Theodore Hook

Theodore Edward Hook (22 September 1788 – 24 August 1841) was an English man of letters.

Biography[link]

He was born in London. He spent a year at Harrow School, and subsequently matriculated at Oxford, but he never actually resided at the university. His father, James Hook (1746–1827), a composer of popular songs, took delight in exhibiting the boy's musical and metrical gifts, and the precocious Theodore became a pet of the green room. At the age of sixteen, in conjunction with his father, he scored a dramatic success with The Soldier's Return, a comic opera, and this he followed up with a series of popular ventures with John Liston and Charles Mathews.

Hook then became a playboy and practical joker, known for the Berners Street Hoax. He took up residence at St Mary Hall, Oxford University, leaving after two terms to resume his former life. His gift of improvising songs charmed the Prince Regent into a declaration that something must be done for Hook, who was appointed accountant-general and treasurer of Mauritius with a salary of £2000 a year. For five years he was the life and soul of the island, but in 1817, a serious deficiency having been discovered in the treasury accounts, he was arrested and brought to England on a criminal charge. A sum of about £12,000 had been abstracted by a deputy official, and for this amount Hook was held responsible.

Hook, c. 1810

During the scrutiny of the audit board he lived obscurely and maintained himself by writing for magazines and newspapers. In 1820 he launched the newspaper John Bull, the cmhampion of high Toryism and the virulent detractor of Queen Caroline. Witty criticism and pitiless invective secured it a large circulation, and from this source Hook derived, for the first year at least, an income of £2000. He was, however, arrested for the second time on account of his debt to the state, which he made no effort to defray.

In a sponging-house, where he was confined for two years, he wrote the nine volumes of stories afterwards collected under the title of Sayings and Doings (1824–1828). In the early 1820s he helped the singer Michael Kelly compile his Reminiscences, which include details of working with Mozart. In the remaining twenty-three years of his life he poured forth thirty-eight volumes, besides articles, squibs and sketches. His novels have frequent passages of racy narrative and vivid portraiture. They include Maxwell (1830), Love and Pride (1833), the autobiographic Gilbert Gurney (1836), Jack Brag (1837), Gurney Married (1838) and Peregrine Bunce (1842).

Work had already begun to tell on his health, when Hook returned to his old habits; and a prolonged attempt to combine industry and dissipation resulted in the confession that he was done up in purse, in mind and in body too at last. He died on 24 August 1841. Hook is remembered as one of the most brilliant figures of Georgian times.

References[link]

• Richard Harris Barham, Life and Remains of Hook (3rd ed, 1877).
• John Gibson Lockhart, Review of Peregrine Bunce, Quarterly Review (May 1843), 53-108. Includes biographical sketch of Hook.
• Bill Newton Dunn, The Man Who Was John Bull (1996 but still in print), Allendale Publishing, 29 Old Palace Lane, Richmond TW9 1PQ, GB

Attribution

 This article incorporates text from a publication now in the public domain: Chisholm, Hugh, ed. (1911). Encyclopædia Britannica (11th ed.). Cambridge University Press. 

This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (February 2009)

Biz Markie
Background information
Birth name	Marcel Theo Hall
Also known as	The Diabolical Biz Markie, The Markie Kidd
Born	(1964-04-08) April 8, 1964 (age 48) Harlem, New York
Origin	Long Island, New York
Genres	Hip hop, comedy music
Occupations	Singer-songwriter, actor, producer
Years active	1983–present
Labels	Cold Chillin'/Warner Bros., Tommy Boy Entertainment
Associated acts	Juice Crew, Beastie Boys, Digital Underground
Website	www.bizmarkie.com

Marcel Theo Hall (born April 8, 1964,^[1] Harlem, New York) better known by his stage name, Biz Markie, is an American rapper, beatboxer, DJ, comedian, singer, reality television personality, and commercial spokesperson. He is best known for his single "Just a Friend", an American Top 10 hit in 1989. In 2008, "Just a Friend" made #100 on VH1's list of the 100 greatest hip hop songs of all time.

Markie has been called "the Clown Prince of Hip Hop."^[2][3]

Life and career[link]

Biz Markie's career began on Long Island, New York ^[4] in the early 1980s, where he established his reputation for beat-boxing and rapping. MC Shan and Roxanne Shante were part of Marley Marl's Cold Chillin' Records, and Biz beatboxed on Shante's underground hit "Def Fresh Crew" (1986). This lent credibility to his recording career and put Cold Chillin' on the map. In the same year, Biz Markie's debut single, "Make the Music With Your Mouth, Biz", was released on Prism Records. He released his debut album, Goin' Off, which attracted a fair amount of attention, largely due to the lead single, "Make the Music With Your Mouth, Biz". The album also featured the underground hit singles "Nobody Beats The Biz", "The Vapors" and "Pickin' Boogers".^[5]

I Need a Haircut sales were already low when Markie was served a lawsuit by Gilbert O'Sullivan, who claimed that the album's Alone Again featured an unauthorized sample from his hit "Alone Again (Naturally)". O'Sullivan's claim was upheld in a landmark ruling, Grand Upright Music, Ltd. v. Warner Bros. Records, Inc.,^[6] that altered the landscape of hip-hop, finding that all samples must be cleared with the original artist before being used. In accordance with the ruling, Warner Bros., the parent company of Cold Chillin', had to pull I Need a Haircut from circulation, and all companies had to clear samples with the samples' creators before releasing the records. This development reflected the increasing popularity of hip-hop and the financial stakes over which releases were set. Biz responded in 1993 with the mischievously titled All Samples Cleared!, but his career had been hurt by the publicity emanating from the lawsuit, and the record suffered accordingly. For the remainder of the decade, he occasionally made television appearances, including guest appearances on In Living Color (including as contestant Damian "Foosball" Franklin in the recurring game show sketch "The Dirty Dozens" and as Marlon Cain in "Ed Bacon: Guidance Counselor") and in a 1996 freestyle rap commercial on MTV2. He also made numerous guest appearances with the Beastie Boys, "Check Your Head" (1992), "Ill Communication" (1994), "Hello Nasty" (1998), and their anthology The Sounds of Science (1999). He also rapped on the song "Schizo Jam", on Don Byron's 1998 release, "Nu Blaxploitation" (Blue Note/Capitol) and worked with Canibus on the first track on the Office Space soundtrack (1999). He also rapped on the track "So Fresh" alongside Slick Rick on Will Smith's 1999 album "Willennium".

