This text is licensed under the Creative Commons CC-BY-SA License. This text was originally published on Wikipedia and was developed by the Wikipedia community.
Name | Georges Méliès |
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Birth name | Marie-Georges-Jean Méliès |
Birth date | December 08, 1861 |
Birth place | Paris, France |
Death date | January 21, 1938 |
Death place | Paris, France |
Years active | 1896–1914 |
Occupation | Filmmaker, Illusionist, Toymaker |
Spouse | Jeanne d'Alcy (1926-1938) }} |
In 1895, he became interested in film after seeing a demonstration of the Lumière brothers' camera. In 1897, he established a studio on a rooftop property in Montreuil. Actors performed in front of a painted set as inspired by the conventions of magic and musical theater. He directed 531 films between 1896 and 1914, ranging in length from one to forty minutes. In subject matter, these films are often similar to the magic theater shows that Méliès had been doing, containing "tricks" and impossible events, such as objects disappearing or changing size. These early special effects films were essentially devoid of plot. The special effects were used only to show what was possible, rather than enhance the overall film.
Melies early films were mostly composed of single in-camera effects, used for the entirety of the film. For example, after experimenting with multiple exposure, Melies created his film ''The One Man Band'' in which he played seven different characters simultaneously.
His most famous film is ''A Trip to the Moon'' (''Le voyage dans la Lune'') made in 1902, which includes the celebrated scene in which a spaceship hits the eye of the man in the moon. Also famous is ''The Impossible Voyage'' (''Le voyage à travers l'impossible'') from 1904. Both of these films are about strange voyages, somewhat in the style of Jules Verne. These are considered to be some of the most important early science fiction films, although their approach is closer to fantasy. In addition, horror cinema can be traced back to Georges Méliès's ''Le Manoir du diable'' (1896). A print of the film was acquired by Thomas Edison, who then duplicated and distributed it in the United States, where it achieved financial success; however, Edison did not pay any revenues to Méliès.
In 1913 Georges Méliès' film company was forced into bankruptcy by the large French and American studios, and his company was bought out of receivership by Pathé Frères. Méliès did not grasp the value of his films, and with some 500 films recorded on cellulose, the French Army seized most of this stock to be melted down into boot heels during World War I. Many of the other films were sold to be recycled into new film. As a result many of his films do not exist today.
After being driven out of business, Méliès became a toy salesman at the Montparnasse station, with the assistance of funds collected by other filmmakers. In 1932 the Cinema Society gave Méliès a home in Château d'Orly. Georges Méliès was also awarded the Légion d'honneur (Legion of honor), which was presented to him by Louis Lumière.
Méliès died in Paris and was buried in the Père Lachaise Cemetery.
His 1899 short film ''Cleopatra'' was believed to be a lost film until a copy was discovered in 2005 in Paris.
name | Georges Méliès film Conquest of the Pole |
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This text is licensed under the Creative Commons CC-BY-SA License. This text was originally published on Wikipedia and was developed by the Wikipedia community.
name | Swami Vivekananda |
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birth date | January 12, 1863 Monday |
birth place | Kolkata, Bengal, India |
birth name | Narendranatha Dutta |
death date | July 04, 1902 Friday |
death place | Belur Math near Kolkata |
guru | Ramakrishna Paramahansa |
disciple | Swami Sadananda, Sister Nivedita |
philosophy | Vedanta |
founder | Ramakrishna Math and Ramakrishna Mission |
literary works | Raja Yoga, Karma Yoga, Bhakti Yoga and Jnana Yoga |
influenced | Subhash Chandra Bose, Aurobindo Ghose, Bagha Jatin, Mahatma Gandhi, Chakravarti Rajagopalachari, Jamshedji Tata |
quote | ''Come up, O lions, and shake off the delusion that you are sheep; you are souls immortal, spirits free, blest and eternal; ye are not matter, ye are not bodies; matter is your servant, not you the servant of matter.'' |
signature | Vivekananda_Sig.jpg |
footnotes | }} |
Swami Vivekananda was born in an aristocratic Bengali family of Calcutta on January 12, 1863. Swami's parents influenced his thinking—the father by his rational mind and the mother by her religious temperament. From his childhood, he showed inclination towards spirituality and God realization. As a guru, Ramakrishna taught him ''Advaita Vedanta'' (non-dualism) and that all religions are true, and service to man was the most effective worship of God. After the death of his Guru, Vivekananda became a wandering monk, touring the Indian subcontinent and getting first-hand knowledge of India's condition. He later sailed to Chicago and represented India as a delegate in the 1893 Parliament of World Religions. He conducted hundreds of public and private lectures and classes, disseminating Vedanta and Yoga in America, England and a few other countries in Europe. He also established the Vedanta societies in America and England.
Swami Vivekananda was born in Shimla Pally, Calcutta (presently known as Kolkata) on 12 January 1863, Monday at 6:49 A.M., during the Makara Sankranti festival in a traditional Kayastha family, and was given the name Narendranath Dutta. His father Viswanath Dutta was an attorney of Calcutta High Court. He was considered generous, and had a liberal and progressive outlook in social and religious matters. His mother Bhuvaneshwari Devi was pious and had practiced austerities and prayed to ''Vireshwar Shiva'' of Varanasi to give her a son. She reportedly had a dream in which Shiva rose from his meditation and said that he would be born as her son. Narendranath's thinking and personality were influenced by his parents—the father by his rational mind and the mother by her religious temperament. From his mother he learnt the power of self-control. One of the sayings of his mother Narendranath quoted often in his later years was, "Remain pure all your life; guard your own honor and never transgress the honor of others. Be very tranquil, but when necessary, harden your heart." He was reportedly adept in meditation and could reportedly enter the state of ''samadhi''. He reportedly would see a light while falling asleep and he reportedly had a vision of Buddha during his meditation. During his childhood, he had a great fascination for wandering ascetics and monks.
Narendranath had varied interests and a wide range of scholarship in philosophy, religion, history, the social sciences, arts, literature, and other subjects. He evinced much interest in the Hindu scriptures like the ''Vedas'', the ''Upanishads'', the ''Bhagavad Gita'', the ''Ramayana'', the ''Mahabharata'' and the ''Puranas''. He was also well versed in classical music, both vocal and instrumental and is said to have undergone training under two Ustads, Beni Gupta and Ahamad Khan. Since boyhood, he took an active interest in physical exercise, sports, and other organizational activities. Even when he was young, he questioned the validity of superstitious customs and discrimination based on caste and refused to accept anything without rational proof and pragmatic test.
When his father moved to Raipur in 1877 for 2 years then Narendranath along with the whole family shifted there. At that time there were no good schools in Raipur so he spent his time with his father and had discussions on spiritual topics. Narendranath learned Hindi in Raipur and for the first time the Question of existence of God came to his mind. It is believed that once he experienced an ecstasy during this period of life. The family returned to Calcutta in 1879 but it is believed that these 2 years were the turning point in his life. Raipur is sometimes termed as the "Spiritual Birthplace" of Swami Vivekananda.
