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.
Bertrand Arthur William Russell, 3rd Earl Russell, OM, FRS (18 May 1872 – 2 February 1970) was a British philosopher, logician, mathematician, historian, and social critic. At various points in his life he imagined himself a liberal, a socialist, and a pacifist, but he also admitted that he had never been any of these things in any profound sense. He was born in Wales, into one of the most prominent aristocratic families in Britain.
Russell led the British "revolt against idealism" in the early 1900s. He is considered one of the founders of analytic philosophy along with his predecessor Gottlob Frege and his protégé Ludwig Wittgenstein, and is widely held to be one of the 20th century's premier logicians. He co-authored, with A. N. Whitehead, ''Principia Mathematica'', an attempt to ground mathematics on logic. His philosophical essay "On Denoting" has been considered a "paradigm of philosophy." His work has had a considerable influence on logic, mathematics, set theory, linguistics, computer science (see type theory and type system), and philosophy, especially philosophy of language, epistemology, and metaphysics.
Russell was a prominent anti-war activist; he championed free trade and anti-imperialism. Russell went to prison for his pacifism during World War I. Later, he campaigned against Adolf Hitler, then criticised Stalinist totalitarianism, attacked the United States of America's involvement in the Vietnam War, and was an outspoken proponent of nuclear disarmament. One of his last acts was to issue a statement which condemned Israeli aggression in the Middle East.
In 1950, Russell was awarded the Nobel Prize in Literature, "in recognition of his varied and significant writings in which he champions humanitarian ideals and freedom of thought."
Russell's mother Katharine Louisa (1844–1874) was the daughter of Edward Stanley, 2nd Baron Stanley of Alderley, and was the sister of Rosalind Howard, Countess of Carlisle. Kate and Rosalind's mother was one of the founders of Girton College, Cambridge.
Russell's parents were radical for their times. Russell's father, Viscount Amberley, was an atheist and consented to his wife's affair with their children's tutor, the biologist Douglas Spalding. Both were early advocates of birth control at a time when this was considered scandalous. John Russell's atheism was evident when he asked the philosopher John Stuart Mill to act as Russell's secular godfather. Mill died the year after Russell's birth, but his writings had a great effect on Russell's life.
The countess was from a Scottish Presbyterian family, and successfully petitioned the Court of Chancery to set aside a provision in Amberley's will requiring the children to be raised as agnostics. Despite her religious conservatism, she held progressive views in other areas (accepting Darwinism and supporting Irish Home Rule), and her influence on Bertrand Russell's outlook on social justice and standing up for principle remained with him throughout his life — her favourite Bible verse, 'Thou shalt not follow a multitude to do evil' (Exodus 23:2), became his motto. The atmosphere at Pembroke Lodge was one of frequent prayer, emotional repression and formality; Frank reacted to this with open rebellion, but the young Bertrand learned to hide his feelings.
Russell's adolescence was very lonely, and he often contemplated suicide. He remarked in his autobiography that his keenest interests were in religion and mathematics, and that only the wish to know more mathematics kept him from suicide. He was educated at home by a series of tutors. His brother Frank introduced him to the work of Euclid, which transformed Russell's life.
Also, during these formative years, he discovered the works of Percy Bysshe Shelley. In his autobiography, he writes: "I spent all my spare time reading him, and learning him by heart, knowing no one to whom I could speak of what I thought or felt, I used to reflect how wonderful it would have been to know Shelley, and to wonder whether I should meet any live human being with whom I should feel so much sympathy." Russell claimed that beginning at age 15, he spent considerable time thinking about the validity of Christian religious dogma, and by 18 had decided to discard the last of it.
Russell first met the American Quaker Alys Pearsall Smith when he was 17 years old. He became a friend of the Pearsall Smith family—they knew him primarily as 'Lord John's grandson' and enjoyed showing him off—and travelled with them to the continent; it was in their company that Russell visited the Paris Exhibition of 1889 and was able to climb the Eiffel Tower soon after it was completed.
He soon fell in love with the puritanical, high-minded Alys, who was a graduate of Bryn Mawr College near Philadelphia, and, contrary to his grandmother's wishes, married her on 13 December 1894. Their marriage began to fall apart in 1901 when it occurred to Russell, while he was cycling, that he no longer loved her. She asked him if he loved her and he replied that he didn't. Russell also disliked Alys's mother, finding her controlling and cruel. It was to be a hollow shell of a marriage and they finally divorced in 1921, after a lengthy period of separation. During this period, Russell had passionate (and often simultaneous) affairs with a number of women, including Lady Ottoline Morrell and the actress Lady Constance Malleson.
He now started an intensive study of the foundations of mathematics at Trinity during which he discovered Russell's paradox which challenged the foundations of set theory. In 1903 he published his first important book on mathematical logic, ''The Principles of Mathematics'' showing that mathematics could be deduced from a very small number of principles, and contributing significantly to the cause of logicism.
In 1905 he wrote the essay "On Denoting", which was published in the philosophical journal ''Mind''. Russell became a fellow of the Royal Society in 1908. The first of three volumes of ''Principia Mathematica'', written with Whitehead, was published in 1910, which, along with the earlier ''The Principles of Mathematics'', soon made Russell world famous in his field.
In 1910 he became a lecturer in the University of Cambridge where he soon received an approach from the Austrian engineering student Ludwig Wittgenstein, who became his PhD student and whom he viewed as a genius and a successor who would continue his work on logic. He spent hours dealing with Wittgenstein's various phobias and his frequent bouts of despair. This was often a drain on Russell's energy, but Russell continued to be fascinated by him and encouraged his academic development, including the publication of Wittgenstein's ''Tractatus Logico-Philosophicus'' in 1922. Russell delivered his lectures on Logical Atomism, his version of these ideas, in 1918 before the end of the First World War and whilst Wittgenstein was still a prisoner of war.
Russell subsequently lectured in Beijing on philosophy for one year, accompanied by Dora. He went there with optimism and hope, as China was then on a new path. Among other scholars there was Rabindranath Tagore, the Indian poet and also a Nobel Laureate. While in China, Russell became gravely ill with pneumonia, and incorrect reports of his death were published in the Japanese press. When the couple visited Japan on their return journey, Dora notified the world that "Mr. Bertrand Russell, having died according to the Japanese press, is unable to give interviews to Japanese journalists." The press were not amused and did not appreciate the sarcasm.
On the couple's return to England on 26 August 1921, Dora was six months pregnant, and Russell arranged a hasty divorce from Alys, marrying Dora six days after the divorce was finalised, on 27 September 1921. Their children were John Conrad Russell, 4th Earl Russell, born on 16 November 1921 and Katharine Jane Russell (now Lady Katharine Tait) born on 29 December 1923. Russell supported himself during this time by writing popular books explaining matters of physics, ethics, and education to the layman. Some have suggested that at this point he had an affair with Vivienne Haigh-Wood, first wife of T. S. Eliot.
Together with Dora, he also founded the experimental Beacon Hill School in 1927. The school was run from a succession of different locations, including its original premises at the Russells' residence, Telegraph House, near Harting, West Sussex. On 8 July 1930 Dora welcomed her third child, a daughter, Harriet Ruth. After he left the school in 1932, Dora continued it until 1943.
Upon the death of his elder brother Frank, in 1931, Russell became the 3rd Earl Russell. He once said that his title was primarily useful for securing hotel rooms.
Russell's marriage to Dora grew increasingly tenuous, and it reached a breaking point over her having two children with an American journalist, Griffin Barry. They separated in 1932 and finally divorced. On 18 January 1936, Russell married his third wife, an Oxford undergraduate named Patricia ("Peter") Spence, who had been his children's governess since the summer of 1930. Russell and Peter had one son, Conrad Sebastian Robert Russell, 5th Earl Russell, who became a prominent historian and one of the leading figures in the Liberal Democratic party.
Russell opposed rearmament against Nazi Germany, but in 1940 changed his view that avoiding a full scale world war was more important than defeating Hitler. He concluded that Adolf Hitler taking over all of Europe would be a permanent threat to democracy. In 1943, he adopted a stance toward large-scale warfare, "Relative Political Pacifism": War was always a great evil, but in some particularly extreme circumstances, it may be the lesser of two evils.
In a speech in 1948, Russell said that if the USSR's aggression continued, it would be morally worse to go to war after the USSR possessed an atomic bomb than before it possessed one, because if the USSR had no bomb the West's victory would come more swiftly and with fewer casualties than if there were atom bombs on both sides. At that time, only the USA possessed an atomic bomb, and the USSR was pursuing an extremely aggressive policy towards the countries in Eastern Europe which it was absorbing into its sphere of influence. Many understood Russell's comments to mean that Russell approved of a first strike in a war with the USSR, including Lawson, who was present when Russell spoke. Others, including Griffin who obtained a transcript of the speech, have argued that he was merely explaining the usefulness of America's atomic arsenal in deterring the USSR from continuing its domination of Eastern Europe.
In 1948, Russell was invited by the BBC to deliver the inaugural Reith Lectures - what was to become an annual series of lectures, still broadcast by the BBC. His series of six broadcasts, titled Authority and the Individual explored themes such as the role of individual initiative in the development of a community and the role of state control in a progressive society. Russell also continued to write about philosophy. He wrote a foreword to ''Words and Things'' by Ernest Gellner which was highly critical of the later thought of Ludwig Wittgenstein and of Ordinary language philosophy. Gilbert Ryle refused to have the book reviewed in the philosophical journal ''Mind'' which caused Russell to respond via the Times. The results was a month-long correspondence in the Times, between the supporters and detractors of Ordinary language philosophy which was only ended when the Times published an editorial about the matter, which was critical of both sides but agreeing with the opponents of Ordinary language philosophy.
In the King's Birthday Honours of 9 June 1949, Russell was awarded the Order of Merit, and the following year he was awarded the Nobel Prize in Literature. When he was given the Order of Merit, King George VI was affable but slightly embarrassed at decorating a former jailbird, saying that "You have sometimes behaved in a manner that would not do if generally adopted." Russell merely smiled, but afterwards claimed that the reply "That's right, just like your brother" immediately came to mind.
In 1952, Russell was divorced by Spence, with whom he had been very unhappy. Conrad, Russell's son by Spence, did not see his father between the time of the divorce and 1968 (at which time his decision to meet his father caused a permanent breach with his mother).
Russell married his fourth wife, Edith Finch, soon after the divorce, on 15 December 1952. They had known each other since 1925, and Edith had taught English at Bryn Mawr College near Philadelphia, Pennsylvania, sharing a house for 20 years with Russell's old friend Lucy Donnelly. Edith remained with him until his death, and, by all accounts, their marriage was a happy, close, and loving one. Russell's eldest son, John, suffered from serious mental illness, which was the source of ongoing disputes between Russell and John's mother, Russell's former wife, Dora. John's wife Susan was also mentally ill, and eventually Russell and Edith became the legal guardians of their three daughters (two of whom were later found to have schizophrenia).
