon hero is shown sniffing cocaine." Bakshi responded, "You could pick a still out of Lady and the Tramp and get the same impression. Fritz the Cat wasn't pornography. It was social commentary. This all smacks of burning books and the Third Reich. It smacks of McCarthyism. I'm not going to get into who sniffs what. This is lunacy!" On CBS's order, Klein removed the sequence from the master broadcast footage. Wildmon claimed that the edits were "a de facto admission that, indeed, Mighty Mouse was snorting cocaine". Despite receiving an award from Action for Children's Television, favorable reviews, and a ranking in Time magazine's "Best of '87" feature, Mighty Mouse: The New Adventures was canceled by CBS following the controversy. The incident had a ripple effect, weakening Nickelodeon's commitment to Junktown. Bakshi has also stated that "we were trying something different [...] but a series didn't make sense. It just didn't work". The series was scrapped, and the completed pilot aired as a special, Christmas in Tattertown, in December 1988. It was the first original animated special created for Nickelodeon. Bakshi moved into a warehouse loft in downtown Los Angeles to clear his head, and was offered $50,000 to direct a half-hour live-action film for PBS's Imagining America anthology series. Mark Bakshi produced the film, This Ain't Bebop, his first professional collaboration with his father. Bakshi wrote a poem influenced by Jack Kerouac, jazz, the Beat Generation and Brooklyn that served as the narration, which was spoken by Harvey Keitel. After a car crash, Bakshi completed the post-production in stitches and casts. Bakshi said of the work, "It's the most proud I've been of a picture since Coonskin—the last real thing I did with total integrity." As a result of the film, Bakshi received an offer to adapt Dr. Seuss's The Butter Battle Book for TNT. Ted Geisel had never been satisfied with the previous screen versions of his Dr. Seuss work. Bakshi wanted to produce an entirely faithful adaptation, and Geisel—who agreed to storyboard the special himself—was pleased with the final product. Bakshi next directed the pilot Hound Town for NBC; he described the result as "an embarrassing piece of shit". Besides Bakshi, sitcom alumus Rob Sternin and Prudence Fraser wrote and produced the project. Cool World, continued television projects and semi-retirement (1990–1997) In 1990, Bakshi pitched Cool World to Paramount Pictures as a partially animated horror film. The concept involved a cartoon and human having sex and conceiving a hybrid child who visits the real world to murder the father who abandoned him. The live-action footage was intended to look like "a living, walk-through painting", a visual concept Bakshi had long wanted to achieve. Massive sets were constructed on a sound stage in Las Vegas, based on enlargements of designer Barry Jackson's paintings. The animation was strongly influenced by the house styles of Fleischer Studios and Terrytoons. As the sets were being built, producer Frank Mancuso Jr., son of Paramount president Frank Mancuso Sr., had the screenplay rewritten in secret; the new version, by Michael Grais and Mark Victor, was radically different from Bakshi's original. Paramount threatened to sue Bakshi if he did not complete the film. As Bakshi and Mancuso wrangled over their creative differences, Bakshi and the studio also began to fight over the film's casting. To keep actor Brad Pitt, Bakshi had to replace Drew Barrymore, his original choice for the character of Holli Would, with Kim Basinger, a bigger box office draw at the time. The film's animators were never given a screenplay, and were instead told by Bakshi, "Do a scene that's funny, whatever you want to do!" Designer Milton Knight recalled that "audiences actually wanted a wilder, raunchier Cool World. The premiere audience I saw it with certainly did." The critical reaction to the film was generally negative. Roger Ebert wrote, "The DJ who was hosting the radio station's free preview of Cool World leaped onto the stage and promised the audience: 'If you liked Roger Rabbit, you'll love Cool World!' He was wrong, but you can't blame him—he hadn't seen the movie. I have, and I will now promise you that if you liked Roger Rabbit, quit while you're ahead." The film was a box-office disappointment. While other film projects followed, Bakshi began to focus more attention on painting. In 1993, Lou Arkoff, the son of Samuel Z. Arkoff, approached Bakshi to write and direct a low-budget live-action feature for Showtime's Rebel Highway series. For the third time, Bakshi revisited his screenplay for If I Catch Her, I'll Kill Her, which he retitled Cool and the Crazy. The picture, which aired September 16, 1994, starred Jared Leto, Alicia Silverstone, Jennifer Blanc and Matthew Flint. Reviewer Todd Everett noted that it had the same "hyperdrive visual sense" of Bakshi's animated films. He said, "Everything in 'Cool' [...] seems to exist in pastels and Bakshi shoots from more odd angles than any director since Sidney J. Furie in his heyday. And the closing sequences ably demonstrate how it's possible to present strong violence without any blood being shed onscreen. Bakshi pulls strong [performances] from a cadre of youngish and largely unknown actors". In 1995, Hanna-Barbera producer Fred Seibert offered Bakshi the chance to create two animated short films for Cartoon Network's What a Cartoon!: Malcom and Melvin and Babe, He Calls Me, focusing on a trumpet-playing cockroach named Malcom and his best friend, a clown named Melvin. Both were heavily edited after Bakshi turned them in and he disowned them as a result. Bakshi was subsequently contacted by HBO, which was looking to launch the first animated series specifically for adults, an interest stirred by discussions involving a series based upon Trey Parker and Matt Stone's video Christmas card, Jesus vs. Santa. Bakshi enlisted a team of writers, including his son Preston, to develop Spicy Detective, later renamed Spicy City, an anthology series set in a noir-ish, technology-driven future. Each episode was narrated by a female host named Raven, voiced by Michelle Phillips. The series premiered in July 1997—one month before the debut of Parker and Stone's South Park—and thus became the first "adults only" cartoon series. Although critical reaction was largely unfavorable, Spicy City received acceptable ratings. A second season was approved, but the network wanted to fire Bakshi's writing team and hire professional Los Angeles screenwriters. When Bakshi refused to cooperate, the series was canceled. Painting, teaching and new animation projects (2000–2013) Bakshi retired from animation once more, returning to his painting. In 2000, he began teaching an undergraduate animation class at New York's School of Visual Arts. On December 14, 2001, he did some paintings for the Cameron Crowe film Vanilla Sky. He later became involved in several screen projects, including a development deal with the Sci Fi Channel, In September 2002, Bakshi, Liz and their dogs moved to New Mexico, where he became more productive than ever in his painting and began development on the Last Days of Coney Island film. In 2003, he appeared as the Fire Chief in the episode "Fire Dogs 2" of John Kricfalusi's Ren & Stimpy "Adult Party Cartoon". In September 2008, Main Street Pictures announced that it would collaborate with Bakshi on a sequel to Wizards. In 2012, Bakshi began producing the short film series Bakshi Blues. The first of these shorts, Trickle Dickle Down, contains reused animation from Coonskin and criticizes 2012 Republican presidential candidate Mitt Romney. The shorts were to focus on "old and new characters" and comment on modern-day America. Last Days of Coney Island (2013–2016) In February 2013, Bakshi launched a successful Kickstarter campaign to obtain funding for his latest film, Last Days of Coney Island. Actor Matthew Modine was cast in the film in February 2013 after Modine, a longtime Bakshi fan, came across the film's Kickstarter campaign online. Last Days of Coney Island was released on Vimeo in 2015. Bakshi released the film for free on YouTube on 13 October 2016. Post-animation (2015–present) After he quit the animation industry, Bakshi did multiple interviews with the media and on podcasts. He continues to sell art on eBay and his website, both run by the Bakshi family. He currently sells an art series called Little Guys and Gals, which are fictional portraits of cartoon people. The series originated in November 2020 as random character sketches and officially began in January 2021, originally calling the series Little Gals and Little Guys. Bakshi appeared as a guest at a Canadian film festival which celebrates animation, SPARK Animation, which was held virtually, from October 28 to November 7, 2021. Accolades In 2003, Bakshi received a Maverick Tribute Award at the Cinequest San Jose Film Festival the same year he began teaching an animation class in New Mexico - this became The Bakshi School of Animation and Cartooning, which is run by Ralph's son Edward and his partner Jess Gorell. The Online Film Critics Society released a list of the "Top 100 Animated Features of All Time" in March 2003 that included four of Bakshi's films: Fritz the Cat, The Lord of the Rings, Coonskin and Fire and Ice. Fritz the Cat was ranked number 56 in the 2004 poll conducted by Britain's Channel 4 for its documentary The 100 Greatest Cartoons. The Museum of Modern Art has added Bakshi's films to its collection for preservation. In the 1980s and 1990s he served on the advisory board of the Los Angeles Student Film Institute. In 2021, Ralph Bakshi won the Animafest Zagreb Lifetime Achievement Award for his animation career and the impact of his films. Legacy The availability of Bakshi's work on the Internet sparked a resurgence of interest in his career, resulting in a three-day American Cinematheque retrospective held at Grauman's Egyptian Theatre in Hollywood and the Aero Theater in Santa Monica, California, in April 2005. Unfiltered: The Complete Ralph Bakshi, a hardcover book of Bakshi's art, was released on April 1, 2008. The foreword was written by Quentin Tarantino and the afterword by Bakshi. His rotoscoping techniques in Lord of the Rings inspired the animation rotoscoping techniques of the independent film The Spine of Night in which the animator developed his own rotoscope style by watching behind-the-scenes footage of Bakshi's warehouse and reverse-engineering it. Billie Eilish had the idea for an animated version of herself for her in the concert film Happier Than Ever: A Love Letter to Los Angeles (which is a promotion for the album of the same name) and suggested to director Patrick Osborne that the character should have a 1980s look and rotoscope-ish animation. Eilish referenced the works of Bakshi and animator Richard Williams to him. Gore Verbinski commented about Bakshi and showed that he was inspired by him during an interview in The Hollywood Reporter for his first animated movie, Rango, saying: "What happened to the Ralph Bakshis of the world? We're all sitting here talking family entertainment. Does animation have to be family entertainment? Audiences want something new; they just can't articulate what." On January 12, 2014, at The Egyptian Theatre in Hollywood, there was a special screening of Bakshi's film American Pop with actors Ron Thompson and Mews Small in attendance, it was the first time lead actor Ron Thompson had ever introduced the film before a live audience. At the Aero Theatre in Santa Monica, California, on March 27, 2015, there was a screening of Heavy Traffic and American Pop with Bakshi, Ron Thompson and Mews Small attending. Fritz the Cat has also been called an animated art film. Filmography Films Television I Selected episodes II Provided the voices of Connelly and Goldblum in the episode "Sex Drive", and Stevie in the episode "Mano's Hands" III Provided the voice of the Super Hero IV Animated in conjunction with Doug Compton V Provided the voice of Fire Chief in the episode "Fire Dogs 2" Releases and ratings Bibliography Ralph Bakshi: A Private selection of drawings released from the Bakshi Archives. 2018 - 2019; Book 1 (2019) Ralph Bakshi: No Rhyme or Reason; Book 2 (2020) See also Heavy Metal Ron Thompson John Kricfalusi Katsuhiro Otomo Rock & Rule Independent animation New Hollywood Notes References External links Official page filmography Archived 'American Pop'... Matters: Ron Thompson, the Illustrated Man Unsung interview at PopMatters Rotospective: Ralph Bakshi, Lessons in Artistry, Rebellion and Success a profile at AgentPalmer.com 1938 births American animators American comic strip cartoonists American experimental filmmakers American film producers American animated film producers American storyboard artists American television directors Television producers from New York City American television writers 20th-century American painters American male painters 21st-century American painters 21st-century American male writers American male screenwriters American male voice actors American animated film directors American people of Palestinian-Jewish descent Jewish American artists American satirists Jews in Mandatory Palestine Living people American male television writers People from Haifa Terrytoons people Underground cartoonists American voice directors Krymchaks Artists from New York City High School of Art and Design alumni Mandatory Palestine emigrants to the United States People from Brownsville, Brooklyn Thomas Jefferson High School (Brooklyn) alumni Film directors from New York (state) 21st-century American non-fiction writers American male non-fiction writers Screenwriters from New York (state) Inkpot Award winners Famous Studios people	true	[ "XMLNuke is an open source framework intended to create Websites using only XML/XSLT transformations. XMLNuke has several classes to aid the developer create entire applications producing only XML. XMLNuke is integrated with a basic Content management system.\n\nDesign\n\nXMLNuke assumes it the most important part of any site is the information. However all information is merged with complex HTML, JavaScript structures, so any changes in the application or design may cause a very deep modification in the current structure. Using XMLNuke you can separate naturally your information from your layout. Any class in XMLNuke produces XML.\n\nYou can easily move your site from a FLAT layout to a very complex layout using, for example, Ajax, without any change in your application.\n\nXMLNuke focus the development to maintenance.\n\nReferences\n\nExternal links\nXMLNuke SourceForge Site\nXMLNuke official site\n\nXML software", "A representative example is a term used in UK financial advertising regulations that aim to show consumers the typical costs associated with a product being advertised. The representative example must be provided when any financial services provider advertising a product, whether it is a credit card, loan or mortgage.\n\nThe term was introduced when six sets of regulations come into force from 1 February 2011 as a result of the UK government's implementation of the 2008 European Union Consumer Credit Directive which replaces the previous Consumer Credit Directive.\n\nHistory\nUntil 2010, any financial services provider advertising a product in the UK, whether it is a credit card, loan or mortgage, have had to comply with the Consumer Credit (Advertisement) Regulations 2004 (2004 Regulations). \n\nHowever, from 1 February 2011, important changes come into effect when six sets of regulations which come into force based on the European Union Consumer Credit Directive.\n\nWhile there were several subtle but important changes to the way financial products were advertised, one of the most important developments was the need for companies to include a representative example.\n\nWhen it must be provided\nThe Department for Business, Innovation and Skills (BIS) has published guidelines which explain when a representative example must be included when advertising:\n\n“Where the advertisement includes an interest rate or any amount relating to the cost of the credit, then a representative example of the credit on offer must also be included in the advertisement.”\n\nInformation required \nA representative example must comprise ‘standard information’ and must be accompanied by the words \"representative example\". It must be representative of agreements to which the representative APR applies and which are expected to result from the advertisement” \n\nThe ‘standard information’ which will be included in a representative example includes:\n\nThe rate of interest – a fixed or variable percentage, applied on an annual basis\nAny Total Cost of Credit (TCC) charges - details of any fees or charges included\nTotal amount of credit\nRepresentative APR\n\nPreviously, when a company stated an APR figure in an advertisement, this figure was defined as “not be less than the APR paid by at least 66% of consumers on the list”. However, from 1 February 2011, this calculation will change slightly. The BSI reports that: “The representative APR must reflect at least 51% of business expected to result from the advertisement. The standard information must be representative of agreements to which the representative APR applies.” \n\nIt is also worth bearing in mind that if there is more than one interest rate applicable – for example for credit cards where there may be a different purchase rate and balance transfer rate – the rate applicable to the most common drawdown mechanism must be shown. Similarly, if a rate applies only for a short period (a 0% balance transfer rate for six months), the duration of the period and the go-to rate, if known should also be shown.\n\nIf the advertisement is for running-account credit, the advertiser should assume a credit limit of £1,200 unless it is known that the credit limit will be less than £1,200.\n\nHow it should appear \nAccording to the BIS, the representative example “must be clear and concise and presented together”. In addition, the representative example must be the most prominent component of the information. \n\nIn simple terms, the representative example:\n\nMust contain certain standard information including a representative APR\nMust be clear and concise\nMust be more prominent than the information that triggered the inclusion\n\nAs the BIS says in its guidelines: “The purpose is to ensure that important information concerning the cost of the credit can be viewed together as a whole, so that the borrower can assess suitability and affordability in the round.”\n\nReferences \n\nCredit\nFinancial services in the United Kingdom" ]
[ "Ralph Bakshi", "Coonskin (1973-1975)", "Is coonskin a movie?", "Coonskin, advertised as an exploitation film,", "Who starred in coonskin?", "Bakshi hired several African American animators to work on Coonskin, including Brenda Banks, the first African American female animator.", "Was the movie a success?", "Coonskin, advertised as an exploitation film, was given limited distribution and soon disappeared from theaters. Initial reviews were negative;", "How many copies were sold?", "I don't know.", "Who directed the movie?", "I don't know.", "Who produced the movie?", "Bakshi and Ruddy began the production of Harlem Nights,", "Any important information?", "Bakshi juxtaposed stereotypical designs of blacks with even more negative depictions of white racists, but the film's strongest criticism is directed at the Mafia." ]	C_0425b70eeebf4afa91523e82d63c3bd2_1	What happened in 1973?	8	What happened in 1973 with Coonskin?	Ralph Bakshi	In 1973, Bakshi and Ruddy began the production of Harlem Nights, which Paramount was originally contracted to distribute. While Fritz the Cat and Heavy Traffic proved that adult-oriented animation could be financially successful, animated films were still not respected, and Bakshi's pictures were considered to be "dirty Disney flicks" that were "mature" only for depicting sex, drugs and profanity. Harlem Nights, based on Bakshi's firsthand experiences with racism, was an attack on racist prejudices and stereotypes. Bakshi cast Scatman Crothers, Philip Michael Thomas, Barry White and Charles Gordone in live-action and voice roles, cutting in and out of animation abruptly rather than seamlessly because he wanted to prove that the two mediums could "coexist with neither excuse nor apology". He wrote a song for Crothers to sing during the opening title sequence: "Ah'm a Niggerman". Its structure was rooted in the history of the slave plantation: slaves would "shout" lines from poems and stories great distances across fields in unison, creating a natural beat. Bakshi has described its vocal style, backed by fast guitar licks, as an "early version of rap". Bakshi intended to attack stereotypes by portraying them directly, culling imagery from blackface iconography. Early designs in which the main characters (Brother Rabbit, Brother Bear and Preacher Fox) resembled figures from The Wind in the Willows were rejected. Bakshi juxtaposed stereotypical designs of blacks with even more negative depictions of white racists, but the film's strongest criticism is directed at the Mafia. Bakshi said, "I was sick of all the hero worship these guys got because of The Godfather." Production concluded in 1973. During editing, the title was changed to Coonskin No More..., and finally to Coonskin. Bakshi hired several African American animators to work on Coonskin, including Brenda Banks, the first African American female animator. Bakshi also hired graffiti artists and trained them to work as animators. The film's release was delayed by protests from the Congress of Racial Equality, which called Bakshi and his film racist. After its distribution was contracted to the Bryanston Distributing Company, Paramount canceled a project that Bakshi and Ruddy were developing, The American Chronicles. Coonskin, advertised as an exploitation film, was given limited distribution and soon disappeared from theaters. Initial reviews were negative; Playboy commented that "Bakshi seems to throw in a little of everything and he can't quite pull it together." Eventually, positive reviews appeared in The Hollywood Reporter, New York Amsterdam News (an African American newspaper) and elsewhere. The New York Times' Richard Eder said the film "could be [Bakshi's] masterpiece [...] a shattering successful effort to use an uncommon form--cartoons and live action combined to convey the hallucinatory violence and frustration of American city life, specifically black city life [...] lyrically violent, yet in no way [does it] exploit violence". Variety called it a "brutal satire from the streets". A reviewer for the Los Angeles Herald-Examiner wrote, "Certainly, it will outrage some and, indeed, it's not Disney. [...] The dialog it has obviously generated--if not the box office obstacles--seems joltingly healthy." Bakshi called Coonskin his best film. CANNOTANSWER	In 1973, Bakshi and Ruddy began the production of Harlem Nights,	Ralph Bakshi (; born October 29, 1938) is an American director of animated and live-action films. In the 1970s, he established an alternative to mainstream animation through independent and adult-oriented productions. Between 1972 and 1992, he directed nine theatrically released feature films, five of which he wrote. He has been involved in numerous television projects as director, writer, producer, and animator. Beginning his career at the Terrytoons television cartoon studio as a cel polisher, Bakshi was eventually promoted to animator, and then director. He moved to the animation division of Paramount Pictures in 1967 and started his own studio, Bakshi Productions, in 1968. Through producer Steve Krantz, Bakshi made his debut feature film, Fritz the Cat, released in 1972. It was based on the comic strip by Robert Crumb and was the first animated film to receive an X rating from the Motion Picture Association of America, and is the most successful independent animated feature of all time. Over the next 11 years, Bakshi directed seven additional animated features. He is well known for such films as Wizards (1977), The Lord of the Rings (1978), American Pop (1981), and Fire and Ice (1983). In 1987, Bakshi returned to television work, producing the series Mighty Mouse: The New Adventures, which ran for two years. After a nine-year hiatus from feature films, he directed Cool World (1992), which was largely rewritten during production and received poor reviews, consequently being his last theatrical feature-length film to date. Bakshi returned to television with the live-action film Cool and the Crazy (1994) and the anthology series Spicy City (1997). During the 2000s, he focused largely on fine art and painting, and in 2003, co-founded the Bakshi School of Animation with his son Eddie and Jess Gorell. Bakshi has received several awards for his work, including the 1980 Golden Gryphon for The Lord of the Rings at the Giffoni Film Festival, the 1988 Annie Award for Distinguished Contribution to the Art of Animation, and the 2003 Maverick Tribute Award at the Cinequest Film Festival. Early life Ralph Bakshi was born on October 29, 1938, in Haifa, British Mandate of Palestine (now Israel), to a Krymchak Jewish family. In 1939, his family migrated to the United States, and he grew up in the Brownsville neighborhood of Brooklyn. The family lived in a low-rent apartment, where Bakshi became fascinated with the urban milieu. As a child, he enjoyed comic books, and often dug through trash cans to find them. According to an interview in 2009, Ralph said he was very poor and the walls of his neighborhood were constantly repainted. He liked the feeling when he looked out the window and saw the sun as a little boy, and whenever he would walk out in the streets, someone would break the wooden crates, that were filled with food, in the push carts open. Ralph says this in the interview, "And the push carts were wood, and most of the buildings were made out of old wood, going back to the turn of the century, and they were repainted a lot but the paint was faded by, you know the hundred years of snow and rain, repainted and faded again." Bakshi loved the faded colors, the nails, the wooden crates, and he would build his own toys from the wood. Ralph recalls, "I had a great feeling with wood, cement, and nails". In the spring of 1947, Bakshi's father and uncle traveled to Washington, DC, in search of business opportunities, and soon moved the family to the black neighborhood of Foggy Bottom. Bakshi recalled, "All my friends were black, everyone we did business with was black, the school across the street was black. It was segregated, so everything was black. I went to see black movies; black girls sat on my lap. I went to black parties. I was another black kid on the block. No problem!" The racial segregation of local schools meant that the nearest white school was several miles away; Bakshi obtained his mother's permission to attend the nearby black school with his friends. Most of the students had no problem with Bakshi's presence, but a teacher sought advice from the principal, who called the police. Fearing that segregated whites would riot if they learned that a white, let alone Jewish, student was attending a black school, the police removed Bakshi from his classroom. Meanwhile, his father had been suffering from anxiety attacks. Within a few months, the family moved back to Brownsville, where they rarely spoke of these events. At the age of 15, after discovering Gene Byrnes' Complete Guide to Cartooning at the public library, Bakshi took up cartooning to document his experiences and create fantasy-influenced artwork. He stole a copy of the book and learned every lesson in it. During his teenaged years, Bakshi took up boxing. While attending Thomas Jefferson High School, he took little interest in academics, spending most of his time focusing on "broads, mouthing off, and doodling". After participating in a food fight and being caught smoking, Bakshi was sent to the principal's office. Believing Bakshi was unlikely to prosper at Thomas Jefferson, the principal transferred him to Manhattan's School of Industrial Art. In June 1956, Bakshi graduated from the school with an award in cartooning. Career Early career (1956–1968) When Bakshi was 18, his friend Cosmo Anzilotti was hired by the cartoon studio Terrytoons; Anzilotti recommended Bakshi to the studio's production manager, Frank Schudde. Bakshi was hired as a cel polisher and commuted four hours each day to the studio, based in suburban New Rochelle. His low-level position required Bakshi to carefully remove dirt and dust from animation cels. After a few months, Schudde was surprised that Bakshi was still showing up to work, so promoted him to cel painter. Bakshi began to practice animating; to give himself more time, at one point he slipped 10 cels he was supposed to work on into the "to-do" pile of a fellow painter, Leo Giuliani. Bakshi's deception was not noticed until two days later, when he was called to Schudde's office because the cels had been painted on the wrong side. When Bakshi explained that Giuliani had made the mistake, an argument ensued between the three. Schudde eventually took Bakshi's side. By this point, the studio's employees were aware of Bakshi's intention to become an animator, and he began to receive help and advice from established animators, including Connie Rasinski, Manny Davis, Jim Tyer, Larry Silverman, and Johnnie Gentilella. Bakshi married his first wife, Elaine, when he was 21. Their son, Mark, was born when Bakshi was 22. Elaine disliked his long work hours; parodying his marital problems, Bakshi drew Dum Dum and Dee Dee, a comic strip about a man determined "to get—and keep—the girl". As he perfected his animation style, he began to take on more jobs, including creating design tests for the studio's head director, Gene Deitch. Deitch was not convinced that Bakshi had a modern design sensibility. In response to the period's political climate and as a form of therapy, Bakshi drew the comic strips Bonefoot and Fudge, which satirized "idiots with an agenda", and Junktown, which focused on "misfit technology and discarded ideals". Bakshi's frustrations with his failing marriage and the state of the planet further drove his need to animate. In 1959, he moved his desk to join the rest of the animators; after asking Rasinski for material to animate, he received layouts of two scenes - a hat floating on water and a running Deputy Dawg, the lead character of a Terrytoons' series then being shown on CBS. Despite threats of repercussion from the animators' union, Rasinski fought to keep Bakshi as a layout artist. Bakshi began to see Rasinski as a father figure; Rasinski, childless, was happy to serve as Bakshi's mentor. At the age of 25, Bakshi was promoted to director. His first assignment was the series Sad Cat. Bakshi and his wife had separated by then, giving him the time to animate each short alone. Bakshi was dissatisfied with the traditional role of a Terrytoons director: "We didn't really 'direct' like you'd think. We were 'animation directors,' because the story department controlled the storyboards. We couldn't affect anything, but I still tried. I'd re-time, mix up soundtracks—I'd fuck with it so I could make it my own." Other animation studios, such as Hanna-Barbera, were selling shows to the networks, even as the series produced by Terrytoons (which was owned by CBS) were declining in popularity. In 1966, Bill Weiss asked Bakshi to help him carry presentation boards to Manhattan for a meeting with CBS. The network executives rejected all of Weiss's proposals as "too sophisticated", "too corny", or "too old-timey". As Fred Silverman, CBS's daytime programming chief, began to leave the office, an unprepared Bakshi pitched a superhero parody called The Mighty Heroes. He described the series' characters, including Strong Man, Tornado Man, Rope Man, Cuckoo Man, and Diaper Man: "They fought evil wherever they could, and the villains were stupider than they were." The executives loved the idea, and while Silverman required a few drawings before committing, Weiss immediately put Bakshi to work on the series' development. Once Silverman saw the character designs, he confirmed that CBS would greenlight the show, on the condition that Bakshi serve as its creative director. It would appear as a segment of Mighty Mouse Playhouse on the network's 1966–67 Saturday-morning schedule; the series was renamed Mighty Mouse and the Mighty Heroes in recognition of the new segment. Bakshi received a pay raise, but was not as satisfied with his career advancement as he had anticipated; Rasinski had died in 1965, Bakshi did not have creative control over The Mighty Heroes, and he was unhappy with the quality of the animation, writing, timing, and voice acting. Although the series' first 20 segments were successful, Bakshi wanted to leave Terrytoons to form his own company. In 1967, he drew up presentation pieces for a fantasy series called Tee-Witt, with help from Anzilotti, Johnnie Zago, and Bill Foucht. On the way to the CBS offices to make his pitch, he was involved in a car accident. At the auto body shop, he met Liz, who later became his second wife. Though CBS passed on Tee-Witt, its designs served as the basis for Bakshi's 1977 film Wizards. While leaving the network offices, he learned that Paramount Pictures had recently fired Shamus Culhane, the head of its animation division. Bakshi met with Burt Hampft, a lawyer for the studio, and was hired to replace Culhane. Bakshi enlisted comic-book and pulp-fiction artists and writers Harvey Kurtzman, Lin Carter, Gray Morrow, Archie Goodwin, Wally Wood, and Jim Steranko to work at the studio. After finishing Culhane's uncompleted shorts, he directed, produced, wrote, and designed four short films at Paramount: The Fuz, Mini-Squirts, Marvin Digs, and Mouse Trek. Marvin Digs, which Bakshi conceived as a "flower child picture", was not completed the way he had intended: It "was going to have curse words and sex scenes, and a lot more than that. [...] Of course, they wouldn't let me do that." He described the disappointing result as a "typical 1967 limited-animation theatrical". Animation historian Michael Barrier called the film "an offensively bad picture, the kind that makes people who love animation get up and leave the theater in disgust". Production of Mighty Heroes ended when Bakshi left Terrytoons. Bakshi served as head of the studio for eight months before Paramount closed its animation division on December 1, 1967. He learned that his position was always intended to be temporary and that Paramount never intended to pick up his pitches. Although Hampft was prepared to offer Bakshi a severance package, Bakshi immediately ripped up the contract. Hampft suggested that Bakshi work with producer Steve Krantz, who had recently fired Culhane as supervising director on the Canadian science-fiction series Rocket Robin Hood. Bakshi and background artist Johnnie Vita soon headed to Toronto, planning to commute between Canada and New York, with artists such as Morrow and Wood working from the United States. Unknown to Bakshi, Krantz and producer Al Guest were in the middle of a lawsuit. Failing to reach a settlement with Guest, Krantz told Bakshi to grab the series' model sheets and return to the United States. When the studio found out, a warrant for Bakshi's arrest was issued by the Toronto police. He narrowly avoided capture before being stopped by an American border guard, who asked him what he was doing. Bakshi responded, "All of these guys are heading into Canada to dodge the draft and I'm running back into the States. What the fuck is wrong with that!?" The guard laughed, and let Bakshi through. Vita was detained at the airport; he was searched and interrogated for six hours. Bakshi soon founded his own studio, Bakshi Productions, in the Garment District of Manhattan, where his mother used to work and which Bakshi described as "the worst neighborhood in the world". Bakshi Productions paid its employees higher salaries than other studios and expanded opportunities for female and minority animators. The studio began work on Rocket Robin Hood, and later took over the Spider-Man television series. Bakshi married Liz in August 1968. His second child, Preston, was born in June 1970. Fritz the Cat (1969–1972) In 1969, Ralph's Spot was founded as a division of Bakshi Productions to produce commercials for Coca-Cola and Max, the 2000-Year-Old Mouse, a series of educational shorts paid for by Encyclopædia Britannica. Bakshi was uninterested in the kind of animation the studio was turning out, and wanted to produce something personal. He soon developed Heavy Traffic, a tale of inner-city street life. Krantz told Bakshi that Hollywood studio executives would be unwilling to fund the film because of its content and Bakshi's lack of film experience, and would likely consider it if his first film was an adaptation. While browsing the East Side Book Store on St. Mark's Place, Bakshi came across a copy of Robert Crumb's Fritz the Cat. Impressed by Crumb's sharp satire, Bakshi purchased the book and suggested to Krantz that it would work as a film. Krantz arranged a meeting with Crumb, during which Bakshi presented the drawings he had created while learning the artist's distinctive style to prove that he could adapt Crumb's artwork to animation. Impressed by Bakshi's tenacity, Crumb lent him one of his sketchbooks for reference. Preparation began on a studio pitch that included a poster-sized cel featuring the comic's cast against a traced photo background—as Bakshi intended the film to appear. Despite Crumb's enthusiasm, the artist refused to sign the contract Krantz drew up. Artist Vaughn Bodē warned Bakshi against working with Crumb, describing him as "slick". Bakshi later agreed with Bodé's assessment, calling Crumb "one of the slickest hustlers you'll ever see in your life". Krantz sent Bakshi to San Francisco, where he stayed with Crumb and his wife, Dana, in an attempt to persuade Crumb to sign the contract. After a week, Crumb left, leaving the film's production status uncertain. Two weeks after Bakshi returned to New York, Krantz entered his office and told Bakshi that he had acquired the film rights through Dana, who had Crumb's power of attorney and signed the contract. Crumb was subsequently hostile both to the film and Bakshi. Krantz produced a sequel, The Nine Lives of Fritz the Cat (1974), to which Bakshi was steadfastly opposed, having wanted to kill Fritz off to avoid further movies. After Bakshi pitched the project to every major Hollywood studio, Warner Bros. bought it and promised an $850,000 budget. Bakshi hired animators with whom he had worked in the past, including Vita, Tyer, Anzilotti, and Nick Tafuri, and began the layouts and animation. The first completed sequence was a junkyard scene in Harlem, in which Fritz smokes marijuana, has sex, and incites a revolution. Krantz intended to release the sequence as a 15-minute short in case the picture's financing fell through; Bakshi, however, was determined to complete the film as a feature. They screened the sequence for Warner Bros. executives, who wanted the sexual content toned down and celebrities cast for the voice parts. Bakshi refused, and Warner Bros. pulled out, leading Krantz to seek funds elsewhere. He eventually made a deal with Jerry Gross, the owner of Cinemation Industries, a distributor specializing in exploitation films. Although Bakshi did not have enough time to pitch the film, Gross agreed to fund its production and distribute it, believing that it would fit in with his grindhouse slate. Despite receiving financing from other sources, including Saul Zaentz (who agreed to distribute the soundtrack album on his Fantasy Records label), the budget was tight enough to exclude pencil tests, so Bakshi had to test the animation by flipping an animator's drawings in his hand before they were inked and painted. When a cameraman realized that the cels for the desert scenes were not wide enough and revealed the transparency, Bakshi painted a cactus to cover the mistake. Very few storyboards were used. Bakshi and Vita walked around the Lower East Side, Washington Square Park, Chinatown, and Harlem, taking moody snapshots. Artist Ira Turek inked the outlines of these photographs onto cels with a Rapidograph, the technical pen preferred by Crumb, giving the film's backgrounds a stylized realism virtually unprecedented in animation. The tones of the watercolor backgrounds were influenced by the work of Ashcan School painters such as George Luks and John French Sloan. Among other unusual techniques, bent and fisheye camera perspectives were used to portray the way the film's hippies and hoodlums viewed the city. Many scenes featured documentary recordings of real conversations in place of scripted dialogue; this, too, would become a signature of Bakshi's. In May 1971, Bakshi moved his studio to Los Angeles to hire additional animators. Some, including Rod Scribner, Dick Lundy, Virgil Walter Ross, Norman McCabe, and John Sparey, welcomed Bakshi and felt that Fritz the Cat would bring diversity to the animation industry. Other animators were less pleased by Bakshi's arrival and placed an advertisement in The Hollywood Reporter, stating that his "filth" was unwelcome in California. By the time production wrapped, Cinemation had released Melvin Van Peebles' Sweet Sweetback's Baadasssss Song to considerable success, despite the X rating it had received. When the Motion Picture Association of America gave Bakshi's film an X rating, as well, Cinemation exploited it for promotional purposes, advertising Fritz the Cat as "90 minutes of violence, excitement, and SEX ... he's X-rated and animated!" Variety called it an "amusing, diverting, handsomely executed poke at youthful attitudes". John Grant writes in his book Masters of Animation that Fritz the Cat was "the breakthrough movie that opened brand new vistas to the commercial animator in the United States", presenting an "almost disturbingly accurate" portrayal "of a particular stratum of Western society during a particular era, [...] as such it has dated very well." Fritz the Cat was released on April 12, 1972, opening in Hollywood and Washington, D.C. A major hit, it became the most successful independent animated feature of all time. The same month as the film's release, Bakshi's daughter, Victoria, was born. Heavy Traffic (1972–1973) By the time Fritz the Cat was released, Bakshi had become a celebrity, but his reputation was primarily based upon his having directed the first "dirty" animated film. Facing criticism of his work on publicity tours and in trade publications, he began writing poetry to express his emotions. This became a tradition, and Bakshi wrote poems before beginning production on each of his films. The first of these poems was "Street Arabs", which preceded the production of Heavy Traffic in 1972. Inspiration for the film came from penny arcades, where Bakshi often played pinball, sometimes accompanied by his 12-year-old son, Mark. Bakshi pitched Heavy Traffic to Samuel Z. Arkoff, who expressed interest in his take on the "tortured underground cartoonist" and agreed to back the film. Krantz had not compensated Bakshi for his work on Fritz the Cat, and halfway through the production of Heavy Traffic, Bakshi asked when he would be paid. Krantz responded, "The picture didn't make any money, Ralph. It's just a lot of noise." Bakshi found Krantz's claims dubious, as the producer had recently purchased a new BMW and a mansion in Beverly Hills. Bakshi did not have a lawyer, so he sought advice from fellow directors with whom he had become friendly, including Martin Scorsese, Francis Ford Coppola, and Steven Spielberg. He soon accused Krantz of ripping him off, which the producer denied. As he continued to work on Heavy Traffic, Bakshi began pitching his next project, Harlem Nights, a film loosely based on the Uncle Remus story books. The idea interested producer Albert S. Ruddy, whom Bakshi encountered at a screening of The Godfather. Bakshi received a call from Krantz, who questioned him about Harlem Nights. Bakshi said, "I can't talk about that", and hung up. After locking Bakshi out of the studio the next day, Krantz called several directors, including Chuck Jones, in search of a replacement. Arkoff threatened to withdraw his financial backing unless Krantz rehired Bakshi, who returned a week later. Bakshi wanted the voices to sound organic, so he experimented with improvisation, allowing his actors to ad lib during the recording sessions. Several animation sequences appear as rough sketchbook pages. The film also incorporated live-action footage and photographs. Although Krantz, in an attempt to get the film an R rating, prepared different versions of scenes involving sex and violence, Heavy Traffic was rated X. Due to the success of Fritz the Cat, though, many theaters were willing to book adult-oriented animation, and the film did well at the box office. Bakshi became the first person in the animation industry since Walt Disney to have two financially successful movies released consecutively. Heavy Traffic was very well received by critics. Newsweek applauded its "black humor, powerful grotesquerie, and peculiar raw beauty." The Hollywood Reporter called it "shocking, outrageous, offensive, sometimes incoherent, occasionally unintelligent. However, it is also an authentic work of movie art and Bakshi is certainly the most creative American animator since Disney." Vincent Canby of The New York Times ranked Heavy Traffic among his "Ten Best Films of 1973". Upon release, the movie was banned by the Film Censorship Board in the province of Alberta, Canada. Coonskin (1973–1975) In 1973, Bakshi and Ruddy began the production of Harlem Nights, which Paramount was originally contracted to distribute. While Fritz the Cat and Heavy Traffic proved that adult-oriented animation could be financially successful, animated films were still not respected, and Bakshi's pictures were considered to be "dirty Disney flicks" that were "mature" only for depicting sex, drugs, and profanity. Harlem Nights, based on Bakshi's firsthand experiences with racism, was an attack on racist prejudices and stereotypes. Bakshi cast Scatman Crothers, Philip Michael Thomas, Barry White, and Charles Gordone in live-action and voice roles, cutting in and out of animation abruptly rather than seamlessly because he wanted to prove that the two media could "coexist with neither excuse nor apology". He wrote a song for Crothers to sing during the opening title sequence: "Ah'm a Niggerman". Its structure was rooted in the history of the slave plantation - slaves would "shout" lines from poems and stories great distances across fields in unison, creating a natural beat. Bakshi has described its vocal style, backed by fast guitar licks, as an "early version of rap". Bakshi intended to attack stereotypes by portraying them directly, culling imagery from blackface iconography. Early designs in which the main characters (Brother Rabbit, Brother Bear, and Preacher Fox) resembled figures from The Wind in the Willows were rejected. Bakshi juxtaposed stereotypical designs of blacks with even more negative depictions of white racists, but the film's strongest criticism is directed at the Mafia. Bakshi said, "I was sick of all the hero worship these guys got because of The Godfather." Production concluded in 1973. During editing, the title was changed to Coonskin No More..., and finally to Coonskin. Bakshi hired several African-American animators to work on Coonskin, including Brenda Banks, the first African-American female animator. Bakshi also hired graffiti artists and trained them to work as animators. The film's release was delayed by protests from the Congress of Racial Equality, which called Bakshi and his film racist. After its distribution was contracted to the Bryanston Distributing Company, Paramount cancelled a project that Bakshi and Ruddy were developing, The American Chronicles. Coonskin, advertised as an exploitation film, was given limited distribution and soon disappeared from theaters. Initial reviews were negative; Playboy commented that "Bakshi seems to throw in a little of everything and he can't quite pull it together." Eventually, positive reviews appeared in The Hollywood Reporter, New York Amsterdam News (an African-American newspaper), and elsewhere. The New York Times Richard Eder said the film "could be [Bakshi's] masterpiece [...] a shattering successful effort to use an uncommon form—cartoons and live action combined-to convey the hallucinatory violence and frustration of American city life, specifically black city life [...] lyrically violent, yet in no way [does it] exploit violence". Variety called it a "brutal satire from the streets". A reviewer for the Los Angeles Herald-Examiner wrote, "Certainly, it will outrage some and, indeed, it's not Disney. [...] The dialog it has obviously generated—if not the box-office obstacles—seems joltingly healthy." Bakshi called Coonskin his best film. Hey Good Lookin' (1973–1975/1982) After production concluded on Harlem Nights, Bakshi wanted to distinguish himself artistically by producing a film in which live action and animated characters would interact. Bakshi said, "The illusion I attempted to create was that of a completely live-action film. Making it work almost drove us crazy." Hey Good Lookin' is set in Brooklyn during the 1950s; its lead characters are Vinnie, the leader of a gang named "The Stompers", his friend Crazy Shapiro, and their girlfriends, Roz and Eva. Vinnie and Crazy Shapiro were based on Bakshi's high-school friends Norman Darrer and Allen Schechterman. Warner Bros. optioned the screenplay and greenlit the film in 1973. An initial version of Hey Good Lookin' was completed in 1975. A three-minute promotion of this version was screened at the 1975 Cannes Film Festival, and the film was scheduled for a Christmas 1975 release, but was moved to the summers of 1976 and later 1977, before ultimately being postponed indefinitely. Warner Bros. was concerned about any controversy the film would encounter as a result of the backlash over the film Coonskin, and felt that the film was "unreleasable" because of its mix of live action and animation, and it would not spend further money on the project. Bakshi financed the film's completion himself from the director's fees for other projects such as Wizards, The Lord of the Rings, and American Pop. The live-action sequences of Hey Good Lookin' were gradually replaced by animation; among the eliminated live-action sequences was one featuring the glam punk band New York Dolls. Singer Dan Hicks worked on the initial musical score, but the final version was scored by John Madara. Hey Good Lookin' opened in New York City on October 1, 1982, and was released in Los Angeles in January 1983. The film's release was limited, and went largely unnoticed in the United States, although it garnered respectable business in foreign markets. In a brief review, Vincent Canby wrote that it was "not exactly incoherent, but whatever it originally had on its mind seems to have slipped away". Animation historian Jerry Beck wrote, "the beginning of the film is quite promising, with a garbage can discussing life on the streets with some garbage. This is an example of what Bakshi did best—using the medium of animation to comment on society. Unfortunately, he doesn't do it enough in this film. There is a wildly imaginative fantasy sequence during the climax, when the character named Crazy starts hallucinating during a rooftop shooting spree. This scene almost justifies the whole film. But otherwise, this is a rehash of ideas better explored in Coonskin, Heavy Traffic, and Fritz the Cat." The film has since gained a cult following through cable television and home video. Quentin Tarantino stated that he preferred Hey Good Lookin' to Martin Scorsese's Mean Streets. Shift to fantasy film (1976–1978) In 1976, Bakshi pitched War Wizards to 20th Century Fox. Returning to the fantasy drawings he had created in high school for inspiration, Bakshi intended to prove that he could produce a "family picture" that had the same impact as his adult-oriented films. British illustrator Ian Miller and comic book artist Mike Ploog were hired to contribute backgrounds and designs. The crew included Vita, Turek, Sparey, Vitello and Spence, who had become comfortable with Bakshi's limited storyboarding and lack of pencil tests. As the production costs increased, Fox president Alan Ladd, Jr. declined Bakshi's requests for salary increases, and refused to give him $50,000 to complete the film. At the same time, Ladd was dealing with similar budget problems on George Lucas's Star Wars. Bakshi and Lucas had negotiated contracts entitling them to franchise ownership, merchandising and back-end payment, so Ladd suggested that they fund the completion of their films themselves. Bakshi chose rotoscoping as a cost-effective way to complete the movie's battle scenes with his own finances. Because he could not afford to hire a film crew or actors, or develop 35mm stock, Bakshi requested prints of films that contained the type of large battle scenes needed, including Sergei Eisenstein's Alexander Nevsky, and spliced together the footage he needed. However, the cost of printing photographs of each frame would have cost $3 million. Learning that IBM had introduced an industrial-sized photocopier, Bakshi asked one of the company's technical experts if he would be able to feed 35mm reels into the machine to produce enlarged copies of each frame. The experiment worked, and Bakshi got the pages he needed for a penny per copy. As War Wizards neared completion, Lucas requested that Bakshi change the title of his film to Wizards to avoid conflict with Star Wars; Bakshi agreed because Lucas had allowed Mark Hamill to take time off from Star Wars to record a voice for Wizards. Although Wizards received a limited release, it was successful in the theaters that showed it and developed a worldwide audience. Dave Kehr of The Chicago Reader saw it as "marred by cut-rate techniques and a shapeless screenplay". In the view of film historian Jerry Beck, the lead character, an aging sorcerer, "clearly owes much to cartoonist Vaughn Bodé's Cheech Wizard character." In late 1976, Bakshi learned that John Boorman was contracted to direct an adaptation of The Lord of the Rings, in which J. R. R. Tolkien's three-volume novel would be condensed into a single film. Bakshi arranged a meeting with Mike Medavoy, United Artists' head of production, who agreed to let Bakshi direct in exchange for the $3 million that had been spent on Boorman's screenplay. Down the hall from Medavoy was Metro-Goldwyn-Mayer president Dan Melnick, who interrupted a meeting with Peter Bogdanovich when he learned that Bakshi wanted to discuss acquiring the rights to The Lord of the Rings. Melnick agreed to pay United Artists $3 million, but was soon fired; the project was canceled by his replacement, Dick Shepherd. Bakshi contacted Saul Zaentz, who wrote a check to cover MGM's debt and agreed to fund the $8 million budget for the first of what was initially planned as a series of three films, and later negotiated down to two. Before production began, Bakshi and Zaentz insisted that the Tolkien estate receive residuals from the film. Bakshi did not want to produce a broad cartoon version of the tale, so he planned to shoot the entire film in live action and animate the footage with rotoscoping. The film also incorporated brief cel animation and straightforward live-action footage. Production of the live-action sequences took place in Spain. During the middle of a large shoot, union bosses called for a lunch break, and Bakshi secretly shot footage of actors in Orc costumes moving toward the craft service table, and used the footage in the film. Jerry Beck later wrote that, while he found the rotoscoped animation "beautiful", he felt that it was unclear whether the use of live action was an artistic choice or due to budgetary constraints. After the Spanish film development lab discovered that telephone lines, helicopters and cars were visible in the footage, they tried to incinerate it, telling Bakshi's first assistant director, "if that kind of sloppy cinematography got out, no one from Hollywood would ever come back to Spain to shoot again." When Bakshi returned to the United States, he learned that the cost of developing blown-up prints of each frame had risen. He did not want to repeat the process that had been used on Wizards, which was unsuitable for the level of detail he intended for The Lord of the Rings, so Bakshi and camera technician Ted Bemiller created their own photographic enlarger to process the footage cheaply. Live-action special effects and analog optics were used in place of animation to keep the visual effects budget low and give the film a more realistic look. Among the voice actors was the well-regarded John Hurt, who performed the role of Aragorn. The project's prominence brought heavy trade journal coverage, and fans such as Mick Jagger visited the studio for the chance to play a role. Animator Carl Bell loved drawing Aragorn so much that Bakshi gave Bell the live-action Aragorn costume, which he wore while animating. Viewing The Lord of the Rings as a holiday film, United Artists pressured Bakshi to complete it on schedule for its intended November 15, 1978, release. Once it was finished, Bakshi was told that audiences would not pay to see an incomplete story; over his objections, The Lord of the Rings was marketed with no indication that a second part would follow. Reviews of the film were mixed, but it was generally seen as a "flawed but inspired interpretation". Newsdays Joseph Gelmis wrote that "the film's principal reward is a visual experience unlike anything that other animated features are doing at the moment". Roger Ebert called Bakshi's effort a "mixed blessing" and "an entirely respectable, occasionally impressive job [which] still falls far short of the charm and sweep of the original story". Vincent Canby found it "both numbing and impressive". David Denby of New York felt that the film would not make sense to viewers who had not read the book. He wrote that it was too dark and lacked humor, concluding, "The lurid, meaningless violence of this movie left me exhausted and sickened by the end." The film, which cost $4 million to produce, grossed $30.5 million. The studio refused to fund the sequel, which would have adapted the remainder of the story. The Lord of the Rings won the Golden Gryphon at the 1980 Giffoni Film Festival. American Pop and Fire and Ice (1979–1983) Following the production struggles of The Lord of the Rings, Bakshi decided to work on something more personal. He pitched American Pop to Columbia Pictures president Dan Melnick. Bakshi wanted to produce a film in which songs would be given a new context in juxtaposition to the visuals. American Pop follows four generations of a Russian Jewish immigrant family of musicians, whose careers parallel the history of American pop and starred actor Ron Thompson in a dual lead role. While the film does not reflect Bakshi's own experiences, its themes were strongly influenced by people he had encountered in Brownsville. The film's crew included character layout and design artist Louise Zingarelli, Vita, Barry E. Jackson, and Marcia Adams. Bakshi again used rotoscoping, in an attempt to capture the range of emotions and movement required for the film's story. According to Bakshi, "Rotoscoping is terrible for subtleties, so it was tough to get facial performances to match the stage ones." Bakshi was able to acquire the rights to an extensive soundtrack—including songs by Janis Joplin, The Doors, George Gershwin, The Mamas & the Papas, Herbie Hancock, Lou Reed, and Louis Prima—for under $1 million. Released on February 12, 1981, the film was a financial success. The New York Times Vincent Canby wrote, "I'm amazed at the success that Mr. Bakshi has in turning animated characters into figures of real feelings." Jerry Beck called it "one of Bakshi's best films". Due to music clearance issues, it was not released on home video until 1998. By 1982, fantasy films such as The Beastmaster and Conan the Barbarian had proven successful at the box office, and Bakshi wanted to work with his long-time friend, the fantasy illustrator Frank Frazetta. Fire and Ice was financed by some of American Pops investors for $1.2 million, while 20th Century Fox agreed to distribute. Fire and Ice was the most action-oriented story Bakshi had directed, so he again used rotoscoping; the realism of the design and rotoscoped animation replicated Frazetta's artwork. Bakshi and Frazetta were heavily involved in the production of the live-action sequences, from casting sessions to the final shoot. The film's crew included background artists James Gurney and Thomas Kinkade, layout artist Peter Chung, and established Bakshi Productions artists Sparey, Steve Gordon, Bell and Banks. Chung greatly admired Bakshi's and Frazetta's work, and animated his sequences while working for The Walt Disney Company. The film was given a limited release, and was financially unsuccessful. Andrew Leal wrote, "The plot is standard [...] recalling nothing so much as a more graphic episode of Filmation's He-Man series. [...] Fire and Ice essentially stands as a footnote to the spate of barbarian films that followed in the wake of Arnold Schwarzenegger's appearance as Conan." Unproduced projects and temporary retirement (1983–1986) After production of Fire and Ice wrapped, Bakshi attempted several projects that fell through, including adaptations of Hunter S. Thompson's Fear and Loathing in Las Vegas, William Kotzwinkle's The Fan Man, E. R. Eddison's The Worm Ouroboros, Stephen Crane's Maggie: A Girl of the Streets, Mickey Spillane's Mike Hammer novels and an anthropomorphic depiction of Sherlock Holmes. He turned down offers to direct Ray Bradbury's Something Wicked This Way Comes and Philip K. Dick's Do Androids Dream of Electric Sheep?. He passed the latter to Ridley Scott, who adapted it into the 1982 film Blade Runner (although he was planning a TV version of said film). During this period, Bakshi reread J. D. Salinger's The Catcher in the Rye, which he had first read in high school, and saw parallels between his situation and that of the book's protagonist, Holden Caulfield. Inspired to seek the film rights, he intended to shoot the story's bracketing sequences in live action and to animate the core flashback scenes. Salinger had rejected previous offers to adapt the novel, and had not made a public appearance since 1965 or granted an interview since 1980. Bakshi sent Salinger a letter explaining why he should be allowed to adapt the novel; the writer responded by thanking Bakshi and asserting that the novel was unfit for any medium other than its original form. Prompted in part by Salinger's letter, Bakshi briefly retired to focus on painting. During this time he completed the screenplay for If I Catch Her, I'll Kill Her, a live-action feature he had been developing since the late 1960s. United Artists and Paramount Pictures each paid Bakshi to develop the film in the 1970s, but were unwilling to produce it, as were the studios he pitched the film to in the 1980s. According to Bakshi, "They thought that no one was going to admit that women can—and do—cheat on their husbands. They thought it was too hot, which made no sense." In 1985, he received a phone call from The Rolling Stones' manager, Tony King, who told Bakshi that the band had recorded a cover of Bob & Earl's "Harlem Shuffle", and wanted Bakshi to direct the music video. He was told that the live-action shoot needed to be completed within one day (January 28, 1986) for it to be shown at the Grammy Awards. Production designer Wolf Kroeger was forced to drastically compact his sets, and animation director and designer John Kricfalusi had to push his team, including Lynne Naylor, Jim Smith and Bob Jaques, to complete the animation within a few weeks. The band's arrival at the set was delayed by a snowstorm and several takes were ruined when the cameras crossed paths. Bakshi was forced to pay the union wages out of his own fees, and the continuity between Kricfalusi's animation and the live-action footage did not match; however, the video was completed on time. Bakshi recognized Kricfalusi's talent, and wanted to put him in charge of a project that would showcase the young animator's skills. Bakshi and Kricfalusi co-wrote the screenplay Bobby's Girl as a take on the teen films of the era. Jeff Sagansky, president of production at TriStar Pictures, put up $150,000 to develop the project, prompting Bakshi to move back to Los Angeles. When Sagansky left TriStar, Bakshi was forced to pitch the film again, but the studio's new executives did not understand its appeal and cut off financing. Bakshi and Zingarelli began to develop a feature about Hollywood's Golden Age, and Bakshi Productions crewmembers worked on proposed cartoons influenced by pulp fiction. Bobby's Girl was reworked as a potential prime time series called Suzy's in Love, but attracted no serious interest. They would try again in 2003 over at Spümcø, but nothing came from this either. Return to television (1987–1989) In April 1987, Bakshi set up a meeting with Judy Price, the head of CBS's Saturday morning block. Three days before the meeting, Bakshi, Kricfalusi, Naylor, Tom Minton, Eddie Fitzgerald and Jim Reardon met to brainstorm. Bakshi remembers, "My car was packed to the windows. Judy was my last stop before driving cross country back to New York to my family." Price rejected Bakshi's prepared pitches, but asked what else he had. He told her that he had the rights to Mighty Mouse, and she agreed to purchase the series. However, Bakshi did not own the rights and did not know who did. While researching the rights, he learned that CBS had acquired the entire Terrytoons library in 1955 and forgotten about it. According to Bakshi, "I sold them a show they already owned, so they just gave me the rights for nothin'!" Kricfalusi's team wrote story outlines for thirteen episodes in a week and pitched them to Price. By the next week, Kricfalusi had hired animators he knew who had been working at other studios. Mighty Mouse: The New Adventures went into production the month it was greenlighted; it was scheduled to premiere on September 19, 1987. This haste required the crew to be split into four teams, led by supervising director Kricfalusi, Fitzgerald, Steve Gordon and Bruce Woodside. Each team was given a handful of episodes, and operated almost entirely independently of the others. Although the scripts required approval by CBS executives, Kricfalusi insisted that the artists add visual gags as they drew. Bruce Timm, Andrew Stanton, Dave Marshall and Jeff Pidgeon were among the artists who worked on the series. Despite the time constraints, CBS was pleased with the way Bakshi Productions addressed the network's notes. During the production of the episode "The Littlest Tramp", editor Tom Klein expressed concern that a sequence showing Mighty Mouse sniffing the remains of a crushed flower resembled cocaine use. Bakshi did not initially view the footage; he believed that Klein was overreacting, but agreed to let him cut the scene. Kricfalusi expressed disbelief over the cut, insisting that the action was harmless and that the sequence should be restored. Following Kricfalusi's advice, Bakshi told Klein to restore the scene, which had been approved by network executives and the CBS standards and practices department. The episode aired on October 31, 1987, without controversy. In 1988, Bakshi received an Annie Award for "Distinguished Contribution to the Art of Animation". The same year, he began production on a series pilot loosely adapted from his Junktown comic strips. According to Bakshi, the proposed series "was going to be a revitalization of cartoon style from the '20s and '30s. It was gonna have Duke Ellington and Fats Waller jazzing up the soundtrack." Nickelodeon was initially willing to greenlight 39 episodes of Junktown. On June 6, 1988, Donald Wildmon, head of the American Family Association (AFA), alleged that "The Littlest Tramp" depicted cocaine use, instigating a media frenzy. The AFA, during its incarnation as the National Federation for Decency, had previously targeted CBS as an "accessory to murder" after a mother killed her daughter following an airing of Exorcist II: The Heretic. Concerning Bakshi's involvement with Mighty Mouse: The New Adventures, the AFA claimed that CBS "intentionally hired a known pornographer to do a cartoon for children, and then allowed him to insert a scene in which the cartoon hero is shown sniffing cocaine." Bakshi responded, "You could pick a still out of Lady and the Tramp and get the same impression. Fritz the Cat wasn't pornography. It was social commentary. This all smacks of burning books and the Third Reich. It smacks of McCarthyism. I'm not going to get into who sniffs what. This is lunacy!" On CBS's order, Klein removed the sequence from the master broadcast footage. Wildmon claimed that the edits were "a de facto admission that, indeed, Mighty Mouse was snorting cocaine". Despite receiving an award from Action for Children's Television, favorable reviews, and a ranking in Time magazine's "Best of '87" feature, Mighty Mouse: The New Adventures was canceled by CBS following the controversy. The incident had a ripple effect, weakening Nickelodeon's commitment to Junktown. Bakshi has also stated that "we were trying something different [...] but a series didn't make sense. It just didn't work". The series was scrapped, and the completed pilot aired as a special, Christmas in Tattertown, in December 1988. It was the first original animated special created for Nickelodeon. Bakshi moved into a warehouse loft in downtown Los Angeles to clear his head, and was offered $50,000 to direct a half-hour live-action film for PBS's Imagining America anthology series. Mark Bakshi produced the film, This Ain't Bebop, his first professional collaboration with his father. Bakshi wrote a poem influenced by Jack Kerouac, jazz, the Beat Generation and Brooklyn that served as the narration, which was spoken by Harvey Keitel. After a car crash, Bakshi completed the post-production in stitches and casts. Bakshi said of the work, "It's the most proud I've been of a picture since Coonskin—the last real thing I did with total integrity." As a result of the film, Bakshi received an offer to adapt Dr. Seuss's The Butter Battle Book for TNT. Ted Geisel had never been satisfied with the previous screen versions of his Dr. Seuss work. Bakshi wanted to produce an entirely faithful adaptation, and Geisel—who agreed to storyboard the special himself—was pleased with the final product. Bakshi next directed the pilot Hound Town for NBC; he described the result as "an embarrassing piece of shit". Besides Bakshi, sitcom alumus Rob Sternin and Prudence Fraser wrote and produced the project. Cool World, continued television projects and semi-retirement (1990–1997) In 1990, Bakshi pitched Cool World to Paramount Pictures as a partially animated horror film. The concept involved a cartoon and human having sex and conceiving a hybrid child who visits the real world to murder the father who abandoned him. The live-action footage was intended to look like "a living, walk-through painting", a visual concept Bakshi had long wanted to achieve. Massive sets were constructed on a sound stage in Las Vegas, based on enlargements of designer Barry Jackson's paintings. The animation was strongly influenced by the house styles of Fleischer Studios and Terrytoons. As the sets were being built, producer Frank Mancuso Jr., son of Paramount president Frank Mancuso Sr., had the screenplay rewritten in secret; the new version, by Michael Grais and Mark Victor, was radically different from Bakshi's original. Paramount threatened to sue Bakshi if he did not complete the film. As Bakshi and Mancuso wrangled over their creative differences, Bakshi and the studio also began to fight over the film's casting. To keep actor Brad Pitt, Bakshi had to replace Drew Barrymore, his original choice for the character of Holli Would, with Kim Basinger, a bigger box office draw at the time. The film's animators were never given a screenplay, and were instead told by Bakshi, "Do a scene that's funny, whatever you want to do!" Designer Milton Knight recalled that "audiences actually wanted a wilder, raunchier Cool World. The premiere audience I saw it with certainly did." The critical reaction to the film was generally negative. Roger Ebert wrote, "The DJ who was hosting the radio station's free preview of Cool World leaped onto the stage and promised the audience: 'If you liked Roger Rabbit, you'll love Cool World!' He was wrong, but you can't blame him—he hadn't seen the movie. I have, and I will now promise you that if you liked Roger Rabbit, quit while you're ahead." The film was a box-office disappointment. While other film projects followed, Bakshi began to focus more attention on painting. In 1993, Lou Arkoff, the son of Samuel Z. Arkoff, approached Bakshi to write and direct a low-budget live-action feature for Showtime's Rebel Highway series. For the third time, Bakshi revisited his screenplay for If I Catch Her, I'll Kill Her, which he retitled Cool and the Crazy. The picture, which aired September 16, 1994, starred Jared Leto, Alicia Silverstone, Jennifer Blanc and Matthew Flint. Reviewer Todd Everett noted that it had the same "hyperdrive visual sense" of Bakshi's animated films. He said, "Everything in 'Cool' [...] seems to exist in pastels and Bakshi shoots from more odd angles than any director since Sidney J. Furie in his heyday. And the closing sequences ably demonstrate how it's possible to present strong violence without any blood being shed onscreen. Bakshi pulls strong [performances] from a cadre of youngish and largely unknown actors". In 1995, Hanna-Barbera producer Fred Seibert offered Bakshi the chance to create two animated short films for Cartoon Network's What a Cartoon!: Malcom and Melvin and Babe, He Calls Me, focusing on a trumpet-playing cockroach named Malcom and his best friend, a clown named Melvin. Both were heavily edited after Bakshi turned them in and he disowned them as a result. Bakshi was subsequently contacted by HBO, which was looking to launch the first animated series specifically for adults, an interest stirred by discussions involving a series based upon Trey Parker and Matt Stone's video Christmas card, Jesus vs. Santa. Bakshi enlisted a team of writers, including his son Preston, to develop Spicy Detective, later renamed Spicy City, an anthology series set in a noir-ish, technology-driven future. Each episode was narrated by a female host named Raven, voiced by Michelle Phillips. The series premiered in July 1997—one month before the debut of Parker and Stone's South Park—and thus became the first "adults only" cartoon series. Although critical reaction was largely unfavorable, Spicy City received acceptable ratings. A second season was approved, but the network wanted to fire Bakshi's writing team and hire professional Los Angeles screenwriters. When Bakshi refused to cooperate, the series was canceled. Painting, teaching and new animation projects (2000–2013) Bakshi retired from animation once more, returning to his painting. In 2000, he began teaching an undergraduate animation class at New York's School of Visual Arts. On December 14, 2001, he did some paintings for the Cameron Crowe film Vanilla Sky. He later became involved in several screen projects, including a development deal with the Sci Fi Channel, In September 2002, Bakshi, Liz and their dogs moved to New Mexico, where he became more productive than ever in his painting and began development on the Last Days of Coney Island film. In 2003, he appeared as the Fire Chief in the episode "Fire Dogs 2" of John Kricfalusi's Ren & Stimpy "Adult Party Cartoon". In September 2008, Main Street Pictures announced that it would collaborate with Bakshi on a sequel to Wizards. In 2012, Bakshi began producing the short film series Bakshi Blues. The first of these shorts, Trickle Dickle Down, contains reused animation from Coonskin and criticizes 2012 Republican presidential candidate Mitt Romney. The shorts were to focus on "old and new characters" and comment on modern-day America. Last Days of Coney Island (2013–2016) In February 2013, Bakshi launched a successful Kickstarter campaign to obtain funding for his latest film, Last Days of Coney Island. Actor Matthew Modine was cast in the film in February 2013 after Modine, a longtime Bakshi fan, came across the film's Kickstarter campaign online. Last Days of Coney Island was released on Vimeo in 2015. Bakshi released the film for free on YouTube on 13 October 2016. Post-animation (2015–present) After he quit the animation industry, Bakshi did multiple interviews with the media and on podcasts. He continues to sell art on eBay and his website, both run by the Bakshi family. He currently sells an art series called Little Guys and Gals, which are fictional portraits of cartoon people. The series originated in November 2020 as random character sketches and officially began in January 2021, originally calling the series Little Gals and Little Guys. Bakshi appeared as a guest at a Canadian film festival which celebrates animation, SPARK Animation, which was held virtually, from October 28 to November 7, 2021. Accolades In 2003, Bakshi received a Maverick Tribute Award at the Cinequest San Jose Film Festival the same year he began teaching an animation class in New Mexico - this became The Bakshi School of Animation and Cartooning, which is run by Ralph's son Edward and his partner Jess Gorell. The Online Film Critics Society released a list of the "Top 100 Animated Features of All Time" in March 2003 that included four of Bakshi's films: Fritz the Cat, The Lord of the Rings, Coonskin and Fire and Ice. Fritz the Cat was ranked number 56 in the 2004 poll conducted by Britain's Channel 4 for its documentary The 100 Greatest Cartoons. The Museum of Modern Art has added Bakshi's films to its collection for preservation. In the 1980s and 1990s he served on the advisory board of the Los Angeles Student Film Institute. In 2021, Ralph Bakshi won the Animafest Zagreb Lifetime Achievement Award for his animation career and the impact of his films. Legacy The availability of Bakshi's work on the Internet sparked a resurgence of interest in his career, resulting in a three-day American Cinematheque retrospective held at Grauman's Egyptian Theatre in Hollywood and the Aero Theater in Santa Monica, California, in April 2005. Unfiltered: The Complete Ralph Bakshi, a hardcover book of Bakshi's art, was released on April 1, 2008. The foreword was written by Quentin Tarantino and the afterword by Bakshi. His rotoscoping techniques in Lord of the Rings inspired the animation rotoscoping techniques of the independent film The Spine of Night in which the animator developed his own rotoscope style by watching behind-the-scenes footage of Bakshi's warehouse and reverse-engineering it. Billie Eilish had the idea for an animated version of herself for her in the concert film Happier Than Ever: A Love Letter to Los Angeles (which is a promotion for the album of the same name) and suggested to director Patrick Osborne that the character should have a 1980s look and rotoscope-ish animation. Eilish referenced the works of Bakshi and animator Richard Williams to him. Gore Verbinski commented about Bakshi and showed that he was inspired by him during an interview in The Hollywood Reporter for his first animated movie, Rango, saying: "What happened to the Ralph Bakshis of the world? We're all sitting here talking family entertainment. Does animation have to be family entertainment? Audiences want something new; they just can't articulate what." On January 12, 2014, at The Egyptian Theatre in Hollywood, there was a special screening of Bakshi's film American Pop with actors Ron Thompson and Mews Small in attendance, it was the first time lead actor Ron Thompson had ever introduced the film before a live audience. At the Aero Theatre in Santa Monica, California, on March 27, 2015, there was a screening of Heavy Traffic and American Pop with Bakshi, Ron Thompson and Mews Small attending. Fritz the Cat has also been called an animated art film. Filmography Films Television I Selected episodes II Provided the voices of Connelly and Goldblum in the episode "Sex Drive", and Stevie in the episode "Mano's Hands" III Provided the voice of the Super Hero IV Animated in conjunction with Doug Compton V Provided the voice of Fire Chief in the episode "Fire Dogs 2" Releases and ratings Bibliography Ralph Bakshi: A Private selection of drawings released from the Bakshi Archives. 2018 - 2019; Book 1 (2019) Ralph Bakshi: No Rhyme or Reason; Book 2 (2020) See also Heavy Metal Ron Thompson John Kricfalusi Katsuhiro Otomo Rock & Rule Independent animation New Hollywood Notes References External links Official page filmography Archived 'American Pop'... Matters: Ron Thompson, the Illustrated Man Unsung interview at PopMatters Rotospective: Ralph Bakshi, Lessons in Artistry, Rebellion and Success a profile at AgentPalmer.com 1938 births American animators American comic strip cartoonists American experimental filmmakers American film producers American animated film producers American storyboard artists American television directors Television producers from New York City American television writers 20th-century American painters American male painters 21st-century American painters 21st-century American male writers American male screenwriters American male voice actors American animated film directors American people of Palestinian-Jewish descent Jewish American artists American satirists Jews in Mandatory Palestine Living people American male television writers People from Haifa Terrytoons people Underground cartoonists American voice directors Krymchaks Artists from New York City High School of Art and Design alumni Mandatory Palestine emigrants to the United States People from Brownsville, Brooklyn Thomas Jefferson High School (Brooklyn) alumni Film directors from New York (state) 21st-century American non-fiction writers American male non-fiction writers Screenwriters from New York (state) Inkpot Award winners Famous Studios people	true	[ "Don Juan Manuel's Tales of Count Lucanor, in Spanish Libro de los ejemplos del conde Lucanor y de Patronio (Book of the Examples of Count Lucanor and of Patronio), also commonly known as El Conde Lucanor, Libro de Patronio, or Libro de los ejemplos (original Old Castilian: Libro de los enxiemplos del Conde Lucanor et de Patronio), is one of the earliest works of prose in Castilian Spanish. It was first written in 1335.\n\nThe book is divided into four parts. The first and most well-known part is a series of 51 short stories (some no more than a page or two) drawn from various sources, such as Aesop and other classical writers, and Arabic folktales.\n\nTales of Count Lucanor was first printed in 1575 when it was published at Seville under the auspices of Argote de Molina. It was again printed at Madrid in 1642, after which it lay forgotten for nearly two centuries.\n\nPurpose and structure\n\nA didactic, moralistic purpose, which would color so much of the Spanish literature to follow (see Novela picaresca), is the mark of this book. Count Lucanor engages in conversation with his advisor Patronio, putting to him a problem (\"Some man has made me a proposition...\" or \"I fear that such and such person intends to...\") and asking for advice. Patronio responds always with the greatest humility, claiming not to wish to offer advice to so illustrious a person as the Count, but offering to tell him a story of which the Count's problem reminds him. (Thus, the stories are \"examples\" [ejemplos] of wise action.) At the end he advises the Count to do as the protagonist of his story did.\n\nEach chapter ends in more or less the same way, with slight variations on: \"And this pleased the Count greatly and he did just so, and found it well. And Don Johán (Juan) saw that this example was very good, and had it written in this book, and composed the following verses.\" A rhymed couplet closes, giving the moral of the story.\n\nOrigin of stories and influence on later literature\nMany of the stories written in the book are the first examples written in a modern European language of various stories, which many other writers would use in the proceeding centuries. Many of the stories he included were themselves derived from other stories, coming from western and Arab sources.\n\nShakespeare's The Taming of the Shrew has the basic elements of Tale 35, \"What Happened to a Young Man Who Married a Strong and Ill-tempered Woman\".\n\nTale 32, \"What Happened to the King and the Tricksters Who Made Cloth\" tells the story that Hans Christian Andersen made popular as The Emperor's New Clothes.\n\nStory 7, \"What Happened to a Woman Named Truhana\", a version of Aesop's The Milkmaid and Her Pail, was claimed by Max Müller to originate in the Hindu cycle Panchatantra.\n\nTale 2, \"What happened to a good Man and his Son, leading a beast to market,\" is the familiar fable The miller, his son and the donkey.\n\nIn 2016, Baroque Decay released a game under the name \"The Count Lucanor\". As well as some protagonists' names, certain events from the books inspired past events in the game.\n\nThe stories\n\nThe book opens with a prologue which introduces the characters of the Count and Patronio. The titles in the following list are those given in Keller and Keating's 1977 translation into English. James York's 1868 translation into English gives a significantly different ordering of the stories and omits the fifty-first.\n\n What Happened to a King and His Favorite \n What Happened to a Good Man and His Son \n How King Richard of England Leapt into the Sea against the Moors\n What a Genoese Said to His Soul When He Was about to Die \n What Happened to a Fox and a Crow Who Had a Piece of Cheese in His Beak\n How the Swallow Warned the Other Birds When She Saw Flax Being Sown \n What Happened to a Woman Named Truhana \n What Happened to a Man Whose Liver Had to Be Washed \n What Happened to Two Horses Which Were Thrown to the Lion \n What Happened to a Man Who on Account of Poverty and Lack of Other Food Was Eating Bitter Lentils \n What Happened to a Dean of Santiago de Compostela and Don Yllán, the Grand Master of Toledo\n What Happened to the Fox and the Rooster \n What Happened to a Man Who Was Hunting Partridges \n The Miracle of Saint Dominick When He Preached against the Usurer \n What Happened to Lorenzo Suárez at the Siege of Seville \n The Reply that count Fernán González Gave to His Relative Núño Laynes \n What Happened to a Very Hungry Man Who Was Half-heartedly Invited to Dinner \n What Happened to Pero Meléndez de Valdés When He Broke His Leg \n What Happened to the Crows and the Owls \n What Happened to a King for Whom a Man Promised to Perform Alchemy \n What Happened to a Young King and a Philosopher to Whom his Father Commended Him \n What Happened to the Lion and the Bull \n How the Ants Provide for Themselves \n What Happened to the King Who Wanted to Test His Three Sons \n What Happened to the Count of Provence and How He Was Freed from Prison by the Advice of Saladin\n What Happened to the Tree of Lies \n What Happened to an Emperor and to Don Alvarfáñez Minaya and Their Wives \n What Happened in Granada to Don Lorenzo Suárez Gallinato When He Beheaded the Renegade Chaplain \n What Happened to a Fox Who Lay down in the Street to Play Dead \n What Happened to King Abenabet of Seville and Ramayquía His Wife \n How a Cardinal Judged between the Canons of Paris and the Friars Minor \n What Happened to the King and the Tricksters Who Made Cloth \n What Happened to Don Juan Manuel's Saker Falcon and an Eagle and a Heron \n What Happened to a Blind Man Who Was Leading Another \n What Happened to a Young Man Who Married a Strong and Ill-tempered Woman\n What Happened to a Merchant When He Found His Son and His Wife Sleeping Together \n What Happened to Count Fernán González with His Men after He Had Won the Battle of Hacinas \n What Happened to a Man Who Was Loaded down with Precious Stones and Drowned in the River \n What Happened to a Man and a Swallow and a Sparrow \n Why the Seneschal of Carcassonne Lost His Soul \n What Happened to a King of Córdova Named Al-Haquem \n What Happened to a Woman of Sham Piety \n What Happened to Good and Evil and the Wise Man and the Madman \n What Happened to Don Pero Núñez the Loyal, to Don Ruy González de Zavallos, and to Don Gutier Roiz de Blaguiello with Don Rodrigo the Generous \n What Happened to a Man Who Became the Devil's Friend and Vassal \n What Happened to a Philosopher who by Accident Went down a Street Where Prostitutes Lived \n What Befell a Moor and His Sister Who Pretended That She Was Timid \n What Happened to a Man Who Tested His Friends \n What Happened to the Man Whom They Cast out Naked on an Island When They Took away from Him the Kingdom He Ruled \n What Happened to Saladin and a Lady, the Wife of a Knight Who Was His Vassal \n What Happened to a Christian King Who Was Very Powerful and Haughty\n\nReferences\n\nNotes\n\nBibliography\n\n Sturm, Harlan\n\n Wacks, David\n\nExternal links\n\nThe Internet Archive provides free access to the 1868 translation by James York.\nJSTOR has the to the 1977 translation by Keller and Keating.\nSelections in English and Spanish (pedagogical edition) with introduction, notes, and bibliography in Open Iberia/América (open access teaching anthology)\n\n14th-century books\nSpanish literature\n1335 books", "\"What Happened to Us\" is a song by Australian recording artist Jessica Mauboy, featuring English recording artist Jay Sean. It was written by Sean, Josh Alexander, Billy Steinberg, Jeremy Skaller, Rob Larow, Khaled Rohaim and Israel Cruz. \"What Happened to Us\" was leaked online in October 2010, and was released on 10 March 2011, as the third single from Mauboy's second studio album, Get 'Em Girls (2010). The song received positive reviews from critics.\n\nA remix of \"What Happened to Us\" made by production team OFM, was released on 11 April 2011. A different version of the song which features Stan Walker, was released on 29 May 2011. \"What Happened to Us\" charted on the ARIA Singles Chart at number 14 and was certified platinum by the Australian Recording Industry Association (ARIA). An accompanying music video was directed by Mark Alston, and reminisces on a former relationship between Mauboy and Sean.\n\nProduction and release\n\n\"What Happened to Us\" was written by Josh Alexander, Billy Steinberg, Jeremy Skaller, Rob Larow, Khaled Rohaim, Israel Cruz and Jay Sean. It was produced by Skaller, Cruz, Rohaim and Bobby Bass. The song uses C, D, and B minor chords in the chorus. \"What Happened to Us\" was sent to contemporary hit radio in Australia on 14 February 2011. The cover art for the song was revealed on 22 February on Mauboy's official Facebook page. A CD release was available for purchase via her official website on 10 March, for one week only. It was released digitally the following day.\n\nReception\nMajhid Heath from ABC Online Indigenous called the song a \"Jordin Sparks-esque duet\", and wrote that it \"has a nice innocence to it that rings true to the experience of losing a first love.\" Chris Urankar from Nine to Five wrote that it as a \"mid-tempo duet ballad\" which signifies Mauboy's strength as a global player. On 21 March 2011, \"What Happened to Us\" debuted at number 30 on the ARIA Singles Chart, and peaked at number 14 the following week. The song was certified platinum by the Australian Recording Industry Association (ARIA), for selling 70,000 copies. \"What Happened to Us\" spent a total of ten weeks in the ARIA top fifty.\n\nMusic video\n\nBackground\nThe music video for the song was shot in the Elizabeth Bay House in Sydney on 26 November 2010. The video was shot during Sean's visit to Australia for the Summerbeatz tour. During an interview with The Daily Telegraph while on the set of the video, Sean said \"the song is sick! ... Jessica's voice is amazing and we're shooting [the video] in this ridiculously beautiful mansion overlooking the harbour.\" The video was directed by Mark Alston, who had previously directed the video for Mauboy's single \"Let Me Be Me\" (2009). It premiered on YouTube on 10 February 2011.\n\nSynopsis and reception\nThe video begins showing Mauboy who appears to be sitting on a yellow antique couch in a mansion, wearing a purple dress. As the video progresses, scenes of memories are displayed of Mauboy and her love interest, played by Sean, spending time there previously. It then cuts to the scenes where Sean appears in the main entrance room of the mansion. The final scene shows Mauboy outdoors in a gold dress, surrounded by green grass and trees. She is later joined by Sean who appears in a black suit and a white shirt, and together they sing the chorus of the song to each other. David Lim of Feed Limmy wrote that the video is \"easily the best thing our R&B princess has committed to film – ever\" and praised the \"mansion and wondrous interior décor\". He also commended Mauboy for choosing Australian talent to direct the video instead of American directors, which she had used for her previous two music videos. Since its release, the video has received over two million views on Vevo.\n\nLive performances\nMauboy performed \"What Happened to Us\" live for the first time during her YouTube Live Sessions program on 4 December 2010. She also appeared on Adam Hills in Gordon Street Tonight on 23 February 2011 for an interview and later performed the song. On 15 March 2011, Mauboy performed \"What Happened to Us\" on Sunrise. She also performed the song with Stan Walker during the Australian leg of Chris Brown's F.A.M.E. Tour in April 2011. Mauboy and Walker later performed \"What Happened to Us\" on Dancing with the Stars Australia on 29 May 2011. From November 2013 to February 2014, \"What Happened to Us\" was part of the set list of the To the End of the Earth Tour, Mauboy's second headlining tour of Australia, with Nathaniel Willemse singing Sean's part.\n\nTrack listing\n\nDigital download\n \"What Happened to Us\" featuring Jay Sean – 3:19\n \"What Happened to Us\" featuring Jay Sean (Sgt Slick Remix) – 6:33\n \"What Happened to Us\" featuring Jay Sean (Just Witness Remix) – 3:45\n\nCD single\n \"What Happened to Us\" featuring Jay Sean (Album Version) – 3:19\n \"What Happened to Us\" featuring Jay Sean (Sgt Slick Remix) – 6:33\n \"What Happened to Us\" featuring Jay Sean (OFM Remix) – 3:39\n\nDigital download – Remix\n \"What Happened to Us\" featuring Jay Sean (OFM Remix) – 3:38\n\nDigital download\n \"What Happened to Us\" featuring Stan Walker – 3:20\n\nPersonnel\nSongwriting – Josh Alexander, Billy Steinberg, Jeremy Skaller, Rob Larow, Khaled Rohaim, Israel Cruz, Jay Sean\nProduction – Jeremy Skaller, Bobby Bass\nAdditional production – Israel Cruz, Khaled Rohaim\nLead vocals – Jessica Mauboy, Jay Sean\nMixing – Phil Tan\nAdditional mixing – Damien Lewis\nMastering – Tom Coyne \nSource:\n\nCharts\n\nWeekly chart\n\nYear-end chart\n\nCertification\n\nRadio dates and release history\n\nReferences\n\n2010 songs\n2011 singles\nJessica Mauboy songs\nJay Sean songs\nSongs written by Billy Steinberg\nSongs written by Jay Sean\nSongs written by Josh Alexander\nSongs written by Israel Cruz\nVocal duets\nSony Music Australia singles\nSongs written by Khaled Rohaim" ]
[ "Ralph Bakshi", "Coonskin (1973-1975)", "Is coonskin a movie?", "Coonskin, advertised as an exploitation film,", "Who starred in coonskin?", "Bakshi hired several African American animators to work on Coonskin, including Brenda Banks, the first African American female animator.", "Was the movie a success?", "Coonskin, advertised as an exploitation film, was given limited distribution and soon disappeared from theaters. Initial reviews were negative;", "How many copies were sold?", "I don't know.", "Who directed the movie?", "I don't know.", "Who produced the movie?", "Bakshi and Ruddy began the production of Harlem Nights,", "Any important information?", "Bakshi juxtaposed stereotypical designs of blacks with even more negative depictions of white racists, but the film's strongest criticism is directed at the Mafia.", "What happened in 1973?", "In 1973, Bakshi and Ruddy began the production of Harlem Nights," ]	C_0425b70eeebf4afa91523e82d63c3bd2_1	What happened in 1975?	9	What happened in 1975 with Coonskin?	Ralph Bakshi	In 1973, Bakshi and Ruddy began the production of Harlem Nights, which Paramount was originally contracted to distribute. While Fritz the Cat and Heavy Traffic proved that adult-oriented animation could be financially successful, animated films were still not respected, and Bakshi's pictures were considered to be "dirty Disney flicks" that were "mature" only for depicting sex, drugs and profanity. Harlem Nights, based on Bakshi's firsthand experiences with racism, was an attack on racist prejudices and stereotypes. Bakshi cast Scatman Crothers, Philip Michael Thomas, Barry White and Charles Gordone in live-action and voice roles, cutting in and out of animation abruptly rather than seamlessly because he wanted to prove that the two mediums could "coexist with neither excuse nor apology". He wrote a song for Crothers to sing during the opening title sequence: "Ah'm a Niggerman". Its structure was rooted in the history of the slave plantation: slaves would "shout" lines from poems and stories great distances across fields in unison, creating a natural beat. Bakshi has described its vocal style, backed by fast guitar licks, as an "early version of rap". Bakshi intended to attack stereotypes by portraying them directly, culling imagery from blackface iconography. Early designs in which the main characters (Brother Rabbit, Brother Bear and Preacher Fox) resembled figures from The Wind in the Willows were rejected. Bakshi juxtaposed stereotypical designs of blacks with even more negative depictions of white racists, but the film's strongest criticism is directed at the Mafia. Bakshi said, "I was sick of all the hero worship these guys got because of The Godfather." Production concluded in 1973. During editing, the title was changed to Coonskin No More..., and finally to Coonskin. Bakshi hired several African American animators to work on Coonskin, including Brenda Banks, the first African American female animator. Bakshi also hired graffiti artists and trained them to work as animators. The film's release was delayed by protests from the Congress of Racial Equality, which called Bakshi and his film racist. After its distribution was contracted to the Bryanston Distributing Company, Paramount canceled a project that Bakshi and Ruddy were developing, The American Chronicles. Coonskin, advertised as an exploitation film, was given limited distribution and soon disappeared from theaters. Initial reviews were negative; Playboy commented that "Bakshi seems to throw in a little of everything and he can't quite pull it together." Eventually, positive reviews appeared in The Hollywood Reporter, New York Amsterdam News (an African American newspaper) and elsewhere. The New York Times' Richard Eder said the film "could be [Bakshi's] masterpiece [...] a shattering successful effort to use an uncommon form--cartoons and live action combined to convey the hallucinatory violence and frustration of American city life, specifically black city life [...] lyrically violent, yet in no way [does it] exploit violence". Variety called it a "brutal satire from the streets". A reviewer for the Los Angeles Herald-Examiner wrote, "Certainly, it will outrage some and, indeed, it's not Disney. [...] The dialog it has obviously generated--if not the box office obstacles--seems joltingly healthy." Bakshi called Coonskin his best film. CANNOTANSWER	CANNOTANSWER	Ralph Bakshi (; born October 29, 1938) is an American director of animated and live-action films. In the 1970s, he established an alternative to mainstream animation through independent and adult-oriented productions. Between 1972 and 1992, he directed nine theatrically released feature films, five of which he wrote. He has been involved in numerous television projects as director, writer, producer, and animator. Beginning his career at the Terrytoons television cartoon studio as a cel polisher, Bakshi was eventually promoted to animator, and then director. He moved to the animation division of Paramount Pictures in 1967 and started his own studio, Bakshi Productions, in 1968. Through producer Steve Krantz, Bakshi made his debut feature film, Fritz the Cat, released in 1972. It was based on the comic strip by Robert Crumb and was the first animated film to receive an X rating from the Motion Picture Association of America, and is the most successful independent animated feature of all time. Over the next 11 years, Bakshi directed seven additional animated features. He is well known for such films as Wizards (1977), The Lord of the Rings (1978), American Pop (1981), and Fire and Ice (1983). In 1987, Bakshi returned to television work, producing the series Mighty Mouse: The New Adventures, which ran for two years. After a nine-year hiatus from feature films, he directed Cool World (1992), which was largely rewritten during production and received poor reviews, consequently being his last theatrical feature-length film to date. Bakshi returned to television with the live-action film Cool and the Crazy (1994) and the anthology series Spicy City (1997). During the 2000s, he focused largely on fine art and painting, and in 2003, co-founded the Bakshi School of Animation with his son Eddie and Jess Gorell. Bakshi has received several awards for his work, including the 1980 Golden Gryphon for The Lord of the Rings at the Giffoni Film Festival, the 1988 Annie Award for Distinguished Contribution to the Art of Animation, and the 2003 Maverick Tribute Award at the Cinequest Film Festival. Early life Ralph Bakshi was born on October 29, 1938, in Haifa, British Mandate of Palestine (now Israel), to a Krymchak Jewish family. In 1939, his family migrated to the United States, and he grew up in the Brownsville neighborhood of Brooklyn. The family lived in a low-rent apartment, where Bakshi became fascinated with the urban milieu. As a child, he enjoyed comic books, and often dug through trash cans to find them. According to an interview in 2009, Ralph said he was very poor and the walls of his neighborhood were constantly repainted. He liked the feeling when he looked out the window and saw the sun as a little boy, and whenever he would walk out in the streets, someone would break the wooden crates, that were filled with food, in the push carts open. Ralph says this in the interview, "And the push carts were wood, and most of the buildings were made out of old wood, going back to the turn of the century, and they were repainted a lot but the paint was faded by, you know the hundred years of snow and rain, repainted and faded again." Bakshi loved the faded colors, the nails, the wooden crates, and he would build his own toys from the wood. Ralph recalls, "I had a great feeling with wood, cement, and nails". In the spring of 1947, Bakshi's father and uncle traveled to Washington, DC, in search of business opportunities, and soon moved the family to the black neighborhood of Foggy Bottom. Bakshi recalled, "All my friends were black, everyone we did business with was black, the school across the street was black. It was segregated, so everything was black. I went to see black movies; black girls sat on my lap. I went to black parties. I was another black kid on the block. No problem!" The racial segregation of local schools meant that the nearest white school was several miles away; Bakshi obtained his mother's permission to attend the nearby black school with his friends. Most of the students had no problem with Bakshi's presence, but a teacher sought advice from the principal, who called the police. Fearing that segregated whites would riot if they learned that a white, let alone Jewish, student was attending a black school, the police removed Bakshi from his classroom. Meanwhile, his father had been suffering from anxiety attacks. Within a few months, the family moved back to Brownsville, where they rarely spoke of these events. At the age of 15, after discovering Gene Byrnes' Complete Guide to Cartooning at the public library, Bakshi took up cartooning to document his experiences and create fantasy-influenced artwork. He stole a copy of the book and learned every lesson in it. During his teenaged years, Bakshi took up boxing. While attending Thomas Jefferson High School, he took little interest in academics, spending most of his time focusing on "broads, mouthing off, and doodling". After participating in a food fight and being caught smoking, Bakshi was sent to the principal's office. Believing Bakshi was unlikely to prosper at Thomas Jefferson, the principal transferred him to Manhattan's School of Industrial Art. In June 1956, Bakshi graduated from the school with an award in cartooning. Career Early career (1956–1968) When Bakshi was 18, his friend Cosmo Anzilotti was hired by the cartoon studio Terrytoons; Anzilotti recommended Bakshi to the studio's production manager, Frank Schudde. Bakshi was hired as a cel polisher and commuted four hours each day to the studio, based in suburban New Rochelle. His low-level position required Bakshi to carefully remove dirt and dust from animation cels. After a few months, Schudde was surprised that Bakshi was still showing up to work, so promoted him to cel painter. Bakshi began to practice animating; to give himself more time, at one point he slipped 10 cels he was supposed to work on into the "to-do" pile of a fellow painter, Leo Giuliani. Bakshi's deception was not noticed until two days later, when he was called to Schudde's office because the cels had been painted on the wrong side. When Bakshi explained that Giuliani had made the mistake, an argument ensued between the three. Schudde eventually took Bakshi's side. By this point, the studio's employees were aware of Bakshi's intention to become an animator, and he began to receive help and advice from established animators, including Connie Rasinski, Manny Davis, Jim Tyer, Larry Silverman, and Johnnie Gentilella. Bakshi married his first wife, Elaine, when he was 21. Their son, Mark, was born when Bakshi was 22. Elaine disliked his long work hours; parodying his marital problems, Bakshi drew Dum Dum and Dee Dee, a comic strip about a man determined "to get—and keep—the girl". As he perfected his animation style, he began to take on more jobs, including creating design tests for the studio's head director, Gene Deitch. Deitch was not convinced that Bakshi had a modern design sensibility. In response to the period's political climate and as a form of therapy, Bakshi drew the comic strips Bonefoot and Fudge, which satirized "idiots with an agenda", and Junktown, which focused on "misfit technology and discarded ideals". Bakshi's frustrations with his failing marriage and the state of the planet further drove his need to animate. In 1959, he moved his desk to join the rest of the animators; after asking Rasinski for material to animate, he received layouts of two scenes - a hat floating on water and a running Deputy Dawg, the lead character of a Terrytoons' series then being shown on CBS. Despite threats of repercussion from the animators' union, Rasinski fought to keep Bakshi as a layout artist. Bakshi began to see Rasinski as a father figure; Rasinski, childless, was happy to serve as Bakshi's mentor. At the age of 25, Bakshi was promoted to director. His first assignment was the series Sad Cat. Bakshi and his wife had separated by then, giving him the time to animate each short alone. Bakshi was dissatisfied with the traditional role of a Terrytoons director: "We didn't really 'direct' like you'd think. We were 'animation directors,' because the story department controlled the storyboards. We couldn't affect anything, but I still tried. I'd re-time, mix up soundtracks—I'd fuck with it so I could make it my own." Other animation studios, such as Hanna-Barbera, were selling shows to the networks, even as the series produced by Terrytoons (which was owned by CBS) were declining in popularity. In 1966, Bill Weiss asked Bakshi to help him carry presentation boards to Manhattan for a meeting with CBS. The network executives rejected all of Weiss's proposals as "too sophisticated", "too corny", or "too old-timey". As Fred Silverman, CBS's daytime programming chief, began to leave the office, an unprepared Bakshi pitched a superhero parody called The Mighty Heroes. He described the series' characters, including Strong Man, Tornado Man, Rope Man, Cuckoo Man, and Diaper Man: "They fought evil wherever they could, and the villains were stupider than they were." The executives loved the idea, and while Silverman required a few drawings before committing, Weiss immediately put Bakshi to work on the series' development. Once Silverman saw the character designs, he confirmed that CBS would greenlight the show, on the condition that Bakshi serve as its creative director. It would appear as a segment of Mighty Mouse Playhouse on the network's 1966–67 Saturday-morning schedule; the series was renamed Mighty Mouse and the Mighty Heroes in recognition of the new segment. Bakshi received a pay raise, but was not as satisfied with his career advancement as he had anticipated; Rasinski had died in 1965, Bakshi did not have creative control over The Mighty Heroes, and he was unhappy with the quality of the animation, writing, timing, and voice acting. Although the series' first 20 segments were successful, Bakshi wanted to leave Terrytoons to form his own company. In 1967, he drew up presentation pieces for a fantasy series called Tee-Witt, with help from Anzilotti, Johnnie Zago, and Bill Foucht. On the way to the CBS offices to make his pitch, he was involved in a car accident. At the auto body shop, he met Liz, who later became his second wife. Though CBS passed on Tee-Witt, its designs served as the basis for Bakshi's 1977 film Wizards. While leaving the network offices, he learned that Paramount Pictures had recently fired Shamus Culhane, the head of its animation division. Bakshi met with Burt Hampft, a lawyer for the studio, and was hired to replace Culhane. Bakshi enlisted comic-book and pulp-fiction artists and writers Harvey Kurtzman, Lin Carter, Gray Morrow, Archie Goodwin, Wally Wood, and Jim Steranko to work at the studio. After finishing Culhane's uncompleted shorts, he directed, produced, wrote, and designed four short films at Paramount: The Fuz, Mini-Squirts, Marvin Digs, and Mouse Trek. Marvin Digs, which Bakshi conceived as a "flower child picture", was not completed the way he had intended: It "was going to have curse words and sex scenes, and a lot more than that. [...] Of course, they wouldn't let me do that." He described the disappointing result as a "typical 1967 limited-animation theatrical". Animation historian Michael Barrier called the film "an offensively bad picture, the kind that makes people who love animation get up and leave the theater in disgust". Production of Mighty Heroes ended when Bakshi left Terrytoons. Bakshi served as head of the studio for eight months before Paramount closed its animation division on December 1, 1967. He learned that his position was always intended to be temporary and that Paramount never intended to pick up his pitches. Although Hampft was prepared to offer Bakshi a severance package, Bakshi immediately ripped up the contract. Hampft suggested that Bakshi work with producer Steve Krantz, who had recently fired Culhane as supervising director on the Canadian science-fiction series Rocket Robin Hood. Bakshi and background artist Johnnie Vita soon headed to Toronto, planning to commute between Canada and New York, with artists such as Morrow and Wood working from the United States. Unknown to Bakshi, Krantz and producer Al Guest were in the middle of a lawsuit. Failing to reach a settlement with Guest, Krantz told Bakshi to grab the series' model sheets and return to the United States. When the studio found out, a warrant for Bakshi's arrest was issued by the Toronto police. He narrowly avoided capture before being stopped by an American border guard, who asked him what he was doing. Bakshi responded, "All of these guys are heading into Canada to dodge the draft and I'm running back into the States. What the fuck is wrong with that!?" The guard laughed, and let Bakshi through. Vita was detained at the airport; he was searched and interrogated for six hours. Bakshi soon founded his own studio, Bakshi Productions, in the Garment District of Manhattan, where his mother used to work and which Bakshi described as "the worst neighborhood in the world". Bakshi Productions paid its employees higher salaries than other studios and expanded opportunities for female and minority animators. The studio began work on Rocket Robin Hood, and later took over the Spider-Man television series. Bakshi married Liz in August 1968. His second child, Preston, was born in June 1970. Fritz the Cat (1969–1972) In 1969, Ralph's Spot was founded as a division of Bakshi Productions to produce commercials for Coca-Cola and Max, the 2000-Year-Old Mouse, a series of educational shorts paid for by Encyclopædia Britannica. Bakshi was uninterested in the kind of animation the studio was turning out, and wanted to produce something personal. He soon developed Heavy Traffic, a tale of inner-city street life. Krantz told Bakshi that Hollywood studio executives would be unwilling to fund the film because of its content and Bakshi's lack of film experience, and would likely consider it if his first film was an adaptation. While browsing the East Side Book Store on St. Mark's Place, Bakshi came across a copy of Robert Crumb's Fritz the Cat. Impressed by Crumb's sharp satire, Bakshi purchased the book and suggested to Krantz that it would work as a film. Krantz arranged a meeting with Crumb, during which Bakshi presented the drawings he had created while learning the artist's distinctive style to prove that he could adapt Crumb's artwork to animation. Impressed by Bakshi's tenacity, Crumb lent him one of his sketchbooks for reference. Preparation began on a studio pitch that included a poster-sized cel featuring the comic's cast against a traced photo background—as Bakshi intended the film to appear. Despite Crumb's enthusiasm, the artist refused to sign the contract Krantz drew up. Artist Vaughn Bodē warned Bakshi against working with Crumb, describing him as "slick". Bakshi later agreed with Bodé's assessment, calling Crumb "one of the slickest hustlers you'll ever see in your life". Krantz sent Bakshi to San Francisco, where he stayed with Crumb and his wife, Dana, in an attempt to persuade Crumb to sign the contract. After a week, Crumb left, leaving the film's production status uncertain. Two weeks after Bakshi returned to New York, Krantz entered his office and told Bakshi that he had acquired the film rights through Dana, who had Crumb's power of attorney and signed the contract. Crumb was subsequently hostile both to the film and Bakshi. Krantz produced a sequel, The Nine Lives of Fritz the Cat (1974), to which Bakshi was steadfastly opposed, having wanted to kill Fritz off to avoid further movies. After Bakshi pitched the project to every major Hollywood studio, Warner Bros. bought it and promised an $850,000 budget. Bakshi hired animators with whom he had worked in the past, including Vita, Tyer, Anzilotti, and Nick Tafuri, and began the layouts and animation. The first completed sequence was a junkyard scene in Harlem, in which Fritz smokes marijuana, has sex, and incites a revolution. Krantz intended to release the sequence as a 15-minute short in case the picture's financing fell through; Bakshi, however, was determined to complete the film as a feature. They screened the sequence for Warner Bros. executives, who wanted the sexual content toned down and celebrities cast for the voice parts. Bakshi refused, and Warner Bros. pulled out, leading Krantz to seek funds elsewhere. He eventually made a deal with Jerry Gross, the owner of Cinemation Industries, a distributor specializing in exploitation films. Although Bakshi did not have enough time to pitch the film, Gross agreed to fund