Narendranath is said to have studied the writings of David Hume, Immanuel Kant, Johann Gottlieb Fichte, Baruch Spinoza, Georg W. F. Hegel, Arthur Schopenhauer, Auguste Comte, Herbert Spencer, John Stuart Mill, and Charles Darwin. Narendra became fascinated with the Evolutionism of Herbert Spencer, and translated Spencer's book on ''Education'' into Bengali for Gurudas Chattopadhyaya, his publisher. Narendra also had correspondence with Herbert Spencer for some time. Alongside his study of Western philosophers, he was thoroughly acquainted with Indian Sanskrit scriptures and many Bengali works. According to his professors, student Narendranath was a prodigy. Dr. William Hastie, the principal of Scottish Church College, where he studied during 1881-84, wrote, "Narendra is really a genius. I have travelled far and wide but I have never come across a lad of his talents and possibilities, even in German universities, among philosophical students." He was regarded as a ''srutidhara''—a man with prodigious memory. After a discussion with Narendranath, Dr. Mahendralal Sarkar reportedly said, "I could never have thought that such a young boy had read so much!"
Narendranath became the member of a Freemason's lodge and the breakaway faction from the Brahmo Samaj led by Keshab Chandra Sen. His initial beliefs were shaped by Brahmo concepts, which include belief in a formless God and deprecation of the worship of idols. Not satisfied with his knowledge of Philosophy, he wondered if God and religion could be made a part of one's growing experiences and deeply internalized. Narendra went about asking prominent residents of contemporary Calcutta whether they had come "face to face with God". but could not get answers which satisfied him.
His first introduction to Ramakrishna occurred in a literature class in General Assembly's Institution, when he heard Principal Reverend W. Hastie lecturing on William Wordsworth's poem ''The Excursion'' and the poet's nature-mysticism. In the course of explaining the word ''trance'' in the poem, Hastie told his students that if they wanted to know the real meaning of it, they should go to Ramakrishna of Dakshineswar. This prompted some of his students, including Narendranath to visit Ramakrishna.
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Narendranath's meeting with Ramakrishna in November 1881 proved to be a turning point in his life. About this meeting, Narendranath said, "He Ramakrishna looked just like an ordinary man, with nothing remarkable about him. He used the most simple language and I thought "Can this man be a great teacher?". I crept near to him and asked him the question which I had been asking others all my life: "Do you believe in God, Sir?" "Yes", he replied. "Can you prove it, Sir?" "Yes". "How?" "Because I see Him just as I see you here, only in a much intenser sense." That impressed me at once. […] I began to go to that man, day after day, and I actually saw that religion could be given. One touch, one glance, can change a whole life." Even though Narendra did not accept Ramakrishna as his guru initially and revolted against his ideas, he was attracted by his personality and visited him frequently. He initially looked upon Ramakrishna's ecstasies and visions as, "mere figments of imagination", "mere hallucinations". As a member of Brahmo samaj, he revolted against idol worship and polytheism, and Ramakrishna's worship of Kali. He even rejected the ''Advaitist Vedantism'' of identity with absolute as blasphemy and madness, and often made fun of the concept
Though at first Narendra could not accept Ramakrishna and his visions, he could not neglect him either. It had always been in Narendra's nature to test something thoroughly before he would accept it. He tested Ramakrishna, who never asked Narendra to abandon reason, and faced all of Narendra's arguments and examinations with patience—"Try to see the truth from all angles" was his reply. During the course of five years of his training under Ramakrishna, Narendra was transformed from a restless, puzzled, impatient youth to a mature man who was ready to renounce everything for the sake of God-realization. In time, Narendra accepted Ramakrishna as guru, and when he accepted, his acceptance was whole-hearted and with complete surrendering as disciple.
In 1885 Ramakrishna suffered from throat cancer and he was shifted to Calcutta and later to Cossipore. Vivekananda and his brother disciples took care of Ramakrishna during his final days. Vivekananda's spiritual education under Ramakrishna continued there. At Cossipore, Vivekananda reportedly experienced ''Nirvikalpa Samadhi''. During the last days of Ramakrishna, Vivekananda and some of the other disciples received the ochre monastic robes from Ramakrishna, which formed the first monastic order of Ramakrishna. Vivekananda was taught that service to men was the most effective worship of God. It is reported that when Vivekananda doubted Ramakrishna's claim of ''avatar'', Ramakrishna reportedly said, "He who was Rama, He who was Krishna, He himself is now Ramakrishna in this body." During his final days, Ramakrishna asked Vivekananda to take care of other monastic disciples and in turn asked them to look upon Vivekananda as their leader. Ramakrishna's condition worsened gradually and he expired in the early morning hours of August 16, 1886 at the Cossipore garden house. According to his disciples, this was ''Mahasamadhi''.
The dilapidated house at Baranagar was chosen because of its low rent and proximity to the Cossipore burning-ghat, where Ramakrishna was cremated. Narendra and other members of the Math often spent their time in meditation, discussing about different philosophies and teachings of spiritual teachers including Ramakrishna, Adi Shankara, Ramanuja, and Jesus Christ. Narendra reminisced about the early days in the monastery as follows- In the early part of 1887, Narendra and eight other disciples took formal monastic vows. Narendra took the name of ''Swami Bibidishananda''. Later he was coronated with the name ''Vivekananda'' by Ajit Singh, the Maharaja of Khetri.
In January 1899 the ''Baranagar Math'' was shifted a newly acquired plot of land at Belur in the district of Howrah, now famous as the Belur Math.
In 1888, Vivekananda left the monastery as a ''Parivrâjaka''—the Hindu religious life of a wandering monk, "without fixed abode, without ties, independent and strangers wherever they go." His sole possessions were a ''kamandalu'' (water pot), staff, and his two favorite books—''Bhagavad Gita'' and ''The Imitation of Christ''. Narendranath travelled the length and breadth of India for five years, visiting important centers of learning, acquainting himself with the diverse religious traditions and different patterns of social life. He developed a sympathy for the suffering and poverty of the masses and resolved to uplift the nation. Living mainly on Bhiksha or alms, Narendranath traveled mostly on foot and railway tickets bought by his admirers whom he met during the travels. During these travels he gained acquaintance and stayed with scholars, Dewans, Rajas and people from all walks of life—Hindus, Muslims, Christians, ''Pariah''s (low caste workers) and Government officials.
;Northern India In 1888, he started his journey from Varanasi. At Varanasi, he met pandit and Bengali writer, Bhudev Mukhopadhyay and Trailanga Swami, a famous saint who lived in a Shiva temple. Here, he also met Babu Pramadadas Mitra, the noted Sanskrit scholar, to whom the Swami wrote a number of letters asking his advice on the interpretation of the Hindu scriptures. After Varanasi he visited Ayodhya, Lucknow, Agra, Vrindavan, Hathras and Rishikesh. At Hathras he met Sharat Chandra Gupta, the station master who later became one of his earliest disciples as ''Sadananda''. Between 1888-1890, he visited Vaidyanath, Allahabad. From Allahabad, he visited Ghazipur where he met Pavhari Baba, a ''Advaita Vedanta'' ascetic who spent most of his time in meditation. Between 1888-1890, he returned to Baranagore ''Math'' few times, because of ill health and to arrange for the financial funds when Balaram Bose and Suresh Chandra Mitra, the disciples of Ramakrishna who supported the ''Math'' had expired.