In 1962, Russell played a public role in the Cuban Missile Crisis: in an exchange of telegrams with the Soviet Union leader Nikita Khrushchev, Khrushchev assured him that the Soviet government would not be reckless. Russell also wrote to President Kennedy, who returned his telegram unopened.
On 31 January 1970, Russell issued a statement which condemned Israeli aggression in the Middle East and called for Israeli withdrawal from territory occupied in 1967. This was Russell's final political statement or act. It was read out at the International Conference of Parliamentarians in Cairo on 3 February 1970, the day after his death.
Russell died of influenza on 2 February 1970 at his home, Plas Penrhyn, in Penrhyndeudraeth, Merionethshire, Wales. His body was cremated in Colwyn Bay on 5 February 1970. In accordance with his will there was no religious ceremony; his ashes were scattered over the Welsh mountains later that year.
In 1980, a memorial to Russell was commissioned by a committee including A. J. Ayer. It consists of a bust of Russell in Red Lion Square in London sculpted by Marcelle Quinton.
Russell determined man to be "the product of causes . . . his origin, his growth, his hopes and fears, his loves and his beliefs, are but the outcome of accidental collocations of atoms, that no fire, no heroism, no intensity of thought and feeling, can preserve an individual life beyond the grave; that all the labors of the ages, all the inspiration, all the noonday brightness of human genius are destined to extinction in the vast death of the solar system, that the whole temple of man's achievement must inevitably be buried beneath the debris of a universe in ruins -- all these things, if not quite beyond dispute, are so nearly certain, that no philosophy which rejects them can hope to stand. . . ."
Note: These are major publications. Russell also wrote many pamphlets, introductions, articles and letters to the editor. His works also can be found in any number of anthologies and collections, perhaps most notably ''The Collected Papers of Bertrand Russell'', which McMaster University began publishing in 1983. This collection of his shorter and previously unpublished works is now up to 16 volumes, and many more are forthcoming. An additional three volumes catalogue just his bibliography. The Russell Archives at McMaster University also have more than 30,000 letters that he wrote.
;Other writings available online
;Audio
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Category:1872 births Category:1970 deaths Category:20th-century mathematicians Category:20th-century philosophers Category:Academics of the London School of Economics Category:Fellows of Trinity College, Cambridge Category:Analytic philosophers Category:Anti–Vietnam War activists Category:Atheist philosophers Category:Atheism activists Bertrand Russell Category:British anti–nuclear weapons activists Category:British anti-war activists Category:British logicians Category:British prisoners and detainees Category:British republicans Category:British Nobel laureates Category:Cambridge University Moral Sciences Club Category:Campaign for Nuclear Disarmament Category:Critics of work and the work ethic Category:Deaths from influenza Category:Earls in the Peerage of the United Kingdom Category:Epistemologists Category:Fellows of the Royal Society Category:Free love advocates Category:Welsh historians of philosophy category:English historians of philosophy Category:Infectious disease deaths in Wales Category:Kalinga Prize recipients Category:LGBT rights activists from the United Kingdom Category:Male feminists Category:Members of the Order of Merit Category:Nobel laureates in Literature Category:Ontologists Category:People from Monmouthshire Category:Philosophers of language Category:Philosophers of mathematics Bertrand Russell Category:Set theorists Category:University of California, Los Angeles faculty Category:University of Chicago faculty Category:Utilitarians Category:Western writers about Soviet Russia Category:World federalists Category:British sceptics
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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.
background | non_vocal_instrumentalist |
---|---|
birth name | Lester William Polsfuss |
born | June 09, 1915Waukesha, Wisconsin, United States |
died | August 12, 2009White Plains, New York, United States |
genre | Jazz, country, blues, rock and roll |
occupation | Innovator, Inventor, Musician, Songwriter |
instrument | Guitar, Banjo, Harmonica |
years active | 1928–2009 |
website | lespaulonline.com |
notable instruments | Gibson Les Paul }} |
His innovative talents extended into his playing style, including licks, trills, chording sequences, fretting techniques and timing, which set him apart from his contemporaries and inspired many guitarists of the present day. He recorded with his wife Mary Ford in the 1950s, and they sold millions of records.
Among his many honors, Paul is one of a handful of artists with a permanent, stand-alone exhibit in the Rock and Roll Hall of Fame. He is prominently named by the music museum on its website as an "architect" and a "key inductee" along with Sam Phillips and Alan Freed.
While living in Wisconsin, he first became interested in music at age eight when he began playing the harmonica. After an attempt at learning the banjo, he began to play the guitar. It was during this time that he invented a neck-worn harmonica holder, which allowed him to play the harmonica hands-free while accompanying himself on the guitar. Paul's device is still manufactured using his basic design. By age thirteen, Paul was performing semi-professionally as a country-music singer, guitarist and harmonica player. While playing at the Waukesha area drive-ins and roadhouses, Paul began his first experiment with sound. Wanting to make himself heard by more people at the local venues, he wired a phonograph needle to a radio speaker, using that to amplify his acoustic guitar. At age seventeen, Paul played with Rube Tronson's Texas Cowboys, and soon after he dropped out of high school to join Wolverton's Radio Band in St. Louis, Missouri, on KMOX.
Paul's jazz-guitar style was strongly influenced by the music of Django Reinhardt, whom he greatly admired. Following World War II, Paul sought out and befriended Reinhardt. After Reinhardt's death in 1953, Paul furnished his headstone. One of Paul's prize possessions was a Selmer Maccaferri acoustic guitar given to him by Reinhardt's widow.
Paul formed a trio in 1937 with singer/rhythm guitarist Jim Atkins (older half-brother of guitarist Chet Atkins) and bassist/percussionist Ernie "Darius" Newton. They left Chicago for New York in 1939, landing a featured spot with ''Fred Waring's Pennsylvanians'' radio show. Chet Atkins later wrote that his brother, home on a family visit, presented the younger Atkins with an expensive Gibson archtop guitar that had been given to Jim Atkins by Les Paul. Chet recalled that it was the first professional-quality instrument he ever owned.
Paul was dissatisfied with acoustic-electric guitars and began experimenting at his apartment in Queens, NY with a few designs of his own. Famously, he created several versions of "The Log", which was nothing more than a length of common 4x4 lumber with a bridge, guitar neck and pickup attached. For the sake of appearance, he attached the body of an Epiphone hollow-body guitar, sawn lengthwise with The Log in the middle. This solved his two main problems: feedback, as the acoustic body no longer resonated with the amplified sound, and sustain, as the energy of the strings was not dissipated in generating sound through the guitar body. These instruments were constantly being improved and modified over the years, and Paul continued to use them in his recordings long after the development of his eponymous Gibson model.
While experimenting in his apartment in 1940, Paul nearly succumbed to electrocution. During two years of recuperation, he relocated to Hollywood, supporting himself by producing radio music and forming a new trio. He was drafted into the US Army shortly after the beginning of World War II, where he served in the Armed Forces Network, backing such artists as Bing Crosby, the Andrews Sisters, and performing in his own right. As a last-minute replacement for Oscar Moore, Paul played with Nat King Cole and other artists in the inaugural Jazz at the Philharmonic concert in Los Angeles, California, on July 2, 1944. The recording, still available as Jazz at the Philharmonic- the first concert- shows Paul at the top of his game, both in his solid four to the bar comping in the style of Freddie Green and for the originality of his solo lines. Paul's solo on 'Blues' is an astonishing tour de force and represents a memorable contest between himself and Nat 'King' Cole. Much later in his career, Paul declared that he had been the victor and that this had been conceded by Cole. His solo on Body and Soul is a fine demonstration both of his admiration for and emulation of the playing of Django Reinhardt, as well as his development of some very original lines.
Also that year, Paul's trio appeared on Bing Crosby's radio show. Crosby went on to sponsor Paul's recording experiments. The two also recorded together several times, including a 1945 number-one hit, "It's Been a Long, Long Time." In addition to backing Crosby, The Andrews Sisters and other artists, Paul's trio also recorded a few albums of their own on the Decca label in the late 1940s.
In January 1948, Paul shattered his right arm and elbow in a near-fatal automobile accident on an icy Route 66 just west of Davenport, Oklahoma. Mary Ford was driving the Buick convertible, which rolled several times down a creekbed; they were on their way back from Wisconsin to Los Angeles after performing at the opening of a restaurant owned by Paul's father. Doctors at Oklahoma City's Wesley Presbyterian Hospital told him that they could not rebuild his elbow so that he would regain movement; his arm would remain permanently in whatever position they placed it in. Their other option was amputation. Paul instructed surgeons, brought in from Los Angeles, to set his arm at an angle—just under 90 degrees—that would allow him to cradle and pick the guitar. It took him nearly a year and a half to recover.
The arrangement persisted until 1961, when declining sales prompted Gibson to change the design without Paul's knowledge, creating a much thinner, lighter and more aggressive-looking instrument with two cutaway "horns" instead of one. Paul said he first saw the "new" Gibson Les Paul in a music-store window, and disliked it. Although his contract required him to pose with the guitar, he said it was not "his" instrument and asked Gibson to remove his name from the headstock. Others claimed that Paul ended his endorsement contract with Gibson during his divorce to avoid having his wife get his endorsement money. Gibson renamed the guitar "Gibson SG", which stands for "Solid Guitar", and it also became one of the company's best sellers.
The original Gibson Les Paul-guitar design regained popularity when Eric Clapton began playing the instrument a few years later, although he also played an SG and an ES-335. Paul resumed his relationship with Gibson and endorsed the original Gibson Les Paul guitar from that point onwards. His personal Gibson Les Pauls were much modified by him—Paul always used his own self-wound pickups and customized methods of switching between pickups on his guitars. To this day, various models of Gibson Les Paul guitars are used all over the world by both novice and professional guitarists. A less-expensive version of the Gibson Les Paul guitar is also manufactured for Gibson's lower-priced Epiphone brand.
On January 30, 1962, the US Patent and Trademark Office issued Paul a patent, Patent No. 3,018,680, for an "Electrical Music Instrument."
In 1948, Les Paul was given one of the first Ampex Model 200A reel-to-reel audio tape recording decks by Crosby and went on to use Ampex's eight track "Sel-Sync" machines for Multitrack recording. Capitol Records released a recording that had begun as an experiment in Paul's garage, entitled "Lover (When You're Near Me)", which featured Paul playing eight different parts on electric guitar, some of them recorded at half-speed, hence "double-fast" when played back at normal speed for the master. ("Brazil", similarly recorded, was the B-side.) This was the first time that Les Paul used multitracking in a recording (Paul had been shopping his multitracking technique, unsuccessfully, since the '30s. Much to his dismay, Sidney Bechet used it in 1941 to play half a dozen instruments on "Sheik of Araby"). These recordings were made not with magnetic tape, but with acetate discs. Paul would record a track onto a disk, then record himself playing another part with the first. He built the multitrack recording with overlaid tracks, rather than parallel ones as he did later. By the time he had a result he was satisfied with, he had discarded some five hundred recording disks.