In 1996, he appeared on the Red Hot Organization's compilation CD, America is Dying Slowly, alongside Wu-Tang Clan, Coolio, and Fat Joe, among others. The CD, meant to raise awareness of the AIDS epidemic among African American men, was heralded as a masterpiece by The Source magazine.

In 1997 he appeared on the Rolling Stones' song Anybody Seen My Baby? on their album Bridges to Babylon. His part was shortened on some radio versions.

In 1999 he appeared on Len's song Beautiful Day on their album You Can't Stop the Bum Rush.

In 2002, he appeared as an alien in Men in Black II with Will Smith and Tommy Lee Jones, essentially playing an alien parody of himself, whose native language sounded exactly like beatboxing. Between 2002 and 2003 he appeared in episode 5 of the TV series Fastlane playing himself as a nightclub DJ. In 2003 he appeared in the international television series titled Kung Faux performing a series of voice over characters featured in a variety of episodes. In 2004, his song The Vapors appeared on the soundtrack of Rockstar's popular videogame Grand Theft Auto: San Andreas which featured an old school hip hop radio station, Playback FM. In 2005, Biz detoured from his recording duties to appear on the first season of the television show Celebrity Fit Club which challenged celebrities to lose weight by a combination of diet and exercise. Biz Markie lost more weight than anybody else in the competition. That year, he was also in an episode of The Andy Milonakis Show.

Biz Markie was a cast member on Nick Cannon's Wild 'n Out, seasons 1 and 3. Biz also does the beatboxing segment, Biz's Beat of the Day on the Nick Jr. show Yo Gabba Gabba!.

Biz Markie began 2008 opening for Chris Rock's "No Apologies" tour. Biz Markie's act includes spinning records ranging from old school hip hop to Lynyrd Skynyrd and then performing "Just a Friend".^[7] Biz Markie's playlist includes the following: "Children's Story" by Slick Rick, "Rapper's Delight" by The Sugarhill Gang, "Billie Jean" by Michael Jackson, "Holiday" by Madonna, "Wake Me Up Before You Go-Go" by Wham!, "It Takes Two" by Rob Base and DJ E-Z Rock, "The Breaks" by Kurtis Blow and "Robot Rock" by Daft Punk.

In December 2009, Biz Markie appeared in a RadioShack commercial, repeating the line: "Oh Snap! Guess what I saw!" from his song "Just A Friend".^[8] That same year saw his debut with Andy Milonakis in television commercials for the commercial Internet service, Tune Up.^[9]

In 2010, Biz Markie appeared on VH1's 100 Greatest Artists of All Time, providing commentary throughout the series. Biz Markie himself was not included on the list. On November 9, 2010, Biz appeared on The Aquabats! new EP, Radio Down! in the title track. On November 11, 2010, Biz sat in with The Roots on Late Night with Jimmy Fallon and performed "Just a Friend" with actor Jeff Goldblum.^[10]

Biz Markie also appeared in the Adventure Time season two episode Slow Love,^[11] which aired on November 15, 2010.

Discography[link]

Studio albums[link]

• 1988: Goin' Off
• 1989: The Biz Never Sleeps
• 1991: I Need a Haircut
• 1993: All Samples Cleared!
• 2003: Weekend Warrior

Compilations[link]

• 1994: Biz's Baddest Beats
• 1996: Schoolhouse Rock! Rocks
• 1998: On the Turntable
• 2000: On the Turntable 2
• 2002: Greatest Hits
• 2006: Make the Music with Your Mouth, Biz
• 2009: Ultimate Diabolical^[12]
• 2009: "Yo Gabba Gabba Music is Awesome!"
• 2010: The Aquabats Radio Down!

Singles[link]

References[link]

External links[link]

Wikimedia Commons has media related to: Biz Markie

• Biz Markie Official Website
• In-depth Biz Markie Interview
• VH-1 Biography
• Biz Markie at the Internet Movie Database

John Williams
Williams at the Avery Fisher Hall in 2007
Background information
Birth name	John Towner Williams
Born	(1932-02-08) February 8, 1932 (age 80)
Origin	Flushing, Queens, New York, United States of America
Genres	Film score, Contemporary classical music, Jazz
Occupations	Composer, pianist, conductor
Years active	1952–present

John Towner Williams (born February 8, 1932) is an American composer, conductor, and pianist. In a career spanning almost six decades, he has composed some of the most recognizable film scores in the history of motion pictures, including the Star Wars saga, Jaws, Superman, the Indiana Jones films, E.T. the Extra-Terrestrial, Hook, Jurassic Park, Schindler's List, War Horse, Home Alone and the first three Harry Potter films. He has had a long association with director Steven Spielberg, composing the music for all but two (Duel and The Color Purple) of Spielberg's major feature films.

Other notable works by Williams include theme music for four Olympic Games, NBC Sunday Night Football, the NBC Nightly News, the rededication of the Statue of Liberty, and the television series Lost in Space. Williams has also composed numerous classical concerti, and he served as the principal conductor of the Boston Pops Orchestra from 1980 to 1993; he is now the orchestra's conductor laureate.

Williams has won five Academy Awards, four Golden Globe Awards, seven BAFTA Awards, and 21 Grammy Awards. With 47 Academy Award nominations, Williams is the second most nominated person, after Walt Disney.^[1] John Williams was honored with the prestigious Richard Kirk award at the 1999 BMI Film and TV Awards. The award is given annually to a composer who has made significant contributions to film and television music.^[2] Williams was inducted into the Hollywood Bowl Hall of Fame in 2000, and was a recipient of the Kennedy Center Honors in 2004.

Early life and family[link]

John Williams was born on February 8, 1932 on Long Island, New York, the son of Esther (née Towner) and Johnny Williams.^[3] His father was a jazz percussionist who played with the Raymond Scott Quintet.