its production and distribute it, believing that it would fit in with his grindhouse slate. Despite receiving financing from other sources, including Saul Zaentz (who agreed to distribute the soundtrack album on his Fantasy Records label), the budget was tight enough to exclude pencil tests, so Bakshi had to test the animation by flipping an animator's drawings in his hand before they were inked and painted. When a cameraman realized that the cels for the desert scenes were not wide enough and revealed the transparency, Bakshi painted a cactus to cover the mistake. Very few storyboards were used. Bakshi and Vita walked around the Lower East Side, Washington Square Park, Chinatown, and Harlem, taking moody snapshots. Artist Ira Turek inked the outlines of these photographs onto cels with a Rapidograph, the technical pen preferred by Crumb, giving the film's backgrounds a stylized realism virtually unprecedented in animation. The tones of the watercolor backgrounds were influenced by the work of Ashcan School painters such as George Luks and John French Sloan. Among other unusual techniques, bent and fisheye camera perspectives were used to portray the way the film's hippies and hoodlums viewed the city. Many scenes featured documentary recordings of real conversations in place of scripted dialogue; this, too, would become a signature of Bakshi's. In May 1971, Bakshi moved his studio to Los Angeles to hire additional animators. Some, including Rod Scribner, Dick Lundy, Virgil Walter Ross, Norman McCabe, and John Sparey, welcomed Bakshi and felt that Fritz the Cat would bring diversity to the animation industry. Other animators were less pleased by Bakshi's arrival and placed an advertisement in The Hollywood Reporter, stating that his "filth" was unwelcome in California. By the time production wrapped, Cinemation had released Melvin Van Peebles' Sweet Sweetback's Baadasssss Song to considerable success, despite the X rating it had received. When the Motion Picture Association of America gave Bakshi's film an X rating, as well, Cinemation exploited it for promotional purposes, advertising Fritz the Cat as "90 minutes of violence, excitement, and SEX ... he's X-rated and animated!" Variety called it an "amusing, diverting, handsomely executed poke at youthful attitudes". John Grant writes in his book Masters of Animation that Fritz the Cat was "the breakthrough movie that opened brand new vistas to the commercial animator in the United States", presenting an "almost disturbingly accurate" portrayal "of a particular stratum of Western society during a particular era, [...] as such it has dated very well." Fritz the Cat was released on April 12, 1972, opening in Hollywood and Washington, D.C. A major hit, it became the most successful independent animated feature of all time. The same month as the film's release, Bakshi's daughter, Victoria, was born. Heavy Traffic (1972–1973) By the time Fritz the Cat was released, Bakshi had become a celebrity, but his reputation was primarily based upon his having directed the first "dirty" animated film. Facing criticism of his work on publicity tours and in trade publications, he began writing poetry to express his emotions. This became a tradition, and Bakshi wrote poems before beginning production on each of his films. The first of these poems was "Street Arabs", which preceded the production of Heavy Traffic in 1972. Inspiration for the film came from penny arcades, where Bakshi often played pinball, sometimes accompanied by his 12-year-old son, Mark. Bakshi pitched Heavy Traffic to Samuel Z. Arkoff, who expressed interest in his take on the "tortured underground cartoonist" and agreed to back the film. Krantz had not compensated Bakshi for his work on Fritz the Cat, and halfway through the production of Heavy Traffic, Bakshi asked when he would be paid. Krantz responded, "The picture didn't make any money, Ralph. It's just a lot of noise." Bakshi found Krantz's claims dubious, as the producer had recently purchased a new BMW and a mansion in Beverly Hills. Bakshi did not have a lawyer, so he sought advice from fellow directors with whom he had become friendly, including Martin Scorsese, Francis Ford Coppola, and Steven Spielberg. He soon accused Krantz of ripping him off, which the producer denied. As he continued to work on Heavy Traffic, Bakshi began pitching his next project, Harlem Nights, a film loosely based on the Uncle Remus story books. The idea interested producer Albert S. Ruddy, whom Bakshi encountered at a screening of The Godfather. Bakshi received a call from Krantz, who questioned him about Harlem Nights. Bakshi said, "I can't talk about that", and hung up. After locking Bakshi out of the studio the next day, Krantz called several directors, including Chuck Jones, in search of a replacement. Arkoff threatened to withdraw his financial backing unless Krantz rehired Bakshi, who returned a week later. Bakshi wanted the voices to sound organic, so he experimented with improvisation, allowing his actors to ad lib during the recording sessions. Several animation sequences appear as rough sketchbook pages. The film also incorporated live-action footage and photographs. Although Krantz, in an attempt to get the film an R rating, prepared different versions of scenes involving sex and violence, Heavy Traffic was rated X. Due to the success of Fritz the Cat, though, many theaters were willing to book adult-oriented animation, and the film did well at the box office. Bakshi became the first person in the animation industry since Walt Disney to have two financially successful movies released consecutively. Heavy Traffic was very well received by critics. Newsweek applauded its "black humor, powerful grotesquerie, and peculiar raw beauty." The Hollywood Reporter called it "shocking, outrageous, offensive, sometimes incoherent, occasionally unintelligent. However, it is also an authentic work of movie art and Bakshi is certainly the most creative American animator since Disney." Vincent Canby of The New York Times ranked Heavy Traffic among his "Ten Best Films of 1973". Upon release, the movie was banned by the Film Censorship Board in the province of Alberta, Canada. Coonskin (1973–1975) In 1973, Bakshi and Ruddy began the production of Harlem Nights, which Paramount was originally contracted to distribute. While Fritz the Cat and Heavy Traffic proved that adult-oriented animation could be financially successful, animated films were still not respected, and Bakshi's pictures were considered to be "dirty Disney flicks" that were "mature" only for depicting sex, drugs, and profanity. Harlem Nights, based on Bakshi's firsthand experiences with racism, was an attack on racist prejudices and stereotypes. Bakshi cast Scatman Crothers, Philip Michael Thomas, Barry White, and Charles Gordone in live-action and voice roles, cutting in and out of animation abruptly rather than seamlessly because he wanted to prove that the two media could "coexist with neither excuse nor apology". He wrote a song for Crothers to sing during the opening title sequence: "Ah'm a Niggerman". Its structure was rooted in the history of the slave plantation - slaves would "shout" lines from poems and stories great distances across fields in unison, creating a natural beat. Bakshi has described its vocal style, backed by fast guitar licks, as an "early version of rap". Bakshi intended to attack stereotypes by portraying them directly, culling imagery from blackface iconography. Early designs in which the main characters (Brother Rabbit, Brother Bear, and Preacher Fox) resembled figures from The Wind in the Willows were rejected. Bakshi juxtaposed stereotypical designs of blacks with even more negative depictions of white racists, but the film's strongest criticism is directed at the Mafia. Bakshi said, "I was sick of all the hero worship these guys got because of The Godfather." Production concluded in 1973. During editing, the title was changed to Coonskin No More..., and finally to Coonskin. Bakshi hired several African-American animators to work on Coonskin, including Brenda Banks, the first African-American female animator. Bakshi also hired graffiti artists and trained them to work as animators. The film's release was delayed by protests from the Congress of Racial Equality, which called Bakshi and his film racist. After its distribution was contracted to the Bryanston Distributing Company, Paramount cancelled a project that Bakshi and Ruddy were developing, The American Chronicles. Coonskin, advertised as an exploitation film, was given limited distribution and soon disappeared from theaters. Initial reviews were negative; Playboy commented that "Bakshi seems to throw in a little of everything and he can't quite pull it together." Eventually, positive reviews appeared in The Hollywood Reporter, New York Amsterdam News (an African-American newspaper), and elsewhere. The New York Times Richard Eder said the film "could be [Bakshi's] masterpiece [...] a shattering successful effort to use an uncommon form—cartoons and live action combined-to convey the hallucinatory violence and frustration of American city life, specifically black city life [...] lyrically violent, yet in no way [does it] exploit violence". Variety called it a "brutal satire from the streets". A reviewer for the Los Angeles Herald-Examiner wrote, "Certainly, it will outrage some and, indeed, it's not Disney. [...] The dialog it has obviously generated—if not the box-office obstacles—seems joltingly healthy." Bakshi called Coonskin his best film. Hey Good Lookin' (1973–1975/1982) After production concluded on Harlem Nights, Bakshi wanted to distinguish himself artistically by producing a film in which live action and animated characters would interact. Bakshi said, "The illusion I attempted to create was that of a completely live-action film. Making it work almost drove us crazy." Hey Good Lookin' is set in Brooklyn during the 1950s; its lead characters are Vinnie, the leader of a gang named "The Stompers", his friend Crazy Shapiro, and their girlfriends, Roz and Eva. Vinnie and Crazy Shapiro were based on Bakshi's high-school friends Norman Darrer and Allen Schechterman. Warner Bros. optioned the screenplay and greenlit the film in 1973. An initial version of Hey Good Lookin' was completed in 1975. A three-minute promotion of this version was screened at the 1975 Cannes Film Festival, and the film was scheduled for a Christmas 1975 release, but was moved to the summers of 1976 and later 1977, before ultimately being postponed indefinitely. Warner Bros. was concerned about any controversy the film would encounter as a result of the backlash over the film Coonskin, and felt that the film was "unreleasable" because of its mix of live action and animation, and it would not spend further money on the project. Bakshi financed the film's completion himself from the director's fees for other projects such as Wizards, The Lord of the Rings, and American Pop. The live-action sequences of Hey Good Lookin' were gradually replaced by animation; among the eliminated live-action sequences was one featuring the glam punk band New York Dolls. Singer Dan Hicks worked on the initial musical score, but the final version was scored by John Madara. Hey Good Lookin' opened in New York City on October 1, 1982, and was released in Los Angeles in January 1983. The film's release was limited, and went largely unnoticed in the United States, although it garnered respectable business in foreign markets. In a brief review, Vincent Canby wrote that it was "not exactly incoherent, but whatever it originally had on its mind seems to have slipped away". Animation historian Jerry Beck wrote, "the beginning of the film is quite promising, with a garbage can discussing life on the streets with some garbage. This is an example of what Bakshi did best—using the medium of animation to comment on society. Unfortunately, he doesn't do it enough in this film. There is a wildly imaginative fantasy sequence during the climax, when the character named Crazy starts hallucinating during a rooftop shooting spree. This scene almost justifies the whole film. But otherwise, this is a rehash of ideas better explored in Coonskin, Heavy Traffic, and Fritz the Cat." The film has since gained a cult following through cable television and home video. Quentin Tarantino stated that he preferred Hey Good Lookin' to Martin Scorsese's Mean Streets. Shift to fantasy film (1976–1978) In 1976, Bakshi pitched War Wizards to 20th Century Fox. Returning to the fantasy drawings he had created in high school for inspiration, Bakshi intended to prove that he could produce a "family picture" that had the same impact as his adult-oriented films. British illustrator Ian Miller and comic book artist Mike Ploog were hired to contribute backgrounds and designs. The crew included Vita, Turek, Sparey, Vitello and Spence, who had become comfortable with Bakshi's limited storyboarding and lack of pencil tests. As the production costs increased, Fox president Alan Ladd, Jr. declined Bakshi's requests for salary increases, and refused to give him $50,000 to complete the film. At the same time, Ladd was dealing with similar budget problems on George Lucas's Star Wars. Bakshi and Lucas had negotiated contracts entitling them to franchise ownership, merchandising and back-end payment, so Ladd suggested that they fund the completion of their films themselves. Bakshi chose rotoscoping as a cost-effective way to complete the movie's battle scenes with his own finances. Because he could not afford to hire a film crew or actors, or develop 35mm stock, Bakshi requested prints of films that contained the type of large battle scenes needed, including Sergei Eisenstein's Alexander Nevsky, and spliced together the footage he needed. However, the cost of printing photographs of each frame would have cost $3 million. Learning that IBM had introduced an industrial-sized photocopier, Bakshi asked one of the company's technical experts if he would be able to feed 35mm reels into the machine to produce enlarged copies of each frame. The experiment worked, and Bakshi got the pages he needed for a penny per copy. As War Wizards neared completion, Lucas requested that Bakshi change the title of his film to Wizards to avoid conflict with Star Wars; Bakshi agreed because Lucas had allowed Mark Hamill to take time off from Star Wars to record a voice for Wizards. Although Wizards received a limited release, it was successful in the theaters that showed it and developed a worldwide audience. Dave Kehr of The Chicago Reader saw it as "marred by cut-rate techniques and a shapeless screenplay". In the view of film historian Jerry Beck, the lead character, an aging sorcerer, "clearly owes much to cartoonist Vaughn Bodé's Cheech Wizard character." In late 1976, Bakshi learned that John Boorman was contracted to direct an adaptation of The Lord of the Rings, in which J. R. R. Tolkien's three-volume novel would be condensed into a single film. Bakshi arranged a meeting with Mike Medavoy, United Artists' head of production, who agreed to let Bakshi direct in exchange for the $3 million that had been spent on Boorman's screenplay. Down the hall from Medavoy was Metro-Goldwyn-Mayer president Dan Melnick, who interrupted a meeting with Peter Bogdanovich when he learned that Bakshi wanted to discuss acquiring the rights to The Lord of the Rings. Melnick agreed to pay United Artists $3 million, but was soon fired; the project was canceled by his replacement, Dick Shepherd. Bakshi contacted Saul Zaentz, who wrote a check to cover MGM's debt and agreed to fund the $8 million budget for the first of what was initially planned as a series of three films, and later negotiated down to two. Before production began, Bakshi and Zaentz insisted that the Tolkien estate receive residuals from the film. Bakshi did not want to produce a broad cartoon version of the tale, so he planned to shoot the entire film in live action and animate the footage with rotoscoping. The film also incorporated brief cel animation and straightforward live-action footage. Production of the live-action sequences took place in Spain. During the middle of a large shoot, union bosses called for a lunch break, and Bakshi secretly shot footage of actors in Orc costumes moving toward the craft service table, and used the footage in the film. Jerry Beck later wrote that, while he found the rotoscoped animation "beautiful", he felt that it was unclear whether the use of live action was an artistic choice or due to budgetary constraints. After the Spanish film development lab discovered that telephone lines, helicopters and cars were visible in the footage, they tried to incinerate it, telling Bakshi's first assistant director, "if that kind of sloppy cinematography got out, no one from Hollywood would ever come back to Spain to shoot again." When Bakshi returned to the United States, he learned that the cost of developing blown-up prints of each frame had risen. He did not want to repeat the process that had been used on Wizards, which was unsuitable for the level of detail he intended for The Lord of the Rings, so Bakshi and camera technician Ted Bemiller created their own photographic enlarger to process the footage cheaply. Live-action special effects and analog optics were used in place of animation to keep the visual effects budget low and give the film a more realistic look. Among the voice actors was the well-regarded John Hurt, who performed the role of Aragorn. The project's prominence brought heavy trade journal coverage, and fans such as Mick Jagger visited the studio for the chance to play a role. Animator Carl Bell loved drawing Aragorn so much that Bakshi gave Bell the live-action Aragorn costume, which he wore while animating. Viewing The Lord of the Rings as a holiday film, United Artists pressured Bakshi to complete it on schedule for its intended November 15, 1978, release. Once it was finished, Bakshi was told that audiences would not pay to see an incomplete story; over his objections, The Lord of the Rings was marketed with no indication that a second part would follow. Reviews of the film were mixed, but it was generally seen as a "flawed but inspired interpretation". Newsdays Joseph Gelmis wrote that "the film's principal reward is a visual experience unlike anything that other animated features are doing at the moment". Roger Ebert called Bakshi's effort a "mixed blessing" and "an entirely respectable, occasionally impressive job [which] still falls far short of the charm and sweep of the original story". Vincent Canby found it "both numbing and impressive". David Denby of New York felt that the film would not make sense to viewers who had not read the book. He wrote that it was too dark and lacked humor, concluding, "The lurid, meaningless violence of this movie left me exhausted and sickened by the end." The film, which cost $4 million to produce, grossed $30.5 million. The studio refused to fund the sequel, which would have adapted the remainder of the story. The Lord of the Rings won the Golden Gryphon at the 1980 Giffoni Film Festival. American Pop and Fire and Ice (1979–1983) Following the production struggles of The Lord of the Rings, Bakshi decided to work on something more personal. He pitched American Pop to Columbia Pictures president Dan Melnick. Bakshi wanted to produce a film in which songs would be given a new context in juxtaposition to the visuals. American Pop follows four generations of a Russian Jewish immigrant family of musicians, whose careers parallel the history of American pop and starred actor Ron Thompson in a dual lead role. While the film does not reflect Bakshi's own experiences, its themes were strongly influenced by people he had encountered in Brownsville. The film's crew included character layout and design artist Louise Zingarelli, Vita, Barry E. Jackson, and Marcia Adams. Bakshi again used rotoscoping, in an attempt to capture the range of emotions and movement required for the film's story. According to Bakshi, "Rotoscoping is terrible for subtleties, so it was tough to get facial performances to match the stage ones." Bakshi was able to acquire the rights to an extensive soundtrack—including songs by Janis Joplin, The Doors, George Gershwin, The Mamas & the Papas, Herbie Hancock, Lou Reed, and Louis Prima—for under $1 million. Released on February 12, 1981, the film was a financial success. The New York Times Vincent Canby wrote, "I'm amazed at the success that Mr. Bakshi has in turning animated characters into figures of real feelings." Jerry Beck called it "one of Bakshi's best films". Due to music clearance issues, it was not released on home video until 1998. By 1982, fantasy films such as The Beastmaster and Conan the Barbarian had proven successful at the box office, and Bakshi wanted to work with his long-time friend, the fantasy illustrator Frank Frazetta. Fire and Ice was financed by some of American Pops investors for $1.2 million, while 20th Century Fox agreed to distribute. Fire and Ice was the most action-oriented story Bakshi had directed, so he again used rotoscoping; the realism of the design and rotoscoped animation replicated Frazetta's artwork. Bakshi and Frazetta were heavily involved in the production of the live-action sequences, from casting sessions to the final shoot. The film's crew included background artists James Gurney and Thomas Kinkade, layout artist Peter Chung, and established Bakshi Productions artists Sparey, Steve Gordon, Bell and Banks. Chung greatly admired Bakshi's and Frazetta's work, and animated his sequences while working for The Walt Disney Company. The film was given a limited release, and was financially unsuccessful. Andrew Leal wrote, "The plot is standard [...] recalling nothing so much as a more graphic episode of Filmation's He-Man series. [...] Fire and Ice essentially stands as a footnote to the spate of barbarian films that followed in the wake of Arnold Schwarzenegger's appearance as Conan." Unproduced projects and temporary retirement (1983–1986) After production of Fire and Ice wrapped, Bakshi attempted several projects that fell through, including adaptations of Hunter S. Thompson's Fear and Loathing in Las Vegas, William Kotzwinkle's The Fan Man, E. R. Eddison's The Worm Ouroboros, Stephen Crane's Maggie: A Girl of the Streets, Mickey Spillane's Mike Hammer novels and an anthropomorphic depiction of Sherlock Holmes. He turned down offers to direct Ray Bradbury's Something Wicked This Way Comes and Philip K. Dick's Do Androids Dream of Electric Sheep?. He passed the latter to Ridley Scott, who adapted it into the 1982 film Blade Runner (although he was planning a TV version of said film). During this period, Bakshi reread J. D. Salinger's The Catcher in the Rye, which he had first read in high school, and saw parallels between his situation and that of the book's protagonist, Holden Caulfield. Inspired to seek the film rights, he intended to shoot the story's bracketing sequences in live action and to animate the core flashback scenes. Salinger had rejected previous offers to adapt the novel, and had not made a public appearance since 1965 or granted an interview since 1980. Bakshi sent Salinger a letter explaining why he should be allowed to adapt the novel; the writer responded by thanking Bakshi and asserting that the novel was unfit for any medium other than its original form. Prompted in part by Salinger's letter, Bakshi briefly retired to focus on painting. During this time he completed the screenplay for If I Catch Her, I'll Kill Her, a live-action feature he had been developing since the late 1960s. United Artists and Paramount Pictures each paid Bakshi to develop the film in the 1970s, but were unwilling to produce it, as were the studios he pitched the film to in the 1980s. According to Bakshi, "They thought that no one was going to admit that women can—and do—cheat on their husbands. They thought it was too hot, which made no sense." In 1985, he received a phone call from The Rolling Stones' manager, Tony King, who told Bakshi that the band had recorded a cover of Bob & Earl's "Harlem Shuffle", and wanted Bakshi to direct the music video. He was told that the live-action shoot needed to be completed within one day (January 28, 1986) for it to be shown at the Grammy Awards. Production designer Wolf Kroeger was forced to drastically compact his sets, and animation director and designer John Kricfalusi had to push his team, including Lynne Naylor, Jim Smith and Bob Jaques, to complete the animation within a few weeks. The band's arrival at the set was delayed by a snowstorm and several takes were ruined when the cameras crossed paths. Bakshi was forced to pay the union wages out of his own fees, and the continuity between Kricfalusi's animation and the live-action footage did not match; however, the video was completed on time. Bakshi recognized Kricfalusi's talent, and wanted to put him in charge of a project that would showcase the young animator's skills. Bakshi and Kricfalusi co-wrote the screenplay Bobby's Girl as a take on the teen films of the era. Jeff Sagansky, president of production at TriStar Pictures, put up $150,000 to develop the project, prompting Bakshi to move back to Los Angeles. When Sagansky left TriStar, Bakshi was forced to pitch the film again, but the studio's new executives did not understand its appeal and cut off financing. Bakshi and Zingarelli began to develop a feature about Hollywood's Golden Age, and Bakshi Productions crewmembers worked on proposed cartoons influenced by pulp fiction. Bobby's Girl was reworked as a potential prime time series called Suzy's in Love, but attracted no serious interest. They would try again in 2003 over at Spümcø, but nothing came from this either. Return to television (1987–1989) In April 1987, Bakshi set up a meeting with Judy Price, the head of CBS's Saturday morning block. Three days before the meeting, Bakshi, Kricfalusi, Naylor, Tom Minton, Eddie Fitzgerald and Jim Reardon met to brainstorm. Bakshi remembers, "My car was packed to the windows. Judy was my last stop before driving cross country back to New York to my family." Price rejected Bakshi's prepared pitches, but asked what else he had. He told her that he had the rights to Mighty Mouse, and she agreed to purchase the series. However, Bakshi did not own the rights and did not know who did. While researching the rights, he learned that CBS had acquired the entire Terrytoons library in 1955 and forgotten about it. According to Bakshi, "I sold them a show they already owned, so they just gave me the rights for nothin'!" Kricfalusi's team wrote story outlines for thirteen episodes in a week and pitched them to Price. By the next week, Kricfalusi had hired animators he knew who had been working at other studios. Mighty Mouse: The New Adventures went into production the month it was greenlighted; it was scheduled to premiere on September 19, 1987. This haste required the crew to be split into four teams, led by supervising director Kricfalusi, Fitzgerald, Steve Gordon and Bruce Woodside. Each team was given a handful of episodes, and operated almost entirely independently of the others. Although the scripts required approval by CBS executives, Kricfalusi insisted that the artists add visual gags as they drew. Bruce Timm, Andrew Stanton, Dave Marshall and Jeff Pidgeon were among the artists who worked on the series. Despite the time constraints, CBS was pleased with the way Bakshi Productions addressed the network's notes. During the production of the episode "The Littlest Tramp", editor Tom Klein expressed concern that a sequence showing Mighty Mouse sniffing the remains of a crushed flower resembled cocaine use. Bakshi did not initially view the footage; he believed that Klein was overreacting, but agreed to let him cut the scene. Kricfalusi expressed disbelief over the cut, insisting that the action was harmless and that the sequence should be restored. Following Kricfalusi's advice, Bakshi told Klein to restore the scene, which had been approved by network executives and the CBS standards and practices department. The episode aired on October 31, 1987, without controversy. In 1988, Bakshi received an Annie Award for "Distinguished Contribution to the Art of Animation". The same year, he began production on a series pilot loosely adapted from his Junktown comic strips. According to Bakshi, the proposed series "was going to be a revitalization of cartoon style from the '20s and '30s. It was gonna have Duke Ellington and Fats Waller jazzing up the soundtrack." Nickelodeon was initially willing to greenlight 39 episodes of Junktown. On June 6, 1988, Donald Wildmon, head of the American Family Association (AFA), alleged that "The Littlest Tramp" depicted cocaine use, instigating a media frenzy. The AFA, during its incarnation as the National Federation for Decency, had previously targeted CBS as an "accessory to murder" after a mother killed her daughter following an airing of Exorcist II: The Heretic. Concerning Bakshi's involvement with Mighty Mouse: The New Adventures, the AFA claimed that CBS "intentionally hired a known pornographer to do a cartoon for children, and then allowed him to insert a scene in which the cartoon hero is shown sniffing cocaine." Bakshi responded, "You could pick a still out of Lady and the Tramp and get the same impression. Fritz the Cat wasn't pornography. It was social commentary. This all smacks of burning books and the Third Reich. It smacks of McCarthyism. I'm not going to get into who sniffs what. This is lunacy!" On CBS's order, Klein removed the sequence from the master broadcast footage. Wildmon claimed that the edits were "a de facto admission that, indeed, Mighty Mouse was snorting cocaine". Despite receiving an award from Action for Children's Television, favorable reviews, and a ranking in Time magazine's "Best of '87" feature, Mighty Mouse: The New Adventures was canceled by CBS following the controversy. The incident had a ripple effect, weakening Nickelodeon's commitment to Junktown. Bakshi has also stated that "we were trying something different [...] but a series didn't make sense. It just didn't work". The series was scrapped, and the completed pilot aired as a special, Christmas in Tattertown, in December 1988. It was the first original animated special created for Nickelodeon. Bakshi moved into a warehouse loft in downtown Los Angeles to clear his head, and was offered $50,000 to direct a half-hour live-action film for PBS's Imagining America anthology series. Mark Bakshi produced the film, This Ain't Bebop, his first professional collaboration with his father. Bakshi wrote a poem influenced by Jack Kerouac, jazz, the Beat Generation and Brooklyn that served as the narration, which was spoken by Harvey Keitel. After a car crash, Bakshi completed the post-production in stitches and casts. Bakshi said of the work, "It's the most proud I've been of a picture since Coonskin—the last real thing I did with total integrity." As a result of the film, Bakshi received an offer to adapt Dr. Seuss's The Butter Battle Book for TNT. Ted Geisel had never been satisfied with the previous screen versions of his Dr. Seuss work. Bakshi wanted to produce an entirely faithful adaptation, and Geisel—who agreed to storyboard the special himself—was pleased with the final product. Bakshi next directed the pilot Hound Town for NBC; he described the result as "an embarrassing piece of shit". Besides Bakshi, sitcom alumus Rob Sternin and Prudence Fraser wrote and produced the project. Cool World, continued television projects and semi-retirement (1990–1997) In 1990, Bakshi pitched Cool World to Paramount Pictures as a partially animated horror film. The concept involved a cartoon and human having sex and conceiving a hybrid child who visits the real world to murder the father who abandoned him. The live-action footage was intended to look like "a living, walk-through painting", a visual concept Bakshi had long wanted to achieve. Massive sets were constructed on a sound stage in Las Vegas, based on enlargements of designer Barry Jackson's paintings. The animation was strongly influenced by the house styles of Fleischer Studios and Terrytoons. As the sets were being built, producer Frank Mancuso Jr., son of Paramount president Frank Mancuso Sr., had the screenplay rewritten in secret; the new version, by Michael Grais and Mark Victor, was radically different from Bakshi's original. Paramount threatened to sue Bakshi if he did not complete the film. As Bakshi and Mancuso wrangled over their creative differences, Bakshi and the studio also began to fight over the film's casting. To keep actor Brad Pitt, Bakshi had to replace Drew Barrymore, his original choice for the character of Holli Would, with Kim Basinger, a bigger box office draw at the time. The film's animators were never given a screenplay, and were instead told by Bakshi, "Do a scene that's funny, whatever you want to do!" Designer Milton Knight recalled that "audiences actually wanted a wilder, raunchier Cool World. The premiere audience I saw it with certainly did." The critical reaction to the film was generally negative. Roger Ebert wrote, "The DJ who was hosting the radio station's free preview of Cool World leaped onto the stage and promised the audience: 'If you liked Roger Rabbit, you'll love Cool World!' He was wrong, but you can't blame him—he hadn't seen the movie. I have, and I will now promise you that if you liked Roger Rabbit, quit while you're ahead." The film was a box-office disappointment. While other film projects followed, Bakshi began to focus more attention on painting. In 1993, Lou Arkoff, the son of Samuel Z. Arkoff, approached Bakshi to write and direct a low-budget live-action feature for Showtime's Rebel Highway series. For the third time, Bakshi revisited his screenplay for If I Catch Her, I'll Kill Her, which he retitled Cool and the Crazy. The picture, which aired September 16, 1994, starred Jared Leto, Alicia Silverstone, Jennifer Blanc and Matthew Flint. Reviewer Todd Everett noted that it had the same "hyperdrive visual sense" of Bakshi's animated films. He said, "Everything in 'Cool' [...] seems to exist in pastels and Bakshi shoots from more odd angles than any director since Sidney J. Furie in his heyday. And the closing sequences ably demonstrate how it's possible to present strong violence without any blood being shed onscreen. Bakshi pulls strong [performances] from a cadre of youngish and largely unknown actors". In 1995, Hanna-Barbera producer Fred Seibert offered Bakshi the chance to create two animated short films for Cartoon Network's What a Cartoon!: Malcom and Melvin and Babe, He Calls Me, focusing on a trumpet-playing cockroach named Malcom and his best friend, a clown named Melvin. Both were heavily edited after Bakshi turned them in and he disowned them as a result. Bakshi was subsequently contacted by HBO, which was looking to launch the first animated series specifically for adults, an interest stirred by discussions involving a series based upon Trey Parker and Matt Stone's video Christmas card, Jesus vs. Santa. Bakshi enlisted a team of writers, including his son Preston, to develop Spicy Detective, later renamed Spicy City, an anthology series set in a noir-ish, technology-driven future. Each episode was narrated by a female host named Raven, voiced by Michelle Phillips. The series premiered in July 1997—one month before the debut of Parker and Stone's South Park—and thus became the first "adults only" cartoon series. Although critical reaction was largely unfavorable, Spicy City received acceptable ratings. A second season was approved, but the network wanted to fire Bakshi's writing team and hire professional Los Angeles screenwriters. When Bakshi refused to cooperate, the series was canceled. Painting, teaching and new animation projects (2000–2013) Bakshi retired from animation once more, returning to his painting. In 2000, he began teaching an undergraduate animation class at New York's School of Visual Arts. On December 14, 2001, he did some paintings for the Cameron Crowe film Vanilla Sky. He later became involved in several screen projects, including a development deal with the Sci Fi Channel, In September 2002, Bakshi, Liz and their dogs moved to New Mexico, where he became more productive than ever in his painting and began development on the Last Days of Coney Island film. In 2003, he appeared as the Fire Chief in the episode "Fire Dogs 2" of John Kricfalusi's Ren & Stimpy "Adult Party Cartoon". In September 2008, Main Street Pictures announced that it would collaborate with Bakshi on a sequel to Wizards. In 2012, Bakshi began producing the short film series Bakshi Blues. The first of these shorts, Trickle Dickle Down, contains reused animation from Coonskin and criticizes 2012 Republican presidential candidate Mitt Romney. The shorts were to focus on "old and new characters" and comment on modern-day America. Last Days of Coney Island (2013–2016) In February 2013, Bakshi launched a successful Kickstarter campaign to obtain funding for his latest film, Last Days of Coney Island. Actor Matthew Modine was cast in the film in February 2013 after Modine, a longtime Bakshi fan, came across the film's Kickstarter campaign online. Last Days of Coney Island was released on Vimeo in 2015. Bakshi released the film for free on YouTube on 13 October 2016. Post-animation (2015–present) After he quit the animation industry, Bakshi did multiple interviews with the media and on podcasts. He continues to sell art on eBay and his website, both run by the Bakshi family. He currently sells an art series called Little Guys and Gals, which are fictional portraits of cartoon people. The series originated in November 2020 as random character sketches and officially began in January 2021, originally calling the series Little Gals and Little Guys. Bakshi appeared as a guest at a Canadian film festival which celebrates animation, SPARK Animation, which was held virtually, from October 28 to November 7, 2021. Accolades In 2003, Bakshi received a Maverick Tribute Award at the Cinequest San Jose Film Festival the same year he began teaching an animation class in New Mexico - this became The Bakshi School of Animation and Cartooning, which is run by Ralph's son Edward and his partner Jess Gorell. The Online Film Critics Society released a list of the "Top 100 Animated Features of All Time" in March 2003 that included four of Bakshi's films: Fritz the Cat, The Lord of the Rings, Coonskin and Fire and Ice. Fritz the Cat was ranked number 56 in the 2004 poll conducted by Britain's Channel 4 for its documentary The 100 Greatest Cartoons. The Museum of Modern Art has added Bakshi's films to its collection for preservation. In the 1980s and 1990s he served on the advisory board of the Los Angeles Student Film Institute. In 2021, Ralph Bakshi won the Animafest Zagreb Lifetime Achievement Award for his animation career and the impact of his films. Legacy The availability of Bakshi's work on the Internet sparked a resurgence of interest in his career, resulting in a three-day American Cinematheque retrospective held at Grauman's Egyptian Theatre in Hollywood and the Aero Theater in Santa Monica, California, in April 2005. Unfiltered: The Complete Ralph Bakshi, a hardcover book of Bakshi's art, was released on April 1, 2008. The foreword was written by Quentin Tarantino and the afterword by Bakshi. His rotoscoping techniques in Lord of the Rings inspired the animation rotoscoping techniques of the independent film The Spine of Night in which the animator developed his own rotoscope style by watching behind-the-scenes footage of Bakshi's warehouse and reverse-engineering it. Billie Eilish had the idea for an animated version of herself for her in the concert film Happier Than Ever: A Love Letter to Los Angeles (which is a promotion for the album of the same name) and suggested to director Patrick Osborne that the character should have a 1980s look and rotoscope-ish animation. Eilish referenced the works of Bakshi and animator Richard Williams to him. Gore Verbinski commented about Bakshi and showed that he was inspired by him during an interview in The Hollywood Reporter for his first animated movie, Rango, saying: "What happened to the Ralph Bakshis of the world? We're all sitting here talking family entertainment. Does animation have to be family entertainment? Audiences want something new; they just can't articulate what." On January 12, 2014, at The Egyptian Theatre in Hollywood, there was a special screening of Bakshi's film American Pop with actors Ron Thompson and Mews Small in attendance, it was the first time lead actor Ron Thompson had ever introduced the film before a live audience. At the Aero Theatre in Santa Monica, California, on March 27, 2015, there was a screening of Heavy Traffic and American Pop with Bakshi, Ron Thompson and Mews Small attending. Fritz the Cat has also been called an animated art film. Filmography Films Television I Selected episodes II Provided the voices of Connelly and Goldblum in the episode "Sex Drive", and Stevie in the episode "Mano's Hands" III Provided the voice of the Super Hero IV Animated in conjunction with Doug Compton V Provided the voice of Fire Chief in the episode "Fire Dogs 2" Releases and ratings Bibliography Ralph Bakshi: A Private selection of drawings released from the Bakshi Archives. 2018 - 2019; Book 1 (2019) Ralph Bakshi: No Rhyme or Reason; Book 2 (2020) See also Heavy Metal Ron Thompson John Kricfalusi Katsuhiro Otomo Rock & Rule Independent animation New Hollywood Notes References External links Official page filmography Archived 'American Pop'... Matters: Ron Thompson, the Illustrated Man Unsung interview at PopMatters Rotospective: Ralph Bakshi, Lessons in Artistry, Rebellion and Success a profile at AgentPalmer.com 1938 births American animators American comic strip cartoonists American experimental filmmakers American film producers American animated film producers American storyboard artists American television directors Television producers from New York City American television writers 20th-century American painters American male painters 21st-century American painters 21st-century American male writers American male screenwriters American male voice actors American animated film directors American people of Palestinian-Jewish descent Jewish American artists American satirists Jews in Mandatory Palestine Living people American male television writers People from Haifa Terrytoons people Underground cartoonists American voice directors Krymchaks Artists from New York City High School of Art and Design alumni Mandatory Palestine emigrants to the United States People from Brownsville, Brooklyn Thomas Jefferson High School (Brooklyn) alumni Film directors from New York (state) 21st-century American non-fiction writers American male non-fiction writers Screenwriters from New York (state) Inkpot Award winners Famous Studios people	false	[ "Don Juan Manuel's Tales of Count Lucanor, in Spanish Libro de los ejemplos del conde Lucanor y de Patronio (Book of the Examples of Count Lucanor and of Patronio), also commonly known as El Conde Lucanor, Libro de Patronio, or Libro de los ejemplos (original Old Castilian: Libro de los enxiemplos del Conde Lucanor et de Patronio), is one of the earliest works of prose in Castilian Spanish. It was first written in 1335.\n\nThe book is divided into four parts. The first and most well-known part is a series of 51 short stories (some no more than a page or two) drawn from various sources, such as Aesop and other classical writers, and Arabic folktales.\n\nTales of Count Lucanor was first printed in 1575 when it was published at Seville under the auspices of Argote de Molina. It was again printed at Madrid in 1642, after which it lay forgotten for nearly two centuries.\n\nPurpose and structure\n\nA didactic, moralistic purpose, which would color so much of the Spanish literature to follow (see Novela picaresca), is the mark of this book. Count Lucanor engages in conversation with his advisor Patronio, putting to him a problem (\"Some man has made me a proposition...\" or \"I fear that such and such person intends to...\") and asking for advice. Patronio responds always with the greatest humility, claiming not to wish to offer advice to so illustrious a person as the Count, but offering to tell him a story of which the Count's problem reminds him. (Thus, the stories are \"examples\" [ejemplos] of wise action.) At the end he advises the Count to do as the protagonist of his story did.\n\nEach chapter ends in more or less the same way, with slight variations on: \"And this pleased the Count greatly and he did just so, and found it well. And Don Johán (Juan) saw that this example was very good, and had it written in this book, and composed the following verses.\" A rhymed couplet closes, giving the moral of the story.\n\nOrigin of stories and influence on later literature\nMany of the stories written in the book are the first examples written in a modern European language of various stories, which many other writers would use in the proceeding centuries. Many of the stories he included were themselves derived from other stories, coming from western and Arab sources.\n\nShakespeare's The Taming of the Shrew has the basic elements of Tale 35, \"What Happened to a Young Man Who Married a Strong and Ill-tempered Woman\".\n\nTale 32, \"What Happened to the King and the Tricksters Who Made Cloth\" tells the story that Hans Christian Andersen made popular as The Emperor's New Clothes.\n\nStory 7, \"What Happened to a Woman Named Truhana\", a version of Aesop's The Milkmaid and Her Pail, was claimed by Max Müller to originate in the Hindu cycle Panchatantra.\n\nTale 2, \"What happened to a good Man and his Son, leading a beast to market,\" is the familiar fable The miller, his son and the donkey.\n\nIn 2016, Baroque Decay released a game under the name \"The Count Lucanor\". As well as some protagonists' names, certain events from the books inspired past events in the game.\n\nThe stories\n\nThe book opens with a prologue which introduces the characters of the Count and Patronio. The titles in the following list are those given in Keller and Keating's 1977 translation into English. James York's 1868 translation into English gives a significantly different ordering of the stories and omits the fifty-first.\n\n What Happened to a King and His Favorite \n What Happened to a Good Man and His Son \n How King Richard of England Leapt into the Sea against the Moors\n What a Genoese Said to His Soul When He Was about to Die \n What Happened to a Fox and a Crow Who Had a Piece of Cheese in His Beak\n How the Swallow Warned the Other Birds When She Saw Flax Being Sown \n What Happened to a Woman Named Truhana \n What Happened to a Man Whose Liver Had to Be Washed \n What Happened to Two Horses Which Were Thrown to the Lion \n What Happened to a Man Who on Account of Poverty and Lack of Other Food Was Eating Bitter Lentils \n What Happened to a Dean of Santiago de Compostela and Don Yllán, the Grand Master of Toledo\n What Happened to the Fox and the Rooster \n What Happened to a Man Who Was Hunting Partridges \n The Miracle of Saint Dominick When He Preached against the Usurer \n What Happened to Lorenzo Suárez at the Siege of Seville \n The Reply that count Fernán González Gave to His Relative Núño Laynes \n What Happened to a Very Hungry Man Who Was Half-heartedly Invited to Dinner \n What Happened to Pero Meléndez de Valdés When He Broke His Leg \n What Happened to the Crows and the Owls \n What Happened to a King for Whom a Man Promised to Perform Alchemy \n What Happened to a Young King and a Philosopher to Whom his Father Commended Him \n What Happened to the Lion and the Bull \n How the Ants Provide for Themselves \n What Happened to the King Who Wanted to Test His Three Sons \n What Happened to the Count of Provence and How He Was Freed from Prison by the Advice of Saladin\n What Happened to the Tree of Lies \n What Happened to an Emperor and to Don Alvarfáñez Minaya and Their Wives \n What Happened in Granada to Don Lorenzo Suárez Gallinato When He Beheaded the Renegade Chaplain \n What Happened to a Fox Who Lay down in the Street to Play Dead \n What Happened to King Abenabet of Seville and Ramayquía His Wife \n How a Cardinal Judged between the Canons of Paris and the Friars Minor \n What Happened to the King and the Tricksters Who Made Cloth \n What Happened to Don Juan Manuel's Saker Falcon and an Eagle and a Heron \n What Happened to a Blind Man Who Was Leading Another \n What Happened to a Young Man Who Married a Strong and Ill-tempered Woman\n What Happened to a Merchant When He Found His Son and His Wife Sleeping Together \n What Happened to Count Fernán González with His Men after He Had Won the Battle of Hacinas \n What Happened to a Man Who Was Loaded down with Precious Stones and Drowned in the River \n What Happened to a Man and a Swallow and a Sparrow \n Why the Seneschal of Carcassonne Lost His Soul \n What Happened to a King of Córdova Named Al-Haquem \n What Happened to a Woman of Sham Piety \n What Happened to Good and Evil and the Wise Man and the Madman \n What Happened to Don Pero Núñez the Loyal, to Don Ruy González de Zavallos, and to Don Gutier Roiz de Blaguiello with Don Rodrigo the Generous \n What Happened to a Man Who Became the Devil's Friend and Vassal \n What Happened to a Philosopher who by Accident Went down a Street Where Prostitutes Lived \n What Befell a Moor and His Sister Who Pretended That She Was Timid \n What Happened to a Man Who Tested His Friends \n What Happened to the Man Whom They Cast out Naked on an Island When They Took away from Him the Kingdom He Ruled \n What Happened to Saladin and a Lady, the Wife of a Knight Who Was His Vassal \n What Happened to a Christian King Who Was Very Powerful and Haughty\n\nReferences\n\nNotes\n\nBibliography\n\n Sturm, Harlan\n\n Wacks, David\n\nExternal links\n\nThe Internet Archive provides free access to the 1868 translation by James York.\nJSTOR has the to the 1977 translation by Keller and Keating.\nSelections in English and Spanish (pedagogical edition) with introduction, notes, and bibliography in Open Iberia/América (open access teaching anthology)\n\n14th-century books\nSpanish literature\n1335 books", "\"What Happened to Us\" is a song by Australian recording artist Jessica Mauboy, featuring English recording artist Jay Sean. It was written by Sean, Josh Alexander, Billy Steinberg, Jeremy Skaller, Rob Larow, Khaled Rohaim and Israel Cruz. \"What Happened to Us\" was leaked online in October 2010, and was released on 10 March 2011, as the third single from Mauboy's second studio album, Get 'Em Girls (2010). The song received positive reviews from critics.\n\nA remix of \"What Happened to Us\" made by production team OFM, was released on 11 April 2011. A different version of the song which features Stan Walker, was released on 29 May 2011. \"What Happened to Us\" charted on the ARIA Singles Chart at number 14 and was certified platinum by the Australian Recording Industry Association (ARIA). An accompanying music video was directed by Mark Alston, and reminisces on a former relationship between Mauboy and Sean.\n\nProduction and release\n\n\"What Happened to Us\" was written by Josh Alexander, Billy Steinberg, Jeremy Skaller, Rob Larow, Khaled Rohaim, Israel Cruz and Jay Sean. It was produced by Skaller, Cruz, Rohaim and Bobby Bass. The song uses C, D, and B minor chords in the chorus. \"What Happened to Us\" was sent to contemporary hit radio in Australia on 14 February 2011. The cover art for the song was revealed on 22 February on Mauboy's official Facebook page. A CD release was available for purchase via her official website on 10 March, for one week only. It was released digitally the following day.\n\nReception\nMajhid Heath from ABC Online Indigenous called the song a \"Jordin Sparks-esque duet\", and wrote that it \"has a nice innocence to it that rings true to the experience of losing a first love.\" Chris Urankar from Nine to Five wrote that it as a \"mid-tempo duet ballad\" which signifies Mauboy's strength as a global player. On 21 March 2011, \"What Happened to Us\" debuted at number 30 on the ARIA Singles Chart, and peaked at number 14 the following week. The song was certified platinum by the Australian Recording Industry Association (ARIA), for selling 70,000 copies. \"What Happened to Us\" spent a total of ten weeks in the ARIA top fifty.\n\nMusic video\n\nBackground\nThe music video for the song was shot in the Elizabeth Bay House in Sydney on 26 November 2010. The video was shot during Sean's visit to Australia for the Summerbeatz tour. During an interview with The Daily Telegraph while on the set of the video, Sean said \"the song is sick! ... Jessica's voice is amazing and we're shooting [the video] in this ridiculously beautiful mansion overlooking the harbour.\" The video was directed by Mark Alston, who had previously directed the video for Mauboy's single \"Let Me Be Me\" (2009). It premiered on YouTube on 10 February 2011.\n\nSynopsis and reception\nThe video begins showing Mauboy who appears to be sitting on a yellow antique couch in a mansion, wearing a purple dress. As the video progresses, scenes of memories are displayed of Mauboy and her love interest, played by Sean, spending time there previously. It then cuts to the scenes where Sean appears in the main entrance room of the mansion. The final scene shows Mauboy outdoors in a gold dress, surrounded by green grass and trees. She is later joined by Sean who appears in a black suit and a white shirt, and together they sing the chorus of the song to each other. David Lim of Feed Limmy wrote that the video is \"easily the best thing our R&B princess has committed to film – ever\" and praised the \"mansion and wondrous interior décor\". He also commended Mauboy for choosing Australian talent to direct the video instead of American directors, which she had used for her previous two music videos. Since its release, the video has received over two million views on Vevo.\n\nLive performances\nMauboy performed \"What Happened to Us\" live for the first time during her YouTube Live Sessions program on 4 December 2010. She also appeared on Adam Hills in Gordon Street Tonight on 23 February 2011 for an interview and later performed the song. On 15 March 2011, Mauboy performed \"What Happened to Us\" on Sunrise. She also performed the song with Stan Walker during the Australian leg of Chris Brown's F.A.M.E. Tour in April 2011. Mauboy and Walker later performed \"What Happened to Us\" on Dancing with the Stars Australia on 29 May 2011. From November 2013 to February 2014, \"What Happened to Us\" was part of the set list of the To the End of the Earth Tour, Mauboy's second headlining tour of Australia, with Nathaniel Willemse singing Sean's part.\n\nTrack listing\n\nDigital download\n \"What Happened to Us\" featuring Jay Sean – 3:19\n \"What Happened to Us\" featuring Jay Sean (Sgt Slick Remix) – 6:33\n \"What Happened to Us\" featuring Jay Sean (Just Witness Remix) – 3:45\n\nCD single\n \"What Happened to Us\" featuring Jay Sean (Album Version) – 3:19\n \"What Happened to Us\" featuring Jay Sean (Sgt Slick Remix) – 6:33\n \"What Happened to Us\" featuring Jay Sean (OFM Remix) – 3:39\n\nDigital download – Remix\n \"What Happened to Us\" featuring Jay Sean (OFM Remix) – 3:38\n\nDigital download\n \"What Happened to Us\" featuring Stan Walker – 3:20\n\nPersonnel\nSongwriting – Josh Alexander, Billy Steinberg, Jeremy Skaller, Rob Larow, Khaled Rohaim, Israel Cruz, Jay Sean\nProduction – Jeremy Skaller, Bobby Bass\nAdditional production – Israel Cruz, Khaled Rohaim\nLead vocals – Jessica Mauboy, Jay Sean\nMixing – Phil Tan\nAdditional mixing – Damien Lewis\nMastering – Tom Coyne \nSource:\n\nCharts\n\nWeekly chart\n\nYear-end chart\n\nCertification\n\nRadio dates and release history\n\nReferences\n\n2010 songs\n2011 singles\nJessica Mauboy songs\nJay Sean songs\nSongs written by Billy Steinberg\nSongs written by Jay Sean\nSongs written by Josh Alexander\nSongs written by Israel Cruz\nVocal duets\nSony Music Australia singles\nSongs written by Khaled Rohaim" ]
[ "James Fenimore Cooper", "Early life and family" ]	C_c07ca1fd770642a28fa1c803c51c17b0_1	Where was he born	1	Where was James Fenimore Cooper born?	James Fenimore Cooper	James Fenimore Cooper was born in Burlington, New Jersey in 1789 to William Cooper and Elizabeth (Fenimore) Cooper, the eleventh of 12 children, most of whom died during infancy or childhood. He was descended from James Cooper of Stratford-upon-Avon, Warwickshire, England, who immigrated to the American colonies in 1679. Shortly after James' first birthday, his family moved to Cooperstown, New York, a community founded by his father on a large piece of land which he had bought for development. Later, his father was elected to the United States Congress as a representative from Otsego County. Their town was in a central area of New York that had previously been occupied by the Iroquois, who had allied themselves with the British during the Revolutionary War and were forced to cede the territory after British defeat. The State of New York opened the land for sale and development after the war, and Cooper's father purchased several thousand acres in upstate along the headwaters of the Susquehanna River. By 1788, William Cooper had selected and surveyed the site where Cooperstown would be established. He erected a home on the shore of Otsego lake and moved his family there in the autumn of 1790. He soon began construction of the mansion that became known as Otsego Hall, completed in 1799 when James was ten. Cooper was enrolled at Yale University at age 13, but he incited a dangerous prank which involved blowing up another student's door -- after having already locked a donkey in a recitation room. He was expelled in his third year without completing his degree, so he obtained work in 1806 as a sailor and joined the crew of a merchant vessel at age 17. By 1811, he obtained the rank of midshipman in the fledgling United States Navy, conferred upon him on an officer's warrant signed by Thomas Jefferson. At 20, Cooper inherited a fortune from his father. He married Susan Augusta de Lancey at Mamaroneck, Westchester County, New York on January 1, 1811 at age 21. She was from a wealthy family who remained loyal to Great Britain during the Revolution. The Coopers had seven children, five of whom lived to adulthood. Their daughter Susan Fenimore Cooper was a writer on nature, female suffrage, and other topics. She and her father often edited each other's work. Among his descendants was Paul Fenimore Cooper (1899-1970), who also became a writer. CANNOTANSWER	James Fenimore Cooper was born in Burlington, New Jersey	James Fenimore Cooper (September 15, 1789 – September 14, 1851) was an American writer of the first half of the 19th century. His historical romances depicting colonist and Indigenous characters from the 17th to the 19th centuries created a unique form of American literature. He lived much of his boyhood and the last fifteen years of life in Cooperstown, New York, which was founded by his father William Cooper on property that he owned. Cooper became a member of the Episcopal Church shortly before his death and contributed generously to it. He attended Yale University for three years, where he was a member of the Linonian Society. After a stint on a commercial voyage, Cooper served in the U.S. Navy as a midshipman, where he learned the technology of managing sailing vessels which greatly influenced many of his novels and other writings. The novel that launched his career was The Spy, a tale about espionage set during the American Revolutionary War and published in 1821. He also created American sea stories. His best-known works are five historical novels of the frontier period, written between 1823 and 1841, known as the Leatherstocking Tales, which introduced the iconic American frontier scout, Natty Bumppo. Cooper's works on the U.S. Navy have been well received among naval historians, but they were sometimes criticized by his contemporaries. Among his more famous works is the romantic novel The Last of the Mohicans, often regarded as his masterpiece. Throughout his career, he published numerous social, political, and historical works of fiction and non-fiction with the objective of countering European prejudices and nurturing an original American art and culture. Early life and family James Fenimore Cooper was born in Burlington, New Jersey, in 1789 to William Cooper and Elizabeth (Fenimore) Cooper, the eleventh of 12 children, half of whom died during infancy or childhood. Shortly after James' first birthday, his family moved to Cooperstown, New York, a community founded by his father on a large piece of land which he had bought for development. Later, his father was elected to the United States Congress as a representative from Otsego County. Their town was in a central area of New York along the headwaters of the Susquehanna River that had previously been patented to Colonel George Croghan by the Province of New York in 1769. Croghan mortgaged the land before the Revolution and after the war part of the tract was sold at public auction to William Cooper and his business partner Andrew Craig. By 1788, William Cooper had selected and surveyed the site where Cooperstown would be established. He erected a home on the shore of Otsego Lake and moved his family there in the autumn of 1790. Several years later he began construction of the mansion that became known as Otsego Hall, completed in 1799 when James was ten. Cooper was enrolled at Yale University at age 13, but he incited a dangerous prank which involved blowing up another student's door—after having already locked a donkey in a recitation room. He was expelled in his third year without completing his degree, so he obtained work in 1806 as a sailor and joined the crew of a merchant vessel at age 17. By 1811, he obtained the rank of midshipman in the fledgling United States Navy, conferred upon him by an officer's warrant signed by Thomas Jefferson. William Cooper died when James was 20; all five of his sons inherited a supposed-large fortune in money, securities, and land titles, which soon proved to be a wealth of endless litigation. He married Susan Augusta de Lancey at Mamaroneck, Westchester County, New York on January 1, 1811, at age 21. She was from a wealthy family who remained loyal to Great Britain during the Revolution. The Coopers had seven children, five of whom lived to adulthood. Their daughter Susan Fenimore Cooper was a writer on nature, female suffrage, and other topics. Her father edited her works and secured publishers for them. One son, Paul Fenimore Cooper, became a lawyer and perpetuated the author's lineage to the present. Service in the Navy In 1806 at the age of 17, Cooper joined the crew of the merchant ship Sterling as a common sailor. At the time, the Sterling was commanded by young John Johnston from Maine. Cooper served as a common seaman before the mast. His first voyage took some 40 stormy days at sea and brought him to an English market in Cowes where they sought information on where best to unload their cargo of flour. There Cooper saw his first glimpses of England. Britain was in the midst of war with Napoleon's France at the time, so their ship was immediately approached by a British man-of-war and was boarded by some of its crew. They seized one of the Sterling's best crew members and impressed him into the British Royal Navy. Cooper thus first encountered the power of his country's former colonial master, which led to a lifelong commitment to helping create an American art independent culturally as well as politically from the former mother country. Their next voyage took them to the Mediterranean along the coast of Spain, including Águilas and Cabo de Gata, where they picked up cargo to be taken to London and unloaded. Their stay in Spain lasted several weeks and impressed the young sailor, the accounts of which Cooper later referred to in his Mercedes of Castile, a novel about Columbus. After serving aboard the Sterling for 11 months, he joined the United States Navy on January 1, 1808, when he received his commission as a midshipman. Cooper had conducted himself well as a sailor, and his father, a former U.S. Congressman, easily secured a commission for him through his long-standing connections with politicians and naval officials. The warrant for Cooper's commission as midshipman was signed by President Jefferson and mailed by Naval Secretary Robert Smith, reaching Cooper on February 19. On February 24, he received orders to report to the naval commander at New York City. Joining the United States Navy fulfilled an aspiration he had had since his youth. Cooper's first naval assignment came on March 21, 1808, aboard the , an 82-foot bomb ketch that carried twelve guns and a thirteen-inch mortar. For his next assignment, he served under Lieutenant Melancthon Taylor Woolsey near Oswego on Lake Ontario, overseeing the building of the brig for service on the lake. The vessel was intended for use in a war with Great Britain which had yet to begin. The vessel was completed, armed with sixteen guns, and launched in Lake Ontario in the spring of 1809. It was in this service that Cooper learned shipbuilding, shipyard duties and frontier life. During his leisure time, Cooper would venture through the forests of New York state and explore the shores of Lake Ontario. He occasionally ventured into the Thousand Islands. His experiences in the Oswego area later inspired some of his work, including his novel The Pathfinder. After completion of the Oneida in 1809, Cooper accompanied Woolsey to Niagara Falls, who then was ordered to Lake Champlain to serve aboard a gunboat until the winter months when the lake froze over. Cooper himself returned from Oswego to Cooperstown and then New York. On November 13 of the same year, he was assigned to the under the command of Captain James Lawrence, who was from Burlington and became a personal friend of Cooper's. Aboard this ship, he met his lifelong friend William Branford Shubrick, who was also a midshipman at the time. Cooper later dedicated The Pilot, The Red Rover, and other writings to Shubrick. Assigned to humdrum recruiting tasks rather than exciting voyages, Cooper resigned his commission from the navy in spring 1810; in the same time period he met, wooed, and became engaged to Susan Augusta de Lancey, whom be married on January 1, 1811. Writings First endeavors In 1820, when reading a contemporary novel to his wife Susan, he decided to try his hand at fiction, resulting in a neophyte novel set in England he called Precaution (1820). Its focus on morals and manners was influenced by Jane Austen's approach to fiction. He anonymously published Precaution which received modestly favorable notice in the United States and England. By contrast, his second novel The Spy (1821) was inspired by an American tale related to him by neighbor and family friend John Jay. It became the first novel written by an American to become a bestseller at home and abroad, requiring several re-printings to satisfy demand. Set in the "Neutral Ground" between British and American forces and their guerrilla allies in Westchester County, New York, the action centers around spying and skirmishing taking place in and around what is widely believed to be John Jay's family home "The Locusts" in Rye, New York of which a portion still exists today as the historic Jay Estate. Following on a swell of popularity, Cooper published The Pioneers, the first of the Leatherstocking series in 1823. The series features the inter-racial friendship of Natty Bumppo, a resourceful American woodsman who is at home with the Delaware Indians and their chief Chingachgook. Bumppo was also the main character of Cooper's most famous novel The Last of the Mohicans (1826), written in New York City where Cooper and his family lived from 1822 to 1826. The book became one of the more widely read American novels of the 19th century. At this time, Cooper had been living in New York on Beach Street in what is now downtown's Tribeca. In 1823, he became a member of the American Philosophical Society in Philadelphia. In August of that same year, his first son died. He organized the influential Bread and Cheese Club that brought together American writers, editors, artists, scholars, educators, art patrons, merchants, lawyers, politicians, and others. In 1824, General Lafayette arrived from France aboard the Cadmus at Castle Garden in New York City as the nation's guest. Cooper witnessed his arrival and was one of the active committee of welcome and entertainment. Europe In 1826, Cooper moved his family to Europe, where he sought to gain more income from his books, provide better education for his children, improve his health, and observe European manners and politics firsthand. While overseas, he continued to write. His books published in Paris include The Prairie, the third Leather-Stocking Tale in which Natty Bumppo dies in the western land newly acquired by Jefferson as the Louisiana Purchase. There he also published The Red Rover and The Water Witch, two of his many sea stories. During his time in Paris, the Cooper family became active in the small American expatriate community. He became friends with painter (and later inventor) Samuel Morse and with French general and American Revolutionary War hero Gilbert du Motier, Marquis de Lafayette. Cooper admired the patrician liberalism of Lafayette, who sought to recruit him to his causes, and eulogized him as a man who "dedicated youth, person, and fortune, to the principles of liberty." Cooper's distaste for the corruption of the European aristocracy, especially in England and France, grew as he observed them manipulate the legislature and judiciary to the exclusion of other classes. In 1832, he entered the lists as a political writer in a series of letters to Le National, a Parisian journal. He defended the United States against a string of charges brought by the Revue Britannique. For the rest of his life, he continued skirmishing in print, sometimes for the national interest, sometimes for that of the individual, and frequently for both at once. This opportunity to make a political confession of faith reflected the political turn that he already had taken in his fiction, having attacked European anti-republicanism in The Bravo (1831). Cooper continued this political course in The Heidenmauer (1832) and The Headsman: or the Abbaye of Vigneron (1833). The Bravo depicted Venice as a place where a ruthless oligarchy lurks behind the mask of the "serene republic". All were widely read on both sides of the Atlantic, though some Americans accused Cooper of apparently abandoning American life for European—not realizing that the political subterfuges in the European novels were cautions directed at his American audiences. Thus The Bravo was roughly treated by some critics in the United States. Back to America In 1833, Cooper returned to the United States and published A Letter to My Countrymen in which he gave his criticism of various social and political mores. Promotional material from a modern publisher summarize his goals as follows: A Letter To My Countrymen remains Cooper's most trenchant work of social criticism. In it, he defines the role of the "man of letters" in a republic, the true conservative, the slavery of party affiliations, and the nature of the legislative branch of government. He also offers her most persuasive argument on why America should develop its own art and literary culture, ignoring the aristocratically tainted art of Europe. Influenced by the ideals of classical republicanism, Cooper feared that the orgy of speculation he witnessed was destructive of civic virtue and warned Americans that it was a "mistake to suppose commerce favorable to liberty"; doing so would lead to a new "moneyed aristocracy." Drawing upon philosophers such as Jean-Jacques Rousseau, Burlamaqui, and Montesquieu, Cooper's political ideas were both democratic, deriving from the consent of the governed, and liberal, concerned with the rights of the individual. In the later 1830s—despite his repudiation of authorship in A Letter To My Countrymen—he published Gleanings in Europe, five volumes of social and political analysis of his observations and experiences in Europe. His two novels Homeward Bound and Home as Found also criticize the flamboyant financial speculation and toadyism he found on his return; some readers and critics attacked the works for presenting a highly idealized self-portrait, which he vigorously denied. In June 1834, Cooper decided to reopen his ancestral mansion Otsego Hall at Cooperstown. It had long been closed and falling into decay; he had been absent from the mansion nearly 16 years. Repairs were begun, and the house was put in order. At first, he wintered in New York City and summered in Cooperstown, but eventually he made Otsego Hall his permanent home. On May 10, 1839, Cooper published History of the Navy of the United States of America, a work that he had long planned on writing. He publicly announced his intentions to author such a historical work while abroad before departing for Europe in May 1826, during a parting speech at a dinner given in his honor: Encouraged by your kindness, ... I will take this opportunity of recording the deeds and sufferings of a class of men to which this nation owes a debt of gratitude—a class of men among whom, I am always ready to declare, not only the earliest, but many of the happiest days of my youth have been passed. Historical and nautical work His historical account of the U.S. Navy was well received, though his account of the roles played by the American leaders in the Battle of Lake Erie led to years of disputes with their descendants, as noted below. Cooper had begun thinking about this massive project in 1824, and concentrated on its research in the late 1830s. His close association with the U.S. Navy and various officers, and his familiarity with naval life at sea provided him the background and connections to research and write this work. Cooper's work is said to have stood the test of time and is considered an authoritative account of the U.S. Navy during that time. In 1844, Cooper's Proceedings of the naval court martial in the case of Alexander Slidell Mackenzie, a commander in the navy of the United States, &c:, was first published in Graham's Magazine of 1843–44. It was a review of the court martial of Alexander Slidell Mackenzie who had hanged three crew members of the brig USS Somers for mutiny while at sea. One of the hanged men, 19-year-old Philip Spencer, was the son of U.S. Secretary of War John C. Spencer. He was executed without court-martial along with two other sailors aboard the Somers for allegedly attempting mutiny. Prior to this affair, Cooper and Mackenzie had disputed each other's version of the Battle of Lake Erie. However, recognizing the need for absolute discipline in a warship at sea, Cooper still felt sympathetic to Mackenzie over his pending court martial. In 1843, an old shipmate, Ned Myers, re-entered Cooper's life. To assist him—and hopefully to cash in on the popularity of maritime biographies—Cooper wrote Myers's story which he published in 1843 as Ned Myers, or a Life before the Mast, an account of a common seaman still of interest to naval historians. In 1846, Cooper published Lives of Distinguished American Naval Officers covering the biographies of William Bainbridge, Richard Somers, John Shaw, John T. Shubrick, and Edward Preble. Cooper died in 1851. In May 1853, Cooper's Old Ironsides appeared in Putnam's Monthly. It was the history of the Navy ship and, after European and American Scenery Compared, 1852, was one of several posthumous publication of his writings. In 1856, five years after Cooper's death, his History of the Navy of the United States of America was re-published in an expanded edition. The work was an account of the U.S. Navy in the early 19th century, through the Mexican War. Among naval historians of today, the work has come to be recognized as a general and authoritative account. However, it was criticized for accuracy on some points by some contemporaries, especially those engaged in the disputes over the roles of their relatives in Cooper's separate history of the Battle of Lake Erie. Whig editors of the period regularly attacked anything Cooper wrote, leading him to numerous suits for libel, for example against Park Benjamin, Sr., a poet and editor of the Evening Signal of New York. Critical reaction Cooper's writings of the 1830s related to current politics and social issues, coupled with his perceived self-promotion, increased the ill feeling between the author and some of the public. Criticism in print of his naval histories and the two Home novels came largely from newspapers supporting The Whig party, reflecting the antagonism between the Whigs and their opposition, the Democrats, whose policies Cooper often favored. Cooper's father William had been a staunch Federalist, a party now defunct but some of whose policies supporting large-scale capitalism the Whigs endorsed. Cooper himself had come to admire Thomas Jefferson, the bete-noire of the Federalists, and had supported Andrew Jackson's opposition to a National Bank. Never one to shrink from defending his personal honor and his sense of where the nation was erring, Cooper filed legal actions for libel against several Whig editors; his success with most of his lawsuits ironically led to more negative publicity from the Whig establishment. Buoyed by his frequent victories in court, Cooper returned to writing with more energy and success than he had had for several years. As noted above, on May 10, 1839, he published his History of the U.S. Navy; his return to the Leatherstocking Tales series with The Pathfinder, or The Inland Sea (1840) and The Deerslayer (1841) brought him renewed favorable reviews. But on occasion he returned to addressing public issues, most notably with a trilogy of novels called the Littlepage Manuscripts addressing the issues of the anti-rent wars. Public sentiment largely favored the anti-renters, and Cooper's reviews again were largely negative. Later life Faced with competition from younger writers and magazine serialization, and lower prices for books resulting from new technologies, Cooper simply wrote more in his last decade than in either of the previous two. Half of his thirty-two novels were written in the 1840s. They may be grouped into three categories: Indian romances, maritime fiction, and political and social controversy—though the categories often overlap. The 1840s began with the last two novels featuring Natty Bumppo, both critical and reader successes: The Pathfinder (1840) and The Deerslayer (1841). Wyandotte, his last novel set in the Revolutionary War, followed in 1843 and Oak Openings in 1848. The nautical works were Mercedes of Castile (in which Columbus appears, 1840),The Two Admirals (British and French fleets in battle, 1842), Wing-And-Wing (a French privateer fighting the British in 1799, 1842), Afloat and Ashore (two volumes exploring a young man growing up, 1844), Jack Tier (a vicious smuggler in the Mexican-American War, 1848), and The Sea Lions (rival sealers in the Antarctic, 1849). He also turned from pure fiction to the combination of art and controversy in which he achieved notoriety in the novels of the previous decade. His Littlepage Manuscripts trilogy--Satanstoe (1845), The Chainbearer (1845), and The Redskins (1846)--dramatized issues of land ownership in response to renters in the 1840s opposing the long leases common in the old Dutch settlements in the Hudson Valley. He tried his hand with serialization with The Autobiography of a Pocket Handkerchief, first published in Graham's Magazine in 1843, a satire on contemporary nouveau riche. In The Crater, or Vulcan's Peak (1847) he introduced supernatural machinery to show the decline of an ideal society in the South Seas when demagogues prevail. The Ways of the Hour, his last completed novel, portrayed a mysterious and independent young woman defending herself against criminal charges. Cooper spent the last years of his life back in Cooperstown. He died on September 14, 1851, the day before his 62nd birthday. He was buried in the Christ Episcopal Churchyard, where his father, William Cooper, was buried. Cooper's wife Susan survived her husband only by a few months and was buried by his side at Cooperstown. Several well-known writers, politicians, and other public figures honored Cooper's memory with a memorial in New York, six months after his death, in February 1852. Daniel Webster gave a speech to the gathering while Washington Irving served as a co-chairman, along with William Cullen Bryant, who also gave an address which did much to restore Cooper's damaged reputation among American writers of the time. Religious activities Cooper's father was a lapsed Quaker; probably influenced by his wife's family, the DeLanceys, Cooper in his fiction often favorably depicted clergy of the Episcopal Church, though Calvinist ministers came in for their share of both admiring and critical treatment. In the 1840s as Cooper increasingly despaired over the United States maintaining the vision and promise of the Constitution, his fiction increasingly turned to religious themes. In The Wing-And-Wing, 1842, the hero, a French revolutionary free-thinker, loses the Italian girl he loves because he cannot accept her simple Christianity. In contrast, in the 1849 The Sea Lions the hero wins his beloved only after a spiritual transformation while marooned in the Antarctic. And the 1848 The Oak Openings features a pious Parson Amen who wins the admiration of the Indians who kill him, praying for them during torture. After establishing permanent residence in Cooperstown, Cooper became active in Christ Episcopal Church, taking on the roles of warden and vestryman. As the vestryman, he donated generously to this church and later supervised and redesigned its interior with oak furnishings at his own expense. He was also energetic as a representative from Cooperstown to various regional conventions of the Episcopal church. But only several months before his death, in July 1851, was he confirmed in this church by his brother-in-law, the Reverend William H. DeLancey. Legacy Cooper was one of the more popular 19th-century American authors, and his work was admired greatly throughout the world. While on his death bed, the Austrian composer Franz Schubert wanted most to read more of Cooper's novels. Honoré de Balzac, the French novelist and playwright, admired him greatly. Henry David Thoreau, while attending Harvard, incorporated some of Cooper's style in his own work. D.H. Lawrence believed that Turgenev, Tolstoy, Dostoyevsky, Maupassant, and Flaubert were all "so very obvious and coarse, besides the lovely, mature and sensitive art of Fennimore Cooper." Lawrence called The Deerslayer "one of the most beautiful and perfect books in the world: flawless as a jewel and of gem-like concentration." Cooper's work, particularly The Pioneers and The Pilot, demonstrate an early 19th-century American preoccupation with alternating prudence and negligence in a country where property rights were often still in dispute. Cooper was one of the early major American novelists to include African, African-American and Native American characters in his works. In particular, Native Americans play central roles in his Leatherstocking Tales. However, his treatment of this group is complex and highlights the relationship between frontier settlers and American Indians as exemplified in The Wept of Wish-ton-Wish, depicting a captured white girl who marries an Indian chief and has a baby with him, but after several years is eventually returned to her parents. Often, he gives contrasting views of Native characters to emphasize their potential for good, or conversely, their proclivity for mayhem. Last of the Mohicans includes both the character of Magua, who fearing the extinction of his race at the hands of the whites savagely betrays them, as well as Chingachgook, the last chief of the Mohicans, who is portrayed as Natty Bumppo's noble, courageous, and heroic counterpart. In 1831, Cooper was elected into the National Academy of Design as an Honorary Academician. According to Tad Szulc, Cooper was a devotee of Poland's causes (uprisings to regain Polish sovereignty). He organized a club in Paris to support the rebels, and brought flags of the defeated Polish rebel regiment from Warsaw to present them to the exiled leaders in Paris. With his friend the Marquis de La Fayette, he supported liberals during the regime changes in France and elsewhere in the 1830s. . Though some scholars have hesitated to classify Cooper as a strict Romantic, Victor Hugo pronounced him greatest novelist of the century outside France. Honoré de Balzac, while mocking a few of Cooper's novels ("rhapsodies") and expressing reservations about his portrayal of characters, enthusiastically called The Pathfinder a masterpiece and professed great admiration for Cooper's portrayal of nature, only equalled in his view by Walter Scott. Mark Twain, the ultimate Realist, criticized the Romantic plots and overwrought language of The Deerslayer and The Pathfinder in his satirical but shrewdly observant essay, "Fenimore Cooper's Literary Offenses" (1895). Cooper was also criticized heavily in his day for his depiction of women characters in his work. James Russell Lowell, Cooper's contemporary and a critic, referred to it poetically in A Fable for Critics, writing, "... the women he draws from one model don't vary / All sappy as maples and flat as a prairie." Cooper's lasting reputation today rests largely upon the five Leatherstocking Tales. In his 1960 study focusing on romantic relationships, both hetero- and homo-sexual, literary scholar Leslie Fiedler opines that with the exception of the five Natty Bumppo-Chingachgook novels, Cooper's "collected works are monumental in their cumulative dullness." More recent criticism views all thirty-two novels in the context of Cooper's responding to changing political, social, and economic realities in his time period. Cooper was honored on a U.S. commemorative stamp, the Famous American series, issued in 1940. Three dining halls at the State University of New York at Oswego are named in Cooper's remembrance (Cooper Hall, The Pathfinder, and Littlepage) because of his temporary residence in Oswego and for setting some of his works there. Cooper Park in Michigan's Comstock Township is named after him. The New Jersey Turnpike has a James Fenimore Cooper service area, recognizing his birth in the state. The gilded and red tole chandelier hanging in the library of the White House in Washington DC is from the family of James Fenimore Cooper. It was brought there through the efforts of First Lady Jacqueline Kennedy in her great White House restoration. The James Fenimore Cooper Memorial Prize at New York University is awarded annually to an outstanding undergraduate student of journalism. In 2013, Cooper was inducted into the New York Writers Hall of Fame. Cooper's novels were very popular in the rest of the world, including, for instance, Russia. In particular, great interest of the Russian public in Cooper's work was primarily incited by the novel The Pathfinder, which the renowned Russian literary critic Vissarion Belinsky declared to be "a Shakespearean drama in the form of a novel". The author was more recognizable by his middle name, Fenimore, exotic to many in Russia. This name became a symbol of exciting adventures among Russian readers. For example, in the 1977 Soviet movie The Secret of Fenimore (), being the third part of a children's television mini-series Three Cheerful Shifts (, see ), tells of a mysterious stranger known as Fenimore, visiting a boys' dorm in a summer camp nightly and relating fascinating stories about Indians and extraterrestrials. Works Notes References Bibliography ; James Fenimore Cooper: The Later Years, Yale University Press, 2017. p. 805 . Primary sources Url1 Url Url ——— (1852). The Chainbearer, Or The Littlepage Manuscripts, Stringer and Townsend, 228 pages; eBook Further reading Clavel, Marcel (1938). Fenimore Cooper and his critics: American, British and French criticisms of the novelist's early work, Imprimerie universitaire de Provence, E. Fourcine, 418 pages; Book Darnell, Donald. (1993). James Fenimore Cooper: Novelist of Manners, Newark, Univ. of Delaware Dekker, George (2017). James Fenimore Cooper the Novelist, Routledge, 2017, ISBN 9781351580014 Doolen, Andy (2005). Fugitive Empire: Locating Early American Imperialism, Minneapolis: Univ. of Minnesota P. Franklin, Wayne (1982). The New World of James Fenimore Cooper, Chicago: Univ. of Chicago P, Book –—— (2007). James Fenimore Cooper: The Early Years, New Haven: Yale UP, Book Krauthammer, Anna. The Representation of the Savage in James Fenimore Cooper and Herman Melville. NY: Peter Lang, 2008. Long, Robert Emmet (1990). James Fenimore Cooper, NY: Continuum. , MacDougall, Hugh C. (1993). Where Was James? A James Fenimore Cooper Chronology from 1789–1851. Cooperstown: James Fenimore Cooper Soc. Rans, Geoffrey (1991). Cooper's Leather-Stocking Novels: A Secular Reading. Chapel Hill: Univ. of North Carolina Redekop, Ernest H., ed. (1989). James Fenimore Cooper, 1789–1989: Bicentennial Essays, Canadian Review of American Studies, entire special issue, vol. 20, no. 3 (Winter 1989), pp. 1–164. Reid, Margaret (2004). Cultural Secrets as Narrative Form: Storytelling in Nineteenth-Century America. Columbus: Ohio State UP Ringe, Donald A. (1988). James Fenimore Cooper. Boston: Twayne. Romero, Lora (1997). Home Fronts: Domesticity and Its Critics in the Antebellum United States. Durham: Duke UP Smith, Lindsey C. (2008). Indians, Environment, and Identity on the Borders of American Literature: From Faulkner and Morrison to Walker and Silko. NY: Palgrave Macmillan. Verhoeven, W.M. (1993). James Fenimore Cooper: New Historical and Literary Contexts. Rodopi publishers. . Book Google. External links James Fenimore Cooper at Open Library James Fenimore Cooper Society Homepage Finding Aid for the James Fenimore Cooper Collection of Papers, 1825–1904, New York Public Library James Fenimore Cooper Letters and Manuscript Fragments. Available online though Lehigh University's I Remain: A Digital Archive of Letters, Manuscripts, and Ephemera "Writings of James Fenimore Cooper" from C-SPAN's American Writers: A Journey Through History "Fenimore Cooper's Literary Offenses", an essay by Mark Twain James Fenimore Cooper Collection. Yale Collection of American Literature, Beinecke Rare Book and Manuscript Library. 1789 births 1851 deaths 19th-century American novelists American expatriates in France American historical novelists American male novelists American naval historians American people of English descent Christian writers Deaths from edema Hall of Fame for Great Americans inductees People from Burlington, New Jersey People from Cooperstown, New York People from Scarsdale, New York Romanticism United States Navy officers Writers of historical fiction set in the modern age Knickerbocker Group Novelists from New Jersey American male non-fiction writers Historians from New York (state) Historians from New Jersey	true	[ "Miguel Skrobot (Warsaw, 1873 – Curitiba, February 20, 1912) was a businessman Brazilian of Polish origin.\n\nMiguel Skrobot was born in 1873, in Warsaw, Poland, to José Skrobot and Rosa Skrobot. When he was 18 he migrated to Brazil and settled in Curitiba as a merchant.\n\nHe married Maria Pansardi, who was born in Tibagi, Paraná, to Italian immigrants, and she bore him three children. He kept a steam-powered factory where he worked on grinding and toasting coffee beans under the \"Rio Branco\" brand, located on the spot where today stands the square called Praça Zacarias (square located in the center of Curitiba). He also owned a grocery store near Praça Tiradentes (also a square in the center of Curitiba, where the city was born). He died an early death, when he was 39, on February 20, 1912.\n\nReferences\n\n1873 births\n1912 deaths\nBrazilian businesspeople\nPeople from Curitiba\nPolish emigrants to Brazil", "Adolf von Rauch (22 April 1798 - 12 December 1882) was a German paper manufacturer in Heilbronn, where he was born and died and where he was a major builder of social housing.\n\nPapermakers\n1798 births\n1882 deaths\nPeople from Heilbronn" ]
[ "James Fenimore Cooper", "Early life and family", "Where was he born", "James Fenimore Cooper was born in Burlington, New Jersey" ]	C_c07ca1fd770642a28fa1c803c51c17b0_1	What year and to whom was he born	2	What year and to whom was James Fenimore Cooper born?	James Fenimore Cooper	James Fenimore Cooper was born in Burlington, New Jersey in 1789 to William Cooper and Elizabeth (Fenimore) Cooper, the eleventh of 12 children, most of whom died during infancy or childhood. He was descended from James Cooper of Stratford-upon-Avon, Warwickshire, England, who immigrated to the American colonies in 1679. Shortly after James' first birthday, his family moved to Cooperstown, New York, a community founded by his father on a large piece of land which he had bought for development. Later, his father was elected to the United States Congress as a representative from Otsego County. Their town was in a central area of New York that had previously been occupied by the Iroquois, who had allied themselves with the British during the Revolutionary War and were forced to cede the territory after British defeat. The State of New York opened the land for sale and development after the war, and Cooper's father purchased several thousand acres in upstate along the headwaters of the Susquehanna River. By 1788, William Cooper had selected and surveyed the site where Cooperstown would be established. He erected a home on the shore of Otsego lake and moved his family there in the autumn of 1790. He soon began construction of the mansion that became known as Otsego Hall, completed in 1799 when James was ten. Cooper was enrolled at Yale University at age 13, but he incited a dangerous prank which involved blowing up another student's door -- after having already locked a donkey in a recitation room. He was expelled in his third year without completing his degree, so he obtained work in 1806 as a sailor and joined the crew of a merchant vessel at age 17. By 1811, he obtained the rank of midshipman in the fledgling United States Navy, conferred upon him on an officer's warrant signed by Thomas Jefferson. At 20, Cooper inherited a fortune from his father. He married Susan Augusta de Lancey at Mamaroneck, Westchester County, New York on January 1, 1811 at age 21. She was from a wealthy family who remained loyal to Great Britain during the Revolution. The Coopers had seven children, five of whom lived to adulthood. Their daughter Susan Fenimore Cooper was a writer on nature, female suffrage, and other topics. She and her father often edited each other's work. Among his descendants was Paul Fenimore Cooper (1899-1970), who also became a writer. CANNOTANSWER	1789 to William Cooper and Elizabeth (Fenimore) Cooper,	James Fenimore Cooper (September 15, 1789 – September 14, 1851) was an American writer of the first half of the 19th century. His historical romances depicting colonist and Indigenous characters from the 17th to the 19th centuries created a unique form of American literature. He lived much of his boyhood and the last fifteen years of life in Cooperstown, New York, which was founded by his father William Cooper on property that he owned. Cooper became a member of the Episcopal Church shortly before his death and contributed generously to it. He attended Yale University for three years, where he was a member of the Linonian Society. After a stint on a commercial voyage, Cooper served in the U.S. Navy as a midshipman, where he learned the technology of managing sailing vessels which greatly influenced many of his novels and other writings. The novel that launched his career was The Spy, a tale about espionage set during the American Revolutionary War and published in 1821. He also created American sea stories. His best-known works are five historical novels of the frontier period, written between 1823 and 1841, known as the Leatherstocking Tales, which introduced the iconic American frontier scout, Natty Bumppo. Cooper's works on the U.S. Navy have been well received among naval historians, but they were sometimes criticized by his contemporaries. Among his more famous works is the romantic novel The Last of the Mohicans, often regarded as his masterpiece. Throughout his career, he published numerous social, political, and historical works of fiction and non-fiction with the objective of countering European prejudices and nurturing an original American art and culture. Early life and family James Fenimore Cooper was born in Burlington, New Jersey, in 1789 to William Cooper and Elizabeth (Fenimore) Cooper, the eleventh of 12 children, half of whom died during infancy or childhood. Shortly after James' first birthday, his family moved to Cooperstown, New York, a community founded by his father on a large piece of land which he had bought for development. Later, his father was elected to the United States Congress as a representative from Otsego County. Their town was in a central area of New York along the headwaters of the Susquehanna River that had previously been patented to Colonel George Croghan by the Province of New York in 1769. Croghan mortgaged the land before the Revolution and after the war part of the tract was sold at public auction to William Cooper and his business partner Andrew Craig. By 1788, William Cooper had selected and surveyed the site where Cooperstown would be established. He erected a home on the shore of Otsego Lake and moved his family there in the autumn of 1790. Several years later he began construction of the mansion that became known as Otsego Hall, completed in 1799 when James was ten. Cooper was enrolled at Yale University at age 13, but he incited a dangerous prank which involved blowing up another student's door—after having already locked a donkey in a recitation room. He was expelled in his third year without completing his degree, so he obtained work in 1806 as a sailor and joined the crew of a merchant vessel at age 17. By 1811, he obtained the rank of midshipman in the fledgling United States Navy, conferred upon him by an officer's warrant signed by Thomas Jefferson. William Cooper died when James was 20; all five of his sons inherited a supposed-large fortune in money, securities, and land titles, which soon proved to be a wealth of endless litigation. He married Susan Augusta de Lancey at Mamaroneck, Westchester County, New York on January 1, 1811, at age 21. She was from a wealthy family who remained loyal to Great Britain during the Revolution. The Coopers had seven children, five of whom lived to adulthood. Their daughter Susan Fenimore Cooper was a writer on nature, female suffrage, and other topics. Her father edited her works and secured publishers for them. One son, Paul Fenimore Cooper, became a lawyer and perpetuated the author's lineage to the present. Service in the Navy In 1806 at the age of 17, Cooper joined the crew of the merchant ship Sterling as a common sailor. At the time, the Sterling was commanded by young John Johnston from Maine. Cooper served as a common seaman before the mast. His first voyage took some 40 stormy days at sea and brought him to an English market in Cowes where they sought information on where best to unload their cargo of flour. There Cooper saw his first glimpses of England. Britain was in the midst of war with Napoleon's France at the time, so their ship was immediately approached by a British man-of-war and was boarded by some of its crew. They seized one of the Sterling's best crew members and impressed him into the British Royal Navy. Cooper thus first encountered the power of his country's former colonial master, which led to a lifelong commitment to helping create an American art independent culturally as well as politically from the former mother country. Their next voyage took them to the Mediterranean along the coast of Spain, including Águilas and Cabo de Gata, where they picked up cargo to be taken to London and unloaded. Their stay in Spain lasted several weeks and impressed the young sailor, the accounts of which Cooper later referred to in his Mercedes of Castile, a novel about Columbus. After serving aboard the Sterling for 11 months, he joined the United States Navy on January 1, 1808, when he received his commission as a midshipman. Cooper had conducted himself well as a sailor, and his father, a former U.S. Congressman, easily secured a commission for him through his long-standing connections with politicians and naval officials. The warrant for Cooper's commission as midshipman was signed by President Jefferson and mailed by Naval Secretary Robert Smith, reaching Cooper on February 19. On February 24, he received orders to report to the naval commander at New York City. Joining the United States Navy fulfilled an aspiration he had had since his youth. Cooper's first naval assignment came on March 21, 1808, aboard the , an 82-foot bomb ketch that carried twelve guns and a thirteen-inch mortar. For his next assignment, he served under Lieutenant Melancthon Taylor Woolsey near Oswego on Lake Ontario, overseeing the building of the brig for service on the lake. The vessel was intended for use in a war with Great Britain which had yet to begin. The vessel was completed, armed with sixteen guns, and launched in Lake Ontario in the spring of 1809. It was in this service that Cooper learned shipbuilding, shipyard duties and frontier life. During his leisure time, Cooper would venture through the forests of New York state and explore the shores of Lake Ontario. He occasionally ventured into the Thousand Islands. His experiences in the Oswego area later inspired some of his work, including his novel The Pathfinder. After completion of the Oneida in 1809, Cooper accompanied Woolsey to Niagara Falls, who then was ordered to Lake Champlain to serve aboard a gunboat until the winter months when the lake froze over. Cooper himself returned from Oswego to Cooperstown and then New York. On November 13 of the same year, he was assigned to the under the command of Captain James Lawrence, who was from Burlington and became a personal friend of Cooper's. Aboard this ship, he met his lifelong friend William Branford Shubrick, who was also a midshipman at the time. Cooper later dedicated The Pilot, The Red Rover, and other writings to Shubrick. Assigned to humdrum recruiting tasks rather than exciting voyages, Cooper resigned his commission from the navy in spring 1810; in the same time period he met, wooed, and became engaged to Susan Augusta de Lancey, whom be married on January 1, 1811. Writings First endeavors In 1820, when reading a contemporary novel to his wife Susan, he decided to try his hand at fiction, resulting in a neophyte novel set in England he called Precaution (1820). Its focus on morals and manners was influenced by Jane Austen's approach to fiction. He anonymously published Precaution which received modestly favorable notice in the United States and England. By contrast, his second novel The Spy (1821) was inspired by an American tale related to him by neighbor and family friend John Jay. It became the first novel written by an American to become a bestseller at home and abroad, requiring several re-printings to satisfy demand. Set in the "Neutral Ground" between British and American forces and their guerrilla allies in Westchester County, New York, the action centers around spying and skirmishing taking place in and around what is widely believed to be John Jay's family home "The Locusts" in Rye, New York of which a portion still exists today as the historic Jay Estate. Following on a swell of popularity, Cooper published The Pioneers, the first of the Leatherstocking series in 1823. The series features the inter-racial friendship of Natty Bumppo, a resourceful American woodsman who is at home with the Delaware Indians and their chief Chingachgook. Bumppo was also the main character of Cooper's most famous novel The Last of the Mohicans (1826), written in New York City where Cooper and his family lived from 1822 to 1826. The book became one of the more widely read American novels of the 19th century. At this time, Cooper had been living in New York on Beach Street in what is now downtown's Tribeca. In 1823, he became a member of the American Philosophical Society in Philadelphia. In August of that same year, his first son died. He organized the influential Bread and Cheese Club that brought together American writers, editors, artists, scholars, educators, art patrons, merchants, lawyers, politicians, and others. In 1824, General Lafayette arrived from France aboard the Cadmus at Castle Garden in New York City as the nation's guest. Cooper witnessed his arrival and was one of the active committee of welcome and entertainment. Europe In 1826, Cooper moved his family to Europe, where he sought to gain more income from his books, provide better education for his children, improve his health, and observe European manners and politics firsthand. While overseas, he continued to write. His books published in Paris include The Prairie, the third Leather-Stocking Tale in which Natty Bumppo dies in the western land newly acquired by Jefferson as the Louisiana Purchase. There he also published The Red Rover and The Water Witch, two of his many sea stories. During his time in Paris, the Cooper family became active in the small American expatriate community. He became friends with painter (and later inventor) Samuel Morse and with French general and American Revolutionary War hero Gilbert du Motier, Marquis de Lafayette. Cooper admired the patrician liberalism of Lafayette, who sought to recruit him to his causes, and eulogized him as a man who "dedicated youth, person, and fortune, to the principles of liberty." Cooper's distaste for the corruption of the European aristocracy, especially in England and France, grew as he observed them manipulate the legislature and judiciary to the exclusion of other classes. In 1832, he entered the lists as a political writer in a series of letters to Le National, a Parisian journal. He defended the United States against a string of charges brought by the Revue Britannique. For the rest of his life, he continued skirmishing in print, sometimes for the national interest, sometimes for that of the individual, and frequently for both at once. This opportunity to make a political confession of faith reflected the political turn that he already had taken in his fiction, having attacked European anti-republicanism in The Bravo (1831). Cooper continued this political course in The Heidenmauer (1832) and The Headsman: or the Abbaye of Vigneron (1833). The Bravo depicted Venice as a place where a ruthless oligarchy lurks behind the mask of the "serene republic". All were widely read on both sides of the Atlantic, though some Americans accused Cooper of apparently abandoning American life for European—not realizing that the political subterfuges in the European novels were cautions directed at his American audiences. Thus The Bravo was roughly treated by some critics in the United States. Back to America In 1833, Cooper returned to the United States and published A Letter to My Countrymen in which he gave his criticism of various social and political mores. Promotional material from a modern publisher summarize his goals as follows: A Letter To My Countrymen remains Cooper's most trenchant work of social criticism. In it, he defines the role of the "man of letters" in a republic, the true conservative, the slavery of party affiliations, and the nature of the legislative branch of government. He also offers her most persuasive argument on why America should develop its own art and literary culture, ignoring the aristocratically tainted art of Europe. Influenced by the ideals of classical republicanism, Cooper feared that the orgy of speculation he witnessed was destructive of civic virtue and warned Americans that it was a "mistake to suppose commerce favorable to liberty"; doing so would lead to a new "moneyed aristocracy." Drawing upon philosophers such as Jean-Jacques Rousseau, Burlamaqui, and Montesquieu, Cooper's political ideas were both democratic, deriving from the consent of the governed, and liberal, concerned with the rights of the individual. In the later 1830s—despite his repudiation of authorship in A Letter To My Countrymen—he published Gleanings in Europe, five volumes of social and political analysis of his observations and experiences in Europe. His two novels Homeward Bound and Home as Found also criticize the flamboyant financial speculation and toadyism he found on his return; some readers and critics attacked the works for presenting a highly idealized self-portrait, which he vigorously denied. In June 1834, Cooper decided to reopen his ancestral mansion Otsego Hall at Cooperstown. It had long been closed and falling into decay; he had been absent from the mansion nearly 16 years. Repairs were begun, and the house was put in order. At first, he wintered in New York City and summered in Cooperstown, but eventually he made Otsego Hall his permanent home. On May 10, 1839, Cooper published History of the Navy of the United States of America, a work that he had long planned on writing. He publicly announced his intentions to author such a historical work while abroad before departing for Europe in May 1826, during a parting speech at a dinner given in his honor: Encouraged by your kindness, ... I will take this opportunity of recording the deeds and sufferings of a class of men to which this nation owes a debt of gratitude—a class of men among whom, I am always ready to declare, not only the earliest, but many of the happiest days of my youth have been passed. Historical and nautical work His historical account of the U.S. Navy was well received, though his account of the roles played by the American leaders in the Battle of Lake Erie led to years of disputes with their descendants, as noted below. Cooper had begun thinking about this massive project in 1824, and concentrated on its research in the late 1830s. His close association with the U.S. Navy and various officers, and his familiarity with naval life at sea provided him the background and connections to research and write this work. Cooper's work is said to have stood the test of time and is considered an authoritative account of the U.S. Navy during that time. In 1844, Cooper's Proceedings of the naval court martial in the case of Alexander Slidell Mackenzie, a commander in the navy of the United States, &c:, was first published in Graham's Magazine of 1843–44. It was a review of the court martial of Alexander Slidell Mackenzie who had hanged three crew members of the brig USS Somers for mutiny while at sea. One of the hanged men, 19-year-old Philip Spencer, was the son of U.S. Secretary of War John C. Spencer. He was executed without court-martial along with two other sailors aboard the Somers for allegedly attempting mutiny. Prior to this affair, Cooper and Mackenzie had disputed each other's version of the Battle of Lake Erie. However, recognizing the need for absolute discipline in a warship at sea, Cooper still felt sympathetic to Mackenzie over his pending court martial. In 1843, an old shipmate, Ned Myers, re-entered Cooper's life. To assist him—and hopefully to cash in on the popularity of maritime biographies—Cooper wrote Myers's story which he published in 1843 as Ned Myers, or a Life before the Mast, an account of a common seaman still of interest to naval historians. In 1846, Cooper published Lives of Distinguished American Naval Officers covering the biographies of William Bainbridge, Richard Somers, John Shaw, John T. Shubrick, and Edward Preble. Cooper died in 1851. In May 1853, Cooper's Old Ironsides appeared in Putnam's Monthly. It was the history of the Navy ship and, after European and American Scenery Compared, 1852, was one of several posthumous publication of his writings. In 1856, five years after Cooper's death, his History of the Navy of the United States of America was re-published in an expanded edition. The work was an account of the U.S. Navy in the early 19th century, through the Mexican War. Among naval historians of today, the work has come to be recognized as a general and authoritative account. However, it was criticized for accuracy on some points by some contemporaries, especially those engaged in the disputes over the roles of their relatives in Cooper's separate history of the Battle of Lake Erie. Whig editors of the period regularly attacked anything Cooper wrote, leading him to numerous suits for libel, for example against Park Benjamin, Sr., a poet and editor of the Evening Signal of New York. Critical reaction Cooper's writings of the 1830s related to current politics and social issues, coupled with his perceived self-promotion, increased the ill feeling between the author and some of the public. Criticism in print of his naval histories and the two Home novels came largely from newspapers supporting The Whig party, reflecting the antagonism between the Whigs and their opposition, the Democrats, whose policies Cooper often favored. Cooper's father William had been a staunch Federalist, a party now defunct but some of whose policies supporting large-scale capitalism the Whigs endorsed. Cooper himself had come to admire Thomas Jefferson, the bete-noire of the Federalists, and had supported Andrew Jackson's opposition to a National Bank. Never one to shrink from defending his personal honor and his sense of where the nation was erring, Cooper filed legal actions for libel against several Whig editors; his success with most of his lawsuits ironically led to more negative publicity from the Whig establishment. Buoyed by his frequent victories in court, Cooper returned to writing with more energy and success than he had had for several years. As noted above, on May 10, 1839, he published his History of the U.S. Navy; his return to the Leatherstocking Tales series with The Pathfinder, or The Inland Sea (1840) and The Deerslayer (1841) brought him renewed favorable reviews. But on occasion he returned to addressing public issues, most notably with a trilogy of novels called the Littlepage Manuscripts addressing the issues of the anti-rent wars. Public sentiment largely favored the anti-renters, and Cooper's reviews again were largely negative. Later life Faced with competition from younger writers and magazine serialization, and lower prices for books resulting from new technologies, Cooper simply wrote more in his last decade than in either of the previous two. Half of his thirty-two novels were written in the 1840s. They may be grouped into three categories: Indian romances, maritime fiction, and political and social controversy—though the categories often overlap. The 1840s began with the last two novels featuring Natty Bumppo, both critical and reader successes: The Pathfinder (1840) and The Deerslayer (1841). Wyandotte, his last novel set in the Revolutionary War, followed in 1843 and Oak Openings in 1848. The nautical works were Mercedes of Castile (in which Columbus appears, 1840),The Two Admirals (British and French fleets in battle, 1842), Wing-And-Wing (a French privateer fighting the British in 1799, 1842), Afloat and Ashore (two volumes exploring a young man growing up, 1844), Jack Tier (a vicious smuggler in the Mexican-American War, 1848), and The Sea Lions (rival sealers in the Antarctic, 1849). He also turned from pure fiction to the combination of art and controversy in which he achieved notoriety in the novels of the previous decade. His Littlepage Manuscripts trilogy--Satanstoe (1845), The Chainbearer (1845), and The Redskins (1846)--dramatized issues of land ownership in response to renters in the 1840s opposing the long leases common in the old Dutch settlements in the Hudson Valley. He tried his hand with serialization with The Autobiography of a Pocket Handkerchief, first published in Graham's Magazine in 1843, a satire on contemporary nouveau riche. In The Crater, or Vulcan's Peak (1847) he introduced supernatural machinery to show the decline of an ideal society in the South Seas when demagogues prevail. The Ways of the Hour, his last completed novel, portrayed a mysterious and independent young woman defending herself against criminal charges. Cooper spent the last years of his life back in Cooperstown. He died on September 14, 1851, the day before his 62nd birthday. He was buried in the Christ Episcopal Churchyard, where his father, William Cooper, was buried. Cooper's wife Susan survived her husband only by a few months and was buried by his side at Cooperstown. Several well-known writers, politicians, and other public figures honored Cooper's memory with a memorial in New York, six months after his death, in February 1852. Daniel Webster gave a speech to the gathering while Washington Irving served as a co-chairman, along with William Cullen Bryant, who also gave an address which did much to restore Cooper's damaged reputation among American writers of the time. Religious activities Cooper's father was a lapsed Quaker; probably influenced by his wife's family, the DeLanceys, Cooper in his fiction often favorably depicted clergy of the Episcopal Church, though Calvinist ministers came in for their share of both admiring and critical treatment. In the 1840s as Cooper increasingly despaired over the United States maintaining the vision and promise of the Constitution, his fiction increasingly turned to religious themes. In The Wing-And-Wing, 1842, the hero, a French revolutionary free-thinker, loses the Italian girl he loves because he cannot accept her simple Christianity. In contrast, in the 1849 The Sea Lions the hero wins his beloved only after a spiritual transformation while marooned in the Antarctic. And the 1848 The Oak Openings features a pious Parson Amen who wins the admiration of the Indians who kill him, praying for them during torture. After establishing permanent residence in Cooperstown, Cooper became active in Christ Episcopal Church, taking on the roles of warden and vestryman. As the vestryman, he donated generously to this church and later supervised and redesigned its interior with oak furnishings at his own expense. He was also energetic as a representative from Cooperstown to various regional conventions of the Episcopal church. But only several months before his death, in July 1851, was he confirmed in this church by his brother-in-law, the Reverend William H. DeLancey. Legacy Cooper was one of the more popular 19th-century American authors, and his work was admired greatly throughout the world. While on his death bed, the Austrian composer Franz Schubert wanted most to read more of Cooper's novels. Honoré de Balzac, the French novelist and playwright, admired him greatly. Henry David Thoreau, while attending Harvard, incorporated some of Cooper's style in his own work. D.H. Lawrence believed that Turgenev, Tolstoy, Dostoyevsky, Maupassant, and Flaubert were all "so very obvious and coarse, besides the lovely, mature and sensitive art of Fennimore Cooper." Lawrence called The Deerslayer "one of the most beautiful and perfect books in the world: flawless as a jewel and of gem-like concentration." Cooper's work, particularly The Pioneers and The Pilot, demonstrate an early 19th-century American preoccupation with alternating prudence and negligence in a country where property rights were often still in dispute. Cooper was one of the early major American novelists to include African, African-American and Native American characters in his works. In particular, Native Americans play central roles in his Leatherstocking Tales. However, his treatment of this group is complex and highlights the relationship between frontier settlers and American Indians as exemplified in The Wept of Wish-ton-Wish, depicting a captured white girl who marries an Indian chief and has a baby with him, but after several years is eventually returned to her parents. Often, he gives contrasting views of Native characters to emphasize their potential for good, or conversely, their proclivity for mayhem. Last of the Mohicans includes both the character of Magua, who fearing the extinction of his race at the hands of the whites savagely betrays them, as well as Chingachgook, the last chief of the Mohicans, who is portrayed as Natty Bumppo's noble, courageous, and heroic counterpart. In 1831, Cooper was elected into the National Academy of Design as an Honorary Academician. According to Tad Szulc, Cooper was a devotee of Poland's causes (uprisings to regain Polish sovereignty). He organized a club in Paris to support the rebels, and brought flags of the defeated Polish rebel regiment from Warsaw to present them to the exiled leaders in Paris. With his friend the Marquis de La Fayette, he supported liberals during the regime changes in France and elsewhere in the 1830s. . Though some scholars have hesitated to classify Cooper as a strict Romantic, Victor Hugo pronounced him greatest novelist of the century outside France. Honoré de Balzac, while mocking a few of Cooper's novels ("rhapsodies") and expressing reservations about his portrayal of characters, enthusiastically called The Pathfinder a masterpiece and professed great admiration for Cooper's portrayal of nature, only equalled in his view by Walter Scott. Mark Twain, the ultimate Realist, criticized the Romantic plots and overwrought language of The Deerslayer and The Pathfinder in his satirical but shrewdly observant essay, "Fenimore Cooper's Literary Offenses" (1895). Cooper was also criticized heavily in his day for his depiction of women characters in his work. James Russell Lowell, Cooper's contemporary and a critic, referred to it poetically in A Fable for Critics, writing, "... the women he draws from one model don't vary / All sappy as maples and flat as a prairie." Cooper's lasting reputation today rests largely upon the five Leatherstocking Tales. In his 1960 study focusing on romantic relationships, both hetero- and homo-sexual, literary scholar Leslie Fiedler opines that with the exception of the five Natty Bumppo-Chingachgook novels, Cooper's "collected works are monumental in their cumulative dullness." More recent criticism views all thirty-two novels in the context of Cooper's responding to changing political, social, and economic realities in his time period. Cooper was honored on a U.S. commemorative stamp, the Famous American series, issued in 1940. Three dining halls at the State University of New York at Oswego are named in Cooper's remembrance (Cooper Hall, The Pathfinder, and Littlepage) because of his temporary residence in Oswego and for setting some of his works there. Cooper Park in Michigan's Comstock Township is named after him. The New Jersey Turnpike has a James Fenimore Cooper service area, recognizing his birth in the state. The gilded and red tole chandelier hanging in the library of the White House in Washington DC is from the family of James Fenimore Cooper. It was brought there through the efforts of First Lady Jacqueline Kennedy in her great White House restoration. The James Fenimore Cooper Memorial Prize at New York University is awarded annually to an outstanding undergraduate student of journalism. In 2013, Cooper was inducted into the New York Writers Hall of Fame. Cooper's novels were very popular in the rest of the world, including, for instance, Russia. In particular, great interest of the Russian public in Cooper's work was primarily incited by the novel The Pathfinder, which the renowned Russian literary critic Vissarion Belinsky declared to be "a Shakespearean drama in the form of a novel". The author was more recognizable by his middle name, Fenimore, exotic to many in Russia. This name became a symbol of exciting adventures among Russian readers. For example, in the 1977 Soviet movie The Secret of Fenimore (), being the third part of a children's television mini-series Three Cheerful Shifts (, see ), tells of a mysterious stranger known as Fenimore, visiting a boys' dorm in a summer camp nightly and relating fascinating stories about Indians and extraterrestrials. Works Notes References Bibliography ; James Fenimore Cooper: The Later Years, Yale University Press, 2017. p. 805 . Primary sources Url1 Url Url ——— (1852). The Chainbearer, Or The Littlepage Manuscripts, Stringer and Townsend, 228 pages; eBook Further reading Clavel, Marcel (1938). Fenimore Cooper and his critics: American, British and French criticisms of the novelist's early work, Imprimerie universitaire de Provence, E. Fourcine, 418 pages; Book Darnell, Donald. (1993). James Fenimore Cooper: Novelist of Manners, Newark, Univ. of Delaware Dekker, George (2017). James Fenimore Cooper the Novelist, Routledge, 2017, ISBN 9781351580014 Doolen, Andy (2005). Fugitive Empire: Locating Early American Imperialism, Minneapolis: Univ. of Minnesota P. Franklin, Wayne (1982). The New World of James Fenimore Cooper, Chicago: Univ. of Chicago P, Book –—— (2007). James Fenimore Cooper: The Early Years, New Haven: Yale UP, Book Krauthammer, Anna. The Representation of the Savage in James Fenimore Cooper and Herman Melville. NY: Peter Lang, 2008. Long, Robert Emmet (1990). James Fenimore Cooper, NY: Continuum. , MacDougall, Hugh C. (1993). Where Was James? A James Fenimore Cooper Chronology from 1789–1851. Cooperstown: James Fenimore Cooper Soc. Rans, Geoffrey (1991). Cooper's Leather-Stocking Novels: A Secular Reading. Chapel Hill: Univ. of North Carolina Redekop, Ernest H., ed. (1989). James Fenimore Cooper, 1789–1989: Bicentennial Essays, Canadian Review of American Studies, entire special issue, vol. 20, no. 3 (Winter 1989), pp. 1–164. Reid, Margaret (2004). Cultural Secrets as Narrative Form: Storytelling in Nineteenth-Century America. Columbus: Ohio State UP Ringe, Donald A. (1988). James Fenimore Cooper. Boston: Twayne. Romero, Lora (1997). Home Fronts: Domesticity and Its Critics in the Antebellum United States. Durham: Duke UP Smith, Lindsey C. (2008). Indians, Environment, and Identity on the Borders of American Literature: From Faulkner and Morrison to Walker and Silko. NY: Palgrave Macmillan. Verhoeven, W.M. (1993). James Fenimore Cooper: New Historical and Literary Contexts. Rodopi publishers. . Book Google. External links James Fenimore Cooper at Open Library James Fenimore Cooper Society Homepage Finding Aid for the James Fenimore Cooper Collection of Papers, 1825–1904, New York Public Library James Fenimore Cooper Letters and Manuscript Fragments. Available online though Lehigh University's I Remain: A Digital Archive of Letters, Manuscripts, and Ephemera "Writings of James Fenimore Cooper" from C-SPAN's American Writers: A Journey Through History "Fenimore Cooper's Literary Offenses", an essay by Mark Twain James Fenimore Cooper Collection. Yale Collection of American Literature, Beinecke Rare Book and Manuscript Library. 1789 births 1851 deaths 19th-century American novelists American expatriates in France American historical novelists American male novelists American naval historians American people of English descent Christian writers Deaths from edema Hall of Fame for Great Americans inductees People from Burlington, New Jersey People from Cooperstown, New York People from Scarsdale, New York Romanticism United States Navy officers Writers of historical fiction set in the modern age Knickerbocker Group Novelists from New Jersey American male non-fiction writers Historians from New York (state) Historians from New Jersey	true	[ "OurPrisoner was a 2006 Internet reality television show that featured 35-year-old man Kieran Vogel, who lived on camera for 24 hours a day, seven days a week, for an entirety of six months in a single-family New Jersey home.\n\nThe show began on June 14, 2006. All of Vogel's actions were to be controlled by the public. Through a series of votes, viewers were to choose what he ate, what he wore, what he did, and whom he saw.\n\nThe OurPrisoner show came to an end on 15 December 2006 and Vogel received 40,000 shares of BigString stock as his prize, now worth 3 cents a share; had he failed to perform any tasks, he would have received nothing.\n\nAccording to the press release, \"Through an interactive media platform viewers will vote to determine what Kieran Vogel wears, what he eats, whom he dates, to whom he talks, what music he listens to, and much, much more. He will also react to viewer calls and emails.\"\n\nIn September, he was required to stay awake for 48 hours straight.\n\nThe series was created by BigString Interactive. BigString's CEO Darin Myman was the creator of the show.\n\nBigString announced that a second series would be held, but it never surfaced.\n\nSee also\nLifecasting (video stream)\n\nReferences\n\nExternal links\n OurPrisoner, official site (defunct as of early 2008)\n BigString, official sponsor\n\n2006 American television series debuts\n2006 American television series endings\n2000s American reality television series\nReality web series\nAmerican non-fiction web series", "Mark Frank or Franck (1613–1664) was an English churchman and academic, Master of Pembroke College, Cambridge.\n\nLife\nHe was baptised at Little Brickhill, Buckinghamshire, and was admitted pensioner of Pembroke College, Cambridge, 4 July 1627. He was elected to a scholarship in 1630, and to a fellowship 8 October 1634, having become M.A. the same year. In 1641 he became B.D., and was chosen junior treasurer of his college, and senior treasurer in 1642.\n\nHe had attracted the favourable notice of Charles I by a sermon he preached at Paul's Cross before the lord mayor and aldermen in 1641 on Jeremiah xxxv. 18-19, which the king commanded to be printed. In this sermon he propounds the Rechabites as an example of obedience; 'It is a usual thing nowadays,' he says, 'to direct our governours what to do, what to read, what to command; then, forsooth, we will obey them.' In 1644 he was ejected as a malignant by the parliamentary visitors, on his refusal to take the Solemn League and Covenant.\n\nAt the Restoration, Frank was re-established in his fellowship on 10 August 1660 and rewarded by ecclesiastical promotions. He was made D.D. by royal mandate in 1661 and was chosen master of his college on 23 August 1662, in succession to Benjamin Lany. Archbishop William Juxon appointed him one of his chaplains, and he held the office of domestic chaplain and ex officio licenser of theological works to Juxon's successor, Archbishop Gilbert Sheldon, by whom he was presented to the archdeaconry of St Albans, and to the treasurership of St Paul's Cathedral, 19 December 1660. He was also presented to the rectory of Barley, Hertfordshire, on 2 February 1664, by Matthew Wren. He died the following year, at the age of 51 and was buried in St Paul's Cathedral near the entrance of the north door.\n\nWorks\nCourse of Sermons for all the Sundays and Festivals throughout the Year (1672) was published after his death. It was republished, in two volumes, in the Library of Anglo-Catholic Theology.\n\nNotes\n\nReferences\n\nExternal links\nBiographical Notice\n\n1613 births\n1664 deaths\n17th-century English Anglican priests\nArchdeacons of St Albans\nMasters of Pembroke College, Cambridge\nEnglish Anglo-Catholics\nAnglo-Catholic clergy\nEnglish Anglican theologians\n17th-century English theologians\nAnglo-Catholic theologians\n17th-century Anglican theologians" ]