Paul even built his own disc-cutter assembly, based on automobile parts. He favored the flywheel from a Cadillac for its weight and flatness. Even in these early days, he used the acetate-disk setup to record parts at different speeds and with delay, resulting in his signature sound with echoes and birdsong-like guitar riffs. When he later began using magnetic tape, the major change was that he could take his recording rig on tour with him, even making episodes for his fifteen-minute radio show in his hotel room. He later worked with Ross Snyder in the design of the first eight-track recording deck (built for him by Ampex for his home studio.)
Electronics engineer Jack Mullin had been assigned to a U.S. Army Signal Corps unit stationed in France during World War II. On a mission in Germany near the end of the war, he acquired and later shipped home a German Magnetophon (tape recorder) and fifty reels of I.G. Farben plastic recording tape. Back in the U.S., Mullin rebuilt and developed the machine with the intention of selling it to the film industry, and held a series of demonstrations which quickly became the talk of the American audio industry.
Within a short time, Crosby had hired Mullin to record and produce his radio shows and master his studio recordings on tape, and he invested US$50,000 in a Northern California electronics firm, Ampex. With Crosby's backing, Mullin and Ampex created the Ampex Model 200, the world's first commercially produced reel-to-reel audio tape recorder. Crosby gave Les Paul the second Model 200 to be produced. Using this machine, Paul placed an additional playback head, located before the conventional erase/record/playback heads. This allowed Paul to play along with a previously recorded track, both of which were mixed together on to a new track. This was a mono tape recorder with just one track across the entire width of quarter-inch tape; thus, the recording was "destructive" in the sense that the original recording was permanently replaced with the new, mixed recording.
Paul's re-invention of the Ampex 200 inspired Ampex to develop two-track and three-track recorders, which allowed him to record as many tracks on one tape without erasing previous takes. These machines were the backbone of professional recording, radio and television studios in the 1950s and early 1960s. In 1954, Paul continued to develop this technology by commissioning Ampex to build the first 8-track (multitrack) tape recorder, at his own expense. His design became known as "Sel-Sync" (Selective Synchronization), in which specially modified electronics could either record or play back from the record head, which was not optimized for playback but which had acceptable sound quality for musicians to listen to for the purposes of recording an "overdub" (OD) in sync with the original recording. This is the core technology behind multitrack recording.
Like Crosby, Paul and Ford used the now-ubiquitous recording technique known as close miking, where the microphone is less than from the singer's mouth. This produces a more-intimate, less-reverberant sound than is heard when a singer is or more from the microphone. When implemented using a cardioid-patterned microphone, it emphasizes low-frequency sounds in the voice due to a cardioid microphone's proximity effect and can give a more relaxed feel because the performer isn't working so hard. The result is a singing style which diverged strongly from unamplified theater-style singing, as might be heard in musical comedies of the 1930s and 1940s.
The show also appeared on television a few years later with the same format, but excluding the trio and retitled ''The Les Paul & Mary Ford Show'' (also known as ''Les Paul & Mary Ford at Home'') with "Vaya Con Dios" as a theme song. Sponsored by Warner Lambert's Listerine mouthwash, it was widely syndicated during 1954–1955, and was only five minutes (one or two songs) long on film, therefore used as a brief interlude or fill-in in programming schedules. Since Paul created the entire show himself, including audio and video, he maintained the original recordings and was in the process of restoring them to current quality standards up until his death.
During his radio shows, Paul introduced the fictional "Les Paulverizer" device, which multiplies anything fed into it, like a guitar sound or a voice. Paul has stated that the idea was to explain to the audience how his single guitar could be multiplied to become a group of guitars. The device even became the subject of comedy, with Ford multiplying herself and her vacuum cleaner with it so she could finish the housework faster.
By the late 1980s, Paul had returned to active live performance, continuing into his 80s even though he often found it painful to play the guitar because of arthritis in his hands. In 2006, at age 90, he won two Grammys at the 48th Annual Grammy Awards for his album ''Les Paul & Friends: American Made World Played''. He also performed every Monday night, accompanied by a trio which included guitarist Lou Pallo, bassist Paul Nowinksi (and later, Nicki Parrott) and pianist John Colianni, originally at Fat Tuesdays, and later at the Iridium Jazz Club on Broadway in the Times Square area of New York City.
Composer Richard Stein (1909–1992) sued Paul for plagiarism, charging that Paul's "Johnny (Is the Boy for Me)" was taken from Stein's 1937 song "Sanie cu zurgălăi" (Romanian for "Sledge with Bells"). A 2000 cover version of "Johnny" by Belgian musical group Vaya Con Dios that credited Paul prompted another action by the Romanian Musical Performing and Mechanical Rights Society.
For many years Les Paul would sometimes surprise radio hosts Steve King and Johnnie Putman with a call to the "Life After Dark Show" on WGN (AM) in Chicago. These calls would take place in the wee hours of Tuesday Morning following his show at the Iridium Jazz Club. Steve and Johnnie continue to honor Les on Tuesday Mornings at 2:35 AM with their segment "A Little More Les" drawing from around 30 hours of recorded conversations with Les.
Upon learning of his death many artists and popular musicians paid tribute by publicly expressing their sorrow. After learning of Paul's death, former Guns N' Roses guitarist Slash called him "vibrant and full of positive energy.", while Richie Sambora, lead guitarist of Bon Jovi, referred to him as "revolutionary in the music business". U2 guitarist The Edge said, "His legacy as a musician and inventor will live on and his influence on rock and roll will never be forgotten."
On August 21, 2009, he was buried near Milwaukee in Waukesha, Wisconsin at Prairie Home Cemetery which indicated that his plot would be in an area where visitors can easily view it. Like his funeral in New York on August 19, the burial was private, but earlier in the day a public memorial viewing of the closed casket was held in Milwaukee at Discovery World with 1,500 attendees who were offered free admission to the Les Paul House of Sound exhibit for the day.
In 1979, Paul and Ford's 1951 recording of "How High the Moon" was inducted into the Grammy Hall of Fame. Paul received a Grammy Trustees Award for his lifetime achievements in 1983.
In 1988, Paul was inducted into the Rock and Roll Hall of Fame by Jeff Beck, who said, "I've copied more licks from Les Paul than I'd like to admit." In 1991, the Mix Foundation established an annual award in his name; the Les Paul Award which honors "individuals or institutions that have set the highest standards of excellence in the creative application of audio technology". In 2005, he was inducted into the National Inventors Hall of Fame for his development of the solid-body electric guitar. In 2006, Paul was inducted into the National Association of Broadcasters Hall of Fame. He was named an honorary member of the Audio Engineering Society. In 2007, he was awarded the National Medal of Arts.
A one-hour biographical documentary film ''The Wizard of Waukesha'' was shown at the Los Angeles International Film Exposition (FILMEX) March 4–21, 1980, and later on PBS television. A biographical, feature-length documentary titled ''Chasing Sound: Les Paul at 90'' made its world première on May 9, 2007, at the Downer Theater in Milwaukee, Wisconsin. Paul appeared at the event and spoke briefly to the enthusiastic crowd. The film is distributed by Koch Entertainment and was broadcast on PBS on July 11, 2007, as part of its American Masters series and was broadcast on October 17, 2008, on BBC Four as part of its Guitar Night. The première coincided with the final part of a three-part documentary by the BBC broadcast on BBC ONE ''The Story of the Guitar''.
In June 2008, an exhibit showcasing his legacy and featuring items from his personal collection opened at Discovery World in Milwaukee. The exhibit was facilitated by a group of local musicians under the name Partnership for the Arts and Creative Excellence (PACE). Paul played a concert in Milwaukee to coincide with the opening of the exhibit.
Paul's hometown of Waukesha is planning a permanent exhibit to be called "The Les Paul experience."
In July 2005, a 90th-birthday tribute concert was held at Carnegie Hall in New York City. After performances by Steve Miller, Peter Frampton, Jose Feliciano and a number of other contemporary guitarists and vocalists, Paul was presented with a commemorative guitar from the Gibson Guitar Corporation.
On November 15, 2008, he received the American Music Masters award through the Rock and Roll Hall of Fame at a tribute concert at the State Theater in Cleveland, Ohio. Among the many guest performers were Duane Eddy, Eric Carmen, Lonnie Mack, Jennifer Batten, Jeff "Skunk" Baxter, Dennis Coffey, James Burton, Billy Gibbons, Lenny Kaye, Steve Lukather, Barbara Lynn, Katy Moffatt, Alannah Myles, Richie Sambora, The Ventures and Slash.
In February 2009, only months prior to his death, Les Paul sat down with Scott Vollweiler of Broken Records Magazine, in which would be one of Les Paul's final interviews. His candid answers were direct and emotional. Broken Records Magazine had planned to run that cover feature the following month but due to delays was held until the summer. 3 days before the release, Les Paul died. The issue would be his final cover feature of his storied career.
In August, 2009, Paul was named one of the ten best electric guitar players of all-time by ''Time'' magazine.
On June 9, 2010, which would have been Les Paul's 95th birthday, a tribute concert featuring Jeff Beck, Imelda May, Gary U.S. Bonds and Brian Setzer among others, was held at the Iridium Jazz Club where Les Paul played nearly every week almost to the end of his life. The concert was released on the live album Rock 'n' Roll Party (Honoring Les Paul) in 2011.
On June 9–10, 2011 Google celebrated what would have been Paul's 96th birthday with a Google doodle of an interactive guitar.
Paul was the instructor of rock guitarist Steve Miller of the Steve Miller Band, to whom Paul gave his first guitar lesson. Miller's father was best man at Paul's 1949 wedding to Mary Ford.
Paul resided for many years in Mahwah, New Jersey.