;The Himalayas In July 1890, accompanied by his brother monk, Swami Akhandananda, he continued his journey as a wandering monk and returned to the ''Math'' only after his visit to the West. He visited, Nainital, Almora, Srinagar, Dehradun, Rishikesh, Haridwar and the Himalayas. During this travel, he reportedly had a vision of macrocosm and microcosm, which seems to be reflected in the ''Jnana Yoga'' lectures he gave later in the West, "''The Cosmos''—''The Macrocosm'' and ''The Microcosm''". During these travels, he met his brother monks —Swami Brahmananda, Saradananda, Turiyananda, Akhandananda and Advaitananda. They stayed at Meerut for a few days where they passed their time in meditation, prayer and study of scriptures. At the end of January 1891, the Swami left his brother monks and journeyed to Delhi alone.
;Rajputana At Delhi, after visiting historical places he journeyed towards Alwar, in the historic land of Rajputana. Later he journeyed to Jaipur, where he studied Panini's ''Ashtadhyayi'' with a Sanskrit scholar. He next journeyed to Ajmer, where he visited the palace of Akbar and the famous Dargah and left for Mount Abu. At Mount Abu, he met the maharaja, Ajit Singh of Khetri, who became his ardent devotee and supporter. Swami Tathagatananda, a senior monk of the Ramakrishna Order, and the Head of Vedanta Society, New York wrote as follows :
At Khetri, he delivered discourses to the Raja, became acquainted with the pandit Ajjada Adibhatla Narayana Dasu, and studied ''Mahābhāṣya'' on sutras of Panini. After two and a half months there, towards the end of October 1891, he proceeded towards Rajasthan and Maharastra.
; Western India Continuing his travels, he visited Ahmedabad, Wadhwan, Limbdi. At Ahmedabad he completed his studies of Muslim and Jain culture. At Limbdi, he met Thakore Sahed Jaswant Singh who had himself been to England and America. From the Thakore Saheb, the Swami first got the idea of going to the West to preach Vedanta. He later visited Junagadh, where he was the guest of Haridas Desai, the Dewan of the State, who was so charmed with his company that every evening he, with all the State officials, used to meet the Swami and converse with him until late at night. From there he also visited Girnar, Kutch, Porbander, Dwaraka, Palitana, Nadiad where he stayed at Diwan Haridas Desai's house Nadiad ni haveli and Baroda. At Porbander he stayed three quarters of a year, in spite of his vow as a wandering monk, to perfect his philosophical and Sanskrit studies with learned ''pandit''s; he worked with a court ''pandit'' who translated the ''Vedas''.
He later traveled to Mahabaleshwar and then to Pune. From Pune he visited Khandwa and Indore around June 1892. At Kathiawar he heard of the Parliament of the World's Religions and was urged by his followers there to attend it. He left Khandwa for Bombay and reached there on July 1892. In a Pune bound train he met Bal Gangadhar Tilak. After staying with Tilak for few days in Poona, the Swami travelled to Belgaum in October 1892. At Belgaum, he was the guest of Prof. G.S. Bhate and Sub-divisional Forest officer, Haripada Mitra. From Belgaum, he visited Panjim and Margao in Goa. He spent three days in the Rachol Seminary, the oldest convent-college of theology of Goa where rare religious literature in manuscripts and printed works in Latin are preserved. He reportedly studied important Christian theological works here. From Margao the Swami went by train to Dharwar, and from there directly to Bangalore, in Mysore State.
; Southern India At Bangalore, the Swami became acquainted with Sir K. Seshadri Iyer, the Dewan of Mysore state, and later he stayed at the palace as guest of the Maharaja of Mysore, Chamaraja Wodeyar. Regarding the Swami's learning, Sir Seshadri reportedly remarked, "a magnetic personality and a divine force which were destined to leave their mark on the history of his country." The Maharaja provided the Swami a letter of introduction to the Dewan of Cochin and got him a railway ticket.
From Bangalore, he visited Trichur, Kodungalloor, Ernakulam. At Ernakulam, he met Chattampi Swamikal, contemporary of Narayana Guru in early December 1892. From Ernakulam, he journeyed to Trivandrum, Nagercoil and reached Kanyakumari on foot during the Christmas Eve of 1892. At Kanyakumari, the Swami reportedly meditated on the "last bit of Indian rock", famously known later as the Vivekananda Rock Memorial, for three days. At Kanyakumari, Vivekananda had the "Vision of one India", also commonly called "The Kanyakumari resolve of 1892". He wrote,
From Kanyakumari he visited Madurai, where he met the Raja of Ramnad, Bhaskara Setupati, to whom he had a letter of introduction. The Raja became the Swami's disciple and urged him to go to the Parliament of Religions at Chicago. From Madurai, he visited Rameshwaram, Pondicherry, he travelled to Madras and here he met some his most devoted disciples, who played important roles in collecting funds for Swami's voyage to America and later in establishing the Ramakrishna Mission in Madras. With the aid of funds collected by his Madras disciples and Rajas of Mysore, Ramnad, Khetri, Dewans and other followers Vivekananda left for Chicago on 31 May 1893 from Bombay assuming the name ''Vivekananda''—the name suggested by the Maharaja of Khetri.
This was a period of rapid military build-up in Japan - a prelude to the Sino-Japanese War and the Russo-Japanese War. These preparations did not escape the attention of Vivekananda, who wrote - "The Japanese seem now to have fully awakened themselves to the necessity of the present times. They have now a thoroughly organized army equipped with guns which one of their own officers has invented and which is said to be second to none. Then, they are continually increasing their navy". About the industrial progress he observed, "The match factories are simply a sight to see, and they are bent upon making everything they want in their own country.".
Contrasting the rapid progress of Japan with the situation back in India, he urged his countrymen - the "offspring of centuries of superstition and tyranny" - to come out of their narrow holes and have a look abroad -
Dr. Barrows, the president of the Parliament said, "India, the Mother of religions was represented by Swami Vivekananda, the Orange-monk who exercised the most wonderful influence over his auditors." He attracted widespread attention in the press, which dubbed him as the "Cyclonic monk from India". The ''New York Critique'' wrote, "He is an orator by divine right, and his strong, intelligent face in its picturesque setting of yellow and orange was hardly less interesting than those earnest words, and the rich, rhythmical utterance he gave them." The ''New York Herald'' wrote, "Vivekananda is undoubtedly the greatest figure in the Parliament of Religions. After hearing him we feel how foolish it is to send missionaries to this learned nation." The American newspapers reported Swami Vivekananda as "the greatest figure in the parliament of religions" and "the most popular and influential man in the parliament".