[ "James Fenimore Cooper", "Early life and family", "Where was he born", "James Fenimore Cooper was born in Burlington, New Jersey", "What year and to whom was he born", "1789 to William Cooper and Elizabeth (Fenimore) Cooper," ]	C_c07ca1fd770642a28fa1c803c51c17b0_1	How many children did they have	3	How many children did James Fenimore Cooper and Elizabeth (Fenimore) Cooper have?	James Fenimore Cooper	James Fenimore Cooper was born in Burlington, New Jersey in 1789 to William Cooper and Elizabeth (Fenimore) Cooper, the eleventh of 12 children, most of whom died during infancy or childhood. He was descended from James Cooper of Stratford-upon-Avon, Warwickshire, England, who immigrated to the American colonies in 1679. Shortly after James' first birthday, his family moved to Cooperstown, New York, a community founded by his father on a large piece of land which he had bought for development. Later, his father was elected to the United States Congress as a representative from Otsego County. Their town was in a central area of New York that had previously been occupied by the Iroquois, who had allied themselves with the British during the Revolutionary War and were forced to cede the territory after British defeat. The State of New York opened the land for sale and development after the war, and Cooper's father purchased several thousand acres in upstate along the headwaters of the Susquehanna River. By 1788, William Cooper had selected and surveyed the site where Cooperstown would be established. He erected a home on the shore of Otsego lake and moved his family there in the autumn of 1790. He soon began construction of the mansion that became known as Otsego Hall, completed in 1799 when James was ten. Cooper was enrolled at Yale University at age 13, but he incited a dangerous prank which involved blowing up another student's door -- after having already locked a donkey in a recitation room. He was expelled in his third year without completing his degree, so he obtained work in 1806 as a sailor and joined the crew of a merchant vessel at age 17. By 1811, he obtained the rank of midshipman in the fledgling United States Navy, conferred upon him on an officer's warrant signed by Thomas Jefferson. At 20, Cooper inherited a fortune from his father. He married Susan Augusta de Lancey at Mamaroneck, Westchester County, New York on January 1, 1811 at age 21. She was from a wealthy family who remained loyal to Great Britain during the Revolution. The Coopers had seven children, five of whom lived to adulthood. Their daughter Susan Fenimore Cooper was a writer on nature, female suffrage, and other topics. She and her father often edited each other's work. Among his descendants was Paul Fenimore Cooper (1899-1970), who also became a writer. CANNOTANSWER	eleventh of 12 children, most of whom died during infancy or childhood.	James Fenimore Cooper (September 15, 1789 – September 14, 1851) was an American writer of the first half of the 19th century. His historical romances depicting colonist and Indigenous characters from the 17th to the 19th centuries created a unique form of American literature. He lived much of his boyhood and the last fifteen years of life in Cooperstown, New York, which was founded by his father William Cooper on property that he owned. Cooper became a member of the Episcopal Church shortly before his death and contributed generously to it. He attended Yale University for three years, where he was a member of the Linonian Society. After a stint on a commercial voyage, Cooper served in the U.S. Navy as a midshipman, where he learned the technology of managing sailing vessels which greatly influenced many of his novels and other writings. The novel that launched his career was The Spy, a tale about espionage set during the American Revolutionary War and published in 1821. He also created American sea stories. His best-known works are five historical novels of the frontier period, written between 1823 and 1841, known as the Leatherstocking Tales, which introduced the iconic American frontier scout, Natty Bumppo. Cooper's works on the U.S. Navy have been well received among naval historians, but they were sometimes criticized by his contemporaries. Among his more famous works is the romantic novel The Last of the Mohicans, often regarded as his masterpiece. Throughout his career, he published numerous social, political, and historical works of fiction and non-fiction with the objective of countering European prejudices and nurturing an original American art and culture. Early life and family James Fenimore Cooper was born in Burlington, New Jersey, in 1789 to William Cooper and Elizabeth (Fenimore) Cooper, the eleventh of 12 children, half of whom died during infancy or childhood. Shortly after James' first birthday, his family moved to Cooperstown, New York, a community founded by his father on a large piece of land which he had bought for development. Later, his father was elected to the United States Congress as a representative from Otsego County. Their town was in a central area of New York along the headwaters of the Susquehanna River that had previously been patented to Colonel George Croghan by the Province of New York in 1769. Croghan mortgaged the land before the Revolution and after the war part of the tract was sold at public auction to William Cooper and his business partner Andrew Craig. By 1788, William Cooper had selected and surveyed the site where Cooperstown would be established. He erected a home on the shore of Otsego Lake and moved his family there in the autumn of 1790. Several years later he began construction of the mansion that became known as Otsego Hall, completed in 1799 when James was ten. Cooper was enrolled at Yale University at age 13, but he incited a dangerous prank which involved blowing up another student's door—after having already locked a donkey in a recitation room. He was expelled in his third year without completing his degree, so he obtained work in 1806 as a sailor and joined the crew of a merchant vessel at age 17. By 1811, he obtained the rank of midshipman in the fledgling United States Navy, conferred upon him by an officer's warrant signed by Thomas Jefferson. William Cooper died when James was 20; all five of his sons inherited a supposed-large fortune in money, securities, and land titles, which soon proved to be a wealth of endless litigation. He married Susan Augusta de Lancey at Mamaroneck, Westchester County, New York on January 1, 1811, at age 21. She was from a wealthy family who remained loyal to Great Britain during the Revolution. The Coopers had seven children, five of whom lived to adulthood. Their daughter Susan Fenimore Cooper was a writer on nature, female suffrage, and other topics. Her father edited her works and secured publishers for them. One son, Paul Fenimore Cooper, became a lawyer and perpetuated the author's lineage to the present. Service in the Navy In 1806 at the age of 17, Cooper joined the crew of the merchant ship Sterling as a common sailor. At the time, the Sterling was commanded by young John Johnston from Maine. Cooper served as a common seaman before the mast. His first voyage took some 40 stormy days at sea and brought him to an English market in Cowes where they sought information on where best to unload their cargo of flour. There Cooper saw his first glimpses of England. Britain was in the midst of war with Napoleon's France at the time, so their ship was immediately approached by a British man-of-war and was boarded by some of its crew. They seized one of the Sterling's best crew members and impressed him into the British Royal Navy. Cooper thus first encountered the power of his country's former colonial master, which led to a lifelong commitment to helping create an American art independent culturally as well as politically from the former mother country. Their next voyage took them to the Mediterranean along the coast of Spain, including Águilas and Cabo de Gata, where they picked up cargo to be taken to London and unloaded. Their stay in Spain lasted several weeks and impressed the young sailor, the accounts of which Cooper later referred to in his Mercedes of Castile, a novel about Columbus. After serving aboard the Sterling for 11 months, he joined the United States Navy on January 1, 1808, when he received his commission as a midshipman. Cooper had conducted himself well as a sailor, and his father, a former U.S. Congressman, easily secured a commission for him through his long-standing connections with politicians and naval officials. The warrant for Cooper's commission as midshipman was signed by President Jefferson and mailed by Naval Secretary Robert Smith, reaching Cooper on February 19. On February 24, he received orders to report to the naval commander at New York City. Joining the United States Navy fulfilled an aspiration he had had since his youth. Cooper's first naval assignment came on March 21, 1808, aboard the , an 82-foot bomb ketch that carried twelve guns and a thirteen-inch mortar. For his next assignment, he served under Lieutenant Melancthon Taylor Woolsey near Oswego on Lake Ontario, overseeing the building of the brig for service on the lake. The vessel was intended for use in a war with Great Britain which had yet to begin. The vessel was completed, armed with sixteen guns, and launched in Lake Ontario in the spring of 1809. It was in this service that Cooper learned shipbuilding, shipyard duties and frontier life. During his leisure time, Cooper would venture through the forests of New York state and explore the shores of Lake Ontario. He occasionally ventured into the Thousand Islands. His experiences in the Oswego area later inspired some of his work, including his novel The Pathfinder. After completion of the Oneida in 1809, Cooper accompanied Woolsey to Niagara Falls, who then was ordered to Lake Champlain to serve aboard a gunboat until the winter months when the lake froze over. Cooper himself returned from Oswego to Cooperstown and then New York. On November 13 of the same year, he was assigned to the under the command of Captain James Lawrence, who was from Burlington and became a personal friend of Cooper's. Aboard this ship, he met his lifelong friend William Branford Shubrick, who was also a midshipman at the time. Cooper later dedicated The Pilot, The Red Rover, and other writings to Shubrick. Assigned to humdrum recruiting tasks rather than exciting voyages, Cooper resigned his commission from the navy in spring 1810; in the same time period he met, wooed, and became engaged to Susan Augusta de Lancey, whom be married on January 1, 1811. Writings First endeavors In 1820, when reading a contemporary novel to his wife Susan, he decided to try his hand at fiction, resulting in a neophyte novel set in England he called Precaution (1820). Its focus on morals and manners was influenced by Jane Austen's approach to fiction. He anonymously published Precaution which received modestly favorable notice in the United States and England. By contrast, his second novel The Spy (1821) was inspired by an American tale related to him by neighbor and family friend John Jay. It became the first novel written by an American to become a bestseller at home and abroad, requiring several re-printings to satisfy demand. Set in the "Neutral Ground" between British and American forces and their guerrilla allies in Westchester County, New York, the action centers around spying and skirmishing taking place in and around what is widely believed to be John Jay's family home "The Locusts" in Rye, New York of which a portion still exists today as the historic Jay Estate. Following on a swell of popularity, Cooper published The Pioneers, the first of the Leatherstocking series in 1823. The series features the inter-racial friendship of Natty Bumppo, a resourceful American woodsman who is at home with the Delaware Indians and their chief Chingachgook. Bumppo was also the main character of Cooper's most famous novel The Last of the Mohicans (1826), written in New York City where Cooper and his family lived from 1822 to 1826. The book became one of the more widely read American novels of the 19th century. At this time, Cooper had been living in New York on Beach Street in what is now downtown's Tribeca. In 1823, he became a member of the American Philosophical Society in Philadelphia. In August of that same year, his first son died. He organized the influential Bread and Cheese Club that brought together American writers, editors, artists, scholars, educators, art patrons, merchants, lawyers, politicians, and others. In 1824, General Lafayette arrived from France aboard the Cadmus at Castle Garden in New York City as the nation's guest. Cooper witnessed his arrival and was one of the active committee of welcome and entertainment. Europe In 1826, Cooper moved his family to Europe, where he sought to gain more income from his books, provide better education for his children, improve his health, and observe European manners and politics firsthand. While overseas, he continued to write. His books published in Paris include The Prairie, the third Leather-Stocking Tale in which Natty Bumppo dies in the western land newly acquired by Jefferson as the Louisiana Purchase. There he also published The Red Rover and The Water Witch, two of his many sea stories. During his time in Paris, the Cooper family became active in the small American expatriate community. He became friends with painter (and later inventor) Samuel Morse and with French general and American Revolutionary War hero Gilbert du Motier, Marquis de Lafayette. Cooper admired the patrician liberalism of Lafayette, who sought to recruit him to his causes, and eulogized him as a man who "dedicated youth, person, and fortune, to the principles of liberty." Cooper's distaste for the corruption of the European aristocracy, especially in England and France, grew as he observed them manipulate the legislature and judiciary to the exclusion of other classes. In 1832, he entered the lists as a political writer in a series of letters to Le National, a Parisian journal. He defended the United States against a string of charges brought by the Revue Britannique. For the rest of his life, he continued skirmishing in print, sometimes for the national interest, sometimes for that of the individual, and frequently for both at once. This opportunity to make a political confession of faith reflected the political turn that he already had taken in his fiction, having attacked European anti-republicanism in The Bravo (1831). Cooper continued this political course in The Heidenmauer (1832) and The Headsman: or the Abbaye of Vigneron (1833). The Bravo depicted Venice as a place where a ruthless oligarchy lurks behind the mask of the "serene republic". All were widely read on both sides of the Atlantic, though some Americans accused Cooper of apparently abandoning American life for European—not realizing that the political subterfuges in the European novels were cautions directed at his American audiences. Thus The Bravo was roughly treated by some critics in the United States. Back to America In 1833, Cooper returned to the United States and published A Letter to My Countrymen in which he gave his criticism of various social and political mores. Promotional material from a modern publisher summarize his goals as follows: A Letter To My Countrymen remains Cooper's most trenchant work of social criticism. In it, he defines the role of the "man of letters" in a republic, the true conservative, the slavery of party affiliations, and the nature of the legislative branch of government. He also offers her most persuasive argument on why America should develop its own art and literary culture, ignoring the aristocratically tainted art of Europe. Influenced by the ideals of classical republicanism, Cooper feared that the orgy of speculation he witnessed was destructive of civic virtue and warned Americans that it was a "mistake to suppose commerce favorable to liberty"; doing so would lead to a new "moneyed aristocracy." Drawing upon philosophers such as Jean-Jacques Rousseau, Burlamaqui, and Montesquieu, Cooper's political ideas were both democratic, deriving from the consent of the governed, and liberal, concerned with the rights of the individual. In the later 1830s—despite his repudiation of authorship in A Letter To My Countrymen—he published Gleanings in Europe, five volumes of social and political analysis of his observations and experiences in Europe. His two novels Homeward Bound and Home as Found also criticize the flamboyant financial speculation and toadyism he found on his return; some readers and critics attacked the works for presenting a highly idealized self-portrait, which he vigorously denied. In June 1834, Cooper decided to reopen his ancestral mansion Otsego Hall at Cooperstown. It had long been closed and falling into decay; he had been absent from the mansion nearly 16 years. Repairs were begun, and the house was put in order. At first, he wintered in New York City and summered in Cooperstown, but eventually he made Otsego Hall his permanent home. On May 10, 1839, Cooper published History of the Navy of the United States of America, a work that he had long planned on writing. He publicly announced his intentions to author such a historical work while abroad before departing for Europe in May 1826, during a parting speech at a dinner given in his honor: Encouraged by your kindness, ... I will take this opportunity of recording the deeds and sufferings of a class of men to which this nation owes a debt of gratitude—a class of men among whom, I am always ready to declare, not only the earliest, but many of the happiest days of my youth have been passed. Historical and nautical work His historical account of the U.S. Navy was well received, though his account of the roles played by the American leaders in the Battle of Lake Erie led to years of disputes with their descendants, as noted below. Cooper had begun thinking about this massive project in 1824, and concentrated on its research in the late 1830s. His close association with the U.S. Navy and various officers, and his familiarity with naval life at sea provided him the background and connections to research and write this work. Cooper's work is said to have stood the test of time and is considered an authoritative account of the U.S. Navy during that time. In 1844, Cooper's Proceedings of the naval court martial in the case of Alexander Slidell Mackenzie, a commander in the navy of the United States, &c:, was first published in Graham's Magazine of 1843–44. It was a review of the court martial of Alexander Slidell Mackenzie who had hanged three crew members of the brig USS Somers for mutiny while at sea. One of the hanged men, 19-year-old Philip Spencer, was the son of U.S. Secretary of War John C. Spencer. He was executed without court-martial along with two other sailors aboard the Somers for allegedly attempting mutiny. Prior to this affair, Cooper and Mackenzie had disputed each other's version of the Battle of Lake Erie. However, recognizing the need for absolute discipline in a warship at sea, Cooper still felt sympathetic to Mackenzie over his pending court martial. In 1843, an old shipmate, Ned Myers, re-entered Cooper's life. To assist him—and hopefully to cash in on the popularity of maritime biographies—Cooper wrote Myers's story which he published in 1843 as Ned Myers, or a Life before the Mast, an account of a common seaman still of interest to naval historians. In 1846, Cooper published Lives of Distinguished American Naval Officers covering the biographies of William Bainbridge, Richard Somers, John Shaw, John T. Shubrick, and Edward Preble. Cooper died in 1851. In May 1853, Cooper's Old Ironsides appeared in Putnam's Monthly. It was the history of the Navy ship and, after European and American Scenery Compared, 1852, was one of several posthumous publication of his writings. In 1856, five years after Cooper's death, his History of the Navy of the United States of America was re-published in an expanded edition. The work was an account of the U.S. Navy in the early 19th century, through the Mexican War. Among naval historians of today, the work has come to be recognized as a general and authoritative account. However, it was criticized for accuracy on some points by some contemporaries, especially those engaged in the disputes over the roles of their relatives in Cooper's separate history of the Battle of Lake Erie. Whig editors of the period regularly attacked anything Cooper wrote, leading him to numerous suits for libel, for example against Park Benjamin, Sr., a poet and editor of the Evening Signal of New York. Critical reaction Cooper's writings of the 1830s related to current politics and social issues, coupled with his perceived self-promotion, increased the ill feeling between the author and some of the public. Criticism in print of his naval histories and the two Home novels came largely from newspapers supporting The Whig party, reflecting the antagonism between the Whigs and their opposition, the Democrats, whose policies Cooper often favored. Cooper's father William had been a staunch Federalist, a party now defunct but some of whose policies supporting large-scale capitalism the Whigs endorsed. Cooper himself had come to admire Thomas Jefferson, the bete-noire of the Federalists, and had supported Andrew Jackson's opposition to a National Bank. Never one to shrink from defending his personal honor and his sense of where the nation was erring, Cooper filed legal actions for libel against several Whig editors; his success with most of his lawsuits ironically led to more negative publicity from the Whig establishment. Buoyed by his frequent victories in court, Cooper returned to writing with more energy and success than he had had for several years. As noted above, on May 10, 1839, he published his History of the U.S. Navy; his return to the Leatherstocking Tales series with The Pathfinder, or The Inland Sea (1840) and The Deerslayer (1841) brought him renewed favorable reviews. But on occasion he returned to addressing public issues, most notably with a trilogy of novels called the Littlepage Manuscripts addressing the issues of the anti-rent wars. Public sentiment largely favored the anti-renters, and Cooper's reviews again were largely negative. Later life Faced with competition from younger writers and magazine serialization, and lower prices for books resulting from new technologies, Cooper simply wrote more in his last decade than in either of the previous two. Half of his thirty-two novels were written in the 1840s. They may be grouped into three categories: Indian romances, maritime fiction, and political and social controversy—though the categories often overlap. The 1840s began with the last two novels featuring Natty Bumppo, both critical and reader successes: The Pathfinder (1840) and The Deerslayer (1841). Wyandotte, his last novel set in the Revolutionary War, followed in 1843 and Oak Openings in 1848. The nautical works were Mercedes of Castile (in which Columbus appears, 1840),The Two Admirals (British and French fleets in battle, 1842), Wing-And-Wing (a French privateer fighting the British in 1799, 1842), Afloat and Ashore (two volumes exploring a young man growing up, 1844), Jack Tier (a vicious smuggler in the Mexican-American War, 1848), and The Sea Lions (rival sealers in the Antarctic, 1849). He also turned from pure fiction to the combination of art and controversy in which he achieved notoriety in the novels of the previous decade. His Littlepage Manuscripts trilogy--Satanstoe (1845), The Chainbearer (1845), and The Redskins (1846)--dramatized issues of land ownership in response to renters in the 1840s opposing the long leases common in the old Dutch settlements in the Hudson Valley. He tried his hand with serialization with The Autobiography of a Pocket Handkerchief, first published in Graham's Magazine in 1843, a satire on contemporary nouveau riche. In The Crater, or Vulcan's Peak (1847) he introduced supernatural machinery to show the decline of an ideal society in the South Seas when demagogues prevail. The Ways of the Hour, his last completed novel, portrayed a mysterious and independent young woman defending herself against criminal charges. Cooper spent the last years of his life back in Cooperstown. He died on September 14, 1851, the day before his 62nd birthday. He was buried in the Christ Episcopal Churchyard, where his father, William Cooper, was buried. Cooper's wife Susan survived her husband only by a few months and was buried by his side at Cooperstown. Several well-known writers, politicians, and other public figures honored Cooper's memory with a memorial in New York, six months after his death, in February 1852. Daniel Webster gave a speech to the gathering while Washington Irving served as a co-chairman, along with William Cullen Bryant, who also gave an address which did much to restore Cooper's damaged reputation among American writers of the time. Religious activities Cooper's father was a lapsed Quaker; probably influenced by his wife's family, the DeLanceys, Cooper in his fiction often favorably depicted clergy of the Episcopal Church, though Calvinist ministers came in for their share of both admiring and critical treatment. In the 1840s as Cooper increasingly despaired over the United States maintaining the vision and promise of the Constitution, his fiction increasingly turned to religious themes. In The Wing-And-Wing, 1842, the hero, a French revolutionary free-thinker, loses the Italian girl he loves because he cannot accept her simple Christianity. In contrast, in the 1849 The Sea Lions the hero wins his beloved only after a spiritual transformation while marooned in the Antarctic. And the 1848 The Oak Openings features a pious Parson Amen who wins the admiration of the Indians who kill him, praying for them during torture. After establishing permanent residence in Cooperstown, Cooper became active in Christ Episcopal Church, taking on the roles of warden and vestryman. As the vestryman, he donated generously to this church and later supervised and redesigned its interior with oak furnishings at his own expense. He was also energetic as a representative from Cooperstown to various regional conventions of the Episcopal church. But only several months before his death, in July 1851, was he confirmed in this church by his brother-in-law, the Reverend William H. DeLancey. Legacy Cooper was one of the more popular 19th-century American authors, and his work was admired greatly throughout the world. While on his death bed, the Austrian composer Franz Schubert wanted most to read more of Cooper's novels. Honoré de Balzac, the French novelist and playwright, admired him greatly. Henry David Thoreau, while attending Harvard, incorporated some of Cooper's style in his own work. D.H. Lawrence believed that Turgenev, Tolstoy, Dostoyevsky, Maupassant, and Flaubert were all "so very obvious and coarse, besides the lovely, mature and sensitive art of Fennimore Cooper." Lawrence called The Deerslayer "one of the most beautiful and perfect books in the world: flawless as a jewel and of gem-like concentration." Cooper's work, particularly The Pioneers and The Pilot, demonstrate an early 19th-century American preoccupation with alternating prudence and negligence in a country where property rights were often still in dispute. Cooper was one of the early major American novelists to include African, African-American and Native American characters in his works. In particular, Native Americans play central roles in his Leatherstocking Tales. However, his treatment of this group is complex and highlights the relationship between frontier settlers and American Indians as exemplified in The Wept of Wish-ton-Wish, depicting a captured white girl who marries an Indian chief and has a baby with him, but after several years is eventually returned to her parents. Often, he gives contrasting views of Native characters to emphasize their potential for good, or conversely, their proclivity for mayhem. Last of the Mohicans includes both the character of Magua, who fearing the extinction of his race at the hands of the whites savagely betrays them, as well as Chingachgook, the last chief of the Mohicans, who is portrayed as Natty Bumppo's noble, courageous, and heroic counterpart. In 1831, Cooper was elected into the National Academy of Design as an Honorary Academician. According to Tad Szulc, Cooper was a devotee of Poland's causes (uprisings to regain Polish sovereignty). He organized a club in Paris to support the rebels, and brought flags of the defeated Polish rebel regiment from Warsaw to present them to the exiled leaders in Paris. With his friend the Marquis de La Fayette, he supported liberals during the regime changes in France and elsewhere in the 1830s. . Though some scholars have hesitated to classify Cooper as a strict Romantic, Victor Hugo pronounced him greatest novelist of the century outside France. Honoré de Balzac, while mocking a few of Cooper's novels ("rhapsodies") and expressing reservations about his portrayal of characters, enthusiastically called The Pathfinder a masterpiece and professed great admiration for Cooper's portrayal of nature, only equalled in his view by Walter Scott. Mark Twain, the ultimate Realist, criticized the Romantic plots and overwrought language of The Deerslayer and The Pathfinder in his satirical but shrewdly observant essay, "Fenimore Cooper's Literary Offenses" (1895). Cooper was also criticized heavily in his day for his depiction of women characters in his work. James Russell Lowell, Cooper's contemporary and a critic, referred to it poetically in A Fable for Critics, writing, "... the women he draws from one model don't vary / All sappy as maples and flat as a prairie." Cooper's lasting reputation today rests largely upon the five Leatherstocking Tales. In his 1960 study focusing on romantic relationships, both hetero- and homo-sexual, literary scholar Leslie Fiedler opines that with the exception of the five Natty Bumppo-Chingachgook novels, Cooper's "collected works are monumental in their cumulative dullness." More recent criticism views all thirty-two novels in the context of Cooper's responding to changing political, social, and economic realities in his time period. Cooper was honored on a U.S. commemorative stamp, the Famous American series, issued in 1940. Three dining halls at the State University of New York at Oswego are named in Cooper's remembrance (Cooper Hall, The Pathfinder, and Littlepage) because of his temporary residence in Oswego and for setting some of his works there. Cooper Park in Michigan's Comstock Township is named after him. The New Jersey Turnpike has a James Fenimore Cooper service area, recognizing his birth in the state. The gilded and red tole chandelier hanging in the library of the White House in Washington DC is from the family of James Fenimore Cooper. It was brought there through the efforts of First Lady Jacqueline Kennedy in her great White House restoration. The James Fenimore Cooper Memorial Prize at New York University is awarded annually to an outstanding undergraduate student of journalism. In 2013, Cooper was inducted into the New York Writers Hall of Fame. Cooper's novels were very popular in the rest of the world, including, for instance, Russia. In particular, great interest of the Russian public in Cooper's work was primarily incited by the novel The Pathfinder, which the renowned Russian literary critic Vissarion Belinsky declared to be "a Shakespearean drama in the form of a novel". The author was more recognizable by his middle name, Fenimore, exotic to many in Russia. This name became a symbol of exciting adventures among Russian readers. For example, in the 1977 Soviet movie The Secret of Fenimore (), being the third part of a children's television mini-series Three Cheerful Shifts (, see ), tells of a mysterious stranger known as Fenimore, visiting a boys' dorm in a summer camp nightly and relating fascinating stories about Indians and extraterrestrials. Works Notes References Bibliography ; James Fenimore Cooper: The Later Years, Yale University Press, 2017. p. 805 . Primary sources Url1 Url Url ——— (1852). The Chainbearer, Or The Littlepage Manuscripts, Stringer and Townsend, 228 pages; eBook Further reading Clavel, Marcel (1938). Fenimore Cooper and his critics: American, British and French criticisms of the novelist's early work, Imprimerie universitaire de Provence, E. Fourcine, 418 pages; Book Darnell, Donald. (1993). James Fenimore Cooper: Novelist of Manners, Newark, Univ. of Delaware Dekker, George (2017). James Fenimore Cooper the Novelist, Routledge, 2017, ISBN 9781351580014 Doolen, Andy (2005). Fugitive Empire: Locating Early American Imperialism, Minneapolis: Univ. of Minnesota P. Franklin, Wayne (1982). The New World of James Fenimore Cooper, Chicago: Univ. of Chicago P, Book –—— (2007). James Fenimore Cooper: The Early Years, New Haven: Yale UP, Book Krauthammer, Anna. The Representation of the Savage in James Fenimore Cooper and Herman Melville. NY: Peter Lang, 2008. Long, Robert Emmet (1990). James Fenimore Cooper, NY: Continuum. , MacDougall, Hugh C. (1993). Where Was James? A James Fenimore Cooper Chronology from 1789–1851. Cooperstown: James Fenimore Cooper Soc. Rans, Geoffrey (1991). Cooper's Leather-Stocking Novels: A Secular Reading. Chapel Hill: Univ. of North Carolina Redekop, Ernest H., ed. (1989). James Fenimore Cooper, 1789–1989: Bicentennial Essays, Canadian Review of American Studies, entire special issue, vol. 20, no. 3 (Winter 1989), pp. 1–164. Reid, Margaret (2004). Cultural Secrets as Narrative Form: Storytelling in Nineteenth-Century America. Columbus: Ohio State UP Ringe, Donald A. (1988). James Fenimore Cooper. Boston: Twayne. Romero, Lora (1997). Home Fronts: Domesticity and Its Critics in the Antebellum United States. Durham: Duke UP Smith, Lindsey C. (2008). Indians, Environment, and Identity on the Borders of American Literature: From Faulkner and Morrison to Walker and Silko. NY: Palgrave Macmillan. Verhoeven, W.M. (1993). James Fenimore Cooper: New Historical and Literary Contexts. Rodopi publishers. . Book Google. External links James Fenimore Cooper at Open Library James Fenimore Cooper Society Homepage Finding Aid for the James Fenimore Cooper Collection of Papers, 1825–1904, New York Public Library James Fenimore Cooper Letters and Manuscript Fragments. Available online though Lehigh University's I Remain: A Digital Archive of Letters, Manuscripts, and Ephemera "Writings of James Fenimore Cooper" from C-SPAN's American Writers: A Journey Through History "Fenimore Cooper's Literary Offenses", an essay by Mark Twain James Fenimore Cooper Collection. Yale Collection of American Literature, Beinecke Rare Book and Manuscript Library. 1789 births 1851 deaths 19th-century American novelists American expatriates in France American historical novelists American male novelists American naval historians American people of English descent Christian writers Deaths from edema Hall of Fame for Great Americans inductees People from Burlington, New Jersey People from Cooperstown, New York People from Scarsdale, New York Romanticism United States Navy officers Writers of historical fiction set in the modern age Knickerbocker Group Novelists from New Jersey American male non-fiction writers Historians from New York (state) Historians from New Jersey	false	[ "Robotic pets are artificially intelligent machines that are made to resemble actual pets. While the first robotic pets produced in the late 1990s were not too advanced, they have since grown technologically. Many now use machine learning (algorithms that allow machines to adapt to experiences independent of humans), making them much more realistic. Most consumers buy robotic pets with the aim of getting similar companionship that real pets offer, without some of the drawbacks that come with caring for live animals. The pets on the market currently have a wide price range, from the low hundreds into the several thousands of dollars. Multiple studies have been done to show that we treat robotic pets in a similar way as actual pets, despite their obvious differences. However, there is some controversy regarding how ethical using robotic pets is, and whether or not they should be widely adopted in elderly care.\n\nHistory \nThe first robotic pets to be put on the market were Hasbro’s Furby in 1998 and Sony’s AIBO in 1999. Since then, robotic pets have grown increasingly advanced.\n\nSome popular robotic pets today are:\n\n Joy for All (by Hasbro) Companion Pets\n Zoomer Interactive Kittens and Puppies\n PARO Robot Seals by Intelligent Systems Co.\n AIBO (upgraded) by Sony\n\nCommon Uses \nThe primary consumer group is elderly people that live alone or in nursing homes, who often suffer from loneliness and social isolation. For this group, robotic pets can be helpful because they often are unable to consistently walk, feed, or otherwise take care of an actual pet. Robotic pets are also marketed towards dementia patients, who are people that suffer from loss of memory and thinking skills. These people often suffer extreme loneliness due to not remembering their loved ones, but having physical contact and constant reminders of a robotic pet can lessen that feeling. For example, a study done in Texas and Kansas found that dementia residents who had group sessions with a PARO (brand of robotic pet) for three months showed decreased anxiety and less behavioral problems, when compared to a control group that experienced activities in a traditional nursing home, such as music and physical activity.\n\nAffordability \nWhen robotic pets were first introduced into the market, they were not very financially feasible for most people. Even now, there remains a large price gap between different types of robotic pets. For example, PAROs robotic pet seals cost $6,120, making them unaffordable to most individual consumers. They are therefore bought more by nursing homes, hospitals, or other institutions. On the other end of the price spectrum are Joy For All’s Companion Pets. These only cost about $120, which makes it more realistic for individual consumers, such as elderly adults who live alone.\n\nCurrently, there is very little insurance coverage available for robotic pet owners. Medicare only covers the costs of certain robotic pets (PARO) for use by therapists, not by any individuals. However, Medicaid and some private insurers are exploring the idea of including robotic pets in their healthcare. If this were to happen, it would significantly boost the sales of the pets.\n\nEffectiveness \nSince the effectiveness of a robotic pet depends heavily on how much consumers see it as a real animal, multiple studies have been done comparing robotic pets to other things, such as live animals and inanimate objects (toys). The studies often focus on whether the robot / animal / toy is seen to have the following characteristics:\n\nRobotic Pet vs Stuffed Animal \nOne study in 2004 compared how children interacted with Sony’s AIBO versus with a stuffed dog. The researchers did this by letting the children play with either the stuffed toy or the AIBO for three minutes, and then asking the children a series of questions to determine how they viewed each one. The study found that, when the children were asked questions about the characteristics of either AIBO or the stuffed animal, they responded in similar ways. This held true when they were asked questions concerning biological essence, mental states, sociability, and moral standing. However, there were differences in how the children behaved with AIBO versus the stuffed animal. For example, in the questionnaire the children responded that both the AIBO and the stuffed dog could hear verbal commands. But when the researchers observed how the children interacted with the AIBO or stuffed dog, they found that more children gave verbal commands to the AIBO.\n\nRobotic Pet vs Live Animal \nAnother study in 2005 compared children's interactions with the AIBO and with a live dog. The researchers did this by letting the children play freely with either the AIBO or the real dog for five minutes, and then asking the children a series of questions to determine how they viewed each one. The study found that more children preferred to play with the live dog over the AIBO, and more children affirmed that the live dog had a physical essence, a mental state, sociability, and moral standing. However, the researchers found that the AIBO was given some dog-like attributes, even if not treated entirely like the dog. For example, many of the children thought the AIBO could have feelings, such as happiness or sadness. Some also thought that the AIBO could be their friend, and that it wasn't okay to kick the AIBO if it did something bad.\n\nBoth these studies concluded that robotic pets such as AIBO often aren't categorized as either alive or inanimate, but rather in a new category in between the other two. For example, children in the first study treated the AIBO differently than they treated the stuffed toy, even though they stated that the two were very similar. In contrast, the children in the second study stated that the live dog was different from the AIBO, but ended up treating the two similarly. These findings show that we consciously identify robotic pets as inanimate objects, but we behave as if they are closer to real pets than they are to toys.\n\nControversy \nWhile robotic pets have proven to be beneficial to many consumers, especially those who are elderly, there remains some controversy about certain ethical issues. One study from 2016 attempted to discuss two main ethical considerations: elderly consumers may not be able to recognize that the robots aren't actual pets, and that the robot pets will come to replace human interaction. Those who participated in the study came to the conclusion that for most consumers, neither issue is major concern. They found that most robotic pet owners understood that the robot pet was animated, even if they formed a pet-like relationship with it. Additionally, the study participants argued that the robotic pets would more likely be used in a way that facilitated more social interactions in a group setting, such as at a dog park. However, these issues continue to cause debate because there is a minority of consumers, including many dementia patients, who may fail to recognize that the robot is animated.\n\nReferences \n\n \nPets", "Cognitively Guided Instruction is \"a professional development program based on an integrated program of research on (a) the development of students' mathematical thinking; (b) instruction that influences that development; (c) teachers' knowledge and beliefs that influence their instructional practice; and (d) the way that teachers' knowledge, beliefs, and practices are influenced by their understanding of students' mathematical thinking\". CGI is an approach to teaching mathematics rather than a curriculum program. At the core of this approach is the practice of listening to children's mathematical thinking and using it as a basis for instruction. Research based frameworks of children's thinking in the domains of addition and subtraction, multiplication and division, base-ten concepts, multidigit operations, algebra, geometry and fractions provide guidance to teachers about listening to their students. Case studies of teachers using CGI have shown the most accomplished teachers use a variety of practices to extend children's mathematical thinking. It's a tenet of CGI that there is no one way to implement the approach and that teachers' professional judgment is central to making decisions about how to use information about children's thinking. \n\nThe research base on children' mathematical thinking upon which CGI is based shows that children are able to solve problems without direct instruction by drawing upon informal knowledge of everyday situations. For example, a study of kindergarten children showed that young children can solve problems involving what are normally considered advanced mathematics such as multiplication, division, and multistep problems, by using direct modeling. Direct modeling is an approach to problem solving in which the child, in the absence of more sophisticated knowledge of mathematics, constructs a solution to a story problem by modeling the action or structure. For example, about half of the children in a study of kindergartners' problem solving were able to solve this multistep problem, which they had never seen before, using direct modeling: 19 children are taking a mini-bus to the zoo. They will have to sit either 2 or 3 to a seat. The bus has 7 seats. How many children will have to sit three to a seat, and how many can sit two to a seat?\n\nExample: Fred had six marbles at school. On the way home from school his friend Joey gave him some more marbles. Now Fred has eleven marbles. How many marbles did Joey give to Fred?\n\nStudents may solve this problem by counting down from eleven or by counting up from six. With the use of manipulatives students would be able to represent their thoughts for this problem multiple ways. For instance, they might make a row of six counting blocks next to a row of eleven counting blocks and then compare the difference.\n\nThe CGI philosophy is detailed in Children's Mathematics which is co-authored by Thomas Carpenter, Elizabeth Fennema, Megan Loef Franke, Linda Levi, and Susan Empson.\n\nReferences\n\nNotes\nCarpenter, T. P., Ansell, E., Franke, M. L., Fennema, E. & Weisbeck, L. (1993). Models of problem solving: A study of kindergarten children's problem-solving processes. Journal for Research in Mathematics Education, 24(5), 427–440.\nCarpenter, T., Fennema, E., Franke, M., L. Levi, and S. Empson. Children's Mathematics, Second Edition: Cognitively Guided Instruction. Portsmouth, NH: Heinemann, 2014.\nCarpenter, T. P., Fennema, E., Franke, M., Levi, L. & Empson, S. B. (2000). Cognitively Guided Instruction: A Research-Based Teacher Professional Development Program for Mathematics. Research Report 03. Madison, WI: Wisconsin Center for Education Research.\nReport on CGI effectivenss\n\nElementary mathematics\nMathematics education" ]
[ "James Fenimore Cooper", "Early life and family", "Where was he born", "James Fenimore Cooper was born in Burlington, New Jersey", "What year and to whom was he born", "1789 to William Cooper and Elizabeth (Fenimore) Cooper,", "How many children did they have", "eleventh of 12 children, most of whom died during infancy or childhood." ]	C_c07ca1fd770642a28fa1c803c51c17b0_1	Who was he related to	4	Who was James Fenimore Cooper related to?	James Fenimore Cooper	James Fenimore Cooper was born in Burlington, New Jersey in 1789 to William Cooper and Elizabeth (Fenimore) Cooper, the eleventh of 12 children, most of whom died during infancy or childhood. He was descended from James Cooper of Stratford-upon-Avon, Warwickshire, England, who immigrated to the American colonies in 1679. Shortly after James' first birthday, his family moved to Cooperstown, New York, a community founded by his father on a large piece of land which he had bought for development. Later, his father was elected to the United States Congress as a representative from Otsego County. Their town was in a central area of New York that had previously been occupied by the Iroquois, who had allied themselves with the British during the Revolutionary War and were forced to cede the territory after British defeat. The State of New York opened the land for sale and development after the war, and Cooper's father purchased several thousand acres in upstate along the headwaters of the Susquehanna River. By 1788, William Cooper had selected and surveyed the site where Cooperstown would be established. He erected a home on the shore of Otsego lake and moved his family there in the autumn of 1790. He soon began construction of the mansion that became known as Otsego Hall, completed in 1799 when James was ten. Cooper was enrolled at Yale University at age 13, but he incited a dangerous prank which involved blowing up another student's door -- after having already locked a donkey in a recitation room. He was expelled in his third year without completing his degree, so he obtained work in 1806 as a sailor and joined the crew of a merchant vessel at age 17. By 1811, he obtained the rank of midshipman in the fledgling United States Navy, conferred upon him on an officer's warrant signed by Thomas Jefferson. At 20, Cooper inherited a fortune from his father. He married Susan Augusta de Lancey at Mamaroneck, Westchester County, New York on January 1, 1811 at age 21. She was from a wealthy family who remained loyal to Great Britain during the Revolution. The Coopers had seven children, five of whom lived to adulthood. Their daughter Susan Fenimore Cooper was a writer on nature, female suffrage, and other topics. She and her father often edited each other's work. Among his descendants was Paul Fenimore Cooper (1899-1970), who also became a writer. CANNOTANSWER	He was descended from James Cooper of Stratford-upon-Avon, Warwickshire, England, who immigrated to the American colonies in 1679.	James Fenimore Cooper (September 15, 1789 – September 14, 1851) was an American writer of the first half of the 19th century. His historical romances depicting colonist and Indigenous characters from the 17th to the 19th centuries created a unique form of American literature. He lived much of his boyhood and the last fifteen years of life in Cooperstown, New York, which was founded by his father William Cooper on property that he owned. Cooper became a member of the Episcopal Church shortly before his death and contributed generously to it. He attended Yale University for three years, where he was a member of the Linonian Society. After a stint on a commercial voyage, Cooper served in the U.S. Navy as a midshipman, where he learned the technology of managing sailing vessels which greatly influenced many of his novels and other writings. The novel that launched his career was The Spy, a tale about espionage set during the American Revolutionary War and published in 1821. He also created American sea stories. His best-known works are five historical novels of the frontier period, written between 1823 and 1841, known as the Leatherstocking Tales, which introduced the iconic American frontier scout, Natty Bumppo. Cooper's works on the U.S. Navy have been well received among naval historians, but they were sometimes criticized by his contemporaries. Among his more famous works is the romantic novel The Last of the Mohicans, often regarded as his masterpiece. Throughout his career, he published numerous social, political, and historical works of fiction and non-fiction with the objective of countering European prejudices and nurturing an original American art and culture. Early life and family James Fenimore Cooper was born in Burlington, New Jersey, in 1789 to William Cooper and Elizabeth (Fenimore) Cooper, the eleventh of 12 children, half of whom died during infancy or childhood. Shortly after James' first birthday, his family moved to Cooperstown, New York, a community founded by his father on a large piece of land which he had bought for development. Later, his father was elected to the United States Congress as a representative from Otsego County. Their town was in a central area of New York along the headwaters of the Susquehanna River that had previously been patented to Colonel George Croghan by the Province of New York in 1769. Croghan mortgaged the land before the Revolution and after the war part of the tract was sold at public auction to William Cooper and his business partner Andrew Craig. By 1788, William Cooper had selected and surveyed the site where Cooperstown would be established. He erected a home on the shore of Otsego Lake and moved his family there in the autumn of 1790. Several years later he began construction of the mansion that became known as Otsego Hall, completed in 1799 when James was ten. Cooper was enrolled at Yale University at age 13, but he incited a dangerous prank which involved blowing up another student's door—after having already locked a donkey in a recitation room. He was expelled in his third year without completing his degree, so he obtained work in 1806 as a sailor and joined the crew of a merchant vessel at age 17. By 1811, he obtained the rank of midshipman in the fledgling United States Navy, conferred upon him by an officer's warrant signed by Thomas Jefferson. William Cooper died when James was 20; all five of his sons inherited a supposed-large fortune in money, securities, and land titles, which soon proved to be a wealth of endless litigation. He married Susan Augusta de Lancey at Mamaroneck, Westchester County, New York on January 1, 1811, at age 21. She was from a wealthy family who remained loyal to Great Britain during the Revolution. The Coopers had seven children, five of whom lived to adulthood. Their daughter Susan Fenimore Cooper was a writer on nature, female suffrage, and other topics. Her father edited her works and secured publishers for them. One son, Paul Fenimore Cooper, became a lawyer and perpetuated the author's lineage to the present. Service in the Navy In 1806 at the age of 17, Cooper joined the crew of the merchant ship Sterling as a common sailor. At the time, the Sterling was commanded by young John Johnston from Maine. Cooper served as a common seaman before the mast. His first voyage took some 40 stormy days at sea and brought him to an English market in Cowes where they sought information on where best to unload their cargo of flour. There Cooper saw his first glimpses of England. Britain was in the midst of war with Napoleon's France at the time, so their ship was immediately approached by a British man-of-war and was boarded by some of its crew. They seized one of the Sterling's best crew members and impressed him into the British Royal Navy. Cooper thus first encountered the power of his country's former colonial master, which led to a lifelong commitment to helping create an American art independent culturally as well as politically from the former mother country. Their next voyage took them to the Mediterranean along the coast of Spain, including Águilas and Cabo de Gata, where they picked up cargo to be taken to London and unloaded. Their stay in Spain lasted several weeks and impressed the young sailor, the accounts of which Cooper later referred to in his Mercedes of Castile, a novel about Columbus. After serving aboard the Sterling for 11 months, he joined the United States Navy on January 1, 1808, when he received his commission as a midshipman. Cooper had conducted himself well as a sailor, and his father, a former U.S. Congressman, easily secured a commission for him through his long-standing connections with politicians and naval officials. The warrant for Cooper's commission as midshipman was signed by President Jefferson and mailed by Naval Secretary Robert Smith, reaching Cooper on February 19. On February 24, he received orders to report to the naval commander at New York City. Joining the United States Navy fulfilled an aspiration he had had since his youth. Cooper's first naval assignment came on March 21, 1808, aboard the , an 82-foot bomb ketch that carried twelve guns and a thirteen-inch mortar. For his next assignment, he served under Lieutenant Melancthon Taylor Woolsey near Oswego on Lake Ontario, overseeing the building of the brig for service on the lake. The vessel was intended for use in a war with Great Britain which had yet to begin. The vessel was completed, armed with sixteen guns, and launched in Lake Ontario in the spring of 1809. It was in this service that Cooper learned shipbuilding, shipyard duties and frontier life. During his leisure time, Cooper would venture through the forests of New York state and explore the shores of Lake Ontario. He occasionally ventured into the Thousand Islands. His experiences in the Oswego area later inspired some of his work, including his novel The Pathfinder. After completion of the Oneida in 1809, Cooper accompanied Woolsey to Niagara Falls, who then was ordered to Lake Champlain to serve aboard a gunboat until the winter months when the lake froze over. Cooper himself returned from Oswego to Cooperstown and then New York. On November 13 of the same year, he was assigned to the under the command of Captain James Lawrence, who was from Burlington and became a personal friend of Cooper's. Aboard this ship, he met his lifelong friend William Branford Shubrick, who was also a midshipman at the time. Cooper later dedicated The Pilot, The Red Rover, and other writings to Shubrick. Assigned to humdrum recruiting tasks rather than exciting voyages, Cooper resigned his commission from the navy in spring 1810; in the same time period he met, wooed, and became engaged to Susan Augusta de Lancey, whom be married on January 1, 1811. Writings First endeavors In 1820, when reading a contemporary novel to his wife Susan, he decided to try his hand at fiction, resulting in a neophyte novel set in England he called Precaution (1820). Its focus on morals and manners was influenced by Jane Austen's approach to fiction. He anonymously published Precaution which received modestly favorable notice in the United States and England. By contrast, his second novel The Spy (1821) was inspired by an American tale related to him by neighbor and family friend John Jay. It became the first novel written by an American to become a bestseller at home and abroad, requiring several re-printings to satisfy demand. Set in the "Neutral Ground" between British and American forces and their guerrilla allies in Westchester County, New York, the action centers around spying and skirmishing taking place in and around what is widely believed to be John Jay's family home "The Locusts" in Rye, New York of which a portion still exists today as the historic Jay Estate. Following on a swell of popularity, Cooper published The Pioneers, the first of the Leatherstocking series in 1823. The series features the inter-racial friendship of Natty Bumppo, a resourceful American woodsman who is at home with the Delaware Indians and their chief Chingachgook. Bumppo was also the main character of Cooper's most famous novel The Last of the Mohicans (1826), written in New York City where Cooper and his family lived from 1822 to 1826. The book became one of the more widely read American novels of the 19th century. At this time, Cooper had been living in New York on Beach Street in what is now downtown's Tribeca. In 1823, he became a member of the American Philosophical Society in Philadelphia. In August of that same year, his first son died. He organized the influential Bread and Cheese Club that brought together American writers, editors, artists, scholars, educators, art patrons, merchants, lawyers, politicians, and others. In 1824, General Lafayette arrived from France aboard the Cadmus at Castle Garden in New York City as the nation's guest. Cooper witnessed his arrival and was one of the active committee of welcome and entertainment. Europe In 1826, Cooper moved his family to Europe, where he sought to gain more income from his books, provide better education for his children, improve his health, and observe European manners and politics firsthand. While overseas, he continued to write. His books published in Paris include The Prairie, the third Leather-Stocking Tale in which Natty Bumppo dies in the western land newly acquired by Jefferson as the Louisiana Purchase. There he also published The Red Rover and The Water Witch, two of his many sea stories. During his time in Paris, the Cooper family became active in the small American expatriate community. He became friends with painter (and later inventor) Samuel Morse and with French general and American Revolutionary War hero Gilbert du Motier, Marquis de Lafayette. Cooper admired the patrician liberalism of Lafayette, who sought to recruit him to his causes, and eulogized him as a man who "dedicated youth, person, and fortune, to the principles of liberty." Cooper's distaste for the corruption of the European aristocracy, especially in England and France, grew as he observed them manipulate the legislature and judiciary to the exclusion of other classes. In 1832, he entered the lists as a political writer in a series of letters to Le National, a Parisian journal. He defended the United States against a string of charges brought by the Revue Britannique. For the rest of his life, he continued skirmishing in print, sometimes for the national interest, sometimes for that of the individual, and frequently for both at once. This opportunity to make a political confession of faith reflected the political turn that he already had taken in his fiction, having attacked European anti-republicanism in The Bravo (1831). Cooper continued this political course in The Heidenmauer (1832) and The Headsman: or the Abbaye of Vigneron (1833). The Bravo depicted Venice as a place where a ruthless oligarchy lurks behind the mask of the "serene republic". All were widely read on both sides of the Atlantic, though some Americans accused Cooper of apparently abandoning American life for European—not realizing that the political subterfuges in the European novels were cautions directed at his American audiences. Thus The Bravo was roughly treated by some critics in the United States. Back to America In 1833, Cooper returned to the United States and published A Letter to My Countrymen in which he gave his criticism of various social and political mores. Promotional material from a modern publisher summarize his goals as follows: A Letter To My Countrymen remains Cooper's most trenchant work of social criticism. In it, he defines the role of the "man of letters" in a republic, the true conservative, the slavery of party affiliations, and the nature of the legislative branch of government. He also offers her most persuasive argument on why America should develop its own art and literary culture, ignoring the aristocratically tainted art of Europe. Influenced by the ideals of classical republicanism, Cooper feared that the orgy of speculation he witnessed was destructive of civic virtue and warned Americans that it was a "mistake to suppose commerce favorable to liberty"; doing so would lead to a new "moneyed aristocracy." Drawing upon philosophers such as Jean-Jacques Rousseau, Burlamaqui, and Montesquieu, Cooper's political ideas were both democratic, deriving from the consent of the governed, and liberal, concerned with the rights of the individual. In the later 1830s—despite his repudiation of authorship in A Letter To My Countrymen—he published Gleanings in Europe, five volumes of social and political analysis of his observations and experiences in Europe. His two novels Homeward Bound and Home as Found also criticize the flamboyant financial speculation and toadyism he found on his return; some readers and critics attacked the works for presenting a highly idealized self-portrait, which he vigorously denied. In June 1834, Cooper decided to reopen his ancestral mansion Otsego Hall at Cooperstown. It had long been closed and falling into decay; he had been absent from the mansion nearly 16 years. Repairs were begun, and the house was put in order. At first, he wintered in New York City and summered in Cooperstown, but eventually he made Otsego Hall his permanent home. On May 10, 1839, Cooper published History of the Navy of the United States of America, a work that he had long planned on writing. He publicly announced his intentions to author such a historical work while abroad before departing for Europe in May 1826, during a parting speech at a dinner given in his honor: Encouraged by your kindness, ... I will take this opportunity of recording the deeds and sufferings of a class of men to which this nation owes a debt of gratitude—a class of men among whom, I am always ready to declare, not only the earliest, but many of the happiest days of my youth have been passed. Historical and nautical work His historical account of the U.S. Navy was well received, though his account of the roles played by the American leaders in the Battle of Lake Erie led to years of disputes with their descendants, as noted below. Cooper had begun thinking about this massive project in 1824, and concentrated on its research in the late 1830s. His close association with the U.S. Navy and various officers, and his familiarity with naval life at sea provided him the background and connections to research and write this work. Cooper's work is said to have stood the test of time and is considered an authoritative account of the U.S. Navy during that time. In 1844, Cooper's Proceedings of the naval court martial in the case of Alexander Slidell Mackenzie, a commander in the navy of the United States, &c:, was first published in Graham's Magazine of 1843–44. It was a review of the court martial of Alexander Slidell Mackenzie who had hanged three crew members of the brig USS Somers for mutiny while at sea. One of the hanged men, 19-year-old Philip Spencer, was the son of U.S. Secretary of War John C. Spencer. He was executed without court-martial along with two other sailors aboard the Somers for allegedly attempting mutiny. Prior to this affair, Cooper and Mackenzie had disputed each other's version of the Battle of Lake Erie. However, recognizing the need for absolute discipline in a warship at sea, Cooper still felt sympathetic to Mackenzie over his pending court martial. In 1843, an old shipmate, Ned Myers, re-entered Cooper's life. To assist him—and hopefully to cash in on the popularity of maritime biographies—Cooper wrote Myers's story which he published in 1843 as Ned Myers, or a Life before the Mast, an account of a common seaman still of interest to naval historians. In 1846, Cooper published Lives of Distinguished American Naval Officers covering the biographies of William Bainbridge, Richard Somers, John Shaw, John T. Shubrick, and Edward Preble. Cooper died in 1851. In May 1853, Cooper's Old Ironsides appeared in Putnam's Monthly. It was the history of the Navy ship and, after European and American Scenery Compared, 1852, was one of several posthumous publication of his writings. In 1856, five years after Cooper's death, his History of the Navy of the United States of America was re-published in an expanded edition. The work was an account of the U.S. Navy in the early 19th century, through the Mexican War. Among naval historians of today, the work has come to be recognized as a general and authoritative account. However, it was criticized for accuracy on some points by some contemporaries, especially those engaged in the disputes over the roles of their relatives in Cooper's separate history of the Battle of Lake Erie. Whig editors of the period regularly attacked anything Cooper wrote, leading him to numerous suits for libel, for example against Park Benjamin, Sr., a poet and editor of the Evening Signal of New York. Critical reaction Cooper's writings of the 1830s related to current politics and social issues, coupled with his perceived self-promotion, increased the ill feeling between the author and some of the public. Criticism in print of his naval histories and the two Home novels came largely from newspapers supporting The Whig party, reflecting the antagonism between the Whigs and their opposition, the Democrats, whose policies Cooper often favored. Cooper's father William had been a staunch Federalist, a party now defunct but some of whose policies supporting large-scale capitalism the Whigs endorsed. Cooper himself had come to admire Thomas Jefferson, the bete-noire of the Federalists, and had supported Andrew Jackson's opposition to a National Bank. Never one to shrink from defending his personal honor and his sense of where the nation was erring, Cooper filed legal actions for libel against several Whig editors; his success with most of his lawsuits ironically led to more negative publicity from the Whig establishment. Buoyed by his frequent victories in court, Cooper returned to writing with more energy and success than he had had for several years. As noted above, on May 10, 1839, he published his History of the U.S. Navy; his return to the Leatherstocking Tales series with The Pathfinder, or The Inland Sea (1840) and The Deerslayer (1841) brought him renewed favorable reviews. But on occasion he returned to addressing public issues, most notably with a trilogy of novels called the Littlepage Manuscripts addressing the issues of the anti-rent wars. Public sentiment largely favored the anti-renters, and Cooper's reviews again were largely negative. Later life Faced with competition from younger writers and magazine serialization, and lower prices for books resulting from new technologies, Cooper simply wrote more in his last decade than in either of the previous two. Half of his thirty-two novels were written in the 1840s. They may be grouped into three categories: Indian romances, maritime fiction, and political and social controversy—though the categories often overlap. The 1840s began with the last two novels featuring Natty Bumppo, both critical and reader successes: The Pathfinder (1840) and The Deerslayer (1841). Wyandotte, his last novel set in the Revolutionary War, followed in 1843 and Oak Openings in 1848. The nautical works were Mercedes of Castile (in which Columbus appears, 1840),The Two Admirals (British and French fleets in battle, 1842), Wing-And-Wing (a French privateer fighting the British in 1799, 1842), Afloat and Ashore (two volumes exploring a young man growing up, 1844), Jack Tier (a vicious smuggler in the Mexican-American War, 1848), and The Sea Lions (rival sealers in the Antarctic, 1849). He also turned from pure fiction to the combination of art and controversy in which he achieved notoriety in the novels of the previous decade. His Littlepage Manuscripts trilogy--Satanstoe (1845), The Chainbearer (1845), and The Redskins (1846)--dramatized issues of land ownership in response to renters in the 1840s opposing the long leases common in the old Dutch settlements in the Hudson Valley. He tried his hand with serialization with The Autobiography of a Pocket Handkerchief, first published in Graham's Magazine in 1843, a satire on contemporary nouveau riche. In The Crater, or Vulcan's Peak (1847) he introduced supernatural machinery to show the decline of an ideal society in the South Seas when demagogues prevail. The Ways of the Hour, his last completed novel, portrayed a mysterious and independent young woman defending herself against criminal charges. Cooper spent the last years of his life back in Cooperstown. He died on September 14, 1851, the day before his 62nd birthday. He was buried in the Christ Episcopal Churchyard, where his father, William Cooper, was buried. Cooper's wife Susan survived her husband only by a few months and was buried by his side at Cooperstown. Several well-known writers, politicians, and other public figures honored Cooper's memory with a memorial in New York, six months after his death, in February 1852. Daniel Webster gave a speech to the gathering while Washington Irving served as a co-chairman, along with William Cullen Bryant, who also gave an address which did much to restore Cooper's damaged reputation among American writers of the time. Religious activities Cooper's father was a lapsed Quaker; probably influenced by his wife's family, the DeLanceys, Cooper in his fiction often favorably depicted clergy of the Episcopal Church, though Calvinist ministers came in for their share of both admiring and critical treatment. In the 1840s as Cooper increasingly despaired over the United States maintaining the vision and promise of the Constitution, his fiction increasingly turned to religious themes. In The Wing-And-Wing, 1842, the hero, a French revolutionary free-thinker, loses the Italian girl he loves because he cannot accept her simple Christianity. In contrast, in the 1849 The Sea Lions the hero wins his beloved only after a spiritual transformation while marooned in the Antarctic. And the 1848 The Oak Openings features a pious Parson Amen who wins the admiration of the Indians who kill him, praying for them during torture. After establishing permanent residence in Cooperstown, Cooper became active in Christ Episcopal Church, taking on the roles of warden and vestryman. As the vestryman, he donated generously to this church and later supervised and redesigned its interior with oak furnishings at his own expense. He was also energetic as a representative from Cooperstown to various regional conventions of the Episcopal church. But only several months before his death, in July 1851, was he confirmed in this church by his brother-in-law, the Reverend William H. DeLancey. Legacy Cooper was one of the more popular 19th-century American authors, and his work was admired greatly throughout the world. While on his death bed, the Austrian composer Franz Schubert wanted most to read more of Cooper's novels. Honoré de Balzac, the French novelist and playwright, admired him greatly. Henry David Thoreau, while attending Harvard, incorporated some of Cooper's style in his own work. D.H. Lawrence believed that Turgenev, Tolstoy, Dostoyevsky, Maupassant, and Flaubert were all "so very obvious and coarse, besides the lovely, mature and sensitive art of Fennimore Cooper." Lawrence called The Deerslayer "one of the most beautiful and perfect books in the world: flawless as a jewel and of gem-like concentration." Cooper's work, particularly The Pioneers and The Pilot, demonstrate an early 19th-century American preoccupation with alternating prudence and negligence in a country where property rights were often still in dispute. Cooper was one of the early major American novelists to include African, African-American and Native American characters in his works. In particular, Native Americans play central roles in his Leatherstocking Tales. However, his treatment of this group is complex and highlights the relationship between frontier settlers and American Indians as exemplified in The Wept of Wish-ton-Wish, depicting a captured white girl who marries an Indian chief and has a baby with him, but after several years is eventually returned to her parents. Often, he gives contrasting views of Native characters to emphasize their potential for good, or conversely, their proclivity for mayhem. Last of the Mohicans includes both the character of Magua, who fearing the extinction of his race at the hands of the whites savagely betrays them, as well as Chingachgook, the last chief of the Mohicans, who is portrayed as Natty Bumppo's noble, courageous, and heroic counterpart. In 1831, Cooper was elected into the National Academy of Design as an Honorary Academician. According to Tad Szulc, Cooper was a devotee of Poland's causes (uprisings to regain Polish sovereignty). He organized a club in Paris to support the rebels, and brought flags of the defeated Polish rebel regiment from Warsaw to present them to the exiled leaders in Paris. With his friend the Marquis de La Fayette, he supported liberals during the regime changes in France and elsewhere in the 1830s. . Though some scholars have hesitated to classify Cooper as a strict Romantic, Victor Hugo pronounced him greatest novelist of the century outside France. Honoré de Balzac, while mocking a few of Cooper's novels ("rhapsodies") and expressing reservations about his portrayal of characters, enthusiastically called The Pathfinder a masterpiece and professed great admiration for Cooper's portrayal of nature, only equalled in his view by Walter Scott. Mark Twain, the ultimate Realist, criticized the Romantic plots and overwrought language of The Deerslayer and The Pathfinder in his satirical but shrewdly observant essay, "Fenimore Cooper's Literary Offenses" (1895). Cooper was also criticized heavily in his day for his depiction of women characters in his work. James Russell Lowell, Cooper's contemporary and a critic, referred to it poetically in A Fable for Critics, writing, "... the women he draws from one model don't vary / All sappy as maples and flat as a prairie." Cooper's lasting reputation today rests largely upon the five Leatherstocking Tales. In his 1960 study focusing on romantic relationships, both hetero- and homo-sexual, literary scholar Leslie Fiedler opines that with the exception of the five Natty Bumppo-Chingachgook novels, Cooper's "collected works are monumental in their cumulative dullness." More recent criticism views all thirty-two novels in the context of Cooper's responding to changing political, social, and economic realities in his time period. Cooper was honored on a U.S. commemorative stamp, the Famous American series, issued in 1940. Three dining halls at the State University of New York at Oswego are named in Cooper's remembrance (Cooper Hall, The Pathfinder, and Littlepage) because of his temporary residence in Oswego and for setting some of his works there. Cooper Park in Michigan's Comstock Township is named after him. The New Jersey Turnpike has a James Fenimore Cooper service area, recognizing his birth in the state. The gilded and red tole chandelier hanging in the library of the White House in Washington DC is from the family of James Fenimore Cooper. It was brought there through the efforts of First Lady Jacqueline Kennedy in her great White House restoration. The James Fenimore Cooper Memorial Prize at New York University is awarded annually to an outstanding undergraduate student of journalism. In 2013, Cooper was inducted into the New York Writers Hall of Fame. Cooper's novels were very popular in the rest of the world, including, for instance, Russia. In particular, great interest of the Russian public in Cooper's work was primarily incited by the novel The Pathfinder, which the renowned Russian literary critic Vissarion Belinsky declared to be "a Shakespearean drama in the form of a novel". The author was more recognizable by his middle name, Fenimore, exotic to many in Russia. This name became a symbol of exciting adventures among Russian readers. For example, in the 1977 Soviet movie The Secret of Fenimore (), being the third part of a children's television mini-series Three Cheerful Shifts (, see ), tells of a mysterious stranger known as Fenimore, visiting a boys' dorm in a summer camp nightly and relating fascinating stories about Indians and extraterrestrials. Works Notes References Bibliography ; James Fenimore Cooper: The Later Years, Yale University Press, 2017. p. 805 . Primary sources Url1 Url Url ——— (1852). The Chainbearer, Or The Littlepage Manuscripts, Stringer and Townsend, 228 pages; eBook Further reading Clavel, Marcel (1938). Fenimore Cooper and his critics: American, British and French criticisms of the novelist's early work, Imprimerie universitaire de Provence, E. Fourcine, 418 pages; Book Darnell, Donald. (1993). James Fenimore Cooper: Novelist of Manners, Newark, Univ. of Delaware Dekker, George (2017). James Fenimore Cooper the Novelist, Routledge, 2017, ISBN 9781351580014 Doolen, Andy (2005). Fugitive Empire: Locating Early American Imperialism, Minneapolis: Univ. of Minnesota P. Franklin, Wayne (1982). The New World of James Fenimore Cooper, Chicago: Univ. of Chicago P, Book –—— (2007). James Fenimore Cooper: The Early Years, New Haven: Yale UP, Book Krauthammer, Anna. The Representation of the Savage in James Fenimore Cooper and Herman Melville. NY: Peter Lang, 2008. Long, Robert Emmet (1990). James Fenimore Cooper, NY: Continuum. , MacDougall, Hugh C. (1993). Where Was James? A James Fenimore Cooper Chronology from 1789–1851. Cooperstown: James Fenimore Cooper Soc. Rans, Geoffrey (1991). Cooper's Leather-Stocking Novels: A Secular Reading. Chapel Hill: Univ. of North Carolina Redekop, Ernest H., ed. (1989). James Fenimore Cooper, 1789–1989: Bicentennial Essays, Canadian Review of American Studies, entire special issue, vol. 20, no. 3 (Winter 1989), pp. 1–164. Reid, Margaret (2004). Cultural Secrets as Narrative Form: Storytelling in Nineteenth-Century America. Columbus: Ohio State UP Ringe, Donald A. (1988). James Fenimore Cooper. Boston: Twayne. Romero, Lora (1997). Home Fronts: Domesticity and Its Critics in the Antebellum United States. Durham: Duke UP Smith, Lindsey C. (2008). Indians, Environment, and Identity on the Borders of American Literature: From Faulkner and Morrison to Walker and Silko. NY: Palgrave Macmillan. Verhoeven, W.M. (1993). James Fenimore Cooper: New Historical and Literary Contexts. Rodopi publishers. . Book Google. External links James Fenimore Cooper at Open Library James Fenimore Cooper Society Homepage Finding Aid for the James Fenimore Cooper Collection of Papers, 1825–1904, New York Public Library James Fenimore Cooper Letters and Manuscript Fragments. Available online though Lehigh University's I Remain: A Digital Archive of Letters, Manuscripts, and Ephemera "Writings of James Fenimore Cooper" from C-SPAN's American Writers: A Journey Through History "Fenimore Cooper's Literary Offenses", an essay by Mark Twain James Fenimore Cooper Collection. Yale Collection of American Literature, Beinecke Rare Book and Manuscript Library. 1789 births 1851 deaths 19th-century American novelists American expatriates in France American historical novelists American male novelists American naval historians American people of English descent Christian writers Deaths from edema Hall of Fame for Great Americans inductees People from Burlington, New Jersey People from Cooperstown, New York People from Scarsdale, New York Romanticism United States Navy officers Writers of historical fiction set in the modern age Knickerbocker Group Novelists from New Jersey American male non-fiction writers Historians from New York (state) Historians from New Jersey	false	[ "Richard de Beaufou (sometimes Richard of Belfou) was a medieval Bishop of Avranches. He was probably related to William de Beaufeu who was Bishop of Norwich from 1085 to 1091. Richard served as bishop from 1134 to 1142.\n\nNotes\n\nReferences\n\n \n\nBishops of Avranches", "Paul Epstein (July 24, 1871 – August 11, 1939) was a German mathematician. He was known for his contributions to number theory, in particular the Epstein zeta function.\n\nEpstein was born and brought up in Frankfurt, where his father was a professor. He received his PhD in 1895 from the University of Strasbourg. From 1895 to 1918 he was a Privatdozent at the University in Strasbourg, which at that time was part of the German Empire. At the end of World War I the city of Strasbourg reverted to France, and Epstein, being German, had to return to Frankfurt.\n\nEpstein was appointed to a non-tenured post at the university and he lectured in Frankfurt from 1919. Later he was appointed professor at Frankfurt. However, after the Nazis came to power in Germany he lost his university position. Because of his age he was unable to find a new position abroad, and finally committed suicide by barbital overdose at Dornbusch, fearing Gestapo torture because he was a Jew.\n\nExternal links \n \n \n\n1871 births\n1939 suicides\n20th-century German mathematicians\nNumber theorists\nGerman Jews who died in the Holocaust\nDrug-related suicides in Germany\nScientists from Frankfurt\nUniversity of Strasbourg alumni\nUniversity of Strasbourg faculty\nGoethe University Frankfurt faculty\nSuicides by Jews during the Holocaust\nBarbiturates-related deaths" ]
[ "James Fenimore Cooper", "Early life and family", "Where was he born", "James Fenimore Cooper was born in Burlington, New Jersey", "What year and to whom was he born", "1789 to William Cooper and Elizabeth (Fenimore) Cooper,", "How many children did they have", "eleventh of 12 children, most of whom died during infancy or childhood.", "Who was he related to", "He was descended from James Cooper of Stratford-upon-Avon, Warwickshire, England, who immigrated to the American colonies in 1679." ]	C_c07ca1fd770642a28fa1c803c51c17b0_1	What happened to him as a boy	5	What happened to James Fenimore Cooper as a boy?	James Fenimore Cooper	James Fenimore Cooper was born in Burlington, New Jersey in 1789 to William Cooper and Elizabeth (Fenimore) Cooper, the eleventh of 12 children, most of whom died during infancy or childhood. He was descended from James Cooper of Stratford-upon-Avon, Warwickshire, England, who immigrated to the American colonies in 1679. Shortly after James' first birthday, his family moved to Cooperstown, New York, a community founded by his father on a large piece of land which he had bought for development. Later, his father was elected to the United States Congress as a representative from Otsego County. Their town was in a central area of New York that had previously been occupied by the Iroquois, who had allied themselves with the British during the Revolutionary War and were forced to cede the territory after British defeat. The State of New York opened the land for sale and development after the war, and Cooper's father purchased several thousand acres in upstate along the headwaters of the Susquehanna River. By 1788, William Cooper had selected and surveyed the site where Cooperstown would be established. He erected a home on the shore of Otsego lake and moved his family there in the autumn of 1790. He soon began construction of the mansion that became known as Otsego Hall, completed in 1799 when James was ten. Cooper was enrolled at Yale University at age 13, but he incited a dangerous prank which involved blowing up another student's door -- after having already locked a donkey in a recitation room. He was expelled in his third year without completing his degree, so he obtained work in 1806 as a sailor and joined the crew of a merchant vessel at age 17. By 1811, he obtained the rank of midshipman in the fledgling United States Navy, conferred upon him on an officer's warrant signed by Thomas Jefferson. At 20, Cooper inherited a fortune from his father. He married Susan Augusta de Lancey at Mamaroneck, Westchester County, New York on January 1, 1811 at age 21. She was from a wealthy family who remained loyal to Great Britain during the Revolution. The Coopers had seven children, five of whom lived to adulthood. Their daughter Susan Fenimore Cooper was a writer on nature, female suffrage, and other topics. She and her father often edited each other's work. Among his descendants was Paul Fenimore Cooper (1899-1970), who also became a writer. CANNOTANSWER	Shortly after James' first birthday, his family moved to Cooperstown, New York, a community founded by his father on a large piece of land which he had bought for development.	