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Category:American jazz guitarists Category:American musical instrument makers Category:American radio personalities Category:Capitol Records artists Category:Columbia Records artists Category:Deaths from pneumonia Category:Decca Records artists Category:American musicians of German descent Category:Grammy Award winners Category:Guitar makers Category:Infectious disease deaths in New York Category:Inventors of musical instruments Category:Lead guitarists Category:Musicians from New Jersey Category:Musicians from Wisconsin Category:National Inventors Hall of Fame inductees Category:People from Mahwah, New Jersey Category:People from Waukesha, Wisconsin Category:RCA Victor artists Category:Rock and Roll Hall of Fame inductees Category:United States National Medal of Arts recipients Category:1915 births Category:2009 deaths Category:American rock guitarists Category:American inventors Category:American blues guitarists
ar:لس بول zh-min-nan:Les Paul bg:Лес Пол ca:Les Paul cs:Les Paul cy:Les Paul da:Les Paul (musiker) de:Les Paul et:Les Paul es:Les Paul eo:Les Paul fa:لس پال fr:Les Paul ga:Les Paul gl:Les Paul hr:Les Paul io:Les Paul id:Les Paul is:Les Paul it:Les Paul he:לס פול la:Les Paul lv:Less Pols lb:Les Paul hu:Les Paul ml:ലെസ് പോൾ nl:Les Paul ja:レス・ポール no:Les Paul nn:Les Paul uz:Les Paul pl:Les Paul pt:Les Paul ro:Les Paul ru:Лес Пол simple:Les Paul sk:Les Paul szl:Les Paul fi:Les Paul sv:Les Paul th:เลส พอล tr:Les Paul uk:Лес Пол vi:Les Paul zh-yue:Les Paul zh:萊斯·保羅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 | Louis Armstrong |
---|---|
alt | A picture of Louis Armstrong. Short-haired black man in his fifties blowing into a trumpet. He is wearing a light-colored sport coat, a white shirt and a bow tie. He is faced left with his eyes looking upwards. His right hand is fingering the trumpet, with the index finger down and three fingers pointing upwards. The man's left hand is mostly covered with a handkerchief and it has a shining ring on the little finger. He is wearing a wristwatch on the left wrist. |
landscape | Yes |
background | solo_singer |
birth name | Louis Armstrong |
born | August 4, 1901New Orleans, Louisiana, U.S. |
died | July 06, 1971Corona, Queens, New York City, U.S. |
instruments | Trumpet, cornet, vocals |
genre | Dixieland, jazz, swing, traditional pop |
occupation | Musician |
spouse | Daisy Parker |
years active | c. 1914–71 |
associated acts | Joe "King" Oliver, Ella Fitzgerald, Kid Ory, Bobby Hackett |
website | }} |
Coming to prominence in the 1920s as an "inventive" cornet and trumpet player, Armstrong was a foundational influence in jazz, shifting the music's focus from collective improvisation to solo performance.
With his instantly recognizable deep and distinctive gravelly voice, Armstrong was also an influential singer, demonstrating great dexterity as an improviser, bending the lyrics and melody of a song for expressive purposes. He was also greatly skilled at scat singing, vocalizing using sounds and syllables instead of actual lyrics.
Renowned for his charismatic stage presence and voice almost as much as for his trumpet-playing, Armstrong's influence extends well beyond jazz music, and by the end of his career in the 1960s, he was widely regarded as a profound influence on popular music in general.
Armstrong was one of the first truly popular African-American entertainers to "cross over," whose skin-color was secondary to his amazing talent in an America that was severely racially divided. It allowed him socially acceptable access to the upper echelons of American society that were highly restricted for a person of color. While he rarely publicly politicized his race, often to the dismay of fellow African-Americans, he was privately a strong supporter of the Civil Rights movement in America.
Armstrong often stated that he was born on July 4, 1900, a date that has been noted in many biographies. Although he died in 1971, it was not until the mid-1980s that his true birth date of August 4, 1901 was discovered through the examination of baptismal records.
Armstrong was born into a very poor family in New Orleans, Louisiana, the grandson of slaves. He spent his youth in poverty, in a rough neighborhood of Uptown New Orleans, known as “Back of Town”, as his father, William Armstrong (1881–1922), abandoned the family when Louis was an infant and took up with another woman. His mother, Mary "Mayann" Albert (1886–1942), then left Louis and his younger sister Beatrice Armstrong Collins (1903–1987) in the care of his grandmother, Josephine Armstrong, and at times, his Uncle Isaac. At five, he moved back to live with his mother and her relatives, and saw his father only in parades.
He attended the Fisk School for Boys. It was there that he likely had his first exposure to Creole music. He brought in some money as a paperboy and also by finding discarded food and selling it to restaurants, but it was not enough to keep his mother from prostitution. He hung out in dance halls close to home, where he observed everything from licentious dancing to the quadrille. For extra money he also hauled coal to Storyville, the famed red-light district, and listened to the bands playing in the brothels and dance halls, especially Pete Lala's where Joe "King" Oliver performed and other famous musicians would drop in to jam.
After dropping out of the Fisk School at age eleven, Armstrong joined a quartet of boys that sang in the streets for money. But he also started to get into trouble. Cornet player Bunk Johnson said he taught Armstrong (then 11) to play by ear at Dago Tony's Tonk in New Orleans, although in his later years Armstrong gave the credit to Oliver. Armstrong hardly looked back at his youth as the worst of times but instead drew inspiration from it, “Every time I close my eyes blowing that trumpet of mine—I look right in the heart of good old New Orleans...It has given me something to live for.”
He also worked for a Lithuanian-Jewish immigrant family, the Karnofskys, who had a junk hauling business and gave him odd jobs. They took him in and treated him as almost a family member, knowing he lived without a father, and would feed and nurture him. He later wrote a memoir of his relationship with the Karnofskys titled, ''Louis Armstrong + the Jewish Family in New Orleans, La., the Year of 1907.'' In it he describes his discovery that this family was also subject to discrimination by "other white folks' nationalities who felt that they were better than the Jewish race. I was only seven years old but I could easily see the ungodly treatment that the White Folks were handing the poor Jewish family whom I worked for." Armstrong wore a Star of David pendant for the rest of his life and wrote about what he learned from them: "how to live—real life and determination." The influence of Karnofsky is remembered in New Orleans by the Karnofsky Project, a non-profit organization dedicated to accepting donated musical instruments to "put them into the hands of an eager child who could not otherwise take part in a wonderful learning experience."
Armstrong developed his cornet playing seriously in the band of the New Orleans Home for Colored Waifs, where he had been sent multiple times for general delinquency, most notably for a long term after firing his stepfather's pistol into the air at a New Year's Eve celebration, as police records confirm. Professor Peter Davis (who frequently appeared at the Home at the request of its administrator, Captain Joseph Jones) instilled discipline in and provided musical training to the otherwise self-taught Armstrong. Eventually, Davis made Armstrong the band leader. The Home band played around New Orleans and the thirteen year old Louis began to draw attention by his cornet playing, starting him on a musical career. At fourteen he was released from the Home, living again with his father and new stepmother and then back with his mother and also back to the streets and their temptations. Armstrong got his first dance hall job at Henry Ponce’s where Black Benny became his protector and guide. He hauled coal by day and played his cornet at night.
He played in the city's frequent brass band parades and listened to older musicians every chance he got, learning from Bunk Johnson, Buddy Petit, Kid Ory, and above all, Joe "King" Oliver, who acted as a mentor and father figure to the young musician. Later, he played in the brass bands and riverboats of New Orleans, and began traveling with the well-regarded band of Fate Marable, which toured on a steamboat up and down the Mississippi River. He described his time with Marable as, "going to the University," since it gave him a much wider experience working with written arrangements.
In 1919, Joe Oliver decided to go north and resigned his position in Kid Ory's band; Armstrong replaced him. He also became second trumpet for the Tuxedo Brass Band, a society band.
Through all his riverboat experience Armstrong’s musicianship began to mature and expand. At twenty, he could read music and he started to be featured in extended trumpet solos, one of the first jazzmen to do this, injecting his own personality and style into his solo turns. He had learned how to create a unique sound and also started using singing and patter in his performances. In 1922, Armstrong joined the exodus to Chicago, where he had been invited by his mentor, Joe "King" Oliver, to join his Creole Jazz Band and where he could make a sufficient income so that he no longer needed to supplement his music with day labor jobs. It was a boom time in Chicago and though race relations were poor, the “Windy City” was teeming with jobs for black people, who were making good wages in factories and had plenty to spend on entertainment.
Oliver's band was the best and most influential hot jazz band in Chicago in the early 1920s, at a time when Chicago was the center of the jazz universe. Armstrong lived like a king in Chicago, in his own apartment with his own private bath (his first). Excited as he was to be in Chicago, he began his career-long pastime of writing nostalgic letters to friends in New Orleans. As Armstrong’s reputation grew, he was challenged to “cutting contests” by hornmen trying to displace the new phenom, who could blow two hundred high C’s in a row. Armstrong made his first recordings on the Gennett and Okeh labels (jazz records were starting to boom across the country), including taking some solos and breaks, while playing second cornet in Oliver's band in 1923. At this time, he met Hoagy Carmichael (with whom he would collaborate later) who was introduced by friend Bix Beiderbecke, who now had his own Chicago band.
Armstrong enjoyed working with Oliver, but Louis's second wife, pianist Lil Hardin Armstrong, urged him to seek more prominent billing and develop his newer style away from the influence of Oliver. Armstrong took the advice of his wife and left Oliver's band. For a year Armstrong played in Fletcher Henderson's band in New York on many recordings. After playing in New York, Armstrong returned to Chicago, playing in large orchestras; there he created his most important early recordings. Lil had her husband play classical music in church concerts to broaden his skill and improve his solo play and she prodded him into wearing more stylish attire to make him look sharp and to better offset his growing girth. Lil’s influence eventually undermined Armstrong’s relationship with his mentor, especially concerning his salary and additional moneys that Oliver held back from Armstrong and other band members. Armstrong and Oliver parted amicably in 1924. Shortly afterward, Armstrong received an invitation to go to New York City to play with the Fletcher Henderson Orchestra, the top African-American band of the day. Armstrong switched to the trumpet to blend in better with the other musicians in his section. His influence upon Henderson's tenor sax soloist, Coleman Hawkins, can be judged by listening to the records made by the band during this period. Armstrong quickly adapted to the more tightly controlled style of Henderson, playing trumpet and even experimenting with the trombone and the other members quickly took up Armstrong’s emotional, expressive pulse. Soon his act included singing and telling tales of New Orleans characters, especially preachers. The Henderson Orchestra was playing in the best venues for white-only patrons, including the famed Roseland Ballroom, featuring the classy arrangements of Don Redman. Duke Ellington’s orchestra would go to Roseland to catch Armstrong’s performances and young hornmen around town tried in vain to outplay him, splitting their lips in their attempts.
During this time, Armstrong also made many recordings on the side, arranged by an old friend from New Orleans, pianist Clarence Williams; these included small jazz band sides with the Williams Blue Five (some of the best pairing Armstrong with one of Armstrong's few rivals in fiery technique and ideas, Sidney Bechet) and a series of accompaniments with blues singers, including Bessie Smith, Ma Rainey, and Alberta Hunter.