He spoke several more times at the Parliament on topics related to Hinduism and Buddhism. The parliament ended on 27 September 1893. All his speeches at the Parliament had one common theme—Universality—and stressed religious tolerance.
During his first visit to America, he traveled to England twice—in 1895 and 1896. His lectures were successful there. Here he met Miss Margaret Noble, an Irish lady, who later became Sister Nivedita. During his second visit in May 1896, while living at a house in Pimlico, the Swami met Max Müller a renowned Indologist at Oxford University who wrote Ramakrishna's first biography in the West. From England, he also visited other European countries. In Germany he met Paul Deussen, another famous Indologist.
He also received two academic offers, the chair of Eastern Philosophy at Harvard University and a similar position at Columbia University. He declined both, saying that, as a wandering monk, he could not settle down to work of this kind.
He attracted several sincere followers. Among his other followers were, Josephine MacLeod, Miss Müller, Miss Noble, E.T. Sturdy, Captain and Mrs. Sevier—who played an important role in the founding of Advaita Ashrama and J.J. Goodwin—who became his stenographer and recorded his teachings and lectures. The Hale family became one of his warmest hosts in America. His disciples—Madame Louise, a French woman, became Swami Abhayananda, and Mr. Leon Landsberg, became Swami Kripananda. He initiated several other followers into Brahmacharya.
Swami Vivekananda's ideas were admired by several scholars and famous thinkers—William James, Josiah Royce, C. C. Everett, Dean of the Harvard School of Divinity, Robert G. Ingersoll, Nikola Tesla, Lord Kelvin, and Professor Hermann Ludwig Ferdinand von Helmholtz. Other personalities who were attracted by his talks were Harriet Monroe and Ella Wheeler Wilcox—two famous American poets, Professor William James of Harvard University; Dr. Lewis G. Janes, president of Brooklyn Ethical Association; Sara C. Bull, wife of Ole Bull, the Norwegian violinist; Sarah Bernhardt, the French actress and Madame Emma Calvé, the French opera singer.
From West, he also set his Indian work in motion. Vivekananda wrote a stream of letters to India, giving advice and sending money to his followers and brother monks. His letters from the West in these days laid down the motive of his campaign for social service. He constantly tried to inspire his close disciples in India to do something big. His letters to them contain some of his strongest words. In one such letter, he wrote to Swami Akhandananda, "Go from door to door amongst the poor and lower classes of the town of Khetri and teach them religion. Also, let them have oral lessons on geography and such other subjects. No good will come of sitting idle and having princely dishes, and saying "Ramakrishna, O Lord!"—unless you can do some good to the poor." Eventually in 1895, the periodical called ''Brahmavadin'' was started in Madras, with the money supplied by Vivekananda, for the purpose of teaching the Vedanta. Subsequenly, Vivekananda's translation of first six chapters of ''The Imitation of Christ'' was published in ''Brahmavadin'' (1889).
Vivekananda left for India on 16 December 1896 from England with his disciples, Captain and Mrs. Sevier, and J.J. Goodwin. On the way they visited France, Italy, seeing Leonardo da Vinci's ''The Last Supper'', and set sail for India from the Port of Naples on December 30, 1896. Later, he was followed to India by Miss Müller and Sister Nivedita. Sister Nivedita devoted the rest of her life to the education of Indian women and the cause of India's independence.
Two other monasteries were founded by him- one at Mayavati on the Himalayas, near Almora called the ''Advaita Ashrama'' and another at Madras. Two journals were also started, ''Prabuddha Bharata'' in English and ''Udbhodan'' in Bengali. The same year, the famine relief work was started by Swami Akhandananda at Murshidabad district.
Vivekananda had inspired Sir Jamshedji Tata to set up a research and educational institution when they had travelled together from Yokohama to Chicago on the Swami's first visit to the West in 1893. About this time the Swami received a letter from Tata, requesting him to head the Research Institute of Science that Tata had set up. But Vivekananda declined the offer saying that it conflicted with his spiritual interests.
Vivekananda spent few of his days at Advaita Ashrama, Mayavati and later at the Belur Math. Henceforth till the end he stayed at Belur Math, guiding the work of Ramakrishna Mission and Math and the work in England and America. Thousands of visitors came to him during these years including The Maharaja of Gwalior and in December 1901, the stalwarts of Indian National Congress including Lokamanya Tilak. In December 1901, he was invited to Japan to participate in the Congress of Religions, however his failing health made it impossible. He undertook pilgrimages to Bodhgaya and Varanasi towards his final days.
His tours, hectic lecturing engagements, private discussions and correspondence had taken their toll on his health. He was suffering from asthma, diabetes and other physical ailments. A few days prior to his demise, he was seen intently studying the almanac. Three days before his death he pointed out the spot for this cremation—the one at which a temple in his memory stands today. He had remarked to several persons that he would not live to be forty.
On the day of his death, he taught ''Shukla-Yajur-Veda'' to some pupils in the morning at Belur Math. He had a walk with Swami Premananda, a brother-disciple, and gave him instructions concerning the future of the Ramakrishna Math.
Vivekananda died at ten minutes past nine P.M. on July 4, 1902 while he was meditating. According to his disciples, this was ''Mahasamadhi''. Afterward, his disciples recorded that they had noticed "a little blood" in the Swami's nostrils, about his mouth and in his eyes. The doctors remarked that it was due to the rupture of a blood-vessel in the brain, but they could not find the real cause of the death. According to his disciples, ''Brahmarandhra'' — the aperture in the crown of the head — must have been pierced when he attained ''Mahasamadhi''. Vivekananda had fulfilled his own prophecy of not living to be forty years old.
Swami Vivekananda believed that the essence of Hinduism was best expressed in the Vedanta philosophy, based on the interpretation of Adi Shankara. He summarized the Vedanta's teachings as follows,
Each soul is potentially divine. The goal is to manifest this Divinity within by controlling nature, external and internal. Do this either by work, or worship, or psychic control, or philosophy—by one, or more, or all of these—and be free. This is the whole of religion. Doctrines, or dogmas, or rituals, or books, or temples, or forms, are but secondary details.
Swami Vivekananda belonged to that branch of Vedanta that held that no one can be truly free until all of us are. Even the desire for personal salvation has to be given up, and only tireless work for the salvation of others is the true mark of the enlightened person. He founded the Ramakrishna Math and Mission on the principle of Atmano Mokshartham Jagat-hitaya cha (आत्मनॊ मोक्षार्थम् जगद्धिताय च) (for one's own salvation and for the welfare of the World).
Vivekananda advised his followers to be holy, unselfish and have shraddha (faith). He encouraged the practice of Brahmacharya (Celibacy). In one of the conversations with his childhood friend Priya Nath Sinha he attributes his physical and mental strengths, and eloquence to the practice of Brahmacharya.
Vivekananda did not advocate the emerging area of parapsychology and astrology (one instance can be found in his speech ''Man the Maker of his Destiny'', ''Complete-Works, Volume 8, Notes of Class Talks and Lectures'') saying that this form of curiosity doesn't help in spiritual progress but actually hinders it.