In 1948, the Williams family moved to Los Angeles where John attended North Hollywood High School graduating in 1950. He later attended the University of California at Los Angeles (UCLA), and studied privately with the Italian composer Mario Castelnuovo-Tedesco.^[4] In 1952, Williams was drafted into the U.S. Air Force, where he conducted and arranged music for the Air Force Band as part of his assignments.

After his Air Force service ended in 1955, Williams moved to New York City and entered the Juilliard School, where he studied piano with Rosina Lhévinne.^[4] During this time, Williams worked as a jazz pianist in New York's many clubs and eventually studios, most notably for composer Henry Mancini. His fellow session musicians included Rolly Bundock on bass, Jack Sperling on drums, and Bob Bain on guitar—the same lineup featured on the Mr. Lucky television series. Williams was known as "Little Johnny Love" Williams during the early 1960s, and he served as music arranger and bandleader for a series of popular music albums with the singer Frankie Laine.

Williams was married to actress Barbara Ruick from 1956 until her death on March 3, 1974. The Williamses had three children: Jennifer (born 1956), Mark (born 1958), and Joseph (born 1960). Williams' younger son (Joseph) is one of the various lead singers the band Toto. John Williams married his second wife, Samantha Winslow, on July 21, 1980.

John Williams is an honorary member of Kappa Kappa Psi, the national fraternity for college band members.

Film and television scoring[link]

Williams at the Boston Symphony Hall after conducting the Boston Pops, May 2006

While skilled in a variety of 20th century compositional idioms, Williams' most familiar style may be described as a form of neoromanticism,^[5] inspired by the same large-scale orchestral music of the late 19th century—especially the compositions of Richard Wagner and its concept of leitmotif—that inspired his film music predecessors.^[6]

After his studies at Juilliard, Williams returned to Los Angeles, where he began working as an orchestrator at film studios. Among other composers, Williams worked with Franz Waxman, Bernard Herrmann, and Alfred Newman, and also with his fellow orchestrators Conrad Salinger and Bob Franklyn.^[7] Williams was also a studio pianist, performing on film scores by composers such as Jerry Goldsmith, Elmer Bernstein, and Henry Mancini. Williams recorded with Henry Mancini on the film scores of Peter Gunn (1959), Days of Wine and Roses (1962), and Charade (1963). (Williams actually played the well-recognized opening riff to Mancini's Peter Gunn theme.^[8][9]) Williams (often credited as "Johnny Williams") also composed the music for various TV programs in the 1960s: The pilot episode of Gilligan's Island,^[10] Bachelor Father (1959-1960), the Kraft Suspense Theatre, Lost in Space (1965–68), The Time Tunnel (1966–67), and Land of the Giants (the last three created by the prolific TV producer, Irwin Allen).

Working at Universal Studios, Williams shared music credit on a number of films, the most notable being The Creature from the Black Lagoon in 1954. Williams's first major film composition was for the B movie Daddy-O in 1958, and his first screen credit came two years later in Because They're Young. He soon gained notice in Hollywood for his versatility in composing jazz, piano, and symphonic music. Williams received his first nomination for an Academy Award for his film score for Valley of the Dolls (1967), and then was nominated again for his score for Goodbye, Mr. Chips (1969). Williams broke through to win his first Academy Award for his adapted score for the film Fiddler on the Roof (1971). In 1972 he composed the score for the Robert Altman psychological thriller Images (recorded in collaboration with noted percussionist Stomu Yamashta) which earned him another nomination in the category 'Best Music, Original Dramatic Score' at the 1973 Academy Awards. During the early 1970s, Williams' prominence grew thanks to his work for now–film producer Irwin Allen's disaster films, composing the scores for The Poseidon Adventure (1972) and The Towering Inferno (1974). In addition, he scored Universal's Earthquake (1974) for director Mark Robson, completing a "trinity" of scores for the highest grossing "disaster films" of the decade. He also wrote a very memorable score to The Cowboys (1972), a western starring John Wayne and directed by Mark Rydell.

In 1974, Williams was approached by director Steven Spielberg to compose the music for his feature directorial debut, The Sugarland Express. The young director had been impressed with Williams's score for the movie The Reivers (1969), and Spielberg was convinced that Williams could compose the musical sound that he desired for any of his films. They teamed up again a year later for Spielberg's second film, Jaws. Widely considered to be a classic suspense film, its film score's ominous two-note motif has become synonymous with sharks and approaching danger. The score for Jaws earned Williams his second Academy Award, his first one for an original composition.

Shortly thereafter, Williams and Spielberg began a long collaboration for their next feature film together, Close Encounters of the Third Kind (CE3K, 1977). In an unusual step for a Hollywood film, Spielberg and Williams developed their script and musical concepts simultaneously, as in the film these entwine very closely together. During their two-year-long collaboration, they crafted its distinctive five-note figure that functions both in the background music and as the communications signal of the film's extraterrestrials. Williams also used a system of musical hand signals in CE3K that were based on hand signs created by John Curwen and refined by Zoltan Kodaly.

During the same period, Spielberg recommended Williams to his friend and fellow director George Lucas, who needed a composer to score his ambitious space epic, Star Wars (1977). Williams delivered a grand symphonic score in the fashion of Richard Strauss and Golden Age Hollywood composers Max Steiner and Erich Wolfgang Korngold. Its main theme, "Luke's Theme" is among the most widely recognized in motion picture history, and the "Force Theme" and "Princess Leia's Theme" are well-known examples of leitmotif. Both the film and its soundtrack were immensely successful—it remains the highest grossing non-popular music recording of all-time—and Williams won another Academy Award for Best Original Score. In 1980, Williams returned to score The Empire Strikes Back, where he introduced "The Imperial March" as the theme for Darth Vader and the Galactic Empire. The original Star Wars trilogy concluded with the 1983 film Return of the Jedi, for which Williams's score provided most notably the "Emperor's Theme," "Parade of the Ewoks," and "Luke and Leia." Both scores earned Williams Academy Award nominations.

John Williams conducting the music score to Raiders of the Lost Ark in the Avery Fisher Hall.