Armstrong returned to Chicago in 1925 due mostly to the urging of his wife, who wanted to pump up Armstrong’s career and income. He was content in New York but later would concede that she was right and that the Henderson Orchestra was limiting his artistic growth. In publicity, much to his chagrin, she billed him as “the World’s Greatest Trumpet Player”. At first he was actually a member of the Lil Hardin Armstrong Band and working for his wife. He began recording under his own name for Okeh with his famous Hot Five and Hot Seven groups, producing hits such as "Potato Head Blues", "Muggles", (a reference to marijuana, for which Armstrong had a lifelong fondness), and "West End Blues", the music of which set the standard and the agenda for jazz for many years to come.
The group included Kid Ory (trombone), Johnny Dodds (clarinet), Johnny St. Cyr (banjo), wife Lil on piano, and usually no drummer. Armstrong’s bandleading style was easygoing, as St. Cyr noted, "One felt so relaxed working with him and he was very broad-minded ... always did his best to feature each individual." His recordings soon after with pianist Earl "Fatha" Hines (most famously their 1928 ''Weatherbird'' duet) and Armstrong's trumpet introduction to "West End Blues" remain some of the most famous and influential improvisations in jazz history. Armstrong was now free to develop his personal style as he wished, which included a heavy dose of effervescent jive, such as "whip that thing, Miss Lil" and "Mr. Johnny Dodds, Aw, do that clarinet, boy!"
Armstrong also played with Erskine Tate’s Little Symphony, actually a quintet, which played mostly at the Vendome Theatre. They furnished music for silent movies and live shows, including jazz versions of classical music, such as “Madame Butterfly,” which gave Armstrong experience with longer forms of music and with hosting before a large audience. He began to scat sing (improvised vocal jazz using non-sensical words) and was among the first to record it, on "Heebie Jeebies" in 1926. So popular was the recording the group became the most famous jazz band in the USA even though they as yet had not performed live to any great degree. Young musicians across the country, black and white, were turned on by Armstrong’s new type of jazz.
After separating from Lil, Armstrong started to play at the Sunset Café for Al Capone's associate Joe Glaser in the Carroll Dickerson Orchestra, with Earl Hines on piano, which was soon renamed ''Louis Armstrong and his Stompers'', though Hines was the music director and Glaser managed the orchestra. Hines and Armstrong became fast friends as well as successful collaborators.
Armstrong returned to New York, in 1929, where he played in the pit orchestra of the successful musical ''Hot Chocolate'', an all-black revue written by Andy Razaf and pianist/composer Fats Waller. He also made a cameo appearance as a vocalist, regularly stealing the show with his rendition of "Ain't Misbehavin'", his version of the song becoming his biggest selling record to date.
Armstrong started to work at Connie's Inn in Harlem, chief rival to the Cotton Club, a venue for elaborately staged floor shows, and a front for gangster Dutch Schultz. Armstrong also had considerable success with vocal recordings, including versions of famous songs composed by his old friend Hoagy Carmichael. His 1930s recordings took full advantage of the new RCA ribbon microphone, introduced in 1931, which imparted a characteristic warmth to vocals and immediately became an intrinsic part of the 'crooning' sound of artists like Bing Crosby. Armstrong's famous interpretation of Hoagy Carmichael's "Stardust" became one of the most successful versions of this song ever recorded, showcasing Armstrong's unique vocal sound and style and his innovative approach to singing songs that had already become standards.
Armstrong's radical re-working of Sidney Arodin and Carmichael's "Lazy River" (recorded in 1931) encapsulated many features of his groundbreaking approach to melody and phrasing. The song begins with a brief trumpet solo, then the main melody is stated by sobbing horns, memorably punctuated by Armstrong's growling interjections at the end of each bar: "Yeah! ..."Uh-huh" ..."Sure" ... "Way down, way down." In the first verse, he ignores the notated melody entirely and sings as if playing a trumpet solo, pitching most of the first line on a single note and using strongly syncopated phrasing. In the second stanza he breaks into an almost fully improvised melody, which then evolves into a classic passage of Armstrong "scat singing".
As with his trumpet playing, Armstrong's vocal innovations served as a foundation stone for the art of jazz vocal interpretation. The uniquely gritty coloration of his voice became a musical archetype that was much imitated and endlessly impersonated. His scat singing style was enriched by his matchless experience as a trumpet soloist. His resonant, velvety lower-register tone and bubbling cadences on sides such as "Lazy River" exerted a huge influence on younger white singers such as Bing Crosby.
The Depression of the early Thirties was especially hard on the jazz scene. The Cotton Club closed in 1936 after a long downward spiral and many musicians stopped playing altogether as club dates evaporated. Bix Beiderbecke died and Fletcher Henderson’s band broke up. King Oliver made a few records but otherwise struggled. Sidney Bechet became a tailor and Kid Ory returned to New Orleans and raised chickens. Armstrong moved to Los Angeles in 1930 to seek new opportunities. He played at the New Cotton Club in LA with Lionel Hampton on drums. The band drew the Hollywood crowd, which could still afford a lavish night life, while radio broadcasts from the club connected with younger audiences at home. Bing Crosby and many other celebrities were regulars at the club. In 1931, Armstrong appeared in his first movie, ''Ex-Flame''. Armstrong was convicted of marijuana possession but received a suspended sentence. He returned to Chicago in late 1931 and played in bands more in the Guy Lombardo vein and he recorded more standards. When the mob insisted that he get out of town, Armstrong visited New Orleans, got a hero’s welcome and saw old friends. He sponsored a local baseball team known as “Armstrong’s Secret Nine” and got a cigar named after himself. But soon he was on the road again and after a tour across the country shadowed by the mob, Armstrong decided to go to Europe to escape.
After returning to the States, he undertook several exhausting tours. His agent Johnny Collins’ erratic behavior and his own spending ways left Armstrong short of cash. Breach of contract violations plagued him. Finally, he hired Joe Glaser as his new manager, a tough mob-connected wheeler-dealer, who began to straighten out his legal mess, his mob troubles, and his debts. Armstrong also began to experience problems with his fingers and lips, which were aggravated by his unorthodox playing style. As a result he branched out, developing his vocal style and making his first theatrical appearances. He appeared in movies again, including Crosby's 1936 hit ''Pennies from Heaven''. In 1937, Armstrong substituted for Rudy Vallee on the CBS radio network and became the first African American to host a sponsored, national broadcast. He finally divorced Lil in 1938 and married longtime girlfriend Alpha.
After spending many years on the road, Armstrong settled permanently in Queens, New York in 1943 in contentment with his fourth wife, Lucille. Although subject to the vicissitudes of Tin Pan Alley and the gangster-ridden music business, as well as anti-black prejudice, he continued to develop his playing. He recorded Hoagy Carmichael's Rockin' Chair for Okeh Records.
During the subsequent thirty years, Armstrong played more than three hundred gigs a year. Bookings for big bands tapered off during the 1940s due to changes in public tastes: ballrooms closed, and there was competition from television and from other types of music becoming more popular than big band music. It became impossible under such circumstances to support and finance a 16-piece touring band.
This group was called Louis Armstrong and his All Stars and included at various times Earl "Fatha" Hines, Barney Bigard, Edmond Hall, Jack Teagarden, Trummy Young, Arvell Shaw, Billy Kyle, Marty Napoleon, Big Sid Catlett, Cozy Cole, Tyree Glenn, Barrett Deems and the Filipino-American percussionist, Danny Barcelona. During this period, Armstrong made many recordings and appeared in over thirty films. He was the first jazz musician to appear on the cover of ''Time Magazine'' on February 21, 1949.
In 1964, he recorded his biggest-selling record, "Hello, Dolly!" The song went to #1 on the pop chart, making Armstrong (age 63) the oldest person to ever accomplish that feat. In the process, Armstrong dislodged The Beatles from the #1 position they had occupied for 14 consecutive weeks with three different songs.
Armstrong kept up his busy tour schedule until a few years before his death in 1971. In his later years he would sometimes play some of his numerous gigs by rote, but other times would enliven the most mundane gig with his vigorous playing, often to the astonishment of his band. He also toured Africa, Europe, and Asia under sponsorship of the US State Department with great success, earning the nickname "Ambassador Satch." While failing health restricted his schedule in his last years, within those limitations he continued playing until the day he died.
His honorary pallbearers included Bing Crosby, Ella Fitzgerald, Dizzy Gillespie, Pearl Bailey, Count Basie, Harry James, Frank Sinatra, Ed Sullivan, Earl Wilson, Alan King, Johnny Carson and David Frost. Peggy Lee sang The Lord's Prayer at the services while Al Hibbler sang "Nobody Knows the Trouble I've Seen" and Fred Robbins, a long-time friend, gave the eulogy.
He was not only an entertainer. Armstrong was a leading personality of the day who was so beloved by a white-controlled America that gave even the greatest African American performers little access beyond their public celebrity, that he was able to privately live a life of access and privilege accorded to few other African Americans.
He tried to remain politically neutral, which gave him a large part of that access, but often alienated him from members of the African-American community who looked to him to use his prominence with white America to become more of an outspoken figure during the Civil Rights Era of U.S. history.
The most common tale that biographers tell is the story of Armstrong as a young boy dancing for pennies in the streets of New Orleans, who would scoop up the coins off of the streets and stick them into his mouth to avoid having the bigger children steal them from him. Someone dubbed him "satchel mouth" for his mouth acting as a satchel.
Early on he was also known as Dipper, short for Dippermouth, a reference to the piece ''Dippermouth Blues''. and something of a riff on his unusual embouchure.
It was a power and privilege that he enjoyed, although he was very careful not to flaunt it with fellow performers of color, and privately, he shared what access that he could with friends and fellow musicians.
That still did not prevent members of the African-American community, particularly in the late 1950s to the early 1970s, from calling him an ''Uncle Tom'', a black-on-black racial epithet for someone who kowtowed to white society at the expense of their own racial identity.
He was criticized for accepting the title of "King of The Zulus" for Mardi Gras in 1949. In the New Orleans African-American community it is an honored role as the head of leading black Carnival Krewe, but bewildering or offensive to outsiders with their traditional costume of grass-skirts and blackface makeup satirizing southern white attitudes.
Some musicians criticized Armstrong for playing in front of segregated audiences, and for not taking a strong enough stand in the civil rights movement.
Billie Holiday countered, however, "Of course Pops toms, but he toms from the heart."
The few exceptions made it more effective when he did speak out. Armstrong's criticism of President Eisenhower, calling him "two-faced" and "gutless" because of his inaction during the conflict over school desegregation in Little Rock, Arkansas in 1957 made national news.
As a protest, Armstrong canceled a planned tour of the Soviet Union on behalf of the State Department saying "The way they're treating my people in the South, the government can go to hell" and that he could not represent his government abroad when it was in conflict with its own people. Six days after Armstrong's comments, Eisenhower ordered Federal troops to Little Rock to escort students into the school.
The FBI kept a file on Armstrong, for his outspokenness about integration.