; Vivekananda and science In his book ''Raja Yoga'', Vivekananda explores traditional views on the supernatural and the belief that the practice of Raja Yoga can confer psychic powers such as 'reading another's thoughts', 'controlling all the forces of nature', become 'almost all-knowing', 'live without breathing', 'control the bodies of others' and levitation. He also explains traditional eastern spiritual concepts like kundalini and spiritual energy centres (chakras).
However, Vivekananda takes a skeptical approach and in the same book states:
He further says in the introduction of the book that one should take up the practice and verify these things for oneself, and that there should not be blind belief.
In his paper read at the World Parliament of Religions, Chicago (1893), Vivekananda also hinted about the final goal of physics:
The great electrical engineer, Nikola Tesla, after listening to Vivekananda's speech on Sankhya Philosophy, was much interested in its cosmogony and its rational theories of the Kalpas (cycles), Prana and Akasha. His notion based on the Vedanta led him to think that matter is a manifestation of energy. After attending a lecture on Vedanta by Vivekananda, Tesla also concluded that modern science can look for the solution of cosmological problems in Sankhya philosophy, and he could prove that mass can be reduced to potential energy mathematically.
Swami Vivekananda is widely considered to have inspired India's freedom struggle movement. His writings inspired a whole generation of freedom fighters including Subhash Chandra Bose, Aurobindo Ghose and Bagha Jatin. Vivekananda was the brother of the revolutionary freedom fighter, Bhupendranath Dutta. Subhash Chandra Bose, one of the most prominent figures in Indian independence movement said,
Aurobindo Ghose considered Vivekananda as his spiritual mentor.
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At the Belur Math, Mahatma Gandhi was heard to say that his whole life was an effort to bring into actions the ideas of Vivekananda. He said:,
Many years after Vivekananda's death, Rabindranath Tagore, a Nobel Poet Laureate told Romain Rolland, This shows the esteem held by Tagore for the ''Vedanta Kesari''.
The French Nobel Laureate Romain Rolland writes,
Vivekananda inspired Jamshedji Tata to set up Indian Institute of Science, one of India's finest Institutions. Abroad, he had some interactions with Max Müller. Scientist Nikola Tesla was one of those influenced by the Vedic philosophy teachings of the Swami Vivekananda. On November 11, 1995, a section of Michigan Avenue, one of the most prominent streets in Chicago, was formally renamed "Swami Vivekananda Way".
Above all Swami Vivekananda helped restore a sense of pride amongst the Hindus, presenting the ancient teachings of India in their purest form to a Western audience, free from the propaganda spread by British colonial administrators, of Hinduism being a caste-ridden, misogynistic idolatrous faith. Indeed his early foray into the West would set the path for subsequent Indian religious teachers to make their own marks on the world, as well herald the entry of Hindus and their religious traditions into the Western world.
Swami Vivekananda's ideas have had a great influence on the youth of India. In many institutes, students have come together and formed organizations meant for promoting discussion of spiritual ideas and the practice of such high principles. Many of such organizations have adopted his name. One such group also exists at IIT Madras and is popularly known as (Vivekananda Study Circle). Another one exists at IIT Kanpur by the name Vivekananda Samiti. Additionally, Swami Vivekananda's ideas and teachings have carried on globally, being practiced in institutions all over the world.
In 2011, during the anti-corruption Lokpal bill movement, the prominent figure and Gandhian activist Anna Hazare repeatedly mentioned that he was greatly inspired by Swami Vivekananda's thoughts.
Category:Article Feedback Pilot Category:19th-century philosophers Category:Hindu philosophers Category:Hindu gurus Category:Bengali people Category:Contemporary Indian philosophers Category:Indian religious leaders Category:People from Kolkata Category:Alumni of Presidency University, Kolkata Category:Alumni of Scottish Church College, Calcutta Category:University of Calcutta alumni Category:Ramakrishna Mission Category:Advaitin philosophers Category:Hindu missionaries Category:Indian missionaries Category:Indian Hindus Category:1863 births Category:1902 deaths Category:Monastic disciples of Ramakrishna Category:Hindu religious figures
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name | Scott Joplin |
---|---|
background | non_vocal_instrumentalist |
birth name | Scott Joplin |
born | c. 1867 northeastern Texas |
died | April 1, 1917 (aged 49)New York City |
instrument | Piano, Violin, Banjo |
genre | Ragtime, march, waltz, and song |
occupation | Composermusician, and pianist |
years active | 1895–1917 |
notable instruments | }} |
He was born into a musical African-American family of laborers in eastern Texas, and developed his musical knowledge with the help of local teachers. During the late 1880s he travelled around the American South as an itinerant musician, and went to Chicago for the World's Fair of 1893 which played a major part in making ragtime a national craze by 1897.
Publication of his "Maple Leaf Rag" in 1899 brought him fame and had a profound influence on subsequent writers of ragtime. It also brought the composer a steady income for life with royalties of one cent per sale, equivalent to }} cents per sale in current value. During his lifetime, Joplin did not reach this level of success again and frequently had financial problems, which contributed to the loss of his first opera, ''A Guest of Honor''. He continued to write ragtime compositions, and moved to New York in 1907. He attempted to go beyond the limitations of the musical form which made him famous, without much monetary success. His second opera, ''Treemonisha'', was not received well at its partially staged performance in 1915. He died from complications of tertiary syphilis in 1917.
Joplin's music was rediscovered and returned to popularity in the early 1970s with the release of a million-selling album of Joplin's rags recorded by Joshua Rifkin, followed by the Academy Award–winning movie ''The Sting'' which featured several of his compositions, such as "The Entertainer". The opera ''Treemonisha'' was finally produced in full to wide acclaim in 1972. In 1976, Joplin was posthumously awarded a Pulitzer Prize.
At some point in the early 1880s, Giles Joplin left the family for another woman, leaving Florence to provide for her children through domestic work. Biographer Susan Curtis speculated that his mother's support of Joplin's musical education was an important causal factor in this separation; his father argued that it took the boy away from practical employment which would have supplemented the family income.
According to a family friend, the young Joplin was serious and ambitious. While in elementary school, he spent his after-school hours studying music and learning to play piano. While a few local teachers aided him, he received most of his serious music education from Julius Weiss, a German-Jewish music professor who had immigrated to the U.S. Weiss had studied music at a university in Germany and was listed in town records as a "Professor of music." Impressed by Joplin's talent, and realizing his family's dire straits, Weiss taught him free of charge. He tutored the 11-year-old Joplin until he was 16, during which time he introduced him to folk and classical music, including opera, sometimes playing the classics for him along with describing the great composers. Weiss supported the young composer's ambitions and helped his mother acquire a used piano from another student. Joplin, according to his wife Lottie, never forgot Weiss, and in his later years, when he achieved fame as a composer, sent his former teacher "gifts of money when he was old and ill," until Weiss died.