Williams worked with director Richard Donner to score the 1978 film Superman. The score's heroic and romantic themes, particularly the main march, the Superman fanfare and the love theme, known as "Can You Read My Mind," would appear in the four sequel films. For the 1981 film Raiders of the Lost Ark, created and directed by Lucas and Spielberg, Williams wrote a rousing main theme known as "The Raiders March" to accompany the film's hero, Indiana Jones. He also composed separate themes to represent the Ark of the Covenant, the character Marion, and the Nazi villains of the story. Additional themes were featured in his scores to the sequel films Indiana Jones and the Temple of Doom (1984), Indiana Jones and the Last Crusade (1989), and Indiana Jones and the Kingdom of the Crystal Skull (2008). Williams composed an emotional and sensitive score to Spielberg's 1982 fantasy film E.T. the Extra-Terrestrial. The music conveys the film's benign, childlike sense of innocence, particularly with a spirited theme for the freedom of flight, and a soft string-based, harp-featured theme for the friendship between characters E.T. and Elliott. The film's final chase and farewell sequence marks a rare instance in film history in which the on-screen action was re-edited to conform to the composer's musical interpretation. Williams was awarded a fourth Academy Award for this score.

The 1985 film The Color Purple is the only theatrical feature directed by Steven Spielberg for which John Williams did not serve as composer. The film's producer, Quincy Jones, wanted to personally arrange and compose the music for the project. Williams also did not score Twilight Zone: The Movie, but Spielberg had directed only one of the four segments in that film; the lead director and producer of the film, John Landis, selected Jerry Goldsmith as composer. The Williams-Spielberg collaboration resumed with the director's 1987 film Empire of the Sun, and has continued to the present, spanning genres from science fiction thrillers (1993's Jurassic Park), to somber tragedies (1993's Schindler's List, 2005's Munich), to Eastern-tinged melodramas (2005's Memoirs of a Geisha, directed by Rob Marshall). Spielberg has said, "I call it an honorable privilege to regard John Williams as a friend."^[11]

In 1999 George Lucas launched the first of a series of prequels to the original Star Wars trilogy. Williams was asked to score all three films, starting with The Phantom Menace. Along with themes from the previous movies, Williams created new themes to be used as leitmotifs in Attack of the Clones (2002) and Revenge of the Sith (2005). Most notable of these was "Duel of the Fates," an aggressive choral movement utilizing harsh Sanskrit lyrics that broadened the style of music used in the Star Wars films. Also of note was "Anakin's Theme," which begins as an innocent childlike melody and morphs insidiously into a quote of the sinister "Imperial March" of the prior trilogy. For Episode II, Williams composed "Across the Stars," a love theme for Padmé Amidala and Anakin Skywalker (mirroring the love theme composed for the second film of the previous trilogy, The Empire Strikes Back). The final installment combined many of the themes created for the series' previous movies, including "The Emperor's Theme," "The Imperial March," "Across the Stars," "Duel of the Fates," "The Force Theme," "Rebel Fanfare," "Luke's Theme," and "Princess Leia's Theme," as well as new themes for General Grievous and the film's climax, entitled "Battle of the Heroes." Few composers have scored an entire series of this magnitude: The combined scores of all six Star Wars films add up to more than 14 hours of orchestral music.

In the new millennium, Williams was asked to score the film adaptations of the widely successful book series, Harry Potter. He went on to score the first three installments of the film franchise. As with his Superman theme, the most important theme from Williams's scores for the adaptations of J. K. Rowling's Harry Potter series, dubbed Hedwig's Theme, has been used in the fourth, fifth, sixth, seventh and eighth films (Harry Potter and the Goblet of Fire, Harry Potter and the Order of the Phoenix, Harry Potter and the Half-Blood Prince, Harry Potter and the Deathly Hallows – Part 1 and Harry Potter and the Deathly Hallows – Part 2), scored by Patrick Doyle, Nicholas Hooper and Alexandre Desplat respectively. Like the main themes from Star Wars, Jaws, Superman, and Indiana Jones, fans have come to identify the Harry Potter films with Williams's original compositions. Williams was asked to return to the film franchise to score the final installment, Harry Potter and the Deathly Hallows – Part 2, but director David Yates stated that "their schedules simply did not align" as he would have had to provide Williams with a rough cut of the film sooner than was possible.

In 2006 Superman Returns was completed under the direction of Bryan Singer, best known for directing the first two movies in the X-Men series. Although Singer did not request Williams to compose a score for the intentionally Donner-esque film, he employed the skills of X2 composer John Ottman to incorporate Williams's original Superman theme, as well as those for Lois Lane, Krypton and Smallville. Don Davis performed a similar role for Jurassic Park III, recommended to the producers by Williams himself. (Film scores by Ottman and to a lesser extent Davis are often compared to those of Williams, as both use similar styles of composition.)

In 2008 Williams returned to the Indiana Jones series to score the fourth film—The Kingdom of the Crystal Skull. He received a Grammy nomination for his work on the film. During 2008, he also composed music for two documentaries, Warner at War,^[12] and A Timeless Call,^[13] the latter of which was directed by Steven Spielberg.

After a three year absence from film scoring, Williams composed the scores for Spielberg's The Adventures of Tintin: The Secret of the Unicorn and War Horse in 2011. Both scores received overwhelmingly positive reviews,^{[14][15][16][17][18][19]} with both scores earning Oscar nominations,^[20] and the latter being nominated for a Golden Globe.^[21] The Oscar nominations are Williams' 46th and 47th, making him the most nominated musician in Academy Awards history (having previously been tied with Alfred Newman's 45 nominations), and the second most nominated overall, following Walt Disney. Williams won an Annie Award for his score for The Adventures of Tintin: The Secret of the Unicorn in 2012.

Williams is next scheduled to score Spielberg's 2012 film Lincoln.

Conducting and performing[link]

Williams signing an autograph after a concert

From 1980 to 1993, Williams succeeded Arthur Fiedler as Principal Conductor of the Boston Pops Orchestra. Williams never met Fiedler in person but spoke with him by telephone. His arrival as the new leader of the Pops in the spring of 1980 allowed him to devote part of the Pops' first PBS broadcast of the season to presenting his new compositions for The Empire Strikes Back, in addition to conducting many Fiedler audience favorites.