James Fenimore Cooper (September 15, 1789 – September 14, 1851) was an American writer of the first half of the 19th century. His historical romances depicting colonist and Indigenous characters from the 17th to the 19th centuries created a unique form of American literature. He lived much of his boyhood and the last fifteen years of life in Cooperstown, New York, which was founded by his father William Cooper on property that he owned. Cooper became a member of the Episcopal Church shortly before his death and contributed generously to it. He attended Yale University for three years, where he was a member of the Linonian Society. After a stint on a commercial voyage, Cooper served in the U.S. Navy as a midshipman, where he learned the technology of managing sailing vessels which greatly influenced many of his novels and other writings. The novel that launched his career was The Spy, a tale about espionage set during the American Revolutionary War and published in 1821. He also created American sea stories. His best-known works are five historical novels of the frontier period, written between 1823 and 1841, known as the Leatherstocking Tales, which introduced the iconic American frontier scout, Natty Bumppo. Cooper's works on the U.S. Navy have been well received among naval historians, but they were sometimes criticized by his contemporaries. Among his more famous works is the romantic novel The Last of the Mohicans, often regarded as his masterpiece. Throughout his career, he published numerous social, political, and historical works of fiction and non-fiction with the objective of countering European prejudices and nurturing an original American art and culture. Early life and family James Fenimore Cooper was born in Burlington, New Jersey, in 1789 to William Cooper and Elizabeth (Fenimore) Cooper, the eleventh of 12 children, half of whom died during infancy or childhood. Shortly after James' first birthday, his family moved to Cooperstown, New York, a community founded by his father on a large piece of land which he had bought for development. Later, his father was elected to the United States Congress as a representative from Otsego County. Their town was in a central area of New York along the headwaters of the Susquehanna River that had previously been patented to Colonel George Croghan by the Province of New York in 1769. Croghan mortgaged the land before the Revolution and after the war part of the tract was sold at public auction to William Cooper and his business partner Andrew Craig. By 1788, William Cooper had selected and surveyed the site where Cooperstown would be established. He erected a home on the shore of Otsego Lake and moved his family there in the autumn of 1790. Several years later he began construction of the mansion that became known as Otsego Hall, completed in 1799 when James was ten. Cooper was enrolled at Yale University at age 13, but he incited a dangerous prank which involved blowing up another student's door—after having already locked a donkey in a recitation room. He was expelled in his third year without completing his degree, so he obtained work in 1806 as a sailor and joined the crew of a merchant vessel at age 17. By 1811, he obtained the rank of midshipman in the fledgling United States Navy, conferred upon him by an officer's warrant signed by Thomas Jefferson. William Cooper died when James was 20; all five of his sons inherited a supposed-large fortune in money, securities, and land titles, which soon proved to be a wealth of endless litigation. He married Susan Augusta de Lancey at Mamaroneck, Westchester County, New York on January 1, 1811, at age 21. She was from a wealthy family who remained loyal to Great Britain during the Revolution. The Coopers had seven children, five of whom lived to adulthood. Their daughter Susan Fenimore Cooper was a writer on nature, female suffrage, and other topics. Her father edited her works and secured publishers for them. One son, Paul Fenimore Cooper, became a lawyer and perpetuated the author's lineage to the present. Service in the Navy In 1806 at the age of 17, Cooper joined the crew of the merchant ship Sterling as a common sailor. At the time, the Sterling was commanded by young John Johnston from Maine. Cooper served as a common seaman before the mast. His first voyage took some 40 stormy days at sea and brought him to an English market in Cowes where they sought information on where best to unload their cargo of flour. There Cooper saw his first glimpses of England. Britain was in the midst of war with Napoleon's France at the time, so their ship was immediately approached by a British man-of-war and was boarded by some of its crew. They seized one of the Sterling's best crew members and impressed him into the British Royal Navy. Cooper thus first encountered the power of his country's former colonial master, which led to a lifelong commitment to helping create an American art independent culturally as well as politically from the former mother country. Their next voyage took them to the Mediterranean along the coast of Spain, including Águilas and Cabo de Gata, where they picked up cargo to be taken to London and unloaded. Their stay in Spain lasted several weeks and impressed the young sailor, the accounts of which Cooper later referred to in his Mercedes of Castile, a novel about Columbus. After serving aboard the Sterling for 11 months, he joined the United States Navy on January 1, 1808, when he received his commission as a midshipman. Cooper had conducted himself well as a sailor, and his father, a former U.S. Congressman, easily secured a commission for him through his long-standing connections with politicians and naval officials. The warrant for Cooper's commission as midshipman was signed by President Jefferson and mailed by Naval Secretary Robert Smith, reaching Cooper on February 19. On February 24, he received orders to report to the naval commander at New York City. Joining the United States Navy fulfilled an aspiration he had had since his youth. Cooper's first naval assignment came on March 21, 1808, aboard the , an 82-foot bomb ketch that carried twelve guns and a thirteen-inch mortar. For his next assignment, he served under Lieutenant Melancthon Taylor Woolsey near Oswego on Lake Ontario, overseeing the building of the brig for service on the lake. The vessel was intended for use in a war with Great Britain which had yet to begin. The vessel was completed, armed with sixteen guns, and launched in Lake Ontario in the spring of 1809. It was in this service that Cooper learned shipbuilding, shipyard duties and frontier life. During his leisure time, Cooper would venture through the forests of New York state and explore the shores of Lake Ontario. He occasionally ventured into the Thousand Islands. His experiences in the Oswego area later inspired some of his work, including his novel The Pathfinder. After completion of the Oneida in 1809, Cooper accompanied Woolsey to Niagara Falls, who then was ordered to Lake Champlain to serve aboard a gunboat until the winter months when the lake froze over. Cooper himself returned from Oswego to Cooperstown and then New York. On November 13 of the same year, he was assigned to the under the command of Captain James Lawrence, who was from Burlington and became a personal friend of Cooper's. Aboard this ship, he met his lifelong friend William Branford Shubrick, who was also a midshipman at the time. Cooper later dedicated The Pilot, The Red Rover, and other writings to Shubrick. Assigned to humdrum recruiting tasks rather than exciting voyages, Cooper resigned his commission from the navy in spring 1810; in the same time period he met, wooed, and became engaged to Susan Augusta de Lancey, whom be married on January 1, 1811. Writings First endeavors In 1820, when reading a contemporary novel to his wife Susan, he decided to try his hand at fiction, resulting in a neophyte novel set in England he called Precaution (1820). Its focus on morals and manners was influenced by Jane Austen's approach to fiction. He anonymously published Precaution which received modestly favorable notice in the United States and England. By contrast, his second novel The Spy (1821) was inspired by an American tale related to him by neighbor and family friend John Jay. It became the first novel written by an American to become a bestseller at home and abroad, requiring several re-printings to satisfy demand. Set in the "Neutral Ground" between British and American forces and their guerrilla allies in Westchester County, New York, the action centers around spying and skirmishing taking place in and around what is widely believed to be John Jay's family home "The Locusts" in Rye, New York of which a portion still exists today as the historic Jay Estate. Following on a swell of popularity, Cooper published The Pioneers, the first of the Leatherstocking series in 1823. The series features the inter-racial friendship of Natty Bumppo, a resourceful American woodsman who is at home with the Delaware Indians and their chief Chingachgook. Bumppo was also the main character of Cooper's most famous novel The Last of the Mohicans (1826), written in New York City where Cooper and his family lived from 1822 to 1826. The book became one of the more widely read American novels of the 19th century. At this time, Cooper had been living in New York on Beach Street in what is now downtown's Tribeca. In 1823, he became a member of the American Philosophical Society in Philadelphia. In August of that same year, his first son died. He organized the influential Bread and Cheese Club that brought together American writers, editors, artists, scholars, educators, art patrons, merchants, lawyers, politicians, and others. In 1824, General Lafayette arrived from France aboard the Cadmus at Castle Garden in New York City as the nation's guest. Cooper witnessed his arrival and was one of the active committee of welcome and entertainment. Europe In 1826, Cooper moved his family to Europe, where he sought to gain more income from his books, provide better education for his children, improve his health, and observe European manners and politics firsthand. While overseas, he continued to write. His books published in Paris include The Prairie, the third Leather-Stocking Tale in which Natty Bumppo dies in the western land newly acquired by Jefferson as the Louisiana Purchase. There he also published The Red Rover and The Water Witch, two of his many sea stories. During his time in Paris, the Cooper family became active in the small American expatriate community. He became friends with painter (and later inventor) Samuel Morse and with French general and American Revolutionary War hero Gilbert du Motier, Marquis de Lafayette. Cooper admired the patrician liberalism of Lafayette, who sought to recruit him to his causes, and eulogized him as a man who "dedicated youth, person, and fortune, to the principles of liberty." Cooper's distaste for the corruption of the European aristocracy, especially in England and France, grew as he observed them manipulate the legislature and judiciary to the exclusion of other classes. In 1832, he entered the lists as a political writer in a series of letters to Le National, a Parisian journal. He defended the United States against a string of charges brought by the Revue Britannique. For the rest of his life, he continued skirmishing in print, sometimes for the national interest, sometimes for that of the individual, and frequently for both at once. This opportunity to make a political confession of faith reflected the political turn that he already had taken in his fiction, having attacked European anti-republicanism in The Bravo (1831). Cooper continued this political course in The Heidenmauer (1832) and The Headsman: or the Abbaye of Vigneron (1833). The Bravo depicted Venice as a place where a ruthless oligarchy lurks behind the mask of the "serene republic". All were widely read on both sides of the Atlantic, though some Americans accused Cooper of apparently abandoning American life for European—not realizing that the political subterfuges in the European novels were cautions directed at his American audiences. Thus The Bravo was roughly treated by some critics in the United States. Back to America In 1833, Cooper returned to the United States and published A Letter to My Countrymen in which he gave his criticism of various social and political mores. Promotional material from a modern publisher summarize his goals as follows: A Letter To My Countrymen remains Cooper's most trenchant work of social criticism. In it, he defines the role of the "man of letters" in a republic, the true conservative, the slavery of party affiliations, and the nature of the legislative branch of government. He also offers her most persuasive argument on why America should develop its own art and literary culture, ignoring the aristocratically tainted art of Europe. Influenced by the ideals of classical republicanism, Cooper feared that the orgy of speculation he witnessed was destructive of civic virtue and warned Americans that it was a "mistake to suppose commerce favorable to liberty"; doing so would lead to a new "moneyed aristocracy." Drawing upon philosophers such as Jean-Jacques Rousseau, Burlamaqui, and Montesquieu, Cooper's political ideas were both democratic, deriving from the consent of the governed, and liberal, concerned with the rights of the individual. In the later 1830s—despite his repudiation of authorship in A Letter To My Countrymen—he published Gleanings in Europe, five volumes of social and political analysis of his observations and experiences in Europe. His two novels Homeward Bound and Home as Found also criticize the flamboyant financial speculation and toadyism he found on his return; some readers and critics attacked the works for presenting a highly idealized self-portrait, which he vigorously denied. In June 1834, Cooper decided to reopen his ancestral mansion Otsego Hall at Cooperstown. It had long been closed and falling into decay; he had been absent from the mansion nearly 16 years. Repairs were begun, and the house was put in order. At first, he wintered in New York City and summered in Cooperstown, but eventually he made Otsego Hall his permanent home. On May 10, 1839, Cooper published History of the Navy of the United States of America, a work that he had long planned on writing. He publicly announced his intentions to author such a historical work while abroad before departing for Europe in May 1826, during a parting speech at a dinner given in his honor: Encouraged by your kindness, ... I will take this opportunity of recording the deeds and sufferings of a class of men to which this nation owes a debt of gratitude—a class of men among whom, I am always ready to declare, not only the earliest, but many of the happiest days of my youth have been passed. Historical and nautical work His historical account of the U.S. Navy was well received, though his account of the roles played by the American leaders in the Battle of Lake Erie led to years of disputes with their descendants, as noted below. Cooper had begun thinking about this massive project in 1824, and concentrated on its research in the late 1830s. His close association with the U.S. Navy and various officers, and his familiarity with naval life at sea provided him the background and connections to research and write this work. Cooper's work is said to have stood the test of time and is considered an authoritative account of the U.S. Navy during that time. In 1844, Cooper's Proceedings of the naval court martial in the case of Alexander Slidell Mackenzie, a commander in the navy of the United States, &c:, was first published in Graham's Magazine of 1843–44. It was a review of the court martial of Alexander Slidell Mackenzie who had hanged three crew members of the brig USS Somers for mutiny while at sea. One of the hanged men, 19-year-old Philip Spencer, was the son of U.S. Secretary of War John C. Spencer. He was executed without court-martial along with two other sailors aboard the Somers for allegedly attempting mutiny. Prior to this affair, Cooper and Mackenzie had disputed each other's version of the Battle of Lake Erie. However, recognizing the need for absolute discipline in a warship at sea, Cooper still felt sympathetic to Mackenzie over his pending court martial. In 1843, an old shipmate, Ned Myers, re-entered Cooper's life. To assist him—and hopefully to cash in on the popularity of maritime biographies—Cooper wrote Myers's story which he published in 1843 as Ned Myers, or a Life before the Mast, an account of a common seaman still of interest to naval historians. In 1846, Cooper published Lives of Distinguished American Naval Officers covering the biographies of William Bainbridge, Richard Somers, John Shaw, John T. Shubrick, and Edward Preble. Cooper died in 1851. In May 1853, Cooper's Old Ironsides appeared in Putnam's Monthly. It was the history of the Navy ship and, after European and American Scenery Compared, 1852, was one of several posthumous publication of his writings. In 1856, five years after Cooper's death, his History of the Navy of the United States of America was re-published in an expanded edition. The work was an account of the U.S. Navy in the early 19th century, through the Mexican War. Among naval historians of today, the work has come to be recognized as a general and authoritative account. However, it was criticized for accuracy on some points by some contemporaries, especially those engaged in the disputes over the roles of their relatives in Cooper's separate history of the Battle of Lake Erie. Whig editors of the period regularly attacked anything Cooper wrote, leading him to numerous suits for libel, for example against Park Benjamin, Sr., a poet and editor of the Evening Signal of New York. Critical reaction Cooper's writings of the 1830s related to current politics and social issues, coupled with his perceived self-promotion, increased the ill feeling between the author and some of the public. Criticism in print of his naval histories and the two Home novels came largely from newspapers supporting The Whig party, reflecting the antagonism between the Whigs and their opposition, the Democrats, whose policies Cooper often favored. Cooper's father William had been a staunch Federalist, a party now defunct but some of whose policies supporting large-scale capitalism the Whigs endorsed. Cooper himself had come to admire Thomas Jefferson, the bete-noire of the Federalists, and had supported Andrew Jackson's opposition to a National Bank. Never one to shrink from defending his personal honor and his sense of where the nation was erring, Cooper filed legal actions for libel against several Whig editors; his success with most of his lawsuits ironically led to more negative publicity from the Whig establishment. Buoyed by his frequent victories in court, Cooper returned to writing with more energy and success than he had had for several years. As noted above, on May 10, 1839, he published his History of the U.S. Navy; his return to the Leatherstocking Tales series with The Pathfinder, or The Inland Sea (1840) and The Deerslayer (1841) brought him renewed favorable reviews. But on occasion he returned to addressing public issues, most notably with a trilogy of novels called the Littlepage Manuscripts addressing the issues of the anti-rent wars. Public sentiment largely favored the anti-renters, and Cooper's reviews again were largely negative. Later life Faced with competition from younger writers and magazine serialization, and lower prices for books resulting from new technologies, Cooper simply wrote more in his last decade than in either of the previous two. Half of his thirty-two novels were written in the 1840s. They may be grouped into three categories: Indian romances, maritime fiction, and political and social controversy—though the categories often overlap. The 1840s began with the last two novels featuring Natty Bumppo, both critical and reader successes: The Pathfinder (1840) and The Deerslayer (1841). Wyandotte, his last novel set in the Revolutionary War, followed in 1843 and Oak Openings in 1848. The nautical works were Mercedes of Castile (in which Columbus appears, 1840),The Two Admirals (British and French fleets in battle, 1842), Wing-And-Wing (a French privateer fighting the British in 1799, 1842), Afloat and Ashore (two volumes exploring a young man growing up, 1844), Jack Tier (a vicious smuggler in the Mexican-American War, 1848), and The Sea Lions (rival sealers in the Antarctic, 1849). He also turned from pure fiction to the combination of art and controversy in which he achieved notoriety in the novels of the previous decade. His Littlepage Manuscripts trilogy--Satanstoe (1845), The Chainbearer (1845), and The Redskins (1846)--dramatized issues of land ownership in response to renters in the 1840s opposing the long leases common in the old Dutch settlements in the Hudson Valley. He tried his hand with serialization with The Autobiography of a Pocket Handkerchief, first published in Graham's Magazine in 1843, a satire on contemporary nouveau riche. In The Crater, or Vulcan's Peak (1847) he introduced supernatural machinery to show the decline of an ideal society in the South Seas when demagogues prevail. The Ways of the Hour, his last completed novel, portrayed a mysterious and independent young woman defending herself against criminal charges. Cooper spent the last years of his life back in Cooperstown. He died on September 14, 1851, the day before his 62nd birthday. He was buried in the Christ Episcopal Churchyard, where his father, William Cooper, was buried. Cooper's wife Susan survived her husband only by a few months and was buried by his side at Cooperstown. Several well-known writers, politicians, and other public figures honored Cooper's memory with a memorial in New York, six months after his death, in February 1852. Daniel Webster gave a speech to the gathering while Washington Irving served as a co-chairman, along with William Cullen Bryant, who also gave an address which did much to restore Cooper's damaged reputation among American writers of the time. Religious activities Cooper's father was a lapsed Quaker; probably influenced by his wife's family, the DeLanceys, Cooper in his fiction often favorably depicted clergy of the Episcopal Church, though Calvinist ministers came in for their share of both admiring and critical treatment. In the 1840s as Cooper increasingly despaired over the United States maintaining the vision and promise of the Constitution, his fiction increasingly turned to religious themes. In The Wing-And-Wing, 1842, the hero, a French revolutionary free-thinker, loses the Italian girl he loves because he cannot accept her simple Christianity. In contrast, in the 1849 The Sea Lions the hero wins his beloved only after a spiritual transformation while marooned in the Antarctic. And the 1848 The Oak Openings features a pious Parson Amen who wins the admiration of the Indians who kill him, praying for them during torture. After establishing permanent residence in Cooperstown, Cooper became active in Christ Episcopal Church, taking on the roles of warden and vestryman. As the vestryman, he donated generously to this church and later supervised and redesigned its interior with oak furnishings at his own expense. He was also energetic as a representative from Cooperstown to various regional conventions of the Episcopal church. But only several months before his death, in July 1851, was he confirmed in this church by his brother-in-law, the Reverend William H. DeLancey. Legacy Cooper was one of the more popular 19th-century American authors, and his work was admired greatly throughout the world. While on his death bed, the Austrian composer Franz Schubert wanted most to read more of Cooper's novels. Honoré de Balzac, the French novelist and playwright, admired him greatly. Henry David Thoreau, while attending Harvard, incorporated some of Cooper's style in his own work. D.H. Lawrence believed that Turgenev, Tolstoy, Dostoyevsky, Maupassant, and Flaubert were all "so very obvious and coarse, besides the lovely, mature and sensitive art of Fennimore Cooper." Lawrence called The Deerslayer "one of the most beautiful and perfect books in the world: flawless as a jewel and of gem-like concentration." Cooper's work, particularly The Pioneers and The Pilot, demonstrate an early 19th-century American preoccupation with alternating prudence and negligence in a country where property rights were often still in dispute. Cooper was one of the early major American novelists to include African, African-American and Native American characters in his works. In particular, Native Americans play central roles in his Leatherstocking Tales. However, his treatment of this group is complex and highlights the relationship between frontier settlers and American Indians as exemplified in The Wept of Wish-ton-Wish, depicting a captured white girl who marries an Indian chief and has a baby with him, but after several years is eventually returned to her parents. Often, he gives contrasting views of Native characters to emphasize their potential for good, or conversely, their proclivity for mayhem. Last of the Mohicans includes both the character of Magua, who fearing the extinction of his race at the hands of the whites savagely betrays them, as well as Chingachgook, the last chief of the Mohicans, who is portrayed as Natty Bumppo's noble, courageous, and heroic counterpart. In 1831, Cooper was elected into the National Academy of Design as an Honorary Academician. According to Tad Szulc, Cooper was a devotee of Poland's causes (uprisings to regain Polish sovereignty). He organized a club in Paris to support the rebels, and brought flags of the defeated Polish rebel regiment from Warsaw to present them to the exiled leaders in Paris. With his friend the Marquis de La Fayette, he supported liberals during the regime changes in France and elsewhere in the 1830s. . Though some scholars have hesitated to classify Cooper as a strict Romantic, Victor Hugo pronounced him greatest novelist of the century outside France. Honoré de Balzac, while mocking a few of Cooper's novels ("rhapsodies") and expressing reservations about his portrayal of characters, enthusiastically called The Pathfinder a masterpiece and professed great admiration for Cooper's portrayal of nature, only equalled in his view by Walter Scott. Mark Twain, the ultimate Realist, criticized the Romantic plots and overwrought language of The Deerslayer and The Pathfinder in his satirical but shrewdly observant essay, "Fenimore Cooper's Literary Offenses" (1895). Cooper was also criticized heavily in his day for his depiction of women characters in his work. James Russell Lowell, Cooper's contemporary and a critic, referred to it poetically in A Fable for Critics, writing, "... the women he draws from one model don't vary / All sappy as maples and flat as a prairie." Cooper's lasting reputation today rests largely upon the five Leatherstocking Tales. In his 1960 study focusing on romantic relationships, both hetero- and homo-sexual, literary scholar Leslie Fiedler opines that with the exception of the five Natty Bumppo-Chingachgook novels, Cooper's "collected works are monumental in their cumulative dullness." More recent criticism views all thirty-two novels in the context of Cooper's responding to changing political, social, and economic realities in his time period. Cooper was honored on a U.S. commemorative stamp, the Famous American series, issued in 1940. Three dining halls at the State University of New York at Oswego are named in Cooper's remembrance (Cooper Hall, The Pathfinder, and Littlepage) because of his temporary residence in Oswego and for setting some of his works there. Cooper Park in Michigan's Comstock Township is named after him. The New Jersey Turnpike has a James Fenimore Cooper service area, recognizing his birth in the state. The gilded and red tole chandelier hanging in the library of the White House in Washington DC is from the family of James Fenimore Cooper. It was brought there through the efforts of First Lady Jacqueline Kennedy in her great White House restoration. The James Fenimore Cooper Memorial Prize at New York University is awarded annually to an outstanding undergraduate student of journalism. In 2013, Cooper was inducted into the New York Writers Hall of Fame. Cooper's novels were very popular in the rest of the world, including, for instance, Russia. In particular, great interest of the Russian public in Cooper's work was primarily incited by the novel The Pathfinder, which the renowned Russian literary critic Vissarion Belinsky declared to be "a Shakespearean drama in the form of a novel". The author was more recognizable by his middle name, Fenimore, exotic to many in Russia. This name became a symbol of exciting adventures among Russian readers. For example, in the 1977 Soviet movie The Secret of Fenimore (), being the third part of a children's television mini-series Three Cheerful Shifts (, see ), tells of a mysterious stranger known as Fenimore, visiting a boys' dorm in a summer camp nightly and relating fascinating stories about Indians and extraterrestrials. Works Notes References Bibliography ; James Fenimore Cooper: The Later Years, Yale University Press, 2017. p. 805 . Primary sources Url1 Url Url ——— (1852). The Chainbearer, Or The Littlepage Manuscripts, Stringer and Townsend, 228 pages; eBook Further reading Clavel, Marcel (1938). Fenimore Cooper and his critics: American, British and French criticisms of the novelist's early work, Imprimerie universitaire de Provence, E. Fourcine, 418 pages; Book Darnell, Donald. (1993). James Fenimore Cooper: Novelist of Manners, Newark, Univ. of Delaware Dekker, George (2017). James Fenimore Cooper the Novelist, Routledge, 2017, ISBN 9781351580014 Doolen, Andy (2005). Fugitive Empire: Locating Early American Imperialism, Minneapolis: Univ. of Minnesota P. Franklin, Wayne (1982). The New World of James Fenimore Cooper, Chicago: Univ. of Chicago P, Book –—— (2007). James Fenimore Cooper: The Early Years, New Haven: Yale UP, Book Krauthammer, Anna. The Representation of the Savage in James Fenimore Cooper and Herman Melville. NY: Peter Lang, 2008. Long, Robert Emmet (1990). James Fenimore Cooper, NY: Continuum. , MacDougall, Hugh C. (1993). Where Was James? A James Fenimore Cooper Chronology from 1789–1851. Cooperstown: James Fenimore Cooper Soc. Rans, Geoffrey (1991). Cooper's Leather-Stocking Novels: A Secular Reading. Chapel Hill: Univ. of North Carolina Redekop, Ernest H., ed. (1989). James Fenimore Cooper, 1789–1989: Bicentennial Essays, Canadian Review of American Studies, entire special issue, vol. 20, no. 3 (Winter 1989), pp. 1–164. Reid, Margaret (2004). Cultural Secrets as Narrative Form: Storytelling in Nineteenth-Century America. Columbus: Ohio State UP Ringe, Donald A. (1988). James Fenimore Cooper. Boston: Twayne. Romero, Lora (1997). Home Fronts: Domesticity and Its Critics in the Antebellum United States. Durham: Duke UP Smith, Lindsey C. (2008). Indians, Environment, and Identity on the Borders of American Literature: From Faulkner and Morrison to Walker and Silko. NY: Palgrave Macmillan. Verhoeven, W.M. (1993). James Fenimore Cooper: New Historical and Literary Contexts. Rodopi publishers. . Book Google. External links James Fenimore Cooper at Open Library James Fenimore Cooper Society Homepage Finding Aid for the James Fenimore Cooper Collection of Papers, 1825–1904, New York Public Library James Fenimore Cooper Letters and Manuscript Fragments. Available online though Lehigh University's I Remain: A Digital Archive of Letters, Manuscripts, and Ephemera "Writings of James Fenimore Cooper" from C-SPAN's American Writers: A Journey Through History "Fenimore Cooper's Literary Offenses", an essay by Mark Twain James Fenimore Cooper Collection. Yale Collection of American Literature, Beinecke Rare Book and Manuscript Library. 1789 births 1851 deaths 19th-century American novelists American expatriates in France American historical novelists American male novelists American naval historians American people of English descent Christian writers Deaths from edema Hall of Fame for Great Americans inductees People from Burlington, New Jersey People from Cooperstown, New York People from Scarsdale, New York Romanticism United States Navy officers Writers of historical fiction set in the modern age Knickerbocker Group Novelists from New Jersey American male non-fiction writers Historians from New York (state) Historians from New Jersey	true	[ "Owuo is a mythical giant present in the traditional religions of the Krachi people, based in today’s Togolese Republic. The giant is meant to represent death, and his tale is meant to portray the origin of death myth according to Krachi beliefs.\n\nRepresentation \nOne of Owuo’s highlighted feature is his hair, which is described as spanning from Krachi to Salaga [3]. Owuo is cannibalistic, though he is not depicted as a malicious creature.\n\nLegends\n\nOrigin of death \nIt is said that a male youth encountered Owuo during his travels. At the time, famine was widespread – and the boy was also afflicted by it. When the boy first met Owuo, he was uncertain of his welcome. But Owuo did not attack him – he instead asked the boy what he wanted from Owuo.\n\nThe boy asked Owuo for food, and the giant granted his wish. However, he asked for a favor in return – the boy must serve Owuo for a period of time. The boy agreed and Owuo fed him meat, and from then on the boy started becoming Owuo’s servant.\n\nAfter a while, the boy started to miss his hometown. So, he requested a leave from his duties. Owuo eventually acquiesced, with one caveat: The boy must leave another boy in his place. He did as Owuo commanded and left his brother in his stead while he stayed at his hometown for a short holiday. Some time passed, and the boy started missing the meat that Owuo fed him. Thus, he left his hometown once more, and returned to Owuo. Owuo welcomed him back and allowed the boy to eat his meat – as long as he started serving Owuo again.\n\nOnce more, the boy wanted to have a quick visit home. Owuo agreed, as long as the boy prepared him a human wife before he left. So, the boy gave Owuo his sister, and left her and a maid while he returned to his hometown. Again, the boy decided to come back to Owuo because he missed the meat. And Owuo accepted him back this time as well, with the same condition: That the boy continues to serve him.\n\nHowever, this time, the boy had a look inside the storage room where Owuo put his meat. Here, he discovered that the meat that he had been eating came from the corpses of his brother, sister, and the maid that accompanied her. In horror, the boy fled back to his hometown and told the people what happened.\n\nThe people decided to kill the giant by burning his hair. As the giant fell, the boy realized that a vial of medicine was hidden in his hair. He took it, and as he poured it all over the corpses of his brother, sister, and his sister’s maid, they returned back to life. The boy also poured the medicine on Owuo’s eyes – he did not come back to life, but his eyes continued to blink. From then on, whenever Owuo closed his eyes, a person shall die.\n\nReferences \n\nAfrican mythology", "The Black Box () is a 2005 French mystery film directed by Richard Berry, written by Berry and Éric Assous, adapted from a novella by Tonino Benacquista, and starring José Garcia and Marion Cotillard.\n\nPlot\nFollowing a car accident, in which he believes he killed a boy, Arthur Seligman falls into a coma for several hours. While in the coma, he pronounces incoherent sentences. At his awakening, he does not remember what happened before the crash, and he does not know the meaning of the words he pronounced while unconscious. The nurse who assisted him, Isabelle Kruger, recorded them in a notebook, which she gives to him. Arthur then tries to understand what happened, what those sentences mean, and begins to lose his grasp of reality.\n\nCast\nJosé Garcia as Arthur Seligman\nMarion Cotillard as Isabelle Kruger / Alice\nMichel Duchaussoy as Mr. Seligman\nBernard Le Coq as Walcott / Doctor Granger\nHelena Noguerra as Soraya\nGérald Laroche as Commissioner Marc Koskas\n as Mrs. Seligman\n as Dr. Brenner\nThomas Chabrol as Thierry\nPascal Bongard as Clovis\nMarilou Berry as The desk clerk\nLise Lamétrie as The guardian\n\nReferences\n\nExternal links\n\n2005 films\n2005 thriller films\nFrench mystery thriller films\nFrench films\n2000s mystery thriller films\nFilms directed by Richard Berry\nFilms scored by Nathaniel Méchaly" ]
[ "James Fenimore Cooper", "Early life and family", "Where was he born", "James Fenimore Cooper was born in Burlington, New Jersey", "What year and to whom was he born", "1789 to William Cooper and Elizabeth (Fenimore) Cooper,", "How many children did they have", "eleventh of 12 children, most of whom died during infancy or childhood.", "Who was he related to", "He was descended from James Cooper of Stratford-upon-Avon, Warwickshire, England, who immigrated to the American colonies in 1679.", "What happened to him as a boy", "Shortly after James' first birthday, his family moved to Cooperstown, New York, a community founded by his father on a large piece of land which he had bought for development." ]	C_c07ca1fd770642a28fa1c803c51c17b0_1	What was the family elected for	6	What was James Fenimore Cooper's family elected for?	James Fenimore Cooper	James Fenimore Cooper was born in Burlington, New Jersey in 1789 to William Cooper and Elizabeth (Fenimore) Cooper, the eleventh of 12 children, most of whom died during infancy or childhood. He was descended from James Cooper of Stratford-upon-Avon, Warwickshire, England, who immigrated to the American colonies in 1679. Shortly after James' first birthday, his family moved to Cooperstown, New York, a community founded by his father on a large piece of land which he had bought for development. Later, his father was elected to the United States Congress as a representative from Otsego County. Their town was in a central area of New York that had previously been occupied by the Iroquois, who had allied themselves with the British during the Revolutionary War and were forced to cede the territory after British defeat. The State of New York opened the land for sale and development after the war, and Cooper's father purchased several thousand acres in upstate along the headwaters of the Susquehanna River. By 1788, William Cooper had selected and surveyed the site where Cooperstown would be established. He erected a home on the shore of Otsego lake and moved his family there in the autumn of 1790. He soon began construction of the mansion that became known as Otsego Hall, completed in 1799 when James was ten. Cooper was enrolled at Yale University at age 13, but he incited a dangerous prank which involved blowing up another student's door -- after having already locked a donkey in a recitation room. He was expelled in his third year without completing his degree, so he obtained work in 1806 as a sailor and joined the crew of a merchant vessel at age 17. By 1811, he obtained the rank of midshipman in the fledgling United States Navy, conferred upon him on an officer's warrant signed by Thomas Jefferson. At 20, Cooper inherited a fortune from his father. He married Susan Augusta de Lancey at Mamaroneck, Westchester County, New York on January 1, 1811 at age 21. She was from a wealthy family who remained loyal to Great Britain during the Revolution. The Coopers had seven children, five of whom lived to adulthood. Their daughter Susan Fenimore Cooper was a writer on nature, female suffrage, and other topics. She and her father often edited each other's work. Among his descendants was Paul Fenimore Cooper (1899-1970), who also became a writer. CANNOTANSWER	Later, his father was elected to the United States Congress as a representative from Otsego County.	James Fenimore Cooper (September 15, 1789 – September 14, 1851) was an American writer of the first half of the 19th century. His historical romances depicting colonist and Indigenous characters from the 17th to the 19th centuries created a unique form of American literature. He lived much of his boyhood and the last fifteen years of life in Cooperstown, New York, which was founded by his father William Cooper on property that he owned. Cooper became a member of the Episcopal Church shortly before his death and contributed generously to it. He attended Yale University for three years, where he was a member of the Linonian Society. After a stint on a commercial voyage, Cooper served in the U.S. Navy as a midshipman, where he learned the technology of managing sailing vessels which greatly influenced many of his novels and other writings. The novel that launched his career was The Spy, a tale about espionage set during the American Revolutionary War and published in 1821. He also created American sea stories. His best-known works are five historical novels of the frontier period, written between 1823 and 1841, known as the Leatherstocking Tales, which introduced the iconic American frontier scout, Natty Bumppo. Cooper's works on the U.S. Navy have been well received among naval historians, but they were sometimes criticized by his contemporaries. Among his more famous works is the romantic novel The Last of the Mohicans, often regarded as his masterpiece. Throughout his career, he published numerous social, political, and historical works of fiction and non-fiction with the objective of countering European prejudices and nurturing an original American art and culture. Early life and family James Fenimore Cooper was born in Burlington, New Jersey, in 1789 to William Cooper and Elizabeth (Fenimore) Cooper, the eleventh of 12 children, half of whom died during infancy or childhood. Shortly after James' first birthday, his family moved to Cooperstown, New York, a community founded by his father on a large piece of land which he had bought for development. Later, his father was elected to the United States Congress as a representative from Otsego County. Their town was in a central area of New York along the headwaters of the Susquehanna River that had previously been patented to Colonel George Croghan by the Province of New York in 1769. Croghan mortgaged the land before the Revolution and after the war part of the tract was sold at public auction to William Cooper and his business partner Andrew Craig. By 1788, William Cooper had selected and surveyed the site where Cooperstown would be established. He erected a home on the shore of Otsego Lake and moved his family there in the autumn of 1790. Several years later he began construction of the mansion that became known as Otsego Hall, completed in 1799 when James was ten. Cooper was enrolled at Yale University at age 13, but he incited a dangerous prank which involved blowing up another student's door—after having already locked a donkey in a recitation room. He was expelled in his third year without completing his degree, so he obtained work in 1806 as a sailor and joined the crew of a merchant vessel at age 17. By 1811, he obtained the rank of midshipman in the fledgling United States Navy, conferred upon him by an officer's warrant signed by Thomas Jefferson. William Cooper died when James was 20; all five of his sons inherited a supposed-large fortune in money, securities, and land titles, which soon proved to be a wealth of endless litigation. He married Susan Augusta de Lancey at Mamaroneck, Westchester County, New York on January 1, 1811, at age 21. She was from a wealthy family who remained loyal to Great Britain during the Revolution. The Coopers had seven children, five of whom lived to adulthood. Their daughter Susan Fenimore Cooper was a writer on nature, female suffrage, and other topics. Her father edited her works and secured publishers for them. One son, Paul Fenimore Cooper, became a lawyer and perpetuated the author's lineage to the present. Service in the Navy In 1806 at the age of 17, Cooper joined the crew of the merchant ship Sterling as a common sailor. At the time, the Sterling was commanded by young John Johnston from Maine. Cooper served as a common seaman before the mast. His first voyage took some 40 stormy days at sea and brought him to an English market in Cowes where they sought information on where best to unload their cargo of flour. There Cooper saw his first glimpses of England. Britain was in the midst of war with Napoleon's France at the time, so their ship was immediately approached by a British man-of-war and was boarded by some of its crew. They seized one of the Sterling's best crew members and impressed him into the British Royal Navy. Cooper thus first encountered the power of his country's former colonial master, which led to a lifelong commitment to helping create an American art independent culturally as well as politically from the former mother country. Their next voyage took them to the Mediterranean along the coast of Spain, including Águilas and Cabo de Gata, where they picked up cargo to be taken to London and unloaded. Their stay in Spain lasted several weeks and impressed the young sailor, the accounts of which Cooper later referred to in his Mercedes of Castile, a novel about Columbus. After serving aboard the Sterling for 11 months, he joined the United States Navy on January 1, 1808, when he received his commission as a midshipman. Cooper had conducted himself well as a sailor, and his father, a former U.S. Congressman, easily secured a commission for him through his long-standing connections with politicians and naval officials. The warrant for Cooper's commission as midshipman was signed by President Jefferson and mailed by Naval Secretary Robert Smith, reaching Cooper on February 19. On February 24, he received orders to report to the naval commander at New York City. Joining the United States Navy fulfilled an aspiration he had had since his youth. Cooper's first naval assignment came on March 21, 1808, aboard the , an 82-foot bomb ketch that carried twelve guns and a thirteen-inch mortar. For his next assignment, he served under Lieutenant Melancthon Taylor Woolsey near Oswego on Lake Ontario, overseeing the building of the brig for service on the lake. The vessel was intended for use in a war with Great Britain which had yet to begin. The vessel was completed, armed with sixteen guns, and launched in Lake Ontario in the spring of 1809. It was in this service that Cooper learned shipbuilding, shipyard duties and frontier life. During his leisure time, Cooper would venture through the forests of New York state and explore the shores of Lake Ontario. He occasionally ventured into the Thousand Islands. His experiences in the Oswego area later inspired some of his work, including his novel The Pathfinder. After completion of the Oneida in 1809, Cooper accompanied Woolsey to Niagara Falls, who then was ordered to Lake Champlain to serve aboard a gunboat until the winter months when the lake froze over. Cooper himself returned from Oswego to Cooperstown and then New York. On November 13 of the same year, he was assigned to the under the command of Captain James Lawrence, who was from Burlington and became a personal friend of Cooper's. Aboard this ship, he met his lifelong friend William Branford Shubrick, who was also a midshipman at the time. Cooper later dedicated The Pilot, The Red Rover, and other writings to Shubrick. Assigned to humdrum recruiting tasks rather than exciting voyages, Cooper resigned his commission from the navy in spring 1810; in the same time period he met, wooed, and became engaged to Susan Augusta de Lancey, whom be married on January 1, 1811. Writings First endeavors In 1820, when reading a contemporary novel to his wife Susan, he decided to try his hand at fiction, resulting in a neophyte novel set in England he called Precaution (1820). Its focus on morals and manners was influenced by Jane Austen's approach to fiction. He anonymously published Precaution which received modestly favorable notice in the United States and England. By contrast, his second novel The Spy (1821) was inspired by an American tale related to him by neighbor and family friend John Jay. It became the first novel written by an American to become a bestseller at home and abroad, requiring several re-printings to satisfy demand. Set in the "Neutral Ground" between British and American forces and their guerrilla allies in Westchester County, New York, the action centers around spying and skirmishing taking place in and around what is widely believed to be John Jay's family home "The Locusts" in Rye, New York of which a portion still exists today as the historic Jay Estate. Following on a swell of popularity, Cooper published The Pioneers, the first of the Leatherstocking series in 1823. The series features the inter-racial friendship of Natty Bumppo, a resourceful American woodsman who is at home with the Delaware Indians and their chief Chingachgook. Bumppo was also the main character of Cooper's most famous novel The Last of the Mohicans (1826), written in New York City where Cooper and his family lived from 1822 to 1826. The book became one of the more widely read American novels of the 19th century. At this time, Cooper had been living in New York on Beach Street in what is now downtown's Tribeca. In 1823, he became a member of the American Philosophical Society in Philadelphia. In August of that same year, his first son died. He organized the influential Bread and Cheese Club that brought together American writers, editors, artists, scholars, educators, art patrons, merchants, lawyers, politicians, and others. In 1824, General Lafayette arrived from France aboard the Cadmus at Castle Garden in New York City as the nation's guest. Cooper witnessed his arrival and was one of the active committee of welcome and entertainment. Europe In 1826, Cooper moved his family to Europe, where he sought to gain more income from his books, provide better education for his children, improve his health, and observe European manners and politics firsthand. While overseas, he continued to write. His books published in Paris include The Prairie, the third Leather-Stocking Tale in which Natty Bumppo dies in the western land newly acquired by Jefferson as the Louisiana Purchase. There he also published The Red Rover and The Water Witch, two of his many sea stories. During his time in Paris, the Cooper family became active in the small American expatriate community. He became friends with painter (and later inventor) Samuel Morse and with French general and American Revolutionary War hero Gilbert du Motier, Marquis de Lafayette. Cooper admired the patrician liberalism of Lafayette, who sought to recruit him to his causes, and eulogized him as a man who "dedicated youth, person, and fortune, to the principles of liberty." Cooper's distaste for the corruption of the European aristocracy, especially in England and France, grew as he observed them manipulate the legislature and judiciary to the exclusion of other classes. In 1832, he entered the lists as a political writer in a series of letters to Le National, a Parisian journal. He defended the United States against a string of charges brought by the Revue Britannique. For the rest of his life, he continued skirmishing in print, sometimes for the national interest, sometimes for that of the individual, and frequently for both at once. This opportunity to make a political confession of faith reflected the political turn that he already had taken in his fiction, having attacked European anti-republicanism in The Bravo (1831). Cooper continued this political course in The Heidenmauer (1832) and The Headsman: or the Abbaye of Vigneron (1833). The Bravo depicted Venice as a place where a ruthless oligarchy lurks behind the mask of the "serene republic". All were widely read on both sides of the Atlantic, though some Americans accused Cooper of apparently abandoning American life for European—not realizing that the political subterfuges in the European novels were cautions directed at his American audiences. Thus The Bravo was roughly treated by some critics in the United States. Back to America In 1833, Cooper returned to the United States and published A Letter to My Countrymen in which he gave his criticism of various social and political mores. Promotional material from a modern publisher summarize his goals as follows: A Letter To My Countrymen remains Cooper's most trenchant work of social criticism. In it, he defines the role of the "man of letters" in a republic, the true conservative, the slavery of party affiliations, and the nature of the legislative branch of government. He also offers her most persuasive argument on why America should develop its own art and literary culture, ignoring the aristocratically tainted art of Europe. Influenced by the ideals of classical republicanism, Cooper feared that the orgy of speculation he witnessed was destructive of civic virtue and warned Americans that it was a "mistake to suppose commerce favorable to liberty"; doing so would lead to a new "moneyed aristocracy." Drawing upon philosophers such as Jean-Jacques Rousseau, Burlamaqui, and Montesquieu, Cooper's political ideas were both democratic, deriving from the consent of the governed, and liberal, concerned with the rights of the individual. In the later 1830s—despite his repudiation of authorship in A Letter To My Countrymen—he published Gleanings in Europe, five volumes of social and political analysis of his observations and experiences in Europe. His two novels Homeward Bound and Home as Found also criticize the flamboyant financial speculation and toadyism he found on his return; some readers and critics attacked the works for presenting a highly idealized self-portrait, which he vigorously denied. In June 1834, Cooper decided to reopen his ancestral mansion Otsego Hall at Cooperstown. It had long been closed and falling into decay; he had been absent from the mansion nearly 16 years. Repairs were begun, and the house was put in order. At first, he wintered in New York City and summered in Cooperstown, but eventually he made Otsego Hall his permanent home. On May 10, 1839, Cooper published History of the Navy of the United States of America, a work that he had long planned on writing. He publicly announced his intentions to author such a historical work while abroad before departing for Europe in May 1826, during a parting speech at a dinner given in his honor: Encouraged by your kindness, ... I will take this opportunity of recording the deeds and sufferings of a class of men to which this nation owes a debt of gratitude—a class of men among whom, I am always ready to declare, not only the earliest, but many of the happiest days of my youth have been passed. Historical and nautical work His historical account of the U.S. Navy was well received, though his account of the roles played by the American leaders in the Battle of Lake Erie led to years of disputes with their descendants, as noted below. Cooper had begun thinking about this massive project in 1824, and concentrated on its research in the late 1830s. His close association with the U.S. Navy and various officers, and his familiarity with naval life at sea provided him the background and connections to research and write this work. Cooper's work is said to have stood the test of time and is considered an authoritative account of the U.S. Navy during that time. In 1844, Cooper's Proceedings of the naval court martial in the case of Alexander Slidell Mackenzie, a commander in the navy of the United States, &c:, was first published in Graham's Magazine of 1843–44. It was a review of the court martial of Alexander Slidell Mackenzie who had hanged three crew members of the brig USS Somers for mutiny while at sea. One of the hanged men, 19-year-old Philip Spencer, was the son of U.S. Secretary of War John C. Spencer. He was executed without court-martial along with two other sailors aboard the Somers for allegedly attempting mutiny. Prior to this affair, Cooper and Mackenzie had disputed each other's version of the Battle of Lake Erie. However, recognizing the need for absolute discipline in a warship at sea, Cooper still felt sympathetic to Mackenzie over his pending court martial. In 1843, an old shipmate, Ned Myers, re-entered Cooper's life. To assist him—and hopefully to cash in on the popularity of maritime biographies—Cooper wrote Myers's story which he published in 1843 as Ned Myers, or a Life before the Mast, an account of a common seaman still of interest to naval historians. In 1846, Cooper published Lives of Distinguished American Naval Officers covering the biographies of William Bainbridge, Richard Somers, John Shaw, John T. Shubrick, and Edward Preble. Cooper died in 1851. In May 1853, Cooper's Old Ironsides appeared in Putnam's Monthly. It was the history of the Navy ship and, after European and American Scenery Compared, 1852, was one of several posthumous publication of his writings. In 1856, five years after Cooper's death, his History of the Navy of the United States of America was re-published in an expanded edition. The work was an account of the U.S. Navy in the early 19th century, through the Mexican War. Among naval historians of today, the work has come to be recognized as a general and authoritative account. However, it was criticized for accuracy on some points by some contemporaries, especially those engaged in the disputes over the roles of their relatives in Cooper's separate history of the Battle of Lake Erie. Whig editors of the period regularly attacked anything Cooper wrote, leading him to numerous suits for libel, for example against Park Benjamin, Sr., a poet and editor of the Evening Signal of New York. Critical reaction Cooper's writings of the 1830s related to current politics and social issues, coupled with his perceived self-promotion, increased the ill feeling between the author and some of the public. Criticism in print of his naval histories and the two Home novels came largely from newspapers supporting The Whig party, reflecting the antagonism between the Whigs and their opposition, the Democrats, whose policies Cooper often favored. Cooper's father William had been a staunch Federalist, a party now defunct but some of whose policies supporting large-scale capitalism the Whigs endorsed. Cooper himself had come to admire Thomas Jefferson, the bete-noire of the Federalists, and had supported Andrew Jackson's opposition to a National Bank. Never one to shrink from defending his personal honor and his sense of where the nation was erring, Cooper filed legal actions for libel against several Whig editors; his success with most of his lawsuits ironically led to more negative publicity from the Whig establishment. Buoyed by his frequent victories in court, Cooper returned to writing with more energy and success than he had had for several years. As noted above, on May 10, 1839, he published his History of the U.S. Navy; his return to the Leatherstocking Tales series with The Pathfinder, or The Inland Sea (1840) and The Deerslayer (1841) brought him renewed favorable reviews. But on occasion he returned to addressing public issues, most notably with a trilogy of novels called the Littlepage Manuscripts addressing the issues of the anti-rent wars. Public sentiment largely favored the anti-renters, and Cooper's reviews again were largely negative. Later life Faced with competition from younger writers and magazine serialization, and lower prices for books resulting from new technologies, Cooper simply wrote more in his last decade than in either of the previous two. Half of his thirty-two novels were written in the 1840s. They may be grouped into three categories: Indian romances, maritime fiction, and political and social controversy—though the categories often overlap. The 1840s began with the last two novels featuring Natty Bumppo, both critical and reader successes: The Pathfinder (1840) and The Deerslayer (1841). Wyandotte, his last novel set in the Revolutionary War, followed in 1843 and Oak Openings in 1848. The nautical works were Mercedes of Castile (in which Columbus appears, 1840),The Two Admirals (British and French fleets in battle, 1842), Wing-And-Wing (a French privateer fighting the British in 1799, 1842), Afloat and Ashore (two volumes exploring a young man growing up, 1844), Jack Tier (a vicious smuggler in the Mexican-American War, 1848), and The Sea Lions (rival sealers in the Antarctic, 1849). He also turned from pure fiction to the combination of art and controversy in which he achieved notoriety in the novels of the previous decade. His Littlepage Manuscripts trilogy--Satanstoe (1845), The Chainbearer (1845), and The Redskins (1846)--dramatized issues of land ownership in response to renters in the 1840s opposing the long leases common in the old Dutch settlements in the Hudson Valley. He tried his hand with serialization with The Autobiography of a Pocket Handkerchief, first published in Graham's Magazine in 1843, a satire on contemporary nouveau riche. In The Crater, or Vulcan's Peak (1847) he introduced supernatural machinery to show the decline of an ideal society in the South Seas when demagogues prevail. The Ways of the Hour, his last completed novel, portrayed a mysterious and independent young woman defending herself against criminal charges. Cooper spent the last years of his life back in Cooperstown. He died on September 14, 1851, the day before his 62nd birthday. He was buried in the Christ Episcopal Churchyard, where his father, William Cooper, was buried. Cooper's wife Susan survived her husband only by a few months and was buried by his side at Cooperstown. Several well-known writers, politicians, and other public figures honored Cooper's memory with a memorial in New York, six months after his death, in February 1852. Daniel Webster gave a speech to the gathering while Washington Irving served as a co-chairman, along with William Cullen Bryant, who also gave an address which did much to restore Cooper's damaged reputation among American writers of the time. Religious activities Cooper's father was a lapsed Quaker; probably influenced by his wife's family, the DeLanceys, Cooper in his fiction often favorably depicted clergy of the Episcopal Church, though Calvinist ministers came in for their share of both admiring and critical treatment. In the 1840s as Cooper increasingly despaired over the United States maintaining the vision and promise of the Constitution, his fiction increasingly turned to religious themes. In The Wing-And-Wing, 1842, the hero, a French revolutionary free-thinker, loses the Italian girl he loves because he cannot accept her simple Christianity. In contrast, in the 1849 The Sea Lions the hero wins his beloved only after a spiritual transformation while marooned in the Antarctic. And the 1848 The Oak Openings features a pious Parson Amen who wins the admiration of the Indians who kill him, praying for them during torture. After establishing permanent residence in Cooperstown, Cooper became active in Christ Episcopal Church, taking on the roles of warden and vestryman. As the vestryman, he donated generously to this church and later supervised and redesigned its interior with oak furnishings at his own expense. He was also energetic as a representative from Cooperstown to various regional conventions of the Episcopal church. But only several months before his death, in July 1851, was he confirmed in this church by his brother-in-law, the Reverend William H. DeLancey. Legacy Cooper was one of the more popular 19th-century American authors, and his work was admired greatly throughout the world. While on his death bed, the Austrian composer Franz Schubert wanted most to read more of Cooper's novels. Honoré de Balzac, the French novelist and playwright, admired him greatly. Henry David Thoreau, while attending Harvard, incorporated some of Cooper's style in his own work. D.H. Lawrence believed that Turgenev, Tolstoy, Dostoyevsky, Maupassant, and Flaubert were all "so very obvious and coarse, besides the lovely, mature and sensitive art of Fennimore Cooper." Lawrence called The Deerslayer "one of the most beautiful and perfect books in the world: flawless as a jewel and of gem-like concentration." Cooper's work, particularly The Pioneers and The Pilot, demonstrate an early 19th-century American preoccupation with alternating prudence and negligence in a country where property rights were often still in dispute. Cooper was one of the early major American novelists to include African, African-American and Native American characters in his works. In particular, Native Americans play central roles in his Leatherstocking Tales. However, his treatment of this group is complex and highlights the relationship between frontier settlers and American Indians as exemplified in The Wept of Wish-ton-Wish, depicting a captured white girl who marries an Indian chief and has a baby with him, but after several years is eventually returned to her parents. Often, he gives contrasting views of Native characters to emphasize their potential for good, or conversely, their proclivity for mayhem. Last of the Mohicans includes both the character of Magua, who fearing the extinction of his race at the hands of the whites savagely betrays them, as well as Chingachgook, the last chief of the Mohicans, who is portrayed as Natty Bumppo's noble, courageous, and heroic counterpart. In 1831, Cooper was elected into the National Academy of Design as an Honorary Academician. According to Tad Szulc, Cooper was a devotee of Poland's causes (uprisings to regain Polish sovereignty). He organized a club in Paris to support the rebels, and brought flags of the defeated Polish rebel regiment from Warsaw to present them to the exiled leaders in Paris. With his friend the Marquis de La Fayette, he supported liberals during the regime changes in France and elsewhere in the 1830s. . Though some scholars have hesitated to classify Cooper as a strict Romantic, Victor Hugo pronounced him greatest novelist of the century outside France. Honoré de Balzac, while mocking a few of Cooper's novels ("rhapsodies") and expressing reservations about his portrayal of characters, enthusiastically called The Pathfinder a masterpiece and professed great admiration for Cooper's portrayal of nature, only equalled in his view by Walter Scott. Mark Twain, the ultimate Realist, criticized the Romantic plots and overwrought language of The Deerslayer and The Pathfinder in his satirical but shrewdly observant essay, "Fenimore Cooper's Literary Offenses" (1895). Cooper was also criticized heavily in his day for his depiction of women characters in his work. James Russell Lowell, Cooper's contemporary and a critic, referred to it poetically in A Fable for Critics, writing, "... the women he draws from one model don't vary / All sappy as maples and flat as a prairie." Cooper's lasting reputation today rests largely upon the five Leatherstocking Tales. In his 1960 study focusing on romantic relationships, both hetero- and homo-sexual, literary scholar Leslie Fiedler opines that with the exception of the five Natty Bumppo-Chingachgook novels, Cooper's "collected works are monumental in their cumulative dullness." More recent criticism views all thirty-two novels in the context of Cooper's responding to changing political, social, and economic realities in his time period. Cooper was honored on a U.S. commemorative stamp, the Famous American series, issued in 1940. Three dining halls at the State University of New York at Oswego are named in Cooper's remembrance (Cooper Hall, The Pathfinder, and Littlepage) because of his temporary residence in Oswego and for setting some of his works there. Cooper Park in Michigan's Comstock Township is named after him. The New Jersey Turnpike has a James Fenimore Cooper service area, recognizing his birth in the state. The gilded and red tole chandelier hanging in the library of the White House in Washington DC is from the family of James Fenimore Cooper. It was brought there through the efforts of First Lady Jacqueline Kennedy in her great White House restoration. The James Fenimore Cooper Memorial Prize at New York University is awarded annually to an outstanding undergraduate student of journalism. In 2013, Cooper was inducted into the New York Writers Hall of Fame. Cooper's novels were very popular in the rest of the world, including, for instance, Russia. In particular, great interest of the Russian public in Cooper's work was primarily incited by the novel The Pathfinder, which the renowned Russian literary critic Vissarion Belinsky declared to be "a Shakespearean drama in the form of a novel". The author was more recognizable by his middle name, Fenimore, exotic to many in Russia. This name became a symbol of exciting adventures among Russian readers. For example, in the 1977 Soviet movie The Secret of Fenimore (), being the third part of a children's television mini-series Three Cheerful Shifts (, see ), tells of a mysterious stranger known as Fenimore, visiting a boys' dorm in a summer camp nightly and relating fascinating stories about Indians and extraterrestrials. Works Notes References Bibliography ; James Fenimore Cooper: The Later Years, Yale University Press, 2017. p. 805 . Primary sources Url1 Url Url ——— (1852). The Chainbearer, Or The Littlepage Manuscripts, Stringer and Townsend, 228 pages; eBook Further reading Clavel, Marcel (1938). Fenimore Cooper and his critics: American, British and French criticisms of the novelist's early work, Imprimerie universitaire de Provence, E. Fourcine, 418 pages; Book Darnell, Donald. (1993). James Fenimore Cooper: Novelist of Manners, Newark, Univ. of Delaware Dekker, George (2017). James Fenimore Cooper the Novelist, Routledge, 2017, ISBN 9781351580014 Doolen, Andy (2005). Fugitive Empire: Locating Early American Imperialism, Minneapolis: Univ. of Minnesota P. Franklin, Wayne (1982). The New World of James Fenimore Cooper, Chicago: Univ. of Chicago P, Book –—— (2007). James Fenimore Cooper: The Early Years, New Haven: Yale UP, Book Krauthammer, Anna. The Representation of the Savage in James Fenimore Cooper and Herman Melville. NY: Peter Lang, 2008. Long, Robert Emmet (1990). James Fenimore Cooper, NY: Continuum. , MacDougall, Hugh C. (1993). Where Was James? A James Fenimore Cooper Chronology from 1789–1851. Cooperstown: James Fenimore Cooper Soc. Rans, Geoffrey (1991). Cooper's Leather-Stocking Novels: A Secular Reading. Chapel Hill: Univ. of North Carolina Redekop, Ernest H., ed. (1989). James Fenimore Cooper, 1789–1989: Bicentennial Essays, Canadian Review of American Studies, entire special issue, vol. 20, no. 3 (Winter 1989), pp. 1–164. Reid, Margaret (2004). Cultural Secrets as Narrative Form: Storytelling in Nineteenth-Century America. Columbus: Ohio State UP Ringe, Donald A. (1988). James Fenimore Cooper. Boston: Twayne. Romero, Lora (1997). Home Fronts: Domesticity and Its Critics in the Antebellum United States. Durham: Duke UP Smith, Lindsey C. (2008). Indians, Environment, and Identity on the Borders of American Literature: From Faulkner and Morrison to Walker and Silko. NY: Palgrave Macmillan. Verhoeven, W.M. (1993). James Fenimore Cooper: New Historical and Literary Contexts. Rodopi publishers. . Book Google. External links James Fenimore Cooper at Open Library James Fenimore Cooper Society Homepage Finding Aid for the James Fenimore Cooper Collection of Papers, 1825–1904, New York Public Library James Fenimore Cooper Letters and Manuscript Fragments. Available online though Lehigh University's I Remain: A Digital Archive of Letters, Manuscripts, and Ephemera "Writings of James Fenimore Cooper" from C-SPAN's American Writers: A Journey Through History "Fenimore Cooper's Literary Offenses", an essay by Mark Twain James Fenimore Cooper Collection. Yale Collection of American Literature, Beinecke Rare Book and Manuscript Library. 1789 births 1851 deaths 19th-century American novelists American expatriates in France American historical novelists American male novelists American naval historians American people of English descent Christian writers Deaths from edema Hall of Fame for Great Americans inductees People from Burlington, New Jersey People from Cooperstown, New York People from Scarsdale, New York Romanticism United States Navy officers Writers of historical fiction set in the modern age Knickerbocker Group Novelists from New Jersey American male non-fiction writers Historians from New York (state) Historians from New Jersey	true	[ "Edward F. \"Foxy Ed\" Cullerton (1841–1920) was a politician who was a longtime alderman of the Chicago City Council, and also served as a member of the Illinois Senate.\n\nEarly life and career\nCullerton was born in Chicago in 1842. Cullerton's family were some of the original settlers of Chicago.\n\nCullerton was educated in public schools. He dropped out of elementary school to work as a canalboat driver.\n\nCullerton was a successful saloon (hotel) keeper.\n\nPolitical career\nCullerton was a Democrat.\n\nIn 1871, Cullerton was elected an alderman of the Chicago Common Council for the 7th ward. He had been elected by a large majority. He continued to serve until 1876. Cullerton also simultaneously served as an Illinois State Senator, having been elected to that position in 1872, and assuming it in 1873. In the Illinois Senate he distinguished himself by standing as an opponent to the West Side Park Commissioners' taxation scheme, and also became well-versed in parliamentary procedure.\n\nIn 1876, Cullerton was elected an alderman of what, that year, was renamed the Chicago City Council for the 6th ward. In 1888, he was redistricted to the 9th ward, where he served until 1892. During part of this tenure, he was Chairman of the Finance Committee.\n\nIn 1898, Cullerton was again elected alderman for the 9th ward. He served until 1900.\n\nIn 1901, Cullerton was elected alderman for the 11th ward. He served until his death in 1920. At the time of his death, having served as an alderman for a cumulative 48 years, he was the longest-serving alderman in the history of the Chicago City Council, a record he would continue to hold for many years. Cullerton died in his home on February 1, 1920 at the age of 78.\n\nCullerton had a reputation for being shrewd and for being quiet, giving birth to his nickname \"Foxy Ed\". He was despised by proponents of clean government, but well-liked by voters in his own ward.\n\nLegacy\nCullerton Street in Chicago, previously known as 20th Street, was named for him shortly after his death. His residence, at the time of his death, had been on this street.\n\nFamily political dynasty\nCullerton began what has become a Cullerton family political dynasty.\n\nFor a cumulative period of 112 years, at least one member of the Cullerton family sat on the Chicago City Council. A series of Cullerton's descendants would hold the aldermanship of the 38th ward, including William J. Cullerton, Thomas W. Cullerton, and Timothy Cullerton. Also, family in-law Thomas R. Allen held this seat.\n\nP.J. \"Parky\" Cullerton was an ally of Richard J. Daley and served as Cook County Assessor. He also served as the 38th ward Democratic committeeman.\n\nPatti Jo \"P.J.\" Cullerton, served as the 38th ward Democratic committeewoman for over 20 years.\n\nJohn Cullerton (his great-grandnephew) served as president of the Illinois Senate, and Tom Cullerton served as an Illinois state senator as well.\n\nReferences\n\nChicago City Council members\nIllinois state senators\nIllinois Democrats\n1841 births\n1920 deaths", "William Fanshawe (1583 – 4 March 1634) was an English politician who sat in the House of Commons between 1614 and 1625.\n\nLife\nFanshawe was the second son of Thomas Fanshawe, of Ware Park, Hertfordshire and his second wife Joan Smyth, the daughter of Thomas \"Customer\" Smythe, of Ostenhanger.\n\nLandowner\nIn 1619, Fanshawe purchased Parsloes Manor and 91 acres attached to it in what is now known as Parsloes Park in Dagenham £1150 from Edward Osborne.\n\nCareer\nFanshawe was Auditor for the Duchy of Lancaster. In 1614 he was elected Member of Parliament for Lancaster and entered the East India Company. In 1619, he acquired the manor of Parsloes, Essex, which was held by his descendants until 1917. He was elected MP for Clitheroe in 1621 and was re-elected MP for Clitheroe in 1624 and 1625.\n\nFanshawe died at the age of 51. William Fanshawe was the progenitor of the Parsloes Branch of the Fanshawe family. Robert Fanshawe was a descendant of William.\n\nReferences\n\n \n\n1583 births\n1634 deaths\nEnglish MPs 1614\nEnglish MPs 1621–1622\nEnglish MPs 1624–1625\nEnglish MPs 1625" ]
[ "James Fenimore Cooper", "Early life and family", "Where was he born", "James Fenimore Cooper was born in Burlington, New Jersey", "What year and to whom was he born", "1789 to William Cooper and Elizabeth (Fenimore) Cooper,", "How many children did they have", "eleventh of 12 children, most of whom died during infancy or childhood.", "Who was he related to", "He was descended from James Cooper of Stratford-upon-Avon, Warwickshire, England, who immigrated to the American colonies in 1679.", "What happened to him as a boy", "Shortly after James' first birthday, his family moved to Cooperstown, New York, a community founded by his father on a large piece of land which he had bought for development.", "What was the family elected for", "Later, his father was elected to the United States Congress as a representative from Otsego County." ]	C_c07ca1fd770642a28fa1c803c51c17b0_1	What was special about the towns location	7	What was special about the town of James Fenimore Cooper's location?	James Fenimore Cooper	James Fenimore Cooper was born in Burlington, New Jersey in 1789 to William Cooper and Elizabeth (Fenimore) Cooper, the eleventh of 12 children, most of whom died during infancy or childhood. He was descended from James Cooper of Stratford-upon-Avon, Warwickshire, England, who immigrated to the American colonies in 1679. Shortly after James' first birthday, his family moved to Cooperstown, New York, a community founded by his father on a large piece of land which he had bought for development. Later, his father was elected to the United States Congress as a representative from Otsego County. Their town was in a central area of New York that had previously been occupied by the Iroquois, who had allied themselves with the British during the Revolutionary War and were forced to cede the territory after British defeat. The State of New York opened the land for sale and development after the war, and Cooper's father purchased several thousand acres in upstate along the headwaters of the Susquehanna River. By 1788, William Cooper had selected and surveyed the site where Cooperstown would be established. He erected a home on the shore of Otsego lake and moved his family there in the autumn of 1790. He soon began construction of the mansion that became known as Otsego Hall, completed in 1799 when James was ten. Cooper was enrolled at Yale University at age 13, but he incited a dangerous prank which involved blowing up another student's door -- after having already locked a donkey in a recitation room. He was expelled in his third year without completing his degree, so he obtained work in 1806 as a sailor and joined the crew of a merchant vessel at age 17. By 1811, he obtained the rank of midshipman in the fledgling United States Navy, conferred upon him on an officer's warrant signed by Thomas Jefferson. At 20, Cooper inherited a fortune from his father. He married Susan Augusta de Lancey at Mamaroneck, Westchester County, New York on January 1, 1811 at age 21. She was from a wealthy family who remained loyal to Great Britain during the Revolution. The Coopers had seven children, five of whom lived to adulthood. Their daughter Susan Fenimore Cooper was a writer on nature, female suffrage, and other topics. She and her father often edited each other's work. Among his descendants was Paul Fenimore Cooper (1899-1970), who also became a writer. CANNOTANSWER	representative from Otsego County. Their town was in a central area of New York that had previously been occupied by the Iroquois,	James Fenimore Cooper (September 15, 1789 – September 14, 1851) was an American writer of the first half of the 19th century. His historical romances depicting colonist and Indigenous characters from the 17th to the 19th centuries created a unique form of American literature. He lived much of his boyhood and the last fifteen years of life in Cooperstown, New York, which was founded by his father William Cooper on property that he owned. Cooper became a member of the Episcopal Church shortly before his death and contributed generously to it. He attended Yale University for three years, where he was a member of the Linonian Society. After a stint on a commercial voyage, Cooper served in the U.S. Navy as a midshipman, where he learned the technology of managing sailing vessels which greatly influenced many of his novels and other writings. The novel that launched his career was The Spy, a tale about espionage set during the American Revolutionary War and published in 1821. He also created American sea stories. His best-known works are five historical novels of the frontier period, written between 1823 and 1841, known as the Leatherstocking Tales, which introduced the iconic American frontier scout, Natty Bumppo. Cooper's works on the U.S. Navy have been well received among naval historians, but they were sometimes criticized by his contemporaries. Among his more famous works is the romantic novel The Last of the Mohicans, often regarded as his masterpiece. Throughout his career, he published numerous social, political, and historical works of fiction and non-fiction with the objective of countering European prejudices and nurturing an original American art and culture. Early life and family James Fenimore Cooper was born in Burlington, New Jersey, in 1789 to William Cooper and Elizabeth (Fenimore) Cooper, the eleventh of 12 children, half of whom died during infancy or childhood. Shortly after James' first birthday, his family moved to Cooperstown, New York, a community founded by his father on a large piece of land which he had bought for development. Later, his father was elected to the United States Congress as a representative from Otsego County. Their town was in a central area of New York along the headwaters of the Susquehanna River that had previously been patented to Colonel George Croghan by the Province of New York in 1769. Croghan mortgaged the land before the Revolution and after the war part of the tract was sold at public auction to William Cooper and his business partner Andrew Craig. By 1788, William Cooper had selected and surveyed the site where Cooperstown would be established. He erected a home on the shore of Otsego Lake and moved his family there in the autumn of 1790. Several years later he began construction of the mansion that became known as Otsego Hall, completed in 1799 when James was ten. Cooper was enrolled at Yale University at age 13, but he incited a dangerous prank which involved blowing up another student's door—after having already locked a donkey in a recitation room. He was expelled in his third year without completing his degree, so he obtained work in 1806 as a sailor and joined the crew of a merchant vessel at age 17. By 1811, he obtained the rank of midshipman in the fledgling United States Navy, conferred upon him by an officer's warrant signed by Thomas Jefferson. William Cooper died when James was 20; all five of his sons inherited a supposed-large fortune in money, securities, and land titles, which soon proved to be a wealth of endless litigation. He married Susan Augusta de Lancey at Mamaroneck, Westchester County, New York on January 1, 1811, at age 21. She was from a wealthy family who remained loyal to Great Britain during the Revolution. The Coopers had seven children, five of whom lived to adulthood. Their daughter Susan Fenimore Cooper was a writer on nature, female suffrage, and other topics. Her father edited her works and secured publishers for them. One son, Paul Fenimore Cooper, became a lawyer and perpetuated the author's lineage to the present. Service in the Navy In 1806 at the age of 17, Cooper joined the crew of the merchant ship Sterling as a common sailor. At the time, the Sterling was commanded by young John Johnston from Maine. Cooper served as a common seaman before the mast. His first voyage took some 40 stormy days at sea and brought him to an English market in Cowes where they sought information on where best to unload their cargo of flour. There Cooper saw his first glimpses of England. Britain was in the midst of war with Napoleon's France at the time, so their ship was immediately approached by a British man-of-war and was boarded by some of its crew. They seized one of the Sterling's best crew members and impressed him into the British Royal Navy. Cooper thus first encountered the power of his country's former colonial master, which led to a lifelong commitment to helping create an American art independent culturally as well as politically from the former mother country. Their next voyage took them to the Mediterranean along the coast of Spain, including Águilas and Cabo de Gata, where they picked up cargo to be taken to London and unloaded. Their stay in Spain lasted several weeks and impressed the young sailor, the accounts of which Cooper later referred to in his Mercedes of Castile, a novel about Columbus. After serving aboard the Sterling for 11 months, he joined the United States Navy on January 1, 1808, when he received his commission as a midshipman. Cooper had conducted himself well as a sailor, and his father, a former U.S. Congressman, easily secured a commission for him through his long-standing connections with politicians and naval officials. The warrant for Cooper's commission as midshipman was signed by President Jefferson and mailed by Naval Secretary Robert Smith, reaching Cooper on February 19. On February 24, he received orders to report to the naval commander at New York City. Joining the United States Navy fulfilled an aspiration he had had since his youth. Cooper's first naval assignment came on March 21, 1808, aboard the , an 82-foot bomb ketch that carried twelve guns and a thirteen-inch mortar. For his next assignment, he served under Lieutenant Melancthon Taylor Woolsey near Oswego on Lake Ontario, overseeing the building of the brig for service on the lake. The vessel was intended for use in a war with Great Britain which had yet to begin. The vessel was completed, armed with sixteen guns, and launched in Lake Ontario in the spring of 1809. It was in this service that Cooper learned shipbuilding, shipyard duties and frontier life. During his leisure time, Cooper would venture through the forests of New York state and explore the shores of Lake Ontario. He occasionally ventured into the Thousand Islands. His experiences in the Oswego area later inspired some of his work, including his novel The Pathfinder. After completion of the Oneida in 1809, Cooper accompanied Woolsey to Niagara Falls, who then was ordered to Lake Champlain to serve aboard a gunboat until the winter months when the lake froze over. Cooper himself returned from Oswego to Cooperstown and then New York. On November 13 of the same year, he was assigned to the under the command of Captain James Lawrence, who was from Burlington and became a personal friend of Cooper's. Aboard this ship, he met his lifelong friend William Branford Shubrick, who was also a midshipman at the time. Cooper later dedicated The Pilot, The Red Rover, and other writings to Shubrick. Assigned to humdrum recruiting tasks rather than exciting voyages, Cooper resigned his commission from the navy in spring 1810; in the same time period he met, wooed, and became engaged to Susan Augusta de Lancey, whom be married on January 1, 1811. Writings First endeavors In 1820, when reading a contemporary novel to his wife Susan, he decided to try his hand at fiction, resulting in a neophyte novel set in England he called Precaution (1820). Its focus on morals and manners was influenced by Jane Austen's approach to fiction. He anonymously published Precaution which received modestly favorable notice in the United States and England. By contrast, his second novel The Spy (1821) was inspired by an American tale related to him by neighbor and family friend John Jay. It became the first novel written by an American to become a bestseller at home and abroad, requiring several re-printings to satisfy demand. Set in the "Neutral Ground" between British and American forces and their guerrilla allies in Westchester County, New York, the action centers around spying and skirmishing taking place in and around what is widely believed to be John Jay's family home "The Locusts" in Rye, New York of which a portion still exists today as the historic Jay Estate. Following on a swell of popularity, Cooper published The Pioneers, the first of the Leatherstocking series in 1823. The series features the inter-racial friendship of Natty Bumppo, a resourceful American woodsman who is at home with the Delaware Indians and their chief Chingachgook. Bumppo was also the main character of Cooper's most famous novel The Last of the Mohicans (1826), written in New York City where Cooper and his family lived from 1822 to 1826. The book became one of the more widely read American novels of the 19th century. At this time, Cooper had been living in New York on Beach Street in what is now downtown's Tribeca. In 1823, he became a member of the American Philosophical Society in Philadelphia. In August of that same year, his first son died. He organized the influential Bread and Cheese Club that brought together American writers, editors, artists, scholars, educators, art patrons, merchants, lawyers, politicians, and others. In 1824, General Lafayette arrived from France aboard the Cadmus at Castle Garden in New York City as the nation's guest. Cooper witnessed his arrival and was one of the active committee of welcome and entertainment. Europe In 1826, Cooper moved his family to Europe, where he sought to gain more income from his books, provide better education for his children, improve his health, and observe European manners and politics firsthand. While overseas, he continued to write. His books published in Paris include The Prairie, the third Leather-Stocking Tale in which Natty Bumppo dies in the western land newly acquired by Jefferson as the Louisiana Purchase. There he also published The Red Rover and The Water Witch, two of his many sea stories. During his time in Paris, the Cooper family became active in the small American expatriate community. He became friends with painter (and later inventor) Samuel Morse and with French general and American Revolutionary War hero Gilbert du Motier, Marquis de Lafayette. Cooper admired the patrician liberalism of Lafayette, who sought to recruit him to his causes, and eulogized him as a man who "dedicated youth, person, and fortune, to the principles of liberty." Cooper's distaste for the corruption of the European aristocracy, especially in England and France, grew as he observed them manipulate the legislature and judiciary to the exclusion of other classes. In 1832, he entered the lists as a political writer in a series of letters to Le National, a Parisian journal. He defended the United States against a string of charges brought by the Revue Britannique. For the rest of his life, he continued skirmishing in print, sometimes for the national interest, sometimes for that of the individual, and frequently for both at once. This opportunity to make a political confession of faith reflected the political turn that he already had taken in his fiction, having attacked European anti-republicanism in The Bravo (1831). Cooper continued this political course in The Heidenmauer (1832) and The Headsman: or the Abbaye of Vigneron (1833). The Bravo depicted Venice as a place where a ruthless oligarchy lurks behind the mask of the "serene republic". All were widely read on both sides of the Atlantic, though some Americans accused Cooper of apparently abandoning American life for European—not realizing that the political subterfuges in the European novels were cautions directed at his American audiences. Thus The Bravo was roughly treated by some critics in the United States. Back to America In 1833, Cooper returned to the United States and published A Letter to My Countrymen in which he gave his criticism of various social and political mores. Promotional material from a modern publisher summarize his goals as follows: A Letter To My Countrymen remains Cooper's most trenchant work of social criticism. In it, he defines the role of the "man of letters" in a republic, the true conservative, the slavery of party affiliations, and the nature of the legislative branch of government. He also offers her most persuasive argument on why America should develop its own art and literary culture, ignoring the aristocratically tainted art of Europe. Influenced by the ideals of classical republicanism, Cooper feared that the orgy of speculation he witnessed was destructive of civic virtue and warned Americans that it was a "mistake to suppose commerce favorable to liberty"; doing so would lead to a new "moneyed aristocracy." Drawing upon philosophers such as Jean-Jacques Rousseau, Burlamaqui, and Montesquieu, Cooper's political ideas were both democratic, deriving from the consent of the governed, and liberal, concerned with the rights of the individual. In the later 1830s—despite his repudiation of authorship in A Letter To My Countrymen—he published Gleanings in Europe, five volumes of social and political analysis of his observations and experiences in Europe. His two novels Homeward Bound and Home as Found also criticize the flamboyant financial speculation and toadyism he found on his return; some readers and critics attacked the works for presenting a highly idealized self-portrait, which he vigorously denied. In June 1834, Cooper decided to reopen his ancestral mansion Otsego Hall at Cooperstown. It had long been closed and falling into decay; he had been absent from the mansion nearly 16 years. Repairs were begun, and the house was put in order. At first, he wintered in New York City and summered in Cooperstown, but eventually he made Otsego Hall his permanent home. On May 10, 1839, Cooper published History of the Navy of the United States of America, a work that he had long planned on writing. He publicly announced his intentions to author such a historical work while abroad before departing for Europe in May 1826, during a parting speech at a dinner given in his honor: Encouraged by your kindness, ... I will take this opportunity of recording the deeds and sufferings of a class of men to which this nation owes a debt of gratitude—a class of men among whom, I am always ready to declare, not only the earliest, but many of the happiest days of my youth have been passed. Historical and nautical work His historical account of the U.S. Navy was well received, though his account of the roles played by the American leaders in the Battle of Lake Erie led to years of disputes with their descendants, as noted below. Cooper had begun thinking about this massive project in 1824, and concentrated on its research in the late 1830s. His close association with the U.S. Navy and various officers, and his familiarity with naval life at sea provided him the background and connections to research and write this work. Cooper's work is said to have stood the test of time and is considered an authoritative account of the U.S. Navy during that time. In 1844, Cooper's Proceedings of the naval court martial in the case of Alexander Slidell Mackenzie, a commander in the navy of the United States, &c:, was first published in Graham's Magazine of 1843–44. It was a review of the court martial of Alexander Slidell Mackenzie who had hanged three crew members of the brig USS Somers for mutiny while at sea. One of the hanged men, 19-year-old Philip Spencer, was the son of U.S. Secretary of War John C. Spencer. He was executed without court-martial along with two other sailors aboard the Somers for allegedly attempting mutiny. Prior to this affair, Cooper and Mackenzie had disputed each other's version of the Battle of Lake Erie. However, recognizing the need for absolute discipline in a warship at sea, Cooper still felt sympathetic to Mackenzie over his pending court martial. In 1843, an old shipmate, Ned Myers, re-entered Cooper's life. To assist him—and hopefully to cash in on the popularity of maritime biographies—Cooper wrote Myers's story which he published in 1843 as Ned Myers, or a Life before the Mast, an account of a common seaman still of interest to naval historians. In 1846, Cooper published Lives of Distinguished American Naval Officers covering the biographies of William Bainbridge, Richard Somers, John Shaw, John T. Shubrick, and Edward Preble. Cooper died in 1851. In May 1853, Cooper's Old Ironsides appeared in Putnam's Monthly. It was the history of the Navy ship and, after European and American Scenery Compared, 1852, was one of several posthumous publication of his writings. In 1856, five years after Cooper's death, his History of the Navy of the United States of America was re-published in an expanded edition. The work was an account of the U.S. Navy in the early 19th century, through the Mexican War. Among naval historians of today, the work has come to be recognized as a general and authoritative account. However, it was criticized for accuracy on some points by some contemporaries, especially those engaged in the disputes over the roles of their relatives in Cooper's separate history of the Battle of Lake Erie. Whig editors of the period regularly attacked anything Cooper wrote, leading him to numerous suits for libel, for example against Park Benjamin, Sr., a poet and editor of the Evening Signal of New York. Critical reaction Cooper's writings of the 1830s related to current politics and social issues, coupled with his perceived self-promotion, increased the ill feeling between the author and some of the public. Criticism in print of his naval histories and the two Home novels came largely from newspapers supporting The Whig party, reflecting the antagonism between the Whigs and their opposition, the Democrats, whose policies Cooper often favored. Cooper's father William had been a staunch Federalist, a party now defunct but some of whose policies supporting large-scale capitalism the Whigs endorsed. Cooper himself had come to admire Thomas Jefferson, the bete-noire of the Federalists, and had supported Andrew Jackson's opposition to a National Bank. Never one to shrink from defending his personal honor and his sense of where the nation was erring, Cooper filed legal actions for libel against several Whig editors; his success with most of his lawsuits ironically led to more negative publicity from the Whig establishment. Buoyed by his frequent victories in court, Cooper returned to writing with more energy and success than he had had for several years. As noted above, on May 10, 1839, he published his History of the U.S. Navy; his return to the Leatherstocking Tales series with The Pathfinder, or The Inland Sea (1840) and The Deerslayer (1841) brought him renewed favorable reviews. But on occasion he returned to addressing public issues, most notably with a trilogy of novels called the Littlepage Manuscripts addressing the issues of the anti-rent wars. Public sentiment largely favored the anti-renters, and Cooper's reviews again were largely negative. Later life Faced with competition from younger writers and magazine serialization, and lower prices for books resulting from new technologies, Cooper simply wrote more in his last decade than in either of the previous two. Half of his thirty-two novels were written in the 1840s. They may be grouped into three categories: Indian romances, maritime fiction, and political and social controversy—though the categories often overlap. The 1840s began with the last two novels featuring Natty Bumppo, both critical and reader successes: The Pathfinder (1840) and The Deerslayer (1841). Wyandotte, his last novel set in the Revolutionary War, followed in 1843 and Oak Openings in 1848. The nautical works were Mercedes of Castile (in which Columbus appears, 1840),The Two Admirals (British and French fleets in battle, 1842), Wing-And-Wing (a French privateer fighting the British in 1799, 1842), Afloat and Ashore (two volumes exploring a young man growing up, 1844), Jack Tier (a vicious smuggler in the Mexican-American War, 1848), and The Sea Lions (rival sealers in the Antarctic, 1849). He also turned from pure fiction to the combination of art and controversy in which he achieved notoriety in the novels of the previous decade. His Littlepage Manuscripts trilogy--Satanstoe (1845), The Chainbearer (1845), and The Redskins (1846)--dramatized issues of land ownership in response to renters in the 1840s opposing the long leases common in the old Dutch settlements in the Hudson Valley. He tried his hand with serialization with The Autobiography of a Pocket Handkerchief, first published in Graham's Magazine in 1843, a satire on contemporary nouveau riche. In The Crater, or Vulcan's Peak (1847) he introduced supernatural machinery to show the decline of an ideal society in the South Seas when demagogues prevail. The Ways of the Hour, his last completed novel, portrayed a mysterious and independent young woman defending herself against criminal charges. Cooper spent the last years of his life back in Cooperstown. He died on September 14, 1851, the day before his 62nd birthday. He was buried in the Christ Episcopal Churchyard, where his father, William Cooper, was buried. Cooper's wife Susan survived her husband only by a few months and was buried by his side at Cooperstown. Several well-known writers, politicians, and other public figures honored Cooper's memory with a memorial in New York, six months after his death, in February 1852. Daniel Webster gave a speech to the gathering while Washington Irving served as a co-chairman, along with William Cullen Bryant, who also gave an address which did much to restore Cooper's damaged reputation among American writers of the time. Religious activities Cooper's father was a lapsed Quaker; probably influenced by his wife's family, the DeLanceys, Cooper in his fiction often favorably depicted clergy of the Episcopal Church, though Calvinist ministers came in for their share of both admiring and critical treatment. In the 1840s as Cooper increasingly despaired over the United States maintaining the vision and promise of the Constitution, his fiction increasingly turned to religious themes. In The Wing-And-Wing, 1842, the hero, a French revolutionary free-thinker, loses the Italian girl he loves because he cannot accept her simple Christianity. In contrast, in the 1849 The Sea Lions the hero wins his beloved only after a spiritual transformation while marooned in the Antarctic. And the 1848 The Oak Openings features a pious Parson Amen who wins the admiration of the Indians who kill him, praying for them during torture. After establishing permanent residence in Cooperstown, Cooper became active in Christ Episcopal Church, taking on the roles of warden and vestryman. As the vestryman, he donated generously to this church and later supervised and redesigned its interior with oak furnishings at his own expense. He was also energetic as a representative from Cooperstown to various regional conventions of the Episcopal church. But only several months before his death, in July 1851, was he confirmed in this church by his brother-in-law, the Reverend William H. DeLancey. Legacy Cooper was one of the more popular 19th-century American authors, and his work was admired greatly throughout the world. While on his death bed, the Austrian composer Franz Schubert wanted most to read more of Cooper's novels. Honoré de Balzac, the French novelist and playwright, admired him greatly. Henry David Thoreau, while attending Harvard, incorporated some of Cooper's style in his own work. D.H. Lawrence believed that Turgenev, Tolstoy, Dostoyevsky, Maupassant, and Flaubert were all "so very obvious and coarse, besides the lovely, mature and sensitive art of Fennimore Cooper." Lawrence called The Deerslayer "one of the most beautiful and perfect books in the world: flawless as a jewel and of gem-like concentration." Cooper's work, particularly The Pioneers and The Pilot, demonstrate an early 19th-century American preoccupation with alternating prudence and negligence in a country where property rights were often still in dispute. Cooper was one of the early major American novelists to include African, African-American and Native American characters in his works. In particular, Native Americans play central roles in his Leatherstocking Tales. However, his treatment of this group is complex and highlights the relationship between frontier settlers and American Indians as exemplified in The Wept of Wish-ton-Wish, depicting a captured white girl who marries an Indian chief and has a baby with him, but after several years is eventually returned to her parents. Often, he gives contrasting views of Native characters to emphasize their potential for good, or conversely, their proclivity for mayhem. Last of the Mohicans includes both the character of Magua, who fearing the extinction of his race at the hands of the whites savagely betrays them, as well as Chingachgook, the last chief of the Mohicans, who is portrayed as Natty Bumppo's noble, courageous, and heroic counterpart. In 1831, Cooper was elected into the National Academy of Design as an Honorary Academician. According to Tad Szulc, Cooper was a devotee of Poland's causes (uprisings to regain Polish sovereignty). He organized a club in Paris to support the rebels, and brought flags of the defeated Polish rebel regiment from Warsaw to present them to the exiled leaders in Paris. With his friend the Marquis de La Fayette, he supported liberals during the regime changes in France and elsewhere in the 1830s. . Though some scholars have hesitated to classify Cooper as a strict Romantic, Victor Hugo pronounced him greatest novelist of the century outside France. Honoré de Balzac, while mocking a few of Cooper's novels ("rhapsodies") and expressing reservations about his portrayal of characters, enthusiastically called The Pathfinder a masterpiece and professed great admiration for Cooper's portrayal of nature, only equalled in his view by Walter Scott. Mark Twain, the ultimate Realist, criticized the Romantic plots and overwrought language of The Deerslayer and The Pathfinder in his satirical but shrewdly observant essay, "Fenimore Cooper's Literary Offenses" (1895). Cooper was also criticized heavily in his day for his depiction of women characters in his work. James Russell Lowell, Cooper's contemporary and a critic, referred to it poetically in A Fable for Critics, writing, "... the women he draws from one model don't vary / All sappy as maples and flat as a prairie." Cooper's lasting reputation today rests largely upon the five Leatherstocking Tales. In his 1960 study focusing on romantic relationships, both hetero- and homo-sexual, literary scholar Leslie Fiedler opines that with the exception of the five Natty Bumppo-Chingachgook novels, Cooper's "collected works are monumental in their cumulative dullness." More recent criticism views all thirty-two novels in the context of Cooper's responding to changing political, social, and economic realities in his time period. Cooper was honored on a U.S. commemorative stamp, the Famous American series, issued in 1940. Three dining halls at the State University of New York at Oswego are named in Cooper's remembrance (Cooper Hall, The Pathfinder, and Littlepage) because of his temporary residence in Oswego and for setting some of his works there. Cooper Park in Michigan's Comstock Township is named after him. The New Jersey Turnpike has a James Fenimore Cooper service area, recognizing his birth in the state. The gilded and red tole chandelier hanging in the library of the White House in Washington DC is from the family of James Fenimore Cooper. It was brought there through the efforts of First Lady Jacqueline Kennedy in her great White House restoration. The James Fenimore Cooper Memorial Prize at New York University is awarded annually to an outstanding undergraduate student of journalism. In 2013, Cooper was inducted into the New York Writers Hall of Fame. Cooper's novels were very popular in the rest of the world, including, for instance, Russia. In particular, great interest of the Russian public in Cooper's work was primarily incited by the novel The Pathfinder, which the renowned Russian literary critic Vissarion Belinsky declared to be "a Shakespearean drama in the form of a novel". The author was more recognizable by his middle name, Fenimore, exotic to many in Russia. This name became a symbol of exciting adventures among Russian readers. For example, in the 1977 Soviet movie The Secret of Fenimore (), being the third part of a children's television mini-series Three Cheerful Shifts (, see ), tells of a mysterious stranger known as Fenimore, visiting a boys' dorm in a summer camp nightly and relating fascinating stories about Indians and extraterrestrials. Works Notes References Bibliography ; James Fenimore Cooper: The Later Years, Yale University Press, 2017. p. 805 . Primary sources Url1 Url Url ——— (1852). The Chainbearer, Or The Littlepage Manuscripts, Stringer and Townsend, 228 pages; eBook Further reading Clavel, Marcel (1938). Fenimore Cooper and his critics: American, British and French criticisms of the novelist's early work, Imprimerie universitaire de Provence, E. Fourcine, 418 pages; Book Darnell, Donald. (1993). James Fenimore Cooper: Novelist of Manners, Newark, Univ. of Delaware Dekker, George (2017). James Fenimore Cooper the Novelist, Routledge, 2017, ISBN 9781351580014 Doolen, Andy (2005). Fugitive Empire: Locating Early American Imperialism, Minneapolis: Univ. of Minnesota P. Franklin, Wayne (1982). The New World of James Fenimore Cooper, Chicago: Univ. of Chicago P, Book –—— (2007). James Fenimore Cooper: The Early Years, New Haven: Yale UP, Book Krauthammer, Anna. The Representation of the Savage in James Fenimore Cooper and Herman Melville. NY: Peter Lang, 2008. Long, Robert Emmet (1990). James Fenimore Cooper, NY: Continuum. , MacDougall, Hugh C. (1993). Where Was James? A James Fenimore Cooper Chronology from 1789–1851. Cooperstown: James Fenimore Cooper Soc. Rans, Geoffrey (1991). Cooper's Leather-Stocking Novels: A Secular Reading. Chapel Hill: Univ. of North Carolina Redekop, Ernest H., ed. (1989). James Fenimore Cooper, 1789–1989: Bicentennial Essays, Canadian Review of American Studies, entire special issue, vol. 20, no. 3 (Winter 1989), pp. 1–164. Reid, Margaret (2004). Cultural Secrets as Narrative Form: Storytelling in Nineteenth-Century America. Columbus: Ohio State UP Ringe, Donald A. (1988). James Fenimore Cooper. Boston: Twayne. Romero, Lora (1997). Home Fronts: Domesticity and Its Critics in the Antebellum United States. Durham: Duke UP Smith, Lindsey C. (2008). Indians, Environment, and Identity on the Borders of American Literature: From Faulkner and Morrison to Walker and Silko. NY: Palgrave Macmillan. Verhoeven, W.M. (1993). James Fenimore Cooper: New Historical and Literary Contexts. Rodopi publishers. . Book Google. External links James Fenimore Cooper at Open Library James Fenimore Cooper Society Homepage Finding Aid for the James Fenimore Cooper Collection of Papers, 1825–1904, New York Public Library James Fenimore Cooper Letters and Manuscript Fragments. Available online though Lehigh University's I Remain: A Digital Archive of Letters, Manuscripts, and Ephemera "Writings of James Fenimore Cooper" from C-SPAN's American Writers: A Journey Through History "Fenimore Cooper's Literary Offenses", an essay by Mark Twain James Fenimore Cooper Collection. Yale Collection of American Literature, Beinecke Rare Book and Manuscript Library. 1789 births 1851 deaths 19th-century American novelists American expatriates in France American historical novelists American male novelists American naval historians American people of English descent Christian writers Deaths from edema Hall of Fame for Great Americans inductees People from Burlington, New Jersey People from Cooperstown, New York People from Scarsdale, New York Romanticism United States Navy officers Writers of historical fiction set in the modern age Knickerbocker Group Novelists from New Jersey American male non-fiction writers Historians from New York (state) Historians from New Jersey	false	[ "Savignano sul Rubicone () is a comune (municipality) in the Province of Forlì-Cesena in the Italian region Emilia-Romagna, located about southeast of Bologna and about southeast of Forlì.\n\nThe comune takes its name from the Rubicon, famous for Julius Caesar's historic crossing. A combination of natural and man-made changes caused the original Rubicon to change course repeatedly since then. For centuries the exact location of the original river was unknown. In 1991, the Fiumicino, a river which crosses Savignano sul Rubicone, was identified as the most likely location for the original Rubicon. Prior to that the region was called Savignano di Romagna.\n\nTwin towns\n Nizza Monferrato, Italy\n Vals-les-Bains, France\n\nReferences\n\nExternal links\n\n \n\nCities and towns in Emilia-Romagna", "Sonntagberg is a town in the district of Amstetten in Lower Austria in Austria. It is an important Catholic pilgrimage center.\n\nGeography\nSonntagberg lies in the Mostviertel in Lower Austria. About 29 percent of the municipality is forested.\n\nSights\nIt has a baroque church that was, in its current form, built in 1706–1732 by Jakob Prandtauer and Joseph Munggenast. The ceilings were painted by Daniel Gran (1738–43). In 1964, Pope Paul VI gave it the title Basilica minor.\n\nFor a short while, Sonntagberg was the location of what would then become Summerhill School.\n\nReferences\n\nCities and towns in Amstetten District" ]
[ "James Fenimore Cooper", "Early life and family", "Where was he born", "James Fenimore Cooper was born in Burlington, New Jersey", "What year and to whom was he born", "1789 to William Cooper and Elizabeth (Fenimore) Cooper,", "How many children did they have", "eleventh of 12 children, most of whom died during infancy or childhood.", "Who was he related to", "He was descended from James Cooper of Stratford-upon-Avon, Warwickshire, England, who immigrated to the American colonies in 1679.", "What happened to him as a boy", "Shortly after James' first birthday, his family moved to Cooperstown, New York, a community founded by his father on a large piece of land which he had bought for development.", "What was the family elected for", "Later, his father was elected to the United States Congress as a representative from Otsego County.", "What was special about the towns location", "representative from Otsego County. Their town was in a central area of New York that had previously been occupied by the Iroquois," ]	C_c07ca1fd770642a28fa1c803c51c17b0_1	Who did they side with	8	Who did James Fenimore Cooper's family side with?	James Fenimore Cooper	James Fenimore Cooper was born in Burlington, New Jersey in 1789 to William Cooper and Elizabeth (Fenimore) Cooper, the eleventh of 12 children, most of whom died during infancy or childhood. He was descended from James Cooper of Stratford-upon-Avon, Warwickshire, England, who immigrated to the American colonies in 1679. Shortly after James' first birthday, his family moved to Cooperstown, New York, a community founded by his father on a large piece of land which he had bought for development. Later, his father was elected to the United States Congress as a representative from Otsego County. Their town was in a central area of New York that had previously been occupied by the Iroquois, who had allied themselves with the British during the Revolutionary War and were forced to cede the territory after British defeat. The State of New York opened the land for sale and development after the war, and Cooper's father purchased several thousand acres in upstate along the headwaters of the Susquehanna River. By 1788, William Cooper had selected and surveyed the site where Cooperstown would be established. He erected a home on the shore of Otsego lake and moved his family there in the autumn of 1790. He soon began construction of the mansion that became known as Otsego Hall, completed in 1799 when James was ten. Cooper was enrolled at Yale University at age 13, but he incited a dangerous prank which involved blowing up another student's door -- after having already locked a donkey in a recitation room. He was expelled in his third year without completing his degree, so he obtained work in 1806 as a sailor and joined the crew of a merchant vessel at age 17. By 1811, he obtained the rank of midshipman in the fledgling United States Navy, conferred upon him on an officer's warrant signed by Thomas Jefferson. At 20, Cooper inherited a fortune from his father. He married Susan Augusta de Lancey at Mamaroneck, Westchester County, New York on January 1, 1811 at age 21. She was from a wealthy family who remained loyal to Great Britain during the Revolution. The Coopers had seven children, five of whom lived to adulthood. Their daughter Susan Fenimore Cooper was a writer on nature, female suffrage, and other topics. She and her father often edited each other's work. Among his descendants was Paul Fenimore Cooper (1899-1970), who also became a writer. CANNOTANSWER	who had allied themselves with the British during the Revolutionary War and were forced to cede the territory after British defeat.	