Joplin played music at church gatherings and for non-religious entertainments such as African-American dances. Although it is likely he played well-known dances of the era, "waltzes, polkas, and schottisches", it is possible he played his own compositions; biographer Curtis describes an eye-witness, Zenobia Campbell, recalling him playing his own compositions; "He did not have to play anybody else's music. He made up his own, and it was beautiful; he just got his music out of the air."
By the early 1890s, Ragtime had become popular among African-Americans in the cities of St. Louis and Chicago. In 1893 large numbers of African-American musicians, including Joplin, made their way to Chicago to perform for the visitors at the World's Fair. They found work in the cafés, saloons and brothels that lined the fair and the city's seedy and corrupt "Tenderloin" district. While in Chicago, Joplin formed his first band and began arranging music for the group to perform. Although the World's Fair was "not congenial to African Americans," he still found that his music, as well as that of other black performers, was popular with visitors. The exposition was attended by 27 million Americans and had a profound effect on many areas of American cultural life, including ragtime. Although specific information is sparse, numerous sources have credited the Chicago World Fair with spreading the popularity of ragtime. By 1897 ragtime had become a national craze in American cities, and was described by the ''St. Louis Dispatch'' as "a veritable call of the wild, which mightily stirred the pulses of city bred people."
In the 1890s, the town had a population of approximately 14,000 and was the center of commerce and transport for the region. The town's saloons and brothels of the red-light district on Main St, nicknamed "Battle Row", provided employment for musicians, and it is likely that Joplin worked in this area. The town was attractive for other reasons; race-relations between Whites and Blacks in Sedalia were relatively good, especially when compared to other similar communities in Missouri in this period, there is no record of public lynchings in the area 1890s, there were several prominent black citizens who held minor positions in the Republican Party, and the George R. Smith College, one of the nation's first colleges for the education of blacks, opened in 1894. In addition, Sedalia was described by a black resident of the town at the time as the "musical town of the West", because music was a major leisure-time activity.
There is little precise evidence known about Joplin's activities at this time, although he performed as a solo musician at dances and at the major black clubs in Sedalia, the "Black 400" club, and the "Maple Leaf Club". He performed in the Queen City Cornet Band, and his own six-piece dance orchestra. A tour with his own singing group, the Texas Medley Quartet, gave him his first opportunity to publish his own compositions and it is known that he went to Syracuse, New York and Texas. Two businessmen from New York published Joplin's first two works, the songs "Please Say You Will", and "A Picture of her Face" in 1895. Joplin's visit to Temple, Texas enabled him to have three pieces published there in 1896, including the "Crush Collision March" which commemorated a planned train crash on the Missouri-Kansas-Texas Railroad on September 15 which he may have witnessed. The March was described by one of Joplin's biographers as a "special... early essay in ragtime", While in Sedalia he was teaching piano to students who included Arthur Marshall, composer and pianist Brun Campbell, and Scott Hayden, all of whom became ragtime composers in their own right. In turn, Joplin enrolled at the George R. Smith College where he apparently studied "advanced harmony and composition". The College records were destroyed in a fire in 1925, and biographer Edward A. Berlin notes that it was unlikely that a small college for African-Americans would be able to provide such a course.
In 1899, Joplin married Belle, the sister-in-law of collaborator Scott Hayden. Although there were hundreds of rags in print by the time of the "Maple Leaf Rag's" publication, Joplin was not far behind. His first published rag was "Original Rags" (March 1899) had been completed in 1897, the same year as the first ragtime work in print, the "Mississippi Rag" by William Krell. The "Maple Leaf Rag" was likely to have been known in Sedalia before its publication in 1899; Brun Campbell claimed to have seen the manuscript of the work in around 1898. The exact circumstances which lead to the Maple Leaf Rag's publication are unknown, and there are various different versions of the event which contradict each other. After several unsuccessful approaches to publishers, Joplin signed a contract with John Stillwell Stark, a retailer of musical instruments who later became his most important publisher, on August 10, 1899 for a 1% royalty on all sales of the rag, with a minimum sales price of 25c. It is possible that the rag was named after the Maple Leaf Club, although there is no direct evidence to prove the link, and there were many other possible sources for the name in and around Sedalia at the time.
There have been many claims about the sales of the "Maple Leaf Rag", for example that Joplin was the first musician to sell 1 million copies of a piece of instrumental music. Joplin's first biographer, Rudi Blesh wrote that during its first six months the piece sold 75,000 copies, and became "the first great instrumental sheet music hit in America". However, research by Joplin's later biographer Edward A. Berlin demonstrated that this was not the case; the initial print-run of 400 took one year to sell, and under the terms of Joplin's contract with a 1% royalty would have given Joplin an income of $4 (or approximately $}} at current prices). Later sales were steady and would have given Joplin an income which would have covered his expenses; in 1909 estimated sales would have given him an income of $600 annually (approximately $}} in current prices).
The "Maple Leaf Rag" did serve as a model for the hundreds of rags to come from future composers, especially in the development of classic ragtime. After the publication of the "Maple Leaf Rag", Joplin was soon being described as "King of rag time writers", not least by himself on the covers of his own work, such as "The Easy Winners" and "Elite Syncopations".
After the Joplins' move to St. Louis in early 1900, they had a baby daughter who died only a few months after birth. Joplin's relationship with his wife was difficult as she had no interest in music; they eventually separated and then divorced. About this time, Joplin collaborated with Scott Hayden in the composition of four rags. It was in St. Louis that Joplin produced some of his best-known works, including "The Entertainer", "March Majestic", and the short theatrical work "The Ragtime Dance".
In June 1904, Joplin married Freddie Alexander of Little Rock, Arkansas, the young woman to whom he had dedicated "The Chrysanthemum" (1904). She died on September 10, 1904 of complications resulting from a cold, ten weeks after their wedding. Joplin's first work copyrighted after Freddie's death, "Bethena" (1905), was described by one biographer as "an enchantingly beautiful piece that is among the greatest of ragtime waltzes".
During this time, Joplin created an opera company of 30 people and produced his first opera ''A Guest of Honor'' for a national tour. It is not certain how many productions were staged, or even if this was an all-black show or a racially mixed production (which would have been unusual for 1903). During the tour, either in Springfield, Illinois, or Pittsburg, Kansas, someone associated with the company stole the box office receipts. Joplin could not meet the company's payroll or pay for it's lodgings at a theatrical boarding house. It is believed the score for ''A Guest of Honor'' was lost and perhaps destroyed because of non-payment of the company's boarding house bill.
In 1914, Joplin and Lottie self-published his "Magnetic Rag" using the name the "Scott Joplin Music Company" which had been formed the previous December. Biographer Vera Brodsky Lawrence speculates that Joplin was aware of his advancing deterioration due to syphilis and was "consciously racing against time." In her sleeve notes on the 1992 Deutsche Grammophon release of ''Treemonisha'' she notes that he "plunged feverishly into the task of orchestrating his opera, day and night, with his friend Sam Patterson standing by to copy out the parts, page by page, as each page of the full score was completed."