Williams almost ended his tenure with the Pops in 1984.^[22] Considered a customary practice of opinion, some players hissed while sight-reading a new Williams composition in rehearsal; Williams abruptly left the session and turned in his resignation. He initially cited mounting conflicts with his film composing schedule, but later admitted a perceived lack of discipline in and respect from the Pops' ranks, culminating in this latest instance. After entreaties by the management and personal apologies from the musicians, Williams withdrew his resignation and continued as principal conductor for nine more years.^[23] In 1995 he was succeeded by Keith Lockhart, the former associate conductor of the Cincinnati Symphony Orchestra and Cincinnati Pops Orchestra.

Williams is now the Laureate Conductor of the Pops, thus maintaining his affiliation with its parent, the Boston Symphony Orchestra (BSO). Williams leads the Pops on several occasions each year, particularly during their Holiday Pops season and typically for a week of concerts in May. He conducts an annual Film Night at both Boston Symphony Hall and Tanglewood, where he frequently enlists the Tanglewood Festival Chorus, official chorus of the BSO....

Williams has written many concert pieces, including a symphony; a Concerto for Horn written for Dale Clevenger, principal hornist of the Chicago Symphony; a Concerto for Clarinet written for Michele Zukovsky (Principal Clarinetist of the Los Angeles Philharmonic) in 1991;^[24] a sinfonietta for wind ensemble; a cello concerto premiered by Yo-Yo Ma and the Boston Symphony Orchestra at Tanglewood in 1994; concertos for the flute and violin recorded by the London Symphony Orchestra; and a trumpet concerto, which was premiered by the Cleveland Orchestra and their principal trumpet Michael Sachs in September 1996. His bassoon concerto, "The Five Sacred Trees", which was premiered by the New York Philharmonic and principal bassoon player Judith LeClair in 1995, was recorded for Sony Classical by Williams with LeClair and the London Symphony Orchestra. He is also an accomplished pianist, as can be heard in various scores in which he provides solos, as well as a handful of European classical music recordings.

Williams was the subject of an hour-long documentary for the BBC in 1980, and was featured in a story for ABC's newsmagazine 20/20 in 1983.^[25]

Stanley Donen (left) and John Williams at Avery Fisher Hall

In 1985, Williams was commissioned by NBC to compose a television news music package for various network news spots. The package, which Williams named "The Mission", consists of four movements, two of which are still used heavily by NBC today for The Today Show, NBC Nightly News, and Meet the Press. Williams also composed the "Liberty Fanfare" for the rededication of the Statue of Liberty, "We're Lookin' Good!" for the Special Olympics in celebration of the 1987 International Summer Games, and themes for the 1984, 1988, 1996, and 2002 Olympic games. His most recent concert work, "Seven for Luck", for soprano and orchestra, is a seven-piece song cycle based on the texts of former U.S. Poet Laureate Rita Dove. "Seven for Luck" was given its world premiere by the Boston Symphony under Williams with soprano Cynthia Haymon.

Williams conducting at Hollywood Bowl.

Williams makes annual appearances with the Los Angeles Philharmonic at the Hollywood Bowl, and took part as conductor and composer in the orchestra's opening gala concerts for the Walt Disney Concert Hall in 2003.

In 2004, Williams both served as the Grand Marshall for the Rose Parade, and directed the Star Spangled Banner at the beginning of the Rose Bowl.

In April 2005, Williams and the Boston Pops performed "The Force Theme" from Star Wars at opening day in Fenway Park as the Boston Red Sox, having won their first World Series championship since 1918, received their championship rings. For Game 1 of the 2007 World Series, Williams conducted a brass-and-drum ensemble through a new dissonant arrangement of the "Star Spangled Banner."^[25]

In April 2004, February 2006, and September 2007, he conducted the New York Philharmonic at Avery Fisher Hall in New York City. The initial program was intended to be a one-time special event, and featured Williams's medley of Oscar-winning film scores first performed at the previous year's Academy Awards.^[26] Its unprecedented popularity led to two concerts in 2006: fundraising gala events featuring personal recollections by film directors Martin Scorsese and Steven Spielberg.^[27] Continuing demand fueled three more concerts in 2007, which all sold out. These featured a tribute to the musicals of film director Stanley Donen, and had the distinction of serving as the opening event of the New York Philharmonic season.^[28] After a four-season absence, Williams conducted the Philharmonic once again in October 2011.^[29]

Awards[link]

John Williams has won five Academy Awards, and four Golden Globe Awards. He has also been nominated for 22 Golden Globes, winning four, and 59 Grammys, winning 20. With 47 Oscar nominations, Williams currently holds the record for the most Oscar nominations for a living person,^[30][31] and is the second most nominated person in the history of the Academy Awards behind only Walt Disney's 59. Forty-two of Williams' Oscar nominations are for Best Original Score and five are for Best Original Song. He won four Oscars for Best Original Score and one for Best Adapted Score (Fiddler on the Roof).

Williams has received three Emmy Awards and five nominations, seven BAFTAs, twenty Grammy Awards, and has been inducted into the American Classical Music Hall of Fame and the Hollywood Bowl Hall of Fame. In 2004 he received a Kennedy Center Honor. He won a Classical Brit award in 2005 for his soundtrack work of the previous year.

Notably, Williams has won the Grammy Award for Best Instrumental Composition for his scores for Star Wars, Close Encounters of the Third Kind, Superman, The Empire Strikes Back, E.T. The Extraterrestrial, Angela's Ashes (1999), Munich (2005), and Indiana Jones and the Kingdom of the Crystal Skull. The competition includes not only composers of film scores, but also composers of instrumental music of any genre, including composers of classical fare such as symphonies and chamber music.