James Fenimore Cooper (September 15, 1789 – September 14, 1851) was an American writer of the first half of the 19th century. His historical romances depicting colonist and Indigenous characters from the 17th to the 19th centuries created a unique form of American literature. He lived much of his boyhood and the last fifteen years of life in Cooperstown, New York, which was founded by his father William Cooper on property that he owned. Cooper became a member of the Episcopal Church shortly before his death and contributed generously to it. He attended Yale University for three years, where he was a member of the Linonian Society. After a stint on a commercial voyage, Cooper served in the U.S. Navy as a midshipman, where he learned the technology of managing sailing vessels which greatly influenced many of his novels and other writings. The novel that launched his career was The Spy, a tale about espionage set during the American Revolutionary War and published in 1821. He also created American sea stories. His best-known works are five historical novels of the frontier period, written between 1823 and 1841, known as the Leatherstocking Tales, which introduced the iconic American frontier scout, Natty Bumppo. Cooper's works on the U.S. Navy have been well received among naval historians, but they were sometimes criticized by his contemporaries. Among his more famous works is the romantic novel The Last of the Mohicans, often regarded as his masterpiece. Throughout his career, he published numerous social, political, and historical works of fiction and non-fiction with the objective of countering European prejudices and nurturing an original American art and culture. Early life and family James Fenimore Cooper was born in Burlington, New Jersey, in 1789 to William Cooper and Elizabeth (Fenimore) Cooper, the eleventh of 12 children, half of whom died during infancy or childhood. Shortly after James' first birthday, his family moved to Cooperstown, New York, a community founded by his father on a large piece of land which he had bought for development. Later, his father was elected to the United States Congress as a representative from Otsego County. Their town was in a central area of New York along the headwaters of the Susquehanna River that had previously been patented to Colonel George Croghan by the Province of New York in 1769. Croghan mortgaged the land before the Revolution and after the war part of the tract was sold at public auction to William Cooper and his business partner Andrew Craig. By 1788, William Cooper had selected and surveyed the site where Cooperstown would be established. He erected a home on the shore of Otsego Lake and moved his family there in the autumn of 1790. Several years later he began construction of the mansion that became known as Otsego Hall, completed in 1799 when James was ten. Cooper was enrolled at Yale University at age 13, but he incited a dangerous prank which involved blowing up another student's door—after having already locked a donkey in a recitation room. He was expelled in his third year without completing his degree, so he obtained work in 1806 as a sailor and joined the crew of a merchant vessel at age 17. By 1811, he obtained the rank of midshipman in the fledgling United States Navy, conferred upon him by an officer's warrant signed by Thomas Jefferson. William Cooper died when James was 20; all five of his sons inherited a supposed-large fortune in money, securities, and land titles, which soon proved to be a wealth of endless litigation. He married Susan Augusta de Lancey at Mamaroneck, Westchester County, New York on January 1, 1811, at age 21. She was from a wealthy family who remained loyal to Great Britain during the Revolution. The Coopers had seven children, five of whom lived to adulthood. Their daughter Susan Fenimore Cooper was a writer on nature, female suffrage, and other topics. Her father edited her works and secured publishers for them. One son, Paul Fenimore Cooper, became a lawyer and perpetuated the author's lineage to the present. Service in the Navy In 1806 at the age of 17, Cooper joined the crew of the merchant ship Sterling as a common sailor. At the time, the Sterling was commanded by young John Johnston from Maine. Cooper served as a common seaman before the mast. His first voyage took some 40 stormy days at sea and brought him to an English market in Cowes where they sought information on where best to unload their cargo of flour. There Cooper saw his first glimpses of England. Britain was in the midst of war with Napoleon's France at the time, so their ship was immediately approached by a British man-of-war and was boarded by some of its crew. They seized one of the Sterling's best crew members and impressed him into the British Royal Navy. Cooper thus first encountered the power of his country's former colonial master, which led to a lifelong commitment to helping create an American art independent culturally as well as politically from the former mother country. Their next voyage took them to the Mediterranean along the coast of Spain, including Águilas and Cabo de Gata, where they picked up cargo to be taken to London and unloaded. Their stay in Spain lasted several weeks and impressed the young sailor, the accounts of which Cooper later referred to in his Mercedes of Castile, a novel about Columbus. After serving aboard the Sterling for 11 months, he joined the United States Navy on January 1, 1808, when he received his commission as a midshipman. Cooper had conducted himself well as a sailor, and his father, a former U.S. Congressman, easily secured a commission for him through his long-standing connections with politicians and naval officials. The warrant for Cooper's commission as midshipman was signed by President Jefferson and mailed by Naval Secretary Robert Smith, reaching Cooper on February 19. On February 24, he received orders to report to the naval commander at New York City. Joining the United States Navy fulfilled an aspiration he had had since his youth. Cooper's first naval assignment came on March 21, 1808, aboard the , an 82-foot bomb ketch that carried twelve guns and a thirteen-inch mortar. For his next assignment, he served under Lieutenant Melancthon Taylor Woolsey near Oswego on Lake Ontario, overseeing the building of the brig for service on the lake. The vessel was intended for use in a war with Great Britain which had yet to begin. The vessel was completed, armed with sixteen guns, and launched in Lake Ontario in the spring of 1809. It was in this service that Cooper learned shipbuilding, shipyard duties and frontier life. During his leisure time, Cooper would venture through the forests of New York state and explore the shores of Lake Ontario. He occasionally ventured into the Thousand Islands. His experiences in the Oswego area later inspired some of his work, including his novel The Pathfinder. After completion of the Oneida in 1809, Cooper accompanied Woolsey to Niagara Falls, who then was ordered to Lake Champlain to serve aboard a gunboat until the winter months when the lake froze over. Cooper himself returned from Oswego to Cooperstown and then New York. On November 13 of the same year, he was assigned to the under the command of Captain James Lawrence, who was from Burlington and became a personal friend of Cooper's. Aboard this ship, he met his lifelong friend William Branford Shubrick, who was also a midshipman at the time. Cooper later dedicated The Pilot, The Red Rover, and other writings to Shubrick. Assigned to humdrum recruiting tasks rather than exciting voyages, Cooper resigned his commission from the navy in spring 1810; in the same time period he met, wooed, and became engaged to Susan Augusta de Lancey, whom be married on January 1, 1811. Writings First endeavors In 1820, when reading a contemporary novel to his wife Susan, he decided to try his hand at fiction, resulting in a neophyte novel set in England he called Precaution (1820). Its focus on morals and manners was influenced by Jane Austen's approach to fiction. He anonymously published Precaution which received modestly favorable notice in the United States and England. By contrast, his second novel The Spy (1821) was inspired by an American tale related to him by neighbor and family friend John Jay. It became the first novel written by an American to become a bestseller at home and abroad, requiring several re-printings to satisfy demand. Set in the "Neutral Ground" between British and American forces and their guerrilla allies in Westchester County, New York, the action centers around spying and skirmishing taking place in and around what is widely believed to be John Jay's family home "The Locusts" in Rye, New York of which a portion still exists today as the historic Jay Estate. Following on a swell of popularity, Cooper published The Pioneers, the first of the Leatherstocking series in 1823. The series features the inter-racial friendship of Natty Bumppo, a resourceful American woodsman who is at home with the Delaware Indians and their chief Chingachgook. Bumppo was also the main character of Cooper's most famous novel The Last of the Mohicans (1826), written in New York City where Cooper and his family lived from 1822 to 1826. The book became one of the more widely read American novels of the 19th century. At this time, Cooper had been living in New York on Beach Street in what is now downtown's Tribeca. In 1823, he became a member of the American Philosophical Society in Philadelphia. In August of that same year, his first son died. He organized the influential Bread and Cheese Club that brought together American writers, editors, artists, scholars, educators, art patrons, merchants, lawyers, politicians, and others. In 1824, General Lafayette arrived from France aboard the Cadmus at Castle Garden in New York City as the nation's guest. Cooper witnessed his arrival and was one of the active committee of welcome and entertainment. Europe In 1826, Cooper moved his family to Europe, where he sought to gain more income from his books, provide better education for his children, improve his health, and observe European manners and politics firsthand. While overseas, he continued to write. His books published in Paris include The Prairie, the third Leather-Stocking Tale in which Natty Bumppo dies in the western land newly acquired by Jefferson as the Louisiana Purchase. There he also published The Red Rover and The Water Witch, two of his many sea stories. During his time in Paris, the Cooper family became active in the small American expatriate community. He became friends with painter (and later inventor) Samuel Morse and with French general and American Revolutionary War hero Gilbert du Motier, Marquis de Lafayette. Cooper admired the patrician liberalism of Lafayette, who sought to recruit him to his causes, and eulogized him as a man who "dedicated youth, person, and fortune, to the principles of liberty." Cooper's distaste for the corruption of the European aristocracy, especially in England and France, grew as he observed them manipulate the legislature and judiciary to the exclusion of other classes. In 1832, he entered the lists as a political writer in a series of letters to Le National, a Parisian journal. He defended the United States against a string of charges brought by the Revue Britannique. For the rest of his life, he continued skirmishing in print, sometimes for the national interest, sometimes for that of the individual, and frequently for both at once. This opportunity to make a political confession of faith reflected the political turn that he already had taken in his fiction, having attacked European anti-republicanism in The Bravo (1831). Cooper continued this political course in The Heidenmauer (1832) and The Headsman: or the Abbaye of Vigneron (1833). The Bravo depicted Venice as a place where a ruthless oligarchy lurks behind the mask of the "serene republic". All were widely read on both sides of the Atlantic, though some Americans accused Cooper of apparently abandoning American life for European—not realizing that the political subterfuges in the European novels were cautions directed at his American audiences. Thus The Bravo was roughly treated by some critics in the United States. Back to America In 1833, Cooper returned to the United States and published A Letter to My Countrymen in which he gave his criticism of various social and political mores. Promotional material from a modern publisher summarize his goals as follows: A Letter To My Countrymen remains Cooper's most trenchant work of social criticism. In it, he defines the role of the "man of letters" in a republic, the true conservative, the slavery of party affiliations, and the nature of the legislative branch of government. He also offers her most persuasive argument on why America should develop its own art and literary culture, ignoring the aristocratically tainted art of Europe. Influenced by the ideals of classical republicanism, Cooper feared that the orgy of speculation he witnessed was destructive of civic virtue and warned Americans that it was a "mistake to suppose commerce favorable to liberty"; doing so would lead to a new "moneyed aristocracy." Drawing upon philosophers such as Jean-Jacques Rousseau, Burlamaqui, and Montesquieu, Cooper's political ideas were both democratic, deriving from the consent of the governed, and liberal, concerned with the rights of the individual. In the later 1830s—despite his repudiation of authorship in A Letter To My Countrymen—he published Gleanings in Europe, five volumes of social and political analysis of his observations and experiences in Europe. His two novels Homeward Bound and Home as Found also criticize the flamboyant financial speculation and toadyism he found on his return; some readers and critics attacked the works for presenting a highly idealized self-portrait, which he vigorously denied. In June 1834, Cooper decided to reopen his ancestral mansion Otsego Hall at Cooperstown. It had long been closed and falling into decay; he had been absent from the mansion nearly 16 years. Repairs were begun, and the house was put in order. At first, he wintered in New York City and summered in Cooperstown, but eventually he made Otsego Hall his permanent home. On May 10, 1839, Cooper published History of the Navy of the United States of America, a work that he had long planned on writing. He publicly announced his intentions to author such a historical work while abroad before departing for Europe in May 1826, during a parting speech at a dinner given in his honor: Encouraged by your kindness, ... I will take this opportunity of recording the deeds and sufferings of a class of men to which this nation owes a debt of gratitude—a class of men among whom, I am always ready to declare, not only the earliest, but many of the happiest days of my youth have been passed. Historical and nautical work His historical account of the U.S. Navy was well received, though his account of the roles played by the American leaders in the Battle of Lake Erie led to years of disputes with their descendants, as noted below. Cooper had begun thinking about this massive project in 1824, and concentrated on its research in the late 1830s. His close association with the U.S. Navy and various officers, and his familiarity with naval life at sea provided him the background and connections to research and write this work. Cooper's work is said to have stood the test of time and is considered an authoritative account of the U.S. Navy during that time. In 1844, Cooper's Proceedings of the naval court martial in the case of Alexander Slidell Mackenzie, a commander in the navy of the United States, &c:, was first published in Graham's Magazine of 1843–44. It was a review of the court martial of Alexander Slidell Mackenzie who had hanged three crew members of the brig USS Somers for mutiny while at sea. One of the hanged men, 19-year-old Philip Spencer, was the son of U.S. Secretary of War John C. Spencer. He was executed without court-martial along with two other sailors aboard the Somers for allegedly attempting mutiny. Prior to this affair, Cooper and Mackenzie had disputed each other's version of the Battle of Lake Erie. However, recognizing the need for absolute discipline in a warship at sea, Cooper still felt sympathetic to Mackenzie over his pending court martial. In 1843, an old shipmate, Ned Myers, re-entered Cooper's life. To assist him—and hopefully to cash in on the popularity of maritime biographies—Cooper wrote Myers's story which he published in 1843 as Ned Myers, or a Life before the Mast, an account of a common seaman still of interest to naval historians. In 1846, Cooper published Lives of Distinguished American Naval Officers covering the biographies of William Bainbridge, Richard Somers, John Shaw, John T. Shubrick, and Edward Preble. Cooper died in 1851. In May 1853, Cooper's Old Ironsides appeared in Putnam's Monthly. It was the history of the Navy ship and, after European and American Scenery Compared, 1852, was one of several posthumous publication of his writings. In 1856, five years after Cooper's death, his History of the Navy of the United States of America was re-published in an expanded edition. The work was an account of the U.S. Navy in the early 19th century, through the Mexican War. Among naval historians of today, the work has come to be recognized as a general and authoritative account. However, it was criticized for accuracy on some points by some contemporaries, especially those engaged in the disputes over the roles of their relatives in Cooper's separate history of the Battle of Lake Erie. Whig editors of the period regularly attacked anything Cooper wrote, leading him to numerous suits for libel, for example against Park Benjamin, Sr., a poet and editor of the Evening Signal of New York. Critical reaction Cooper's writings of the 1830s related to current politics and social issues, coupled with his perceived self-promotion, increased the ill feeling between the author and some of the public. Criticism in print of his naval histories and the two Home novels came largely from newspapers supporting The Whig party, reflecting the antagonism between the Whigs and their opposition, the Democrats, whose policies Cooper often favored. Cooper's father William had been a staunch Federalist, a party now defunct but some of whose policies supporting large-scale capitalism the Whigs endorsed. Cooper himself had come to admire Thomas Jefferson, the bete-noire of the Federalists, and had supported Andrew Jackson's opposition to a National Bank. Never one to shrink from defending his personal honor and his sense of where the nation was erring, Cooper filed legal actions for libel against several Whig editors; his success with most of his lawsuits ironically led to more negative publicity from the Whig establishment. Buoyed by his frequent victories in court, Cooper returned to writing with more energy and success than he had had for several years. As noted above, on May 10, 1839, he published his History of the U.S. Navy; his return to the Leatherstocking Tales series with The Pathfinder, or The Inland Sea (1840) and The Deerslayer (1841) brought him renewed favorable reviews. But on occasion he returned to addressing public issues, most notably with a trilogy of novels called the Littlepage Manuscripts addressing the issues of the anti-rent wars. Public sentiment largely favored the anti-renters, and Cooper's reviews again were largely negative. Later life Faced with competition from younger writers and magazine serialization, and lower prices for books resulting from new technologies, Cooper simply wrote more in his last decade than in either of the previous two. Half of his thirty-two novels were written in the 1840s. They may be grouped into three categories: Indian romances, maritime fiction, and political and social controversy—though the categories often overlap. The 1840s began with the last two novels featuring Natty Bumppo, both critical and reader successes: The Pathfinder (1840) and The Deerslayer (1841). Wyandotte, his last novel set in the Revolutionary War, followed in 1843 and Oak Openings in 1848. The nautical works were Mercedes of Castile (in which Columbus appears, 1840),The Two Admirals (British and French fleets in battle, 1842), Wing-And-Wing (a French privateer fighting the British in 1799, 1842), Afloat and Ashore (two volumes exploring a young man growing up, 1844), Jack Tier (a vicious smuggler in the Mexican-American War, 1848), and The Sea Lions (rival sealers in the Antarctic, 1849). He also turned from pure fiction to the combination of art and controversy in which he achieved notoriety in the novels of the previous decade. His Littlepage Manuscripts trilogy--Satanstoe (1845), The Chainbearer (1845), and The Redskins (1846)--dramatized issues of land ownership in response to renters in the 1840s opposing the long leases common in the old Dutch settlements in the Hudson Valley. He tried his hand with serialization with The Autobiography of a Pocket Handkerchief, first published in Graham's Magazine in 1843, a satire on contemporary nouveau riche. In The Crater, or Vulcan's Peak (1847) he introduced supernatural machinery to show the decline of an ideal society in the South Seas when demagogues prevail. The Ways of the Hour, his last completed novel, portrayed a mysterious and independent young woman defending herself against criminal charges. Cooper spent the last years of his life back in Cooperstown. He died on September 14, 1851, the day before his 62nd birthday. He was buried in the Christ Episcopal Churchyard, where his father, William Cooper, was buried. Cooper's wife Susan survived her husband only by a few months and was buried by his side at Cooperstown. Several well-known writers, politicians, and other public figures honored Cooper's memory with a memorial in New York, six months after his death, in February 1852. Daniel Webster gave a speech to the gathering while Washington Irving served as a co-chairman, along with William Cullen Bryant, who also gave an address which did much to restore Cooper's damaged reputation among American writers of the time. Religious activities Cooper's father was a lapsed Quaker; probably influenced by his wife's family, the DeLanceys, Cooper in his fiction often favorably depicted clergy of the Episcopal Church, though Calvinist ministers came in for their share of both admiring and critical treatment. In the 1840s as Cooper increasingly despaired over the United States maintaining the vision and promise of the Constitution, his fiction increasingly turned to religious themes. In The Wing-And-Wing, 1842, the hero, a French revolutionary free-thinker, loses the Italian girl he loves because he cannot accept her simple Christianity. In contrast, in the 1849 The Sea Lions the hero wins his beloved only after a spiritual transformation while marooned in the Antarctic. And the 1848 The Oak Openings features a pious Parson Amen who wins the admiration of the Indians who kill him, praying for them during torture. After establishing permanent residence in Cooperstown, Cooper became active in Christ Episcopal Church, taking on the roles of warden and vestryman. As the vestryman, he donated generously to this church and later supervised and redesigned its interior with oak furnishings at his own expense. He was also energetic as a representative from Cooperstown to various regional conventions of the Episcopal church. But only several months before his death, in July 1851, was he confirmed in this church by his brother-in-law, the Reverend William H. DeLancey. Legacy Cooper was one of the more popular 19th-century American authors, and his work was admired greatly throughout the world. While on his death bed, the Austrian composer Franz Schubert wanted most to read more of Cooper's novels. Honoré de Balzac, the French novelist and playwright, admired him greatly. Henry David Thoreau, while attending Harvard, incorporated some of Cooper's style in his own work. D.H. Lawrence believed that Turgenev, Tolstoy, Dostoyevsky, Maupassant, and Flaubert were all "so very obvious and coarse, besides the lovely, mature and sensitive art of Fennimore Cooper." Lawrence called The Deerslayer "one of the most beautiful and perfect books in the world: flawless as a jewel and of gem-like concentration." Cooper's work, particularly The Pioneers and The Pilot, demonstrate an early 19th-century American preoccupation with alternating prudence and negligence in a country where property rights were often still in dispute. Cooper was one of the early major American novelists to include African, African-American and Native American characters in his works. In particular, Native Americans play central roles in his Leatherstocking Tales. However, his treatment of this group is complex and highlights the relationship between frontier settlers and American Indians as exemplified in The Wept of Wish-ton-Wish, depicting a captured white girl who marries an Indian chief and has a baby with him, but after several years is eventually returned to her parents. Often, he gives contrasting views of Native characters to emphasize their potential for good, or conversely, their proclivity for mayhem. Last of the Mohicans includes both the character of Magua, who fearing the extinction of his race at the hands of the whites savagely betrays them, as well as Chingachgook, the last chief of the Mohicans, who is portrayed as Natty Bumppo's noble, courageous, and heroic counterpart. In 1831, Cooper was elected into the National Academy of Design as an Honorary Academician. According to Tad Szulc, Cooper was a devotee of Poland's causes (uprisings to regain Polish sovereignty). He organized a club in Paris to support the rebels, and brought flags of the defeated Polish rebel regiment from Warsaw to present them to the exiled leaders in Paris. With his friend the Marquis de La Fayette, he supported liberals during the regime changes in France and elsewhere in the 1830s. . Though some scholars have hesitated to classify Cooper as a strict Romantic, Victor Hugo pronounced him greatest novelist of the century outside France. Honoré de Balzac, while mocking a few of Cooper's novels ("rhapsodies") and expressing reservations about his portrayal of characters, enthusiastically called The Pathfinder a masterpiece and professed great admiration for Cooper's portrayal of nature, only equalled in his view by Walter Scott. Mark Twain, the ultimate Realist, criticized the Romantic plots and overwrought language of The Deerslayer and The Pathfinder in his satirical but shrewdly observant essay, "Fenimore Cooper's Literary Offenses" (1895). Cooper was also criticized heavily in his day for his depiction of women characters in his work. James Russell Lowell, Cooper's contemporary and a critic, referred to it poetically in A Fable for Critics, writing, "... the women he draws from one model don't vary / All sappy as maples and flat as a prairie." Cooper's lasting reputation today rests largely upon the five Leatherstocking Tales. In his 1960 study focusing on romantic relationships, both hetero- and homo-sexual, literary scholar Leslie Fiedler opines that with the exception of the five Natty Bumppo-Chingachgook novels, Cooper's "collected works are monumental in their cumulative dullness." More recent criticism views all thirty-two novels in the context of Cooper's responding to changing political, social, and economic realities in his time period. Cooper was honored on a U.S. commemorative stamp, the Famous American series, issued in 1940. Three dining halls at the State University of New York at Oswego are named in Cooper's remembrance (Cooper Hall, The Pathfinder, and Littlepage) because of his temporary residence in Oswego and for setting some of his works there. Cooper Park in Michigan's Comstock Township is named after him. The New Jersey Turnpike has a James Fenimore Cooper service area, recognizing his birth in the state. The gilded and red tole chandelier hanging in the library of the White House in Washington DC is from the family of James Fenimore Cooper. It was brought there through the efforts of First Lady Jacqueline Kennedy in her great White House restoration. The James Fenimore Cooper Memorial Prize at New York University is awarded annually to an outstanding undergraduate student of journalism. In 2013, Cooper was inducted into the New York Writers Hall of Fame. Cooper's novels were very popular in the rest of the world, including, for instance, Russia. In particular, great interest of the Russian public in Cooper's work was primarily incited by the novel The Pathfinder, which the renowned Russian literary critic Vissarion Belinsky declared to be "a Shakespearean drama in the form of a novel". The author was more recognizable by his middle name, Fenimore, exotic to many in Russia. This name became a symbol of exciting adventures among Russian readers. For example, in the 1977 Soviet movie The Secret of Fenimore (), being the third part of a children's television mini-series Three Cheerful Shifts (, see ), tells of a mysterious stranger known as Fenimore, visiting a boys' dorm in a summer camp nightly and relating fascinating stories about Indians and extraterrestrials. Works Notes References Bibliography ; James Fenimore Cooper: The Later Years, Yale University Press, 2017. p. 805 . Primary sources Url1 Url Url ——— (1852). The Chainbearer, Or The Littlepage Manuscripts, Stringer and Townsend, 228 pages; eBook Further reading Clavel, Marcel (1938). Fenimore Cooper and his critics: American, British and French criticisms of the novelist's early work, Imprimerie universitaire de Provence, E. Fourcine, 418 pages; Book Darnell, Donald. (1993). James Fenimore Cooper: Novelist of Manners, Newark, Univ. of Delaware Dekker, George (2017). James Fenimore Cooper the Novelist, Routledge, 2017, ISBN 9781351580014 Doolen, Andy (2005). Fugitive Empire: Locating Early American Imperialism, Minneapolis: Univ. of Minnesota P. Franklin, Wayne (1982). The New World of James Fenimore Cooper, Chicago: Univ. of Chicago P, Book –—— (2007). James Fenimore Cooper: The Early Years, New Haven: Yale UP, Book Krauthammer, Anna. The Representation of the Savage in James Fenimore Cooper and Herman Melville. NY: Peter Lang, 2008. Long, Robert Emmet (1990). James Fenimore Cooper, NY: Continuum. , MacDougall, Hugh C. (1993). Where Was James? A James Fenimore Cooper Chronology from 1789–1851. Cooperstown: James Fenimore Cooper Soc. Rans, Geoffrey (1991). Cooper's Leather-Stocking Novels: A Secular Reading. Chapel Hill: Univ. of North Carolina Redekop, Ernest H., ed. (1989). James Fenimore Cooper, 1789–1989: Bicentennial Essays, Canadian Review of American Studies, entire special issue, vol. 20, no. 3 (Winter 1989), pp. 1–164. Reid, Margaret (2004). Cultural Secrets as Narrative Form: Storytelling in Nineteenth-Century America. Columbus: Ohio State UP Ringe, Donald A. (1988). James Fenimore Cooper. Boston: Twayne. Romero, Lora (1997). Home Fronts: Domesticity and Its Critics in the Antebellum United States. Durham: Duke UP Smith, Lindsey C. (2008). Indians, Environment, and Identity on the Borders of American Literature: From Faulkner and Morrison to Walker and Silko. NY: Palgrave Macmillan. Verhoeven, W.M. (1993). James Fenimore Cooper: New Historical and Literary Contexts. Rodopi publishers. . Book Google. External links James Fenimore Cooper at Open Library James Fenimore Cooper Society Homepage Finding Aid for the James Fenimore Cooper Collection of Papers, 1825–1904, New York Public Library James Fenimore Cooper Letters and Manuscript Fragments. Available online though Lehigh University's I Remain: A Digital Archive of Letters, Manuscripts, and Ephemera "Writings of James Fenimore Cooper" from C-SPAN's American Writers: A Journey Through History "Fenimore Cooper's Literary Offenses", an essay by Mark Twain James Fenimore Cooper Collection. Yale Collection of American Literature, Beinecke Rare Book and Manuscript Library. 1789 births 1851 deaths 19th-century American novelists American expatriates in France American historical novelists American male novelists American naval historians American people of English descent Christian writers Deaths from edema Hall of Fame for Great Americans inductees People from Burlington, New Jersey People from Cooperstown, New York People from Scarsdale, New York Romanticism United States Navy officers Writers of historical fiction set in the modern age Knickerbocker Group Novelists from New Jersey American male non-fiction writers Historians from New York (state) Historians from New Jersey	false	[ "Side Effect was an American disco and jazz-funk band, that recorded between 1972 and 1982. The group was formed in Los Angeles, California in 1972 by Augie Johnson who became their leader.\n\nCareer\nSide Effect was formed by Augie Johnson and members, Lometta Johnson, Jim Gilstrap, Gregory Matta and Louis Patton in May 1972. The group played many Los Angeles area clubs and within a few months the group signed their first record deal with a company called Avenue of America-Gas Records with whom they recorded their first album Effective. The album did not chart. Not discouraged, Side Effect continued to evolve. They changed female lead vocalists, from Lometta Johnson to Sylvia Nabors, and soon joined At-Home Productions, a production company headed by Wayne Henderson of The Crusaders.\n\nThis new association would bear fruit with a new record deal with Fantasy Records. The self-titled Side Effect was released in 1975 but it did not chart. By their third album, What You Need they had switched vocalists from Sylvia Nabors to Helen Lowe, now gospel superstar Helen Baylor. This was their first charting album going to number 26 on the R&B chart. Two more albums Goin' Bananas and Rainbow Visions were released now featuring vocalist Sylvia St. James who replaced Lowe but they charted moderately. After these four albums were completed, Side Effect left Fantasy Records and was picked up by Elektra Records. After the Rain now featuring a 19-year-old Miki Howard replacing St. James on vocals was released in 1980. It did not do well on the charts as well as the next two Elektra albums Portraits and All Aboard.\n\nHoward left the group and began a solo career in 1986. The group briefly re-united and issued a single entitled \"I Love You\" in 1987 (Striped Horse record label). They later became known as Augie's Side Effect.\n\nOn October 10, 2014, founder Augie Johnson died at age 66. On June 16, 2020, Louie Patton died at age 71, leaving behind 5 children and 3 grandchildren.\n\nDiscography\n\nStudio albums\n\nSingles\n\nReferences\n\nExternal links\n\nSide Effect at Concord Music\n\nAmerican disco groups\nAmerican dance music groups\nAmerican soul musical groups\nFantasy Records artists\nElektra Records artists\nMusical groups established in 1972\nMusical groups disestablished in 1982", "James Street is a street in the Marylebone district of the City of Westminster, London, off Oxford Street, that is known for the high number of restaurants and bars that it contains.\n\nLocation\n\nJames Street runs from the junction of Mandeville Place and Wigmore Street in the north to the junction of Oxford Street and Gilbert Street in the south. On its western side it is joined by Gray's Yard in the north, which is a gated cul-de-sac with flats above, Picton Place and Barrett Street.\n\nHistory\nJames Street was laid out around 1761–9.\n\nIn 1936, the London County Council tried to rename the street Marylebone High Street, along with Thayer Street and Mandeville Place so that the whole north–south route from Oxford Street to Marylebone Road would have the same name. The proposal was opposed by both the occupants of Mandeville Place, who felt that they did not want to lose the higher class associations of the street in order to be associated with shopkeepers, and the shopkeepers and small traders of the other streets who worried about the cost of the change, possible customer confusion, and the association with Marylebone Road rather than the posher Oxford Street they were nearer. The proposal did not go ahead.\n\nBuildings\nThe street is mostly composed of terraced houses with small shops and restaurants on the ground floor and some larger buildings on the western side.\n\nNumber 56 on the east side is a grade II listed building with Historic England.\n\nReferences\n\nExternal links\n\nStreets in the City of Westminster\nMarylebone" ]
[ "James Fenimore Cooper", "Early life and family", "Where was he born", "James Fenimore Cooper was born in Burlington, New Jersey", "What year and to whom was he born", "1789 to William Cooper and Elizabeth (Fenimore) Cooper,", "How many children did they have", "eleventh of 12 children, most of whom died during infancy or childhood.", "Who was he related to", "He was descended from James Cooper of Stratford-upon-Avon, Warwickshire, England, who immigrated to the American colonies in 1679.", "What happened to him as a boy", "Shortly after James' first birthday, his family moved to Cooperstown, New York, a community founded by his father on a large piece of land which he had bought for development.", "What was the family elected for", "Later, his father was elected to the United States Congress as a representative from Otsego County.", "What was special about the towns location", "representative from Otsego County. Their town was in a central area of New York that had previously been occupied by the Iroquois,", "Who did they side with", "who had allied themselves with the British during the Revolutionary War and were forced to cede the territory after British defeat." ]	C_c07ca1fd770642a28fa1c803c51c17b0_1	What did the state do	9	What did the state of New York do?	James Fenimore Cooper	James Fenimore Cooper was born in Burlington, New Jersey in 1789 to William Cooper and Elizabeth (Fenimore) Cooper, the eleventh of 12 children, most of whom died during infancy or childhood. He was descended from James Cooper of Stratford-upon-Avon, Warwickshire, England, who immigrated to the American colonies in 1679. Shortly after James' first birthday, his family moved to Cooperstown, New York, a community founded by his father on a large piece of land which he had bought for development. Later, his father was elected to the United States Congress as a representative from Otsego County. Their town was in a central area of New York that had previously been occupied by the Iroquois, who had allied themselves with the British during the Revolutionary War and were forced to cede the territory after British defeat. The State of New York opened the land for sale and development after the war, and Cooper's father purchased several thousand acres in upstate along the headwaters of the Susquehanna River. By 1788, William Cooper had selected and surveyed the site where Cooperstown would be established. He erected a home on the shore of Otsego lake and moved his family there in the autumn of 1790. He soon began construction of the mansion that became known as Otsego Hall, completed in 1799 when James was ten. Cooper was enrolled at Yale University at age 13, but he incited a dangerous prank which involved blowing up another student's door -- after having already locked a donkey in a recitation room. He was expelled in his third year without completing his degree, so he obtained work in 1806 as a sailor and joined the crew of a merchant vessel at age 17. By 1811, he obtained the rank of midshipman in the fledgling United States Navy, conferred upon him on an officer's warrant signed by Thomas Jefferson. At 20, Cooper inherited a fortune from his father. He married Susan Augusta de Lancey at Mamaroneck, Westchester County, New York on January 1, 1811 at age 21. She was from a wealthy family who remained loyal to Great Britain during the Revolution. The Coopers had seven children, five of whom lived to adulthood. Their daughter Susan Fenimore Cooper was a writer on nature, female suffrage, and other topics. She and her father often edited each other's work. Among his descendants was Paul Fenimore Cooper (1899-1970), who also became a writer. CANNOTANSWER	The State of New York opened the land for sale and development after the war, and Cooper's father purchased several thousand acres	James Fenimore Cooper (September 15, 1789 – September 14, 1851) was an American writer of the first half of the 19th century. His historical romances depicting colonist and Indigenous characters from the 17th to the 19th centuries created a unique form of American literature. He lived much of his boyhood and the last fifteen years of life in Cooperstown, New York, which was founded by his father William Cooper on property that he owned. Cooper became a member of the Episcopal Church shortly before his death and contributed generously to it. He attended Yale University for three years, where he was a member of the Linonian Society. After a stint on a commercial voyage, Cooper served in the U.S. Navy as a midshipman, where he learned the technology of managing sailing vessels which greatly influenced many of his novels and other writings. The novel that launched his career was The Spy, a tale about espionage set during the American Revolutionary War and published in 1821. He also created American sea stories. His best-known works are five historical novels of the frontier period, written between 1823 and 1841, known as the Leatherstocking Tales, which introduced the iconic American frontier scout, Natty Bumppo. Cooper's works on the U.S. Navy have been well received among naval historians, but they were sometimes criticized by his contemporaries. Among his more famous works is the romantic novel The Last of the Mohicans, often regarded as his masterpiece. Throughout his career, he published numerous social, political, and historical works of fiction and non-fiction with the objective of countering European prejudices and nurturing an original American art and culture. Early life and family James Fenimore Cooper was born in Burlington, New Jersey, in 1789 to William Cooper and Elizabeth (Fenimore) Cooper, the eleventh of 12 children, half of whom died during infancy or childhood. Shortly after James' first birthday, his family moved to Cooperstown, New York, a community founded by his father on a large piece of land which he had bought for development. Later, his father was elected to the United States Congress as a representative from Otsego County. Their town was in a central area of New York along the headwaters of the Susquehanna River that had previously been patented to Colonel George Croghan by the Province of New York in 1769. Croghan mortgaged the land before the Revolution and after the war part of the tract was sold at public auction to William Cooper and his business partner Andrew Craig. By 1788, William Cooper had selected and surveyed the site where Cooperstown would be established. He erected a home on the shore of Otsego Lake and moved his family there in the autumn of 1790. Several years later he began construction of the mansion that became known as Otsego Hall, completed in 1799 when James was ten. Cooper was enrolled at Yale University at age 13, but he incited a dangerous prank which involved blowing up another student's door—after having already locked a donkey in a recitation room. He was expelled in his third year without completing his degree, so he obtained work in 1806 as a sailor and joined the crew of a merchant vessel at age 17. By 1811, he obtained the rank of midshipman in the fledgling United States Navy, conferred upon him by an officer's warrant signed by Thomas Jefferson. William Cooper died when James was 20; all five of his sons inherited a supposed-large fortune in money, securities, and land titles, which soon proved to be a wealth of endless litigation. He married Susan Augusta de Lancey at Mamaroneck, Westchester County, New York on January 1, 1811, at age 21. She was from a wealthy family who remained loyal to Great Britain during the Revolution. The Coopers had seven children, five of whom lived to adulthood. Their daughter Susan Fenimore Cooper was a writer on nature, female suffrage, and other topics. Her father edited her works and secured publishers for them. One son, Paul Fenimore Cooper, became a lawyer and perpetuated the author's lineage to the present. Service in the Navy In 1806 at the age of 17, Cooper joined the crew of the merchant ship Sterling as a common sailor. At the time, the Sterling was commanded by young John Johnston from Maine. Cooper served as a common seaman before the mast. His first voyage took some 40 stormy days at sea and brought him to an English market in Cowes where they sought information on where best to unload their cargo of flour. There Cooper saw his first glimpses of England. Britain was in the midst of war with Napoleon's France at the time, so their ship was immediately approached by a British man-of-war and was boarded by some of its crew. They seized one of the Sterling's best crew members and impressed him into the British Royal Navy. Cooper thus first encountered the power of his country's former colonial master, which led to a lifelong commitment to helping create an American art independent culturally as well as politically from the former mother country. Their next voyage took them to the Mediterranean along the coast of Spain, including Águilas and Cabo de Gata, where they picked up cargo to be taken to London and unloaded. Their stay in Spain lasted several weeks and impressed the young sailor, the accounts of which Cooper later referred to in his Mercedes of Castile, a novel about Columbus. After serving aboard the Sterling for 11 months, he joined the United States Navy on January 1, 1808, when he received his commission as a midshipman. Cooper had conducted himself well as a sailor, and his father, a former U.S. Congressman, easily secured a commission for him through his long-standing connections with politicians and naval officials. The warrant for Cooper's commission as midshipman was signed by President Jefferson and mailed by Naval Secretary Robert Smith, reaching Cooper on February 19. On February 24, he received orders to report to the naval commander at New York City. Joining the United States Navy fulfilled an aspiration he had had since his youth. Cooper's first naval assignment came on March 21, 1808, aboard the , an 82-foot bomb ketch that carried twelve guns and a thirteen-inch mortar. For his next assignment, he served under Lieutenant Melancthon Taylor Woolsey near Oswego on Lake Ontario, overseeing the building of the brig for service on the lake. The vessel was intended for use in a war with Great Britain which had yet to begin. The vessel was completed, armed with sixteen guns, and launched in Lake Ontario in the spring of 1809. It was in this service that Cooper learned shipbuilding, shipyard duties and frontier life. During his leisure time, Cooper would venture through the forests of New York state and explore the shores of Lake Ontario. He occasionally ventured into the Thousand Islands. His experiences in the Oswego area later inspired some of his work, including his novel The Pathfinder. After completion of the Oneida in 1809, Cooper accompanied Woolsey to Niagara Falls, who then was ordered to Lake Champlain to serve aboard a gunboat until the winter months when the lake froze over. Cooper himself returned from Oswego to Cooperstown and then New York. On November 13 of the same year, he was assigned to the under the command of Captain James Lawrence, who was from Burlington and became a personal friend of Cooper's. Aboard this ship, he met his lifelong friend William Branford Shubrick, who was also a midshipman at the time. Cooper later dedicated The Pilot, The Red Rover, and other writings to Shubrick. Assigned to humdrum recruiting tasks rather than exciting voyages, Cooper resigned his commission from the navy in spring 1810; in the same time period he met, wooed, and became engaged to Susan Augusta de Lancey, whom be married on January 1, 1811. Writings First endeavors In 1820, when reading a contemporary novel to his wife Susan, he decided to try his hand at fiction, resulting in a neophyte novel set in England he called Precaution (1820). Its focus on morals and manners was influenced by Jane Austen's approach to fiction. He anonymously published Precaution which received modestly favorable notice in the United States and England. By contrast, his second novel The Spy (1821) was inspired by an American tale related to him by neighbor and family friend John Jay. It became the first novel written by an American to become a bestseller at home and abroad, requiring several re-printings to satisfy demand. Set in the "Neutral Ground" between British and American forces and their guerrilla allies in Westchester County, New York, the action centers around spying and skirmishing taking place in and around what is widely believed to be John Jay's family home "The Locusts" in Rye, New York of which a portion still exists today as the historic Jay Estate. Following on a swell of popularity, Cooper published The Pioneers, the first of the Leatherstocking series in 1823. The series features the inter-racial friendship of Natty Bumppo, a resourceful American woodsman who is at home with the Delaware Indians and their chief Chingachgook. Bumppo was also the main character of Cooper's most famous novel The Last of the Mohicans (1826), written in New York City where Cooper and his family lived from 1822 to 1826. The book became one of the more widely read American novels of the 19th century. At this time, Cooper had been living in New York on Beach Street in what is now downtown's Tribeca. In 1823, he became a member of the American Philosophical Society in Philadelphia. In August of that same year, his first son died. He organized the influential Bread and Cheese Club that brought together American writers, editors, artists, scholars, educators, art patrons, merchants, lawyers, politicians, and others. In 1824, General Lafayette arrived from France aboard the Cadmus at Castle Garden in New York City as the nation's guest. Cooper witnessed his arrival and was one of the active committee of welcome and entertainment. Europe In 1826, Cooper moved his family to Europe, where he sought to gain more income from his books, provide better education for his children, improve his health, and observe European manners and politics firsthand. While overseas, he continued to write. His books published in Paris include The Prairie, the third Leather-Stocking Tale in which Natty Bumppo dies in the western land newly acquired by Jefferson as the Louisiana Purchase. There he also published The Red Rover and The Water Witch, two of his many sea stories. During his time in Paris, the Cooper family became active in the small American expatriate community. He became friends with painter (and later inventor) Samuel Morse and with French general and American Revolutionary War hero Gilbert du Motier, Marquis de Lafayette. Cooper admired the patrician liberalism of Lafayette, who sought to recruit him to his causes, and eulogized him as a man who "dedicated youth, person, and fortune, to the principles of liberty." Cooper's distaste for the corruption of the European aristocracy, especially in England and France, grew as he observed them manipulate the legislature and judiciary to the exclusion of other classes. In 1832, he entered the lists as a political writer in a series of letters to Le National, a Parisian journal. He defended the United States against a string of charges brought by the Revue Britannique. For the rest of his life, he continued skirmishing in print, sometimes for the national interest, sometimes for that of the individual, and frequently for both at once. This opportunity to make a political confession of faith reflected the political turn that he already had taken in his fiction, having attacked European anti-republicanism in The Bravo (1831). Cooper continued this political course in The Heidenmauer (1832) and The Headsman: or the Abbaye of Vigneron (1833). The Bravo depicted Venice as a place where a ruthless oligarchy lurks behind the mask of the "serene republic". All were widely read on both sides of the Atlantic, though some Americans accused Cooper of apparently abandoning American life for European—not realizing that the political subterfuges in the European novels were cautions directed at his American audiences. Thus The Bravo was roughly treated by some critics in the United States. Back to America In 1833, Cooper returned to the United States and published A Letter to My Countrymen in which he gave his criticism of various social and political mores. Promotional material from a modern publisher summarize his goals as follows: A Letter To My Countrymen remains Cooper's most trenchant work of social criticism. In it, he defines the role of the "man of letters" in a republic, the true conservative, the slavery of party affiliations, and the nature of the legislative branch of government. He also offers her most persuasive argument on why America should develop its own art and literary culture, ignoring the aristocratically tainted art of Europe. Influenced by the ideals of classical republicanism, Cooper feared that the orgy of speculation he witnessed was destructive of civic virtue and warned Americans that it was a "mistake to suppose commerce favorable to liberty"; doing so would lead to a new "moneyed aristocracy." Drawing upon philosophers such as Jean-Jacques Rousseau, Burlamaqui, and Montesquieu, Cooper's political ideas were both democratic, deriving from the consent of the governed, and liberal, concerned with the rights of the individual. In the later 1830s—despite his repudiation of authorship in A Letter To My Countrymen—he published Gleanings in Europe, five volumes of social and political analysis of his observations and experiences in Europe. His two novels Homeward Bound and Home as Found also criticize the flamboyant financial speculation and toadyism he found on his return; some readers and critics attacked the works for presenting a highly idealized self-portrait, which he vigorously denied. In June 1834, Cooper decided to reopen his ancestral mansion Otsego Hall at Cooperstown. It had long been closed and falling into decay; he had been absent from the mansion nearly 16 years. Repairs were begun, and the house was put in order. At first, he wintered in New York City and summered in Cooperstown, but eventually he made Otsego Hall his permanent home. On May 10, 1839, Cooper published History of the Navy of the United States of America, a work that he had long planned on writing. He publicly announced his intentions to author such a historical work while abroad before departing for Europe in May 1826, during a parting speech at a dinner given in his honor: Encouraged by your kindness, ... I will take this opportunity of recording the deeds and sufferings of a class of men to which this nation owes a debt of gratitude—a class of men among whom, I am always ready to declare, not only the earliest, but many of the happiest days of my youth have been passed. Historical and nautical work His historical account of the U.S. Navy was well received, though his account of the roles played by the American leaders in the Battle of Lake Erie led to years of disputes with their descendants, as noted below. Cooper had begun thinking about this massive project in 1824, and concentrated on its research in the late 1830s. His close association with the U.S. Navy and various officers, and his familiarity with naval life at sea provided him the background and connections to research and write this work. Cooper's work is said to have stood the test of time and is considered an authoritative account of the U.S. Navy during that time. In 1844, Cooper's Proceedings of the naval court martial in the case of Alexander Slidell Mackenzie, a commander in the navy of the United States, &c:, was first published in Graham's Magazine of 1843–44. It was a review of the court martial of Alexander Slidell Mackenzie who had hanged three crew members of the brig USS Somers for mutiny while at sea. One of the hanged men, 19-year-old Philip Spencer, was the son of U.S. Secretary of War John C. Spencer. He was executed without court-martial along with two other sailors aboard the Somers for allegedly attempting mutiny. Prior to this affair, Cooper and Mackenzie had disputed each other's version of the Battle of Lake Erie. However, recognizing the need for absolute discipline in a warship at sea, Cooper still felt sympathetic to Mackenzie over his pending court martial. In 1843, an old shipmate, Ned Myers, re-entered Cooper's life. To assist him—and hopefully to cash in on the popularity of maritime biographies—Cooper wrote Myers's story which he published in 1843 as Ned Myers, or a Life before the Mast, an account of a common seaman still of interest to naval historians. In 1846, Cooper published Lives of Distinguished American Naval Officers covering the biographies of William Bainbridge, Richard Somers, John Shaw, John T. Shubrick, and Edward Preble. Cooper died in 1851. In May 1853, Cooper's Old Ironsides appeared in Putnam's Monthly. It was the history of the Navy ship and, after European and American Scenery Compared, 1852, was one of several posthumous publication of his writings. In 1856, five years after Cooper's death, his History of the Navy of the United States of America was re-published in an expanded edition. The work was an account of the U.S. Navy in the early 19th century, through the Mexican War. Among naval historians of today, the work has come to be recognized as a general and authoritative account. However, it was criticized for accuracy on some points by some contemporaries, especially those engaged in the disputes over the roles of their relatives in Cooper's separate history of the Battle of Lake Erie. Whig editors of the period regularly attacked anything Cooper wrote, leading him to numerous suits for libel, for example against Park Benjamin, Sr., a poet and editor of the Evening Signal of New York. Critical reaction Cooper's writings of the 1830s related to current politics and social issues, coupled with his perceived self-promotion, increased the ill feeling between the author and some of the public. Criticism in print of his naval histories and the two Home novels came largely from newspapers supporting The Whig party, reflecting the antagonism between the Whigs and their opposition, the Democrats, whose policies Cooper often favored. Cooper's father William had been a staunch Federalist, a party now defunct but some of whose policies supporting large-scale capitalism the Whigs endorsed. Cooper himself had come to admire Thomas Jefferson, the bete-noire of the Federalists, and had supported Andrew Jackson's opposition to a National Bank. Never one to shrink from defending his personal honor and his sense of where the nation was erring, Cooper filed legal actions for libel against several Whig editors; his success with most of his lawsuits ironically led to more negative publicity from the Whig establishment. Buoyed by his frequent victories in court, Cooper returned to writing with more energy and success than he had had for several years. As noted above, on May 10, 1839, he published his History of the U.S. Navy; his return to the Leatherstocking Tales series with The Pathfinder, or The Inland Sea (1840) and The Deerslayer (1841) brought him renewed favorable reviews. But on occasion he returned to addressing public issues, most notably with a trilogy of novels called the Littlepage Manuscripts addressing the issues of the anti-rent wars. Public sentiment largely favored the anti-renters, and Cooper's reviews again were largely negative. Later life Faced with competition from younger writers and magazine serialization, and lower prices for books resulting from new technologies, Cooper simply wrote more in his last decade than in either of the previous two. Half of his thirty-two novels were written in the 1840s. They may be grouped into three categories: Indian romances, maritime fiction, and political and social controversy—though the categories often overlap. The 1840s began with the last two novels featuring Natty Bumppo, both critical and reader successes: The Pathfinder (1840) and The Deerslayer (1841). Wyandotte, his last novel set in the Revolutionary War, followed in 1843 and Oak Openings in 1848. The nautical works were Mercedes of Castile (in which Columbus appears, 1840),The Two Admirals (British and French fleets in battle, 1842), Wing-And-Wing (a French privateer fighting the British in 1799, 1842), Afloat and Ashore (two volumes exploring a young man growing up, 1844), Jack Tier (a vicious smuggler in the Mexican-American War, 1848), and The Sea Lions (rival sealers in the Antarctic, 1849). He also turned from pure fiction to the combination of art and controversy in which he achieved notoriety in the novels of the previous decade. His Littlepage Manuscripts trilogy--Satanstoe (1845), The Chainbearer (1845), and The Redskins (1846)--dramatized issues of land ownership in response to renters in the 1840s opposing the long leases common in the old Dutch settlements in the Hudson Valley. He tried his hand with serialization with The Autobiography of a Pocket Handkerchief, first published in Graham's Magazine in 1843, a satire on contemporary nouveau riche. In The Crater, or Vulcan's Peak (1847) he introduced supernatural machinery to show the decline of an ideal society in the South Seas when demagogues prevail. The Ways of the Hour, his last completed novel, portrayed a mysterious and independent young woman defending herself against criminal charges. Cooper spent the last years of his life back in Cooperstown. He died on September 14, 1851, the day before his 62nd birthday. He was buried in the Christ Episcopal Churchyard, where his father, William Cooper, was buried. Cooper's wife Susan survived her husband only by a few months and was buried by his side at Cooperstown. Several well-known writers, politicians, and other public figures honored Cooper's memory with a memorial in New York, six months after his death, in February 1852. Daniel Webster gave a speech to the gathering while Washington Irving served as a co-chairman, along with William Cullen Bryant, who also gave an address which did much to restore Cooper's damaged reputation among American writers of the time. Religious activities Cooper's father was a lapsed Quaker; probably influenced by his wife's family, the DeLanceys, Cooper in his fiction often favorably depicted clergy of the Episcopal Church, though Calvinist ministers came in for their share of both admiring and critical treatment. In the 1840s as Cooper increasingly despaired over the United States maintaining the vision and promise of the Constitution, his fiction increasingly turned to religious themes. In The Wing-And-Wing, 1842, the hero, a French revolutionary free-thinker, loses the Italian girl he loves because he cannot accept her simple Christianity. In contrast, in the 1849 The Sea Lions the hero wins his beloved only after a spiritual transformation while marooned in the Antarctic. And the 1848 The Oak Openings features a pious Parson Amen who wins the admiration of the Indians who kill him, praying for them during torture. After establishing permanent residence in Cooperstown, Cooper became active in Christ Episcopal Church, taking on the roles of warden and vestryman. As the vestryman, he donated generously to this church and later supervised and redesigned its interior with oak furnishings at his own expense. He was also energetic as a representative from Cooperstown to various regional conventions of the Episcopal church. But only several months before his death, in July 1851, was he confirmed in this church by his brother-in-law, the Reverend William H. DeLancey. Legacy Cooper was one of the more popular 19th-century American authors, and his work was admired greatly throughout the world. While on his death bed, the Austrian composer Franz Schubert wanted most to read more of Cooper's novels. Honoré de Balzac, the French novelist and playwright, admired him greatly. Henry David Thoreau, while attending Harvard, incorporated some of Cooper's style in his own work. D.H. Lawrence believed that Turgenev, Tolstoy, Dostoyevsky, Maupassant, and Flaubert were all "so very obvious and coarse, besides the lovely, mature and sensitive art of Fennimore Cooper." Lawrence called The Deerslayer "one of the most beautiful and perfect books in the world: flawless as a jewel and of gem-like concentration." Cooper's work, particularly The Pioneers and The Pilot, demonstrate an early 19th-century American preoccupation with alternating prudence and negligence in a country where property rights were often still in dispute. Cooper was one of the early major American novelists to include African, African-American and Native American characters in his works. In particular, Native Americans play central roles in his Leatherstocking Tales. However, his treatment of this group is complex and highlights the relationship between frontier settlers and American Indians as exemplified in The Wept of Wish-ton-Wish, depicting a captured white girl who marries an Indian chief and has a baby with him, but after several years is eventually returned to her parents. Often, he gives contrasting views of Native characters to emphasize their potential for good, or conversely, their proclivity for mayhem. Last of the Mohicans includes both the character of Magua, who fearing the extinction of his race at the hands of the whites savagely betrays them, as well as Chingachgook, the last chief of the Mohicans, who is portrayed as Natty Bumppo's noble, courageous, and heroic counterpart. In 1831, Cooper was elected into the National Academy of Design as an Honorary Academician. According to Tad Szulc, Cooper was a devotee of Poland's causes (uprisings to regain Polish sovereignty). He organized a club in Paris to support the rebels, and brought flags of the defeated Polish rebel regiment from Warsaw to present them to the exiled leaders in Paris. With his friend the Marquis de La Fayette, he supported liberals during the regime changes in France and elsewhere in the 1830s. . Though some scholars have hesitated to classify Cooper as a strict Romantic, Victor Hugo pronounced him greatest novelist of the century outside France. Honoré de Balzac, while mocking a few of Cooper's novels ("rhapsodies") and expressing reservations about his portrayal of characters, enthusiastically called The Pathfinder a masterpiece and professed great admiration for Cooper's portrayal of nature, only equalled in his view by Walter Scott. Mark Twain, the ultimate Realist, criticized the Romantic plots and overwrought language of The Deerslayer and The Pathfinder in his satirical but shrewdly observant essay, "Fenimore Cooper's Literary Offenses" (1895). Cooper was also criticized heavily in his day for his depiction of women characters in his work. James Russell Lowell, Cooper's contemporary and a critic, referred to it poetically in A Fable for Critics, writing, "... the women he draws from one model don't vary / All sappy as maples and flat as a prairie." Cooper's lasting reputation today rests largely upon the five Leatherstocking Tales. In his 1960 study focusing on romantic relationships, both hetero- and homo-sexual, literary scholar Leslie Fiedler opines that with the exception of the five Natty Bumppo-Chingachgook novels, Cooper's "collected works are monumental in their cumulative dullness." More recent criticism views all thirty-two novels in the context of Cooper's responding to changing political, social, and economic realities in his time period. Cooper was honored on a U.S. commemorative stamp, the Famous American series, issued in 1940. Three dining halls at the State University of New York at Oswego are named in Cooper's remembrance (Cooper Hall, The Pathfinder, and Littlepage) because of his temporary residence in Oswego and for setting some of his works there. Cooper Park in Michigan's Comstock Township is named after him. The New Jersey Turnpike has a James Fenimore Cooper service area, recognizing his birth in the state. The gilded and red tole chandelier hanging in the library of the White House in Washington DC is from the family of James Fenimore Cooper. It was brought there through the efforts of First Lady Jacqueline Kennedy in her great White House restoration. The James Fenimore Cooper Memorial Prize at New York University is awarded annually to an outstanding undergraduate student of journalism. In 2013, Cooper was inducted into the New York Writers Hall of Fame. Cooper's novels were very popular in the rest of the world, including, for instance, Russia. In particular, great interest of the Russian public in Cooper's work was primarily incited by the novel The Pathfinder, which the renowned Russian literary critic Vissarion Belinsky declared to be "a Shakespearean drama in the form of a novel". The author was more recognizable by his middle name, Fenimore, exotic to many in Russia. This name became a symbol of exciting adventures among Russian readers. For example, in the 1977 Soviet movie The Secret of Fenimore (), being the third part of a children's television mini-series Three Cheerful Shifts (, see ), tells of a mysterious stranger known as Fenimore, visiting a boys' dorm in a summer camp nightly and relating fascinating stories about Indians and extraterrestrials. Works Notes References Bibliography ; James Fenimore Cooper: The Later Years, Yale University Press, 2017. p. 805 . Primary sources Url1 Url Url ——— (1852). The Chainbearer, Or The Littlepage Manuscripts, Stringer and Townsend, 228 pages; eBook Further reading Clavel, Marcel (1938). Fenimore Cooper and his critics: American, British and French criticisms of the novelist's early work, Imprimerie universitaire de Provence, E. Fourcine, 418 pages; Book Darnell, Donald. (1993). James Fenimore Cooper: Novelist of Manners, Newark, Univ. of Delaware Dekker, George (2017). James Fenimore Cooper the Novelist, Routledge, 2017, ISBN 9781351580014 Doolen, Andy (2005). Fugitive Empire: Locating Early American Imperialism, Minneapolis: Univ. of Minnesota P. Franklin, Wayne (1982). The New World of James Fenimore Cooper, Chicago: Univ. of Chicago P, Book –—— (2007). James Fenimore Cooper: The Early Years, New Haven: Yale UP, Book Krauthammer, Anna. The Representation of the Savage in James Fenimore Cooper and Herman Melville. NY: Peter Lang, 2008. Long, Robert Emmet (1990). James Fenimore Cooper, NY: Continuum. , MacDougall, Hugh C. (1993). Where Was James? A James Fenimore Cooper Chronology from 1789–1851. Cooperstown: James Fenimore Cooper Soc. Rans, Geoffrey (1991). Cooper's Leather-Stocking Novels: A Secular Reading. Chapel Hill: Univ. of North Carolina Redekop, Ernest H., ed. (1989). James Fenimore Cooper, 1789–1989: Bicentennial Essays, Canadian Review of American Studies, entire special issue, vol. 20, no. 3 (Winter 1989), pp. 1–164. Reid, Margaret (2004). Cultural Secrets as Narrative Form: Storytelling in Nineteenth-Century America. Columbus: Ohio State UP Ringe, Donald A. (1988). James Fenimore Cooper. Boston: Twayne. Romero, Lora (1997). Home Fronts: Domesticity and Its Critics in the Antebellum United States. Durham: Duke UP Smith, Lindsey C. (2008). Indians, Environment, and Identity on the Borders of American Literature: From Faulkner and Morrison to Walker and Silko. NY: Palgrave Macmillan. Verhoeven, W.M. (1993). James Fenimore Cooper: New Historical and Literary Contexts. Rodopi publishers. . Book Google. External links James Fenimore Cooper at Open Library James Fenimore Cooper Society Homepage Finding Aid for the James Fenimore Cooper Collection of Papers, 1825–1904, New York Public Library James Fenimore Cooper Letters and Manuscript Fragments. Available online though Lehigh University's I Remain: A Digital Archive of Letters, Manuscripts, and Ephemera "Writings of James Fenimore Cooper" from C-SPAN's American Writers: A Journey Through History "Fenimore Cooper's Literary Offenses", an essay by Mark Twain James Fenimore Cooper Collection. Yale Collection of American Literature, Beinecke Rare Book and Manuscript Library. 1789 births 1851 deaths 19th-century American novelists American expatriates in France American historical novelists American male novelists American naval historians American people of English descent Christian writers Deaths from edema Hall of Fame for Great Americans inductees People from Burlington, New Jersey People from Cooperstown, New York People from Scarsdale, New York Romanticism United States Navy officers Writers of historical fiction set in the modern age Knickerbocker Group Novelists from New Jersey American male non-fiction writers Historians from New York (state) Historians from New Jersey	false	[ "\"What Did I Do to You?\" is a song recorded by British singer Lisa Stansfield for her 1989 album, Affection. It was written by Stansfield, Ian Devaney and Andy Morris, and produced by Devaney and Morris. The song was released as the fourth European single on 30 April 1990. It included three previously unreleased songs written by Stansfield, Devaney and Morris: \"My Apple Heart,\" \"Lay Me Down\" and \"Something's Happenin'.\" \"What Did I Do to You?\" was remixed by Mark Saunders and by the Grammy Award-winning American house music DJ and producer, David Morales. The single became a top forty hit in the European countries reaching number eighteen in Finland, number twenty in Ireland and number twenty-five in the United Kingdom. \"What Did I Do to You?\" was also released in Japan.\n\nIn 2014, the remixes of \"What Did I Do to You?\" were included on the deluxe 2CD + DVD re-release of Affection and on People Hold On ... The Remix Anthology. They were also featured on The Collection 1989–2003 box set (2014), including previously unreleased Red Zone Mix by David Morales.\n\nCritical reception\nThe song received positive reviews from music critics. Matthew Hocter from Albumism viewed it as a \"upbeat offering\". David Giles from Music Week said it is \"beautifully performed\" by Stansfield. A reviewer from Reading Eagle wrote that \"What Did I Do to You?\" \"would be right at home on the \"Saturday Night Fever\" soundtrack.\"\n\nMusic video\nA music video was produced to promote the single, directed by Philip Richardson, who had previously directed the videos for \"All Around the World\" and \"Live Together\". It features Stansfield with her kiss curls, dressed in a white outfit and performing with her band on a stage in front of a jumping audience. The video was later published on Stansfield's official YouTube channel in November 2009. It has amassed more than 1,6 million views as of October 2021.\n\nTrack listings\n\n European/UK 7\" single\n\"What Did I Do to You?\" (Mark Saunders Remix Edit) – 4:20\n\"Something's Happenin'\" – 3:59\n\n European/UK/Japanese CD single\n\"What Did I Do to You?\" (Mark Saunders Remix Edit) – 4:20\n\"My Apple Heart\" – 5:19\n\"Lay Me Down\" – 4:17\n\"Something's Happenin'\" – 3:59\n\n UK 10\" single\n\"What Did I Do to You?\" (Mark Saunders Remix) – 5:52\n\"My Apple Heart\" – 5:19\n\"Lay Me Down\" – 4:17\n\"Something's Happenin'\" – 3:59\n\n European/UK 12\" single\n\"What Did I Do to You?\" (Morales Mix) – 7:59\n\"My Apple Heart\" – 4:22\n\"Lay Me Down\" – 3:19\n\"Something's Happenin'\" – 3:15\n\n UK 12\" promotional single\n\"What Did I Do to You?\" (Morales Mix) – 7:59\n\"What Did I Do to You?\" (Anti Poll Tax Dub) – 6:31\n\n Other remixes\n\"What Did I Do to You?\" (Red Zone Mix) – 7:45\n\nCharts\n\nReferences\n\nLisa Stansfield songs\n1990 singles\nSongs written by Lisa Stansfield\n1989 songs\nArista Records singles\nSongs written by Ian Devaney\nSongs written by Andy Morris (musician)", "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" ]
[ "Phil Mickelson", "College golf" ]	C_6362075d4d0541b19cdaa7990bdeea07_1	which college did he play for	1	which college did Phil Michelson play golf for?	Phil Mickelson	Mickelson attended Arizona State University in Tempe on a golf scholarship and became the face of amateur golf in the United States, capturing three NCAA individual championships and three Haskins Awards (1990, 1991, 1992) as the outstanding collegiate golfer. With three individual NCAA championships, he shares the record for most individual NCAA championships alongside Ben Crenshaw. Mickelson also led the Sun Devils to the NCAA team title in 1990. Over the course of his collegiate career, he won 16 tournaments. Mickelson was the second collegiate golfer to earn first-team All-American honors all four years. In 1990, he also became the first with a left-handed swing to win the U.S. Amateur title. Mickelson secured perhaps his greatest achievement as an amateur in January 1991, winning his first PGA Tour event, the Northern Telecom Open, in Tucson. At age 20, he was only the sixth amateur to win a tour event and the first in over five years after Scott Verplank at the Western Open in August 1985. Other players to accomplish this feat include Doug Sanders (1956 Canadian Open) and Gene Littler (1954 San Diego Open). With five holes remaining, Mickelson led by a stroke, but made a triple-bogey and was then three behind. The leaders ahead of him then stumbled, and he birdied 16 and 18 to win by a stroke. To date, it is the most recent win by an amateur at a PGA Tour event. That April, Mickelson was the low amateur at the Masters Tournament in Augusta, Georgia. With his two-year PGA Tour exemption from the Tucson win, he played in several tour events in 1992 while an amateur but failed to make a cut. CANNOTANSWER	Arizona State University	Philip Alfred Mickelson (born June 16, 1970), nicknamed Phil the Thrill, is an American professional golfer. He has won 45 events on the PGA Tour, including six major championships: three Masters titles (2004, 2006, 2010), two PGA Championships (2005, 2021), and one Open Championship (2013). With his win at the 2021 PGA Championship, Mickelson became the oldest major championship winner in history at the age of 50 years, 11 months and 7 days old. Mickelson is one of 17 players in the history of golf to win at least three of the four majors. He has won every major except the U.S. Open, in which he has finished runner-up a record six times. Mickelson has spent more than 25 consecutive years in the top 50 of the Official World Golf Ranking. He has spent over 700 weeks in the top 10, has reached a career-high world ranking of No. 2 several times and is a life member of the PGA Tour. Although naturally right-handed, he is known for his left-handed swing, having learned it by mirroring his right-handed father's swing. He was inducted into the World Golf Hall of Fame in 2012. Early life and family Philip Alfred Mickelson was born on June 16, 1970, in San Diego, California, to parents Philip Mickelson, an airline pilot and former naval aviator, and Mary Santos. He was raised there and in Scottsdale, Arizona. Mickelson has Portuguese, Swedish, and Sicilian ancestry. His maternal grandfather, Alfred Santos (also Mickelson's middle name) was a caddie at Pebble Beach Golf Links and took Phil to play golf as a child. Although otherwise right-handed, he played golf left-handed since he learned by watching his right-handed father swing, mirroring his style. Mickelson began golf under his father's instruction before starting school. Phil Sr.'s work schedule as a commercial pilot allowed them to play together several times a week and young Phil honed his creative short game on an extensive practice area in their San Diego backyard. Mickelson graduated from the University of San Diego High School in 1988. College golf Mickelson attended Arizona State University in Tempe on a golf scholarship and became the face of amateur golf in the United States, capturing three NCAA individual championships and three Haskins Awards (1990, 1991, 1992) as the outstanding collegiate golfer. With three individual NCAA championships, he shares the record for most individual NCAA championships alongside Ben Crenshaw. Mickelson also led the Sun Devils to the NCAA team title in 1990. Over the course of his collegiate career, he won 16 tournaments. Mickelson was the second collegiate golfer to earn first-team All-American honors all four years. In 1990, he also became the first with a left-handed swing to win the U.S. Amateur title, defeating high school teammate Manny Zerman 5 and 4 in the 36-hole final at Cherry Hills, south of Denver. Mickelson secured perhaps his greatest achievement as an amateur in January 1991, winning his first PGA Tour event, the Northern Telecom Open, in Tucson, making him one of the few golfers to win a PGA Tour event as an amateur in the history of the PGA Tour. At age 20, he was only the sixth amateur to win a tour event and the first in over five years after Scott Verplank at the Western Open in August 1985. Other players to accomplish this feat include Doug Sanders (1956 Canadian Open) and Gene Littler (1954 San Diego Open). With five holes remaining, Mickelson led by a stroke, but made a triple-bogey and was then three behind. The leaders ahead of him then stumbled, and he birdied 16 and 18 to win by a stroke. To date, it is the most recent win by an amateur at a PGA Tour event. That April, Mickelson was the low amateur at the Masters Tournament in Augusta, Georgia. With his two-year PGA Tour exemption from the Tucson win, he played in several tour events in 1992 while an amateur but failed to make a cut. Professional career 1992–2003: Trying for first major win Mickelson graduated from ASU in June 1992 and quickly turned professional. He bypassed the tour's qualifying process (Q-School) because of his 1991 win in Tucson, which earned him a two-year exemption. In 1992, Mickelson hired Jim "Bones" Mackay as his caddy. He won many PGA Tour tournaments during this period, including the Byron Nelson Golf Classic and the World Series of Golf in 1996, the AT&T Pebble Beach National Pro-Am in 1998, the Colonial National Invitation in 2000 and the Greater Hartford Open in 2001 and again in 2002. He appeared as himself in a non-speaking role in the 1996 film Tin Cup, starring Kevin Costner. His 2000 Buick Invitational win ended Tiger Woods's streak of six consecutive victories on the PGA Tour. After the win, Mickelson said, "I didn't want to be the bad guy. I wasn't trying to end the streak per se. I was just trying to win the golf tournament." Although he had performed very well in the majors up to the end of the 2003 season (17 top-ten finishes, and six second- or third-place finishes between 1999 and 2003), Mickelson's inability to win any of them led to him frequently being described as the "best player never to win a major". 2004–2006: First three major wins Mickelson's first major championship win came in his thirteenth year on the PGA Tour in 2004, when he secured victory in the Masters with an birdie putt on the final hole. Ernie Els was the runner-up at a stroke back; the two played in different pairs in the final round and had traded birdies and eagles on the back nine. In addition to getting the "majors monkey" off his back, Mickelson was now only the third golfer with a left-handed swing to win a major, the others being New Zealander Sir Bob Charles, who won The Open Championship in 1963, and Canadian Mike Weir, who won The Masters in 2003. (Like Mickelson, Weir is a right-hander who plays left-handed.) A fourth left-handed winner is natural southpaw Bubba Watson, the Masters champion in 2012 and 2014. Prior to the Ryder Cup in 2004, Mickelson was dropped from his long-standing contract with Titleist/Acushnet Golf, after an incident when he left a voicemail message for a Callaway Golf executive. In it, he praised their driver and golf ball, and thanked them for their help in getting some equipment for his brother. This memo was played to all of their salesmen, and eventually found its way back to Titleist. He was then let out of his multi-year deal with Titleist 16 months early, and signed on with Callaway Golf, his current equipment sponsor. He endured a great deal of ridicule and scrutiny from the press and fellow Ryder Cup members for his equipment change so close to the Ryder Cup matches. He faltered at the 2004 Ryder Cup with a record, but refused to blame the sudden change in equipment or his practice methods for his performance. In November 2004, Mickelson tallied his career-low for an 18-hole round: a 59 at the PGA Grand Slam of Golf at Poipu Bay Golf Course in Hawaii. The following year, Mickelson captured his second major at the PGA Championship at Baltusrol, in a Monday final-round conclusion that had been forced by inclement weather the previous day. On the 18th hole, Mickelson hit one of his trademark soft pitches from deep greenside rough to within of the cup, and made his birdie to finish at a 4-under-par total of 276, one shot ahead of Steve Elkington and Thomas Bjørn. Mickelson captured his third major title the following spring at the Masters. He won his second green jacket after shooting a 3-under-par final round, winning by two strokes over runner-up Tim Clark. This win propelled him to 2nd place in the Official World Golf Ranking (his career best), behind Woods, and ahead of Vijay Singh and Retief Goosen. 2006: Collapse on final hole at the U.S. Open After winning two majors in a row heading into the U.S. Open at Winged Foot, Mickelson was bidding to join Ben Hogan and Tiger Woods as the only players to win three consecutive majors (not necessarily in the same calendar year). Mickelson was the joint leader going into the final round, but he was part of a wild finish to the tournament, in which he made major mistakes on the final hole and ended up in a tie for second place at +6 (286), one shot behind Geoff Ogilvy. Mickelson bogeyed the 16th hole. On the 17th hole, with the lead at +4, he missed the fairway to the left, and his drive finished inside a garbage can, from which he was granted a free drop; he parred the hole. He had a one-shot lead and was in the last group going into the final hole. Needing a par on the 18th hole for a one-shot victory, Mickelson continued with his aggressive style of play and chose to hit a driver off the tee; he hit his shot well left of the fairway (he had hit only two of thirteen fairways previously in the round). The ball bounced off a corporate hospitality tent and settled in an area of trampled-down grass that was enclosed with trees. He decided to go for the green with his second shot, rather than play it safe and pitch out into the fairway. His ball then hit a tree, and did not advance more than . His next shot plugged into the left greenside bunker. He was unable to get up and down from there, resulting in a double bogey, and costing him a chance of winning the championship outright or getting into an 18-hole playoff with Ogilvy. After his disappointing finish, Mickelson said: "I'm still in shock. I still can't believe I did that. This one hurts more than any tournament because I had it won. Congratulations to Geoff Ogilvy on some great play. I want to thank all the people that supported me. The only thing I can say is I'm sorry." He was even more candid when he said: "I just can't believe I did that. I'm such an idiot." 2006–2008 During the third round of the 2006 Ford Championship at Doral, Mickelson gave a spectator $200 after his wayward tee shot at the par-5 10th broke the man's watch. Mickelson also has shown other signs of appreciation. In 2007 after hearing the story of retired NFL player, Conrad Dobler, and his family on ESPN explaining their struggles to pay medical bills, Mickelson volunteered to pay tuition for Holli Dobler, Conrad Dobler's daughter, at Miami University in Oxford, Ohio. Frustrated with his driving accuracy, Mickelson made the decision in April 2007 to leave longtime swing coach, Rick Smith. He then began working with Butch Harmon, a former coach of Tiger Woods and Greg Norman. On May 13, Mickelson came from a stroke back on the final round to shoot a three-under 69 to win The Players Championship with an 11-under-par 277. In the U.S. Open at Oakmont in June, Mickelson missed the cut (by a stroke) for the first time in 31 majors after shooting 11 over par for 36 holes. He had been hampered by a wrist injury that was incurred while practicing in the thick rough at Oakmont a few weeks before the tournament. On September 3, 2007, Mickelson won the Deutsche Bank Championship, which is the second FedEx Cup playoff event. On the final day, he was paired with Tiger Woods, who ended up finishing two strokes behind Mickelson in a tie for second. It was the first time that Mickelson was able to beat Woods while the two stars were paired together on the final day of a tournament. The next day Mickelson announced that he would not be competing in the third FedEx Cup playoff event. The day before his withdrawal, Mickelson said during a television interview that PGA Tour Commissioner, Tim Finchem, had not responded to advice he had given him on undisclosed issues. In 2008, Mickelson won the Crowne Plaza Invitational at Colonial with a −14, one shot ahead of Tim Clark and Rod Pampling. Mickelson shot a first-round 65 to start off the tournament at −5. He ended the day tied with Brett Wetterich, two shots behind leader, Johnson Wagner. Mickelson shot a second-round 68, and the third round 65, overall, being −12 for the first three rounds. On the final hole, after an absolutely horrendous tee shot, he was in thick rough with trees in his way. Many players would have punched out, and taken their chances at making par from the fairway with a good wedge shot. Instead, he pulled out a high-lofted wedge and hit his approach shot over a tree, landing on the green where he one-putted for the win. In a Men's Vogue article, Mickelson recounted his effort to lose with the help of trainer Sean Cochran. "Once the younger players started to come on tour, he realized that he had to start working out to maintain longevity in his career," Cochran said. Mickelson's regimen consisted of increasing flexibility and power, eating five smaller meals a day, aerobic training, and carrying his own golf bag. Mickelson was inducted into the National Italian American Sports Hall of Fame in 2008. 2009 Mickelson won his first 2009 tour event when he defended his title at the Northern Trust Open at Riviera, one stroke ahead of Steve Stricker. The victory was Mickelson's 35th on tour; he surpassed Vijay Singh for second place on the current PGA Tour wins list. A month later, he won his 36th, and his first World Golf Championship, at the WGC-CA Championship with a one-stroke win over Nick Watney. On May 20, it was announced that his wife Amy was diagnosed with breast cancer, and Mickelson announced that he would suspend his PGA Tour schedule indefinitely. She would begin treatment with major surgery as early as the following two weeks. Mickelson was scheduled to play the HP Byron Nelson Championship May 21–24, and to defend his title May 28–31 at the Crowne Plaza Invitational at Colonial, but withdrew from both events. During the final round of the 2009 BMW PGA Championship, fellow golfer and family friend John Daly wore bright pink trousers in support of Mickelson's wife. Also, the next Saturday, at the Crowne Plaza Invitational at Colonial, a "Pink Out" event was hosted, and the PGA Tour players all wore pink that day, to support the Mickelson family. On May 31, Mickelson announced that he would return to play on the PGA Tour in June at the St. Jude Classic and the U.S. Open, since he had heard from the doctors treating his wife that her cancer had been detected in an early stage. Mickelson shot a final round 70 at the 2009 U.S. Open and recorded his fifth runner-up finish at the U.S. Open. He shared the lead after an eagle at the 13th hole, but fell back with bogeys on 15 and 17; Lucas Glover captured the championship. On July 6, it was announced that his mother Mary was diagnosed with breast cancer and would have surgery at the same hospital where his wife was treated. After hearing the news that his mother had been diagnosed with breast cancer, Mickelson took another leave of absence from the tour, missing The Open Championship at Turnberry. On July 28, Mickelson announced he would return in August at the WGC-Bridgestone Invitational, the week before the PGA Championship at Hazeltine National Golf Club in Chaska, Minnesota. In September, Mickelson won The Tour Championship for the second time in his career. He entered the final round four strokes off the lead, but shot a final round 65 to win the event by three strokes over Tiger Woods. With the win, Mickelson finished the season second behind Woods in the 2009 FedEx Cup standings. On November 8, Mickelson won the WGC-HSBC Champions by one shot over Ernie Els in Shanghai. 2010: Third Masters win In 2010, Mickelson won the Masters Tournament on April 11 with a 16-under-par performance, giving him a three-stroke win over Lee Westwood. The win marked the third Masters victory for Mickelson and his fourth major championship overall. Critical to Mickelson's win was a dramatic run in the third round on Saturday in which Mickelson, trailing leader Westwood by five strokes as he prepared his approach shot to the 13th green, proceeded to make eagle, then to hole-out for eagle from 141 yards at the next hole, the par 4 14th, then on the next, the par 5 15th, to miss eagle from 81 yards by mere inches. After tapping in for birdie at 15, Mickelson, at −12, led Westwood, at −11, who had bogeyed hole 12 and failed to capitalize on the par 5 13th, settling for par. Westwood recaptured a one-stroke lead by the end of the round, but the momentum carried forward for Mickelson into round 4, where he posted a bogey-free 67 to Westwood's 71. No other pursuer was able to keep pace to the end, though K. J. Choi and Anthony Kim made notable charges. For good measure, Mickelson birdied the final hole and memorably greeted his waiting wife, Amy, with a prolonged hug and kiss. For many fans, Mickelson's finish in the tournament was especially poignant, given that Amy had been suffering from breast cancer during the preceding year. Mary Mickelson, Phil's mother, was also dealing with cancer. CBS Sports announcer Jim Nantz's call of the final birdie putt, "That's a win for the family," was seen by many as capturing the moment well. Tiger Woods had a dramatic return to competitive play after a scandal-ridden 20-week absence; he was in close contention throughout for the lead and finished tied with Choi for 4th at −11. Mickelson and others showed exciting play over the weekend, and the 2010 Masters had strong television ratings in the United States, ranking third all-time to Woods's historic wins in 1997 and 2001. Mickelson's win left him second only to Woods in major championships among his competitive contemporaries, moving him ahead of Ernie Els, Vijay Singh and Pádraig Harrington, with three major championships each and each, like Mickelson, with dozens of worldwide wins. Remainder of 2010 Mickelson, one of the favorites for the U.S. Open at Pebble Beach, shot 75 and 66 on Thursday and Friday to sit two shots off the lead. However, two weekend scores of 73 gave him a T4 finish. During the remainder of the 2010 season, Mickelson had multiple opportunities to become the number one player in the world rankings following the travails of Tiger Woods. However, a string of disappointing finishes by Mickelson saw the number one spot eventually go to Englishman Lee Westwood. In the days leading up to the PGA Championship at Whistling Straits (near Kohler, Wisconsin), Mickelson announced he had been diagnosed with psoriatic arthritis. He added that he had started medical treatment, and had become a vegetarian in hopes of aiding his recovery. He maintains that both his short- and long-term prognosis are good, that the condition should have no long-term effect on his golfing career, and that he currently feels well. He also stated that the arthritis may go into permanent remission after one year of medical treatment. He went on to finish the championship T12, five shots behind winner Martin Kaymer. 2011 Mickelson started his 2011 season at the Farmers Insurance Open at Torrey Pines Golf Course. He shot and was tied for the 54 hole lead with Bill Haas. Mickelson needed to hole out on the 18th hole for eagle from 74 yards to force a playoff with Bubba Watson. He hit it to 4 feet and Watson won the tournament. On April 3, Mickelson won the Shell Houston Open with a 20-under-par, three-stroke win over Scott Verplank. Mickelson rose to No. 3 in the world ranking, while Tiger Woods fell to No. 7. Mickelson had not been ranked above Woods since the week prior to the 1997 Masters Tournament. At The Open Championship, Mickelson recorded just his second top-ten finish in 18 tournaments by tying for second with Dustin Johnson. His front nine 30 put him briefly in a tie for the lead with eventual champion Darren Clarke. However, some putting problems caused him to fade from contention toward the end, to finish in a tie for second place. 2012: 40th career PGA Tour win Mickelson made his 2012 debut at the Humana Challenge and finished tied for 49th. He missed the cut at the Farmers Insurance Open after shooting rounds of 77 and 68. In the final round of the AT&T Pebble Beach National Pro-Am, Mickelson rallied from six shots back, winning the tournament by two strokes with a final-round score of 8-under 64 and a four-round total of 269. The win marked his 40th career victory on the PGA Tour. The following week at Riviera Country Club, Mickelson lost the Northern Trust Open in a three-way playoff. He had held the lead or a share of it from day one until the back nine on Sunday when Bill Haas posted the clubhouse lead at seven under par. Mickelson holed a 27-foot birdie putt on the final regulation hole to force a playoff alongside Haas and Keegan Bradley. Haas however won the playoff with a 40-foot birdie putt on the second playoff hole. The second-place finish moved Mickelson back into the world's top 10. Mickelson finished tied for third at the Masters. After opening the tournament with a two-over-par 74, he shot 68–66 in the next two rounds and ended up one stroke behind leader Peter Hanson by Saturday night. Mickelson had a poor start to his fourth round, scoring a triple-bogey when he hit his ball far to the left of the green on the par-3 4th hole, hitting the stand and landing in a bamboo plant. This ended up being Mickelson's only score over par in the whole round, and he ended with a score of eight-under overall. Earlier in the tournament he had received widespread praise for being present to watch Jack Nicklaus, Arnold Palmer, and Gary Player hit the ceremonial opening tee-shots, nearly seven hours before Mickelson's own tee time. Mickelson made a charge during the final round at the HP Byron Nelson Championship, but bogeyed the 17th and 18th, finishing T-7th. He then withdrew from the Memorial Tournament, citing mental fatigue, after a first-round 79. He was to be paired with Tiger Woods and Bubba Watson at the U.S. Open. He fought to make the cut in the U.S. Open, and finished T-65th. After taking a couple of weeks off, he played in the Greenbrier Classic. Putting problems meant a second straight missed cut at the Greenbrier and a third missed cut at 2012 Open Championship, shooting 73-78 (11 over par). He finished T-43rd at the WGC-Bridgestone Invitational. He then finished T-36th at the PGA Championship. To start the 2012 FedEx Cup Playoffs, Mickelson finished T38 at The Barclays, +1 for the tournament. He tied with Tiger Woods, Zach Johnson, and five other players. In this tournament, he started using the claw putting grip on the greens. At the next event, the Deutsche Bank Championship, he finished the tournament with a −14, tied for 4th with Dustin Johnson. At the BMW Championship, Mickelson posted a −16 for the first three rounds, one of those rounds being a −8, 64. On the final day, Mickelson shot a −2, 70, to finish tied for 2nd, with Lee Westwood, two shots behind leader, and back-to-back winner, Rory McIlroy. At the Tour Championship, he ended up finishing tied for 15th. He went on to have a 3–1 record at the Ryder Cup; however, the USA team lost the event. 2013 Mickelson began the 2013 season in January by playing in the Humana Challenge, where he finished T37 at −17. His next event was the following week in his home event near San Diego at the Farmers Insurance Open. Mickelson endured a disappointing tournament, finishing T51, shooting all four rounds in the 70s. In the first round of the Waste Management Phoenix Open, Mickelson tied his career-low round of 60. He made seven birdies in his first nine holes and needed a birdie on the 18th hole to equal the PGA Tour record of 59. However, his 25-foot birdie putt on the final hole lipped out, resulting in him missing out by a single shot on making only the sixth round of 59 in PGA Tour history. Mickelson led the tournament wire-to-wire and completed a four-shot win over Brandt Snedeker for his 41st PGA Tour victory and 3rd Phoenix Open title. Mickelson's score of 28-under-par tied Mark Calcavecchia's tournament scoring record. He also moved back inside the world's top 10 after falling down as far as number 22. Sixth runner-up finish at the U.S. Open At the U.S. Open at Merion, Mickelson entered the final round leading by one stroke after rounds of over the first three days, but he started the final round by three-putting the 3rd and 5th holes for double-bogeys to fall out of the lead. He regained the lead at the par-four 10th, when he holed his second shot from the rough for an eagle. However, a misjudgment at the short par three 13th saw him fly the green and make a bogey to slip one behind leader Justin Rose. Another bogey followed at the 15th, before narrowly missing a birdie putt on the 16th that would have tied Rose. Mickelson could not make a birdie at the 17th and after a blocked drive on the 18th, he could not hole his pitch from short of the green, which led to a final bogey. Mickelson ended up finishing tied for second with Jason Day, two strokes behind Justin Rose. It was the sixth runner-up finish of Mickelson's career at the U.S. Open, an event record and only behind Jack Nicklaus's seven runner-up finishes at The Open Championship. After the event, Mickelson called the loss heartbreaking and said "this is tough to swallow after coming so close ... I felt like this was as good an opportunity I could ask for and to not get it ... it hurts." It was also Father's Day, which happened to be his birthday. Fifth major title at the Open Championship The week before The Open Championship, Mickelson warmed up for the event by winning his first tournament on British soil at the Scottish Open on July 14, after a sudden-death playoff against Branden Grace. After this victory, Mickelson spoke of his confidence ahead of his participation in the following week's major championship. Mickelson said: "I've never felt more excited going into The Open. I don't think there's a better way to get ready for a major than playing well the week before and getting into contention. Coming out on top just gives me more confidence." The following week, Mickelson won his fifth major title on July 21 at the Open Championship (often referred to as the British Open) Muirfield Golf Links in Scotland; the Open Championship is the oldest of the four major tournaments in professional golf. This was the first time in history that anyone had won both the Scottish Open and The Open Championship in the same year. Mickelson birdied four of the last six holes in a brilliant final round of 66 to win the title by three strokes. He shed tears on the 18th green after completing his round. Mickelson later said: "I played arguably the best round of my career, and shot the round of my life. The range of emotions I feel are as far apart as possible after losing the U.S. Open. But you have to be resilient in this game." In an interview before the 2015 Open, Mickelson said, "Two years removed from that win, I still can't believe how much it means to me." 2014 and 2015: Inconsistent form and close calls in majors Mickelson missed the cut at the Masters for the first time since 1997. He failed to contend at the U.S. Open at Pinehurst in his first bid to complete the career grand slam. Mickelson's lone top-10 of the PGA Tour season came at the year's final major, the PGA Championship at Valhalla. Mickelson shot rounds of 69-67-67-66 to finish solo second, one shot behind world number one Rory McIlroy. Prior to the 2015 Masters, Mickelson's best finish in 2015 was a tie for 17th. At the Masters, Mickelson shot rounds of to finish tied for second with Justin Rose, four shots behind champion Jordan Spieth. The second-place finish was Mickelson's tenth such finish in a major, placing him second all-time only to Jack Nicklaus in that regard. At The Open Championship, Mickelson shot rounds of and was eight shots behind, outside the top forty. In the final round, Mickelson birdied the 15th hole to move to 10 under and within two of the lead. After a missed birdie putt on 16, Mickelson hit his drive on the infamous Road Hole (17th) at the famed Old Course at St Andrews onto a second-floor balcony of the Old Course Hotel. The out-of-bounds drive lead to a triple-bogey 7 that sent Mickelson tumbling out of contention. Later in the year, it was announced that Mickelson would leave longtime swing coach Butch Harmon, feeling as though he needed to hear a new perspective on things. 2016: New swing coach After leaving Butch Harmon, Mickelson hired Andrew Getson of Grayhawk Golf Club in Scottsdale, Arizona, to serve as his new swing coach. The two worked together heavily in the 2015 offseason to get Mickelson's swing back. Under Getson's guidance, Mickelson made his 2016 debut at the CareerBuilder Challenge. He shot rounds of to finish in a tie for third place at 21-under-par. It was only Mickelson's fifth top-five finish since his win at the 2013 Open Championship. The third-place finish was Mickelson's highest finish in his first worldwide start of a calendar year since he won the same event to begin the 2004 season. At the AT&T Pebble Beach Pro-Am, Mickelson shot rounds of to finish in solo second place, a shot behind Vaughn Taylor. Mickelson lipped out a five-foot birdie putt to force a playoff on the 72nd hole. He entered the final round with a two-stroke lead, his first 54-hole lead since the 2013 U.S. Open and was seeking to end a winless drought dating back 52 worldwide events to the 2013 Open Championship. Mickelson shot a 63 in the opening round of The Open Championship at Royal Troon. The round set a new course record and matched the previous major championship record for lowest round. Mickelson had a birdie putt that narrowly missed on the final hole to set a new major championship scoring record of 62. He followed this up with a 69 in the second round for a 10 under par total and a one-shot lead over Henrik Stenson going into the weekend. In the third round, Mickelson shot a one-under 70 for a total of 11 under par to enter the final round one shot back of Stenson. Despite Mickelson's bogey-free 65 in the final round, Stenson shot 63 to win by three shots. Mickelson finished 11 strokes clear of 3rd place, a major championship record for a runner-up. Mickelson's 267 total set a record score for a runner-up in the British Open, and only trails Mickelson's 266 at the 2001 PGA Championship as the lowest total by a runner-up in major championship history. 2017: Recovery from surgeries In the fall of 2016, Mickelson had two sports hernia surgeries. Those in the golf community expected him to miss much time recovering, however his unexpected return at the CareerBuilder Challenge was a triumphant one, leading to a T-21 finish. The next week, in San Diego, he narrowly missed an eagle putt on the 18th hole on Sunday that would've got him to 8-under par instead posting −7 to finish T14 at the Farmers Insurance Open. The following week, at the Waste Management Phoenix Open, which he has won three times, he surged into contention following a Saturday 65. He played his first nine holes in 4-under 32 and sending his name to the top of the leaderboard. However, his charge faltered with bogeys at 11, 12, 14, 15, and a double bogey at the driveable 17th hole. He stumbled with a final round 71, still earning a T-16 finish, for his sixth straight top-25 finish on tour. Mickelson came close to winning again at the FedEx St. Jude Classic where he had finished in second place the previous year to Daniel Berger. He started the final round four strokes behind leaders but he quickly played himself into contention. Following a birdie at the 10th hole he vaulted to the top of leaderboard but found trouble on the 12th hole. His tee shot carried out of bounds and his fourth shot hit the water so he had to make a long putt to salvage triple-bogey. He managed to get one shot back but he finished three shots behind winner Berger, in ninth place, for the second straight year. Two weeks later he withdrew from the U.S. Open to attend his daughter's high school graduation. A week later his longtime caddie Jim (Bones) Mackay left Mickelson in a mutual agreement. Mickelson then missed the cut at both The Open Championship and the PGA Championship. On September 6, days after posting his best finish of the season of T6 at the Dell Technologies Championship, Mickelson was named as a captain's pick for the Presidents Cup. This maintained a streak of 23 consecutive USA teams in the Presidents Cup and Ryder Cup, dating back to 1994. 2018–2019: Winless streak ends On March 4, 2018, Mickelson ended a winless drought that dated back to 2013, by capturing his third WGC championship at the WGC-Mexico Championship, with a final-round score of 66 and a total score of −16. Mickelson birdied two of his last four holes and had a lengthy putt to win outright on the 72nd hole, but tied with Justin Thomas. He defeated Thomas on the first extra hole of a sudden-death playoff with a par. After Thomas had flown the green, Mickelson had a birdie to win the playoff which lipped out. Thomas however could not get up and down for par, meaning Mickelson claimed the championship. The win was Mickelson's 43rd on the PGA Tour and his first since winning the 2013 Open Championship. He also became the oldest winner of a WGC event, at age 47. In the third round of the 2018 U.S. Open, Mickelson incurred a two-stroke penalty in a controversial incident on the 13th hole when he hit his ball with intent while it was still moving. He ended up shooting 81 (+11). His former coach Butch Harmon thought Mickelson should have been disqualified. Mickelson was a captain's pick for Team USA at the 2018 Ryder Cup, held in Paris between September 28 and 30. Paired with Bryson DeChambeau in the Friday afternoon foursomes, they lost 5 and 4 to Europe's Sergio García and Alex Norén. In the Sunday singles match, Mickelson lost 4 and 2 to Francesco Molinari, as Team USA slumped to a 17.5 to 10.5 defeat. On November 23, 2018, Mickelson won the pay-per-view event, Capital One's The Match. This was a $9,000,000 winner-takes-all match against Tiger Woods at Shadow Creek Golf Course in Las Vegas. Mickelson needed four extra holes to beat Woods, which he did by holing a four-foot putt after Woods missed a seven-foot putt on the 22nd hole. In his third start of the 2019 calendar year, Mickelson won the AT&T Pebble Beach Pro-Am, shooting a bogey-free final round 65 to defeat Paul Casey by three strokes. The win was Mickelson's 44th career title on the PGA Tour, and his fifth at Pebble Beach, tying Mark O'Meara for most victories in the event. At 48 years of age, he also became the oldest winner of that event. 2020: PGA Tour season and PGA Tour Champions debut In December 2019, Mickelson announced via Twitter that "after turning down opportunities to go to the Middle East for many years" he would play in the 2020 Saudi International tournament on the European Tour and would miss Waste Management Phoenix Open for the first time since 1989. However, his decision to visit and play in Saudi Arabia was criticized for getting lured by millions of dollars and ignoring the continuous human rights abuses in the nation. Mickelson went on to finish the February 2020 event tied for third. Mickelson finished 3rd at the 2020 AT&T Pebble Beach Pro-Am and tied for 2nd in the WGC-FedEx St. Jude Invitational. Mickelson was the first player over 50 to finish in the top five of a World Golf Championship event. He was ultimately eliminated from the FedEx Cup Playoffs following The Northern Trust at TPC Boston in August 2020. One week later, Mickelson made his debut on the PGA Tour Champions. He won the Charles Schwab Series at Ozarks National in his first tournament after becoming eligible for PGA Tour Champions on his 50th birthday on June 16, 2020. He was the 20th player to win their debut tournament on tour. Mickelson's 191 stroke total tied the PGA Tour Champions all-time record for a three-day event. In October 2020, Mickelson won the Dominion Energy Charity Classic in Virginia. It was his second win in as many starts on the PGA Tour Champions. 2021: The oldest major champion In February 2021, Mickelson was attempting to become the first player in PGA Tour Champions history to win his first three tournaments on tour. However, he fell short in the Cologuard Classic, finishing in a T-20 position with a score of 4 under par. In May 2021, Mickelson held the 54-hole lead at the PGA Championship at the Kiawah Island Golf Resort in South Carolina, leading Brooks Koepka by one shot with one day to play. He shot a final-round 73 to capture the tournament, defeating Koepka and Louis Oosthuizen by two strokes, becoming the oldest major champion; at 50. As Mickelson walked down the fairway following an excellent second shot from the left rough on the 18th hole, thousands of fans engulfed him, with him walking towards the hole constantly tipping his hat and giving the thumbs up to the crowd as they cheered. However, the massive tumult of people meant playing partner Brooks Koepka was stranded in the sea of people, and with difficulties, he managed to reach the green to finish the hole. Mickelson eventually emerged from the crowd and two-putted for par, finishing the tournament at 6-under, besting the field by two strokes. In October 2021, Mickelson won for the third time in four career starts on the PGA Tour Champions. Mickelson shot a final round 4-under-par 68 to win the inaugural Constellation Furyk & Friends over Miguel Ángel Jiménez in Jacksonville, Florida. In November 2021, Mickelson won the season-ending Charles Schwab Cup Championship in Phoenix, Arizona, with a final round six-under par 65. This victory was Mickelson's fourth win in six career starts on PGA Tour Champions. 2022: Saudi Arabia controversy Mickelson admitted in an interview to overlooking Saudi Arabian human rights violations, including the murder of journalist Jamal Khashoggi and execution of LGBTQ+ individuals, to support the Saudi-backed Super Golf League because it offered an opportunity to reshape the PGA Tour. In response to these comments, Mickelson lost multiple longtime sponsors including Callaway Golf and KPMG. Mickelson announced he would be stepping away from golf to spend time with his family. Playing style As a competitor, Mickelson's playing style is described by many as "aggressive" and highly social. His strategy toward difficult shots (bad lies, obstructions) would tend to be considered risky. Mickelson has also been characterized by his powerful and sometimes inaccurate driver, but his excellent short game draws the most positive reviews, most of all his daring "Phil flop" shot in which a big swing with a high-lofted wedge against a tight lie flies a ball high into the air for a short distance. Mickelson is usually in the top 10 in scoring, and he led the PGA Tour in birdie average as recently as 2013. Earnings and endorsements Although ranked second on the PGA Tour's all-time money list of tournament prize money won, Mickelson earns far more from endorsements than from prize money. According to one estimate of 2011 earnings (comprising salary, winnings, bonuses, endorsements and appearances) Mickelson was then the second-highest paid athlete in the United States, earning an income of over $62 million, $53 million of which came from endorsements. Major companies which Mickelson currently endorses are ExxonMobil (Mickelson and wife Amy started a teacher sponsorship fund with the company), Rolex and Mizzen+Main. He has been previously sponsored by Titleist, Bearing Point, Barclays, and Ford. After being diagnosed with psoriatic arthritis in 2010, Mickelson was treated with Enbrel and began endorsing the drug. In 2015, Forbes estimated Mickelson's annual income was $51 million. In 2022, Mickelson lost a significant number of sponsors including Callaway Golf, KPMG, Amstel Light and Workday after comments he made about the Saudi-backed golf league, Super Golf League. In an interview, he stated that Saudis are "scary motherfuckers to get involved with... We know they killed [Washington Post reporter and U.S. resident Jamal] Khashoggi and have a horrible record on human rights. They execute people over there for being gay. Knowing all of this, why would I even consider it? Because this is a once-in-a-lifetime opportunity to reshape how the PGA Tour operates." Insider trading settlement On May 30, 2014, The Wall Street Journal reported that the FBI and U.S. Securities and Exchange Commission (SEC) were investigating Mickelson and associates of his for insider trading in Clorox stock. Mickelson denied any wrongdoing, and the investigation found "no evidence" and concluded without any charges. On May 19, 2016, Mickelson was named as a relief defendant in another SEC complaint alleging insider trading but completely avoided criminal charges in a parallel case brought in the Federal District Court for the Southern District of New York. The action stems for trades in Dean Foods in 2012 in conjunction with confidential information provided by Thomas Davis, a former director of Dean Foods Company, who tipped his friend and "professional sports bettor" Billy Walters. The SEC did not allege that Walters actually told Mickelson of any material, nonpublic information about Dean Foods, and the SEC disgorged Mickelson of the $931,000 profit he had made from trading Dean Foods stock and had him pay prejudgment interest of $105,000. In 2017, Walters was convicted of making $40 million on Davis's private information from 2008 to 2014 by a federal jury. At that time, it was also noted that Mickelson had "once owed nearly $2 million in gambling debts to" Walters. Walters's lawyer said his client would appeal the 2017 verdict. Amateur wins 1980 Junior World Golf Championships (Boys 9–10) 1989 NCAA Division I Championship 1990 Pac-10 Championship, NCAA Division I Championship, U.S. Amateur, Porter Cup 1991 Western Amateur 1992 NCAA Division I Championship Professional wins (57) PGA Tour wins (45) Note: Tournament shortened to 54 holes due to weather. PGA Tour playoff record (8–4) European Tour wins (11) 1Co-sanctioned by the Asian Tour, Sunshine Tour and PGA Tour of Australasia European Tour playoff record (3–1) Challenge Tour wins (1) Other wins (4) Other playoff record (1–1) PGA Tour Champions wins (4) Major championships Wins (6) Results timeline Results not in chronological order in 2020. LA = Low amateur CUT = missed the half-way cut "T" = tied NT = No tournament due to COVID-19 pandemic Summary Most consecutive cuts made – 30 (1999 PGA – 2007 Masters) Longest streak of top-10s – 5 (2004 Masters – 2005 Masters) The Players Championship Wins (1) Results timeline CUT = missed the halfway cut "T" indicates a tie for a place C = Canceled after the first round due to the COVID-19 pandemic World Golf Championships Wins (3) Results timeline Results not in chronological order prior to 2015. 1Cancelled due to 9/11 2Cancelled due to COVID-19 pandemic QF, R16, R32, R64 = Round in which player lost in match play "T" = tied NT = No Tournament Note that the HSBC Champions did not become a WGC event until 2009. PGA Tour career summary As of 2021 season. † Mickelson won as an amateur in 1991 and therefore did not receive any prize money. U.S. national team appearances Amateur Walker Cup: 1989, 1991 (winners) Eisenhower Trophy: 1990 Professional Presidents Cup: 1994 (winners), 1996 (winners), 1998, 2000 (winners), 2003 (tie), 2005 (winners), 2007 (winners), 2009 (winners), 2011 (winners), 2013 (winners), 2015 (winners), 2017 (winners) Ryder Cup: 1995, 1997, 1999 (winners), 2002, 2004, 2006, 2008 (winners), 2010, 2012, 2014, 2016 (winners), 2018 Alfred Dunhill Cup: 1996 (winners) Wendy's 3-Tour Challenge (representing PGA Tour): 1997 (winners), 2000 (winners) World Cup: 2002 See also List of golfers with most European Tour wins List of golfers with most PGA Tour wins List of men's major championships winning golfers Monday Night Golf References External links On Course With Phil American male golfers PGA Tour golfers PGA Tour Champions golfers Ryder Cup competitors for the United States Sports controversies Winners of men's major golf championships Arizona State Sun Devils men's golfers Left-handed golfers World Golf Hall of Fame inductees Golfers from Scottsdale, Arizona Golfers from San Diego American people of Italian descent American people of Portuguese descent American people of Swedish descent 1970 births Living people	true	[ "Michael Patrick (born September 9, 1944) is a retired American sportscaster, known for his long tenure with ESPN.\n\nEarly career\nPatrick began his broadcasting career in the fall of 1966 at WVSC-Radio in Somerset, Pennsylvania. In 1970, he was named Sports Director at WJXT-TV in Jacksonville, Florida, where he provided play-by-play for Jacksonville Sharks' World Football League (WFL) telecasts (1973–74). He also called Jacksonville University basketball games on both radio and television.\n\nFrom 1975 until 1982, he worked for WJLA-TV as a sports reporter and weekend anchor. During this period, Patrick also did play-by-play for Maryland Terrapins football and basketball broadcasts as well as pre-season games for the Washington Football Team when WJLA had the TV rights to broadcast those games.\n\nESPN\n\nBeginning in 1982, Patrick worked for ESPN, where he is best known for his role as play-by-play announcer on the network's Sunday Night Football telecasts, with Paul Maguire and Joe Theismann from 1987–2005. Patrick was briefly replaced in 2004 by Pat Summerall, while he recovered from heart bypass surgery.\n\nHe has also called college football, men's and women's college basketball, and the College World Series for the network, as well as several NFL playoff games for ABC Sports while the network held the Monday Night Football television package.\n\nIn 2006, Patrick became the lead play-by-play announcer for ESPN on College Football Primetime, along with Todd Blackledge and field reporter Holly Rowe. In July 2009, ESPN announced that Patrick would begin calling Saturday afternoon ESPN/ABC college football for the 2009 college football season, which he did through 2017.\n\nIn addition, Patrick called the NCAA Women's Division I Basketball Championship from 1996 through 2009 and the College World Series in Omaha, Nebraska from 2003 until 2014.\n\nOn February 21, 2018, Patrick retired from ESPN after 35 years with the network.\n\nNon ESPN-related assignments\n\nPatrick also did play-by-play of Atlantic Coast Conference (ACC) football and basketball games for Jefferson-Pilot (now Lincoln Financial Sports) between 1984 and 1986.\n\nPatrick is the play-by-play man for MVP 06: NCAA Baseball as well as MVP 07: NCAA Baseball.\n\nFor 2015, 2016 and 2017, Patrick did play-by-play for the Cleveland Browns preseason football games.\n\nPatrick resides in northern Virginia with his wife, Janet.\n\nReferences\n\n1944 births\nLiving people\nAmerican television sports announcers\nCollege baseball announcers in the United States\nWomen's college basketball announcers in the United States\nCollege basketball announcers in the United States\nCollege football announcers\nGeorge Washington University alumni\nMaryland Terrapins men's basketball announcers\nMaryland Terrapins football announcers\nNational Football League announcers\nPeople from Clarksburg, West Virginia\nWorld Football League announcers\nJournalists from West Virginia\nTelevision anchors from Jacksonville, Florida", "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" ]