By 1916, Joplin was suffering from tertiary syphilis and a resulting descent into madness. In January 1917, he was admitted to Manhattan State Hospital, a mental institution. He died there on April 1, 1917 of dementia. After Joplin's death at the age of just 49, from advanced syphilis, he was buried in a pauper's grave that remained unmarked for 57 years. His grave at Saint Michaels Cemetery, in East Elmhurst, was finally honored in 1974.
When Joplin was learning the piano, serious musical circles condemned ragtime because of its association with the vulgar and inane songs "cranked out by the tune-smiths of Tin Pan Alley." As a composer Joplin refined ragtime, elevating it above the low and unrefined form played by the "wandering honky-tonk pianists... playing mere dance music" of popular imagination. This new art form, the classic rag, combined Afro-American folk music's syncopation and nineteenth-century European romanticism, with its harmonic schemes and its march-like tempos. In the words of one critic, "ragtime was basically... an Afro-American version of the polka, or its analog, the Sousa-style march." With this as a foundation, Joplin intended his compositions to be played exactly as he wrote them – without improvisation. Joplin wrote his rags as "classical" music in miniature form in order to raise ragtime above its "cheap bordello" origins and produced work which opera historian Elise Kirk described as "...more tuneful, contrapuntal, infectious, and harmonically colorful than any others of his era."
It has been speculated that Joplin's achievements were influenced by his classically trained German music teacher Julius Weiss, who may have brought a polka rhythmic sensibility from the old country to the 11-year old. As Curtis put it "The educated German could open up the door to a world of learning and music of which young Joplin was largely unaware."
Joplin's first, and most significant hit the "Maple Leaf Rag" was described as the "archetype" of the classic rag, influencing subsequent rag composers for at least 12 years after its initial publication thanks to its rhythmic patterns, melody lines, and harmony, although with the exception of Joseph Lamb they generally failed to enlarge upon it.
Joplin wrote both the score and the libretto for the opera, which largely follows the form of European opera with many conventional arias, ensembles and choruses. In addition the themes of superstition and mysticism which are evident in ''Treemonisha'' are common in the operatic tradition, and certain aspects of the plot echo devices in the work of the German composer Richard Wagner (of which Joplin was aware); a sacred tree under which Treemonisha is found recalls the tree from which Siegmund takes his enchanted sword in ''Die Walküre'', and the retelling of the heroine's origins echos aspects of the opera ''Siegfried''. In addition, African-American folk tales also influence the story, with the wasp nest incident being similar to the story of Br'er Rabbit and the briar patch.
''Treemonisha'' is not a ragtime opera because Joplin employed the styles of ragtime and other black music sparingly, using them to convey "racial character", and to celebrate the music of his childhood at the end of the 19th century. The opera has been seen as a valuable record of rural black music from 1870s–1890s re-created by a "skilled and sensitive participant".
Berlin speculates about parallels between the plot and Joplin's own life. He notes that Lottie Joplin (the composer's third wife) saw a connection between the character Treemonisha's wish to lead her people out of ignorance, and a similar desire in the composer. In addition, it has been speculated that Treemonisha represents Freddie, Joplin's second wife, because the date of the opera's setting was likely to have been the month of her birth.
At the time of the opera's publication in 1911, the ''American Musician and Art Journal'' praised it as "an entirely new form of operatic art". Later critics have also praised the opera as occupying a special place in American history, with its heroine "a startlingly early voice for modern civil rights causes, notably the importance of education and knowledge to African American advancement." Curtis's conclusion is similar: "In the end, ''Treemonisha'' offered a celebration of literacy, learning, hard work, and community solidarity as the best formula for advancing the race." Berlin describes it as a "fine opera, certainly more interesting than most operas then being written in the United States", but later states that Joplin's own libretto showed the composer "was not a competent dramatist" with the book not up to the same quality as the music.
Joplin's skills as a pianist were described in glowing terms by a Sedalia newspaper in 1898, and fellow ragtime composers Arthur Marshall and Joe Jordan both said that he played the instrument well. However, the son of publisher John Stark stated that Joplin was a rather mediocre pianist and that he composed on paper, rather than at the piano. Artie Matthews recalled the "delight" the St. Louis players took in outplaying Joplin.
While Joplin never made an audio recording, his playing is preserved on seven piano rolls for use in mechanical player pianos. All seven were made in 1916. Of these, the six released under the Connorized label show evidence of significant editing, probably by William Axtmann, the staff arranger at Connorized. Berlin theorizes that by the time Joplin reached St. Louis he may have been experiencing discoordination of the fingers, tremors and an inability to speak clearly, symptoms of syphilis, the disease that took his life in 1917. The second roll recording of "Maple Leaf Rag" on the UniRecord label from June 1916 was described by biographer Blesh as "... shocking... disorganized and completely distressing to hear." While there is disagreement among piano-roll experts about the accuracy of the reproduction of a player's performance, Berlin notes that the "Maple Leaf Rag" roll was "painfully bad" and likely to be the truest record of Joplin's playing at the time. The roll, however, does not reflect his abilities earlier in life.
Joshua Rifkin, a leading Joplin recording artist, wrote that "a pervasive sense of lyricism infuses his work, and even at his most high-spirited, he cannot repress a hint of melancholy or adversity... He had little in common with the fast and flashy school of ragtime that grew up after him." Joplin historian Bill Ryerson adds that "In the hands of authentic practitioners like Joplin, ragtime was a disciplined form capable of astonishing variety and subtlety... Joplin did for the rag what Chopin did for the mazurka. His style ranged from tones of torment to stunning serenades that incorporated the bolero and the tango."
Joplin biographer Susan Curtis expands on those observations: :"When Scott Joplin syncopated his way into the hearts of millions of Americans at the turn of the century, he helped revolutionize American music and culture. His ragged rhythms and lilting melodies made people want to tap their feet, slap their thighs, or dance with happy abandon. As Americans embraced his music, they participated in a dramatic transformation of American popular culture – their Victorian restraint gave way to modern exuberance. And whether in the elegant parlors of comfortable, respectable American homes or in the honky tonks and cafes of America's sporting districts, ragtime music accompanied a reorientation of cultural values in America in the twentieth century. The excellence and appeal of his compositions earned for Joplin the generally accepted title "King of Ragtime".
Composer and actor Max Morath found it striking that the vast majority of Joplin's work did not enjoy the popularity of the "Maple Leaf Rag", because while the compositions were "of increasing lyrical beauty and delicate syncopation" they remained "obscure" and "unheralded" during his lifetime. Joplin apparently realized that his music was ahead of its time: As music historian Ian Whitcomb mentions that Joplin "opined that 'Maple Leaf Rag' would make him 'King of Ragtime Composers' but he also knew that he would not be a pop hero in his own lifetime. 'When I'm dead twenty-five years, people are going to recognize me,' he told a friend." Just over thirty years later he was recognized, and later historian Rudi Blesh would write a large book about ragtime, which he dedicated to the memory of Scott Joplin.