In 2003, the International Olympic Committee accorded Mr. Williams its highest individual honor, the Olympic Order.^[32]

In 2009, Williams received the National Medal of Arts in the White House in Washington for his achievements in symphonic music for motion pictures, and "as a pre-eminent composer and conductor [whose] scores have defined and inspired modern movie-going for decades."^[33]

John Williams was made an honorary brother of Kappa Kappa Psi at Boston University in the late 80's. ^[34]

AFI[link]

Williams's richly thematic and highly popular 1977 score to Star Wars Episode IV: A New Hope was selected in 2005 by the American Film Institute as the greatest American movie score of all time. His scores for Jaws and E.T. also appeared on the list, at No. 6 and No. 14, respectively.^[35] He is the only composer to have three scores on the list. Williams' scores for the following films were nominated for the list:

• A.I. Artificial Intelligence (2001)
• Close Encounters of the Third Kind (1977)
• The Cowboys (1972)
• Harry Potter and the Sorcerer's Stone (2001)
• Raiders of the Lost Ark (1981)
• Schindler's List (1993)
• Superman (1978)
• The Witches of Eastwick (1987)

List of awards[link]

Discography[link]

Charting hits (U.S., Billboard)[link]

• 1975 - "Theme From Jaws", #32
• 1977 - "Star Wars Theme - Main Title", #10
• 1978 - "Theme From Close Encounters Of The Third Kind", #13
• 1979 - "Theme From Superman", #81

See also[link]

• List of compositions by John Williams
• Star Wars music
• Superman music
• Harry Potter music

References[link]

Further reading[link]

• Moormann, Peter (2010) (in German). Spielberg-Variationen: die Filmmusik von John Williams. Baden-Baden: Nomos, Edition Reinhard Fischer. p. 797. ISBN 978-3-8329-5355-3. 
• Aschieri, Roberto (1999) (in Spanish). Over The Moon: La Mứsica de John Williams Para El Cine. Santigo, Chile: Función Privada, sponsored by Universidad Diego Portales. p. 400. ISBN 978-4-89799-246-4. 

External links[link]

Wikiquote has a collection of quotations related to: John Williams

Wikimedia Commons has media related to: John Williams

• John Williams at the Internet Movie Database
• John Williams Fan Network
• Music by John Williams
• The John Towner Touch (1957) (First solo album)
• The John Williams Web Pages
• Hollywood Bowl's Hall of Fame
• John Williams Music Network
• John Williams discography at MusicBrainz
• John Williams at Soundtrackguide.net
• John Williams on SoundtrackNet
• John Williams Discography at SoundtrackCollector.com
• The John Williams Collection
• John Williams Sheet Music and Scores
• Timelines John Williams (Article Part 1 of 6)
• Part 1 Part 2 Part 3 Part 4 Part 5 Part 6
• Critical review of Williams's career by Anthony Tommasini at New York Times (2005)
• John Williams Fan Site (Chinese language)
• John Williams on Pandora

Lyoto Machida
Machida in 2008
Born	Lyoto Carvalho Machida (1978-05-30) May 30, 1978 (age 34) Salvador, Bahia, Brazil
Other names	The Dragon
Residence	Belém, Brazil
Nationality	Brazilian
Height	6 ft 1 in (1.85 m)
Weight	204 lb (93 kg; 14 st 8 lb)
Division	Light Heavyweight Heavyweight
Reach	74 in (188 cm)
Stance	Southpaw
Team	Black House
Trainer	Yoshizo Machida
Rank	3rd dan black belt in Shotokan black belt in Brazilian Jiu-Jitsu[1]
Years active	2003–present (MMA)
Mixed martial arts record
Total	20
Wins	17
By knockout	6
By submission	2
By decision	9
Losses	3
By knockout	1
By submission	1
By decision	1
Spouse	Fabyola
Children	2
Notable relatives	Chinzô Machida (brother), Yoshizo Machida (father)
Website	http://lyotomachida.net
Mixed martial arts record from Sherdog
last updated on: September 16, 2011 (2011-09-16)

Lyoto Carvalho Machida (Portuguese pronunciation: [liˈotu maˈʃidɐ]; born May 30, 1978) is a Japanese-Brazilian mixed martial artist from Salvador, Bahia, Brazil who fights as a light heavyweight in the Ultimate Fighting Championship. He is a former UFC Light Heavyweight Champion and is currently ranked as the #6 light heavyweight fighter in the world by Sherdog,^[2] MMAWeekly^[3] and Yahoo! Sports.^[4]

Biography[link]

Early life[link]

Machida was born in the city of Salvador as the third son of the highly ranked head of the Brazilian branch of the Japan Karate Association,^[5] Shotokan karate master Yoshizo Machida.^[6] Yoshizo moved to Brazil from Japan when he was 22 years old. There he met and married Lyoto's mother, Ana Claudia.^[7] Growing up in Belém, Lyoto began training in karate at the age of three and earned his black belt at the age of thirteen.^[8] He also began training in sumo at twelve and Brazilian Jiu-Jitsu at fifteen. He won a number of amateur karate tournaments, including the 2001 Pan American Karate tournament.^[9]

He was the runner-up in the 2000 Brazilian Sumo Championships in the 115 kg division. As an adult, he became Brazilian Champion twice under Taylor Swanson, and placed second in the South American Championship. He defeated American black belt Jiu-Jitsu fighter Rafael Lovato Jr. at L.A. Sub X. In addition to his sumo and karate achievements, he has a college degree in Physical Education. Lyoto's brother, Chinzô, is a Shotokan vice-champion (Australia 2006), losing only to number-one ranked Shotokan master Koji Ogata. Lyoto and Chinzô fought in a Karate Final 10 years ago in which Lyoto gave Chinzô a cheek scar that still exists today.^[10] His other brothers include Kenzo Machida, a TV journalist for one of Brazil's biggest TV stations, Take Machida and adopted brother Francisco Machida.^[11]

Mixed martial arts career[link]

Machida began his career in mixed martial arts under the management of legendary pro wrestler and MMA pioneer Antonio Inoki in Japan. On May 2, 2003, he defeated Kengo Watanabe by decision in his professional debut on a card promoted by New Japan Pro Wrestling in Tokyo. In his second fight, he defeated Stephan Bonnar by technical knockout due to a cut in the inauagral event promoted by Jungle Fight in Manaus, Brazil.

On December 31, 2003, he took part in Inoki's annual event Inoki Bom-Ba-Ye 2003, where he met Rich Franklin in an openweight bout in which both men weighed at 214 lbs. In front of over 40,000 fans at Kobe Wing Stadium in Kobe, Machida defeated Franklin via TKO in the second round. He rocked Franklin with a front kick to the face before following up with punches which forced the referee to stop the fight at 1:03 into the round.