In a live recording of "Baby, It's Cold Outside" with Velma Middleton, he changes the lyric from "Put another record on while I pour" to "Take some Swiss Kriss while I pour." The line, slightly garbled in the live recording, could just as likely be "Take some Swiss Miss while I pour"—Swiss Miss is a hot chocolate mix that would have been fairly new on the market in 1951. (The line comes at 1:04 in the song.)
He often essentially re-composed pop-tunes he played, making them more interesting. Armstrong's playing is filled with joyous, inspired original melodies, creative leaps, and subtle relaxed or driving rhythms. The genius of these creative passages is matched by Armstrong's playing technique, honed by constant practice, which extended the range, tone and capabilities of the trumpet. In these records, Armstrong almost single-handedly created the role of the jazz soloist, taking what was essentially a collective folk music and turning it into an art form with tremendous possibilities for individual expression.
Armstrong's work in the 1920s shows him playing at the outer limits of his abilities. The Hot Five records, especially, often have minor flubs and missed notes, which do little to detract from listening enjoyment since the energy of the spontaneous performance comes through. By the mid 1930s, Armstrong achieved a smooth assurance, knowing exactly what he could do and carrying out his ideas to perfection.
He was one of the first artists to use recordings of his performances to improve himself. Armstrong was an avid audiophile. He had a large collection of recordings, including reel-to-reel tapes, which he took on the road with him in a trunk during his later career. He enjoyed listening to his own recordings, and comparing his performances musically. In the den of his home, he had the latest audio equipment and would sometimes rehearse and record along with his older recordings or the radio.
Such records were hits and scat singing became a major part of his performances. Long before this, however, Armstrong was playing around with his vocals, shortening and lengthening phrases, interjecting improvisations, using his voice as creatively as his trumpet.
His influence upon Bing Crosby is particularly important with regard to the subsequent development of popular music: Crosby admired and copied Armstrong, as is evident on many of his early recordings, notably "Just One More Chance" (1931). The ''New Grove Dictionary Of Jazz'' describes Crosby's debt to Armstrong in precise detail, although it does not acknowledge Armstrong by name:
Armstrong recorded three albums with Ella Fitzgerald: ''Ella and Louis'', ''Ella and Louis Again'', and ''Porgy and Bess'' for Verve Records, with the sessions featuring the backing musicianship of the Oscar Peterson Trio and drummer Buddy Rich. His recordings ''Satch Plays Fats'', all Fats Waller tunes, and ''Louis Armstrong Plays W.C. Handy'' in the 1950s were perhaps among the last of his great creative recordings, but even oddities like ''Disney Songs the Satchmo Way'' are seen to have their musical moments. And, his participation in Dave Brubeck's high-concept jazz musical ''The Real Ambassadors'' was critically acclaimed. For the most part, however, his later output was criticized as being overly simplistic or repetitive.
In 1964, Armstrong knocked the Beatles off the top of the ''Billboard'' Hot 100 chart with "Hello, Dolly!", which gave the 63-year-old performer a U.S. record as the oldest artist to have a number one song. His 1964 song, "Bout Time" was later featured in the film "Bewitched" (2005).
Armstrong performed in Italy at the 1968 Sanremo Music Festival where he sang "Mi Va di Cantare" alongside his friend, the Eritrean-born Italian singer Lara Saint Paul. In February 1968, he also appeared with Lara Saint Paul on the Italian RAI television channel where he performed "Grassa e Bella," a track he sang in Italian for the Italian market and C.D.I. label.
In 1968, Armstrong scored one last popular hit in the United Kingdom with the highly sentimental pop song "What a Wonderful World", which topped the British charts for a month; however, the single did not chart at all in America. The song gained greater currency in the popular consciousness when it was used in the 1987 movie ''Good Morning, Vietnam'', its subsequent rerelease topping many charts around the world. Armstrong even appeared on the October 28, 1970 ''Johnny Cash Show'', where he sang Nat "King" Cole's hit "Rambling Rose" and joined Cash to re-create his performance backing Jimmie Rodgers on "Blue Yodel #9".
He was the first African American to host a nationally broadcast radio show in the 1930s. In 1969, Armstrong had a cameo role in the film version of ''Hello, Dolly!'' as the bandleader, Louis, to which he sang the title song with actress Barbra Streisand. His solo recording of "Hello, Dolly!" is one of his most recognizable performances. He was heard on such radio programs as ''The Story of Swing'' (1937) and ''This Is Jazz'' (1947), and he also made countless television appearances, especially in the 1950s and 1960s, including appearances on ''The Tonight Show Starring Johnny Carson''.
Armstrong has a record star on the Hollywood Walk of Fame at 7601 Hollywood Boulevard.
Many of Armstrong's recordings remain popular. Almost four decades since his passing, a larger number of his recordings from all periods of his career are more widely available than at any time during his lifetime. His songs are broadcast and listened to every day throughout the world, and are honored in various movies, TV series, commercials, and even anime and computer games. "A Kiss to Build a Dream On" was included in the computer game ''Fallout 2'', accompanying the intro cinematic. It was also used in the 1993 film ''Sleepless in Seattle'' and the 2005 film ''Lord of War''. His 1923 recordings, with Joe Oliver and his Creole Jazz Band, continue to be listened to as documents of ensemble style New Orleans jazz, but more particularly as ripper jazz records in their own right. All too often, however, Armstrong recorded with stiff, standard orchestras leaving only his sublime trumpet playing as of interest. "Melancholy Blues," performed by Armstrong and his Hot Seven was included on the Voyager Golden Record sent into outer space to represent one of the greatest achievements of humanity. Most familiar to modern listeners is his ubiquitous rendition of "What a Wonderful World". In 2008, Armstrong's recording of Edith Piaf's famous "La Vie En Rose" was used in a scene of the popular Disney/Pixar film ''WALL-E''. The song was also used in parts, especially the opening trumpets, in the French Film Jeux d'enfants (English: Love Me If You Dare)
Argentine writer Julio Cortázar, a self-described Armstrong admirer, asserted that a 1952 Louis Armstrong concert at the Théâtre des Champs-Élysées in Paris played a significant role in inspiring him to create the fictional creatures called Cronopios that are the subject of a number of Cortázar's short stories. Cortázar once called Armstrong himself "Grandísimo Cronopio" (Most Enormous Cronopio).
Armstrong appears as a minor character in Harry Turtledove's Southern Victory Series. When he and his band escape from a Nazi-like Confederacy, they enhance the insipid mainstream music of the North. A young Armstrong also appears as a minor character in Patrick Neate's 2001 novel ''Twelve Bar Blues'', part of which is set in New Orleans, and which was a winner at that year's Whitbread Book Awards.
There is a pivotal scene in 1980's ''Stardust Memories'' in which Woody Allen is overwhelmed by a recording of Armstrong's Stardust and experiences a nostalgic epiphany. The combination of the music and the perfect moment is the catalyst for much of the film's action, prompting the protagonist to fall in love with an ill-advised woman.
Armstrong is referred to in ''The Trumpet of the Swan'' along with Ella Fitzgerald and Billie Holiday. Three siblings in the film are named Louis, Billie, and Ella. The main character, Louis, plays a trumpet, an obvious nod to Armstrong. In the original E. B. White book, he is referred to by name, by a child who hears Louis playing and comments, "He sounds just like Louis Armstrong, the famous trumpet player."
In the 2009 Disney Film ''The Princess and the Frog'', one of the supporting characters is a trumpet-playing alligator named Louis. During the song "When I'm Human", Louis sings a line and it says "Y'all heard of Louis Armstrong".
{| class=wikitable |- | colspan="6" style="text-align:center;" | Grammy Award |- ! Year ! Category ! Title ! Genre ! Label ! Result |- align=center | 1964 | Male Vocal Performance | "Hello, Dolly!" | Pop | Kapp | Winner |}
{| class=wikitable |- | colspan="6" style="text-align:center;" | Grammy Hall of Fame |- ! Year Recorded ! Title ! Genre ! Label ! Year Inducted ! Notes |- align=center | 1929 | "St. Louis Blues" | Jazz (Single) | OKeh | 2008 |with Bessie Smith |- align=center | 1928 | "Weather Bird" | Jazz (Single) | OKeh | 2008 | with Earl Hines |- align=center | 1930 | "Blue Yodel #9(Standing on the Corner)" | Country (Single) | Victor | 2007 | Jimmie Rodgers (Featuring Louis Armstrong) |- align=center | 1932 | "All of Me" | Jazz (Single) | Columbia | 2005 | |- align=center | 1958 | ''Porgy and Bess'' | Jazz (Album) | Verve | 2001 | with Ella Fitzgerald |- align=center | 1964 | "Hello Dolly!" | Pop (Single) | Kapp | 2001 | |- align=center | 1926 | "Heebie Jeebies" | Jazz (Single) | OKeh | 1999 | |- align=center | 1968 | "What a Wonderful World" | Jazz (Single) | ABC | 1999 | |- align=center | 1955 | "Mack the Knife" | Jazz (Single) | Columbia | 1997 | |- align=center | 1925 | "St. Louis Blues" | Jazz (Single) | Columbia | 1993 | Bessie Smith with Louis Armstrong, cornet |- align=center | 1928 | "West End Blues" | Jazz (Single) | OKeh | 1974 | |}
{| class=wikitable |- ! Year Recorded ! Title ! Label ! Group |- align=center | 1928 | West End Blues | Okeh | Louis Armstrong and his Hot Five |}
{| class=wikitable |- ! Year Inducted ! Title ! Results ! Notes |- align=center | 2007 | Louisiana Music Hall of Fame | | |- align=center | 2007 | Gennett Records Walk of Fame, Richmond, Indiana | | |- align=center | 2007 | Long Island Music Hall of Fame | | |- align=center | 2004 | Nesuhi Ertegün Jazz Hall of Fameat Jazz at Lincoln Center | | |- align=center | 1990 | Rock and Roll Hall of Fame | | Early influence |- align=center | 1978 | Big Band and Jazz Hall of Fame | | |- align=center | 1952 | Down Beat Jazz Hall of Fame | | |- align=center | 1960 | Hollywood Walk of Fame | Star | at 7601 Hollywood Blvd. |}
The museum opened to the public on October 15, 2003. A visitors center is currently being planned, and estimated to open in 2011.
The influence of Armstrong on the development of jazz is virtually immeasurable. Yet, his irrepressible personality both as a performer, and as a public figure later in his career, was so strong that to some it sometimes overshadowed his contributions as a musician and singer.
As a virtuoso trumpet player, Armstrong had a unique tone and an extraordinary talent for melodic improvisation. Through his playing, the trumpet emerged as a solo instrument in jazz and is used widely today. He was a masterful accompanist and ensemble player in addition to his extraordinary skills as a soloist. With his innovations, he raised the bar musically for all who came after him.