[ "Phil Mickelson", "College golf", "which college did he play for", "Arizona State University" ]	C_6362075d4d0541b19cdaa7990bdeea07_1	who did he play with	2	who did Michelson play golf with?	Phil Mickelson	Mickelson attended Arizona State University in Tempe on a golf scholarship and became the face of amateur golf in the United States, capturing three NCAA individual championships and three Haskins Awards (1990, 1991, 1992) as the outstanding collegiate golfer. With three individual NCAA championships, he shares the record for most individual NCAA championships alongside Ben Crenshaw. Mickelson also led the Sun Devils to the NCAA team title in 1990. Over the course of his collegiate career, he won 16 tournaments. Mickelson was the second collegiate golfer to earn first-team All-American honors all four years. In 1990, he also became the first with a left-handed swing to win the U.S. Amateur title. Mickelson secured perhaps his greatest achievement as an amateur in January 1991, winning his first PGA Tour event, the Northern Telecom Open, in Tucson. At age 20, he was only the sixth amateur to win a tour event and the first in over five years after Scott Verplank at the Western Open in August 1985. Other players to accomplish this feat include Doug Sanders (1956 Canadian Open) and Gene Littler (1954 San Diego Open). With five holes remaining, Mickelson led by a stroke, but made a triple-bogey and was then three behind. The leaders ahead of him then stumbled, and he birdied 16 and 18 to win by a stroke. To date, it is the most recent win by an amateur at a PGA Tour event. That April, Mickelson was the low amateur at the Masters Tournament in Augusta, Georgia. With his two-year PGA Tour exemption from the Tucson win, he played in several tour events in 1992 while an amateur but failed to make a cut. CANNOTANSWER	CANNOTANSWER	Philip Alfred Mickelson (born June 16, 1970), nicknamed Phil the Thrill, is an American professional golfer. He has won 45 events on the PGA Tour, including six major championships: three Masters titles (2004, 2006, 2010), two PGA Championships (2005, 2021), and one Open Championship (2013). With his win at the 2021 PGA Championship, Mickelson became the oldest major championship winner in history at the age of 50 years, 11 months and 7 days old. Mickelson is one of 17 players in the history of golf to win at least three of the four majors. He has won every major except the U.S. Open, in which he has finished runner-up a record six times. Mickelson has spent more than 25 consecutive years in the top 50 of the Official World Golf Ranking. He has spent over 700 weeks in the top 10, has reached a career-high world ranking of No. 2 several times and is a life member of the PGA Tour. Although naturally right-handed, he is known for his left-handed swing, having learned it by mirroring his right-handed father's swing. He was inducted into the World Golf Hall of Fame in 2012. Early life and family Philip Alfred Mickelson was born on June 16, 1970, in San Diego, California, to parents Philip Mickelson, an airline pilot and former naval aviator, and Mary Santos. He was raised there and in Scottsdale, Arizona. Mickelson has Portuguese, Swedish, and Sicilian ancestry. His maternal grandfather, Alfred Santos (also Mickelson's middle name) was a caddie at Pebble Beach Golf Links and took Phil to play golf as a child. Although otherwise right-handed, he played golf left-handed since he learned by watching his right-handed father swing, mirroring his style. Mickelson began golf under his father's instruction before starting school. Phil Sr.'s work schedule as a commercial pilot allowed them to play together several times a week and young Phil honed his creative short game on an extensive practice area in their San Diego backyard. Mickelson graduated from the University of San Diego High School in 1988. College golf Mickelson attended Arizona State University in Tempe on a golf scholarship and became the face of amateur golf in the United States, capturing three NCAA individual championships and three Haskins Awards (1990, 1991, 1992) as the outstanding collegiate golfer. With three individual NCAA championships, he shares the record for most individual NCAA championships alongside Ben Crenshaw. Mickelson also led the Sun Devils to the NCAA team title in 1990. Over the course of his collegiate career, he won 16 tournaments. Mickelson was the second collegiate golfer to earn first-team All-American honors all four years. In 1990, he also became the first with a left-handed swing to win the U.S. Amateur title, defeating high school teammate Manny Zerman 5 and 4 in the 36-hole final at Cherry Hills, south of Denver. Mickelson secured perhaps his greatest achievement as an amateur in January 1991, winning his first PGA Tour event, the Northern Telecom Open, in Tucson, making him one of the few golfers to win a PGA Tour event as an amateur in the history of the PGA Tour. At age 20, he was only the sixth amateur to win a tour event and the first in over five years after Scott Verplank at the Western Open in August 1985. Other players to accomplish this feat include Doug Sanders (1956 Canadian Open) and Gene Littler (1954 San Diego Open). With five holes remaining, Mickelson led by a stroke, but made a triple-bogey and was then three behind. The leaders ahead of him then stumbled, and he birdied 16 and 18 to win by a stroke. To date, it is the most recent win by an amateur at a PGA Tour event. That April, Mickelson was the low amateur at the Masters Tournament in Augusta, Georgia. With his two-year PGA Tour exemption from the Tucson win, he played in several tour events in 1992 while an amateur but failed to make a cut. Professional career 1992–2003: Trying for first major win Mickelson graduated from ASU in June 1992 and quickly turned professional. He bypassed the tour's qualifying process (Q-School) because of his 1991 win in Tucson, which earned him a two-year exemption. In 1992, Mickelson hired Jim "Bones" Mackay as his caddy. He won many PGA Tour tournaments during this period, including the Byron Nelson Golf Classic and the World Series of Golf in 1996, the AT&T Pebble Beach National Pro-Am in 1998, the Colonial National Invitation in 2000 and the Greater Hartford Open in 2001 and again in 2002. He appeared as himself in a non-speaking role in the 1996 film Tin Cup, starring Kevin Costner. His 2000 Buick Invitational win ended Tiger Woods's streak of six consecutive victories on the PGA Tour. After the win, Mickelson said, "I didn't want to be the bad guy. I wasn't trying to end the streak per se. I was just trying to win the golf tournament." Although he had performed very well in the majors up to the end of the 2003 season (17 top-ten finishes, and six second- or third-place finishes between 1999 and 2003), Mickelson's inability to win any of them led to him frequently being described as the "best player never to win a major". 2004–2006: First three major wins Mickelson's first major championship win came in his thirteenth year on the PGA Tour in 2004, when he secured victory in the Masters with an birdie putt on the final hole. Ernie Els was the runner-up at a stroke back; the two played in different pairs in the final round and had traded birdies and eagles on the back nine. In addition to getting the "majors monkey" off his back, Mickelson was now only the third golfer with a left-handed swing to win a major, the others being New Zealander Sir Bob Charles, who won The Open Championship in 1963, and Canadian Mike Weir, who won The Masters in 2003. (Like Mickelson, Weir is a right-hander who plays left-handed.) A fourth left-handed winner is natural southpaw Bubba Watson, the Masters champion in 2012 and 2014. Prior to the Ryder Cup in 2004, Mickelson was dropped from his long-standing contract with Titleist/Acushnet Golf, after an incident when he left a voicemail message for a Callaway Golf executive. In it, he praised their driver and golf ball, and thanked them for their help in getting some equipment for his brother. This memo was played to all of their salesmen, and eventually found its way back to Titleist. He was then let out of his multi-year deal with Titleist 16 months early, and signed on with Callaway Golf, his current equipment sponsor. He endured a great deal of ridicule and scrutiny from the press and fellow Ryder Cup members for his equipment change so close to the Ryder Cup matches. He faltered at the 2004 Ryder Cup with a record, but refused to blame the sudden change in equipment or his practice methods for his performance. In November 2004, Mickelson tallied his career-low for an 18-hole round: a 59 at the PGA Grand Slam of Golf at Poipu Bay Golf Course in Hawaii. The following year, Mickelson captured his second major at the PGA Championship at Baltusrol, in a Monday final-round conclusion that had been forced by inclement weather the previous day. On the 18th hole, Mickelson hit one of his trademark soft pitches from deep greenside rough to within of the cup, and made his birdie to finish at a 4-under-par total of 276, one shot ahead of Steve Elkington and Thomas Bjørn. Mickelson captured his third major title the following spring at the Masters. He won his second green jacket after shooting a 3-under-par final round, winning by two strokes over runner-up Tim Clark. This win propelled him to 2nd place in the Official World Golf Ranking (his career best), behind Woods, and ahead of Vijay Singh and Retief Goosen. 2006: Collapse on final hole at the U.S. Open After winning two majors in a row heading into the U.S. Open at Winged Foot, Mickelson was bidding to join Ben Hogan and Tiger Woods as the only players to win three consecutive majors (not necessarily in the same calendar year). Mickelson was the joint leader going into the final round, but he was part of a wild finish to the tournament, in which he made major mistakes on the final hole and ended up in a tie for second place at +6 (286), one shot behind Geoff Ogilvy. Mickelson bogeyed the 16th hole. On the 17th hole, with the lead at +4, he missed the fairway to the left, and his drive finished inside a garbage can, from which he was granted a free drop; he parred the hole. He had a one-shot lead and was in the last group going into the final hole. Needing a par on the 18th hole for a one-shot victory, Mickelson continued with his aggressive style of play and chose to hit a driver off the tee; he hit his shot well left of the fairway (he had hit only two of thirteen fairways previously in the round). The ball bounced off a corporate hospitality tent and settled in an area of trampled-down grass that was enclosed with trees. He decided to go for the green with his second shot, rather than play it safe and pitch out into the fairway. His ball then hit a tree, and did not advance more than . His next shot plugged into the left greenside bunker. He was unable to get up and down from there, resulting in a double bogey, and costing him a chance of winning the championship outright or getting into an 18-hole playoff with Ogilvy. After his disappointing finish, Mickelson said: "I'm still in shock. I still can't believe I did that. This one hurts more than any tournament because I had it won. Congratulations to Geoff Ogilvy on some great play. I want to thank all the people that supported me. The only thing I can say is I'm sorry." He was even more candid when he said: "I just can't believe I did that. I'm such an idiot." 2006–2008 During the third round of the 2006 Ford Championship at Doral, Mickelson gave a spectator $200 after his wayward tee shot at the par-5 10th broke the man's watch. Mickelson also has shown other signs of appreciation. In 2007 after hearing the story of retired NFL player, Conrad Dobler, and his family on ESPN explaining their struggles to pay medical bills, Mickelson volunteered to pay tuition for Holli Dobler, Conrad Dobler's daughter, at Miami University in Oxford, Ohio. Frustrated with his driving accuracy, Mickelson made the decision in April 2007 to leave longtime swing coach, Rick Smith. He then began working with Butch Harmon, a former coach of Tiger Woods and Greg Norman. On May 13, Mickelson came from a stroke back on the final round to shoot a three-under 69 to win The Players Championship with an 11-under-par 277. In the U.S. Open at Oakmont in June, Mickelson missed the cut (by a stroke) for the first time in 31 majors after shooting 11 over par for 36 holes. He had been hampered by a wrist injury that was incurred while practicing in the thick rough at Oakmont a few weeks before the tournament. On September 3, 2007, Mickelson won the Deutsche Bank Championship, which is the second FedEx Cup playoff event. On the final day, he was paired with Tiger Woods, who ended up finishing two strokes behind Mickelson in a tie for second. It was the first time that Mickelson was able to beat Woods while the two stars were paired together on the final day of a tournament. The next day Mickelson announced that he would not be competing in the third FedEx Cup playoff event. The day before his withdrawal, Mickelson said during a television interview that PGA Tour Commissioner, Tim Finchem, had not responded to advice he had given him on undisclosed issues. In 2008, Mickelson won the Crowne Plaza Invitational at Colonial with a −14, one shot ahead of Tim Clark and Rod Pampling. Mickelson shot a first-round 65 to start off the tournament at −5. He ended the day tied with Brett Wetterich, two shots behind leader, Johnson Wagner. Mickelson shot a second-round 68, and the third round 65, overall, being −12 for the first three rounds. On the final hole, after an absolutely horrendous tee shot, he was in thick rough with trees in his way. Many players would have punched out, and taken their chances at making par from the fairway with a good wedge shot. Instead, he pulled out a high-lofted wedge and hit his approach shot over a tree, landing on the green where he one-putted for the win. In a Men's Vogue article, Mickelson recounted his effort to lose with the help of trainer Sean Cochran. "Once the younger players started to come on tour, he realized that he had to start working out to maintain longevity in his career," Cochran said. Mickelson's regimen consisted of increasing flexibility and power, eating five smaller meals a day, aerobic training, and carrying his own golf bag. Mickelson was inducted into the National Italian American Sports Hall of Fame in 2008. 2009 Mickelson won his first 2009 tour event when he defended his title at the Northern Trust Open at Riviera, one stroke ahead of Steve Stricker. The victory was Mickelson's 35th on tour; he surpassed Vijay Singh for second place on the current PGA Tour wins list. A month later, he won his 36th, and his first World Golf Championship, at the WGC-CA Championship with a one-stroke win over Nick Watney. On May 20, it was announced that his wife Amy was diagnosed with breast cancer, and Mickelson announced that he would suspend his PGA Tour schedule indefinitely. She would begin treatment with major surgery as early as the following two weeks. Mickelson was scheduled to play the HP Byron Nelson Championship May 21–24, and to defend his title May 28–31 at the Crowne Plaza Invitational at Colonial, but withdrew from both events. During the final round of the 2009 BMW PGA Championship, fellow golfer and family friend John Daly wore bright pink trousers in support of Mickelson's wife. Also, the next Saturday, at the Crowne Plaza Invitational at Colonial, a "Pink Out" event was hosted, and the PGA Tour players all wore pink that day, to support the Mickelson family. On May 31, Mickelson announced that he would return to play on the PGA Tour in June at the St. Jude Classic and the U.S. Open, since he had heard from the doctors treating his wife that her cancer had been detected in an early stage. Mickelson shot a final round 70 at the 2009 U.S. Open and recorded his fifth runner-up finish at the U.S. Open. He shared the lead after an eagle at the 13th hole, but fell back with bogeys on 15 and 17; Lucas Glover captured the championship. On July 6, it was announced that his mother Mary was diagnosed with breast cancer and would have surgery at the same hospital where his wife was treated. After hearing the news that his mother had been diagnosed with breast cancer, Mickelson took another leave of absence from the tour, missing The Open Championship at Turnberry. On July 28, Mickelson announced he would return in August at the WGC-Bridgestone Invitational, the week before the PGA Championship at Hazeltine National Golf Club in Chaska, Minnesota. In September, Mickelson won The Tour Championship for the second time in his career. He entered the final round four strokes off the lead, but shot a final round 65 to win the event by three strokes over Tiger Woods. With the win, Mickelson finished the season second behind Woods in the 2009 FedEx Cup standings. On November 8, Mickelson won the WGC-HSBC Champions by one shot over Ernie Els in Shanghai. 2010: Third Masters win In 2010, Mickelson won the Masters Tournament on April 11 with a 16-under-par performance, giving him a three-stroke win over Lee Westwood. The win marked the third Masters victory for Mickelson and his fourth major championship overall. Critical to Mickelson's win was a dramatic run in the third round on Saturday in which Mickelson, trailing leader Westwood by five strokes as he prepared his approach shot to the 13th green, proceeded to make eagle, then to hole-out for eagle from 141 yards at the next hole, the par 4 14th, then on the next, the par 5 15th, to miss eagle from 81 yards by mere inches. After tapping in for birdie at 15, Mickelson, at −12, led Westwood, at −11, who had bogeyed hole 12 and failed to capitalize on the par 5 13th, settling for par. Westwood recaptured a one-stroke lead by the end of the round, but the momentum carried forward for Mickelson into round 4, where he posted a bogey-free 67 to Westwood's 71. No other pursuer was able to keep pace to the end, though K. J. Choi and Anthony Kim made notable charges. For good measure, Mickelson birdied the final hole and memorably greeted his waiting wife, Amy, with a prolonged hug and kiss. For many fans, Mickelson's finish in the tournament was especially poignant, given that Amy had been suffering from breast cancer during the preceding year. Mary Mickelson, Phil's mother, was also dealing with cancer. CBS Sports announcer Jim Nantz's call of the final birdie putt, "That's a win for the family," was seen by many as capturing the moment well. Tiger Woods had a dramatic return to competitive play after a scandal-ridden 20-week absence; he was in close contention throughout for the lead and finished tied with Choi for 4th at −11. Mickelson and others showed exciting play over the weekend, and the 2010 Masters had strong television ratings in the United States, ranking third all-time to Woods's historic wins in 1997 and 2001. Mickelson's win left him second only to Woods in major championships among his competitive contemporaries, moving him ahead of Ernie Els, Vijay Singh and Pádraig Harrington, with three major championships each and each, like Mickelson, with dozens of worldwide wins. Remainder of 2010 Mickelson, one of the favorites for the U.S. Open at Pebble Beach, shot 75 and 66 on Thursday and Friday to sit two shots off the lead. However, two weekend scores of 73 gave him a T4 finish. During the remainder of the 2010 season, Mickelson had multiple opportunities to become the number one player in the world rankings following the travails of Tiger Woods. However, a string of disappointing finishes by Mickelson saw the number one spot eventually go to Englishman Lee Westwood. In the days leading up to the PGA Championship at Whistling Straits (near Kohler, Wisconsin), Mickelson announced he had been diagnosed with psoriatic arthritis. He added that he had started medical treatment, and had become a vegetarian in hopes of aiding his recovery. He maintains that both his short- and long-term prognosis are good, that the condition should have no long-term effect on his golfing career, and that he currently feels well. He also stated that the arthritis may go into permanent remission after one year of medical treatment. He went on to finish the championship T12, five shots behind winner Martin Kaymer. 2011 Mickelson started his 2011 season at the Farmers Insurance Open at Torrey Pines Golf Course. He shot and was tied for the 54 hole lead with Bill Haas. Mickelson needed to hole out on the 18th hole for eagle from 74 yards to force a playoff with Bubba Watson. He hit it to 4 feet and Watson won the tournament. On April 3, Mickelson won the Shell Houston Open with a 20-under-par, three-stroke win over Scott Verplank. Mickelson rose to No. 3 in the world ranking, while Tiger Woods fell to No. 7. Mickelson had not been ranked above Woods since the week prior to the 1997 Masters Tournament. At The Open Championship, Mickelson recorded just his second top-ten finish in 18 tournaments by tying for second with Dustin Johnson. His front nine 30 put him briefly in a tie for the lead with eventual champion Darren Clarke. However, some putting problems caused him to fade from contention toward the end, to finish in a tie for second place. 2012: 40th career PGA Tour win Mickelson made his 2012 debut at the Humana Challenge and finished tied for 49th. He missed the cut at the Farmers Insurance Open after shooting rounds of 77 and 68. In the final round of the AT&T Pebble Beach National Pro-Am, Mickelson rallied from six shots back, winning the tournament by two strokes with a final-round score of 8-under 64 and a four-round total of 269. The win marked his 40th career victory on the PGA Tour. The following week at Riviera Country Club, Mickelson lost the Northern Trust Open in a three-way playoff. He had held the lead or a share of it from day one until the back nine on Sunday when Bill Haas posted the clubhouse lead at seven under par. Mickelson holed a 27-foot birdie putt on the final regulation hole to force a playoff alongside Haas and Keegan Bradley. Haas however won the playoff with a 40-foot birdie putt on the second playoff hole. The second-place finish moved Mickelson back into the world's top 10. Mickelson finished tied for third at the Masters. After opening the tournament with a two-over-par 74, he shot 68–66 in the next two rounds and ended up one stroke behind leader Peter Hanson by Saturday night. Mickelson had a poor start to his fourth round, scoring a triple-bogey when he hit his ball far to the left of the green on the par-3 4th hole, hitting the stand and landing in a bamboo plant. This ended up being Mickelson's only score over par in the whole round, and he ended with a score of eight-under overall. Earlier in the tournament he had received widespread praise for being present to watch Jack Nicklaus, Arnold Palmer, and Gary Player hit the ceremonial opening tee-shots, nearly seven hours before Mickelson's own tee time. Mickelson made a charge during the final round at the HP Byron Nelson Championship, but bogeyed the 17th and 18th, finishing T-7th. He then withdrew from the Memorial Tournament, citing mental fatigue, after a first-round 79. He was to be paired with Tiger Woods and Bubba Watson at the U.S. Open. He fought to make the cut in the U.S. Open, and finished T-65th. After taking a couple of weeks off, he played in the Greenbrier Classic. Putting problems meant a second straight missed cut at the Greenbrier and a third missed cut at 2012 Open Championship, shooting 73-78 (11 over par). He finished T-43rd at the WGC-Bridgestone Invitational. He then finished T-36th at the PGA Championship. To start the 2012 FedEx Cup Playoffs, Mickelson finished T38 at The Barclays, +1 for the tournament. He tied with Tiger Woods, Zach Johnson, and five other players. In this tournament, he started using the claw putting grip on the greens. At the next event, the Deutsche Bank Championship, he finished the tournament with a −14, tied for 4th with Dustin Johnson. At the BMW Championship, Mickelson posted a −16 for the first three rounds, one of those rounds being a −8, 64. On the final day, Mickelson shot a −2, 70, to finish tied for 2nd, with Lee Westwood, two shots behind leader, and back-to-back winner, Rory McIlroy. At the Tour Championship, he ended up finishing tied for 15th. He went on to have a 3–1 record at the Ryder Cup; however, the USA team lost the event. 2013 Mickelson began the 2013 season in January by playing in the Humana Challenge, where he finished T37 at −17. His next event was the following week in his home event near San Diego at the Farmers Insurance Open. Mickelson endured a disappointing tournament, finishing T51, shooting all four rounds in the 70s. In the first round of the Waste Management Phoenix Open, Mickelson tied his career-low round of 60. He made seven birdies in his first nine holes and needed a birdie on the 18th hole to equal the PGA Tour record of 59. However, his 25-foot birdie putt on the final hole lipped out, resulting in him missing out by a single shot on making only the sixth round of 59 in PGA Tour history. Mickelson led the tournament wire-to-wire and completed a four-shot win over Brandt Snedeker for his 41st PGA Tour victory and 3rd Phoenix Open title. Mickelson's score of 28-under-par tied Mark Calcavecchia's tournament scoring record. He also moved back inside the world's top 10 after falling down as far as number 22. Sixth runner-up finish at the U.S. Open At the U.S. Open at Merion, Mickelson entered the final round leading by one stroke after rounds of over the first three days, but he started the final round by three-putting the 3rd and 5th holes for double-bogeys to fall out of the lead. He regained the lead at the par-four 10th, when he holed his second shot from the rough for an eagle. However, a misjudgment at the short par three 13th saw him fly the green and make a bogey to slip one behind leader Justin Rose. Another bogey followed at the 15th, before narrowly missing a birdie putt on the 16th that would have tied Rose. Mickelson could not make a birdie at the 17th and after a blocked drive on the 18th, he could not hole his pitch from short of the green, which led to a final bogey. Mickelson ended up finishing tied for second with Jason Day, two strokes behind Justin Rose. It was the sixth runner-up finish of Mickelson's career at the U.S. Open, an event record and only behind Jack Nicklaus's seven runner-up finishes at The Open Championship. After the event, Mickelson called the loss heartbreaking and said "this is tough to swallow after coming so close ... I felt like this was as good an opportunity I could ask for and to not get it ... it hurts." It was also Father's Day, which happened to be his birthday. Fifth major title at the Open Championship The week before The Open Championship, Mickelson warmed up for the event by winning his first tournament on British soil at the Scottish Open on July 14, after a sudden-death playoff against Branden Grace. After this victory, Mickelson spoke of his confidence ahead of his participation in the following week's major championship. Mickelson said: "I've never felt more excited going into The Open. I don't think there's a better way to get ready for a major than playing well the week before and getting into contention. Coming out on top just gives me more confidence." The following week, Mickelson won his fifth major title on July 21 at the Open Championship (often referred to as the British Open) Muirfield Golf Links in Scotland; the Open Championship is the oldest of the four major tournaments in professional golf. This was the first time in history that anyone had won both the Scottish Open and The Open Championship in the same year. Mickelson birdied four of the last six holes in a brilliant final round of 66 to win the title by three strokes. He shed tears on the 18th green after completing his round. Mickelson later said: "I played arguably the best round of my career, and shot the round of my life. The range of emotions I feel are as far apart as possible after losing the U.S. Open. But you have to be resilient in this game." In an interview before the 2015 Open, Mickelson said, "Two years removed from that win, I still can't believe how much it means to me." 2014 and 2015: Inconsistent form and close calls in majors Mickelson missed the cut at the Masters for the first time since 1997. He failed to contend at the U.S. Open at Pinehurst in his first bid to complete the career grand slam. Mickelson's lone top-10 of the PGA Tour season came at the year's final major, the PGA Championship at Valhalla. Mickelson shot rounds of 69-67-67-66 to finish solo second, one shot behind world number one Rory McIlroy. Prior to the 2015 Masters, Mickelson's best finish in 2015 was a tie for 17th. At the Masters, Mickelson shot rounds of to finish tied for second with Justin Rose, four shots behind champion Jordan Spieth. The second-place finish was Mickelson's tenth such finish in a major, placing him second all-time only to Jack Nicklaus in that regard. At The Open Championship, Mickelson shot rounds of and was eight shots behind, outside the top forty. In the final round, Mickelson birdied the 15th hole to move to 10 under and within two of the lead. After a missed birdie putt on 16, Mickelson hit his drive on the infamous Road Hole (17th) at the famed Old Course at St Andrews onto a second-floor balcony of the Old Course Hotel. The out-of-bounds drive lead to a triple-bogey 7 that sent Mickelson tumbling out of contention. Later in the year, it was announced that Mickelson would leave longtime swing coach Butch Harmon, feeling as though he needed to hear a new perspective on things. 2016: New swing coach After leaving Butch Harmon, Mickelson hired Andrew Getson of Grayhawk Golf Club in Scottsdale, Arizona, to serve as his new swing coach. The two worked together heavily in the 2015 offseason to get Mickelson's swing back. Under Getson's guidance, Mickelson made his 2016 debut at the CareerBuilder Challenge. He shot rounds of to finish in a tie for third place at 21-under-par. It was only Mickelson's fifth top-five finish since his win at the 2013 Open Championship. The third-place finish was Mickelson's highest finish in his first worldwide start of a calendar year since he won the same event to begin the 2004 season. At the AT&T Pebble Beach Pro-Am, Mickelson shot rounds of to finish in solo second place, a shot behind Vaughn Taylor. Mickelson lipped out a five-foot birdie putt to force a playoff on the 72nd hole. He entered the final round with a two-stroke lead, his first 54-hole lead since the 2013 U.S. Open and was seeking to end a winless drought dating back 52 worldwide events to the 2013 Open Championship. Mickelson shot a 63 in the opening round of The Open Championship at Royal Troon. The round set a new course record and matched the previous major championship record for lowest round. Mickelson had a birdie putt that narrowly missed on the final hole to set a new major championship scoring record of 62. He followed this up with a 69 in the second round for a 10 under par total and a one-shot lead over Henrik Stenson going into the weekend. In the third round, Mickelson shot a one-under 70 for a total of 11 under par to enter the final round one shot back of Stenson. Despite Mickelson's bogey-free 65 in the final round, Stenson shot 63 to win by three shots. Mickelson finished 11 strokes clear of 3rd place, a major championship record for a runner-up. Mickelson's 267 total set a record score for a runner-up in the British Open, and only trails Mickelson's 266 at the 2001 PGA Championship as the lowest total by a runner-up in major championship history. 2017: Recovery from surgeries In the fall of 2016, Mickelson had two sports hernia surgeries. Those in the golf community expected him to miss much time recovering, however his unexpected return at the CareerBuilder Challenge was a triumphant one, leading to a T-21 finish. The next week, in San Diego, he narrowly missed an eagle putt on the 18th hole on Sunday that would've got him to 8-under par instead posting −7 to finish T14 at the Farmers Insurance Open. The following week, at the Waste Management Phoenix Open, which he has won three times, he surged into contention following a Saturday 65. He played his first nine holes in 4-under 32 and sending his name to the top of the leaderboard. However, his charge faltered with bogeys at 11, 12, 14, 15, and a double bogey at the driveable 17th hole. He stumbled with a final round 71, still earning a T-16 finish, for his sixth straight top-25 finish on tour. Mickelson came close to winning again at the FedEx St. Jude Classic where he had finished in second place the previous year to Daniel Berger. He started the final round four strokes behind leaders but he quickly played himself into contention. Following a birdie at the 10th hole he vaulted to the top of leaderboard but found trouble on the 12th hole. His tee shot carried out of bounds and his fourth shot hit the water so he had to make a long putt to salvage triple-bogey. He managed to get one shot back but he finished three shots behind winner Berger, in ninth place, for the second straight year. Two weeks later he withdrew from the U.S. Open to attend his daughter's high school graduation. A week later his longtime caddie Jim (Bones) Mackay left Mickelson in a mutual agreement. Mickelson then missed the cut at both The Open Championship and the PGA Championship. On September 6, days after posting his best finish of the season of T6 at the Dell Technologies Championship, Mickelson was named as a captain's pick for the Presidents Cup. This maintained a streak of 23 consecutive USA teams in the Presidents Cup and Ryder Cup, dating back to 1994. 2018–2019: Winless streak ends On March 4, 2018, Mickelson ended a winless drought that dated back to 2013, by capturing his third WGC championship at the WGC-Mexico Championship, with a final-round score of 66 and a total score of −16. Mickelson birdied two of his last four holes and had a lengthy putt to win outright on the 72nd hole, but tied with Justin Thomas. He defeated Thomas on the first extra hole of a sudden-death playoff with a par. After Thomas had flown the green, Mickelson had a birdie to win the playoff which lipped out. Thomas however could not get up and down for par, meaning Mickelson claimed the championship. The win was Mickelson's 43rd on the PGA Tour and his first since winning the 2013 Open Championship. He also became the oldest winner of a WGC event, at age 47. In the third round of the 2018 U.S. Open, Mickelson incurred a two-stroke penalty in a controversial incident on the 13th hole when he hit his ball with intent while it was still moving. He ended up shooting 81 (+11). His former coach Butch Harmon thought Mickelson should have been disqualified. Mickelson was a captain's pick for Team USA at the 2018 Ryder Cup, held in Paris between September 28 and 30. Paired with Bryson DeChambeau in the Friday afternoon foursomes, they lost 5 and 4 to Europe's Sergio García and Alex Norén. In the Sunday singles match, Mickelson lost 4 and 2 to Francesco Molinari, as Team USA slumped to a 17.5 to 10.5 defeat. On November 23, 2018, Mickelson won the pay-per-view event, Capital One's The Match. This was a $9,000,000 winner-takes-all match against Tiger Woods at Shadow Creek Golf Course in Las Vegas. Mickelson needed four extra holes to beat Woods, which he did by holing a four-foot putt after Woods missed a seven-foot putt on the 22nd hole. In his third start of the 2019 calendar year, Mickelson won the AT&T Pebble Beach Pro-Am, shooting a bogey-free final round 65 to defeat Paul Casey by three strokes. The win was Mickelson's 44th career title on the PGA Tour, and his fifth at Pebble Beach, tying Mark O'Meara for most victories in the event. At 48 years of age, he also became the oldest winner of that event. 2020: PGA Tour season and PGA Tour Champions debut In December 2019, Mickelson announced via Twitter that "after turning down opportunities to go to the Middle East for many years" he would play in the 2020 Saudi International tournament on the European Tour and would miss Waste Management Phoenix Open for the first time since 1989. However, his decision to visit and play in Saudi Arabia was criticized for getting lured by millions of dollars and ignoring the continuous human rights abuses in the nation. Mickelson went on to finish the February 2020 event tied for third. Mickelson finished 3rd at the 2020 AT&T Pebble Beach Pro-Am and tied for 2nd in the WGC-FedEx St. Jude Invitational. Mickelson was the first player over 50 to finish in the top five of a World Golf Championship event. He was ultimately eliminated from the FedEx Cup Playoffs following The Northern Trust at TPC Boston in August 2020. One week later, Mickelson made his debut on the PGA Tour Champions. He won the Charles Schwab Series at Ozarks National in his first tournament after becoming eligible for PGA Tour Champions on his 50th birthday on June 16, 2020. He was the 20th player to win their debut tournament on tour. Mickelson's 191 stroke total tied the PGA Tour Champions all-time record for a three-day event. In October 2020, Mickelson won the Dominion Energy Charity Classic in Virginia. It was his second win in as many starts on the PGA Tour Champions. 2021: The oldest major champion In February 2021, Mickelson was attempting to become the first player in PGA Tour Champions history to win his first three tournaments on tour. However, he fell short in the Cologuard Classic, finishing in a T-20 position with a score of 4 under par. In May 2021, Mickelson held the 54-hole lead at the PGA Championship at the Kiawah Island Golf Resort in South Carolina, leading Brooks Koepka by one shot with one day to play. He shot a final-round 73 to capture the tournament, defeating Koepka and Louis Oosthuizen by two strokes, becoming the oldest major champion; at 50. As Mickelson walked down the fairway following an excellent second shot from the left rough on the 18th hole, thousands of fans engulfed him, with him walking towards the hole constantly tipping his hat and giving the thumbs up to the crowd as they cheered. However, the massive tumult of people meant playing partner Brooks Koepka was stranded in the sea of people, and with difficulties, he managed to reach the green to finish the hole. Mickelson eventually emerged from the crowd and two-putted for par, finishing the tournament at 6-under, besting the field by two strokes. In October 2021, Mickelson won for the third time in four career starts on the PGA Tour Champions. Mickelson shot a final round 4-under-par 68 to win the inaugural Constellation Furyk & Friends over Miguel Ángel Jiménez in Jacksonville, Florida. In November 2021, Mickelson won the season-ending Charles Schwab Cup Championship in Phoenix, Arizona, with a final round six-under par 65. This victory was Mickelson's fourth win in six career starts on PGA Tour Champions. 2022: Saudi Arabia controversy Mickelson admitted in an interview to overlooking Saudi Arabian human rights violations, including the murder of journalist Jamal Khashoggi and execution of LGBTQ+ individuals, to support the Saudi-backed Super Golf League because it offered an opportunity to reshape the PGA Tour. In response to these comments, Mickelson lost multiple longtime sponsors including Callaway Golf and KPMG. Mickelson announced he would be stepping away from golf to spend time with his family. Playing style As a competitor, Mickelson's playing style is described by many as "aggressive" and highly social. His strategy toward difficult shots (bad lies, obstructions) would tend to be considered risky. Mickelson has also been characterized by his powerful and sometimes inaccurate driver, but his excellent short game draws the most positive reviews, most of all his daring "Phil flop" shot in which a big swing with a high-lofted wedge against a tight lie flies a ball high into the air for a short distance. Mickelson is usually in the top 10 in scoring, and he led the PGA Tour in birdie average as recently as 2013. Earnings and endorsements Although ranked second on the PGA Tour's all-time money list of tournament prize money won, Mickelson earns far more from endorsements than from prize money. According to one estimate of 2011 earnings (comprising salary, winnings, bonuses, endorsements and appearances) Mickelson was then the second-highest paid athlete in the United States, earning an income of over $62 million, $53 million of which came from endorsements. Major companies which Mickelson currently endorses are ExxonMobil (Mickelson and wife Amy started a teacher sponsorship fund with the company), Rolex and Mizzen+Main. He has been previously sponsored by Titleist, Bearing Point, Barclays, and Ford. After being diagnosed with psoriatic arthritis in 2010, Mickelson was treated with Enbrel and began endorsing the drug. In 2015, Forbes estimated Mickelson's annual income was $51 million. In 2022, Mickelson lost a significant number of sponsors including Callaway Golf, KPMG, Amstel Light and Workday after comments he made about the Saudi-backed golf league, Super Golf League. In an interview, he stated that Saudis are "scary motherfuckers to get involved with... We know they killed [Washington Post reporter and U.S. resident Jamal] Khashoggi and have a horrible record on human rights. They execute people over there for being gay. Knowing all of this, why would I even consider it? Because this is a once-in-a-lifetime opportunity to reshape how the PGA Tour operates." Insider trading settlement On May 30, 2014, The Wall Street Journal reported that the FBI and U.S. Securities and Exchange Commission (SEC) were investigating Mickelson and associates of his for insider trading in Clorox stock. Mickelson denied any wrongdoing, and the investigation found "no evidence" and concluded without any charges. On May 19, 2016, Mickelson was named as a relief defendant in another SEC complaint alleging insider trading but completely avoided criminal charges in a parallel case brought in the Federal District Court for the Southern District of New York. The action stems for trades in Dean Foods in 2012 in conjunction with confidential information provided by Thomas Davis, a former director of Dean Foods Company, who tipped his friend and "professional sports bettor" Billy Walters. The SEC did not allege that Walters actually told Mickelson of any material, nonpublic information about Dean Foods, and the SEC disgorged Mickelson of the $931,000 profit he had made from trading Dean Foods stock and had him pay prejudgment interest of $105,000. In 2017, Walters was convicted of making $40 million on Davis's private information from 2008 to 2014 by a federal jury. At that time, it was also noted that Mickelson had "once owed nearly $2 million in gambling debts to" Walters. Walters's lawyer said his client would appeal the 2017 verdict. Amateur wins 1980 Junior World Golf Championships (Boys 9–10) 1989 NCAA Division I Championship 1990 Pac-10 Championship, NCAA Division I Championship, U.S. Amateur, Porter Cup 1991 Western Amateur 1992 NCAA Division I Championship Professional wins (57) PGA Tour wins (45) Note: Tournament shortened to 54 holes due to weather. PGA Tour playoff record (8–4) European Tour wins (11) 1Co-sanctioned by the Asian Tour, Sunshine Tour and PGA Tour of Australasia European Tour playoff record (3–1) Challenge Tour wins (1) Other wins (4) Other playoff record (1–1) PGA Tour Champions wins (4) Major championships Wins (6) Results timeline Results not in chronological order in 2020. LA = Low amateur CUT = missed the half-way cut "T" = tied NT = No tournament due to COVID-19 pandemic Summary Most consecutive cuts made – 30 (1999 PGA – 2007 Masters) Longest streak of top-10s – 5 (2004 Masters – 2005 Masters) The Players Championship Wins (1) Results timeline CUT = missed the halfway cut "T" indicates a tie for a place C = Canceled after the first round due to the COVID-19 pandemic World Golf Championships Wins (3) Results timeline Results not in chronological order prior to 2015. 1Cancelled due to 9/11 2Cancelled due to COVID-19 pandemic QF, R16, R32, R64 = Round in which player lost in match play "T" = tied NT = No Tournament Note that the HSBC Champions did not become a WGC event until 2009. PGA Tour career summary As of 2021 season. † Mickelson won as an amateur in 1991 and therefore did not receive any prize money. U.S. national team appearances Amateur Walker Cup: 1989, 1991 (winners) Eisenhower Trophy: 1990 Professional Presidents Cup: 1994 (winners), 1996 (winners), 1998, 2000 (winners), 2003 (tie), 2005 (winners), 2007 (winners), 2009 (winners), 2011 (winners), 2013 (winners), 2015 (winners), 2017 (winners) Ryder Cup: 1995, 1997, 1999 (winners), 2002, 2004, 2006, 2008 (winners), 2010, 2012, 2014, 2016 (winners), 2018 Alfred Dunhill Cup: 1996 (winners) Wendy's 3-Tour Challenge (representing PGA Tour): 1997 (winners), 2000 (winners) World Cup: 2002 See also List of golfers with most European Tour wins List of golfers with most PGA Tour wins List of men's major championships winning golfers Monday Night Golf References External links On Course With Phil American male golfers PGA Tour golfers PGA Tour Champions golfers Ryder Cup competitors for the United States Sports controversies Winners of men's major golf championships Arizona State Sun Devils men's golfers Left-handed golfers World Golf Hall of Fame inductees Golfers from Scottsdale, Arizona Golfers from San Diego American people of Italian descent American people of Portuguese descent American people of Swedish descent 1970 births Living people	false	[ "John B. Podesto, nicknamed Presto Podesto from Modesto (March 26, 1921 – November 13, 2015) was an American football quarterback and halfback who played for the St. Mary's Gaels. He was drafted in the first round (10th overall) in the 1944 NFL Draft by the Pittsburgh Steelers but did not play for them. He later was signed by the Chicago Bears but did not play with them either.\n\nEarly life and education\nPodesto was born on March 26, 1921 in Modesto, California to Giovannia and Maria Podesto. He was the youngest of nine children. He attended Modesto High School and Modesto Junior College before continuing his education at Saint Mary's University and College of the Pacific. He excelled at baseball and football while at Modesto, Saint Mary's, and College of the Pacific. He played quarterback and halfback when he was in football. In 1943, under coach Amos Alonzo Stagg, Podesto was named All-American while at Pacific. While playing from 1941 to 1943, and from 1944 to 1945, Podesto entered the Marine Corps and achieved the rank of captain while in World War II.\n\nProfessional career\nPodesto was drafted with the 10th pick in the 1940 NFL Draft by the Pittsburgh Steelers. He was serving in the marines from 1944 to 1945 so he could not play with them. In 1946, he signed with the team. However, Podesto did not play with the Steelers. The next season he signed with the Chicago Bears but did not play with them, either.\n\nLater life\nAfter Podesto's sports career, he was a successful business owner. He worked with the Modesto Tallow Company for over 50 years. He died on November 13, 2015 at the age of 94. At the time of his death he had 5 children, 12 grandchildren, and 2 great-grandchildren.\n\nReferences\n\nExternal links\n \n\n1921 births\n2015 deaths\nSaint Mary's Gaels football players\nSaint Mary's Gaels baseball players\nPacific Tigers football players\nPacific Tigers baseball players\nPlayers of American football from California", "Charles James Bowles (March 15, 1917 in Norwood, Massachusetts, United States – December 23, 2003 in Newton, North Carolina, United States) was a right-handed Major League Baseball pitcher who played for the Philadelphia Athletics in 1943 and 1945. He later managed in the minor leagues.\n\nPlaying career\nBowles began his professional career in 1937 with the Beckley Bengals, at the age of 20. He went 16–7 with a 3.83 ERA in 27 games (19 starts) that year. He spent 1938 with the Welch Miners and Bluefield Blue-Grays, going a combined 8–11 with a 5.20 ERA in 27 games. He played with Welch again in 1939, going 9–8 with a 5.43 ERA in 20 games (16 starts).\n\nHe went 6–3 with a 5.81 ERA in 23 games for the Monroe White Sox in 1940. In 1941, he played for the Monroe White Sox and El Dorado Oilers, going a combined 8–13 with a 6.14 ERA. He split the 1942 season between the Lancaster Red Roses and Richmond Colts, going a combined 10–13 with an unknown overall ERA. His ERA with the Red Roses, however, was 3.22.\n\nHe spent most of 1943 with the Red Roses, going 19–14 with a 3.52 ERA. On September 25, 1943, he made his big league debut. He started two games with the Athletics that year, going 1–1 with a 3.00 ERA. He did not play in 1944, and he made eight appearances for the Athletics in 1945, starting four of the games. That year, he went 0–3 with a 5.13 ERA. On September 19, 1945, he appeared in his final big league game.\n\nAlthough his major league career was over, his professional career was not. He split 1946 between the Red Roses and Atlanta Crackers, going 2–5 in 24 games. With the St. Petersburg Saints in 1947, he went 14–14 with a 3.35 ERA. He was with the Palatka Azaleas and St. Petersburg Saints in 1948, going a combined 8–7 with a 4.44 ERA in 33 games. He spent part of the year as the Azaleas' manager, his first foray into minor league managing.\n\nIn 1949, he was one of a few managers for the Salisbury Pirates. He did not play at all that year. Similarly, he did not play in 1950, as he served as the Waterbury Timers manager for part of the season. Again, in 1951 he did not play at all, as he served as manager of the Granite Falls Graniteers for part of the season.\n\nHe resumed playing in 1952, though on a limited basis - in 1952 with the Charleston Senators, he went 0–1 with a 58.50 ERA in two games. He also managed the Hickory Rebels for part of the 1952 season. He played in 23 games, making six starts, for the Wilkes-Barre Barons in 1953, going 4–2 with a 3.08 ERA. He finished his career in 1954, appearing in one game for the Winston-Salem Twins.\n\nOverall, he went 1–4 with a 4.38 ERA in 10 major league games (six starts). In the minors, he went 105–98 with an ERA around 4.28 in 324 games.\n\nReferences\n\nExternal links\n\n1917 births\n2003 deaths\nPhiladelphia Athletics players\nBaseball players from Massachusetts\nPeople from Norwood, Massachusetts" ]
[ "Phil Mickelson", "College golf", "which college did he play for", "Arizona State University", "who did he play with", "I don't know." ]	C_6362075d4d0541b19cdaa7990bdeea07_1	what did he do after college	3	what did Michelson do after college?	Phil Mickelson	Mickelson attended Arizona State University in Tempe on a golf scholarship and became the face of amateur golf in the United States, capturing three NCAA individual championships and three Haskins Awards (1990, 1991, 1992) as the outstanding collegiate golfer. With three individual NCAA championships, he shares the record for most individual NCAA championships alongside Ben Crenshaw. Mickelson also led the Sun Devils to the NCAA team title in 1990. Over the course of his collegiate career, he won 16 tournaments. Mickelson was the second collegiate golfer to earn first-team All-American honors all four years. In 1990, he also became the first with a left-handed swing to win the U.S. Amateur title. Mickelson secured perhaps his greatest achievement as an amateur in January 1991, winning his first PGA Tour event, the Northern Telecom Open, in Tucson. At age 20, he was only the sixth amateur to win a tour event and the first in over five years after Scott Verplank at the Western Open in August 1985. Other players to accomplish this feat include Doug Sanders (1956 Canadian Open) and Gene Littler (1954 San Diego Open). With five holes remaining, Mickelson led by a stroke, but made a triple-bogey and was then three behind. The leaders ahead of him then stumbled, and he birdied 16 and 18 to win by a stroke. To date, it is the most recent win by an amateur at a PGA Tour event. That April, Mickelson was the low amateur at the Masters Tournament in Augusta, Georgia. With his two-year PGA Tour exemption from the Tucson win, he played in several tour events in 1992 while an amateur but failed to make a cut. CANNOTANSWER	his first PGA Tour event,	Philip Alfred Mickelson (born June 16, 1970), nicknamed Phil the Thrill, is an American professional golfer. He has won 45 events on the PGA Tour, including six major championships: three Masters titles (2004, 2006, 2010), two PGA Championships (2005, 2021), and one Open Championship (2013). With his win at the 2021 PGA Championship, Mickelson became the oldest major championship winner in history at the age of 50 years, 11 months and 7 days old. Mickelson is one of 17 players in the history of golf to win at least three of the four majors. He has won every major except the U.S. Open, in which he has finished runner-up a record six times. Mickelson has spent more than 25 consecutive years in the top 50 of the Official World Golf Ranking. He has spent over 700 weeks in the top 10, has reached a career-high world ranking of No. 2 several times and is a life member of the PGA Tour. Although naturally right-handed, he is known for his left-handed swing, having learned it by mirroring his right-handed father's swing. He was inducted into the World Golf Hall of Fame in 2012. Early life and family Philip Alfred Mickelson was born on June 16, 1970, in San Diego, California, to parents Philip Mickelson, an airline pilot and former naval aviator, and Mary Santos. He was raised there and in Scottsdale, Arizona. Mickelson has Portuguese, Swedish, and Sicilian ancestry. His maternal grandfather, Alfred Santos (also Mickelson's middle name) was a caddie at Pebble Beach Golf Links and took Phil to play golf as a child. Although otherwise right-handed, he played golf left-handed since he learned by watching his right-handed father swing, mirroring his style. Mickelson began golf under his father's instruction before starting school. Phil Sr.'s work schedule as a commercial pilot allowed them to play together several times a week and young Phil honed his creative short game on an extensive practice area in their San Diego backyard. Mickelson graduated from the University of San Diego High School in 1988. College golf Mickelson attended Arizona State University in Tempe on a golf scholarship and became the face of amateur golf in the United States, capturing three NCAA individual championships and three Haskins Awards (1990, 1991, 1992) as the outstanding collegiate golfer. With three individual NCAA championships, he shares the record for most individual NCAA championships alongside Ben Crenshaw. Mickelson also led the Sun Devils to the NCAA team title in 1990. Over the course of his collegiate career, he won 16 tournaments. Mickelson was the second collegiate golfer to earn first-team All-American honors all four years. In 1990, he also became the first with a left-handed swing to win the U.S. Amateur title, defeating high school teammate Manny Zerman 5 and 4 in the 36-hole final at Cherry Hills, south of Denver. Mickelson secured perhaps his greatest achievement as an amateur in January 1991, winning his first PGA Tour event, the Northern Telecom Open, in Tucson, making him one of the few golfers to win a PGA Tour event as an amateur in the history of the PGA Tour. At age 20, he was only the sixth amateur to win a tour event and the first in over five years after Scott Verplank at the Western Open in August 1985. Other players to accomplish this feat include Doug Sanders (1956 Canadian Open) and Gene Littler (1954 San Diego Open). With five holes remaining, Mickelson led by a stroke, but made a triple-bogey and was then three behind. The leaders ahead of him then stumbled, and he birdied 16 and 18 to win by a stroke. To date, it is the most recent win by an amateur at a PGA Tour event. That April, Mickelson was the low amateur at the Masters Tournament in Augusta, Georgia. With his two-year PGA Tour exemption from the Tucson win, he played in several tour events in 1992 while an amateur but failed to make a cut. Professional career 1992–2003: Trying for first major win Mickelson graduated from ASU in June 1992 and quickly turned professional. He bypassed the tour's qualifying process (Q-School) because of his 1991 win in Tucson, which earned him a two-year exemption. In 1992, Mickelson hired Jim "Bones" Mackay as his caddy. He won many PGA Tour tournaments during this period, including the Byron Nelson Golf Classic and the World Series of Golf in 1996, the AT&T Pebble Beach National Pro-Am in 1998, the Colonial National Invitation in 2000 and the Greater Hartford Open in 2001 and again in 2002. He appeared as himself in a non-speaking role in the 1996 film Tin Cup, starring Kevin Costner. His 2000 Buick Invitational win ended Tiger Woods's streak of six consecutive victories on the PGA Tour. After the win, Mickelson said, "I didn't want to be the bad guy. I wasn't trying to end the streak per se. I was just trying to win the golf tournament." Although he had performed very well in the majors up to the end of the 2003 season (17 top-ten finishes, and six second- or third-place finishes between 1999 and 2003), Mickelson's inability to win any of them led to him frequently being described as the "best player never to win a major". 2004–2006: First three major wins Mickelson's first major championship win came in his thirteenth year on the PGA Tour in 2004, when he secured victory in the Masters with an birdie putt on the final hole. Ernie Els was the runner-up at a stroke back; the two played in different pairs in the final round and had traded birdies and eagles on the back nine. In addition to getting the "majors monkey" off his back, Mickelson was now only the third golfer with a left-handed swing to win a major, the others being New Zealander Sir Bob Charles, who won The Open Championship in 1963, and Canadian Mike Weir, who won The Masters in 2003. (Like Mickelson, Weir is a right-hander who plays left-handed.) A fourth left-handed winner is natural southpaw Bubba Watson, the Masters champion in 2012 and 2014. Prior to the Ryder Cup in 2004, Mickelson was dropped from his long-standing contract with Titleist/Acushnet Golf, after an incident when he left a voicemail message for a Callaway Golf executive. In it, he praised their driver and golf ball, and thanked them for their help in getting some equipment for his brother. This memo was played to all of their salesmen, and eventually found its way back to Titleist. He was then let out of his multi-year deal with Titleist 16 months early, and signed on with Callaway Golf, his current equipment sponsor. He endured a great deal of ridicule and scrutiny from the press and fellow Ryder Cup members for his equipment change so close to the Ryder Cup matches. He faltered at the 2004 Ryder Cup with a record, but refused to blame the sudden change in equipment or his practice methods for his performance. In November 2004, Mickelson tallied his career-low for an 18-hole round: a 59 at the PGA Grand Slam of Golf at Poipu Bay Golf Course in Hawaii. The following year, Mickelson captured his second major at the PGA Championship at Baltusrol, in a Monday final-round conclusion that had been forced by inclement weather the previous day. On the 18th hole, Mickelson hit one of his trademark soft pitches from deep greenside rough to within of the cup, and made his birdie to finish at a 4-under-par total of 276, one shot ahead of Steve Elkington and Thomas Bjørn. Mickelson captured his third major title the following spring at the Masters. He won his second green jacket after shooting a 3-under-par final round, winning by two strokes over runner-up Tim Clark. This win propelled him to 2nd place in the Official World Golf Ranking (his career best), behind Woods, and ahead of Vijay Singh and Retief Goosen. 2006: Collapse on final hole at the U.S. Open After winning two majors in a row heading into the U.S. Open at Winged Foot, Mickelson was bidding to join Ben Hogan and Tiger Woods as the only players to win three consecutive majors (not necessarily in the same calendar year). Mickelson was the joint leader going into the final round, but he was part of a wild finish to the tournament, in which he made major mistakes on the final hole and ended up in a tie for second place at +6 (286), one shot behind Geoff Ogilvy. Mickelson bogeyed the 16th hole. On the 17th hole, with the lead at +4, he missed the fairway to the left, and his drive finished inside a garbage can, from which he was granted a free drop; he parred the hole. He had a one-shot lead and was in the last group going into the final hole. Needing a par on the 18th hole for a one-shot victory, Mickelson continued with his aggressive style of play and chose to hit a driver off the tee; he hit his shot well left of the fairway (he had hit only two of thirteen fairways previously in the round). The ball bounced off a corporate hospitality tent and settled in an area of trampled-down grass that was enclosed with trees. He decided to go for the green with his second shot, rather than play it safe and pitch out into the fairway. His ball then hit a tree, and did not advance more than . His next shot plugged into the left greenside bunker. He was unable to get up and down from there, resulting in a double bogey, and costing him a chance of winning the championship outright or getting into an 18-hole playoff with Ogilvy. After his disappointing finish, Mickelson said: "I'm still in shock. I still can't believe I did that. This one hurts more than any tournament because I had it won. Congratulations to Geoff Ogilvy on some great play. I want to thank all the people that supported me. The only thing I can say is I'm sorry." He was even more candid when he said: "I just can't believe I did that. I'm such an idiot." 2006–2008 During the third round of the 2006 Ford Championship at Doral, Mickelson gave a spectator $200 after his wayward tee shot at the par-5 10th broke the man's watch. Mickelson also has shown other signs of appreciation. In 2007 after hearing the story of retired NFL player, Conrad Dobler, and his family on ESPN explaining their struggles to pay medical bills, Mickelson volunteered to pay tuition for Holli Dobler, Conrad Dobler's daughter, at Miami University in Oxford, Ohio. Frustrated with his driving accuracy, Mickelson made the decision in April 2007 to leave longtime swing coach, Rick Smith. He then began working with Butch Harmon, a former coach of Tiger Woods and Greg Norman. On May 13, Mickelson came from a stroke back on the final round to shoot a three-under 69 to win The Players Championship with an 11-under-par 277. In the U.S. Open at Oakmont in June, Mickelson missed the cut (by a stroke) for the first time in 31 majors after shooting 11 over par for 36 holes. He had been hampered by a wrist injury that was incurred while practicing in the thick rough at Oakmont a few weeks before the tournament. On September 3, 2007, Mickelson won the Deutsche Bank Championship, which is the second FedEx Cup playoff event. On the final day, he was paired with Tiger Woods, who ended up finishing two strokes behind Mickelson in a tie for second. It was the first time that Mickelson was able to beat Woods while the two stars were paired together on the final day of a tournament. The next day Mickelson announced that he would not be competing in the third FedEx Cup playoff event. The day before his withdrawal, Mickelson said during a television interview that PGA Tour Commissioner, Tim Finchem, had not responded to advice he had given him on undisclosed issues. In 2008, Mickelson won the Crowne Plaza Invitational at Colonial with a −14, one shot ahead of Tim Clark and Rod Pampling. Mickelson shot a first-round 65 to start off the tournament at −5. He ended the day tied with Brett Wetterich, two shots behind leader, Johnson Wagner. Mickelson shot a second-round 68, and the third round 65, overall, being −12 for the first three rounds. On the final hole, after an absolutely horrendous tee shot, he was in thick rough with trees in his way. Many players would have punched out, and taken their chances at making par from the fairway with a good wedge shot. Instead, he pulled out a high-lofted wedge and hit his approach shot over a tree, landing on the green where he one-putted for the win. In a Men's Vogue article, Mickelson recounted his effort to lose with the help of trainer Sean Cochran. "Once the younger players started to come on tour, he realized that he had to start working out to maintain longevity in his career," Cochran said. Mickelson's regimen consisted of increasing flexibility and power, eating five smaller meals a day, aerobic training, and carrying his own golf bag. Mickelson was inducted into the National Italian American Sports Hall of Fame in 2008. 2009 Mickelson won his first 2009 tour event when he defended his title at the Northern Trust Open at Riviera, one stroke ahead of Steve Stricker. The victory was Mickelson's 35th on tour; he surpassed Vijay Singh for second place on the current PGA Tour wins list. A month later, he won his 36th, and his first World Golf Championship, at the WGC-CA Championship with a one-stroke win over Nick Watney. On May 20, it was announced that his wife Amy was diagnosed with breast cancer, and Mickelson announced that he would suspend his PGA Tour schedule indefinitely. She would begin treatment with major surgery as early as the following two weeks. Mickelson was scheduled to play the HP Byron Nelson Championship May 21–24, and to defend his title May 28–31 at the Crowne Plaza Invitational at Colonial, but withdrew from both events. During the final round of the 2009 BMW PGA Championship, fellow golfer and family friend John Daly wore bright pink trousers in support of Mickelson's wife. Also, the next Saturday, at the Crowne Plaza Invitational at Colonial, a "Pink Out" event was hosted, and the PGA Tour players all wore pink that day, to support the Mickelson family. On May 31, Mickelson announced that he would return to play on the PGA Tour in June at the St. Jude Classic and the U.S. Open, since he had heard from the doctors treating his wife that her cancer had been detected in an early stage. Mickelson shot a final round 70 at the 2009 U.S. Open and recorded his fifth runner-up finish at the U.S. Open. He shared the lead after an eagle at the 13th hole, but fell back with bogeys on 15 and 17; Lucas Glover captured the championship. On July 6, it was announced that his mother Mary was diagnosed with breast cancer and would have surgery at the same hospital where his wife was treated. After hearing the news that his mother had been diagnosed with breast cancer, Mickelson took another leave of absence from the tour, missing The Open Championship at Turnberry. On July 28, Mickelson announced he would return in August at the WGC-Bridgestone Invitational, the week before the PGA Championship at Hazeltine National Golf Club in Chaska, Minnesota. In September, Mickelson won The Tour Championship for the second time in his career. He entered the final round four strokes off the lead, but shot a final round 65 to win the event by three strokes over Tiger Woods. With the win, Mickelson finished the season second behind Woods in the 2009 FedEx Cup standings. On November 8, Mickelson won the WGC-HSBC Champions by one shot over Ernie Els in Shanghai. 2010: Third Masters win In 2010, Mickelson won the Masters Tournament on April 11 with a 16-under-par performance, giving him a three-stroke win over Lee Westwood. The win marked the third Masters victory for Mickelson and his fourth major championship overall. Critical to Mickelson's win was a dramatic run in the third round on Saturday in which Mickelson, trailing leader Westwood by five strokes as he prepared his approach shot to the 13th green, proceeded to make eagle, then to hole-out for eagle from 141 yards at the next hole, the par 4 14th, then on the next, the par 5 15th, to miss eagle from 81 yards by mere inches. After tapping in for birdie at 15, Mickelson, at −12, led Westwood, at −11, who had bogeyed hole 12 and failed to capitalize on the par 5 13th, settling for par. Westwood recaptured a one-stroke lead by the end of the round, but the momentum carried forward for Mickelson into round 4, where he posted a bogey-free 67 to Westwood's 71. No other pursuer was able to keep pace to the end, though K. J. Choi and Anthony Kim made notable charges. For good measure, Mickelson birdied the final hole and memorably greeted his waiting wife, Amy, with a prolonged hug and kiss. For many fans, Mickelson's finish in the tournament was especially poignant, given that Amy had been suffering from breast cancer during the preceding year. Mary Mickelson, Phil's mother, was also dealing with cancer. CBS Sports announcer Jim Nantz's call of the final birdie putt, "That's a win for the family," was seen by many as capturing the moment well. Tiger Woods had a dramatic return to competitive play after a scandal-ridden 20-week absence; he was in close contention throughout for the lead and finished tied with Choi for 4th at −11. Mickelson and others showed exciting play over the weekend, and the 2010 Masters had strong television ratings in the United States, ranking third all-time to Woods's historic wins in 1997 and 2001. Mickelson's win left him second only to Woods in major championships among his competitive contemporaries, moving him ahead of Ernie Els, Vijay Singh and Pádraig Harrington, with three major championships each and each, like Mickelson, with dozens of worldwide wins. Remainder of 2010 Mickelson, one of the favorites for the U.S. Open at Pebble Beach, shot 75 and 66 on Thursday and Friday to sit two shots off the lead. However, two weekend scores of 73 gave him a T4 finish. During the remainder of the 2010 season, Mickelson had multiple opportunities to become the number one player in the world rankings following the travails of Tiger Woods. However, a string of disappointing finishes by Mickelson saw the number one spot eventually go to Englishman Lee Westwood. In the days leading up to the PGA Championship at Whistling Straits (near Kohler, Wisconsin), Mickelson announced he had been diagnosed with psoriatic arthritis. He added that he had started medical treatment, and had become a vegetarian in hopes of aiding his recovery. He maintains that both his short- and long-term prognosis are good, that the condition should have no long-term effect on his golfing career, and that he currently feels well. He also stated that the arthritis may go into permanent remission after one year of medical treatment. He went on to finish the championship T12, five shots behind winner Martin Kaymer. 2011 Mickelson started his 2011 season at the Farmers Insurance Open at Torrey Pines Golf Course. He shot and was tied for the 54 hole lead with Bill Haas. Mickelson needed to hole out on the 18th hole for eagle from 74 yards to force a playoff with Bubba Watson. He hit it to 4 feet and Watson won the tournament. On April 3, Mickelson won the Shell Houston Open with a 20-under-par, three-stroke win over Scott Verplank. Mickelson rose to No. 3 in the world ranking, while Tiger Woods fell to No. 7. Mickelson had not been ranked above Woods since the week prior to the 1997 Masters Tournament. At The Open Championship, Mickelson recorded just his second top-ten finish in 18 tournaments by tying for second with Dustin Johnson. His front nine 30 put him briefly in a tie for the lead with eventual champion Darren Clarke. However, some putting problems caused him to fade from contention toward the end, to finish in a tie for second place. 2012: 40th career PGA Tour win Mickelson made his 2012 debut at the Humana Challenge and finished tied for 49th. He missed the cut at the Farmers Insurance Open after shooting rounds of 77 and 68. In the final round of the AT&T Pebble Beach National Pro-Am, Mickelson rallied from six shots back, winning the tournament by two strokes with a final-round score of 8-under 64 and a four-round total of 269. The win marked his 40th career victory on the PGA Tour. The following week at Riviera Country Club, Mickelson lost the Northern Trust Open in a three-way playoff. He had held the lead or a share of it from day one until the back nine on Sunday when Bill Haas posted the clubhouse lead at seven under par. Mickelson holed a 27-foot birdie putt on the final regulation hole to force a playoff alongside Haas and Keegan Bradley. Haas however won the playoff with a 40-foot birdie putt on the second playoff hole. The second-place finish moved Mickelson back into the world's top 10. Mickelson finished tied for third at the Masters. After opening the tournament with a two-over-par 74, he shot 68–66 in the next two rounds and ended up one stroke behind leader Peter Hanson by Saturday night. Mickelson had a poor start to his fourth round, scoring a triple-bogey when he hit his ball far to the left of the green on the par-3 4th hole, hitting the stand and landing in a bamboo plant. This ended up being Mickelson's only score over par in the whole round, and he ended with a score of eight-under overall. Earlier in the tournament he had received widespread praise for being present to watch Jack Nicklaus, Arnold Palmer, and Gary Player hit the ceremonial opening tee-shots, nearly seven hours before Mickelson's own tee time. Mickelson made a charge during the final round at the HP Byron Nelson Championship, but bogeyed the 17th and 18th, finishing T-7th. He then withdrew from the Memorial Tournament, citing mental fatigue, after a first-round 79. He was to be paired with Tiger Woods and Bubba Watson at the U.S. Open. He fought to make the cut in the U.S. Open, and finished T-65th. After taking a couple of weeks off, he played in the Greenbrier Classic. Putting problems meant a second straight missed cut at the Greenbrier and a third missed cut at 2012 Open Championship, shooting 73-78 (11 over par). He finished T-43rd at the WGC-Bridgestone Invitational. He then finished T-36th at the PGA Championship. To start the 2012 FedEx Cup Playoffs, Mickelson finished T38 at The Barclays, +1 for the tournament. He tied with Tiger Woods, Zach Johnson, and five other players. In this tournament, he started using the claw putting grip on the greens. At the next event, the Deutsche Bank Championship, he finished the tournament with a −14, tied for 4th with Dustin Johnson. At the BMW Championship, Mickelson posted a −16 for the first three rounds, one of those rounds being a −8, 64. On the final day, Mickelson shot a −2, 70, to finish tied for 2nd, with Lee Westwood, two shots behind leader, and back-to-back winner, Rory McIlroy. At the Tour Championship, he ended up finishing tied for 15th. He went on to have a 3–1 record at the Ryder Cup; however, the USA team lost the event. 2013 Mickelson began the 2013 season in January by playing in the Humana Challenge, where he finished T37 at −17. His next event was the following week in his home event near San Diego at the Farmers Insurance Open. Mickelson endured a disappointing tournament, finishing T51, shooting all four rounds in the 70s. In the first round of the Waste Management Phoenix Open, Mickelson tied his career-low round of 60. He made seven birdies in his first nine holes and needed a birdie on the 18th hole to equal the PGA Tour record of 59. However, his 25-foot birdie putt on the final hole lipped out, resulting in him missing out by a single shot on making only the sixth round of 59 in PGA Tour history. Mickelson led the tournament wire-to-wire and completed a four-shot win over Brandt Snedeker for his 41st PGA Tour victory and 3rd Phoenix Open title. Mickelson's score of 28-under-par tied Mark Calcavecchia's tournament scoring record. He also moved back inside the world's top 10 after falling down as far as number 22. Sixth runner-up finish at the U.S. Open At the U.S. Open at Merion, Mickelson entered the final round leading by one stroke after rounds of over the first three days, but he started the final round by three-putting the 3rd and 5th holes for double-bogeys to fall out of the lead. He regained the lead at the par-four 10th, when he holed his second shot from the rough for an eagle. However, a misjudgment at the short par three 13th saw him fly the green and make a bogey to slip one behind leader Justin Rose. Another bogey followed at the 15th, before narrowly missing a birdie putt on the 16th that would have tied Rose. Mickelson could not make a birdie at the 17th and after a blocked drive on the 18th, he could not hole his pitch from short of the green, which led to a final bogey. Mickelson ended up finishing tied for second with Jason Day, two strokes behind Justin Rose. It was the sixth runner-up finish of Mickelson's career at the U.S. Open, an event record and only behind Jack Nicklaus's seven runner-up finishes at The Open Championship. After the event, Mickelson called the loss heartbreaking and said "this is tough to swallow after coming so close ... I felt like this was as good an opportunity I could ask for and to not get it ... it hurts." It was also Father's Day, which happened to be his birthday. Fifth major title at the Open Championship The week before The Open Championship, Mickelson warmed up for the event by winning his first tournament on British soil at the Scottish Open on July 14, after a sudden-death playoff against Branden Grace. After this victory, Mickelson spoke of his confidence ahead of his participation in the following week's major championship. Mickelson said: "I've never felt more excited going into The Open. I don't think there's a better way to get ready for a major than playing well the week before and getting into contention. Coming out on top just gives me more confidence." The following week, Mickelson won his fifth major title on July 21 at the Open Championship (often referred to as the British Open) Muirfield Golf Links in Scotland; the Open Championship is the oldest of the four major tournaments in professional golf. This was the first time in history that anyone had won both the Scottish Open and The Open Championship in the same year. Mickelson birdied four of the last six holes in a brilliant final round of 66 to win the title by three strokes. He shed tears on the 18th green after completing his round. Mickelson later said: "I played arguably the best round of my career, and shot the round of my life. The range of emotions I feel are as far apart as possible after losing the U.S. Open. But you have to be resilient in this game." In an interview before the 2015 Open, Mickelson said, "Two years removed from that win, I still can't believe how much it means to me." 2014 and 2015: Inconsistent form and close calls in majors Mickelson missed the cut at the Masters for the first time since 1997. He failed to contend at the U.S. Open at Pinehurst in his first bid to complete the career grand slam. Mickelson's lone top-10 of the PGA Tour season came at the year's final major, the PGA Championship at Valhalla. Mickelson shot rounds of 69-67-67-66 to finish solo second, one shot behind world number one Rory McIlroy. Prior to the 2015 Masters, Mickelson's best finish in 2015 was a tie for 17th. At the Masters, Mickelson shot rounds of to finish tied for second with Justin Rose, four shots behind champion Jordan Spieth. The second-place finish was Mickelson's tenth such finish in a major, placing him second all-time only to Jack Nicklaus in that regard. At The Open Championship, Mickelson shot rounds of and was eight shots behind, outside the top forty. In the final round, Mickelson birdied the 15th hole to move to 10 under and within two of the lead. After a missed birdie putt on 16, Mickelson hit his drive on the infamous Road Hole (17th) at the famed Old Course at St Andrews onto a second-floor balcony of the Old Course Hotel. The out-of-bounds drive lead to a triple-bogey 7 that sent Mickelson tumbling out of contention. Later in the year, it was announced that Mickelson would leave longtime swing coach Butch Harmon, feeling as though he needed to hear a new perspective on things. 2016: New swing coach After leaving Butch Harmon, Mickelson hired Andrew Getson of Grayhawk Golf Club in Scottsdale, Arizona, to serve as his new swing coach. The two worked together heavily in the 2015 offseason to get Mickelson's swing back. Under Getson's guidance, Mickelson made his 2016 debut at the CareerBuilder Challenge. He shot rounds of to finish in a tie for third place at 21-under-par. It was only Mickelson's fifth top-five finish since his win at the 2013 Open Championship. The third-place finish was Mickelson's highest finish in his first worldwide start of a calendar year since he won the same event to begin the 2004 season. At the AT&T Pebble Beach Pro-Am, Mickelson shot rounds of to finish in solo second place, a shot behind Vaughn Taylor. Mickelson lipped out a five-foot birdie putt to force a playoff on the 72nd hole. He entered the final round with a two-stroke lead, his first 54-hole lead since the 2013 U.S. Open and was seeking to end a winless drought dating back 52 worldwide events to the 2013 Open Championship. Mickelson shot a 63 in the opening round of The Open Championship at Royal Troon. The round set a new course record and matched the previous major championship record for lowest round. Mickelson had a birdie putt that narrowly missed on the final hole to set a new major championship scoring record of 62. He followed this up with a 69 in the second round for a 10 under par total and a one-shot lead over Henrik Stenson going into the weekend. In the third round, Mickelson shot a one-under 70 for a total of 11 under par to enter the final round one shot back of Stenson. Despite Mickelson's bogey-free 65 in the final round, Stenson shot 63 to win by three shots. Mickelson finished 11 strokes clear of 3rd place, a major championship record for a runner-up. Mickelson's 267 total set a record score for a runner-up in the British Open, and only trails Mickelson's 266 at the 2001 PGA Championship as the lowest total by a runner-up in major championship history. 2017: Recovery from surgeries In the fall of 2016, Mickelson had two sports hernia surgeries. Those in the golf community expected him to miss much time recovering, however his unexpected return at the CareerBuilder Challenge was a triumphant one, leading to a T-21 finish. The next week, in San Diego, he narrowly missed an eagle putt on the 18th hole on Sunday that would've got him to 8-under par instead posting −7 to finish T14 at the Farmers Insurance Open. The following week, at the Waste Management Phoenix Open, which he has won three times, he surged into contention following a Saturday 65. He played his first nine holes in 4-under 32 and sending his name to the top of the leaderboard. However, his charge faltered with bogeys at 11, 12, 14, 15, and a double bogey at the driveable 17th hole. He stumbled with a final round 71, still earning a T-16 finish, for his sixth straight top-25 finish on tour. Mickelson came close to winning again at the FedEx St. Jude Classic where he had finished in second place the previous year to Daniel Berger. He started the final round four strokes behind leaders but he quickly played himself into contention. Following a birdie at the 10th hole he vaulted to the top of leaderboard but found trouble on the 12th hole. His tee shot carried out of bounds and his fourth shot hit the water so he had to make a long putt to salvage triple-bogey. He managed to get one shot back but he finished three shots behind winner Berger, in ninth place, for the second straight year. Two weeks later he withdrew from the U.S. Open to attend his daughter's high school graduation. A week later his longtime caddie Jim (Bones) Mackay left Mickelson in a mutual agreement. Mickelson then missed the cut at both The Open Championship and the PGA Championship. On September 6, days after posting his best finish of the season of T6 at the Dell Technologies Championship, Mickelson was named as a captain's pick for the Presidents Cup. This maintained a streak of 23 consecutive USA teams in the Presidents Cup and Ryder Cup, dating back to 1994. 2018–2019: Winless streak ends On March 4, 2018, Mickelson ended a winless drought that dated back to 2013, by capturing his third WGC championship at the WGC-Mexico Championship, with a final-round score of 66 and a total score of −16. Mickelson birdied two of his last four holes and had a lengthy putt to win outright on the 72nd hole, but tied with Justin Thomas. He defeated Thomas on the first extra hole of a sudden-death playoff with a par. After Thomas had flown the green, Mickelson had a birdie to win the playoff which lipped out. Thomas however could not get up and down for par, meaning Mickelson claimed the championship. The win was Mickelson's 43rd on the PGA Tour and his first since winning the 2013 Open Championship. He also became the oldest winner of a WGC event, at age 47. In the third round of the 2018 U.S. Open, Mickelson incurred a two-stroke penalty in a controversial incident on the 13th hole when he hit his ball with intent while it was still moving. He ended up shooting 81 (+11). His former coach Butch Harmon thought Mickelson should have been disqualified. Mickelson was a captain's pick for Team USA at the 2018 Ryder Cup, held in Paris between September 28 and 30. Paired with Bryson DeChambeau in the Friday afternoon foursomes, they lost 5 and 4 to Europe's Sergio García and Alex Norén. In the Sunday singles match, Mickelson lost 4 and 2 to Francesco Molinari, as Team USA slumped to a 17.5 to 10.5 defeat. On November 23, 2018, Mickelson won the pay-per-view event, Capital One's The Match. This was a $9,000,000 winner-takes-all match against Tiger Woods at Shadow Creek Golf Course in Las Vegas. Mickelson needed four extra holes to beat Woods, which he did by holing a four-foot putt after Woods missed a seven-foot putt on the 22nd hole. In his third start of the 2019 calendar year, Mickelson won the AT&T Pebble Beach Pro-Am, shooting a bogey-free final round 65 to defeat Paul Casey by three strokes. The win was Mickelson's 44th career title on the PGA Tour, and his fifth at Pebble Beach, tying Mark O'Meara for most victories in the event. At 48 years of age, he also became the oldest winner of that event. 2020: PGA Tour season and PGA Tour Champions debut In December 2019, Mickelson announced via Twitter that "after turning down opportunities to go to the Middle East for many years" he would play in the 2020 Saudi International tournament on the European Tour and would miss Waste Management Phoenix Open for the first time since 1989. However, his decision to visit and play in Saudi Arabia was criticized for getting lured by millions of dollars and ignoring the continuous human rights abuses in the nation. Mickelson went on to finish the February 2020 event tied for third. Mickelson finished 3rd at the 2020 AT&T Pebble Beach Pro-Am and tied for 2nd in the WGC-FedEx St. Jude Invitational. Mickelson was the first player over 50 to finish in the top five of a World Golf Championship event. He was ultimately eliminated from the FedEx Cup Playoffs following The Northern Trust at TPC Boston in August 2020. One week later, Mickelson made his debut on the PGA Tour Champions. He won the Charles Schwab Series at Ozarks National in his first tournament after becoming eligible for PGA Tour Champions on his 50th birthday on June 16, 2020. He was the 20th player to win their debut tournament on tour. Mickelson's 191 stroke total tied the PGA Tour Champions all-time record for a three-day event. In October 2020, Mickelson won the Dominion Energy Charity Classic in Virginia. It was his second win in as many starts on the PGA Tour Champions. 2021: The oldest major champion In February 2021, Mickelson was attempting to become the first player in PGA Tour Champions history to win his first three tournaments on tour. However, he fell short in the Cologuard Classic, finishing in a T-20 position with a score of 4 under par. In May 2021, Mickelson held the 54-hole lead at the PGA Championship at the Kiawah Island Golf Resort in South Carolina, leading Brooks Koepka by one shot with one day to play. He shot a final-round 73 to capture the tournament, defeating Koepka and Louis Oosthuizen by two strokes, becoming the oldest major champion; at 50. As Mickelson walked down the fairway following an excellent second shot from the left rough on the 18th hole, thousands of fans engulfed him, with him walking towards the hole constantly tipping his hat and giving the thumbs up to the crowd as they cheered. However, the massive tumult of people meant playing partner Brooks Koepka was stranded in the sea of people, and with difficulties, he managed to reach the green to finish the hole. Mickelson eventually emerged from the crowd and two-putted for par, finishing the tournament at 6-under, besting the field by two strokes. In October 2021, Mickelson won for the third time in four career starts on the PGA Tour Champions. Mickelson shot a final round 4-under-par 68 to win the inaugural Constellation Furyk & Friends over Miguel Ángel Jiménez in Jacksonville, Florida. In November 2021, Mickelson won the season-ending Charles Schwab Cup Championship in Phoenix, Arizona, with a final round six-under par 65. This victory was Mickelson's fourth win in six career starts on PGA Tour Champions. 2022: Saudi Arabia controversy Mickelson admitted in an interview to overlooking Saudi Arabian human rights violations, including the murder of journalist Jamal Khashoggi and execution of LGBTQ+ individuals, to support the Saudi-backed Super Golf League because it offered an opportunity to reshape the PGA Tour. In response to these comments, Mickelson lost multiple longtime sponsors including Callaway Golf and KPMG. Mickelson announced he would be stepping away from golf to spend time with his family. Playing style As a competitor, Mickelson's playing style is described by many as "aggressive" and highly social. His strategy toward difficult shots (bad lies, obstructions) would tend to be considered risky. Mickelson has also been characterized by his powerful and sometimes inaccurate driver, but his excellent short game draws the most positive reviews, most of all his daring "Phil flop" shot in which a big swing with a high-lofted wedge against a tight lie flies a ball high into the air for a short distance. Mickelson is usually in the top 10 in scoring, and he led the PGA Tour in birdie average as recently as 2013. Earnings and endorsements Although ranked second on the PGA Tour's all-time money list of tournament prize money won, Mickelson earns far more from endorsements than from prize money. According to one estimate of 2011 earnings (comprising salary, winnings, bonuses, endorsements and appearances) Mickelson was then the second-highest paid athlete in the United States, earning an income of over $62 million, $53 million of which came from endorsements. Major companies which Mickelson currently endorses are ExxonMobil (Mickelson and wife Amy started a teacher sponsorship fund with the company), Rolex and Mizzen+Main. He has been previously sponsored by Titleist, Bearing Point, Barclays, and Ford. After being diagnosed with psoriatic arthritis in 2010, Mickelson was treated with Enbrel and began endorsing the drug. In 2015, Forbes estimated Mickelson's annual income was $51 million. In 2022, Mickelson lost a significant number of sponsors including Callaway Golf, KPMG, Amstel Light and Workday after comments he made about the Saudi-backed golf league, Super Golf League. In an interview, he stated that Saudis are "scary motherfuckers to get involved with... We know they killed [Washington Post reporter and U.S. resident Jamal] Khashoggi and have a horrible record on human rights. They execute people over there for being gay. Knowing all of this, why would I even consider it? Because this is a once-in-a-lifetime opportunity to reshape how the PGA Tour operates." Insider trading settlement On May 30, 2014, The Wall Street Journal reported that the FBI and U.S. Securities and Exchange Commission (SEC) were investigating Mickelson and associates of his for insider trading in Clorox stock. Mickelson denied any wrongdoing, and the investigation found "no evidence" and concluded without any charges. On May 19, 2016, Mickelson was named as a relief defendant in another SEC complaint alleging insider trading but completely avoided criminal charges in a parallel case brought in the Federal District Court for the Southern District of New York. The action stems for trades in Dean Foods in 2012 in conjunction with confidential information provided by Thomas Davis, a former director of Dean Foods Company, who tipped his friend and "professional sports bettor" Billy Walters. The SEC did not allege that Walters actually told Mickelson of any material, nonpublic information about Dean Foods, and the SEC disgorged Mickelson of the $931,000 profit he had made from trading Dean Foods stock and had him pay prejudgment interest of $105,000. In 2017, Walters was convicted of making $40 million on Davis's private information from 2008 to 2014 by a federal jury. At that time, it was also noted that Mickelson had "once owed nearly $2 million in gambling debts to" Walters. Walters's lawyer said his client would appeal the 2017 verdict. Amateur wins 1980 Junior World Golf Championships (Boys 9–10) 1989 NCAA Division I Championship 1990 Pac-10 Championship, NCAA Division I Championship, U.S. Amateur, Porter Cup 1991 Western Amateur 1992 NCAA Division I Championship Professional wins (57) PGA Tour wins (45) Note: Tournament shortened to 54 holes due to weather. PGA Tour playoff record (8–4) European Tour wins (11) 1Co-sanctioned by the Asian Tour, Sunshine Tour and PGA Tour of Australasia European Tour playoff record (3–1) Challenge Tour wins (1) Other wins (4) Other playoff record (1–1) PGA Tour Champions wins (4) Major championships Wins (6) Results timeline Results not in chronological order in 2020. LA = Low amateur CUT = missed the half-way cut "T" = tied NT = No tournament due to COVID-19 pandemic Summary Most consecutive cuts made – 30 (1999 PGA – 2007 Masters) Longest streak of top-10s – 5 (2004 Masters – 2005 Masters) The Players Championship Wins (1) Results timeline CUT = missed the halfway cut "T" indicates a tie for a place C = Canceled after the first round due to the COVID-19 pandemic World Golf Championships Wins (3) Results timeline Results not in chronological order prior to 2015. 1Cancelled due to 9/11 2Cancelled due to COVID-19 pandemic QF, R16, R32, R64 = Round in which player lost in match play "T" = tied NT = No Tournament Note that the HSBC Champions did not become a WGC event until 2009. PGA Tour career summary As of 2021 season. † Mickelson won as an amateur in 1991 and therefore did not receive any prize money. U.S. national team appearances Amateur Walker Cup: 1989, 1991 (winners) Eisenhower Trophy: 1990 Professional Presidents Cup: 1994 (winners), 1996 (winners), 1998, 2000 (winners), 2003 (tie), 2005 (winners), 2007 (winners), 2009 (winners), 2011 (winners), 2013 (winners), 2015 (winners), 2017 (winners) Ryder Cup: 1995, 1997, 1999 (winners), 2002, 2004, 2006, 2008 (winners), 2010, 2012, 2014, 2016 (winners), 2018 Alfred Dunhill Cup: 1996 (winners) Wendy's 3-Tour Challenge (representing PGA Tour): 1997 (winners), 2000 (winners) World Cup: 2002 See also List of golfers with most European Tour wins List of golfers with most PGA Tour wins List of men's major championships winning golfers Monday Night Golf References External links On Course With Phil American male golfers PGA Tour golfers PGA Tour Champions golfers Ryder Cup competitors for the United States Sports controversies Winners of men's major golf championships Arizona State Sun Devils men's golfers Left-handed golfers World Golf Hall of Fame inductees Golfers from Scottsdale, Arizona Golfers from San Diego American people of Italian descent American people of Portuguese descent American people of Swedish descent 1970 births Living people	true	[ "\"What Did I Do to You?\" is a song recorded by British singer Lisa Stansfield for her 1989 album, Affection. It was written by Stansfield, Ian Devaney and Andy Morris, and produced by Devaney and Morris. The song was released as the fourth European single on 30 April 1990. It included three previously unreleased songs written by Stansfield, Devaney and Morris: \"My Apple Heart,\" \"Lay Me Down\" and \"Something's Happenin'.\" \"What Did I Do to You?\" was remixed by Mark Saunders and by the Grammy Award-winning American house music DJ and producer, David Morales. The single became a top forty hit in the European countries reaching number eighteen in Finland, number twenty in Ireland and number twenty-five in the United Kingdom. \"What Did I Do to You?\" was also released in Japan.\n\nIn 2014, the remixes of \"What Did I Do to You?\" were included on the deluxe 2CD + DVD re-release of Affection and on People Hold On ... The Remix Anthology. They were also featured on The Collection 1989–2003 box set (2014), including previously unreleased Red Zone Mix by David Morales.\n\nCritical reception\nThe song received positive reviews from music critics. Matthew Hocter from Albumism viewed it as a \"upbeat offering\". David Giles from Music Week said it is \"beautifully performed\" by Stansfield. A reviewer from Reading Eagle wrote that \"What Did I Do to You?\" \"would be right at home on the \"Saturday Night Fever\" soundtrack.\"\n\nMusic video\nA music video was produced to promote the single, directed by Philip Richardson, who had previously directed the videos for \"All Around the World\" and \"Live Together\". It features Stansfield with her kiss curls, dressed in a white outfit and performing with her band on a stage in front of a jumping audience. The video was later published on Stansfield's official YouTube channel in November 2009. It has amassed more than 1,6 million views as of October 2021.\n\nTrack listings\n\n European/UK 7\" single\n\"What Did I Do to You?\" (Mark Saunders Remix Edit) – 4:20\n\"Something's Happenin'\" – 3:59\n\n European/UK/Japanese CD single\n\"What Did I Do to You?\" (Mark Saunders Remix Edit) – 4:20\n\"My Apple Heart\" – 5:19\n\"Lay Me Down\" – 4:17\n\"Something's Happenin'\" – 3:59\n\n UK 10\" single\n\"What Did I Do to You?\" (Mark Saunders Remix) – 5:52\n\"My Apple Heart\" – 5:19\n\"Lay Me Down\" – 4:17\n\"Something's Happenin'\" – 3:59\n\n European/UK 12\" single\n\"What Did I Do to You?\" (Morales Mix) – 7:59\n\"My Apple Heart\" – 4:22\n\"Lay Me Down\" – 3:19\n\"Something's Happenin'\" – 3:15\n\n UK 12\" promotional single\n\"What Did I Do to You?\" (Morales Mix) – 7:59\n\"What Did I Do to You?\" (Anti Poll Tax Dub) – 6:31\n\n Other remixes\n\"What Did I Do to You?\" (Red Zone Mix) – 7:45\n\nCharts\n\nReferences\n\nLisa Stansfield songs\n1990 singles\nSongs written by Lisa Stansfield\n1989 songs\nArista Records singles\nSongs written by Ian Devaney\nSongs written by Andy Morris (musician)", "Robert Paul Smith (April 16, 1915 – January 30, 1977) was an American author, most famous for his classic evocation of childhood, Where Did You Go? Out. What Did You Do? Nothing.\n\nBiography\nRobert Paul Smith was born in Brooklyn, grew up in Mount Vernon, NY, and graduated from Columbia College in 1936. He worked as a writer for CBS Radio and wrote four novels: So It Doesn't Whistle (1946) (1941, according to Avon Publishing Co., Inc., reprint edition ... Plus Blood in Their Veins copyright 1952); The Journey, (1943); Because of My Love (1946); The Time and the Place (1951).\n\nThe Tender Trap, a play by Smith and Dobie Gillis creator Max Shulman, opened in 1954 with Robert Preston in the leading role. It was later made into a movie starring Frank Sinatra and Debbie Reynolds. A classic example of the \"battle-of-the-sexes\" comedy, it revolves around the mutual envy of a bachelor living in New York City and a settled family man living in the New York suburbs.\n\nWhere Did You Go? Out. What Did You Do? Nothing is a nostalgic evocation of the inner life of childhood. It advocates the value of privacy to children; the importance of unstructured time; the joys of boredom; and the virtues of freedom from adult supervision. He opens by saying \"The thing is, I don't understand what kids do with themselves any more.\" He contrasts the overstructured, overscheduled, oversupervised suburban life of the child in the suburban 1950's with reminiscences of his own childhood. He concludes \"I guess what I am saying is that people who don't have nightmares don't have dreams. If you will excuse me, I have an appointment with myself to sit on the front steps and watch some grass growing.\"\n\nTranslations from the English (1958) collects a series of articles originally published in Good Housekeeping magazine. The first, \"Translations from the Children,\" may be the earliest known example of the genre of humor that consists of a series of translations from what is said (e.g. \"I don't know why. He just hit me\") into what is meant (e.g. \"He hit his brother.\")\n\nHow to Do Nothing With Nobody All Alone By Yourself (1958) is a how-to book, illustrated by Robert Paul Smith's wife Elinor Goulding Smith. It gives step-by-step directions on how to: play mumbly-peg; build a spool tank; make polly-noses; construct an indoor boomerang, etc. It was republished in 2010 by Tin House Books.\n\nList of works\n\nEssays and humor\nWhere Did You Go? Out. What Did You Do? Nothing (1957)\nTranslations from the English (1958) \nCrank: A Book of Lamentations, Exhortations, Mixed Memories and Desires, All Hard Or Chewy Centers, No Creams(1962)\nHow to Grow Up in One Piece (1963)\nGot to Stop Draggin’ that Little Red Wagon Around (1969)\nRobert Paul Smith’s Lost & Found (1973)\n\nFor children\nJack Mack, illus. Erik Blegvad (1960)\nWhen I Am Big, illus. Lillian Hoban (1965)\nNothingatall, Nothingatall, Nothingatall, illus. Allan E. Cober (1965)\nHow To Do Nothing With No One All Alone By Yourself, illus Elinor Goulding Smith (1958) Republished by Tin House Books (2010)\n\nNovels\nSo It Doesn't Whistle (1941) \nThe Journey (1943) \nBecause of My Love (1946) \nThe Time and the Place (1952)\nWhere He Went: Three Novels (1958)\n\nTheatre\nThe Tender Trap, by Max Shulman and Robert Paul Smith (first Broadway performance, 1954; Random House edition, 1955)\n\nVerse\nThe Man with the Gold-headed Cane (1943)\n…and Another Thing (1959)\n\nExternal links\n\n1915 births\n1977 deaths\n20th-century American novelists\nAmerican children's writers\nAmerican humorists\nAmerican instructional writers\nAmerican male novelists\n20th-century American dramatists and playwrights\nAmerican male dramatists and playwrights\n20th-century American male writers\n20th-century American non-fiction writers\nAmerican male non-fiction writers\nColumbia College (New York) alumni" ]
[ "Phil Mickelson", "College golf", "which college did he play for", "Arizona State University", "who did he play with", "I don't know.", "what did he do after college", "his first PGA Tour event," ]	C_6362075d4d0541b19cdaa7990bdeea07_1	what did he win in college	4	what did Michelson win while at ARizona State University?	Phil Mickelson	Mickelson attended Arizona State University in Tempe on a golf scholarship and became the face of amateur golf in the United States, capturing three NCAA individual championships and three Haskins Awards (1990, 1991, 1992) as the outstanding collegiate golfer. With three individual NCAA championships, he shares the record for most individual NCAA championships alongside Ben Crenshaw. Mickelson also led the Sun Devils to the NCAA team title in 1990. Over the course of his collegiate career, he won 16 tournaments. Mickelson was the second collegiate golfer to earn first-team All-American honors all four years. In 1990, he also became the first with a left-handed swing to win the U.S. Amateur title. Mickelson secured perhaps his greatest achievement as an amateur in January 1991, winning his first PGA Tour event, the Northern Telecom Open, in Tucson. At age 20, he was only the sixth amateur to win a tour event and the first in over five years after Scott Verplank at the Western Open in August 1985. Other players to accomplish this feat include Doug Sanders (1956 Canadian Open) and Gene Littler (1954 San Diego Open). With five holes remaining, Mickelson led by a stroke, but made a triple-bogey and was then three behind. The leaders ahead of him then stumbled, and he birdied 16 and 18 to win by a stroke. To date, it is the most recent win by an amateur at a PGA Tour event. That April, Mickelson was the low amateur at the Masters Tournament in Augusta, Georgia. With his two-year PGA Tour exemption from the Tucson win, he played in several tour events in 1992 while an amateur but failed to make a cut. CANNOTANSWER	Over the course of his collegiate career, he won 16 tournaments.	Philip Alfred Mickelson (born June 16, 1970), nicknamed Phil the Thrill, is an American professional golfer. He has won 45 events on the PGA Tour, including six major championships: three Masters titles (2004, 2006, 2010), two PGA Championships (2005, 2021), and one Open Championship (2013). With his win at the 2021 PGA Championship, Mickelson became the oldest major championship winner in history at the age of 50 years, 11 months and 7 days old. Mickelson is one of 17 players in the history of golf to win at least three of the four majors. He has won every major except the U.S. Open, in which he has finished runner-up a record six times. Mickelson has spent more than 25 consecutive years in the top 50 of the Official World Golf Ranking. He has spent over 700 weeks in the top 10, has reached a career-high world ranking of No. 2 several times and is a life member of the PGA Tour. Although naturally right-handed, he is known for his left-handed swing, having learned it by mirroring his right-handed father's swing. He was inducted into the World Golf Hall of Fame in 2012. Early life and family Philip Alfred Mickelson was born on June 16, 1970, in San Diego, California, to parents Philip Mickelson, an airline pilot and former naval aviator, and Mary Santos. He was raised there and in Scottsdale, Arizona. Mickelson has Portuguese, Swedish, and Sicilian ancestry. His maternal grandfather, Alfred Santos (also Mickelson's middle name) was a caddie at Pebble Beach Golf Links and took Phil to play golf as a child. Although otherwise right-handed, he played golf left-handed since he learned by watching his right-handed father swing, mirroring his style. Mickelson began golf under his father's instruction before starting school. Phil Sr.'s work schedule as a commercial pilot allowed them to play together several times a week and young Phil honed his creative short game on an extensive practice area in their San Diego backyard. Mickelson graduated from the University of San Diego High School in 1988. College golf Mickelson attended Arizona State University in Tempe on a golf scholarship and became the face of amateur golf in the United States, capturing three NCAA individual championships and three Haskins Awards (1990, 1991, 1992) as the outstanding collegiate golfer. With three individual NCAA championships, he shares the record for most individual NCAA championships alongside Ben Crenshaw. Mickelson also led the Sun Devils to the NCAA team title in 1990. Over the course of his collegiate career, he won 16 tournaments. Mickelson was the second collegiate golfer to earn first-team All-American honors all four years. In 1990, he also became the first with a left-handed swing to win the U.S. Amateur title, defeating high school teammate Manny Zerman 5 and 4 in the 36-hole final at Cherry Hills, south of Denver. Mickelson secured perhaps his greatest achievement as an amateur in January 1991, winning his first PGA Tour event, the Northern Telecom Open, in Tucson, making him one of the few golfers to win a PGA Tour event as an amateur in the history of the PGA Tour. At age 20, he was only the sixth amateur to win a tour event and the first in over five years after Scott Verplank at the Western Open in August 1985. Other players to accomplish this feat include Doug Sanders (1956 Canadian Open) and Gene Littler (1954 San Diego Open). With five holes remaining, Mickelson led by a stroke, but made a triple-bogey and was then three behind. The leaders ahead of him then stumbled, and he birdied 16 and 18 to win by a stroke. To date, it is the most recent win by an amateur at a PGA Tour event. That April, Mickelson was the low amateur at the Masters Tournament in Augusta, Georgia. With his two-year PGA Tour exemption from the Tucson win, he played in several tour events in 1992 while an amateur but failed to make a cut. Professional career 1992–2003: Trying for first major win Mickelson graduated from ASU in June 1992 and quickly turned professional. He bypassed the tour's qualifying process (Q-School) because of his 1991 win in Tucson, which earned him a two-year exemption. In 1992, Mickelson hired Jim "Bones" Mackay as his caddy. He won many PGA Tour tournaments during this period, including the Byron Nelson Golf Classic and the World Series of Golf in 1996, the AT&T Pebble Beach National Pro-Am in 1998, the Colonial National Invitation in 2000 and the Greater Hartford Open in 2001 and again in 2002. He appeared as himself in a non-speaking role in the 1996 film Tin Cup, starring Kevin Costner. His 2000 Buick Invitational win ended Tiger Woods's streak of six consecutive victories on the PGA Tour. After the win, Mickelson said, "I didn't want to be the bad guy. I wasn't trying to end the streak per se. I was just trying to win the golf tournament." Although he had performed very well in the majors up to the end of the 2003 season (17 top-ten finishes, and six second- or third-place finishes between 1999 and 2003), Mickelson's inability to win any of them led to him frequently being described as the "best player never to win a major". 2004–2006: First three major wins Mickelson's first major championship win came in his thirteenth year on the PGA Tour in 2004, when he secured victory in the Masters with an birdie putt on the final hole. Ernie Els was the runner-up at a stroke back; the two played in different pairs in the final round and had traded birdies and eagles on the back nine. In addition to getting the "majors monkey" off his back, Mickelson was now only the third golfer with a left-handed swing to win a major, the others being New Zealander Sir Bob Charles, who won The Open Championship in 1963, and Canadian Mike Weir, who won The Masters in 2003. (Like Mickelson, Weir is a right-hander who plays left-handed.) A fourth left-handed winner is natural southpaw Bubba Watson, the Masters champion in 2012 and 2014. Prior to the Ryder Cup in 2004, Mickelson was dropped from his long-standing contract with Titleist/Acushnet Golf, after an incident when he left a voicemail message for a Callaway Golf executive. In it, he praised their driver and golf ball, and thanked them for their help in getting some equipment for his brother. This memo was played to all of their salesmen, and eventually found its way back to Titleist. He was then let out of his multi-year deal with Titleist 16 months early, and signed on with Callaway Golf, his current equipment sponsor. He endured a great deal of ridicule and scrutiny from the press and fellow Ryder Cup members for his equipment change so close to the Ryder Cup matches. He faltered at the 2004 Ryder Cup with a record, but refused to blame the sudden change in equipment or his practice methods for his performance. In November 2004, Mickelson tallied his career-low for an 18-hole round: a 59 at the PGA Grand Slam of Golf at Poipu Bay Golf Course in Hawaii. The following year, Mickelson captured his second major at the PGA Championship at Baltusrol, in a Monday final-round conclusion that had been forced by inclement weather the previous day. On the 18th hole, Mickelson hit one of his trademark soft pitches from deep greenside rough to within of the cup, and made his birdie to finish at a 4-under-par total of 276, one shot ahead of Steve Elkington and Thomas Bjørn. Mickelson captured his third major title the following spring at the Masters. He won his second green jacket after shooting a 3-under-par final round, winning by two strokes over runner-up Tim Clark. This win propelled him to 2nd place in the Official World Golf Ranking (his career best), behind Woods, and ahead of Vijay Singh and Retief Goosen. 2006: Collapse on final hole at the U.S. Open After winning two majors in a row heading into the U.S. Open at Winged Foot, Mickelson was bidding to join Ben Hogan and Tiger Woods as the only players to win three consecutive majors (not necessarily in the same calendar year). Mickelson was the joint leader going into the final round, but he was part of a wild finish to the tournament, in which he made major mistakes on the final hole and ended up in a tie for second place at +6 (286), one shot behind Geoff Ogilvy. Mickelson bogeyed the 16th hole. On the 17th hole, with the lead at +4, he missed the fairway to the left, and his drive finished inside a garbage can, from which he was granted a free drop; he parred the hole. He had a one-shot lead and was in the last group going into the final hole. Needing a par on the 18th hole for a one-shot victory, Mickelson continued with his aggressive style of play and chose to hit a driver off the tee; he hit his shot well left of the fairway (he had hit only two of thirteen fairways previously in the round). The ball bounced off a corporate hospitality tent and settled in an area of trampled-down grass that was enclosed with trees. He decided to go for the green with his second shot, rather than play it safe and pitch out into the fairway. His ball then hit a tree, and did not advance more than . His next shot plugged into the left greenside bunker. He was unable to get up and down from there, resulting in a double bogey, and costing him a chance of winning the championship outright or getting into an 18-hole playoff with Ogilvy. After his disappointing finish, Mickelson said: "I'm still in shock. I still can't believe I did that. This one hurts more than any tournament because I had it won. Congratulations to Geoff Ogilvy on some great play. I want to thank all the people that supported me. The only thing I can say is I'm sorry." He was even more candid when he said: "I just can't believe I did that. I'm such an idiot." 2006–2008 During the third round of the 2006 Ford Championship at Doral, Mickelson gave a spectator $200 after his wayward tee shot at the par-5 10th broke the man's watch. Mickelson also has shown other signs of appreciation. In 2007 after hearing the story of retired NFL player, Conrad Dobler, and his family on ESPN explaining their struggles to pay medical bills, Mickelson volunteered to pay tuition for Holli Dobler, Conrad Dobler's daughter, at Miami University in Oxford, Ohio. Frustrated with his driving accuracy, Mickelson made the decision in April 2007 to leave longtime swing coach, Rick Smith. He then began working with Butch Harmon, a former coach of Tiger Woods and Greg Norman. On May 13, Mickelson came from a stroke back on the final round to shoot a three-under 69 to win The Players Championship with an 11-under-par 277. In the U.S. Open at Oakmont in June, Mickelson missed the cut (by a stroke) for the first time in 31 majors after shooting 11 over par for 36 holes. He had been hampered by a wrist injury that was incurred while practicing in the thick rough at Oakmont a few weeks before the tournament. On September 3, 2007, Mickelson won the Deutsche Bank Championship, which is the second FedEx Cup playoff event. On the final day, he was paired with Tiger Woods, who ended up finishing two strokes behind Mickelson in a tie for second. It was the first time that Mickelson was able to beat Woods while the two stars were paired together on the final day of a tournament. The next day Mickelson announced that he would not be competing in the third FedEx Cup playoff event. The day before his withdrawal, Mickelson said during a television interview that PGA Tour Commissioner, Tim Finchem, had not responded to advice he had given him on undisclosed issues. In 2008, Mickelson won the Crowne Plaza Invitational at Colonial with a −14, one shot ahead of Tim Clark and Rod Pampling. Mickelson shot a first-round 65 to start off the tournament at −5. He ended the day tied with Brett Wetterich, two shots behind leader, Johnson Wagner. Mickelson shot a second-round 68, and the third round 65, overall, being −12 for the first three rounds. On the final hole, after an absolutely horrendous tee shot, he was in thick rough with trees in his way. Many players would have punched out, and taken their chances at making par from the fairway with a good wedge shot. Instead, he pulled out a high-lofted wedge and hit his approach shot over a tree, landing on the green where he one-putted for the win. In a Men's Vogue article, Mickelson recounted his effort to lose with the help of trainer Sean Cochran. "Once the younger players started to come on tour, he realized that he had to start working out to maintain longevity in his career," Cochran said. Mickelson's regimen consisted of increasing flexibility and power, eating five smaller meals a day, aerobic training, and carrying his own golf bag. Mickelson was inducted into the National Italian American Sports Hall of Fame in 2008. 2009 Mickelson won his first 2009 tour event when he defended his title at the Northern Trust Open at Riviera, one stroke ahead of Steve Stricker. The victory was Mickelson's 35th on tour; he surpassed Vijay Singh for second place on the current PGA Tour wins list. A month later, he won his 36th, and his first World Golf Championship, at the WGC-CA Championship with a one-stroke win over Nick Watney. On May 20, it was announced that his wife Amy was diagnosed with breast cancer, and Mickelson announced that he would suspend his PGA Tour schedule indefinitely. She would begin treatment with major surgery as early as the following two weeks. Mickelson was scheduled to play the HP Byron Nelson Championship May 21–24, and to defend his title May 28–31 at the Crowne Plaza Invitational at Colonial, but withdrew from both events. During the final round of the 2009 BMW PGA Championship, fellow golfer and family friend John Daly wore bright pink trousers in support of Mickelson's wife. Also, the next Saturday, at the Crowne Plaza Invitational at Colonial, a "Pink Out" event was hosted, and the PGA Tour players all wore pink that day, to support the Mickelson family. On May 31, Mickelson announced that he would return to play on the PGA Tour in June at the St. Jude Classic and the U.S. Open, since he had heard from the doctors treating his wife that her cancer had been detected in an early stage. Mickelson shot a final round 70 at the 2009 U.S. Open and recorded his fifth runner-up finish at the U.S. Open. He shared the lead after an eagle at the 13th hole, but fell back with bogeys on 15 and 17; Lucas Glover captured the championship. On July 6, it was announced that his mother Mary was diagnosed with breast cancer and would have surgery at the same hospital where his wife was treated. After hearing the news that his mother had been diagnosed with breast cancer, Mickelson took another leave of absence from the tour, missing The Open Championship at Turnberry. On July 28, Mickelson announced he would return in August at the WGC-Bridgestone Invitational, the week before the PGA Championship at Hazeltine National Golf Club in Chaska, Minnesota. In September, Mickelson won The Tour Championship for the second time in his career. He entered the final round four strokes off the lead, but shot a final round 65 to win the event by three strokes over Tiger Woods. With the win, Mickelson finished the season second behind Woods in the 2009 FedEx Cup standings. On November 8, Mickelson won the WGC-HSBC Champions by one shot over Ernie Els in Shanghai. 2010: Third Masters win In 2010, Mickelson won the Masters Tournament on April 11 with a 16-under-par performance, giving him a three-stroke win over Lee Westwood. The win marked the third Masters victory for Mickelson and his fourth major championship overall. Critical to Mickelson's win was a dramatic run in the third round on Saturday in which Mickelson, trailing leader Westwood by five strokes as he prepared his approach shot to the 13th green, proceeded to make eagle, then to hole-out for eagle from 141 yards at the next hole, the par 4 14th, then on the next, the par 5 15th, to miss eagle from 81 yards by mere inches. After tapping in for birdie at 15, Mickelson, at −12, led Westwood, at −11, who had bogeyed hole 12 and failed to capitalize on the par 5 13th, settling for par. Westwood recaptured a one-stroke lead by the end of the round, but the momentum carried forward for Mickelson into round 4, where he posted a bogey-free 67 to Westwood's 71. No other pursuer was able to keep pace to the end, though K. J. Choi and Anthony Kim made notable charges. For good measure, Mickelson birdied the final hole and memorably greeted his waiting wife, Amy, with a prolonged hug and kiss. For many fans, Mickelson's finish in the tournament was especially poignant, given that Amy had been suffering from breast cancer during the preceding year. Mary Mickelson, Phil's mother, was also dealing with cancer. CBS Sports announcer Jim Nantz's call of the final birdie putt, "That's a win for the family," was seen by many as capturing the moment well. Tiger Woods had a dramatic return to competitive play after a scandal-ridden 20-week absence; he was in close contention throughout for the lead and finished tied with Choi for 4th at −11. Mickelson and others showed exciting play over the weekend, and the 2010 Masters had strong television ratings in the United States, ranking third all-time to Woods's historic wins in 1997 and 2001. Mickelson's win left him second only to Woods in major championships among his competitive contemporaries, moving him ahead of Ernie Els, Vijay Singh and Pádraig Harrington, with three major championships each and each, like Mickelson, with dozens of worldwide wins. Remainder of 2010 Mickelson, one of the favorites for the U.S. Open at Pebble Beach, shot 75 and 66 on Thursday and Friday to sit two shots off the lead. However, two weekend scores of 73 gave him a T4 finish. During the remainder of the 2010 season, Mickelson had multiple opportunities to become the number one player in the world rankings following the travails of Tiger Woods. However, a string of disappointing finishes by Mickelson saw the number one spot eventually go to Englishman Lee Westwood. In the days leading up to the PGA Championship at Whistling Straits (near Kohler, Wisconsin), Mickelson announced he had been diagnosed with psoriatic arthritis. He added that he had started medical treatment, and had become a vegetarian in hopes of aiding his recovery. He maintains that both his short- and long-term prognosis are good, that the condition should have no long-term effect on his golfing career, and that he currently feels well. He also stated that the arthritis may go into permanent remission after one year of medical treatment. He went on to finish the championship T12, five shots behind winner Martin Kaymer. 