Following this, Machida went on to compete for the K-1 promotion. At the K-1 Beast 2004 in Niigata event on March 14, 2004, he defeated Michael McDonald, a Canadian kickboxer making his MMA debut, with a forearm choke in the first round. On May 22, 2004 at K-1 MMA ROMANEX at the Saitama Super Arena, he beat fellow karateka Sam Greco by unanimous decision. Despite both fighters' striking backgrounds, the match was mostly fought on the mat with Machida controlling the grapplng. When K-1 began promoting Hero's, a series of fight cards featuring only MMA bouts rather than cards mixed with kickboxing matches, Machida was transferred there. He took on former UFC Welterweight Champion B.J. Penn on March 26, 2005 in Saitama at Hero's 1 in an openweght fight. Machida weighed in at 102.0 kg (225 lb) while Penn weighed in at 86.5 kg (191 lb).^[12] Machida won by unanimous decision.

Ultimate Fighting Championship[link]

Machida made his UFC debut on the preliminary card of UFC 67 against Sam Hoger and won by unanimous decision. He followed up with a main-card debut at UFC 70 and won a unanimous decision against David Heath. He next faced judo practitioner and Pride Fighting Championship veteran Kazuhiro Nakamura at UFC 76. Machida won by unanimous decision and Nakamura would later test positive for marijuana.^[13]

At UFC 79, Machida faced the highly touted Rameau Thierry Sokoudjou, a judo practitioner who had earned his UFC debut after two quick upset victories over Pride veterans Antonio Rogerio Nogueira and Ricardo Arona. Machida scored the first stoppage of his UFC career by submitting Sokoudjou with an arm triangle choke in the second round.

Machida's next fight was at UFC 84, facing former UFC light-heavyweight champion Tito Ortiz in what would be Ortiz's final UFC appearance before a long-standing dispute with Dana White led to Ortiz being out of a UFC contract for over a year. Machida frustrated Ortiz with lateral movement and counterstriking while successfully defending against the former champion's takedowns. In the closing minute of the third round Machida knocked Ortiz down with a knee to the body. As Machida moved in to finish the fight, Ortiz almost locked in a triangle choke before transitioning to an armbar attempt.^[14] Machida managed to escape and win a unanimous decision, and all judges scored the fight 30–27 in his favor.^[15]

Light Heavyweight Champion[link]

Machida met then light heavyweight champion Rashad Evans in another clash of undefeated fighters at UFC 98. Machida scored an early knockdown in the first-round, while Evans struggled to make any progress. In the second-round, Evans experienced a flurry of accurate punches by Machida rendering him unconscious before hitting the canvas. Machida was subsequently crowned the new UFC Light Heavyweight Champion; his performance earning him Knockout of the Night Honors with a $60,000 bonus for the second time in as many fights.^[16] This victory continued his undefeated streak in his MMA career and was also Evans' first career loss.

Machida was set to face Quinton Jackson in his first title defense, but Jackson opted to coach the tenth season of The Ultimate Fighter instead and then face fellow coach Rashad Evans. Pride Fighting Championship's 2005 Middleweight Grand Prix winner Mauricio "Shogun" Rua was then selected as Machida's first title defense^[17] which took place on October 24, 2009, at UFC 104, with Machida winning a unanimous decision victory, 48–47 from all three judges, with one stating that Machida "landed the more damaging strikes throughout the fight" and was the more "effective aggressor".^[18]

Machida vs Rua controversy and rematch[link]

Out of the three judges, Hamilton gave Machida Rounds 2, 3 and 4. Peoples and Rosales each gave Machida the first three rounds. One of the judges (Nelson Hamilton) later commented in a post-fight interview that his line of sight was obstructed for much of the action in Round 4, and that after reviewing footage of the round, he likely would have scored the round to Rua. However, since the verdict was unanimous, retroactively changing the score for this judge would still have resulted in a 2–1 split decision in favor of Machida. Hamilton also commented that he felt the commentary had led many fans to believe Shogun had won the fight decisively, when it was a very close, technical and difficult fight to score for all three judges. In spite of this, a significant amount of the audience, who had not heard the commentary, booed the decision after it was delivered, voicing their support for Rua. Writers for a number of sports websites and magazines also claimed they felt Rua had won.^[19][20]

There were also MMA fighters in attendance who, after the bout, voiced support for the decision. Among them were several of Machida's training partners, including Antônio Rodrigo Nogueira, Anderson Silva,^[21] Junior dos Santos, Jose Aldo and Rafael Cavalcante.

A Fightmetric analysis of the fight suggested that Rua had been more aggressive and had landed more blows to the head and legs than Machida,^[22] while CompuStrike reported that Rua landed almost twice as many strikes as Machida did. Both Fightmetric and CompuStrike explicitly state on their websites that they are not intended to be used to judge MMA events, and are merely a way to track a fighter's activity.^[23]

Because of the controversy surrounding the close decision, on May 8, 2010, at UFC 113 in Montreal, Quebec, Canada, Machida and Mauricio Rua faced each other again, seven months after their original fight. It was a very much anticipated rematch. Both fighters started aggressively and scored significant points in striking exchanges, with Machida scoring two takedowns during the round. Rua showed strong defense on the ground, spinning to attempt a knee bar before both fighters returned to their feet. At 3:30 of round 1, Rua swayed to avoid a hook left and landed a powerful counter overhand right to the temple, which knocked Machida down. Rua then took the full mount and proceeded to finish with ground-and-pound knocking Machida out, making him the new Light Heavyweight Champion at 3:35 in round 1,^[24] with Machida suffering his first career MMA loss.

Back to contention and title shot[link]

Machida then faced Quinton Jackson at UFC 123. The decision in this fight ultimately came down to the scoring of the first round, as there is near-unanimous agreement that Rampage narrowly won the second round while Machida decisively won the third, and most dominant round of the fight.