Though Armstrong is widely recognized as a pioneer of scat singing, Ethel Waters precedes his scatting on record in the 1930s according to Gary Giddins and others. Billie Holiday and Frank Sinatra are just two singers who were greatly indebted to him. Holiday said that she always wanted Bessie Smith's 'big' sound and Armstrong's feeling in her singing.
On August 4, 2001, the centennial of Armstrong's birth, New Orleans's airport was renamed Louis Armstrong International Airport in his honor.
In 2002, the Louis Armstrong's Hot Five and Hot Seven recordings (1925–1928) are preserved in the United States National Recording Registry, a registry of recordings selected yearly by the National Recording Preservation Board for preservation in the National Recording Registry of the Library of Congress.
The US Open tennis tournament's former main stadium was named Louis Armstrong Stadium in honor of Armstrong who had lived a few blocks from the site.
Today, there are many bands worldwide dedicated to preserving and honoring the music and style of Satchmo, including the Louis Armstrong Society located in New Orleans, LA.
Category:Article Feedback Pilot Category:1901 births Category:1971 deaths Category:ABC Records artists Category:African American brass musicians Category:African American singers Category:American buskers Category:American jazz cornetists Category:American jazz singers Category:American jazz trumpeters Category:Burials at Flushing Cemetery Category:Cardiovascular disease deaths in New York Category:Columbia Records artists Category:Deaths from myocardial infarction Category:Decca Records artists Category:Dixieland bandleaders Category:Dixieland singers Category:Dixieland trumpeters Category:Gennett recording artists Category:Grammy Lifetime Achievement Award winners Category:Jazz bandleaders Category:Jazz musicians from New Orleans, Louisiana Category:MGM Records artists Category:Musicians from Louisiana Category:Okeh Records artists Category:People from Corona, Queens Category:RCA Victor artists Category:Rock and Roll Hall of Fame inductees Category:Swing bandleaders Category:Swing singers Category:Swing trumpeters Category:Traditional pop music singers Category:Vocal jazz musicians Category:Vocalion Records artists Category:Performing arts pages with videographic documentation
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name | Bugs Bunny |
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first | |
latest | ''The Looney Tunes Show'' (2011) |
creator | }} |
Bugs Bunny is a fictional animated character who starred in the ''Looney Tunes'' and ''Merrie Melodies'' series of animated films produced by Leon Schlesinger Productions, which became Warner Bros. Cartoons in 1944. Bugs starred in 167 shorts during the Golden Age of American animation, and cameoed in many others, including few appearances in non-animated films. He is an anthropomorphic hare or rabbit.
According to ''Bugs Bunny: 50 Years and Only One Grey Hare'', he was born on July 27, 1940 in Brooklyn, New York in a warren under Ebbets Field, home of the Brooklyn Dodgers. In reality, he was created by many animators and staff, including Tex Avery, who directed ''A Wild Hare'', Bugs' debut role, and Robert McKimson, who created the definitive "Bugs Bunny" character design. According to Mel Blanc, the character's original voice actor, Bugs has a Flatbush accent. Bugs has had numerous catchphrases, the most prominent being a casual "Eh... What's up, doc?", usually said while chewing a carrot.
He is the most prominent of the Looney Tunes characters as his calm, flippant insouciance endeared him to American audiences during and after World War II. He is also a mascot of the Looney Tunes, as well as Warner Bros. in general.
thumb|left|550px|A depiction of Bugs Bunny's evolution through the years.A rabbit (named as "Happy Rabbit") with some of the personality of Bugs, though looking very different, first appears in the cartoon short ''Porky's Hare Hunt'', released on April 30, 1938. Co-directed by Ben "Bugs" Hardaway and an uncredited Cal Dalton (who was responsible for the initial design of Happy), this short has an almost identical plot to Tex Avery's 1937 cartoon ''Porky's Duck Hunt'', which had introduced Daffy Duck. Porky Pig is again cast as a hunter tracking a silly prey less interested in escape than in driving his pursuer insane. The latter short replaces the little black duck with a small white rabbit. Happy introduces himself with the odd expression "Jiggers, fellers", and Mel Blanc gave Happy a voice and laugh almost like that he would later use for Woody Woodpecker. This cartoon also first uses the famous Groucho Marx line, "Of course you realize, this means war!" This rabbit was so popular with its audience that the Schlesinger staff decided to use it again.
Happy appears again in 1939's ''Prest-O Change-O'', directed by Chuck Jones, where he is the pet rabbit of unseen character Sham-Fu the Magician. Two dogs, fleeing the local dogcatcher, enter his absent master's house. Happy harasses them, but is ultimately bested by the bigger of the two dogs.
His third appearance is in another 1939 cartoon, ''Hare-um Scare-um'', directed by Dalton and Hardaway. This short, the first where he is depicted as a gray bunny instead of a white one, is also notable for Happy's first singing role. Charlie Thorson, lead animator on the short, gave the character a name. He had written "Bugs' Bunny" on the model sheet that he drew for Hardaway, implying that he considered the rabbit model sheet to be Hardaway's property. In promotional material for the short, including a surviving 1939 presskit, the name on the model sheet was altered to become the rabbit's own name: "Bugs" Bunny (quotation marks only used at the very beginning). In his later years, Mel Blanc stated that a proposed name was "Happy Rabbit". Oddly, "Happy" was only used in reference to Bugs Hardaway. In the cartoon ''Hare-um Scare-um'', a newspaper headline reads, "Happy Hardaway".
In Chuck Jones' ''Elmer's Candid Camera'' Happy first meets Elmer Fudd. This rabbit looks more like the present-day Bugs, taller and with a similar face. This rabbit, however, speaks with a rural drawl. The early version of Elmer is also different from the present-day one, much fatter and taller, although Arthur Q. Bryan's voice is the same as it would be later. In Robert Clampett's 1940 ''Patient Porky'', a similar rabbit appears to trick the audience into thinking that 750 rabbits have been born.
Bugs's second appearance, in Jones' ''Elmer's Pet Rabbit'', introduces the audience to the name Bugs Bunny, which until then had only been used among the Termite Terrace employees. It was also the first short where he received billing under his now-famous name, but the card, "featuring Bugs Bunny", was just slapped on the end of the completed short's opening titles when ''A Wild Hare'' proved an unexpected success. The rabbit here is in look and voice identical to the one in Jones' earlier ''Elmer's Candid Camera''.
Bugs in his ''Wild Hare'' likeness appeared in five more shorts during 1941. ''Tortoise Beats Hare'', directed by Tex Avery, features the first appearance of Cecil Turtle; ''Hiawatha's Rabbit Hunt'', is the first Bugs Bunny short directed by Friz Freleng; ''All This and Rabbit Stew'', directed by Avery, has Bugs tracked by a little African-American hunter (based heavily on racial stereotypes); ''The Heckling Hare'' was the final Bugs short Avery worked on before being fired (Avery and producer Schlesinger vehemently disagreed over the ending gag of The Heckling Hare, and Avery refused to compromise his creative principles) and leaving for MGM; and ''Wabbit Twouble'', the first Bugs short directed by Robert Clampett. ''Wabbit Twouble'' was also the first of five Bugs shorts to feature a chubbier remodel of Elmer Fudd, a short-lived attempt to have Fudd more closely resemble his voice actor, comedian Arthur Q. Bryan.
Other 1942 Bugs shorts included Chuck Jones' ''Hold the Lion, Please'', Freleng's ''Fresh Hare'' and ''The Hare-Brained Hypnotist'' (which restores Elmer Fudd to his previous size), and Jones' ''Case of the Missing Hare''. Bugs also made cameos in Tex Avery's final Warner Bros. short, ''Crazy Cruise'', and stars in the two-minute United States war bonds commercial film ''Any Bonds Today''.
Bugs became more popular during World War II because of his free and easy attitude, and began receiving special star billing in his cartoons by 1943. By that time Warner Bros. had become the most profitable cartoon studio in the United States. In company with cartoon studios such as Disney and Famous Studios, Warners put its characters against Adolf Hitler, Benito Mussolini, and the Japanese. The 1944 short ''Bugs Bunny Nips the Nips'' features Bugs at odds with a group of Japanese soldiers. This cartoon has since been pulled from distribution due to its racial stereotypes of Japanese people. He also faces off against Herman Goering and Hitler in ''Herr Meets Hare'', which introduced his well-known reference to Albuquerque as he mistakenly winds up in the Black Forest of 'Joimany' instead of Las Vegas, Nevada.
Since Bugs' debut in ''A Wild Hare'', he had appeared only in color ''Merrie Melodie'' cartoons (making him one of the few recurring characters created for that series in the Leon Schlesinger era prior to the full conversion to color), alongside Elmer's prototype Egghead, Inki, Sniffles, and Elmer himself—who was heard but not seen in the 1942 ''Looney Tunes'' cartoon ''Nutty News'', and made his first formal appearance in that series in 1943's ''To Duck or Not to Duck''. While he made a cameo appearance in the 1943 Porky and Daffy cartoon ''Porky Pig's Feat'' this was his only appearance in a black-and-white ''Looney Tune'' cartoon. He did not star in a cartoon in the ''Looney Tunes'' series until that series made its complete conversion to only color cartoons beginning with 1944 releases. ''Buckaroo Bugs'' was Bugs' first cartoon in the ''Looney Tunes'' series, and was also the last Warner Bros. cartoon to credit Leon Schlesinger.
Among his most notable civilian shorts during this period are Bob Clampett's ''Tortoise Wins by a Hare'' (a sequel to 1941's ''Tortoise Beats Hare''); ''A Corny Concerto'' (a spoof of Disney's ''Fantasia''); ''Falling Hare''; ''What's Cookin' Doc?''; Chuck Jones' ''Superman'' parody ''Super-Rabbit''; and Freleng's ''Little Red Riding Rabbit''. The 1944 short ''Bugs Bunny and the Three Bears'' introduces Jones' The Three Bears characters.
At the end of the cartoon ''Super-Rabbit'', Bugs appears wearing a United States Marine Corps dress blue uniform. As a result, the Marine Corps made Bugs an honorary Marine Master Sergeant. From 1943 to 1946, Bugs was the official mascot of Kingman Army Airfield, Kingman, Arizona, where thousands of aerial gunners were trained during World War II. Some notable trainees included Clark Gable and Charles Bronson. Bugs also served as the mascot for 530 Squadron of the 380th Bombardment Group, 5th Air Force, U.S. Air Force, which was attached to the Royal Australian Air Force and operated out of Australia's Northern Territory from 1943 to 1945, flying B-24 Liberator bombers. Bugs riding an air delivered torpedo served as the squadron logo for Marine Torpedo/Bomber Squadron 242 in the Second World War.