2011 Mickelson started his 2011 season at the Farmers Insurance Open at Torrey Pines Golf Course. He shot and was tied for the 54 hole lead with Bill Haas. Mickelson needed to hole out on the 18th hole for eagle from 74 yards to force a playoff with Bubba Watson. He hit it to 4 feet and Watson won the tournament. On April 3, Mickelson won the Shell Houston Open with a 20-under-par, three-stroke win over Scott Verplank. Mickelson rose to No. 3 in the world ranking, while Tiger Woods fell to No. 7. Mickelson had not been ranked above Woods since the week prior to the 1997 Masters Tournament. At The Open Championship, Mickelson recorded just his second top-ten finish in 18 tournaments by tying for second with Dustin Johnson. His front nine 30 put him briefly in a tie for the lead with eventual champion Darren Clarke. However, some putting problems caused him to fade from contention toward the end, to finish in a tie for second place. 2012: 40th career PGA Tour win Mickelson made his 2012 debut at the Humana Challenge and finished tied for 49th. He missed the cut at the Farmers Insurance Open after shooting rounds of 77 and 68. In the final round of the AT&T Pebble Beach National Pro-Am, Mickelson rallied from six shots back, winning the tournament by two strokes with a final-round score of 8-under 64 and a four-round total of 269. The win marked his 40th career victory on the PGA Tour. The following week at Riviera Country Club, Mickelson lost the Northern Trust Open in a three-way playoff. He had held the lead or a share of it from day one until the back nine on Sunday when Bill Haas posted the clubhouse lead at seven under par. Mickelson holed a 27-foot birdie putt on the final regulation hole to force a playoff alongside Haas and Keegan Bradley. Haas however won the playoff with a 40-foot birdie putt on the second playoff hole. The second-place finish moved Mickelson back into the world's top 10. Mickelson finished tied for third at the Masters. After opening the tournament with a two-over-par 74, he shot 68–66 in the next two rounds and ended up one stroke behind leader Peter Hanson by Saturday night. Mickelson had a poor start to his fourth round, scoring a triple-bogey when he hit his ball far to the left of the green on the par-3 4th hole, hitting the stand and landing in a bamboo plant. This ended up being Mickelson's only score over par in the whole round, and he ended with a score of eight-under overall. Earlier in the tournament he had received widespread praise for being present to watch Jack Nicklaus, Arnold Palmer, and Gary Player hit the ceremonial opening tee-shots, nearly seven hours before Mickelson's own tee time. Mickelson made a charge during the final round at the HP Byron Nelson Championship, but bogeyed the 17th and 18th, finishing T-7th. He then withdrew from the Memorial Tournament, citing mental fatigue, after a first-round 79. He was to be paired with Tiger Woods and Bubba Watson at the U.S. Open. He fought to make the cut in the U.S. Open, and finished T-65th. After taking a couple of weeks off, he played in the Greenbrier Classic. Putting problems meant a second straight missed cut at the Greenbrier and a third missed cut at 2012 Open Championship, shooting 73-78 (11 over par). He finished T-43rd at the WGC-Bridgestone Invitational. He then finished T-36th at the PGA Championship. To start the 2012 FedEx Cup Playoffs, Mickelson finished T38 at The Barclays, +1 for the tournament. He tied with Tiger Woods, Zach Johnson, and five other players. In this tournament, he started using the claw putting grip on the greens. At the next event, the Deutsche Bank Championship, he finished the tournament with a −14, tied for 4th with Dustin Johnson. At the BMW Championship, Mickelson posted a −16 for the first three rounds, one of those rounds being a −8, 64. On the final day, Mickelson shot a −2, 70, to finish tied for 2nd, with Lee Westwood, two shots behind leader, and back-to-back winner, Rory McIlroy. At the Tour Championship, he ended up finishing tied for 15th. He went on to have a 3–1 record at the Ryder Cup; however, the USA team lost the event. 2013 Mickelson began the 2013 season in January by playing in the Humana Challenge, where he finished T37 at −17. His next event was the following week in his home event near San Diego at the Farmers Insurance Open. Mickelson endured a disappointing tournament, finishing T51, shooting all four rounds in the 70s. In the first round of the Waste Management Phoenix Open, Mickelson tied his career-low round of 60. He made seven birdies in his first nine holes and needed a birdie on the 18th hole to equal the PGA Tour record of 59. However, his 25-foot birdie putt on the final hole lipped out, resulting in him missing out by a single shot on making only the sixth round of 59 in PGA Tour history. Mickelson led the tournament wire-to-wire and completed a four-shot win over Brandt Snedeker for his 41st PGA Tour victory and 3rd Phoenix Open title. Mickelson's score of 28-under-par tied Mark Calcavecchia's tournament scoring record. He also moved back inside the world's top 10 after falling down as far as number 22. Sixth runner-up finish at the U.S. Open At the U.S. Open at Merion, Mickelson entered the final round leading by one stroke after rounds of over the first three days, but he started the final round by three-putting the 3rd and 5th holes for double-bogeys to fall out of the lead. He regained the lead at the par-four 10th, when he holed his second shot from the rough for an eagle. However, a misjudgment at the short par three 13th saw him fly the green and make a bogey to slip one behind leader Justin Rose. Another bogey followed at the 15th, before narrowly missing a birdie putt on the 16th that would have tied Rose. Mickelson could not make a birdie at the 17th and after a blocked drive on the 18th, he could not hole his pitch from short of the green, which led to a final bogey. Mickelson ended up finishing tied for second with Jason Day, two strokes behind Justin Rose. It was the sixth runner-up finish of Mickelson's career at the U.S. Open, an event record and only behind Jack Nicklaus's seven runner-up finishes at The Open Championship. After the event, Mickelson called the loss heartbreaking and said "this is tough to swallow after coming so close ... I felt like this was as good an opportunity I could ask for and to not get it ... it hurts." It was also Father's Day, which happened to be his birthday. Fifth major title at the Open Championship The week before The Open Championship, Mickelson warmed up for the event by winning his first tournament on British soil at the Scottish Open on July 14, after a sudden-death playoff against Branden Grace. After this victory, Mickelson spoke of his confidence ahead of his participation in the following week's major championship. Mickelson said: "I've never felt more excited going into The Open. I don't think there's a better way to get ready for a major than playing well the week before and getting into contention. Coming out on top just gives me more confidence." The following week, Mickelson won his fifth major title on July 21 at the Open Championship (often referred to as the British Open) Muirfield Golf Links in Scotland; the Open Championship is the oldest of the four major tournaments in professional golf. This was the first time in history that anyone had won both the Scottish Open and The Open Championship in the same year. Mickelson birdied four of the last six holes in a brilliant final round of 66 to win the title by three strokes. He shed tears on the 18th green after completing his round. Mickelson later said: "I played arguably the best round of my career, and shot the round of my life. The range of emotions I feel are as far apart as possible after losing the U.S. Open. But you have to be resilient in this game." In an interview before the 2015 Open, Mickelson said, "Two years removed from that win, I still can't believe how much it means to me." 2014 and 2015: Inconsistent form and close calls in majors Mickelson missed the cut at the Masters for the first time since 1997. He failed to contend at the U.S. Open at Pinehurst in his first bid to complete the career grand slam. Mickelson's lone top-10 of the PGA Tour season came at the year's final major, the PGA Championship at Valhalla. Mickelson shot rounds of 69-67-67-66 to finish solo second, one shot behind world number one Rory McIlroy. Prior to the 2015 Masters, Mickelson's best finish in 2015 was a tie for 17th. At the Masters, Mickelson shot rounds of to finish tied for second with Justin Rose, four shots behind champion Jordan Spieth. The second-place finish was Mickelson's tenth such finish in a major, placing him second all-time only to Jack Nicklaus in that regard. At The Open Championship, Mickelson shot rounds of and was eight shots behind, outside the top forty. In the final round, Mickelson birdied the 15th hole to move to 10 under and within two of the lead. After a missed birdie putt on 16, Mickelson hit his drive on the infamous Road Hole (17th) at the famed Old Course at St Andrews onto a second-floor balcony of the Old Course Hotel. The out-of-bounds drive lead to a triple-bogey 7 that sent Mickelson tumbling out of contention. Later in the year, it was announced that Mickelson would leave longtime swing coach Butch Harmon, feeling as though he needed to hear a new perspective on things. 2016: New swing coach After leaving Butch Harmon, Mickelson hired Andrew Getson of Grayhawk Golf Club in Scottsdale, Arizona, to serve as his new swing coach. The two worked together heavily in the 2015 offseason to get Mickelson's swing back. Under Getson's guidance, Mickelson made his 2016 debut at the CareerBuilder Challenge. He shot rounds of to finish in a tie for third place at 21-under-par. It was only Mickelson's fifth top-five finish since his win at the 2013 Open Championship. The third-place finish was Mickelson's highest finish in his first worldwide start of a calendar year since he won the same event to begin the 2004 season. At the AT&T Pebble Beach Pro-Am, Mickelson shot rounds of to finish in solo second place, a shot behind Vaughn Taylor. Mickelson lipped out a five-foot birdie putt to force a playoff on the 72nd hole. He entered the final round with a two-stroke lead, his first 54-hole lead since the 2013 U.S. Open and was seeking to end a winless drought dating back 52 worldwide events to the 2013 Open Championship. Mickelson shot a 63 in the opening round of The Open Championship at Royal Troon. The round set a new course record and matched the previous major championship record for lowest round. Mickelson had a birdie putt that narrowly missed on the final hole to set a new major championship scoring record of 62. He followed this up with a 69 in the second round for a 10 under par total and a one-shot lead over Henrik Stenson going into the weekend. In the third round, Mickelson shot a one-under 70 for a total of 11 under par to enter the final round one shot back of Stenson. Despite Mickelson's bogey-free 65 in the final round, Stenson shot 63 to win by three shots. Mickelson finished 11 strokes clear of 3rd place, a major championship record for a runner-up. Mickelson's 267 total set a record score for a runner-up in the British Open, and only trails Mickelson's 266 at the 2001 PGA Championship as the lowest total by a runner-up in major championship history. 2017: Recovery from surgeries In the fall of 2016, Mickelson had two sports hernia surgeries. Those in the golf community expected him to miss much time recovering, however his unexpected return at the CareerBuilder Challenge was a triumphant one, leading to a T-21 finish. The next week, in San Diego, he narrowly missed an eagle putt on the 18th hole on Sunday that would've got him to 8-under par instead posting −7 to finish T14 at the Farmers Insurance Open. The following week, at the Waste Management Phoenix Open, which he has won three times, he surged into contention following a Saturday 65. He played his first nine holes in 4-under 32 and sending his name to the top of the leaderboard. However, his charge faltered with bogeys at 11, 12, 14, 15, and a double bogey at the driveable 17th hole. He stumbled with a final round 71, still earning a T-16 finish, for his sixth straight top-25 finish on tour. Mickelson came close to winning again at the FedEx St. Jude Classic where he had finished in second place the previous year to Daniel Berger. He started the final round four strokes behind leaders but he quickly played himself into contention. Following a birdie at the 10th hole he vaulted to the top of leaderboard but found trouble on the 12th hole. His tee shot carried out of bounds and his fourth shot hit the water so he had to make a long putt to salvage triple-bogey. He managed to get one shot back but he finished three shots behind winner Berger, in ninth place, for the second straight year. Two weeks later he withdrew from the U.S. Open to attend his daughter's high school graduation. A week later his longtime caddie Jim (Bones) Mackay left Mickelson in a mutual agreement. Mickelson then missed the cut at both The Open Championship and the PGA Championship. On September 6, days after posting his best finish of the season of T6 at the Dell Technologies Championship, Mickelson was named as a captain's pick for the Presidents Cup. This maintained a streak of 23 consecutive USA teams in the Presidents Cup and Ryder Cup, dating back to 1994. 2018–2019: Winless streak ends On March 4, 2018, Mickelson ended a winless drought that dated back to 2013, by capturing his third WGC championship at the WGC-Mexico Championship, with a final-round score of 66 and a total score of −16. Mickelson birdied two of his last four holes and had a lengthy putt to win outright on the 72nd hole, but tied with Justin Thomas. He defeated Thomas on the first extra hole of a sudden-death playoff with a par. After Thomas had flown the green, Mickelson had a birdie to win the playoff which lipped out. Thomas however could not get up and down for par, meaning Mickelson claimed the championship. The win was Mickelson's 43rd on the PGA Tour and his first since winning the 2013 Open Championship. He also became the oldest winner of a WGC event, at age 47. In the third round of the 2018 U.S. Open, Mickelson incurred a two-stroke penalty in a controversial incident on the 13th hole when he hit his ball with intent while it was still moving. He ended up shooting 81 (+11). His former coach Butch Harmon thought Mickelson should have been disqualified. Mickelson was a captain's pick for Team USA at the 2018 Ryder Cup, held in Paris between September 28 and 30. Paired with Bryson DeChambeau in the Friday afternoon foursomes, they lost 5 and 4 to Europe's Sergio García and Alex Norén. In the Sunday singles match, Mickelson lost 4 and 2 to Francesco Molinari, as Team USA slumped to a 17.5 to 10.5 defeat. On November 23, 2018, Mickelson won the pay-per-view event, Capital One's The Match. This was a $9,000,000 winner-takes-all match against Tiger Woods at Shadow Creek Golf Course in Las Vegas. Mickelson needed four extra holes to beat Woods, which he did by holing a four-foot putt after Woods missed a seven-foot putt on the 22nd hole. In his third start of the 2019 calendar year, Mickelson won the AT&T Pebble Beach Pro-Am, shooting a bogey-free final round 65 to defeat Paul Casey by three strokes. The win was Mickelson's 44th career title on the PGA Tour, and his fifth at Pebble Beach, tying Mark O'Meara for most victories in the event. At 48 years of age, he also became the oldest winner of that event. 2020: PGA Tour season and PGA Tour Champions debut In December 2019, Mickelson announced via Twitter that "after turning down opportunities to go to the Middle East for many years" he would play in the 2020 Saudi International tournament on the European Tour and would miss Waste Management Phoenix Open for the first time since 1989. However, his decision to visit and play in Saudi Arabia was criticized for getting lured by millions of dollars and ignoring the continuous human rights abuses in the nation. Mickelson went on to finish the February 2020 event tied for third. Mickelson finished 3rd at the 2020 AT&T Pebble Beach Pro-Am and tied for 2nd in the WGC-FedEx St. Jude Invitational. Mickelson was the first player over 50 to finish in the top five of a World Golf Championship event. He was ultimately eliminated from the FedEx Cup Playoffs following The Northern Trust at TPC Boston in August 2020. One week later, Mickelson made his debut on the PGA Tour Champions. He won the Charles Schwab Series at Ozarks National in his first tournament after becoming eligible for PGA Tour Champions on his 50th birthday on June 16, 2020. He was the 20th player to win their debut tournament on tour. Mickelson's 191 stroke total tied the PGA Tour Champions all-time record for a three-day event. In October 2020, Mickelson won the Dominion Energy Charity Classic in Virginia. It was his second win in as many starts on the PGA Tour Champions. 2021: The oldest major champion In February 2021, Mickelson was attempting to become the first player in PGA Tour Champions history to win his first three tournaments on tour. However, he fell short in the Cologuard Classic, finishing in a T-20 position with a score of 4 under par. In May 2021, Mickelson held the 54-hole lead at the PGA Championship at the Kiawah Island Golf Resort in South Carolina, leading Brooks Koepka by one shot with one day to play. He shot a final-round 73 to capture the tournament, defeating Koepka and Louis Oosthuizen by two strokes, becoming the oldest major champion; at 50. As Mickelson walked down the fairway following an excellent second shot from the left rough on the 18th hole, thousands of fans engulfed him, with him walking towards the hole constantly tipping his hat and giving the thumbs up to the crowd as they cheered. However, the massive tumult of people meant playing partner Brooks Koepka was stranded in the sea of people, and with difficulties, he managed to reach the green to finish the hole. Mickelson eventually emerged from the crowd and two-putted for par, finishing the tournament at 6-under, besting the field by two strokes. In October 2021, Mickelson won for the third time in four career starts on the PGA Tour Champions. Mickelson shot a final round 4-under-par 68 to win the inaugural Constellation Furyk & Friends over Miguel Ángel Jiménez in Jacksonville, Florida. In November 2021, Mickelson won the season-ending Charles Schwab Cup Championship in Phoenix, Arizona, with a final round six-under par 65. This victory was Mickelson's fourth win in six career starts on PGA Tour Champions. 2022: Saudi Arabia controversy Mickelson admitted in an interview to overlooking Saudi Arabian human rights violations, including the murder of journalist Jamal Khashoggi and execution of LGBTQ+ individuals, to support the Saudi-backed Super Golf League because it offered an opportunity to reshape the PGA Tour. In response to these comments, Mickelson lost multiple longtime sponsors including Callaway Golf and KPMG. Mickelson announced he would be stepping away from golf to spend time with his family. Playing style As a competitor, Mickelson's playing style is described by many as "aggressive" and highly social. His strategy toward difficult shots (bad lies, obstructions) would tend to be considered risky. Mickelson has also been characterized by his powerful and sometimes inaccurate driver, but his excellent short game draws the most positive reviews, most of all his daring "Phil flop" shot in which a big swing with a high-lofted wedge against a tight lie flies a ball high into the air for a short distance. Mickelson is usually in the top 10 in scoring, and he led the PGA Tour in birdie average as recently as 2013. Earnings and endorsements Although ranked second on the PGA Tour's all-time money list of tournament prize money won, Mickelson earns far more from endorsements than from prize money. According to one estimate of 2011 earnings (comprising salary, winnings, bonuses, endorsements and appearances) Mickelson was then the second-highest paid athlete in the United States, earning an income of over $62 million, $53 million of which came from endorsements. Major companies which Mickelson currently endorses are ExxonMobil (Mickelson and wife Amy started a teacher sponsorship fund with the company), Rolex and Mizzen+Main. He has been previously sponsored by Titleist, Bearing Point, Barclays, and Ford. After being diagnosed with psoriatic arthritis in 2010, Mickelson was treated with Enbrel and began endorsing the drug. In 2015, Forbes estimated Mickelson's annual income was $51 million. In 2022, Mickelson lost a significant number of sponsors including Callaway Golf, KPMG, Amstel Light and Workday after comments he made about the Saudi-backed golf league, Super Golf League. In an interview, he stated that Saudis are "scary motherfuckers to get involved with... We know they killed [Washington Post reporter and U.S. resident Jamal] Khashoggi and have a horrible record on human rights. They execute people over there for being gay. Knowing all of this, why would I even consider it? Because this is a once-in-a-lifetime opportunity to reshape how the PGA Tour operates." Insider trading settlement On May 30, 2014, The Wall Street Journal reported that the FBI and U.S. Securities and Exchange Commission (SEC) were investigating Mickelson and associates of his for insider trading in Clorox stock. Mickelson denied any wrongdoing, and the investigation found "no evidence" and concluded without any charges. On May 19, 2016, Mickelson was named as a relief defendant in another SEC complaint alleging insider trading but completely avoided criminal charges in a parallel case brought in the Federal District Court for the Southern District of New York. The action stems for trades in Dean Foods in 2012 in conjunction with confidential information provided by Thomas Davis, a former director of Dean Foods Company, who tipped his friend and "professional sports bettor" Billy Walters. The SEC did not allege that Walters actually told Mickelson of any material, nonpublic information about Dean Foods, and the SEC disgorged Mickelson of the $931,000 profit he had made from trading Dean Foods stock and had him pay prejudgment interest of $105,000. In 2017, Walters was convicted of making $40 million on Davis's private information from 2008 to 2014 by a federal jury. At that time, it was also noted that Mickelson had "once owed nearly $2 million in gambling debts to" Walters. Walters's lawyer said his client would appeal the 2017 verdict. Amateur wins 1980 Junior World Golf Championships (Boys 9–10) 1989 NCAA Division I Championship 1990 Pac-10 Championship, NCAA Division I Championship, U.S. Amateur, Porter Cup 1991 Western Amateur 1992 NCAA Division I Championship Professional wins (57) PGA Tour wins (45) Note: Tournament shortened to 54 holes due to weather. PGA Tour playoff record (8–4) European Tour wins (11) 1Co-sanctioned by the Asian Tour, Sunshine Tour and PGA Tour of Australasia European Tour playoff record (3–1) Challenge Tour wins (1) Other wins (4) Other playoff record (1–1) PGA Tour Champions wins (4) Major championships Wins (6) Results timeline Results not in chronological order in 2020. LA = Low amateur CUT = missed the half-way cut "T" = tied NT = No tournament due to COVID-19 pandemic Summary Most consecutive cuts made – 30 (1999 PGA – 2007 Masters) Longest streak of top-10s – 5 (2004 Masters – 2005 Masters) The Players Championship Wins (1) Results timeline CUT = missed the halfway cut "T" indicates a tie for a place C = Canceled after the first round due to the COVID-19 pandemic World Golf Championships Wins (3) Results timeline Results not in chronological order prior to 2015. 1Cancelled due to 9/11 2Cancelled due to COVID-19 pandemic QF, R16, R32, R64 = Round in which player lost in match play "T" = tied NT = No Tournament Note that the HSBC Champions did not become a WGC event until 2009. PGA Tour career summary As of 2021 season. † Mickelson won as an amateur in 1991 and therefore did not receive any prize money. U.S. national team appearances Amateur Walker Cup: 1989, 1991 (winners) Eisenhower Trophy: 1990 Professional Presidents Cup: 1994 (winners), 1996 (winners), 1998, 2000 (winners), 2003 (tie), 2005 (winners), 2007 (winners), 2009 (winners), 2011 (winners), 2013 (winners), 2015 (winners), 2017 (winners) Ryder Cup: 1995, 1997, 1999 (winners), 2002, 2004, 2006, 2008 (winners), 2010, 2012, 2014, 2016 (winners), 2018 Alfred Dunhill Cup: 1996 (winners) Wendy's 3-Tour Challenge (representing PGA Tour): 1997 (winners), 2000 (winners) World Cup: 2002 See also List of golfers with most European Tour wins List of golfers with most PGA Tour wins List of men's major championships winning golfers Monday Night Golf References External links On Course With Phil American male golfers PGA Tour golfers PGA Tour Champions golfers Ryder Cup competitors for the United States Sports controversies Winners of men's major golf championships Arizona State Sun Devils men's golfers Left-handed golfers World Golf Hall of Fame inductees Golfers from Scottsdale, Arizona Golfers from San Diego American people of Italian descent American people of Portuguese descent American people of Swedish descent 1970 births Living people	true	[ "The 1967 NCAA College Division football rankings are from the United Press International poll of College Division head coaches and from the Associated Press. The 1967 NCAA College Division football season was the tenth year UPI published a Coaches Poll in what was termed the \"Small College\" division. It was the eighth year for the AP version of the poll.\n\nThe AP poll did not include Win/Loss records in the weekly rankings. In the UPI poll, the Win/Loss records were published for the Top 10 in most weeks. However, the Win/Loss records are provided in the AP poll section if the UPI also ranked the team.\n\nLegend\n\nThe AP poll\n\nThe UPI Coaches poll\n\nNotes\n\nReferences\n\nRankings\nNCAA College Division football rankings", "The 1965 NCAA College Division football rankings are from the United Press International poll of College Division head coaches and from the Associated Press. The 1965 NCAA College Division football season was the eighth year UPI published a Coaches Poll in what was termed the \"Small College\" division. It was the sixth year for the AP version of the poll.\n\nThe UPI poll did not include Win/Loss records in the weekly rankings. In the AP poll, the Win/Loss records were published for the Top 10. However, the Win/Loss records are provided in the UPI poll section if the AP also ranked the team.\n\nLegend\n\nThe AP poll\n\nThe UPI Coaches poll\n\nNotes\n\nReferences\n\nRankings\nNCAA College Division football rankings" ]
[ "Phil Mickelson", "College golf", "which college did he play for", "Arizona State University", "who did he play with", "I don't know.", "what did he do after college", "his first PGA Tour event,", "what did he win in college", "Over the course of his collegiate career, he won 16 tournaments." ]	C_6362075d4d0541b19cdaa7990bdeea07_1	what hand did he use ro play golf	5	what hand did Michelson use to play golf?	Phil Mickelson	Mickelson attended Arizona State University in Tempe on a golf scholarship and became the face of amateur golf in the United States, capturing three NCAA individual championships and three Haskins Awards (1990, 1991, 1992) as the outstanding collegiate golfer. With three individual NCAA championships, he shares the record for most individual NCAA championships alongside Ben Crenshaw. Mickelson also led the Sun Devils to the NCAA team title in 1990. Over the course of his collegiate career, he won 16 tournaments. Mickelson was the second collegiate golfer to earn first-team All-American honors all four years. In 1990, he also became the first with a left-handed swing to win the U.S. Amateur title. Mickelson secured perhaps his greatest achievement as an amateur in January 1991, winning his first PGA Tour event, the Northern Telecom Open, in Tucson. At age 20, he was only the sixth amateur to win a tour event and the first in over five years after Scott Verplank at the Western Open in August 1985. Other players to accomplish this feat include Doug Sanders (1956 Canadian Open) and Gene Littler (1954 San Diego Open). With five holes remaining, Mickelson led by a stroke, but made a triple-bogey and was then three behind. The leaders ahead of him then stumbled, and he birdied 16 and 18 to win by a stroke. To date, it is the most recent win by an amateur at a PGA Tour event. That April, Mickelson was the low amateur at the Masters Tournament in Augusta, Georgia. With his two-year PGA Tour exemption from the Tucson win, he played in several tour events in 1992 while an amateur but failed to make a cut. CANNOTANSWER	left-handed swing	Philip Alfred Mickelson (born June 16, 1970), nicknamed Phil the Thrill, is an American professional golfer. He has won 45 events on the PGA Tour, including six major championships: three Masters titles (2004, 2006, 2010), two PGA Championships (2005, 2021), and one Open Championship (2013). With his win at the 2021 PGA Championship, Mickelson became the oldest major championship winner in history at the age of 50 years, 11 months and 7 days old. Mickelson is one of 17 players in the history of golf to win at least three of the four majors. He has won every major except the U.S. Open, in which he has finished runner-up a record six times. Mickelson has spent more than 25 consecutive years in the top 50 of the Official World Golf Ranking. He has spent over 700 weeks in the top 10, has reached a career-high world ranking of No. 2 several times and is a life member of the PGA Tour. Although naturally right-handed, he is known for his left-handed swing, having learned it by mirroring his right-handed father's swing. He was inducted into the World Golf Hall of Fame in 2012. Early life and family Philip Alfred Mickelson was born on June 16, 1970, in San Diego, California, to parents Philip Mickelson, an airline pilot and former naval aviator, and Mary Santos. He was raised there and in Scottsdale, Arizona. Mickelson has Portuguese, Swedish, and Sicilian ancestry. His maternal grandfather, Alfred Santos (also Mickelson's middle name) was a caddie at Pebble Beach Golf Links and took Phil to play golf as a child. Although otherwise right-handed, he played golf left-handed since he learned by watching his right-handed father swing, mirroring his style. Mickelson began golf under his father's instruction before starting school. Phil Sr.'s work schedule as a commercial pilot allowed them to play together several times a week and young Phil honed his creative short game on an extensive practice area in their San Diego backyard. Mickelson graduated from the University of San Diego High School in 1988. College golf Mickelson attended Arizona State University in Tempe on a golf scholarship and became the face of amateur golf in the United States, capturing three NCAA individual championships and three Haskins Awards (1990, 1991, 1992) as the outstanding collegiate golfer. With three individual NCAA championships, he shares the record for most individual NCAA championships alongside Ben Crenshaw. Mickelson also led the Sun Devils to the NCAA team title in 1990. Over the course of his collegiate career, he won 16 tournaments. Mickelson was the second collegiate golfer to earn first-team All-American honors all four years. In 1990, he also became the first with a left-handed swing to win the U.S. Amateur title, defeating high school teammate Manny Zerman 5 and 4 in the 36-hole final at Cherry Hills, south of Denver. Mickelson secured perhaps his greatest achievement as an amateur in January 1991, winning his first PGA Tour event, the Northern Telecom Open, in Tucson, making him one of the few golfers to win a PGA Tour event as an amateur in the history of the PGA Tour. At age 20, he was only the sixth amateur to win a tour event and the first in over five years after Scott Verplank at the Western Open in August 1985. Other players to accomplish this feat include Doug Sanders (1956 Canadian Open) and Gene Littler (1954 San Diego Open). With five holes remaining, Mickelson led by a stroke, but made a triple-bogey and was then three behind. The leaders ahead of him then stumbled, and he birdied 16 and 18 to win by a stroke. To date, it is the most recent win by an amateur at a PGA Tour event. That April, Mickelson was the low amateur at the Masters Tournament in Augusta, Georgia. With his two-year PGA Tour exemption from the Tucson win, he played in several tour events in 1992 while an amateur but failed to make a cut. Professional career 1992–2003: Trying for first major win Mickelson graduated from ASU in June 1992 and quickly turned professional. He bypassed the tour's qualifying process (Q-School) because of his 1991 win in Tucson, which earned him a two-year exemption. In 1992, Mickelson hired Jim "Bones" Mackay as his caddy. He won many PGA Tour tournaments during this period, including the Byron Nelson Golf Classic and the World Series of Golf in 1996, the AT&T Pebble Beach National Pro-Am in 1998, the Colonial National Invitation in 2000 and the Greater Hartford Open in 2001 and again in 2002. He appeared as himself in a non-speaking role in the 1996 film Tin Cup, starring Kevin Costner. His 2000 Buick Invitational win ended Tiger Woods's streak of six consecutive victories on the PGA Tour. After the win, Mickelson said, "I didn't want to be the bad guy. I wasn't trying to end the streak per se. I was just trying to win the golf tournament." Although he had performed very well in the majors up to the end of the 2003 season (17 top-ten finishes, and six second- or third-place finishes between 1999 and 2003), Mickelson's inability to win any of them led to him frequently being described as the "best player never to win a major". 2004–2006: First three major wins Mickelson's first major championship win came in his thirteenth year on the PGA Tour in 2004, when he secured victory in the Masters with an birdie putt on the final hole. Ernie Els was the runner-up at a stroke back; the two played in different pairs in the final round and had traded birdies and eagles on the back nine. In addition to getting the "majors monkey" off his back, Mickelson was now only the third golfer with a left-handed swing to win a major, the others being New Zealander Sir Bob Charles, who won The Open Championship in 1963, and Canadian Mike Weir, who won The Masters in 2003. (Like Mickelson, Weir is a right-hander who plays left-handed.) A fourth left-handed winner is natural southpaw Bubba Watson, the Masters champion in 2012 and 2014. Prior to the Ryder Cup in 2004, Mickelson was dropped from his long-standing contract with Titleist/Acushnet Golf, after an incident when he left a voicemail message for a Callaway Golf executive. In it, he praised their driver and golf ball, and thanked them for their help in getting some equipment for his brother. This memo was played to all of their salesmen, and eventually found its way back to Titleist. He was then let out of his multi-year deal with Titleist 16 months early, and signed on with Callaway Golf, his current equipment sponsor. He endured a great deal of ridicule and scrutiny from the press and fellow Ryder Cup members for his equipment change so close to the Ryder Cup matches. He faltered at the 2004 Ryder Cup with a record, but refused to blame the sudden change in equipment or his practice methods for his performance. In November 2004, Mickelson tallied his career-low for an 18-hole round: a 59 at the PGA Grand Slam of Golf at Poipu Bay Golf Course in Hawaii. The following year, Mickelson captured his second major at the PGA Championship at Baltusrol, in a Monday final-round conclusion that had been forced by inclement weather the previous day. On the 18th hole, Mickelson hit one of his trademark soft pitches from deep greenside rough to within of the cup, and made his birdie to finish at a 4-under-par total of 276, one shot ahead of Steve Elkington and Thomas Bjørn. Mickelson captured his third major title the following spring at the Masters. He won his second green jacket after shooting a 3-under-par final round, winning by two strokes over runner-up Tim Clark. This win propelled him to 2nd place in the Official World Golf Ranking (his career best), behind Woods, and ahead of Vijay Singh and Retief Goosen. 2006: Collapse on final hole at the U.S. Open After winning two majors in a row heading into the U.S. Open at Winged Foot, Mickelson was bidding to join Ben Hogan and Tiger Woods as the only players to win three consecutive majors (not necessarily in the same calendar year). Mickelson was the joint leader going into the final round, but he was part of a wild finish to the tournament, in which he made major mistakes on the final hole and ended up in a tie for second place at +6 (286), one shot behind Geoff Ogilvy. Mickelson bogeyed the 16th hole. On the 17th hole, with the lead at +4, he missed the fairway to the left, and his drive finished inside a garbage can, from which he was granted a free drop; he parred the hole. He had a one-shot lead and was in the last group going into the final hole. Needing a par on the 18th hole for a one-shot victory, Mickelson continued with his aggressive style of play and chose to hit a driver off the tee; he hit his shot well left of the fairway (he had hit only two of thirteen fairways previously in the round). The ball bounced off a corporate hospitality tent and settled in an area of trampled-down grass that was enclosed with trees. He decided to go for the green with his second shot, rather than play it safe and pitch out into the fairway. His ball then hit a tree, and did not advance more than . His next shot plugged into the left greenside bunker. He was unable to get up and down from there, resulting in a double bogey, and costing him a chance of winning the championship outright or getting into an 18-hole playoff with Ogilvy. After his disappointing finish, Mickelson said: "I'm still in shock. I still can't believe I did that. This one hurts more than any tournament because I had it won. Congratulations to Geoff Ogilvy on some great play. I want to thank all the people that supported me. The only thing I can say is I'm sorry." He was even more candid when he said: "I just can't believe I did that. I'm such an idiot." 2006–2008 During the third round of the 2006 Ford Championship at Doral, Mickelson gave a spectator $200 after his wayward tee shot at the par-5 10th broke the man's watch. Mickelson also has shown other signs of appreciation. In 2007 after hearing the story of retired NFL player, Conrad Dobler, and his family on ESPN explaining their struggles to pay medical bills, Mickelson volunteered to pay tuition for Holli Dobler, Conrad Dobler's daughter, at Miami University in Oxford, Ohio. Frustrated with his driving accuracy, Mickelson made the decision in April 2007 to leave longtime swing coach, Rick Smith. He then began working with Butch Harmon, a former coach of Tiger Woods and Greg Norman. On May 13, Mickelson came from a stroke back on the final round to shoot a three-under 69 to win The Players Championship with an 11-under-par 277. In the U.S. Open at Oakmont in June, Mickelson missed the cut (by a stroke) for the first time in 31 majors after shooting 11 over par for 36 holes. He had been hampered by a wrist injury that was incurred while practicing in the thick rough at Oakmont a few weeks before the tournament. On September 3, 2007, Mickelson won the Deutsche Bank Championship, which is the second FedEx Cup playoff event. On the final day, he was paired with Tiger Woods, who ended up finishing two strokes behind Mickelson in a tie for second. It was the first time that Mickelson was able to beat Woods while the two stars were paired together on the final day of a tournament. The next day Mickelson announced that he would not be competing in the third FedEx Cup playoff event. The day before his withdrawal, Mickelson said during a television interview that PGA Tour Commissioner, Tim Finchem, had not responded to advice he had given him on undisclosed issues. In 2008, Mickelson won the Crowne Plaza Invitational at Colonial with a −14, one shot ahead of Tim Clark and Rod Pampling. Mickelson shot a first-round 65 to start off the tournament at −5. He ended the day tied with Brett Wetterich, two shots behind leader, Johnson Wagner. Mickelson shot a second-round 68, and the third round 65, overall, being −12 for the first three rounds. On the final hole, after an absolutely horrendous tee shot, he was in thick rough with trees in his way. Many players would have punched out, and taken their chances at making par from the fairway with a good wedge shot. Instead, he pulled out a high-lofted wedge and hit his approach shot over a tree, landing on the green where he one-putted for the win. In a Men's Vogue article, Mickelson recounted his effort to lose with the help of trainer Sean Cochran. "Once the younger players started to come on tour, he realized that he had to start working out to maintain longevity in his career," Cochran said. Mickelson's regimen consisted of increasing flexibility and power, eating five smaller meals a day, aerobic training, and carrying his own golf bag. Mickelson was inducted into the National Italian American Sports Hall of Fame in 2008. 2009 Mickelson won his first 2009 tour event when he defended his title at the Northern Trust Open at Riviera, one stroke ahead of Steve Stricker. The victory was Mickelson's 35th on tour; he surpassed Vijay Singh for second place on the current PGA Tour wins list. A month later, he won his 36th, and his first World Golf Championship, at the WGC-CA Championship with a one-stroke win over Nick Watney. On May 20, it was announced that his wife Amy was diagnosed with breast cancer, and Mickelson announced that he would suspend his PGA Tour schedule indefinitely. She would begin treatment with major surgery as early as the following two weeks. Mickelson was scheduled to play the HP Byron Nelson Championship May 21–24, and to defend his title May 28–31 at the Crowne Plaza Invitational at Colonial, but withdrew from both events. During the final round of the 2009 BMW PGA Championship, fellow golfer and family friend John Daly wore bright pink trousers in support of Mickelson's wife. Also, the next Saturday, at the Crowne Plaza Invitational at Colonial, a "Pink Out" event was hosted, and the PGA Tour players all wore pink that day, to support the Mickelson family. On May 31, Mickelson announced that he would return to play on the PGA Tour in June at the St. Jude Classic and the U.S. Open, since he had heard from the doctors treating his wife that her cancer had been detected in an early stage. Mickelson shot a final round 70 at the 2009 U.S. Open and recorded his fifth runner-up finish at the U.S. Open. He shared the lead after an eagle at the 13th hole, but fell back with bogeys on 15 and 17; Lucas Glover captured the championship. On July 6, it was announced that his mother Mary was diagnosed with breast cancer and would have surgery at the same hospital where his wife was treated. After hearing the news that his mother had been diagnosed with breast cancer, Mickelson took another leave of absence from the tour, missing The Open Championship at Turnberry. On July 28, Mickelson announced he would return in August at the WGC-Bridgestone Invitational, the week before the PGA Championship at Hazeltine National Golf Club in Chaska, Minnesota. In September, Mickelson won The Tour Championship for the second time in his career. He entered the final round four strokes off the lead, but shot a final round 65 to win the event by three strokes over Tiger Woods. With the win, Mickelson finished the season second behind Woods in the 2009 FedEx Cup standings. On November 8, Mickelson won the WGC-HSBC Champions by one shot over Ernie Els in Shanghai. 2010: Third Masters win In 2010, Mickelson won the Masters Tournament on April 11 with a 16-under-par performance, giving him a three-stroke win over Lee Westwood. The win marked the third Masters victory for Mickelson and his fourth major championship overall. Critical to Mickelson's win was a dramatic run in the third round on Saturday in which Mickelson, trailing leader Westwood by five strokes as he prepared his approach shot to the 13th green, proceeded to make eagle, then to hole-out for eagle from 141 yards at the next hole, the par 4 14th, then on the next, the par 5 15th, to miss eagle from 81 yards by mere inches. After tapping in for birdie at 15, Mickelson, at −12, led Westwood, at −11, who had bogeyed hole 12 and failed to capitalize on the par 5 13th, settling for par. Westwood recaptured a one-stroke lead by the end of the round, but the momentum carried forward for Mickelson into round 4, where he posted a bogey-free 67 to Westwood's 71. No other pursuer was able to keep pace to the end, though K. J. Choi and Anthony Kim made notable charges. For good measure, Mickelson birdied the final hole and memorably greeted his waiting wife, Amy, with a prolonged hug and kiss. For many fans, Mickelson's finish in the tournament was especially poignant, given that Amy had been suffering from breast cancer during the preceding year. Mary Mickelson, Phil's mother, was also dealing with cancer. CBS Sports announcer Jim Nantz's call of the final birdie putt, "That's a win for the family," was seen by many as capturing the moment well. Tiger Woods had a dramatic return to competitive play after a scandal-ridden 20-week absence; he was in close contention throughout for the lead and finished tied with Choi for 4th at −11. Mickelson and others showed exciting play over the weekend, and the 2010 Masters had strong television ratings in the United States, ranking third all-time to Woods's historic wins in 1997 and 2001. Mickelson's win left him second only to Woods in major championships among his competitive contemporaries, moving him ahead of Ernie Els, Vijay Singh and Pádraig Harrington, with three major championships each and each, like Mickelson, with dozens of worldwide wins. Remainder of 2010 Mickelson, one of the favorites for the U.S. Open at Pebble Beach, shot 75 and 66 on Thursday and Friday to sit two shots off the lead. However, two weekend scores of 73 gave him a T4 finish. During the remainder of the 2010 season, Mickelson had multiple opportunities to become the number one player in the world rankings following the travails of Tiger Woods. However, a string of disappointing finishes by Mickelson saw the number one spot eventually go to Englishman Lee Westwood. In the days leading up to the PGA Championship at Whistling Straits (near Kohler, Wisconsin), Mickelson announced he had been diagnosed with psoriatic arthritis. He added that he had started medical treatment, and had become a vegetarian in hopes of aiding his recovery. He maintains that both his short- and long-term prognosis are good, that the condition should have no long-term effect on his golfing career, and that he currently feels well. He also stated that the arthritis may go into permanent remission after one year of medical treatment. He went on to finish the championship T12, five shots behind winner Martin Kaymer. 2011 Mickelson started his 2011 season at the Farmers Insurance Open at Torrey Pines Golf Course. He shot and was tied for the 54 hole lead with Bill Haas. Mickelson needed to hole out on the 18th hole for eagle from 74 yards to force a playoff with Bubba Watson. He hit it to 4 feet and Watson won the tournament. On April 3, Mickelson won the Shell Houston Open with a 20-under-par, three-stroke win over Scott Verplank. Mickelson rose to No. 3 in the world ranking, while Tiger Woods fell to No. 7. Mickelson had not been ranked above Woods since the week prior to the 1997 Masters Tournament. At The Open Championship, Mickelson recorded just his second top-ten finish in 18 tournaments by tying for second with Dustin Johnson. His front nine 30 put him briefly in a tie for the lead with eventual champion Darren Clarke. However, some putting problems caused him to fade from contention toward the end, to finish in a tie for second place. 2012: 40th career PGA Tour win Mickelson made his 2012 debut at the Humana Challenge and finished tied for 49th. He missed the cut at the Farmers Insurance Open after shooting rounds of 77 and 68. In the final round of the AT&T Pebble Beach National Pro-Am, Mickelson rallied from six shots back, winning the tournament by two strokes with a final-round score of 8-under 64 and a four-round total of 269. The win marked his 40th career victory on the PGA Tour. The following week at Riviera Country Club, Mickelson lost the Northern Trust Open in a three-way playoff. He had held the lead or a share of it from day one until the back nine on Sunday when Bill Haas posted the clubhouse lead at seven under par. Mickelson holed a 27-foot birdie putt on the final regulation hole to force a playoff alongside Haas and Keegan Bradley. Haas however won the playoff with a 40-foot birdie putt on the second playoff hole. The second-place finish moved Mickelson back into the world's top 10. Mickelson finished tied for third at the Masters. After opening the tournament with a two-over-par 74, he shot 68–66 in the next two rounds and ended up one stroke behind leader Peter Hanson by Saturday night. Mickelson had a poor start to his fourth round, scoring a triple-bogey when he hit his ball far to the left of the green on the par-3 4th hole, hitting the stand and landing in a bamboo plant. This ended up being Mickelson's only score over par in the whole round, and he ended with a score of eight-under overall. Earlier in the tournament he had received widespread praise for being present to watch Jack Nicklaus, Arnold Palmer, and Gary Player hit the ceremonial opening tee-shots, nearly seven hours before Mickelson's own tee time. Mickelson made a charge during the final round at the HP Byron Nelson Championship, but bogeyed the 17th and 18th, finishing T-7th. He then withdrew from the Memorial Tournament, citing mental fatigue, after a first-round 79. He was to be paired with Tiger Woods and Bubba Watson at the U.S. Open. He fought to make the cut in the U.S. Open, and finished T-65th. After taking a couple of weeks off, he played in the Greenbrier Classic. Putting problems meant a second straight missed cut at the Greenbrier and a third missed cut at 2012 Open Championship, shooting 73-78 (11 over par). He finished T-43rd at the WGC-Bridgestone Invitational. He then finished T-36th at the PGA Championship. To start the 2012 FedEx Cup Playoffs, Mickelson finished T38 at The Barclays, +1 for the tournament. He tied with Tiger Woods, Zach Johnson, and five other players. In this tournament, he started using the claw putting grip on the greens. At the next event, the Deutsche Bank Championship, he finished the tournament with a −14, tied for 4th with Dustin Johnson. At the BMW Championship, Mickelson posted a −16 for the first three rounds, one of those rounds being a −8, 64. On the final day, Mickelson shot a −2, 70, to finish tied for 2nd, with Lee Westwood, two shots behind leader, and back-to-back winner, Rory McIlroy. At the Tour Championship, he ended up finishing tied for 15th. He went on to have a 3–1 record at the Ryder Cup; however, the USA team lost the event. 2013 Mickelson began the 2013 season in January by playing in the Humana Challenge, where he finished T37 at −17. His next event was the following week in his home event near San Diego at the Farmers Insurance Open. Mickelson endured a disappointing tournament, finishing T51, shooting all four rounds in the 70s. In the first round of the Waste Management Phoenix Open, Mickelson tied his career-low round of 60. He made seven birdies in his first nine holes and needed a birdie on the 18th hole to equal the PGA Tour record of 59. However, his 25-foot birdie putt on the final hole lipped out, resulting in him missing out by a single shot on making only the sixth round of 59 in PGA Tour history. Mickelson led the tournament wire-to-wire and completed a four-shot win over Brandt Snedeker for his 41st PGA Tour victory and 3rd Phoenix Open title. Mickelson's score of 28-under-par tied Mark Calcavecchia's tournament scoring record. He also moved back inside the world's top 10 after falling down as far as number 22. Sixth runner-up finish at the U.S. Open At the U.S. Open at Merion, Mickelson entered the final round leading by one stroke after rounds of over the first three days, but he started the final round by three-putting the 3rd and 5th holes for double-bogeys to fall out of the lead. He regained the lead at the par-four 10th, when he holed his second shot from the rough for an eagle. However, a misjudgment at the short par three 13th saw him fly the green and make a bogey to slip one behind leader Justin Rose. Another bogey followed at the 15th, before narrowly missing a birdie putt on the 16th that would have tied Rose. Mickelson could not make a birdie at the 17th and after a blocked drive on the 18th, he could not hole his pitch from short of the green, which led to a final bogey. Mickelson ended up finishing tied for second with Jason Day, two strokes behind Justin Rose. It was the sixth runner-up finish of Mickelson's career at the U.S. Open, an event record and only behind Jack Nicklaus's seven runner-up finishes at The Open Championship. After the event, Mickelson called the loss heartbreaking and said "this is tough to swallow after coming so close ... I felt like this was as good an opportunity I could ask for and to not get it ... it hurts." It was also Father's Day, which happened to be his birthday. Fifth major title at the Open Championship The week before The Open Championship, Mickelson warmed up for the event by winning his first tournament on British soil at the Scottish Open on July 14, after a sudden-death playoff against Branden Grace. After this victory, Mickelson spoke of his confidence ahead of his participation in the following week's major championship. Mickelson said: "I've never felt more excited going into The Open. I don't think there's a better way to get ready for a major than playing well the week before and getting into contention. Coming out on top just gives me more confidence." The following week, Mickelson won his fifth major title on July 21 at the Open Championship (often referred to as the British Open) Muirfield Golf Links in Scotland; the Open Championship is the oldest of the four major tournaments in professional golf. This was the first time in history that anyone had won both the Scottish Open and The Open Championship in the same year. Mickelson birdied four of the last six holes in a brilliant final round of 66 to win the title by three strokes. He shed tears on the 18th green after completing his round. Mickelson later said: "I played arguably the best round of my career, and shot the round of my life. The range of emotions I feel are as far apart as possible after losing the U.S. Open. But you have to be resilient in this game." In an interview before the 2015 Open, Mickelson said, "Two years removed from that win, I still can't believe how much it means to me." 2014 and 2015: Inconsistent form and close calls in majors Mickelson missed the cut at the Masters for the first time since 1997. He failed to contend at the U.S. Open at Pinehurst in his first bid to complete the career grand slam. Mickelson's lone top-10 of the PGA Tour season came at the year's final major, the PGA Championship at Valhalla. Mickelson shot rounds of 69-67-67-66 to finish solo second, one shot behind world number one Rory McIlroy. Prior to the 2015 Masters, Mickelson's best finish in 2015 was a tie for 17th. At the Masters, Mickelson shot rounds of to finish tied for second with Justin Rose, four shots behind champion Jordan Spieth. The second-place finish was Mickelson's tenth such finish in a major, placing him second all-time only to Jack Nicklaus in that regard. At The Open Championship, Mickelson shot rounds of and was eight shots behind, outside the top forty. In the final round, Mickelson birdied the 15th hole to move to 10 under and within two of the lead. After a missed birdie putt on 16, Mickelson hit his drive on the infamous Road Hole (17th) at the famed Old Course at St Andrews onto a second-floor balcony of the Old Course Hotel. The out-of-bounds drive lead to a triple-bogey 7 that sent Mickelson tumbling out of contention. Later in the year, it was announced that Mickelson would leave longtime swing coach Butch Harmon, feeling as though he needed to hear a new perspective on things. 2016: New swing coach After leaving Butch Harmon, Mickelson hired Andrew Getson of Grayhawk Golf Club in Scottsdale, Arizona, to serve as his new swing coach. The two worked together heavily in the 2015 offseason to get Mickelson's swing back. Under Getson's guidance, Mickelson made his 2016 debut at the CareerBuilder Challenge. He shot rounds of to finish in a tie for third place at 21-under-par. It was only Mickelson's fifth top-five finish since his win at the 2013 Open Championship. The third-place finish was Mickelson's highest finish in his first worldwide start of a calendar year since he won the same event to begin the 2004 season. At the AT&T Pebble Beach Pro-Am, Mickelson shot rounds of to finish in solo second place, a shot behind Vaughn Taylor. Mickelson lipped out a five-foot birdie putt to force a playoff on the 72nd hole. He entered the final round with a two-stroke lead, his first 54-hole lead since the 2013 U.S. Open and was seeking to end a winless drought dating back 52 worldwide events to the 2013 Open Championship. Mickelson shot a 63 in the opening round of The Open Championship at Royal Troon. The round set a new course record and matched the previous major championship record for lowest round. Mickelson had a birdie putt that narrowly missed on the final hole to set a new major championship scoring record of 62. He followed this up with a 69 in the second round for a 10 under par total and a one-shot lead over Henrik Stenson going into the weekend. In the third round, Mickelson shot a one-under 70 for a total of 11 under par to enter the final round one shot back of Stenson. Despite Mickelson's bogey-free 65 in the final round, Stenson shot 63 to win by three shots. Mickelson finished 11 strokes clear of 3rd place, a major championship record for a runner-up. Mickelson's 267 total set a record score for a runner-up in the British Open, and only trails Mickelson's 266 at the 2001 PGA Championship as the lowest total by a runner-up in major championship history. 2017: Recovery from surgeries In the fall of 2016, Mickelson had two sports hernia surgeries. Those in the golf community expected him to miss much time recovering, however his unexpected return at the CareerBuilder Challenge was a triumphant one, leading to a T-21 finish. The next week, in San Diego, he narrowly missed an eagle putt on the 18th hole on Sunday that would've got him to 8-under par instead posting −7 to finish T14 at the Farmers Insurance Open. The following week, at the Waste Management Phoenix Open, which he has won three times, he surged into contention following a Saturday 65. He played his first nine holes in 4-under 32 and sending his name to the top of the leaderboard. However, his charge faltered with bogeys at 11, 12, 14, 15, and a double bogey at the driveable 17th hole. He stumbled with a final round 71, still earning a T-16 finish, for his sixth straight top-25 finish on tour. Mickelson came close to winning again at the FedEx St. Jude Classic where he had finished in second place the previous year to Daniel Berger. He started the final round four strokes behind leaders but he quickly played himself into contention. Following a birdie at the 10th hole he vaulted to the top of leaderboard but found trouble on the 12th hole. His tee shot carried out of bounds and his fourth shot hit the water so he had to make a long putt to salvage triple-bogey. He managed to get one shot back but he finished three shots behind winner Berger, in ninth place, for the second straight year. Two weeks later he withdrew from the U.S. Open to attend his daughter's high school graduation. A week later his longtime caddie Jim (Bones) Mackay left Mickelson in a mutual agreement. Mickelson then missed the cut at both The Open Championship and the PGA Championship. On September 6, days after posting his best finish of the season of T6 at the Dell Technologies Championship, Mickelson was named as a captain's pick for the Presidents Cup. This maintained a streak of 23 consecutive USA teams in the Presidents Cup and Ryder Cup, dating back to 1994. 2018–2019: Winless streak ends On March 4, 2018, Mickelson ended a winless drought that dated back to 2013, by capturing his third WGC championship at the WGC-Mexico Championship, with a final-round score of 66 and a total score of −16. Mickelson birdied two of his last four holes and had a lengthy putt to win outright on the 72nd hole, but tied with Justin Thomas. He defeated Thomas on the first extra hole of a sudden-death playoff with a par. After Thomas had flown the green, Mickelson had a birdie to win the playoff which lipped out. Thomas however could not get up and down for par, meaning Mickelson claimed the championship. The win was Mickelson's 43rd on the PGA Tour and his first since winning the 2013 Open Championship. He also became the oldest winner of a WGC event, at age 47. In the third round of the 2018 U.S. Open, Mickelson incurred a two-stroke penalty in a controversial incident on the 13th hole when he hit his ball with intent while it was still moving. He ended up shooting 81 (+11). His former coach Butch Harmon thought Mickelson should have been disqualified. Mickelson was a captain's pick for Team USA at the 2018 Ryder Cup, held in Paris between September 28 and 30. Paired with Bryson DeChambeau in the Friday afternoon foursomes, they lost 5 and 4 to Europe's Sergio García and Alex Norén. In the Sunday singles match, Mickelson lost 4 and 2 to Francesco Molinari, as Team USA slumped to a 17.5 to 10.5 defeat. On November 23, 2018, Mickelson won the pay-per-view event, Capital One's The Match. This was a $9,000,000 winner-takes-all match against Tiger Woods at Shadow Creek Golf Course in Las Vegas. Mickelson needed four extra holes to beat Woods, which he did by holing a four-foot putt after Woods missed a seven-foot putt on the 22nd hole. In his third start of the 2019 calendar year, Mickelson won the AT&T Pebble Beach Pro-Am, shooting a bogey-free final round 65 to defeat Paul Casey by three strokes. The win was Mickelson's 44th career title on the PGA Tour, and his fifth at Pebble Beach, tying Mark O'Meara for most victories in the event. At 48 years of age, he also became the oldest winner of that event. 2020: PGA Tour season and PGA Tour Champions debut In December 2019, Mickelson announced via Twitter that "after turning down opportunities to go to the Middle East for many years" he would play in the 2020 Saudi International tournament on the European Tour and would miss Waste Management Phoenix Open for the first time since 1989. However, his decision to visit and play in Saudi Arabia was criticized for getting lured by millions of dollars and ignoring the continuous human rights abuses in the nation. Mickelson went on to finish the February 2020 event tied for third. Mickelson finished 3rd at the 2020 AT&T Pebble Beach Pro-Am and tied for 2nd in the WGC-FedEx St. Jude Invitational. Mickelson was the first player over 50 to finish in the top five of a World Golf Championship event. He was ultimately eliminated from the FedEx Cup Playoffs following The Northern Trust at TPC Boston in August 2020. One week later, Mickelson made his debut on the PGA Tour Champions. He won the Charles Schwab Series at Ozarks National in his first tournament after becoming eligible for PGA Tour Champions on his 50th birthday on June 16, 2020. He was the 20th player to win their debut tournament on tour. Mickelson's 191 stroke total tied the PGA Tour Champions all-time record for a three-day event. In October 2020, Mickelson won the Dominion Energy Charity Classic in Virginia. It was his second win in as many starts on the PGA Tour Champions. 2021: The oldest major champion In February 2021, Mickelson was attempting to become the first player in PGA Tour Champions history to win his first three tournaments on tour. However, he fell short in the Cologuard Classic, finishing in a T-20 position with a score of 4 under par. In May 2021, Mickelson held the 54-hole lead at the PGA Championship at the Kiawah Island Golf Resort in South Carolina, leading Brooks Koepka by one shot with one day to play. He shot a final-round 73 to capture the tournament, defeating Koepka and Louis Oosthuizen by two strokes, becoming the oldest major champion; at 50. As Mickelson walked down the fairway following an excellent second shot from the left rough on the 18th hole, thousands of fans engulfed him, with him walking towards the hole constantly tipping his hat and giving the thumbs up to the crowd as they cheered. However, the massive tumult of people meant playing partner Brooks Koepka was stranded in the sea of people, and with difficulties, he managed to reach the green to finish the hole. Mickelson eventually emerged from the crowd and two-putted for par, finishing the tournament at 6-under, besting the field by two strokes. In October 2021, Mickelson won for the third time in four career starts on the PGA Tour Champions. Mickelson shot a final round 4-under-par 68 to win the inaugural Constellation Furyk & Friends over Miguel Ángel Jiménez in Jacksonville, Florida. In November 2021, Mickelson won the season-ending Charles Schwab Cup Championship in Phoenix, Arizona, with a final round six-under par 65. This victory was Mickelson's fourth win in six career starts on PGA Tour Champions. 2022: Saudi Arabia controversy Mickelson admitted in an interview to overlooking Saudi Arabian human rights violations, including the murder of journalist Jamal Khashoggi and execution of LGBTQ+ individuals, to support the Saudi-backed Super Golf League because it offered an opportunity to reshape the PGA Tour. In response to these comments, Mickelson lost multiple longtime sponsors including Callaway Golf and KPMG. Mickelson announced he would be stepping away from golf to spend time with his family. Playing style As a competitor, Mickelson's playing style is described by many as "aggressive" and highly social. His strategy toward difficult shots (bad lies, obstructions) would tend to be considered risky. Mickelson has also been characterized by his powerful and sometimes inaccurate driver, but his excellent short game draws the most positive reviews, most of all his daring "Phil flop" shot in which a big swing with a high-lofted wedge against a tight lie flies a ball high into the air for a short distance. Mickelson is usually in the top 10 in scoring, and he led the PGA Tour in birdie average as recently as 2013. Earnings and endorsements Although ranked second on the PGA Tour's all-time money list of tournament prize money won, Mickelson earns far more from endorsements than from prize money. According to one estimate of 2011 earnings (comprising salary, winnings, bonuses, endorsements and appearances) Mickelson was then the second-highest paid athlete in the United States, earning an income of over $62 million, $53 million of which came from endorsements. Major companies which Mickelson currently endorses are ExxonMobil (Mickelson and wife Amy started a teacher sponsorship fund with the company), Rolex and Mizzen+Main. He has been previously sponsored by Titleist, Bearing Point, Barclays, and Ford. After being diagnosed with psoriatic arthritis in 2010, Mickelson was treated with Enbrel and began endorsing the drug. In 2015, Forbes estimated Mickelson's annual income was $51 million. In 2022, Mickelson lost a significant number of sponsors including Callaway Golf, KPMG, Amstel Light and Workday after comments he made about the Saudi-backed golf league, Super Golf League. In an interview, he stated that Saudis are "scary motherfuckers to get involved with... We know they killed [Washington Post reporter and U.S. resident Jamal] Khashoggi and have a horrible record on human rights. They execute people over there for being gay. Knowing all of this, why would I even consider it? Because this is a once-in-a-lifetime opportunity to reshape how the PGA Tour operates." Insider trading settlement On May 30, 2014, The Wall Street Journal reported that the FBI and U.S. Securities and Exchange Commission (SEC) were investigating Mickelson and associates of his for insider trading in Clorox stock. Mickelson denied any wrongdoing, and the investigation found "no evidence" and concluded without any charges. On May 19, 2016, Mickelson was named as a relief defendant in another SEC complaint alleging insider trading but completely avoided criminal charges in a parallel case brought in the Federal District Court for the Southern District of New York. The action stems for trades in Dean Foods in 2012 in conjunction with confidential information provided by Thomas Davis, a former director of Dean Foods Company, who tipped his friend and "professional sports bettor" Billy Walters. The SEC did not allege that Walters actually told Mickelson of any material, nonpublic information about Dean Foods, and the SEC disgorged Mickelson of the $931,000 profit he had made from trading Dean Foods stock and had him pay prejudgment interest of $105,000. In 2017, Walters was convicted of making $40 million on Davis's private information from 2008 to 2014 by a federal jury. At that time, it was also noted that Mickelson had "once owed nearly $2 million in gambling debts to" Walters. Walters's lawyer said his client would appeal the 2017 verdict. Amateur wins 1980 Junior World Golf Championships (Boys 9–10) 1989 NCAA Division I Championship 1990 Pac-10 Championship, NCAA Division I Championship, U.S. Amateur, Porter Cup 1991 Western Amateur 1992 NCAA Division I Championship Professional wins (57) PGA Tour wins (45) Note: Tournament shortened to 54 holes due to weather. PGA Tour playoff record (8–4) European Tour wins (11) 1Co-sanctioned by the Asian Tour, Sunshine Tour and PGA Tour of Australasia European Tour playoff record (3–1) Challenge Tour wins (1) Other wins (4) Other playoff record (1–1) PGA Tour Champions wins (4) Major championships Wins (6) Results timeline Results not in chronological order in 2020. LA = Low amateur CUT = missed the half-way cut "T" = tied NT = No tournament due to COVID-19 pandemic Summary Most consecutive cuts made – 30 (1999 PGA – 2007 Masters) Longest streak of top-10s – 5 (2004 Masters – 2005 Masters) The Players Championship Wins (1) Results timeline CUT = missed the halfway cut "T" indicates a tie for a place C = Canceled after the first round due to the COVID-19 pandemic World Golf Championships Wins (3) Results timeline Results not in chronological order prior to 2015. 1Cancelled due to 9/11 2Cancelled due to COVID-19 pandemic QF, R16, R32, R64 = Round in which player lost in match play "T" = tied NT = No Tournament Note that the HSBC Champions did not become a WGC event until 2009. PGA Tour career summary As of 2021 season. † Mickelson won as an amateur in 1991 and therefore did not receive any prize money. U.S. national team appearances Amateur Walker Cup: 1989, 1991 (winners) Eisenhower Trophy: 1990 Professional Presidents Cup: 1994 (winners), 1996 (winners), 1998, 2000 (winners), 2003 (tie), 2005 (winners), 2007 (winners), 2009 (winners), 2011 (winners), 2013 (winners), 2015 (winners), 2017 (winners) Ryder Cup: 1995, 1997, 1999 (winners), 2002, 2004, 2006, 2008 (winners), 2010, 2012, 2014, 2016 (winners), 2018 Alfred Dunhill Cup: 1996 (winners) Wendy's 3-Tour Challenge (representing PGA Tour): 1997 (winners), 2000 (winners) World Cup: 2002 See also List of golfers with most European Tour wins List of golfers with most PGA Tour wins List of men's major championships winning golfers Monday Night Golf References External links On Course With Phil American male golfers PGA Tour golfers PGA Tour Champions golfers Ryder Cup competitors for the United States Sports controversies Winners of men's major golf championships Arizona State Sun Devils men's golfers Left-handed golfers World Golf Hall of Fame inductees Golfers from Scottsdale, Arizona Golfers from San Diego American people of Italian descent American people of Portuguese descent American people of Swedish descent 1970 births Living people	true	[ "\"Ro Ro Rosey\" is a song written by Van Morrison that was written and recorded for Bang Records owner and producer Bert Berns and released on his 1967 album Blowin' Your Mind!. It was also released as the follow up single to \"Brown Eyed Girl.\"\n\nWriting and recording\n\"Ro Ro Rosey\" was written and recorded for Bang Records owner and producer Bert Berns on 28 March 1967 using the same musicians who recorded \"Brown Eyed Girl.\"\n\nLyrics and music\nThe subject of the lyrics of \"Ro Ro Rosey\" is a 16 year old girl. Morrison biographer Clinton Heylin believes that this is the same teenage girl who is idealized in other of Morrison's 1960s songs such as \"Cyprus Avenue.\" In this song, the singer can remember when she was \"the apple of [his] eye\" but he no longer can see her much as she now lives \"way up on the avenue of trees.\" When he now does get a chance to see her he becomes tongue-tied, only able to say \"oh uh uh uh uh.\"\n\nThe music uses a three chord structure and has a Latin music feel, similar to other songs Morrison recorded for Berns. Allmusic critic Matthew Greenwald believes that the riff imitates that of Ritchie Valens' hit single \"La Bamba.\" Morrison biographer Erik Hage describes the song as incorporating \"psychedelic fuzz guitar.\" Morrison also plays harmonica on the song.\n\nReception\nBillboard described the single as \"an infectious folk rocker that should spiral up the charts in short order.\" Cash Box said that it's a \"potent, funky foot-stomper\" that should be \"another winning item\" for Morrison after the success of \"Brown Eyed Girl.\" Rolling Stone Magazine critic Dave Marsh described \"Ro Ro Rosey\" as being \"remarkably erotic in the best blues tradition. On the other hand, Hage describes it as being \"an unremarkable rocker brimming with sexual double entendres.\" Greenwald describes it as a \"fun track\" but states that it is obvious that Morrison was already capable of writing better ones. Music critic Johnny Rogan describes it as an \"innocuous rock-blues piece.\"\n\nThe song was released as the follow-up single to Morrison's hit \"Brown Eyed Girl.\" The b-side of the single was a track that was not included on Blowin' Your Mind called \"Chick-A-Boom,\" which Morrison biographer Clinton Heylin disparaged for silly lyrics such as \"I'm going away but I'm coming back/With a ginger cat/What d'ya think of that.\" The single version of \"Ro Ro Rosey\" differed from the album version by overdubbing female singers. The \"Ro Ro Rosey\" single did not replicate the chart success of \"Brown Eyed Girl.\" The song has been re-released on many of Morrison's compilation albums, particularly those documenting his Bang Records recording sessions.\n\nReferences\n\n1967 songs\nVan Morrison songs\nSongs written by Van Morrison \nSong recordings produced by Bert Berns\n1967 singles\nBang Records singles", "Kyle Miller (born 11 December 1990) is a Canadian professional golfer born in Calgary, Alberta, Canada. He is the first golfer with cerebral palsy to participate in a PGA Tour sanctioned event.\n\nEarly life and golf development \n\nKyle was born a month early and suffered a stroke during birth, causing his cerebral palsy.\n\nFrom an early age, Miller's left hand was rigidly curled and walking required him to limp on his toes. At the age of 9, Miller and his mother approached the Shriners Hospital for Children to operate on Miller's hand, hoping to straighten it by transferring muscle from the bottom of his wrist to the top. He was very aware that this surgery could mean not waking up, and has stated: \"The decision was ultimately mine, and it was with a deep breath I signed the waiver with my good hand.\" By the time Kyle began playing golf, he had accumulated 14 surgeries, including one to straighten his left leg.\n\nMiller began playing golf while in elementary school. During high school, he would skip classes to go to the driving range. Miller learned much of his ability by shadowing local golfer and coach Marty Desmarais at a local golf club in Calgary.\n\nMiller studied business during university, but dropped out and moved to Florida despite having limited funds in order to pursue his dreams of becoming a professional golfer.\n\nWhile in Florida, Kyle met fellow Canadian golf instructor Sean Foley. Miller has attributed much of his success to Foley, stating \"What Sean has given me is hope and belief\", \"Here's someone who has become one of the top teachers in the world, and he's telling me I could make it. So why would I doubt myself?\"\n\nProfessional career \n\nMiller turned professional in 2013 after finishing second in his Play Ability test. Subsequently, he went on to be featured in the Calgary Herald and Golf Digest in October 2013. In 2017, Miller was given a spot in the Mackenzie Tour. In doing so, Miller became the first golfer with Cerebral Palsy to achieve such a feat. \n\nMiller believes that much of his success so far has been due to his disadvantage, and the lack of belief in his ability by his peers. Miller states, \"I've been able to teach and inspire countless people with disabilities that achieving your dream is possible, regardless of what people tell you.\"\n\nTechnique \n\nThe left half of Miller's body is numb, which means that he cannot feel his weight transfer forward during his downswing. His mobility range through his left hand and left leg are limited.\n\nIn regards to his approach, Miller has stated \"I've been forced to understand what the body could do, how the body got better and how I'm going to be good. So I think it's an advantage, not a disadvantage\".\n\nCoaching \n\nAlongside earning his professional status and competing in various Professional Golf Tour's, Miller has coached at golf's highest level, and has given thousands of lessons in an effort to inspire others to overcome their own obstacles through golf.\n\nMiller has stated \"Some guys need to learn how to get knocked down and get back up again, and enjoy it\", \"There's an art to that. There's a genuine art to thoroughly loving failure. I love it. It's the greatest thing that happened to me. And that's what I want to offer to players.\"\n\nMiller is a current member of the Canadian Golf Teachers Federation and the World Golf Teachers Federation.\n\nCharitable efforts \n\nKyle is the spokesman for The Cerebral Palsy Association of Alberta and remains a passionate advocate to those with cerebral palsy and other disabilities. Much of his earnings and fundraising through golf are donated to charity.\n\nReferences \n\nCanadian male golfers\nGolfing people from Alberta\n1990 births\nLiving people" ]
[ "Phil Mickelson", "College golf", "which college did he play for", "Arizona State University", "who did he play with", "I don't know.", "what did he do after college", "his first PGA Tour event,", "what did he win in college", "Over the course of his collegiate career, he won 16 tournaments.", "what hand did he use ro play golf", "left-handed swing" ]	C_6362075d4d0541b19cdaa7990bdeea07_1	what age was he during college	6	what age was Michelson during college?	Phil Mickelson	Mickelson attended Arizona State University in Tempe on a golf scholarship and became the face of amateur golf in the United States, capturing three NCAA individual championships and three Haskins Awards (1990, 1991, 1992) as the outstanding collegiate golfer. With three individual NCAA championships, he shares the record for most individual NCAA championships alongside Ben Crenshaw. Mickelson also led the Sun Devils to the NCAA team title in 1990. Over the course of his collegiate career, he won 16 tournaments. Mickelson was the second collegiate golfer to earn first-team All-American honors all four years. In 1990, he also became the first with a left-handed swing to win the U.S. Amateur title. Mickelson secured perhaps his greatest achievement as an amateur in January 1991, winning his first PGA Tour event, the Northern Telecom Open, in Tucson. At age 20, he was only the sixth amateur to win a tour event and the first in over five years after Scott Verplank at the Western Open in August 1985. Other players to accomplish this feat include Doug Sanders (1956 Canadian Open) and Gene Littler (1954 San Diego Open). With five holes remaining, Mickelson led by a stroke, but made a triple-bogey and was then three behind. The leaders ahead of him then stumbled, and he birdied 16 and 18 to win by a stroke. To date, it is the most recent win by an amateur at a PGA Tour event. That April, Mickelson was the low amateur at the Masters Tournament in Augusta, Georgia. With his two-year PGA Tour exemption from the Tucson win, he played in several tour events in 1992 while an amateur but failed to make a cut. CANNOTANSWER	At age 20, he was only the sixth amateur to win a tour event	Philip Alfred Mickelson (born June 16, 1970), nicknamed Phil the Thrill, is an American professional golfer. He has won 45 events on the PGA Tour, including six major championships: three Masters titles (2004, 2006, 2010), two PGA Championships (2005, 2021), and one Open Championship (2013). With his win at the 2021 PGA Championship, Mickelson became the oldest major championship winner in history at the age of 50 years, 11 months and 7 days old. Mickelson is one of 17 players in the history of golf to win at least three of the four majors. He has won every major except the U.S. Open, in which he has finished runner-up a record six times. Mickelson has spent more than 25 consecutive years in the top 50 of the Official World Golf Ranking. He has spent over 700 weeks in the top 10, has reached a career-high world ranking of No. 2 several times and is a life member of the PGA Tour. Although naturally right-handed, he is known for his left-handed swing, having learned it by mirroring his right-handed father's swing. He was inducted into the World Golf Hall of Fame in 2012. Early life and family Philip Alfred Mickelson was born on June 16, 1970, in San Diego, California, to parents Philip Mickelson, an airline pilot and former naval aviator, and Mary Santos. He was raised there and in Scottsdale, Arizona. Mickelson has Portuguese, Swedish, and Sicilian ancestry. His maternal grandfather, Alfred Santos (also Mickelson's middle name) was a caddie at Pebble Beach Golf Links and took Phil to play golf as a child. Although otherwise right-handed, he played golf left-handed since he learned by watching his right-handed father swing, mirroring his style. Mickelson began golf under his father's instruction before starting school. Phil Sr.'s work schedule as a commercial pilot allowed them to play together several times a week and young Phil honed his creative short game on an extensive practice area in their San Diego backyard. Mickelson graduated from the University of San Diego High School in 1988. College golf Mickelson attended Arizona State University in Tempe on a golf scholarship and became the face of amateur golf in the United States, capturing three NCAA individual championships and three Haskins Awards (1990, 1991, 1992) as the outstanding collegiate golfer. With three individual NCAA championships, he shares the record for most individual NCAA championships alongside Ben Crenshaw. Mickelson also led the Sun Devils to the NCAA team title in 1990. Over the course of his collegiate career, he won 16 tournaments. Mickelson was the second collegiate golfer to earn first-team All-American honors all four years. In 1990, he also became the first with a left-handed swing to win the U.S. Amateur title, defeating high school teammate Manny Zerman 5 and 4 in the 36-hole final at Cherry Hills, south of Denver. Mickelson secured perhaps his greatest achievement as an amateur in January 1991, winning his first PGA Tour event, the Northern Telecom Open, in Tucson, making him one of the few golfers to win a PGA Tour event as an amateur in the history of the PGA Tour. At age 20, he was only the sixth amateur to win a tour event and the first in over five years after Scott Verplank at the Western Open in August 1985. Other players to accomplish this feat include Doug Sanders (1956 Canadian Open) and Gene Littler (1954 San Diego Open). With five holes remaining, Mickelson led by a stroke, but made a triple-bogey and was then three behind. The leaders ahead of him then stumbled, and he birdied 16 and 18 to win by a stroke. To date, it is the most recent win by an amateur at a PGA Tour event. That April, Mickelson was the low amateur at the Masters Tournament in Augusta, Georgia. With his two-year PGA Tour exemption from the Tucson win, he played in several tour events in 1992 while an amateur but failed to make a cut. Professional career 1992–2003: Trying for first major win Mickelson graduated from ASU in June 1992 and quickly turned professional. He bypassed the tour's qualifying process (Q-School) because of his 1991 win in Tucson, which earned him a two-year exemption. In 1992, Mickelson hired Jim "Bones" Mackay as his caddy. He won many PGA Tour tournaments during this period, including the Byron Nelson Golf Classic and the World Series of Golf in 1996, the AT&T Pebble Beach National Pro-Am in 1998, the Colonial National Invitation in 2000 and the Greater Hartford Open in 2001 and again in 2002. He appeared as himself in a non-speaking role in the 1996 film Tin Cup, starring Kevin Costner. His 2000 Buick Invitational win ended Tiger Woods's streak of six consecutive victories on the PGA Tour. After the win, Mickelson said, "I didn't want to be the bad guy. I wasn't trying to end the streak per se. I was just trying to win the golf tournament." Although he had performed very well in the majors up to the end of the 2003 season (17 top-ten finishes, and six second- or third-place finishes between 1999 and 2003), Mickelson's inability to win any of them led to him frequently being described as the "best player never to win a major". 2004–2006: First three major wins Mickelson's first major championship win came in his thirteenth year on the PGA Tour in 2004, when he secured victory in the Masters with an birdie putt on the final hole. Ernie Els was the runner-up at a stroke back; the two played in different pairs in the final round and had traded birdies and eagles on the back nine. In addition to getting the "majors monkey" off his back, Mickelson was now only the third golfer with a left-handed swing to win a major, the others being New Zealander Sir Bob Charles, who won The Open Championship in 1963, and Canadian Mike Weir, who won The Masters in 2003. (Like Mickelson, Weir is a right-hander who plays left-handed.) A fourth left-handed winner is natural southpaw Bubba Watson, the Masters champion in 2012 and 2014. Prior to the Ryder Cup in 2004, Mickelson was dropped from his long-standing contract with Titleist/Acushnet Golf, after an incident when he left a voicemail message for a Callaway Golf executive. In it, he praised their driver and golf ball, and thanked them for their help in getting some equipment for his brother. This memo was played to all of their salesmen, and eventually found its way back to Titleist. He was then let out of his multi-year deal with Titleist 16 months early, and signed on with Callaway Golf, his current equipment sponsor. He endured a great deal of ridicule and scrutiny from the press and fellow Ryder Cup members for his equipment change so close to the Ryder Cup matches. He faltered at the 2004 Ryder Cup with a record, but refused to blame the sudden change in equipment or his practice methods for his performance. In November 2004, Mickelson tallied his career-low for an 18-hole round: a 59 at the PGA Grand Slam of Golf at Poipu Bay Golf Course in Hawaii. The following year, Mickelson captured his second major at the PGA Championship at Baltusrol, in a Monday final-round conclusion that had been forced by inclement weather the previous day. On the 18th hole, Mickelson hit one of his trademark soft pitches from deep greenside rough to within of the cup, and made his birdie to finish at a 4-under-par total of 276, one shot ahead of Steve Elkington and Thomas Bjørn. Mickelson captured his third major title the following spring at the Masters. He won his second green jacket after shooting a 3-under-par final round, winning by two strokes over runner-up Tim Clark. This win propelled him to 2nd place in the Official World Golf Ranking (his career best), behind Woods, and ahead of Vijay Singh and Retief Goosen. 2006: Collapse on final hole at the U.S. Open After winning two majors in a row heading into the U.S. Open at Winged Foot, Mickelson was bidding to join Ben Hogan and Tiger Woods as the only players to win three consecutive majors (not necessarily in the same calendar year). Mickelson was the joint leader going into the final round, but he was part of a wild finish to the tournament, in which he made major mistakes on the final hole and ended up in a tie for second place at +6 (286), one shot behind Geoff Ogilvy. Mickelson bogeyed the 16th hole. On the 17th hole, with the lead at +4, he missed the fairway to the left, and his drive finished inside a garbage can, from which he was granted a free drop; he parred the hole. He had a one-shot lead and was in the last group going into the final hole. Needing a par on the 18th hole for a one-shot victory, Mickelson continued with his aggressive style of play and chose to hit a driver off the tee; he hit his shot well left of the fairway (he had hit only two of thirteen fairways previously in the round). The ball bounced off a corporate hospitality tent and settled in an area of trampled-down grass that was enclosed with trees. He decided to go for the green with his second shot, rather than play it safe and pitch out into the fairway. His ball then hit a tree, and did not advance more than . His next shot plugged into the left greenside bunker. He was unable to get up and down from there, resulting in a double bogey, and costing him a chance of winning the championship outright or getting into an 18-hole playoff with Ogilvy. After his disappointing finish, Mickelson said: "I'm still in shock. I still can't believe I did that. This one hurts more than any tournament because I had it won. Congratulations to Geoff Ogilvy on some great play. I want to thank all the people that supported me. The only thing I can say is I'm sorry." He was even more candid when he said: "I just can't believe I did that. I'm such an idiot." 2006–2008 During the third round of the 2006 Ford Championship at Doral, Mickelson gave a spectator $200 after his wayward tee shot at the par-5 10th broke the man's watch. Mickelson also has shown other signs of appreciation. In 2007 after hearing the story of retired NFL player, Conrad Dobler, and his family on ESPN explaining their struggles to pay medical bills, Mickelson volunteered to pay tuition for Holli Dobler, Conrad Dobler's daughter, at Miami University in Oxford, Ohio. Frustrated with his driving accuracy, Mickelson made the decision in April 2007 to leave longtime swing coach, Rick Smith. He then began working with Butch Harmon, a former coach of Tiger Woods and Greg Norman. On May 13, Mickelson came from a stroke back on the final round to shoot a three-under 69 to win The Players Championship with an 11-under-par 277. In the U.S. Open at Oakmont in June, Mickelson missed the cut (by a stroke) for the first time in 31 majors after shooting 11 over par for 36 holes. He had been hampered by a wrist injury that was incurred while practicing in the thick rough at Oakmont a few weeks before the tournament. On September 3, 2007, Mickelson won the Deutsche Bank Championship, which is the second FedEx Cup playoff event. On the final day, he was paired with Tiger Woods, who ended up finishing two strokes behind Mickelson in a tie for second. It was the first time that Mickelson was able to beat Woods while the two stars were paired together on the final day of a tournament. The next day Mickelson announced that he would not be competing in the third FedEx Cup playoff event. The day before his withdrawal, Mickelson said during a television interview that PGA Tour Commissioner, Tim Finchem, had not responded to advice he had given him on undisclosed issues. In 2008, Mickelson won the Crowne Plaza Invitational at Colonial with a −14, one shot ahead of Tim Clark and Rod Pampling. Mickelson shot a first-round 65 to start off the tournament at −5. He ended the day tied with Brett Wetterich, two shots behind leader, Johnson Wagner. Mickelson shot a second-round 68, and the third round 65, overall, being −12 for the first three rounds. On the final hole, after an absolutely horrendous tee shot, he was in thick rough with trees in his way. Many players would have punched out, and taken their chances at making par from the fairway with a good wedge shot. Instead, he pulled out a high-lofted wedge and hit his approach shot over a tree, landing on the green where he one-putted for the win. In a Men's Vogue article, Mickelson recounted his effort to lose with the help of trainer Sean Cochran. "Once the younger players started to come on tour, he realized that he had to start working out to maintain longevity in his career," Cochran said. Mickelson's regimen consisted of increasing flexibility and power, eating five smaller meals a day, aerobic training, and carrying his own golf bag. Mickelson was inducted into the National Italian American Sports Hall of Fame in 2008. 2009 Mickelson won his first 2009 tour event when he defended his title at the Northern Trust Open at Riviera, one stroke ahead of Steve Stricker. The victory was Mickelson's 35th on tour; he surpassed Vijay Singh for second place on the current PGA Tour wins list. A month later, he won his 36th, and his first World Golf Championship, at the WGC-CA Championship with a one-stroke win over Nick Watney. On May 20, it was announced that his wife Amy was diagnosed with breast cancer, and Mickelson announced that he would suspend his PGA Tour schedule indefinitely. She would begin treatment with major surgery as early as the following two weeks. Mickelson was scheduled to play the HP Byron Nelson Championship May 21–24, and to defend his title May 28–31 at the Crowne Plaza Invitational at Colonial, but withdrew from both events. During the final round of the 2009 BMW PGA Championship, fellow golfer and family friend John Daly wore bright pink trousers in support of Mickelson's wife. Also, the next Saturday, at the Crowne Plaza Invitational at Colonial, a "Pink Out" event was hosted, and the PGA Tour players all wore pink that day, to support the Mickelson family. On May 31, Mickelson announced that he would return to play on the PGA Tour in June at the St. Jude Classic and the U.S. Open, since he had heard from the doctors treating his wife that her cancer had been detected in an early stage. Mickelson shot a final round 70 at the 2009 U.S. Open and recorded his fifth runner-up finish at the U.S. Open. He shared the lead after an eagle at the 13th hole, but fell back with bogeys on 15 and 17; Lucas Glover captured the championship. On July 6, it was announced that his mother Mary was diagnosed with breast cancer and would have surgery at the same hospital where his wife was treated. After hearing the news that his mother had been diagnosed with breast cancer, Mickelson took another leave of absence from the tour, missing The Open Championship at Turnberry. On July 28, Mickelson announced he would return in August at the WGC-Bridgestone Invitational, the week before the PGA Championship at Hazeltine National Golf Club in Chaska, Minnesota. In September, Mickelson won The Tour Championship for the second time in his career. He entered the final round four strokes off the lead, but shot a final round 65 to win the event by three strokes over Tiger Woods. With the win, Mickelson finished the season second behind Woods in the 2009 FedEx Cup standings. On November 8, Mickelson won the WGC-HSBC Champions by one shot over Ernie Els in Shanghai. 2010: Third Masters win In 2010, Mickelson won the Masters Tournament on April 11 with a 16-under-par performance, giving him a three-stroke win over Lee Westwood. The win marked the third Masters victory for Mickelson and his fourth major championship overall. Critical to Mickelson's win was a dramatic run in the third round on Saturday in which Mickelson, trailing leader Westwood by five strokes as he prepared his approach shot to the 13th green, proceeded to make eagle, then to hole-out for eagle from 141 yards at the next hole, the par 4 14th, then on the next, the par 5 15th, to miss eagle from 81 yards by mere inches. After tapping in for birdie at 15, Mickelson, at −12, led Westwood, at −11, who had bogeyed hole 12 and failed to capitalize on the par 5 13th, settling for par. Westwood recaptured a one-stroke lead by the end of the round, but the momentum carried forward for Mickelson into round 4, where he posted a bogey-free 67 to Westwood's 71. No other pursuer was able to keep pace to the end, though K. J. Choi and Anthony Kim made notable charges. For good measure, Mickelson birdied the final hole and memorably greeted his waiting wife, Amy, with a prolonged hug and kiss. For many fans, Mickelson's finish in the tournament was especially poignant, given that Amy had been suffering from breast cancer during the preceding year. Mary Mickelson, Phil's mother, was also dealing with cancer. CBS Sports announcer Jim Nantz's call of the final birdie putt, "That's a win for the family," was seen by many as capturing the moment well. Tiger Woods had a dramatic return to competitive play after a scandal-ridden 20-week absence; he was in close contention throughout for the lead and finished tied with Choi for 4th at −11. Mickelson and others showed exciting play over the weekend, and the 2010 Masters had strong television ratings in the United States, ranking third all-time to Woods's historic wins in 1997 and 2001. Mickelson's win left him second only to Woods in major championships among his competitive contemporaries, moving him ahead of Ernie Els, Vijay Singh and Pádraig Harrington, with three major championships each and each, like Mickelson, with dozens of worldwide wins. Remainder of 2010 Mickelson, one of the favorites for the U.S. Open at Pebble Beach, shot 75 and 66 on Thursday and Friday to sit two shots off the lead. However, two weekend scores of 73 gave him a T4 finish. During the remainder of the 2010 season, Mickelson had multiple opportunities to become the number one player in the world rankings following the travails of Tiger Woods. However, a string of disappointing finishes by Mickelson saw the number one spot eventually go to Englishman Lee Westwood. In the days leading up to the PGA Championship at Whistling Straits (near Kohler, Wisconsin), Mickelson announced he had been diagnosed with psoriatic arthritis. He added that he had started medical treatment, and had become a vegetarian in hopes of aiding his recovery. He maintains that both his short- and long-term prognosis are good, that the condition should have no long-term effect on his golfing career, and that he currently feels well. He also stated that the arthritis may go into permanent remission after one year of medical treatment. He went on to finish the championship T12, five shots behind winner Martin Kaymer. 2011 Mickelson started his 2011 season at the Farmers Insurance Open at Torrey Pines Golf Course. He shot and was tied for the 54 hole lead with Bill Haas. Mickelson needed to hole out on the 18th hole for eagle from 74 yards to force a playoff with Bubba Watson. He hit it to 4 feet and Watson won the tournament. On April 3, Mickelson won the Shell Houston Open with a 20-under-par, three-stroke win over Scott Verplank. Mickelson rose to No. 3 in the world ranking, while Tiger Woods fell to No. 7. Mickelson had not been ranked above Woods since the week prior to the 1997 Masters Tournament. At The Open Championship, Mickelson recorded just his second top-ten finish in 18 tournaments by tying for second with Dustin Johnson. His front nine 30 put him briefly in a tie for the lead with eventual champion Darren Clarke. However, some putting problems caused him to fade from contention toward the end, to finish in a tie for second place. 2012: 40th career PGA Tour win Mickelson made his 2012 debut at the Humana Challenge and finished tied for 49th. He missed the cut at the Farmers Insurance Open after shooting rounds of 77 and 68. In the final round of the AT&T Pebble Beach National Pro-Am, Mickelson rallied from six shots back, winning the tournament by two strokes with a final-round score of 8-under 64 and a four-round total of 269. The win marked his 40th career victory on the PGA Tour. The following week at Riviera Country Club, Mickelson lost the Northern Trust Open in a three-way playoff. He had held the lead or a share of it from day one until the back nine on Sunday when Bill Haas posted the clubhouse lead at seven under par. Mickelson holed a 27-foot birdie putt on the final regulation hole to force a playoff alongside Haas and Keegan Bradley. Haas however won the playoff with a 40-foot birdie putt on the second playoff hole. The second-place finish moved Mickelson back into the world's top 10. Mickelson finished tied for third at the Masters. After opening the tournament with a two-over-par 74, he shot 68–66 in the next two rounds and ended up one stroke behind leader Peter Hanson by Saturday night. Mickelson had a poor start to his fourth round, scoring a triple-bogey when he hit his ball far to the left of the green on the par-3 4th hole, hitting the stand and landing in a bamboo plant. This ended up being Mickelson's only score over par in the whole round, and he ended with a score of eight-under overall. Earlier in the tournament he had received widespread praise for being present to watch Jack Nicklaus, Arnold Palmer, and Gary Player hit the ceremonial opening tee-shots, nearly seven hours before Mickelson's own tee time. Mickelson made a charge during the final round at the HP Byron Nelson Championship, but bogeyed the 17th and 18th, finishing T-7th. He then withdrew from the Memorial Tournament, citing mental fatigue, after a first-round 79. He was to be paired with Tiger Woods and Bubba Watson at the U.S. Open. He fought to make the cut in the U.S. Open, and finished T-65th. After taking a couple of weeks off, he played in the Greenbrier Classic. Putting problems meant a second straight missed cut at the Greenbrier and a third missed cut at 2012 Open Championship, shooting 73-78 (11 over par). He finished T-43rd at the WGC-Bridgestone Invitational. He then finished T-36th at the PGA Championship. To start the 2012 FedEx Cup Playoffs, Mickelson finished T38 at The Barclays, +1 for the tournament. He tied with Tiger Woods, Zach Johnson, and five other players. In this tournament, he started using the claw putting grip on the greens. At the next event, the Deutsche Bank Championship, he finished the tournament with a −14, tied for 4th with Dustin Johnson. At the BMW Championship, Mickelson posted a −16 for the first three rounds, one of those rounds being a −8, 64. On the final day, Mickelson shot a −2, 70, to finish tied for 2nd, with Lee Westwood, two shots behind leader, and back-to-back winner, Rory McIlroy. At the Tour Championship, he ended up finishing tied for 15th. He went on to have a 3–1 record at the Ryder Cup; however, the USA team lost the event. 2013 Mickelson began the 2013 season in January by playing in the Humana Challenge, where he finished T37 at −17. His next event was the following week in his home event near San Diego at the Farmers Insurance Open. Mickelson endured a disappointing tournament, finishing T51, shooting all four rounds in the 70s. In the first round of the Waste Management Phoenix Open, Mickelson tied his career-low round of 60. He made seven birdies in his first nine holes and needed a birdie on the 18th hole to equal the PGA Tour record of 59. However, his 25-foot birdie putt on the final hole lipped out, resulting in him missing out by a single shot on making only the sixth round of 59 in PGA Tour history. Mickelson led the tournament wire-to-wire and completed a four-shot win over Brandt Snedeker for his 41st PGA Tour victory and 3rd Phoenix Open title. Mickelson's score of 28-under-par tied Mark Calcavecchia's tournament scoring record. He also moved back inside the world's top 10 after falling down as far as number 22. Sixth runner-up finish at the U.S. Open At the U.S. Open at Merion, Mickelson entered the final round leading by one stroke after rounds of over the first three days, but he started the final round by three-putting the 3rd and 5th holes for double-bogeys to fall out of the lead. He regained the lead at the par-four 10th, when he holed his second shot from the rough for an eagle. However, a misjudgment at the short par three 13th saw him fly the green and make a bogey to slip one behind leader Justin Rose. Another bogey followed at the 15th, before narrowly missing a birdie putt on the 16th that would have tied Rose. Mickelson could not make a birdie at the 17th and after a blocked drive on the 18th, he could not hole his pitch from short of the green, which led to a final bogey. Mickelson ended up finishing tied for second with Jason Day, two strokes behind Justin Rose. It was the sixth runner-up finish of Mickelson's career at the U.S. Open, an event record and only behind Jack Nicklaus's seven runner-up finishes at The Open Championship. After the event, Mickelson called the loss heartbreaking and said "this is tough to swallow after coming so close ... I felt like this was as good an opportunity I could ask for and to not get it ... it hurts." It was also Father's Day, which happened to be his birthday. Fifth major title at the Open Championship The week before The Open Championship, Mickelson warmed up for the event by winning his first tournament on British soil at the Scottish Open on July 14, after a sudden-death playoff against Branden Grace. After this victory, Mickelson spoke of his confidence ahead of his participation in the following week's major championship. Mickelson said: "I've never felt more excited going into The Open. I don't think there's a better way to get ready for a major than playing well the week before and getting into contention. Coming out on top just gives me more confidence." The following week, Mickelson won his fifth major title on July 21 at the Open Championship (often referred to as the British Open) Muirfield Golf Links in Scotland; the Open Championship is the oldest of the four major tournaments in professional golf. This was the first time in history that anyone had won both the Scottish Open and The Open Championship in the same year. Mickelson birdied four of the last six holes in a brilliant final round of 66 to win the title by three strokes. He shed tears on the 18th green after completing his round. Mickelson later said: "I played arguably the best round of my career, and shot the round of my life. The range of emotions I feel are as far apart as possible after losing the U.S. Open. But you have to be resilient in this game." In an interview before the 2015 Open, Mickelson said, "Two years removed from that win, I still can't believe how much it means to me." 2014 and 2015: Inconsistent form and close calls in majors Mickelson missed the cut at the Masters for the first time since 1997. He failed to contend at the U.S. Open at Pinehurst in his first bid to complete the career grand slam. Mickelson's lone top-10 of the PGA Tour season came at the year's final major, the PGA Championship at Valhalla. Mickelson shot rounds of 69-67-67-66 to finish solo second, one shot behind world number one Rory McIlroy. Prior to the 2015 Masters, Mickelson's best finish in 2015 was a tie for 17th. At the Masters, Mickelson shot rounds of to finish tied for second with Justin Rose, four shots behind champion Jordan Spieth. The second-place finish was Mickelson's tenth such finish in a major, placing him second all-time only to Jack Nicklaus in that regard. At The Open Championship, Mickelson shot rounds of and was eight shots behind, outside the top forty. In the final round, Mickelson birdied the 15th hole to move to 10 under and within two of the lead. After a missed birdie putt on 16, Mickelson hit his drive on the infamous Road Hole (17th) at the famed Old Course at St Andrews onto a second-floor balcony of the Old Course Hotel. The out-of-bounds drive lead to a triple-bogey 7 that sent Mickelson tumbling out of contention. Later in the year, it was announced that Mickelson would leave longtime swing coach Butch Harmon, feeling as though he needed to hear a new perspective on things. 2016: New swing coach After leaving Butch Harmon, Mickelson hired Andrew Getson of Grayhawk Golf Club in Scottsdale, Arizona, to serve as his new swing coach. The two worked together heavily in the 2015 offseason to get Mickelson's swing back. Under Getson's guidance, Mickelson made his 2016 debut at the CareerBuilder Challenge. He shot rounds of to finish in a tie for third place at 21-under-par. It was only Mickelson's fifth top-five finish since his win at the 2013 Open Championship. The third-place finish was Mickelson's highest finish in his first worldwide start of a calendar year since he won the same event to begin the 2004 season. At the AT&T Pebble Beach Pro-Am, Mickelson shot rounds of to finish in solo second place, a shot behind Vaughn Taylor. Mickelson lipped out a five-foot birdie putt to force a playoff on the 72nd hole. He entered the final round with a two-stroke lead, his first 54-hole lead since the 2013 U.S. Open and was seeking to end a winless drought dating back 52 worldwide events to the 2013 Open Championship. Mickelson shot a 63 in the opening round of The Open Championship at Royal Troon. The round set a new course record and matched the previous major championship record for lowest round. Mickelson had a birdie putt that narrowly missed on the final hole to set a new major championship scoring record of 62. He followed this up with a 69 in the second round for a 10 under par total and a one-shot lead over Henrik Stenson going into the weekend. In the third round, Mickelson shot a one-under 70 for a total of 11 under par to enter the final round one shot back of Stenson. Despite Mickelson's bogey-free 65 in the final round, Stenson shot 63 to win by three shots. Mickelson finished 11 strokes clear of 3rd place, a major championship record for a runner-up. Mickelson's 267 total set a record score for a runner-up in the British Open, and only trails Mickelson's 266 at the 2001 PGA Championship as the lowest total by a runner-up in major championship history. 2017: Recovery from surgeries In the fall of 2016, Mickelson had two sports hernia surgeries. Those in the golf community expected him to miss much time recovering, however his unexpected return at the CareerBuilder Challenge was a triumphant one, leading to a T-21 finish. The next week, in San Diego, he narrowly missed an eagle putt on the 18th hole on Sunday that would've got him to 8-under par instead posting −7 to finish T14 at the Farmers Insurance Open. The following week, at the Waste Management Phoenix Open, which he has won three times, he surged into contention following a Saturday 65. He played his first nine holes in 4-under 32 and sending his name to the top of the leaderboard. However, his charge faltered with bogeys at 11, 12, 14, 15, and a double bogey at the driveable 17th hole. He stumbled with a final round 71, still earning a T-16 finish, for his sixth straight top-25 finish on tour. Mickelson came close to winning again at the FedEx St. Jude Classic where he had finished in second place the previous year to Daniel Berger. He started the final round four strokes behind leaders but he quickly played himself into contention. Following a birdie at the 10th hole he vaulted to the top of leaderboard but found trouble on the 12th hole. His tee shot carried out of bounds and his fourth shot hit the water so he had to make a long putt to salvage triple-bogey. He managed to get one shot back but he finished three shots behind winner Berger, in ninth place, for the second straight year. Two weeks later he withdrew from the U.S. Open to attend his daughter's high school graduation. A week later his longtime caddie Jim (Bones) Mackay left Mickelson in a mutual agreement. Mickelson then missed the cut at both The Open Championship and the PGA Championship. On September 6, days after posting his best finish of the season of T6 at the Dell Technologies Championship, Mickelson was named as a captain's pick for the Presidents Cup. This maintained a streak of 23 consecutive USA teams in the Presidents Cup and Ryder Cup, dating back to 1994. 2018–2019: Winless streak ends On March 4, 2018, Mickelson ended a winless drought that dated back to 2013, by capturing his third WGC championship at the WGC-Mexico Championship, with a final-round score of 66 and a total score of −16. Mickelson birdied two of his last four holes and had a lengthy putt to win outright on the 72nd hole, but tied with Justin Thomas. He defeated Thomas on the first extra hole of a sudden-death playoff with a par. After Thomas had flown the green, Mickelson had a birdie to win the playoff which lipped out. Thomas however could not get up and down for par, meaning Mickelson claimed the championship. The win was Mickelson's 43rd on the PGA Tour and his first since winning the 2013 Open Championship. He also became the oldest winner of a WGC event, at age 47. In the third round of the 2018 U.S. Open, Mickelson incurred a two-stroke penalty in a controversial incident on the 13th hole when he hit his ball with intent while it was still moving. He ended up shooting 81 (+11). His former coach Butch Harmon thought Mickelson should have been disqualified. Mickelson was a captain's pick for Team USA at the 2018 Ryder Cup, held in Paris between September 28 and 30. Paired with Bryson DeChambeau in the Friday afternoon foursomes, they lost 5 and 4 to Europe's Sergio García and Alex Norén. In the Sunday singles match, Mickelson lost 4 and 2 to Francesco Molinari, as Team USA slumped to a 17.5 to 10.5 defeat. On November 23, 2018, Mickelson won the pay-per-view event, Capital One's The Match. This was a $9,000,000 winner-takes-all match against Tiger Woods at Shadow Creek Golf Course in Las Vegas. Mickelson needed four extra holes to beat Woods, which he did by holing a four-foot putt after Woods missed a seven-foot putt on the 22nd hole. In his third start of the 2019 calendar year, Mickelson won the AT&T Pebble Beach Pro-Am, shooting a bogey-free final round 65 to defeat Paul Casey by three strokes. The win was Mickelson's 44th career title on the PGA Tour, and his fifth at Pebble Beach, tying Mark O'Meara for most victories in the event. At 48 years of age, he also became the oldest winner of that event. 2020: PGA Tour season and PGA Tour Champions debut In December 2019, Mickelson announced via Twitter that "after turning down opportunities to go to the Middle East for many years" he would play in the 2020 Saudi International tournament on the European Tour and would miss Waste Management Phoenix Open for the first time since 1989. However, his decision to visit and play in Saudi Arabia was criticized for getting lured by millions of dollars and ignoring the continuous human rights abuses in the nation. Mickelson went on to finish the February 2020 event tied for third. Mickelson finished 3rd at the 2020 AT&T Pebble Beach Pro-Am and tied for 2nd in the WGC-FedEx St. Jude Invitational. Mickelson was the first player over 50 to finish in the top five of a World Golf Championship event. He was ultimately eliminated from the FedEx Cup Playoffs following The Northern Trust at TPC Boston in August 2020. One week later, Mickelson made his debut on the PGA Tour Champions. He won the Charles Schwab Series at Ozarks National in his first tournament after becoming eligible for PGA Tour Champions on his 50th birthday on June 16, 2020. He was the 20th player to win their debut tournament on tour. Mickelson's 191 stroke total tied the PGA Tour Champions all-time record for a three-day event. In October 2020, Mickelson won the Dominion Energy Charity Classic in Virginia. It was his second win in as many starts on the PGA Tour Champions. 2021: The oldest major champion In February 2021, Mickelson was attempting to become the first player in PGA Tour Champions history to win his first three tournaments on tour. However, he fell short in the Cologuard Classic, finishing in a T-20 position with a score of 4 under par. In May 2021, Mickelson held the 54-hole lead at the PGA Championship at the Kiawah Island Golf Resort in South Carolina, leading Brooks Koepka by one shot with one day to play. He shot a final-round 73 to capture the tournament, defeating Koepka and Louis Oosthuizen by two strokes, becoming the oldest major champion; at 50. As Mickelson walked down the fairway following an excellent second shot from the left rough on the 18th hole, thousands of fans engulfed him, with him walking towards the hole constantly tipping his hat and giving the thumbs up to the crowd as they cheered. However, the massive tumult of people meant playing partner Brooks Koepka was stranded in the sea of people, and with difficulties, he managed to reach the green to finish the hole. Mickelson eventually emerged from the crowd and two-putted for par, finishing the tournament at 6-under, besting the field by two strokes. In October 2021, Mickelson won for the third time in four career starts on the PGA Tour Champions. Mickelson shot a final round 4-under-par 68 to win the inaugural Constellation Furyk & Friends over Miguel Ángel Jiménez in Jacksonville, Florida. In November 2021, Mickelson won the season-ending Charles Schwab Cup Championship in Phoenix, Arizona, with a final round six-under par 65. This victory was Mickelson's fourth win in six career starts on PGA Tour Champions. 2022: Saudi Arabia controversy Mickelson admitted in an interview to overlooking Saudi Arabian human rights violations, including the murder of journalist Jamal Khashoggi and execution of LGBTQ+ individuals, to support the Saudi-backed Super Golf League because it offered an opportunity to reshape the PGA Tour. In response to these comments, Mickelson lost multiple longtime sponsors including Callaway Golf and KPMG. Mickelson announced he would be stepping away from golf to spend time with his family. Playing style As a competitor, Mickelson's playing style is described by many as "aggressive" and highly social. His strategy toward difficult shots (bad lies, obstructions) would tend to be considered risky. Mickelson has also been characterized by his powerful and sometimes inaccurate driver, but his excellent short game draws the most positive reviews, most of all his daring "Phil flop" shot in which a big swing with a high-lofted wedge against a tight lie flies a ball high into the air for a short distance. Mickelson is usually in the top 10 in scoring, and he led the PGA Tour in birdie average as recently as 2013. Earnings and endorsements Although ranked second on the PGA Tour's all-time money list of tournament prize money won, Mickelson earns far more from endorsements than from prize money. According to one estimate of 2011 earnings (comprising salary, winnings, bonuses, endorsements and appearances) Mickelson was then the second-highest paid athlete in the United States, earning an income of over $62 million, $53 million of which came from endorsements. Major companies which Mickelson currently endorses are ExxonMobil (Mickelson and wife Amy started a teacher sponsorship fund with the company), Rolex and Mizzen+Main. He has been previously sponsored by Titleist, Bearing Point, Barclays, and Ford. After being diagnosed with psoriatic arthritis in 2010, Mickelson was treated with Enbrel and began endorsing the drug. In 2015, Forbes estimated Mickelson's annual income was $51 million. In 2022, Mickelson lost a significant number of sponsors including Callaway Golf, KPMG, Amstel Light and Workday after comments he made about the Saudi-backed golf league, Super Golf League. In an interview, he stated that Saudis are "scary motherfuckers to get involved with... We know they killed [Washington Post reporter and U.S. resident Jamal] Khashoggi and have a horrible record on human rights. They execute people over there for being gay. Knowing all of this, why would I even consider it? Because this is a once-in-a-lifetime opportunity to reshape how the PGA Tour operates." Insider trading settlement On May 30, 2014, The Wall Street Journal reported that the FBI and U.S. Securities and Exchange Commission (SEC) were investigating Mickelson and associates of his for insider trading in Clorox stock. Mickelson denied any wrongdoing, and the investigation found "no evidence" and concluded without any charges. On May 19, 2016, Mickelson was named as a relief defendant in another SEC complaint alleging insider trading but completely avoided criminal charges in a parallel case brought in the Federal District Court for the Southern District of New York. The action stems for trades in Dean Foods in 2012 in conjunction with confidential information provided by Thomas Davis, a former director of Dean Foods Company, who tipped his friend and "professional sports bettor" Billy Walters. The SEC did not allege that Walters actually told Mickelson of any material, nonpublic information about Dean Foods, and the SEC disgorged Mickelson of the $931,000 profit he had made from trading Dean Foods stock and had him pay prejudgment interest of $105,000. In 2017, Walters was convicted of making $40 million on Davis's private information from 2008 to 2014 by a federal jury. At that time, it was also noted that Mickelson had "once owed nearly $2 million in gambling debts to" Walters. Walters's lawyer said his client would appeal the 2017 verdict. Amateur wins 1980 Junior World Golf Championships (Boys 9–10) 1989 NCAA Division I Championship 1990 Pac-10 Championship, NCAA Division I Championship, U.S. Amateur, Porter Cup 1991 Western Amateur 1992 NCAA Division I Championship Professional wins (57) PGA Tour wins (45) Note: Tournament shortened to 54 holes due to weather. PGA Tour playoff record (8–4) European Tour wins (11) 1Co-sanctioned by the Asian Tour, Sunshine Tour and PGA Tour of Australasia European Tour playoff record (3–1) Challenge Tour wins (1) Other wins (4) Other playoff record (1–1) PGA Tour Champions wins (4) Major championships Wins (6) Results timeline Results not in chronological order in 2020. LA = Low amateur CUT = missed the half-way cut "T" = tied NT = No tournament due to COVID-19 pandemic Summary Most consecutive cuts made – 30 (1999 PGA – 2007 Masters) Longest streak of top-10s – 5 (2004 Masters – 2005 Masters) The Players Championship Wins (1) Results timeline CUT = missed the halfway cut "T" indicates a tie for a place C = Canceled after the first round due to the COVID-19 pandemic World Golf Championships Wins (3) Results timeline Results not in chronological order prior to 2015. 1Cancelled due to 9/11 2Cancelled due to COVID-19 pandemic QF, R16, R32, R64 = Round in which player lost in match play "T" = tied NT = No Tournament Note that the HSBC Champions did not become a WGC event until 2009. PGA Tour career summary As of 2021 season. † Mickelson won as an amateur in 1991 and therefore did not receive any prize money. U.S. national team appearances Amateur Walker Cup: 1989, 1991 (winners) Eisenhower Trophy: 1990 Professional Presidents Cup: 1994 (winners), 1996 (winners), 1998, 2000 (winners), 2003 (tie), 2005 (winners), 2007 (winners), 2009 (winners), 2011 (winners), 2013 (winners), 2015 (winners), 2017 (winners) Ryder Cup: 1995, 1997, 1999 (winners), 2002, 2004, 2006, 2008 (winners), 2010, 2012, 2014, 2016 (winners), 2018 Alfred Dunhill Cup: 1996 (winners) Wendy's 3-Tour Challenge (representing PGA Tour): 1997 (winners), 2000 (winners) World Cup: 2002 See also List of golfers with most European Tour wins List of golfers with most PGA Tour wins List of men's major championships winning golfers Monday Night Golf References External links On Course With Phil American male golfers PGA Tour golfers PGA Tour Champions golfers Ryder Cup competitors for the United States Sports controversies Winners of men's major golf championships Arizona State Sun Devils men's golfers Left-handed golfers World Golf Hall of Fame inductees Golfers from Scottsdale, Arizona Golfers from San Diego American people of Italian descent American people of Portuguese descent American people of Swedish descent 1970 births Living people	true	[ "Arend Donselaar \"Don\" Lubbers (born July 23, 1931) was president of Grand Valley State University (and predecessor Grand Valley State College) from 1969 to 2001. He was the second president of Grand Valley, serving after James Zumberge and before Mark Murray. He currently holds the title of President Emeritus. Most of the university's growth came during his tenure.\n\nEarly life\nLubbers graduated from Hope College, where his father Irwin Lubbers was president, and received his master's degree from Rutgers University in 1956.\n\nHe taught at Wittenberg University .\n\nHe served as president of Central College in Pella, Iowa, until he became Grand Valley's president.\n\nGrand Valley State University\nLubbers became president of what was then Grand Valley State College at the age of 37, making him one of the nation's youngest university presidents.\n\nThe university expanded from a small cluster of colleges to Michigan's fastest growing university.\n\nLubbers Stadium on the Allendale Campus is named for him.\n\nWhen he retired in 2001, Lubbers was the longest serving state university leader in the country.\n\nReferences\n\nGrand Valley History page\nRetirement press release\n\nPresidents of Grand Valley State University\nLiving people\n1931 births\nCentral College (Iowa) people\nHope College alumni\nWittenberg University", "Thomas Crouch (1607 – August 1679) was an English academic and politician who sat in the House of Commons from 1660 to 1679.\n\nCrouch was the son of Thomas Crouch of Letchworth, Hertfordshire and was baptised in St Bartholomew's Church Layston on 18 October 1607. He was educated at Eton College and was admitted as a scholar to King's College, Cambridge on 26 June 1626. He was awarded BA in 1630 and MA in 1633. He was a Fellow of King's College from 1629 to 1650, when he was ejected. In 1643, he was proctor, and held the post again from 1649 to 1650. He migrated to Trinity Hall, Cambridge where he resided as Fellow.\n\nIn 1660, Crouch was elected Member of Parliament for Cambridge University in the Convention Parliament. he was re-elected in 1661 for the Cavalier Parliament and sat until 1679. \n \nCrouch died at the age of 71 and was buried on 30 August 1679 in King's College Chapel where there is a monument. This reads in Latin \n\nAperiet Deus tumulos ; et educet\nNos de sepulchris.\nQualis eram, dies isthaec cum\nVenerit, scies.\n\n(God will open up the graves, and lead us from our sepulchres. What manner of man I was, you will know, when that day\ncomes)\n\nReferences\n\n1607 births\n1679 deaths\nMembers of the pre-1707 Parliament of England for the University of Cambridge\nAlumni of King's College, Cambridge\nPeople educated at Eton College\nFellows of Trinity Hall, Cambridge\nFellows of King's College, Cambridge\nEnglish MPs 1661–1679\nEnglish MPs 1660" ]