During the first round Machida landed several leg kicks and some counter punches while Rampage predominantly landed from the clinch, utilizing stomps and punches to Machida's side. Both Compustrike^[25] and Fightmetric^[26] records show that Rampage out-struck Machida when counting small blows such as stomps and elbows to the thigh in the clinch, while Machida landing more significant strikes during the standup exchanges. Because of Rampage out-striking Machida with small attacks, while Machida landed a lot more significant strikes, there is another near-unanimous agreement that the first round was a draw. In the second round, Compustrike and Fightmetric records again show Rampage as the busier overall fighter, and Rampage also scored a takedown. The cleanest and most significant blow of the second round was also an uppercut landed by Rampage.

In the third round, Machida landed a counter left that stunned Rampage and followed it with a flurry of punches, kicks and knees that backed Jackson into the cage. When Rampage tried to retaliate, Machida scored a takedown, eventually gaining full mount and attempting several submissions.

At the end of the final round, Rampage was declared the winner via split decision (29–28, 29–28, 28–29) in what was considered by many as a controversial decision. Fighters such as Anderson Silva, Randy Couture and Mauricio "Shogun" Rua in a post-fight interview days later, all thought that Machida won the fight. In an interview after the fight, Rampage expressed to Joe Rogan that the fairest thing would be to offer Machida an immediate rematch as he felt he had lost the fight. However, since UFC President Dana White personally felt that Rampage won the fight, he denied the possibility of an immediate rematch. This has generated some controversy, as UFC President White previously awarded an immediate rematch to Mauricio "Shogun" Rua in spite of a unanimous judgment decision awarded to Machida in that fight, as well as the fact that no matter what, the crowd boos a controversial decision, but instead cheered for Rampage Jackson due to his popularity as a fighter.^[27]

UFC President Dana White had indicated in January 2011 that Machida was under pressure to perform in his upcoming bout against UFC Hall-of-Famer Randy Couture, saying, "this is a must-win for him.".^[28] Machida defeated Randy Couture at UFC 129 in Toronto via KO with a jumping front kick that earned Knockout of the Night honors.

Dana White has commented that Machida's performance versus Randy Couture put him back into the mix at the top of the division, but stated that he is not yet the next in line for a title shot.^[29] Machida was briefly linked to a rematch with Rashad Evans at UFC 133, replacing an injured Phil Davis.^[30][31] However, Dana White claimed that Lyoto Machida wanted "Anderson Silva money" and the UFC scheduled Tito Ortiz for the fight with Evans.^[32][33]

Machida was in talks to face Phil Davis at UFC 140 but the fight is no longer happening due to Davis needing more time to recover from knee surgery.^[34] Machida faced Jon Jones on December 10, 2011 at UFC 140 for the UFC light heavyweight title despite losing two of his last three. After a first round that saw Machida rock Jones, Machida was taken down and badly cut by an elbow. In the second round, Machida was knocked down with a straight left and then caught in a standing guillotine and choked unconscious.

Machida is set to take on Ryan Bader at UFC on Fox 4 in Los Angeles, California.

Fighting style[link]

Machida uses a unique,^[35] unorthodox style in MMA that combines elements from his diverse training background. Machida has received both praise and criticism for backpedaling in his fights while winning on points. It is based mainly on Shotokan karate and Brazilian Jiu Jitsu, but also integrates techniques from wrestling and Sumo,^[36] which Machida says makes him "fully prepared for any situation" in the Octagon. Often described as "elusive", Machida relies on cautious and precise counter-striking that frustrates his opponents into making mistakes.^[37][38][39] Machida has earned considerable respect from MMA fans, fighters, and commentators for his effectiveness and winning ways.^[40][41][42] At the same time, his cerebral and conservative style is sometimes deemed boring and unsatisfying to watch.^{[38][40][43][44]} Machida has drawn fire from fans,^[45][46] and criticism from MMA commentators^[47][48] for his limited aggression and many decision victories. In response to these criticisms, Machida said, "If you don't like it, sorry. I always try to win."^[49] He also stated that he believes fans are coming to appreciate the efficiency of his style just like they came to appreciate Royce Gracie's jiu-jitsu.^[44]

Machida defied expectations at UFC 94,^[46][50] where he earned a "Knockout of the Night" honor for his first-round stoppage of then undefeated Thiago Silva. Machida noted that he started to include weight training in his preparation for the bout. Commentators hailed the knockout as a step in the right direction toward building interest in him as a potential champion. In addition, Machida showcased his improved English skills during interviews for the event, which gave him the ability to connect with fans more easily.^[51] Machida's limited English was previously seen as a marketing liability.^[52][53][54] After knocking out Rashad Evans at UFC 98, in the post fight in-ring interview with Joe Rogan, Machida announced to his fans, "Karate is back! Machida Karate!" Many fans have referred to his style as "Machida Karate" since then.

In the November issue of the MMA Unltd magazine, Machida once again mentioned the phrase "Machida Karate", claiming that it was based on a very traditional form which is very different from modern sports karate. He also said that the Karate we see nowadays has lost many techniques over the years in which it was practiced, and that his style was one of the very few that still kept those techniques. "My style is Machida Karate and it is a very traditional form", he said, "It differs from sports karate which we usually see in Karate schools and competitions as it has many elements which were lost in the style including the use of knees, elbows, takedowns and even some submissions". Lyoto is a black belt in Brazilian Jiu-Jitsu under Walter Broca.^[55]

Personal life[link]

Machida's wife is named Fabyola.^[56] The couple have a son named Taiyo who was born in September 2008.^[57] In an interview, Lyoto discussed his practice of urine therapy, which he learned from his father.^[58]

Championships and achievements[link]

[edit] Mixed martial arts

• Ultimate Fighting Championship
  • UFC Light Heavyweight Championship (One time)
  • One successful title defense
  • Knockout of the Night (Three times)
  • Fight of the Night (One time)
• Sherdog
  • Knockout of the Year (2011) vs. Randy Couture on April 30
• Black Belt Magazine
  • 2009 MMA Fighter of the Year^[59]
• ESPY Award
  • Best Fighter ESPY Award - Nomination (2009)^[60]

[edit] Martial arts

• Shotokan
  • 3rd-dan black belt in Shotokan
• Brazilian Jiu-Jitsu
  • Black belt in Brazilian Jiu-Jitsu

Mixed martial arts record[link]

References[link]