Although he was penniless and disappointed at the end of his life, Joplin set the standard for ragtime compositions and played a key role in the development of ragtime music. And as a pioneer composer and performer, he helped pave the way for young black artists to reach American audiences of both races. After his death, jazz historian Floyd Levin noted: "those few who realized his greatness bowed their heads in sorrow. This was the passing of the king of all ragtime writers, the man who gave America a genuine native music."
In the 1960s, a small-scale reawakening of interest in classic ragtime was underway among some American music scholars such as Trebor Tichenor, William Bolcom, William Albright and Rudi Blesh. In 1968, Bolcom and Albright interested Joshua Rifkin, a young musicologist, in the body of Joplin's work. Together, they hosted an occasional ragtime-and-early-jazz evening on WBAI radio.
In November 1970, Rifkin released a recording called ''Scott Joplin: Piano Rags'' on the classical label Nonesuch. It sold 100,000 copies in its first year and eventually became Nonesuch's first million-selling record. The ''Billboard'' "Best-Selling Classical LPs" chart for September 28, 1974 has the record at number 5, with the follow-up "Volume 2" at number 4, and a combined set of both volumes at number 3. Separately both volumes had been on the chart for 64 weeks. In the top 7 spots on that chart, 6 of the entries were recordings of Joplin's work, three of which were Rifkin's. Record stores found themselves for the first time putting ragtime in the classical music section. The album was nominated in 1971 for two Grammy Award categories: Best Album Notes and Best Instrumental Soloist Performance (without orchestra). Rifkin was also under consideration for a third Grammy for a recording not related to Joplin, but at the ceremony on March 14, 1972, Rifkin did not win in any category. He did a tour in 1974, which included appearances on BBC Television and a sell-out concert at London's Royal Festival Hall. In 1979 Alan Rich in the ''New York Magazine'' wrote that by giving artists like Rifkin the opportunity to put Joplin's music on disk Nonesuch Records "created, almost alone, the Scott Joplin revival."
In January 1971, Harold C. Schonberg, music critic at the New York Times, having just heard the Rifkin album, wrote a featured Sunday edition article entitled "Scholars, Get Busy on Scott Joplin!" Schonberg's call to action has been described as the catalyst for classical music scholars, the sort of people Joplin had battled all his life, to conclude that Joplin was a genius. Vera Brodsky Lawrence of the New York Public Library published a two-volume set of Joplin works in June 1971, entitled ''The Collected Works of Scott Joplin'', stimulating a wider interest in the performance of Joplin's music that included a recording called ''Joplin: The Red Back Book'' by Gunther Schuller, a french horn player and music professor.
Marvin Hamlisch lightly adapted Joplin's music for the 1973 film ''The Sting'', for which he won an Academy Award for Best Original Song Score and Adaptation on April 2, 1974. His version of "The Entertainer" reached number 3 on the Billboard Hot 100 and the American Top 40 music chart on May 18, 1974, prompting ''The New York Times'' to write, "the whole nation has begun to take notice". Thanks to the film and its score, Joplin's work became appreciated in both the popular and classical music world, becoming (in the words of music magazine ''Record World''), the "classical phenomenon of the decade".
On October 22, 1971, excerpts from ''Treemonisha'' were presented in concert form at Lincoln Center with musical performances by Bolcom, Rifkin and Mary Lou Williams supporting a group of singers. Finally, on January 28, 1972, T.J. Anderson's orchestration of ''Treemonisha'' was staged for two consecutive nights, sponsored by the Afro-American Music Workshop of Morehouse College in Atlanta, with singers accompanied by the Atlanta Symphony Orchestra under the direction of Robert Shaw, and choreography by Katherine Dunham. Schonberg remarked in February 1972 that the "Scott Joplin Renaissance" was in full swing and still growing. In May 1975, ''Treemonisha'' was staged in a full opera production by the Houston Grand Opera. The company toured briefly, then settled into an eight-week run in New York on Broadway at the Palace Theater in October and November. This appearance was directed by Gunther Schuller, and soprano Carmen Balthrop alternated with Kathleen Battle as the title character. An "original Broadway cast" recording was produced. Because of the lack of national exposure given to the brief Morehouse College staging of the opera in 1972, many Joplin scholars wrote that the Houston Grand Opera's 1975 show was the first full production.1974 saw the Royal Ballet, under director Kenneth MacMillan, create ''Elite Syncopations'' a ballet based on tunes by Joplin and other composers of the era. That year also brought the premiere by the Los Angeles Ballet of ''Red Back Book'', choreographed by John Clifford to Joplin rags from the collection of the same name, including both solo piano performances and arrangements for full orchestra.
1970: Joplin was inducted into the Songwriters Hall of Fame by the National Academy of Popular Music.
1976: Joplin was awarded a posthumous Pulitzer Prize for his special contribution to American music.
1977: Motown Productions produced ''Scott Joplin'', a biographical film starring Billy Dee Williams as Joplin, released by Universal Pictures.
1983: the United States Postal Service issued a stamp of the composer as part of its Black Heritage commemorative series.
1989: Joplin received a star on the St. Louis Walk of Fame.
2002: a collection of Scott Joplin's own performances recorded on piano rolls in the 1900s was included by the National Recording Preservation Board in the Library of Congress National Recording Registry. The board annually selects songs that are "culturally, historically, or aesthetically significant."
Category:1860s births Category:1917 deaths Category:20th-century classical composers Category:African American classical composers Category:African American pianists Category:American classical musicians Category:American composers Category:Deaths from syphilis Category:Music of St. Louis, Missouri Category:People from St. Louis, Missouri Category:People from Sedalia, Missouri Category:People from Texarkana, Texas Category:Ragtime composers Category:Songwriters Hall of Fame inductees Category:Texas classical music
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collection.If you no longer wish to receive our newsletter and promotional communications, you may opt-out of receiving them by following the instructions included in each newsletter or communication or by e-mailing us at michaelw(at)wn.com
The security of your personal information is important to us. We follow generally accepted industry standards to protect the personal information submitted to us, both during registration and once we receive it. No method of transmission over the Internet, or method of electronic storage, is 100 percent secure, however. Therefore, though we strive to use commercially acceptable means to protect your personal information, we cannot guarantee its absolute security.
If we decide to change our e-mail practices, we will post those changes to this privacy statement, the homepage, and other places we think appropriate so that you are aware of what information we collect, how we use it, and under what circumstances, if any, we disclose it.
If we make material changes to our e-mail practices, we will notify you here, by e-mail, and by means of a notice on our home page.
The advertising banners and other forms of advertising appearing on this Web site are sometimes delivered to you, on our behalf, by a third party. In the course of serving advertisements to this site, the third party may place or recognize a unique cookie on your browser. For more information on cookies, you can visit www.cookiecentral.com.
As we continue to develop our business, we might sell certain aspects of our entities or assets. In such transactions, user information, including personally identifiable information, generally is one of the transferred business assets, and by submitting your personal information on Wn.com you agree that your data may be transferred to such parties in these circumstances.