[ "Phil Mickelson", "College golf", "which college did he play for", "Arizona State University", "who did he play with", "I don't know.", "what did he do after college", "his first PGA Tour event,", "what did he win in college", "Over the course of his collegiate career, he won 16 tournaments.", "what hand did he use ro play golf", "left-handed swing", "what age was he during college", "At age 20, he was only the sixth amateur to win a tour event" ]	C_6362075d4d0541b19cdaa7990bdeea07_1	any notable person in the article	7	Are there any notable people in the article other than Michelson?	Phil Mickelson	Mickelson attended Arizona State University in Tempe on a golf scholarship and became the face of amateur golf in the United States, capturing three NCAA individual championships and three Haskins Awards (1990, 1991, 1992) as the outstanding collegiate golfer. With three individual NCAA championships, he shares the record for most individual NCAA championships alongside Ben Crenshaw. Mickelson also led the Sun Devils to the NCAA team title in 1990. Over the course of his collegiate career, he won 16 tournaments. Mickelson was the second collegiate golfer to earn first-team All-American honors all four years. In 1990, he also became the first with a left-handed swing to win the U.S. Amateur title. Mickelson secured perhaps his greatest achievement as an amateur in January 1991, winning his first PGA Tour event, the Northern Telecom Open, in Tucson. At age 20, he was only the sixth amateur to win a tour event and the first in over five years after Scott Verplank at the Western Open in August 1985. Other players to accomplish this feat include Doug Sanders (1956 Canadian Open) and Gene Littler (1954 San Diego Open). With five holes remaining, Mickelson led by a stroke, but made a triple-bogey and was then three behind. The leaders ahead of him then stumbled, and he birdied 16 and 18 to win by a stroke. To date, it is the most recent win by an amateur at a PGA Tour event. That April, Mickelson was the low amateur at the Masters Tournament in Augusta, Georgia. With his two-year PGA Tour exemption from the Tucson win, he played in several tour events in 1992 while an amateur but failed to make a cut. CANNOTANSWER	Scott Verplank	Philip Alfred Mickelson (born June 16, 1970), nicknamed Phil the Thrill, is an American professional golfer. He has won 45 events on the PGA Tour, including six major championships: three Masters titles (2004, 2006, 2010), two PGA Championships (2005, 2021), and one Open Championship (2013). With his win at the 2021 PGA Championship, Mickelson became the oldest major championship winner in history at the age of 50 years, 11 months and 7 days old. Mickelson is one of 17 players in the history of golf to win at least three of the four majors. He has won every major except the U.S. Open, in which he has finished runner-up a record six times. Mickelson has spent more than 25 consecutive years in the top 50 of the Official World Golf Ranking. He has spent over 700 weeks in the top 10, has reached a career-high world ranking of No. 2 several times and is a life member of the PGA Tour. Although naturally right-handed, he is known for his left-handed swing, having learned it by mirroring his right-handed father's swing. He was inducted into the World Golf Hall of Fame in 2012. Early life and family Philip Alfred Mickelson was born on June 16, 1970, in San Diego, California, to parents Philip Mickelson, an airline pilot and former naval aviator, and Mary Santos. He was raised there and in Scottsdale, Arizona. Mickelson has Portuguese, Swedish, and Sicilian ancestry. His maternal grandfather, Alfred Santos (also Mickelson's middle name) was a caddie at Pebble Beach Golf Links and took Phil to play golf as a child. Although otherwise right-handed, he played golf left-handed since he learned by watching his right-handed father swing, mirroring his style. Mickelson began golf under his father's instruction before starting school. Phil Sr.'s work schedule as a commercial pilot allowed them to play together several times a week and young Phil honed his creative short game on an extensive practice area in their San Diego backyard. Mickelson graduated from the University of San Diego High School in 1988. College golf Mickelson attended Arizona State University in Tempe on a golf scholarship and became the face of amateur golf in the United States, capturing three NCAA individual championships and three Haskins Awards (1990, 1991, 1992) as the outstanding collegiate golfer. With three individual NCAA championships, he shares the record for most individual NCAA championships alongside Ben Crenshaw. Mickelson also led the Sun Devils to the NCAA team title in 1990. Over the course of his collegiate career, he won 16 tournaments. Mickelson was the second collegiate golfer to earn first-team All-American honors all four years. In 1990, he also became the first with a left-handed swing to win the U.S. Amateur title, defeating high school teammate Manny Zerman 5 and 4 in the 36-hole final at Cherry Hills, south of Denver. Mickelson secured perhaps his greatest achievement as an amateur in January 1991, winning his first PGA Tour event, the Northern Telecom Open, in Tucson, making him one of the few golfers to win a PGA Tour event as an amateur in the history of the PGA Tour. At age 20, he was only the sixth amateur to win a tour event and the first in over five years after Scott Verplank at the Western Open in August 1985. Other players to accomplish this feat include Doug Sanders (1956 Canadian Open) and Gene Littler (1954 San Diego Open). With five holes remaining, Mickelson led by a stroke, but made a triple-bogey and was then three behind. The leaders ahead of him then stumbled, and he birdied 16 and 18 to win by a stroke. To date, it is the most recent win by an amateur at a PGA Tour event. That April, Mickelson was the low amateur at the Masters Tournament in Augusta, Georgia. With his two-year PGA Tour exemption from the Tucson win, he played in several tour events in 1992 while an amateur but failed to make a cut. Professional career 1992–2003: Trying for first major win Mickelson graduated from ASU in June 1992 and quickly turned professional. He bypassed the tour's qualifying process (Q-School) because of his 1991 win in Tucson, which earned him a two-year exemption. In 1992, Mickelson hired Jim "Bones" Mackay as his caddy. He won many PGA Tour tournaments during this period, including the Byron Nelson Golf Classic and the World Series of Golf in 1996, the AT&T Pebble Beach National Pro-Am in 1998, the Colonial National Invitation in 2000 and the Greater Hartford Open in 2001 and again in 2002. He appeared as himself in a non-speaking role in the 1996 film Tin Cup, starring Kevin Costner. His 2000 Buick Invitational win ended Tiger Woods's streak of six consecutive victories on the PGA Tour. After the win, Mickelson said, "I didn't want to be the bad guy. I wasn't trying to end the streak per se. I was just trying to win the golf tournament." Although he had performed very well in the majors up to the end of the 2003 season (17 top-ten finishes, and six second- or third-place finishes between 1999 and 2003), Mickelson's inability to win any of them led to him frequently being described as the "best player never to win a major". 2004–2006: First three major wins Mickelson's first major championship win came in his thirteenth year on the PGA Tour in 2004, when he secured victory in the Masters with an birdie putt on the final hole. Ernie Els was the runner-up at a stroke back; the two played in different pairs in the final round and had traded birdies and eagles on the back nine. In addition to getting the "majors monkey" off his back, Mickelson was now only the third golfer with a left-handed swing to win a major, the others being New Zealander Sir Bob Charles, who won The Open Championship in 1963, and Canadian Mike Weir, who won The Masters in 2003. (Like Mickelson, Weir is a right-hander who plays left-handed.) A fourth left-handed winner is natural southpaw Bubba Watson, the Masters champion in 2012 and 2014. Prior to the Ryder Cup in 2004, Mickelson was dropped from his long-standing contract with Titleist/Acushnet Golf, after an incident when he left a voicemail message for a Callaway Golf executive. In it, he praised their driver and golf ball, and thanked them for their help in getting some equipment for his brother. This memo was played to all of their salesmen, and eventually found its way back to Titleist. He was then let out of his multi-year deal with Titleist 16 months early, and signed on with Callaway Golf, his current equipment sponsor. He endured a great deal of ridicule and scrutiny from the press and fellow Ryder Cup members for his equipment change so close to the Ryder Cup matches. He faltered at the 2004 Ryder Cup with a record, but refused to blame the sudden change in equipment or his practice methods for his performance. In November 2004, Mickelson tallied his career-low for an 18-hole round: a 59 at the PGA Grand Slam of Golf at Poipu Bay Golf Course in Hawaii. The following year, Mickelson captured his second major at the PGA Championship at Baltusrol, in a Monday final-round conclusion that had been forced by inclement weather the previous day. On the 18th hole, Mickelson hit one of his trademark soft pitches from deep greenside rough to within of the cup, and made his birdie to finish at a 4-under-par total of 276, one shot ahead of Steve Elkington and Thomas Bjørn. Mickelson captured his third major title the following spring at the Masters. He won his second green jacket after shooting a 3-under-par final round, winning by two strokes over runner-up Tim Clark. This win propelled him to 2nd place in the Official World Golf Ranking (his career best), behind Woods, and ahead of Vijay Singh and Retief Goosen. 2006: Collapse on final hole at the U.S. Open After winning two majors in a row heading into the U.S. Open at Winged Foot, Mickelson was bidding to join Ben Hogan and Tiger Woods as the only players to win three consecutive majors (not necessarily in the same calendar year). Mickelson was the joint leader going into the final round, but he was part of a wild finish to the tournament, in which he made major mistakes on the final hole and ended up in a tie for second place at +6 (286), one shot behind Geoff Ogilvy. Mickelson bogeyed the 16th hole. On the 17th hole, with the lead at +4, he missed the fairway to the left, and his drive finished inside a garbage can, from which he was granted a free drop; he parred the hole. He had a one-shot lead and was in the last group going into the final hole. Needing a par on the 18th hole for a one-shot victory, Mickelson continued with his aggressive style of play and chose to hit a driver off the tee; he hit his shot well left of the fairway (he had hit only two of thirteen fairways previously in the round). The ball bounced off a corporate hospitality tent and settled in an area of trampled-down grass that was enclosed with trees. He decided to go for the green with his second shot, rather than play it safe and pitch out into the fairway. His ball then hit a tree, and did not advance more than . His next shot plugged into the left greenside bunker. He was unable to get up and down from there, resulting in a double bogey, and costing him a chance of winning the championship outright or getting into an 18-hole playoff with Ogilvy. After his disappointing finish, Mickelson said: "I'm still in shock. I still can't believe I did that. This one hurts more than any tournament because I had it won. Congratulations to Geoff Ogilvy on some great play. I want to thank all the people that supported me. The only thing I can say is I'm sorry." He was even more candid when he said: "I just can't believe I did that. I'm such an idiot." 2006–2008 During the third round of the 2006 Ford Championship at Doral, Mickelson gave a spectator $200 after his wayward tee shot at the par-5 10th broke the man's watch. Mickelson also has shown other signs of appreciation. In 2007 after hearing the story of retired NFL player, Conrad Dobler, and his family on ESPN explaining their struggles to pay medical bills, Mickelson volunteered to pay tuition for Holli Dobler, Conrad Dobler's daughter, at Miami University in Oxford, Ohio. Frustrated with his driving accuracy, Mickelson made the decision in April 2007 to leave longtime swing coach, Rick Smith. He then began working with Butch Harmon, a former coach of Tiger Woods and Greg Norman. On May 13, Mickelson came from a stroke back on the final round to shoot a three-under 69 to win The Players Championship with an 11-under-par 277. In the U.S. Open at Oakmont in June, Mickelson missed the cut (by a stroke) for the first time in 31 majors after shooting 11 over par for 36 holes. He had been hampered by a wrist injury that was incurred while practicing in the thick rough at Oakmont a few weeks before the tournament. On September 3, 2007, Mickelson won the Deutsche Bank Championship, which is the second FedEx Cup playoff event. On the final day, he was paired with Tiger Woods, who ended up finishing two strokes behind Mickelson in a tie for second. It was the first time that Mickelson was able to beat Woods while the two stars were paired together on the final day of a tournament. The next day Mickelson announced that he would not be competing in the third FedEx Cup playoff event. The day before his withdrawal, Mickelson said during a television interview that PGA Tour Commissioner, Tim Finchem, had not responded to advice he had given him on undisclosed issues. In 2008, Mickelson won the Crowne Plaza Invitational at Colonial with a −14, one shot ahead of Tim Clark and Rod Pampling. Mickelson shot a first-round 65 to start off the tournament at −5. He ended the day tied with Brett Wetterich, two shots behind leader, Johnson Wagner. Mickelson shot a second-round 68, and the third round 65, overall, being −12 for the first three rounds. On the final hole, after an absolutely horrendous tee shot, he was in thick rough with trees in his way. Many players would have punched out, and taken their chances at making par from the fairway with a good wedge shot. Instead, he pulled out a high-lofted wedge and hit his approach shot over a tree, landing on the green where he one-putted for the win. In a Men's Vogue article, Mickelson recounted his effort to lose with the help of trainer Sean Cochran. "Once the younger players started to come on tour, he realized that he had to start working out to maintain longevity in his career," Cochran said. Mickelson's regimen consisted of increasing flexibility and power, eating five smaller meals a day, aerobic training, and carrying his own golf bag. Mickelson was inducted into the National Italian American Sports Hall of Fame in 2008. 2009 Mickelson won his first 2009 tour event when he defended his title at the Northern Trust Open at Riviera, one stroke ahead of Steve Stricker. The victory was Mickelson's 35th on tour; he surpassed Vijay Singh for second place on the current PGA Tour wins list. A month later, he won his 36th, and his first World Golf Championship, at the WGC-CA Championship with a one-stroke win over Nick Watney. On May 20, it was announced that his wife Amy was diagnosed with breast cancer, and Mickelson announced that he would suspend his PGA Tour schedule indefinitely. She would begin treatment with major surgery as early as the following two weeks. Mickelson was scheduled to play the HP Byron Nelson Championship May 21–24, and to defend his title May 28–31 at the Crowne Plaza Invitational at Colonial, but withdrew from both events. During the final round of the 2009 BMW PGA Championship, fellow golfer and family friend John Daly wore bright pink trousers in support of Mickelson's wife. Also, the next Saturday, at the Crowne Plaza Invitational at Colonial, a "Pink Out" event was hosted, and the PGA Tour players all wore pink that day, to support the Mickelson family. On May 31, Mickelson announced that he would return to play on the PGA Tour in June at the St. Jude Classic and the U.S. Open, since he had heard from the doctors treating his wife that her cancer had been detected in an early stage. Mickelson shot a final round 70 at the 2009 U.S. Open and recorded his fifth runner-up finish at the U.S. Open. He shared the lead after an eagle at the 13th hole, but fell back with bogeys on 15 and 17; Lucas Glover captured the championship. On July 6, it was announced that his mother Mary was diagnosed with breast cancer and would have surgery at the same hospital where his wife was treated. After hearing the news that his mother had been diagnosed with breast cancer, Mickelson took another leave of absence from the tour, missing The Open Championship at Turnberry. On July 28, Mickelson announced he would return in August at the WGC-Bridgestone Invitational, the week before the PGA Championship at Hazeltine National Golf Club in Chaska, Minnesota. In September, Mickelson won The Tour Championship for the second time in his career. He entered the final round four strokes off the lead, but shot a final round 65 to win the event by three strokes over Tiger Woods. With the win, Mickelson finished the season second behind Woods in the 2009 FedEx Cup standings. On November 8, Mickelson won the WGC-HSBC Champions by one shot over Ernie Els in Shanghai. 2010: Third Masters win In 2010, Mickelson won the Masters Tournament on April 11 with a 16-under-par performance, giving him a three-stroke win over Lee Westwood. The win marked the third Masters victory for Mickelson and his fourth major championship overall. Critical to Mickelson's win was a dramatic run in the third round on Saturday in which Mickelson, trailing leader Westwood by five strokes as he prepared his approach shot to the 13th green, proceeded to make eagle, then to hole-out for eagle from 141 yards at the next hole, the par 4 14th, then on the next, the par 5 15th, to miss eagle from 81 yards by mere inches. After tapping in for birdie at 15, Mickelson, at −12, led Westwood, at −11, who had bogeyed hole 12 and failed to capitalize on the par 5 13th, settling for par. Westwood recaptured a one-stroke lead by the end of the round, but the momentum carried forward for Mickelson into round 4, where he posted a bogey-free 67 to Westwood's 71. No other pursuer was able to keep pace to the end, though K. J. Choi and Anthony Kim made notable charges. For good measure, Mickelson birdied the final hole and memorably greeted his waiting wife, Amy, with a prolonged hug and kiss. For many fans, Mickelson's finish in the tournament was especially poignant, given that Amy had been suffering from breast cancer during the preceding year. Mary Mickelson, Phil's mother, was also dealing with cancer. CBS Sports announcer Jim Nantz's call of the final birdie putt, "That's a win for the family," was seen by many as capturing the moment well. Tiger Woods had a dramatic return to competitive play after a scandal-ridden 20-week absence; he was in close contention throughout for the lead and finished tied with Choi for 4th at −11. Mickelson and others showed exciting play over the weekend, and the 2010 Masters had strong television ratings in the United States, ranking third all-time to Woods's historic wins in 1997 and 2001. Mickelson's win left him second only to Woods in major championships among his competitive contemporaries, moving him ahead of Ernie Els, Vijay Singh and Pádraig Harrington, with three major championships each and each, like Mickelson, with dozens of worldwide wins. Remainder of 2010 Mickelson, one of the favorites for the U.S. Open at Pebble Beach, shot 75 and 66 on Thursday and Friday to sit two shots off the lead. However, two weekend scores of 73 gave him a T4 finish. During the remainder of the 2010 season, Mickelson had multiple opportunities to become the number one player in the world rankings following the travails of Tiger Woods. However, a string of disappointing finishes by Mickelson saw the number one spot eventually go to Englishman Lee Westwood. In the days leading up to the PGA Championship at Whistling Straits (near Kohler, Wisconsin), Mickelson announced he had been diagnosed with psoriatic arthritis. He added that he had started medical treatment, and had become a vegetarian in hopes of aiding his recovery. He maintains that both his short- and long-term prognosis are good, that the condition should have no long-term effect on his golfing career, and that he currently feels well. He also stated that the arthritis may go into permanent remission after one year of medical treatment. He went on to finish the championship T12, five shots behind winner Martin Kaymer. 2011 Mickelson started his 2011 season at the Farmers Insurance Open at Torrey Pines Golf Course. He shot and was tied for the 54 hole lead with Bill Haas. Mickelson needed to hole out on the 18th hole for eagle from 74 yards to force a playoff with Bubba Watson. He hit it to 4 feet and Watson won the tournament. On April 3, Mickelson won the Shell Houston Open with a 20-under-par, three-stroke win over Scott Verplank. Mickelson rose to No. 3 in the world ranking, while Tiger Woods fell to No. 7. Mickelson had not been ranked above Woods since the week prior to the 1997 Masters Tournament. At The Open Championship, Mickelson recorded just his second top-ten finish in 18 tournaments by tying for second with Dustin Johnson. His front nine 30 put him briefly in a tie for the lead with eventual champion Darren Clarke. However, some putting problems caused him to fade from contention toward the end, to finish in a tie for second place. 2012: 40th career PGA Tour win Mickelson made his 2012 debut at the Humana Challenge and finished tied for 49th. He missed the cut at the Farmers Insurance Open after shooting rounds of 77 and 68. In the final round of the AT&T Pebble Beach National Pro-Am, Mickelson rallied from six shots back, winning the tournament by two strokes with a final-round score of 8-under 64 and a four-round total of 269. The win marked his 40th career victory on the PGA Tour. The following week at Riviera Country Club, Mickelson lost the Northern Trust Open in a three-way playoff. He had held the lead or a share of it from day one until the back nine on Sunday when Bill Haas posted the clubhouse lead at seven under par. Mickelson holed a 27-foot birdie putt on the final regulation hole to force a playoff alongside Haas and Keegan Bradley. Haas however won the playoff with a 40-foot birdie putt on the second playoff hole. The second-place finish moved Mickelson back into the world's top 10. Mickelson finished tied for third at the Masters. After opening the tournament with a two-over-par 74, he shot 68–66 in the next two rounds and ended up one stroke behind leader Peter Hanson by Saturday night. Mickelson had a poor start to his fourth round, scoring a triple-bogey when he hit his ball far to the left of the green on the par-3 4th hole, hitting the stand and landing in a bamboo plant. This ended up being Mickelson's only score over par in the whole round, and he ended with a score of eight-under overall. Earlier in the tournament he had received widespread praise for being present to watch Jack Nicklaus, Arnold Palmer, and Gary Player hit the ceremonial opening tee-shots, nearly seven hours before Mickelson's own tee time. Mickelson made a charge during the final round at the HP Byron Nelson Championship, but bogeyed the 17th and 18th, finishing T-7th. He then withdrew from the Memorial Tournament, citing mental fatigue, after a first-round 79. He was to be paired with Tiger Woods and Bubba Watson at the U.S. Open. He fought to make the cut in the U.S. Open, and finished T-65th. After taking a couple of weeks off, he played in the Greenbrier Classic. Putting problems meant a second straight missed cut at the Greenbrier and a third missed cut at 2012 Open Championship, shooting 73-78 (11 over par). He finished T-43rd at the WGC-Bridgestone Invitational. He then finished T-36th at the PGA Championship. To start the 2012 FedEx Cup Playoffs, Mickelson finished T38 at The Barclays, +1 for the tournament. He tied with Tiger Woods, Zach Johnson, and five other players. In this tournament, he started using the claw putting grip on the greens. At the next event, the Deutsche Bank Championship, he finished the tournament with a −14, tied for 4th with Dustin Johnson. At the BMW Championship, Mickelson posted a −16 for the first three rounds, one of those rounds being a −8, 64. On the final day, Mickelson shot a −2, 70, to finish tied for 2nd, with Lee Westwood, two shots behind leader, and back-to-back winner, Rory McIlroy. At the Tour Championship, he ended up finishing tied for 15th. He went on to have a 3–1 record at the Ryder Cup; however, the USA team lost the event. 2013 Mickelson began the 2013 season in January by playing in the Humana Challenge, where he finished T37 at −17. His next event was the following week in his home event near San Diego at the Farmers Insurance Open. Mickelson endured a disappointing tournament, finishing T51, shooting all four rounds in the 70s. In the first round of the Waste Management Phoenix Open, Mickelson tied his career-low round of 60. He made seven birdies in his first nine holes and needed a birdie on the 18th hole to equal the PGA Tour record of 59. However, his 25-foot birdie putt on the final hole lipped out, resulting in him missing out by a single shot on making only the sixth round of 59 in PGA Tour history. Mickelson led the tournament wire-to-wire and completed a four-shot win over Brandt Snedeker for his 41st PGA Tour victory and 3rd Phoenix Open title. Mickelson's score of 28-under-par tied Mark Calcavecchia's tournament scoring record. He also moved back inside the world's top 10 after falling down as far as number 22. Sixth runner-up finish at the U.S. Open At the U.S. Open at Merion, Mickelson entered the final round leading by one stroke after rounds of over the first three days, but he started the final round by three-putting the 3rd and 5th holes for double-bogeys to fall out of the lead. He regained the lead at the par-four 10th, when he holed his second shot from the rough for an eagle. However, a misjudgment at the short par three 13th saw him fly the green and make a bogey to slip one behind leader Justin Rose. Another bogey followed at the 15th, before narrowly missing a birdie putt on the 16th that would have tied Rose. Mickelson could not make a birdie at the 17th and after a blocked drive on the 18th, he could not hole his pitch from short of the green, which led to a final bogey. Mickelson ended up finishing tied for second with Jason Day, two strokes behind Justin Rose. It was the sixth runner-up finish of Mickelson's career at the U.S. Open, an event record and only behind Jack Nicklaus's seven runner-up finishes at The Open Championship. After the event, Mickelson called the loss heartbreaking and said "this is tough to swallow after coming so close ... I felt like this was as good an opportunity I could ask for and to not get it ... it hurts." It was also Father's Day, which happened to be his birthday. Fifth major title at the Open Championship The week before The Open Championship, Mickelson warmed up for the event by winning his first tournament on British soil at the Scottish Open on July 14, after a sudden-death playoff against Branden Grace. After this victory, Mickelson spoke of his confidence ahead of his participation in the following week's major championship. Mickelson said: "I've never felt more excited going into The Open. I don't think there's a better way to get ready for a major than playing well the week before and getting into contention. Coming out on top just gives me more confidence." The following week, Mickelson won his fifth major title on July 21 at the Open Championship (often referred to as the British Open) Muirfield Golf Links in Scotland; the Open Championship is the oldest of the four major tournaments in professional golf. This was the first time in history that anyone had won both the Scottish Open and The Open Championship in the same year. Mickelson birdied four of the last six holes in a brilliant final round of 66 to win the title by three strokes. He shed tears on the 18th green after completing his round. Mickelson later said: "I played arguably the best round of my career, and shot the round of my life. The range of emotions I feel are as far apart as possible after losing the U.S. Open. But you have to be resilient in this game." In an interview before the 2015 Open, Mickelson said, "Two years removed from that win, I still can't believe how much it means to me." 2014 and 2015: Inconsistent form and close calls in majors Mickelson missed the cut at the Masters for the first time since 1997. He failed to contend at the U.S. Open at Pinehurst in his first bid to complete the career grand slam. Mickelson's lone top-10 of the PGA Tour season came at the year's final major, the PGA Championship at Valhalla. Mickelson shot rounds of 69-67-67-66 to finish solo second, one shot behind world number one Rory McIlroy. Prior to the 2015 Masters, Mickelson's best finish in 2015 was a tie for 17th. At the Masters, Mickelson shot rounds of to finish tied for second with Justin Rose, four shots behind champion Jordan Spieth. The second-place finish was Mickelson's tenth such finish in a major, placing him second all-time only to Jack Nicklaus in that regard. At The Open Championship, Mickelson shot rounds of and was eight shots behind, outside the top forty. In the final round, Mickelson birdied the 15th hole to move to 10 under and within two of the lead. After a missed birdie putt on 16, Mickelson hit his drive on the infamous Road Hole (17th) at the famed Old Course at St Andrews onto a second-floor balcony of the Old Course Hotel. The out-of-bounds drive lead to a triple-bogey 7 that sent Mickelson tumbling out of contention. Later in the year, it was announced that Mickelson would leave longtime swing coach Butch Harmon, feeling as though he needed to hear a new perspective on things. 2016: New swing coach After leaving Butch Harmon, Mickelson hired Andrew Getson of Grayhawk Golf Club in Scottsdale, Arizona, to serve as his new swing coach. The two worked together heavily in the 2015 offseason to get Mickelson's swing back. Under Getson's guidance, Mickelson made his 2016 debut at the CareerBuilder Challenge. He shot rounds of to finish in a tie for third place at 21-under-par. It was only Mickelson's fifth top-five finish since his win at the 2013 Open Championship. The third-place finish was Mickelson's highest finish in his first worldwide start of a calendar year since he won the same event to begin the 2004 season. At the AT&T Pebble Beach Pro-Am, Mickelson shot rounds of to finish in solo second place, a shot behind Vaughn Taylor. Mickelson lipped out a five-foot birdie putt to force a playoff on the 72nd hole. He entered the final round with a two-stroke lead, his first 54-hole lead since the 2013 U.S. Open and was seeking to end a winless drought dating back 52 worldwide events to the 2013 Open Championship. Mickelson shot a 63 in the opening round of The Open Championship at Royal Troon. The round set a new course record and matched the previous major championship record for lowest round. Mickelson had a birdie putt that narrowly missed on the final hole to set a new major championship scoring record of 62. He followed this up with a 69 in the second round for a 10 under par total and a one-shot lead over Henrik Stenson going into the weekend. In the third round, Mickelson shot a one-under 70 for a total of 11 under par to enter the final round one shot back of Stenson. Despite Mickelson's bogey-free 65 in the final round, Stenson shot 63 to win by three shots. Mickelson finished 11 strokes clear of 3rd place, a major championship record for a runner-up. Mickelson's 267 total set a record score for a runner-up in the British Open, and only trails Mickelson's 266 at the 2001 PGA Championship as the lowest total by a runner-up in major championship history. 2017: Recovery from surgeries In the fall of 2016, Mickelson had two sports hernia surgeries. Those in the golf community expected him to miss much time recovering, however his unexpected return at the CareerBuilder Challenge was a triumphant one, leading to a T-21 finish. The next week, in San Diego, he narrowly missed an eagle putt on the 18th hole on Sunday that would've got him to 8-under par instead posting −7 to finish T14 at the Farmers Insurance Open. The following week, at the Waste Management Phoenix Open, which he has won three times, he surged into contention following a Saturday 65. He played his first nine holes in 4-under 32 and sending his name to the top of the leaderboard. However, his charge faltered with bogeys at 11, 12, 14, 15, and a double bogey at the driveable 17th hole. He stumbled with a final round 71, still earning a T-16 finish, for his sixth straight top-25 finish on tour. Mickelson came close to winning again at the FedEx St. Jude Classic where he had finished in second place the previous year to Daniel Berger. He started the final round four strokes behind leaders but he quickly played himself into contention. Following a birdie at the 10th hole he vaulted to the top of leaderboard but found trouble on the 12th hole. His tee shot carried out of bounds and his fourth shot hit the water so he had to make a long putt to salvage triple-bogey. He managed to get one shot back but he finished three shots behind winner Berger, in ninth place, for the second straight year. Two weeks later he withdrew from the U.S. Open to attend his daughter's high school graduation. A week later his longtime caddie Jim (Bones) Mackay left Mickelson in a mutual agreement. Mickelson then missed the cut at both The Open Championship and the PGA Championship. On September 6, days after posting his best finish of the season of T6 at the Dell Technologies Championship, Mickelson was named as a captain's pick for the Presidents Cup. This maintained a streak of 23 consecutive USA teams in the Presidents Cup and Ryder Cup, dating back to 1994. 2018–2019: Winless streak ends On March 4, 2018, Mickelson ended a winless drought that dated back to 2013, by capturing his third WGC championship at the WGC-Mexico Championship, with a final-round score of 66 and a total score of −16. Mickelson birdied two of his last four holes and had a lengthy putt to win outright on the 72nd hole, but tied with Justin Thomas. He defeated Thomas on the first extra hole of a sudden-death playoff with a par. After Thomas had flown the green, Mickelson had a birdie to win the playoff which lipped out. Thomas however could not get up and down for par, meaning Mickelson claimed the championship. The win was Mickelson's 43rd on the PGA Tour and his first since winning the 2013 Open Championship. He also became the oldest winner of a WGC event, at age 47. In the third round of the 2018 U.S. Open, Mickelson incurred a two-stroke penalty in a controversial incident on the 13th hole when he hit his ball with intent while it was still moving. He ended up shooting 81 (+11). His former coach Butch Harmon thought Mickelson should have been disqualified. Mickelson was a captain's pick for Team USA at the 2018 Ryder Cup, held in Paris between September 28 and 30. Paired with Bryson DeChambeau in the Friday afternoon foursomes, they lost 5 and 4 to Europe's Sergio García and Alex Norén. In the Sunday singles match, Mickelson lost 4 and 2 to Francesco Molinari, as Team USA slumped to a 17.5 to 10.5 defeat. On November 23, 2018, Mickelson won the pay-per-view event, Capital One's The Match. This was a $9,000,000 winner-takes-all match against Tiger Woods at Shadow Creek Golf Course in Las Vegas. Mickelson needed four extra holes to beat Woods, which he did by holing a four-foot putt after Woods missed a seven-foot putt on the 22nd hole. In his third start of the 2019 calendar year, Mickelson won the AT&T Pebble Beach Pro-Am, shooting a bogey-free final round 65 to defeat Paul Casey by three strokes. The win was Mickelson's 44th career title on the PGA Tour, and his fifth at Pebble Beach, tying Mark O'Meara for most victories in the event. At 48 years of age, he also became the oldest winner of that event. 2020: PGA Tour season and PGA Tour Champions debut In December 2019, Mickelson announced via Twitter that "after turning down opportunities to go to the Middle East for many years" he would play in the 2020 Saudi International tournament on the European Tour and would miss Waste Management Phoenix Open for the first time since 1989. However, his decision to visit and play in Saudi Arabia was criticized for getting lured by millions of dollars and ignoring the continuous human rights abuses in the nation. Mickelson went on to finish the February 2020 event tied for third. Mickelson finished 3rd at the 2020 AT&T Pebble Beach Pro-Am and tied for 2nd in the WGC-FedEx St. Jude Invitational. Mickelson was the first player over 50 to finish in the top five of a World Golf Championship event. He was ultimately eliminated from the FedEx Cup Playoffs following The Northern Trust at TPC Boston in August 2020. One week later, Mickelson made his debut on the PGA Tour Champions. He won the Charles Schwab Series at Ozarks National in his first tournament after becoming eligible for PGA Tour Champions on his 50th birthday on June 16, 2020. He was the 20th player to win their debut tournament on tour. Mickelson's 191 stroke total tied the PGA Tour Champions all-time record for a three-day event. In October 2020, Mickelson won the Dominion Energy Charity Classic in Virginia. It was his second win in as many starts on the PGA Tour Champions. 2021: The oldest major champion In February 2021, Mickelson was attempting to become the first player in PGA Tour Champions history to win his first three tournaments on tour. However, he fell short in the Cologuard Classic, finishing in a T-20 position with a score of 4 under par. In May 2021, Mickelson held the 54-hole lead at the PGA Championship at the Kiawah Island Golf Resort in South Carolina, leading Brooks Koepka by one shot with one day to play. He shot a final-round 73 to capture the tournament, defeating Koepka and Louis Oosthuizen by two strokes, becoming the oldest major champion; at 50. As Mickelson walked down the fairway following an excellent second shot from the left rough on the 18th hole, thousands of fans engulfed him, with him walking towards the hole constantly tipping his hat and giving the thumbs up to the crowd as they cheered. However, the massive tumult of people meant playing partner Brooks Koepka was stranded in the sea of people, and with difficulties, he managed to reach the green to finish the hole. Mickelson eventually emerged from the crowd and two-putted for par, finishing the tournament at 6-under, besting the field by two strokes. In October 2021, Mickelson won for the third time in four career starts on the PGA Tour Champions. Mickelson shot a final round 4-under-par 68 to win the inaugural Constellation Furyk & Friends over Miguel Ángel Jiménez in Jacksonville, Florida. In November 2021, Mickelson won the season-ending Charles Schwab Cup Championship in Phoenix, Arizona, with a final round six-under par 65. This victory was Mickelson's fourth win in six career starts on PGA Tour Champions. 2022: Saudi Arabia controversy Mickelson admitted in an interview to overlooking Saudi Arabian human rights violations, including the murder of journalist Jamal Khashoggi and execution of LGBTQ+ individuals, to support the Saudi-backed Super Golf League because it offered an opportunity to reshape the PGA Tour. In response to these comments, Mickelson lost multiple longtime sponsors including Callaway Golf and KPMG. Mickelson announced he would be stepping away from golf to spend time with his family. Playing style As a competitor, Mickelson's playing style is described by many as "aggressive" and highly social. His strategy toward difficult shots (bad lies, obstructions) would tend to be considered risky. Mickelson has also been characterized by his powerful and sometimes inaccurate driver, but his excellent short game draws the most positive reviews, most of all his daring "Phil flop" shot in which a big swing with a high-lofted wedge against a tight lie flies a ball high into the air for a short distance. Mickelson is usually in the top 10 in scoring, and he led the PGA Tour in birdie average as recently as 2013. Earnings and endorsements Although ranked second on the PGA Tour's all-time money list of tournament prize money won, Mickelson earns far more from endorsements than from prize money. According to one estimate of 2011 earnings (comprising salary, winnings, bonuses, endorsements and appearances) Mickelson was then the second-highest paid athlete in the United States, earning an income of over $62 million, $53 million of which came from endorsements. Major companies which Mickelson currently endorses are ExxonMobil (Mickelson and wife Amy started a teacher sponsorship fund with the company), Rolex and Mizzen+Main. He has been previously sponsored by Titleist, Bearing Point, Barclays, and Ford. After being diagnosed with psoriatic arthritis in 2010, Mickelson was treated with Enbrel and began endorsing the drug. In 2015, Forbes estimated Mickelson's annual income was $51 million. In 2022, Mickelson lost a significant number of sponsors including Callaway Golf, KPMG, Amstel Light and Workday after comments he made about the Saudi-backed golf league, Super Golf League. In an interview, he stated that Saudis are "scary motherfuckers to get involved with... We know they killed [Washington Post reporter and U.S. resident Jamal] Khashoggi and have a horrible record on human rights. They execute people over there for being gay. Knowing all of this, why would I even consider it? Because this is a once-in-a-lifetime opportunity to reshape how the PGA Tour operates." Insider trading settlement On May 30, 2014, The Wall Street Journal reported that the FBI and U.S. Securities and Exchange Commission (SEC) were investigating Mickelson and associates of his for insider trading in Clorox stock. Mickelson denied any wrongdoing, and the investigation found "no evidence" and concluded without any charges. On May 19, 2016, Mickelson was named as a relief defendant in another SEC complaint alleging insider trading but completely avoided criminal charges in a parallel case brought in the Federal District Court for the Southern District of New York. The action stems for trades in Dean Foods in 2012 in conjunction with confidential information provided by Thomas Davis, a former director of Dean Foods Company, who tipped his friend and "professional sports bettor" Billy Walters. The SEC did not allege that Walters actually told Mickelson of any material, nonpublic information about Dean Foods, and the SEC disgorged Mickelson of the $931,000 profit he had made from trading Dean Foods stock and had him pay prejudgment interest of $105,000. In 2017, Walters was convicted of making $40 million on Davis's private information from 2008 to 2014 by a federal jury. At that time, it was also noted that Mickelson had "once owed nearly $2 million in gambling debts to" Walters. Walters's lawyer said his client would appeal the 2017 verdict. Amateur wins 1980 Junior World Golf Championships (Boys 9–10) 1989 NCAA Division I Championship 1990 Pac-10 Championship, NCAA Division I Championship, U.S. Amateur, Porter Cup 1991 Western Amateur 1992 NCAA Division I Championship Professional wins (57) PGA Tour wins (45) Note: Tournament shortened to 54 holes due to weather. PGA Tour playoff record (8–4) European Tour wins (11) 1Co-sanctioned by the Asian Tour, Sunshine Tour and PGA Tour of Australasia European Tour playoff record (3–1) Challenge Tour wins (1) Other wins (4) Other playoff record (1–1) PGA Tour Champions wins (4) Major championships Wins (6) Results timeline Results not in chronological order in 2020. LA = Low amateur CUT = missed the half-way cut "T" = tied NT = No tournament due to COVID-19 pandemic Summary Most consecutive cuts made – 30 (1999 PGA – 2007 Masters) Longest streak of top-10s – 5 (2004 Masters – 2005 Masters) The Players Championship Wins (1) Results timeline CUT = missed the halfway cut "T" indicates a tie for a place C = Canceled after the first round due to the COVID-19 pandemic World Golf Championships Wins (3) Results timeline Results not in chronological order prior to 2015. 1Cancelled due to 9/11 2Cancelled due to COVID-19 pandemic QF, R16, R32, R64 = Round in which player lost in match play "T" = tied NT = No Tournament Note that the HSBC Champions did not become a WGC event until 2009. PGA Tour career summary As of 2021 season. † Mickelson won as an amateur in 1991 and therefore did not receive any prize money. U.S. national team appearances Amateur Walker Cup: 1989, 1991 (winners) Eisenhower Trophy: 1990 Professional Presidents Cup: 1994 (winners), 1996 (winners), 1998, 2000 (winners), 2003 (tie), 2005 (winners), 2007 (winners), 2009 (winners), 2011 (winners), 2013 (winners), 2015 (winners), 2017 (winners) Ryder Cup: 1995, 1997, 1999 (winners), 2002, 2004, 2006, 2008 (winners), 2010, 2012, 2014, 2016 (winners), 2018 Alfred Dunhill Cup: 1996 (winners) Wendy's 3-Tour Challenge (representing PGA Tour): 1997 (winners), 2000 (winners) World Cup: 2002 See also List of golfers with most European Tour wins List of golfers with most PGA Tour wins List of men's major championships winning golfers Monday Night Golf References External links On Course With Phil American male golfers PGA Tour golfers PGA Tour Champions golfers Ryder Cup competitors for the United States Sports controversies Winners of men's major golf championships Arizona State Sun Devils men's golfers Left-handed golfers World Golf Hall of Fame inductees Golfers from Scottsdale, Arizona Golfers from San Diego American people of Italian descent American people of Portuguese descent American people of Swedish descent 1970 births Living people	true	[ "Linguistic rights in Africa are stated in constitutions which differ by country. These constitutions usually state the national language(s) and/or official language(s), and may or may not explicitly allow for other languages in the country. Most of the linguistic rights stated here are negative rights, which grant freedom of usage of own language and prevent discrimination based on language.\n\nLinguistic rights in African constitutions\n\nAlgeria\nConstitution as adopted on 19 November 1976.\nArticle 3\nArabic is the national and official language.\nArticle 42\n(3) In respect to the provisions of the present Constitution, the political parties cannot be founded on religious, linguistic, racial, sex, corporatist or regional basis. The political parties cannot resort to partisan propaganda on the elements mentioned in the previous paragraph.\nArticle 178\n(4) Any constitutional revision cannot infringe on Arabic as the national and official language.\n\nBenin\nConstitution as adopted on 2 December 1990.\nArticle 11\nAll communities comprising the Beninese nation shall enjoy the freedom to use their spoken and written languages and to develop their own culture while respecting those of others. The state must promote the development of national languages of intercommunication.\nArticle 40\nThe state has the duty to assure the diffusion and the teaching of the Constitution, of the Universal Declaration of Human Rights of 1948, of the African Charter on Human and Peoples' Rights of 1981 as well as all of the international instruments duly ratified and relative to human rights. The state must integrate the rights of the individual into the programs of literacy and of teaching in the various scholastic and university academic cycles and into all the educational programs of the Armed Forces, of the Public Security Forces and of comparable categories. The state must equally assure the diffusion and teaching of these same rights in the national languages by all the means of mass communication, and particularly by radio and television.\n\nBotswana\nConstitution as adopted on 30 September 1966.\nArticle 5\n(2) Any person who is arrested or detained shall be informed as soon as reasonably practicable, in a language that he understands, of the reasons for his arrest or detention.\nArticle 10\nEvery person who is charged with a criminal offence—\n(b) shall be informes as soon as reasonably practicable, in a language that he or she understands and in detail, of the nature of the offence charged.\n(f) shall be permitted to have without payment the assistance of an interpreter if he or she cannot understand the language used at the trial of the charge.\nArticle 16\n(2) Where a person is detained by virtue of such an authorization as is referred to in subsection (1) of this section the following provisions shall apply—\n(a) he or she shall, as soon as reasonably practicable and in any case not more than five days after the commencement of his or her detention, be furnished with a statement in writing in a language that he or she understands specifying in detail the grounds upon which he or she is detained.\nArticle 61\nSubject to the provisions of section 62 of this Constitution, a person shall be qualified to be elected as a Member of the National Assembly if, and shall not be qualified to be so elected unless—\n(d) he or she is able to speak, and, unless incapacitated by blindness or other physical cause, to read English well enough to take an active part in the proceedings of the Assembly.\nArticle 79\n(4) Subject to the provisions of subsections (5) and (6) of this section a person shall be qualified to be elected as a Specially Elected Member of the House of Chiefs if, and shall not be qualified to be so elected unless, he—\n(c) is able to speak and, unless incapacitated by blindness or other physical cause, to read English well enough to take an active part in the proceedings of the House.\n\nBurkina Faso\nConstitution as adopted on 2 June 1991.\nArticle 1\nAll Burkinabians shall be born free and equal in rights. All have an equal vocation to enjoy all the rights and all the freedoms guaranteed by the present Constitution. Discrimination of all sorts, notably those founded on race, ethnic background, region, colour, sex, language, religion, caste, political opinions, wealth and birth, shall be prohibited.\nArticle 35\nThe official language is French. The law determines the modalities of promotion and of official designation of national languages.\n\nBurundi\nConstitution as consolidated on 18 March 2005\nArticle 10\nThe national language is Kirundi. The official languages are Kirundi and other languages determined by law.\nArticle 13\nAll Burundians are equal in merit and dignity. All citizens enjoy the same laws and are entitled to the same protection under the law. No Burundian will be excluded from the social, economic or political life of the nation because of his race, language, religion, sex or ethnic origin.\nArticle 22\nNo one can be the object of discrimination, in particular of their origin, race, ethnic group, sex, color, language, social condition, religious, philosophical or political convictions, or because of a physical or mental handicap or carrying HIV/AIDS or any other incurable disease.\n\nCameroon\nConstitution as adopted on 18 January 1996.\nArticle 1\n(3) The official languages of the Republic of Cameroon shall be English and French, both languages having the same status. The State shall guarantee the promotion of bilingualism throughout the country. It shall endeavour to protect and promote national languages.\nArticle 2\nEveryone is entitled to all the rights and freedoms set forth in this Declaration, without distinction of any kind, such as race, colour, sex, language, religion, political or other opinion, national or social origin, property, birth or other status.\nArticle 19\nEveryone has the right to freedom of opinion and expression; this right includes freedom to hold opinions without interference and to seek, receive and impart information and ideas through any media and regardless of frontiers.\n\nCape Verde\nConstitution as adopted on 25 September 1992.\nArticle 10\n(6) The State of Cape Verde shall maintain special ties of friendship and cooperation with the countries of Portuguese official language and with the receiving countries of Capeverdean migrant workers.\nArticle 22\nEvery citizen shall have equal social dignity and be equal before the law. No one shall have privilege, benefit or be injured, deprived of any right or exempted from any duty, on account of race, sex, ascendancy, language, origin, religion, social and economic conditions, or political or ideological convictions.\nArticle 23\n(3) Rights not granted to aliens and stateless persons may be recognized to the citizens of the Portuguese speaking countries, except for the access to being holders of the organs of sovereignty, the service in the Armed Forces and the diplomatic carrier.\n\nChad\nConstitution as adopted on 31 March 1996.\nArticle 9\nThe official languages are French and Arabic. The law establishes the conditions of promotion and development of the national languages.\n\nCongo\nConstitution as adopted on 15 March 1992.\nArticle 3\n(4) The official language is French.\n(5) The functional national languages are Lingala and Munukutuba.\nArticle 11\n(1) The State shall assure the equality of all citizens before the law, without discrimination of origin, social or material situation, racial, ethnic and regional origin, sex, instruction, language, attitude vis-a-vis religion and philosophy, or place of residence. It shall respect all the rights and liberties within limits compatible with public order and good mores.\nArticle 35\n(1) Citizens shall possess a right to culture and to the respect of their cultural identity. All the communities composing the Congolese Nation shall possess the freedom to use their languages and their own culture without prejudicing those of others.\nArticle 42\n(1) Every child, without a single discrimination based on race, color, sex, language, religion, national, social or ethnic origin, fortune or birth, shall have the right, on the part of his family, society, and the State to measures of protection which stem from his condition as a minor.\n\nDemocratic Republic of Congo\nConstitution as adopted on 18 February 2006.\nArticle 1\nThe official language is French. The national languages are Kikongo, Lingala, Swahili and Tshiluba. The State ensures promotion of these languages without discrimination. The State ensures the protection of any other languages of this country which are part of Congolese cultural heritage.\nArticle 18\nAny person arrested shall be informed immediately of the reasons for his arrest and of any charge against him and this, in a language he understands.\nArticle 142\nIn all cases, the Government provides broadcasting in French and in each of the four national languages within sixty days from the promulgation.\n\nDjibouti\nConstitution as adopted on 4 September 1992.\nArticle 1\nIt is guaranteed that everyone is equal before the law regardless of language, origin, race, sex or religion. All beliefs are respected.\nThe official languages are Arabic and French.\nArticle 3\nThe Republic of Djibouti is composed of all individuals recognized as members and who accept their duties regardless of language, race, sex, or religion.\nArticle 6\nPolitical parties are forbidden to identify with a [particular] race, ethnicity, gender, religion, cult, language or region.\n\nEgypt\nConstitution as adopted on 11 September 1971.\nArticle 2\nIslam is the religion of the state and Arabic its official language.\nArticle 40\nAll citizens are equal before the law. They have equal public rights and duties without discrimination between them due to race, ethnic origin, language, religion or creed.\n\nEquatorial Guinea\nConstitution as amended on 17 January 1995.\nArticle 4\nThe official language of the Republic of Equatorial Guinea shall be Spanish; aboriginal languages shall be recognized as an integral part of its national culture.\n\nEritrea\nConstitution as adopted on 23 May 1997.\nArticle 4\n(3) The equality of all Eritrean languages is guaranteed.\nArticle 14\n(2) No person may be discriminated against on account of race, ethnic origin, language, colour, gender, religion, disability, age, political view, or social or economic status or any other improper factors.\nArticle 17\n(3) Every person arrested or detained shall be informed of the grounds for his arrest or detention and of the rights he has in connection with his arrest or detention in a language he understands.\n\nEthiopia\nConstitution as adopted on 8 December 1994.\nArticle 5\n(1) All Ethiopian languages shall enjoy equal state recognition.\n(2) Amharic shall be the working language of the Federal Government.\n(3) Members of the Federation may by law determine their respective working languages.\nArticle 19\n(1) Persons arrested have the right to be informed promptly, in a language they understand, of the reasons for their arrest and of any charge against them.\n(2) Persons arrested have the right to remain silent. Upon arrest, they have the right to be informed promptly, in a language they understand, that any statement they make may be used as evidence against them in court.\nArticle 20\n(7) [Accused persons] have the right to request the assistance of an interpreter at state expense where the court proceedings are conducted in a language which they do not understand.\nArticle 25\nAll persons are equal before the law and are entitled without any discrimination to the equal protection of the law. In this respect, the law shall guarantee to all persons equal and effective protection without discrimination on grounds of race, nation, nationality, or other social origin, colour, sex, language, religion, political or other opinion, property, birth or other status.\nArticle 38\nEvery Ethiopian national, without any discrimination based on colour, race, nation, nationality, sex, language, religion, political or other opinion or other status, has the following rights: (a) To take part in the conduct of public affairs, directly and through freely chosen representatives; (b) On the attainment of 18 years of age, to vote in accordance with law; (c) To vote and to be elected at periodic elections to any office at any level of government; elections shall be by universal and equal suffrage and shall be held by secret ballot, guaranteeing the free expression of the will of the electors.\nArticle 39\n(2) Every Nation, Nationality and People in Ethiopia has the right to speak, to write and to develop its own language; to express, to develop and to promote its culture; and to preserve its history.\n(10) A \"Nation, Nationality or People\" for the purpose of this Constitution, is a group of people who have or share a large measure of a common culture or similar customs, mutual intelligibility of language, belief in a common or related identities, a common psychological make-up, and who inhabit an identifiable, predominantly contiguous territory.\nArticle 46\nStates shall be delimited on the basis of the settlement patterns, language, identity and consent of the peoples concerned.\n\nGhana\nConstitution as adopted on 28 April 1992.\nArticle 9\n(2) Except as otherwise provided in article & of this Constitution, a person shall not be registered as a citizen of Ghana unless at the time of his application for registration he is able to speak and understand an indigenous language of Ghana.\nArticle 14\n(2) A person who is arrested, restricted or detained shall be informed immediately; in a language that he understands, of the reasons for his arrest, restriction or detention and of his right to a lawyer of his choice.\nArticle 9\n(2) A person charged with a criminal offence shall—\n(d) be informed immediately in a language he understands, and in detail; of the nature of the offence charged;\n(h) be permitted to have, without payment by him, the assistance of an interpreter where he cannot understand the language used at the trial\nArticle 26\n(1) Every person is entitled to enjoyed, practise, profess, maintain and promote any culture, language, tradition or religion subject to the provisions of this Constitution.\nArticle 39\n(3) The State shall foster the development of Ghanaian languages and pride in Ghanaian culture.\n\nKenya\nConstitution as proposed on 6 May 2010.\nArticle 7\n(1) The national language of the Republic is Kiswahili.\n(2) The official languages of the Republic are Kiswahili and English.\n(3) The State shall—\n(a) promote and protect the diversity of language of the people of Kenya; and\n(b) promote the development and use of indigenous languages, Kenyan Sign language, Braille and other communication formats and technologies accessible to persons with disabilities.\nArticle 27\n(4) The State shall not discriminate directly or indirectly against any person on any ground, including race, sex, pregnancy, marital status, health status, ethnic or social origin, colour, age, disability, religion, conscience, belief, culture, dress, language or birth.\nArticle 44\n(1) Every person has the right to use the language, and to participate in the cultural life, of the person’s choice.\n(2) A person belonging to a cultural or linguistic community has the right, with other members of that community--\n(a) to enjoy the person’s culture and use the person’s language; or\n(b) to form, join and maintain cultural and linguistic associations and other organs of civil society.\nArticle 49\n(1) An arrested person has the right—\n(a) to be informed promptly, in language that the person understands, of—\n(i) the reason for the arrest;\n(ii) the right to remain silent; and\n(iii) the consequences of not remaining silent.\n(c) to communicate with an advocate, and other persons whose assistance is necessary;\nArticle 50\n(2) Every accused person has the right to a fair trial, which includes the right—\n(m) to have the assistance of an interpreter without payment if the accused person cannot understand the language used at the trial.\n(3) If this Article requires information to be given to a person, the information shall be given in language that the person understands.\n(7) In the interest of justice, a court may allow an intermediary to assist a complainant or an accused person to communicate with the court.\nArticle 54\n(1) A person with any disability is entitled—\n(a) to be treated with dignity and respect and to be addressed and referred to in a manner that is not demeaning;\n(b) to access educational institutions and facilities for persons with disabilities that are integrated into society to the extent compatible with the interests of the person;\n(c) to reasonable access to all places, public transport and information;\n(d) to use Sign language, Braille or other appropriate means of communication; and\n(e) to access materials and devices to overcome constraints arising from the person's disability.\n(2) The State shall ensure the progressive implementation of the principle that at least five percent of the members of the public in elective and appointive bodies are persons with disabilities.\nArticle 56\nThe State shall put in place affirmative action programmes designed to ensure that minorities and marginalised groups—\n(d) develop their cultural values, languages and practices\nArticle 120\n(1) The official languages of Parliament shall be Kiswahili, English and Kenyan Sign language, and the business of Parliament may be conducted in English, Kiswahili and Kenyan Sign language.\n(2) In case of a conflict between different language versions of an Act of Parliament, the version signed by the President shall prevail.\nArticle 259\n(2) If there is a conflict between different language versions of this Constitution, the English language version prevails.\n\nLesotho\nConstitution as adopted on 2 April 1993.\nArticle 3\n(1) The official languages of Lesotho shall be Sesotho and English and, accordingly, no instrument or transaction shall be invalid by reason only that it is expressed or conducted in one of those languages.\nArticle 4\n(1) Whereas every person in Lesotho is entitled, whatever his race, colour, sex, language, religion, political or other opinion, national or social origin, property, birth or other status to fundamental human rights and freedoms...\nArticle 6\n(2) Any person who is arrested or detained shall be informed as soon as is reasonably practicable, in a language that he understands, of the reasons for his arrest or detention.\nArticle 12\n(2) Every person who is charged with a criminal offence—\n(b) shall be informed as soon as reasonably practicable, in language that he understands and in adequate detail, of the nature of the offence charged;\n(f) shall be permitted to have without payment the assistance of an interpreter if he cannot understand the language used at the trial of the charge.\nArticle 18\n(3) In this section, the expression \"discriminatory\" means affording different treatment to different persons attributable wholly or mainly to their respective descriptions by race, colour, sex, language, religion, political or other opinion, national or social origin, property, birth or other status whereby persons of one such description are subjected to disabilities or restrictions to which persons of another such description are not made subject or are accorded privileges or advantages which are not accorded to persons of another such description.\n(5) Nothing contained in any law shall be held to be inconsistent with or in contravention of subsection (1) to the extent that it makes provision with respect to standards of qualifications (not being standards of qualifications specifically relating to race, colour, sex, language, religion, political or other opinion, national or social origin, property, birth or other status) to be required of any person who is appointed to any office in the public service, any office in a disciplined force, any office in the service of a local government authority or any office in a body corporate established by law for public purposes.\nArticle 21\n(2) When a person is detained by virtue of any such law as is referred to in subsection (1) the following provisions shall apply, that is to say—\n(a) he shall, as soon as reasonably practicable after the commencement of his detention, be furnished with a statement in writing in a language that he understands specifying in detail the grounds upon which he is detained.\nArticle 26\n(1) Lesotho shall adopt policies aimed at promoting a society based on equality and justice for all its citizens regardless of race, colour, sex, language, religion, political or other opinion, national or social origin, property, birth or other status.\nArticle 58\n(1) Subject to the provisions of section 59 of this Constitution, a person shall be qualified to be nominated as a Senator by the King acting in accordance with the advice of the Council of State or designated by a Principal Chief as a Senator in his place if, and shall not be so qualified unless, at the date of his nomination or designation, he—\n(b) is able to speak and, unless incapacitated by blindness or other physical cause, to read and write either the Sesotho or English languages well enough to take an active part in the proceedings of the Senate.\n\nLiberia\nConstitution as adopted on 6 January 1986.\nArticle 41\nThe business of the Legislature shall be conducted in the English language or, when adequate preparations shall have been made, in one or more of the languages of the Republic as the Legislature may by resolution approve.\n\nMalawi\nConstitution as adopted on 16 May 1994.\nArticle 20\n(1) Discrimination of persons in any form is prohibited and all persons are, under any law, guaranteed equal and effective protection against discrimination on grounds of race, colour, sex, language, religion, political or other opinion, nationality, ethnic or social origin, disability, property, birth or other status.\nArticle 26\nEvery person shall have the right to use the language and to participate in the cultural life of his or her choice.\nArticle 42\n(1) Every person who is detained, including every sentenced prisoner, shall have the right-\n(a) to be informed of the reason for his or her detention promptly, and in a language which he or she understands;\n(2) Every person arrested for, or accused of, the alleged commission of an offence shall, in addition to the rights which he or she has as a detained person, have the right—\n(a) promptly to be informed, in a language which he or she understands, that he or she has the right to remain silent and to be warned of the consequences of making any statement;\n(f) as an accused person, to a fair trial, which shall include the right—\n(ix) to be tried in a language which he or she understands or, failing this, to have the proceedings interpreted to him or her, at the expense of the State, into a language which he or she understands.\nArticle 51\n(1) A person shall not be qualified to be nominated or elected as a member of the Parliament unless that person—\n(b) is able to speak and to read the English language well enough to take an active part in the proceedings of Parliament;\nArticle 55\n(5) The proceedings of Parliament shall be conducted in the English language and such other languages as each Chamber may prescribe in respect of its own proceedings.\nArticle 94\n(2) A person shall not be qualified to be appointed as a Minister or Deputy Minister unless that person-\n(b) is able to speak and to read the English language.\n\nMali\nConstitution as adopted on 27 February 1992.\nArticle 2\nAll Malians are born and live free and equal in their rights and duties. Any discrimination based on social origin, color, language, race, sex, religion, or political opinion is prohibited.\nArticle 25\nFrench is the official language. Law will determine the method for making official and promoting national languages.\n\nMauritius\nConstitution as adopted on 12 March 1968.\nArticle 5\n(2) Any person who is arrested or detained shall be informed as soon as reasonably practicable, in a language that he understands, of the reasons for his arrest or detention.\n(4) Where a person is detained in pursuance of any such provision of law as is referred to in subsection (1)(k)—\n(a) he shall, as soon as is reasonably practicable and, in any case not more than 7 days after the commencement of his detention, be furnished with a statement in writing in a language that he understands specifying in detail the grounds upon which he is detained;\nArticle 10\n(2) Every person who is charged with a criminal offence—\n(b) shall be informed as soon as reasonably practicable, in a language that he understands and, in detail, of the nature of the offence;\n(f) shall be permitted to have without payment the assistance of an interpreter if he cannot understand the language used at the trial of the offence.\nArticle 15\n(4) Where any person whose freedom of movement has been restricted in pursuance of subsection 3(a) or (b) so requests—\n(a) he shall, as soon as is reasonably practicable and in any case not more than 7 days after the making of the request, be furnished with a statement in writing in a language that he understands, specifying the grounds for the imposition of the restriction;\nArticle 18\n(3) Where a person is detained by virtue of any such law as is referred to in subsection (1) (not being a person who is detained because he is a person who, not being a citizen of Mauritius, is a citizen of a country with which Mauritius is at war, or has been engaged in hostilities against Mauritius in association with or on behalf of such a country or otherwise assisting or adhering to such a country) —\n(a) he shall, as soon as is reasonably practicable and in any case not more than 7 days after the commencement of his detention, be furnished with a statement in writing in a language that he understands, specifying in detail the grounds upon which he is detained.\nArticle 33\nSubject to section 34, a person shall be qualified to be elected as a member of the Assembly if, and shall not be so qualified unless, he ... (d) is able to speak and, unless incapacitated by blindness or other physical cause, to read the English language with a degree of proficiency sufficient to enable him to take an active part in the proceedings of the Assembly.\nArticle 34\n(1) No person shall be qualified to be elected as a member of the Assembly who—\n(c) is a party to, or a partner in a firm or a director or manager of a company which is a party to, any contract with the Government for or on account of the public service, and has not, within 14 days after his nomination as a candidate for election, published in the English language in the Gazette and in a newspaper circulating in the constituency for which he is a candidate, a notice setting out the nature of such contract and his interest, or the interest of any such firm or company, therein;\nArticle 49\nThe official language of the Assembly shall be English but any member may address the chair in French.\n\nMozambique \nConstitution as adopted on 21 January 2005.\nArticle 9\nThe State shall esteem national languages as cultural and educational heritage, and shall promote their development and increasing use as languages that convey our identity.\nArticle 10\nThe official language in the Republic of Mozambique shall be Portuguese.\nArticle 21\nThe Republic of Mozambique shall maintain special ties of friendship and co-operation with the countries of the region, with countries whose official language is Portuguese and with countries that host Mozambican emigrants.\nArticle 27\n(1) Mozambican nationality may be granted by naturalisation to foreigners who, at the time of submission of their application, meet all the following conditions:\n(c) that they know Portuguese or a Mozambican language;\nArticle 125\n(2) The State shall promote the creation of conditions for learning and developing sign language.\n\nNamibia\nConstitution as adopted on February 1990.\nArticle 3\n(1) The official language of Namibia shall be English.\n(2) Nothing contained in this Constitution shall prohibit the use of any other language as a medium of instruction in private schools or in schools financed or subsidised by the State, subject to compliance with such requirements as may be imposed by law, to ensure proficiency in the official language, or for pedagogic reasons.\n(3) Nothing contained in Paragraph (1) shall preclude legislation by Parliament which permits the use of a language other than English for legislative, administrative and judicial purposes in regions or areas where such other language or languages are spoken by a substantial component of the population.\nArticle 11\n(2) No persons who are arrested shall be detained in custody without being informed promptly in a language they understand of the grounds for such arrest.\nArticle 19\nEvery person shall be entitled to enjoy, practice, profess, maintain and promote any culture, language, tradition or religion subject to the terms of this Constitution and further subject to the condition that the rights protected by this article do not impinge upon the rights of others or the national interest.\nArticle 24\n(2) Where any persons are detained by virtue of such authorization as is referred to in Paragraph (1), the following provisions shall apply:\n(a) they shall, as soon as reasonably practicable and in any case not more than five (5) days after the commencement of their detention, be furnished with a statement in writing in a language that they understand specifying in detail the grounds upon which they are detained and, at their request, this statement shall be read to them;\n(b) not more than fourteen (14) days after the commencement of their detention, be furnished with a statement in writing in a language that they understand specifying in detail the grounds upon which they are detained and, at their request, this statement shall be read to them\n\nNiger\nConstitution as adopted on 18 July 1999.\nArticle 3\nAll communities comprising the nation of Niger shall enjoy the freedom of using their own languages in respect to each other. These languages shall have equal status as national languages. The law shall determine methods of promoting and of formalising the national language. The official language shall be French.\nArticle 33\nThe state shall have the duty to ensure the translation into national languages, the spreading and teaching of the Constitution, as well as individual rights and fundamental liberties. A National Commission shall watch over the promotion and the effectiveness of the rights and liberties proclaimed above, and if need be, in accordance with international agreements signed by Niger. A law shall determine the organisation and functioning of the Commission.\n\nNigeria\nConstitution as adopted on 29 May 1999.\nArticle 15\n(2) Accordingly, national integration shall be actively encouraged, whilst discrimination on the grounds of place of origin, sex, religion, status, ethnic or linguistic association or ties shall be prohibited.\n(3) For the purpose of promoting national integration, it shall be the duty of the State to:\n(c) encourage inter-marriage among persons from different places of origin, or of different religious, ethnic or linguistic association or ties;\n(d) promote or encourage the formation of associations that cut across ethnic, linguistic, religious and or other sectional barriers.\nArticle 35\n(3) Any person who is arrested or detained shall be informed in writing within twenty-four hours (and in a language that he understands) of the facts and grounds for his arrest or detention.\nArticle 36\n(6) Every person who is charged with a criminal offence shall be entitled to—\n(a) be informed promptly in the language that he understands and in detail of the nature of the offence;\n(e) have, without payment, the assistance of an interpreter if he cannot understand the language used at the trial of the offence.\nArticle 97\nThe business of a House of Assembly shall be conducted in English, but the House may in addition to English conduct the business of the House in one or more other languages spoken in the State as the House may by resolution approve.\n\nRwanda\nConstitution as adopted on 26 May 2003.\nArticle 5\nThe national language is Kinyarwanda. The official languages are Kinyarwanda, French and English.\nArticle 11\nAll Rwandans are born and remain free and equal in rights and duties.\nDiscrimination of whatever kind based on inter alia, ethnic origin, tribe, clan, colour, sex, region, social origin, religion or faith, opinion, economic status, culture, language, social status, physical or mental disability or any other form of discrimination is prohibited and punishable by law.\n\nSenegal\nConstitution as adopted on 7 January 2001.\nArticle 1\n ...The official language of the Republic of Senegal shall be French. The national languages shall be Diolo, Malinke, Poular, Serer, Soninke and Wolof and any other national language which has been codified.\nArticle 4\nPolitical parties and coalitions of political parties shall contribute to the expression of suffrage. They shall be required to respect the Constitution and thus the principles of national sovereignty and democracy. They are prevented from identifying themselves by race, ethnicity, sex, religion, sect, language or region.\nArticle 22\nThe state shall have the duty and the task of educating and training the youth through public schools. All children, boys and girls, throughout the national territory, shall have the right to attend school. Religious and non-religious institutions and communities shall also be recognised as educational facilities. All national, public or private institutions shall have the duty to see to it that their members learn to read and write; they shall have the duty to participate in the national literacy effort which aims to ensure that everyone can read and write one of the national languages.\n\nSeychelles\nConstitution as adopted on 18 June 1993.\nArticle 4\n(1) The national languages of Seychelles shall be Creole, English and French.\n(2) Notwithstanding clause (1), a person may use any of the national languages for any purpose but a law may provide for the use of any one or more of the national languages for any specific purpose.\nArticle 18\n(3) A person who is arrested or detained has a right to be informed at the time of arrest or detention or as soon as is reasonably practicable thereafter in, as far as is practicable, a language that the person understands of the reason for the arrest or detention, a right to remain silent, a right to be defended by a legal practitioner of the person's choice and, in the case of a minor, a right to communicate with the parent or guardian.\nArticle 19\n(2) Every person who is charged with an offence—\n(b) shall be informed at the time the person is charged or as soon as is reasonably practicable, in, as far as is practicable, a language that the person understands and in detail, of the nature of the offence;\n(f) shall, as far as is practicable, have without payment the assistance of an interpreter if the person cannot understand the language used at the trial of the charge;\nArticle 43\n(4) Where a law referred to in clause (2) provides for the detention of persons provision shall be made in the law—\n(a) that, as soon as is reasonably practicable and in any case not more than seven days after the commencement of the detention, the person detained shall be furnished with a statement in writing, in, as far as practicable a language that the person understands, specifying in detail the grounds upon which the person is detained\n\nSierra Leone\nConstitution as amended on 1 October 1991.\nArticle 6\n(2) Accordingly, the State shall promote national integration and unity and discourage discrimination on the grounds of place of origin, circumstance of birth, sex, religion, status, ethnic or linguistic association or ties.\nArticle 9\n(3) The Government shall promote the learning of indigenous languages and the study and application of modern science, foreign languages, technology, commerce and business.\nArticle 17\n(2) Any person who—\n(a) is arrested or detained shall be informed in writing or in a language that he understands at the time of his arrest, and in any event not later than twenty-four hours, of the facts and grounds for his arrest or detention;\nArticle 23\n(5) Every person who is charged with a criminal offence—\n(a) shall be informed at the time he is charged in the language which he understands and in detail, of the nature of the offence charged;\n(e) shall be permitted to have without payment the assistance of an interpreter if he cannot understand the language used at the trial of the charge:\nProvided that nothing contained in or done under the authority of any law shall be held to be inconsistent with or in contravention of this subsection to the extent that the law in question prohibits legal representation in a Local Court.\nArticle 75\nSubject to the provisions of section 76, any person who—\n(d) is able to speak and to read the English Language with a degree of proficiency sufficient to enable him to take an active part in the proceedings of Parliament, shall be qualified for election as such a Member of Parliament:\nProvided that a person who becomes a citizen of Sierra Leone by registration by law shall not be qualified for election as such a Member of Parliament or of any Local Authority unless he shall have resided continuously in Sierra Leone for twenty-five years after such registration or shall have served in the Civil or Regular Armed Services of Sierra Leone for a continuous period of twenty-five years.\nArticle 90\nThe business of Parliament shall be conducted in the English Language.\n\nSouth Africa\nConstitution as adopted on 8 May 1996.\nArticle 6\n(1) The official languages of the Republic are Sepedi, Sesotho, Setswana, siSwati, Tshivenda, Xitsonga, Afrikaans, English, isiNdebele, isiXhosa and isiZulu.\n(2) Recognising the historically diminished use and status of the indigenous languages of our people, the state must take practical and positive measures to elevate the status and advance the use of these languages.\n(3) (a) The national government and provincial governments may use any particular official languages for the purposes of government, taking into account usage, practicality, expense, regional circumstances and the balance of the needs and preferences of the population as a whole or in the province concerned; but the national government and each provincial government must use at least two official languages.\n(b) Municipalities must take into account the language usage and preferences of their residents.\n(4) The national government and provincial governments, by legislative and other measures, must regulate and monitor their use of official languages. Without detracting from the provisions of subsection (2), all official languages must enjoy parity of esteem and must be treated equitably.\n(5) A Pan South African Language Board established by national legislation must—\n(a) promote and create conditions for the development and use of—\n(i) all official languages;\n(ii) the Khoi, Nama and San languages; and\n(iii) sign language; and\n(b) promote and ensure respect for—\n(i) all languages commonly used by communities in South Africa, including German, Greek, Gujarati, Hindi, Portuguese, Tamil, Telegu and Urdu; and\n(ii) Arabic, Hebrew, Sanskrit and other languages used for religious purposes in South Africa.\nArticle 9\n(3) The state may not unfairly discriminate directly or indirectly against anyone on one or more grounds, including race, gender, sex, pregnancy, marital status, ethnic or social origin, colour, sexual orientation, age, disability, religion, conscience, belief, culture, language and birth.\n(4) No person may unfairly discriminate directly or indirectly against anyone on one or more grounds in terms of subsection (3). National legislation must be enacted to prevent or prohibit unfair discrimination.\n(5) Discrimination on one or more of the grounds listed in subsection (3) is unfair unless it is established that the discrimination is fair.\nArticle 29\n(2) Everyone has the right to receive education in the official language or languages of their choice in public educational institutions where that education is reasonably practicable. In order to ensure the effective access to, and implementation of, this right, the state must consider all reasonable educational alternatives, including single medium institutions, taking into account—\n(a) equity;\n(b) practicability; and\n(c) the need to redress the results of past racially discriminatory laws and practices.\nArticle 30\nEveryone has the right to use the language and to participate in the cultural life of their choice, but no one exercising these rights may do so in a manner inconsistent with any provision of the Bill of Rights.\nArticle 31\n(1) Persons belonging to a cultural, religious or linguistic community may not be denied the right, with other members of that community—\n(a) to enjoy their culture, practise their religion and use their language; and\n(b) to form, join and maintain cultural, religious and linguistic associations and other organs of civil society.\n(2) The rights in subsection (1) may not be exercised in a manner inconsistent with any provision of the Bill of Rights.\nArticle 35\n(3) Every accused person has a right to a fair trial, which includes the right—\n(k) to be tried in a language that the accused person understands or, if that is not practicable, to have the proceedings interpreted in that language;\n(4) Whenever this section requires information to be given to a person, that information must be given in a language that the person understands.\n(5) Evidence obtained in a manner that violates any right in the Bill of Rights must be excluded if the admission of that evidence would render the trial unfair or otherwise be detrimental to the administration of justice.\nArticle 185\n(1) The primary objects of the Commission for the Promotion and Protection of the Rights of Cultural, Religious and Linguistic Communities are—\n(a) to promote respect for the rights of cultural, religious and linguistic communities;\n(b) to promote and develop peace, friendship, humanity, tolerance and national unity among cultural, religious and linguistic communities, on the basis of equality, non-discrimination and free association; and\n(c) to recommend the establishment or recognition, in accordance with national legislation, of a cultural or other council or councils for a community or communities in South Africa.\n(2) The Commission has the power, as regulated by national legislation, necessary to achieve its primary objects, including the power to monitor, investigate, research, educate, lobby, advise and report on issues concerning the rights of cultural, religious and linguistic communities.\n(3) The Commission may report any matter which falls within its powers and functions to the Human Rights Commission for investigation.\nArticle 186\n(1) The number of members of the Commission for the Promotion and Protection of the Rights of Cultural, Religious and Linguistic Communities and their appointment and terms of office must be prescribed by national legislation.\n(2) The composition of the Commission must—\n(a) be broadly representative of the main cultural, religious and linguistic communities in South Africa;\nArticle 235\nThe right of the South African people as a whole to self-determination, as manifested in this Constitution, does not preclude, within the framework of this right, recognition of the notion of the right of self-determination of any community sharing a common cultural and language heritage, within a territorial entity in the Republic or in any other way, determined by national legislation.\n\nSudan\nConstitution as adopted on 1 July 1998.\nArticle 3\nArabic is the official language in the Republic of Sudan. The State permits the development of local languages and other international languages.\nArticle 27\nEvery sect or group of citizens have the right to keep their particular culture, language or religion, and to voluntarily bring up their children within the framework of these traditions. It is prohibited to impose one's traditions on children by coercion.\n\nSwaziland\nConstitution as adopted on 26 July 2005\nArticle 3\n(2) The official languages of Swaziland are siSwati and English.\n(3) Notwithstanding the provisions of subsection (2), the authoritative text of any law or document shall be the text in which that law or document was originally passed or produced.\nArticle 16\n(2) A person who is arrested or detained shall be informed as soon as reasonably practicable, in a language which that person understands, of the reasons for the arrest or detention and of the right of that person to a legal representative chosen by that person.\nArticle 21\n(2) A person who is charged with a criminal offence shall be—\n(b) informed as soon as reasonably practicable, in a language which that person understands and in sufficient detail, of the nature of the offence or charge;\n(g) permitted to have, without payment, the assistance of an interpreter if that person cannot understand the language used at the trial.\nArticle 36\n(8) Where a person is detained or restricted by virtue of a power exercised in the absolute discretion of any authority and conferred by any such law as is referred to in section 38(1), the following shall apply, that is to say—\n(a) that person shall, as soon as reasonably practicable and in any case not more than seventy two hours after the detention or restriction, be furnished with a statement in writing in a language that the person understands specifying in sufficient detail the grounds upon which that person is detained or restricted;\nArticle 121\n(1) Subject to the provisions of this Constitution—\n(a) each chamber of Parliament may make Standing Orders with respect to—\n(iv) conduct of debates or other proceedings in that chamber in one or both official languages;\n\nTogo\nArticle 3\n[...]\nThe official language of the Republic of Togo is French.\n\nTunisia\nConstitution as adopted on 1 June 1959\nArticle 1\nTunisia is a free, independent and sovereign state. Its religion is Islam, its language is Arabic and its type of government is the Republic.\nArticle 8\nNo political party may take religion, language, race, sex or region as the foundation for its principles, objectives, activity or programs.\n\nUganda\nConstitution as adopted on 8 October 1995.\nObjective XXIV\nCultural and customary values which are consistent with fundamental rights and freedoms, human dignity, democracy and with the Constitution may be developed and incorporated in aspects of Ugandan life.\nThe State shall—\n(a) promote and preserve those cultural values and practices which enhance the dignity and well-being of Ugandans;\n(b) encourage the development, preservation and enrichment of all Ugandan languages;\n(c) promote the development of a sign language for the deaf; and\n(d) encourage the development of a national language or languages.\nArticle 4\nThe State shall promote public awareness of this Constitution by—\n(a) translating it into Ugandan languages and disseminating it as widely as possible;\nArticle 6\n(1) The official language of Uganda is English.\n(2) Subject to clause (1) of this article, any other language may be used as a medium of instruction in schools or other educational institutions or for legislative, administrative or judicial purposes as may be prescribed by law.\nArticle 23\n(3) A person arrested, restricted or detained shall be informed immediately, in a language that the person understands, of the reasons for the arrest, restriction or detention and of his or her right to a lawyer of his or her choice.\nArticle 28\n(3) Every person who is charged with a criminal offence shall—\n(b) be informed immediately, in a language that the person understands of the nature of the offence;\n(f) be afforded, without payment by that person, the assistance of an interpreter if that person cannot understand the language used at the trial:\nArticle 37\nEvery person has a right as applicable, to belong to, enjoy, practise, profess, maintain and promote any culture, cultural institution, language, tradition, creed or religion in community with others.\n\nWestern Sahara\nChapter 1, Article 3 of the constitution of the Sahrawi Arab Democratic Republic stipulates that the sole official language of Western Sahara shall be standard Arabic. In practice, Spanish is used as a working language by some Sahrawi media. The vernacular language spoken by nearly all Sahrawis, however, is Hassaniya Arabic.\n\nZambia\nConstitution as adopted on 24 August 1991.\nArticle 1\n(3) The official language of Zambia shall be English.\nArticle 13\n(2) any person who is arrested or detained shall be informed as soon as reasonably practicable, in a language that he understands, of the reasons for his arrest or detention.\nArticle 18\n(2) Every person who is charged with a criminal offence—\n(b) shall be informed as soon as reasonably practicable, in a language that he understands and in detail, of the nature of the offence charged;\n(f) shall be permitted to have without payment the assistance of an interpreter if he cannot understand the language used at the trial of the charge;\nArticle 26\n(1) where a person's freedom of movement is restricted, or he is detained, under the authority of any such law as is referred to in Article 22 or 25, as the case may be, the following provisions shall apply—\n(a) he shall, as soon as reasonably practicable and in any case not more than fourteen days after the commencement of his detention or restriction, be furnished with a statement in writing in a language that he understands specifying in detail the grounds upon which he is restricted or detained;\nArticle 64\nSubject to Article 65, a person shall be qualified to be elected as a member of the National Assembly if, and shall not be qualified to be so elected unless—\n(c) he is literate and conversant with the official language of Zambia.\n\nZimbabwe\nConstitution as amended on 1 February 2007\nArticle 13\n(3) Any person who is arrested or detained shall be informed as soon as reasonably practicable, in a language that he understands, of the reasons for his arrest or detention and shall be permitted at his own expense to obtain and instruct without delay a legal representative of his own choice and to hold communication with him.\nArticle 18\n(3) Every person who is charged with a criminal offence—\n(b) shall be informed as soon as reasonably practicable, in a language that he understands and in detail, of the nature of the offence charged;\n(f) shall be permitted to have without payment the assistance of an interpreter if he cannot understand the language used at the trial of the charge;\nArticle 82\n(1) A person shall not be qualified for appointment as a judge of the Supreme Court or the High Court unless—\n(a) he is or has been a judge of a court having unlimited jurisdiction in civil or criminal matters in a country in which the common law is Roman-Dutch or English, and English is an official language;\n(b) he is and has been for not less than seven years, whether continuously or not, qualified to practise as a legal practitioner—\n(i) in Zimbabwe:\n(ii) in a country in which the common law is Roman-Dutch and English is an official language; or\n(iii) if he is a citizen of Zimbabwe, in a country in which the common law is English and English is an official language.\nArticle 87\n(4) A tribunal appointed under subsection 2 or 3 shall consist of not less than three members selected by the President from the following—\n(b) persons who hold or have held office as a judge of a court having unlimited jurisdiction in civil or criminal matters in a country in which the common law is Roman-Dutch or English, and English is an official language\n\nSee also\n\n Linguistic rights\n List of Linguistic Rights in Constitutions (Europe)\n List of human rights articles by country\n Organisation of African Unity\n African Charter on Human and Peoples' Rights\n African Academy of Languages\n African Union\n African Commission on Human and Peoples' Rights\n African Court on Human and Peoples' Rights\n History of Africa\n Freedom of speech by country\n Freedom of speech\n\nReferences\n\nAfrican constitutions\nAfrica-related lists\nAfrican constitutions\nSociolinguistics lists \nClarkson 2022/January 22", "A constitutional referendum was held in the Bahamas on 7 June 2016. Voters were asked whether they approve of four separate constitutional amendments. All four proposals were rejected.\n\nProposed amendments\n\nArticles 8 and 9\nArticle 8 would have been amended from:\n\"A person born outside The Bahamas after shall become a citizen of The Bahamas at the date of his birth if at that date his father is a citizen of The Bahamas otherwise than by virtue of this Article or Article 3(2) of this Constitution.\"\nto:\n\" A person born outside The Bahamas after shall become a citizen of The Bahamas at the date of his birth if at that date his father is a citizen of The Bahamas otherwise than by virtue of this Article or Article 3(2) of this Constitution.\n\"\n\nArticle 9 would have been deleted. It states:\n\"Further provisions for persons born outside The Bahamas after 9th July 1973.\n9.- (1) Notwithstanding anything contained in Article 8 of this Constitution, a person born legitimately outside The Bahamas after 9th July 1973 whose mother is a citizen of The Bahamas shall be entitled, upon making application on his attaining the age of eighteen years and before he attains the age of twenty-one years, in such manner as may be prescribed, to be registered as a citizen of The Bahamas:\nProvided that if he is a citizen of some country other than The Bahamas he shall not be entitled to be registered as a citizen of The Bahamas under this Article unless he renounces his citizenship of that other country, takes the oath of allegiance and makes and registers such declaration of his intentions concerning residence as may be prescribed.\n(2) Where a person cannot renounce his citizenship of some other country under the law of that country, he may instead make such declaration concerning that citizenship as may be prescribed.\n(3) Any application for registration under this Article shall be subject to such exceptions or qualifications as may be prescribed in the interests of national security or public policy.\"\n\nArticle 10\nArticle 10 would have been amended from:\n\"10. - marries a person who is or becomes a citizen of The Bahamas shall be entitled, provided she is still so married, upon making application in such manner as may be prescribed and upon taking the oath of allegiance of such declaration as may be prescribed, to be registered as a citizen of The Bahamas:\nProvided that the right to be registered as a citizen of The Bahamas under this Article shall be subject to such exceptions or qualifications as may be prescribed in the interests of national security of public policy.\"\nto:\n\"10. - marries a person who is or becomes a citizen of The Bahamas shall be entitled, provided she is still so married, upon making application in such manner as may be prescribed and upon taking the oath of allegiance of such declaration as may be prescribed, to be registered as a citizen of The Bahamas:\nProvided that the right to be registered as a citizen of The Bahamas under this Article shall be subject to such exceptions or qualifications as may be prescribed in the interests of national security of public policy \n\n\"\n\nArticle 14\nSections 1 and 3 of article 14 would have been amended from:\n\"14.- (1) \n(3) Any reference in this Chapter to the national status of the a person at the time of that person's birth, shall, in relation to a person born after the death of the , be construed as a reference to the national status of the at the time of the death.\"\nto:\n\"14.- (1) \n(3) Any reference in this Chapter to the national status of the a person at the time of that person's birth, shall, in relation to a person born after the death of the , be construed as a reference to the national status of the at the time of the death\"\n\nArticle 26\nSections 3 and 4 of article 26 would have been amended from:\n2\"6. - (3) In this Article, the expression \"discriminatory\" means affording different treatment to different person attributable wholly or mainly to their respective descriptions by race, place of origin, political opinions, colour whereby person of one such description are subjected to disabilities or restrictions to which person of another such description are not made subject or are accorded privileges or advantages which are not accorded to persons of another such description.\n(5) Nothing contained in any law shall be held to be inconsistent with or in contravention of paragraph (1) of this Article to the extent that it makes provision with respect to standards or qualifications (not being a standard or qualification specifically relating to race, place of origin, political opinions, colour in order to be eligible for service as a public officer or as a member of a disciplined force of for the service of a local government authority or a body corporate established by law for public purposes.\"\nto:\n\"26. - (3) In this Article, the expression \"discriminatory\" means affording different treatment to different person attributable wholly or mainly to their respective descriptions by race, place of origin, political opinions, colour whereby person of one such description are subjected to disabilities or restrictions to which person of another such description are not made subject or are accorded privileges or advantages which are not accorded to persons of another such description.\n(5) Nothing contained in any law shall be held to be inconsistent with or in contravention of paragraph (1) of this Article to the extent that it makes provision with respect to standards or qualifications (not being a standard or qualification specifically relating to race, place of origin, political opinions, colour in order to be eligible for service as a public officer or as a member of a disciplined force of for the service of a local government authority or a body corporate established by law for public purposes.\"\n\nIn addition, a new section 11 would have been added:\n\"\n\nResults\n\nReferences\n\n2016\n2016 referendums\n2016 in the Bahamas\n2016" ]

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