In 1944, Bugs Bunny made a cameo appearance in ''Jasper Goes Hunting'', a short produced by rival studio Paramount Pictures. In this cameo (animated by Robert McKimson, with Mel Blanc providing the voice), Bugs pops out of a rabbit hole, saying his usual catchphrase; Bugs then says, "I must be in the wrong picture" and then goes back in the hole. He also appears in the 1947 Arthur Davis cartoon ''The Goofy Gophers''
The Bugs Bunny short ''Knighty Knight Bugs'' (1958), in which a medieval Bugs Bunny trades blows with Yosemite Sam and his fire-breathing dragon (which has a cold), won the Academy Award for Best Short Subject (Cartoons) of 1958. Three of Chuck Jones' Bugs Bunny shorts — ''Rabbit Fire'', ''Rabbit Seasoning'', and ''Duck! Rabbit, Duck!'' — comprise what is often referred to as the "Duck Season/Rabbit Season" trilogy. Jones' 1957 classic, ''What's Opera, Doc?'', cast Bugs and Elmer in a parody of Richard Wagner's ''Der Ring des Nibelungen''. It has been deemed "culturally significant" by the United States Library of Congress and selected for preservation in the National Film Registry, the first cartoon short to receive this honor.
In the fall of 1960, ABC debuted the prime-time television program ''The Bugs Bunny Show''. This show packaged many of the post-1948 Warners shorts with newly animated wraparounds. After two seasons, it was moved from its evening slot to reruns on Saturday mornings. ''The Bugs Bunny Show'' changed format and exact title frequently, but remained on network television for 40 years. The packaging was later completely different, with each short simply presented on its own, title and all, though some clips from the new bridging material were sometimes used as filler.
Bugs has made appearances in animated specials for network television, mostly composed of classic cartoons with bridging material added, including ''How Bugs Bunny Won the West'', and ''The Bugs Bunny Mystery Special''. ''Bugs Bunny's Busting Out All Over'' (1980) contained no vintage clips and featured the first new Bugs Bunny cartoons in 16 years. It opened with "Portrait Of The Artist As a Young Bunny", which features a flashback of Bugs as a child thwarting a young Elmer Fudd, while its third and closing short was "Spaced Out Bunny", with Bugs being kidnapped by Marvin the Martian to be a playmate for Hugo, an Abominable Snowman-like character. (A new Wile E. Coyote and Road Runner short filled out the half hour.) Compilation films included the independently produced ''Bugs Bunny: Superstar'', using the vintage shorts then owned by United Artists; as well as Warner Bros. efforts ''The Bugs Bunny/Road Runner Movie'', ''The Looney Looney Looney Bugs Bunny Movie'', ''Daffy Duck's Fantastic Island'', ''Bugs Bunny's 3rd Movie: 1001 Rabbit Tales'' and ''Daffy Duck's Quackbusters''. He also made guest appearances in episodes of the 1990s television program ''Tiny Toon Adventures'' as the principal of Acme Looniversity and the mentor of Babs and Buster Bunny, and would later make occasional guest cameos on spinoffs ''Taz-Mania'' and ''Animaniacs''. He appears in the beginning of ''Gremlins 2: The New Batch'', where he tries to ride the opening Warner Bros logo, but is interrupted by Daffy Duck.
Bugs has had several comic book series over the years. Western Publishing had the license for all the Warner Brothers cartoons, and produced Bugs Bunny comics first for Dell Comics, then later for their own Gold Key Comics. Dell published 58 issues and several specials from 1952 to 1962. Gold Key continued for another 133 issues. DC Comics, the sister/subsidiary company of Warner Bros., has published several comics titles since 1994 that Bugs has appeared in. Notable among these was the 2000 four-issue miniseries ''Superman & Bugs Bunny'', written by Mark Evanier and drawn by Joe Staton. This depicted a crossover between DC's superheroes and the Warner cartoon characters.
Like SpongeBob for Nickelodeon and Mickey Mouse (a Disney character), Bugs has served as the mascot for Warner Bros. Entertainment and its various divisions. He and Mickey are the first cartoon characters to have a star on the Hollywood Walk of Fame.
In the 1988 animated/live action movie ''Who Framed Roger Rabbit'', Bugs was shown as one of the inhabitants of Toontown. However, since the film was being produced by Disney, Warner Bros. would only allow the use of their biggest star if he got an equal amount of screen time as Disney's biggest star, Mickey Mouse. Because of this, both characters are always together in frame when onscreen. For the same reasons, Bugs never calls Mickey by his name, only referring to him as "Doc," while Mickey calls him "Bugs."
Bugs Bunny was featured in ''The Earth Day Special'' showing his displeasure on how man started mistreating the environment. He was voiced by Jeff Bergman who also voiced Porky Pig and Tweety.
Bugs Bunny came back to the silver screen in ''Box Office Bunny'' in 1990. This was the first Bugs Bunny cartoon short since 1964 to be released to theaters, and it was created for the Bugs Bunny 50th anniversary celebration. It was followed in 1991 by ''(Blooper) Bunny,'' a short that has gained a cult following among some animation fans for its edgy humor.
Bugs made an appearance in the 1990 drug prevention video ''Cartoon All-Stars to the Rescue.'' This special is notable for being the first time that somebody other than Mel Blanc voiced Bugs Bunny and Daffy Duck. (In this video, both characters were voiced by Jeff Bergman.)
In 1997, Bugs appeared on a U.S. postage stamp, the first cartoon to be so honored, beating the iconic Mickey Mouse. The stamp is number seven on the list of the ten most popular U.S. stamps, as calculated by the number of stamps purchased but not used. The introduction of Bugs onto a stamp was controversial at the time, as it was seen as a step toward the 'commercialization' of stamp art. The postal service rejected many designs, and went with a postal-themed drawing. Avery Dennison printed the Bugs Bunny stamp sheet, which featured "a special ten-stamp design and was the first self-adhesive souvenir sheet issued by the U.S. Postal Service."
A younger version of Bugs is the main character of ''Baby Looney Tunes,'' which debuted on Cartoon Network in 2002. In the action comedy ''Loonatics Unleashed'', his definite descendant Ace Bunny is the leader of the Loonatics team and seems to have inherited his ancestor's Brooklyn accent and comic wit. Strangely, Bugs was one of the few Looney Tunes characters who never appeared in the 2003 Duck Dodgers series.
Bugs has appeared in numerous video games, including the ''Bugs Bunny's Crazy Castle'' series, ''Bugs Bunny Birthday Blowout'', ''Bugs Bunny: Rabbit Rampage'' and the similar ''Bugs Bunny in Double Trouble'', ''Looney Tunes B-Ball'', ''Space Jam'', ''Looney Tunes Racing'', ''Looney Tunes: Space Race'', ''Bugs Bunny Lost in Time'', and its sequel, ''Bugs Bunny and Taz Time Busters'', and ''Looney Tunes: Back in Action'' and the new video game ''Looney Tunes: Acme Arsenal''.
On August 13, 2010, Warner Bros. Pictures announced that they are planning a live-action/CG-animated combo feature film based on the Looney Tunes character.
Bugs also appeared in the ''MAD'' episode "Hops", where he appeared at the party.
Bugs will usually try to placate the antagonist and avoid conflict, but when an antagonist pushes him too far, Bugs may address the audience and invoke his catchphrase "Of course you realize this means ''war!''" before he retaliates, and the retaliation will be devastating. This line was taken from Groucho Marx and others in the 1933 film ''Duck Soup'' and was also used in the 1935 Marx film ''A Night at the Opera''. Bugs would pay homage to Groucho in other ways, such as occasionally adopting his stooped walk or leering eyebrow-raising (in ''Hair-Raising Hare'', for example) or sometimes with a direct impersonation (as in ''Slick Hare'').
Other directors, such as Friz Freleng, characterized Bugs as altruistic. When Bugs meets other successful characters (such as Cecil Turtle in ''Tortoise Beats Hare'', or, in World War II, the Gremlin of ''Falling Hare''), his overconfidence becomes a disadvantage. Most of Bugs' antagonists are extremely dim-witted, and Bugs is easily able to outwit and torment them, though on occasion they will manage to get the best of Bugs. Daffy Duck, who is considerably more intelligent, is unaffected by Bugs' usual schemes, and the two usually end up fighting a battle of wits, though Bugs is still the superior.
During the 1940s, Bugs was immature and wild, but starting in the 1950s his personality matured and his attitude was less frenetic. Though often shown as highly mischievous and violent, Bugs is never actually malicious, and only acts as such in self-defense against his aggressors; the only two cartoons where Bugs ever served as an antagonist were Buckaroo Bugs and Duck Amuck; the latter cartoon depicts him as far more sadistic than usual, as he becomes the cartoonist and abuses his newfound divine powers to torture Daffy.
Bugs Bunny's nonchalant carrot-chewing standing position, as explained by Chuck Jones, Friz Freleng, and Bob Clampett, originated in a scene in the film ''It Happened One Night'', in which Clark Gable's character leans against a fence, eating carrots rapidly and talking with his mouth full to Claudette Colbert's character. This scene was well known while the film was popular, and viewers at the time likely recognized Bugs Bunny's behavior as satire.
The carrot-chewing scenes are generally followed by Bugs Bunny's most well-known catchphrase, "What's up, Doc?", which was written by director Tex Avery for his first Bugs Bunny short, 1940s ''A Wild Hare''. Avery explained later that it was a common expression in his native Texas and that he did not think much of the phrase. When the short was first screened in theaters, the "What's up, Doc?" scene generated a tremendously positive audience reaction. As a result, the scene became a recurring element in subsequent films and cartoons. The phrase was sometimes modified for a situation. For example, Bugs says "What's up, dogs?" to the antagonists in ''A Hare Grows in Manhattan'', "What's up, Duke?" to the knight in ''Knight-mare Hare'' and "What's up, prune-face?" to the aged Elmer in ''The Old Grey Hare''. He might also greet Daffy with "What's up, Duck?" He used one variation, "What's all the hub-bub, bub?" only once, in ''Falling Hare.'' Another variation is used in ''Looney Tunes: Back In Action'' when he greets a lightsaber-wielding Marvin the Martian saying "What's up, Darth?"
Several Chuck Jones shorts in the late 1940s and 1950s depict Bugs travelling via cross-country (and, in some cases, intercontinental) tunnel-digging, ending up in places as varied as Mexico (''Bully for Bugs'', 1953), the Himalayas (''The Abominable Snow Rabbit'', 1960) and Antarctica (''Frigid Hare'', 1949) all because he "shoulda taken that left toin at Albukoikee." He first utters that phrase in ''Herr Meets Hare'' (1945), when he emerges in the Black Forest, a cartoon seldom seen today due to its blatantly topical subject matter. When Hermann Göring says to Bugs, "There is no Las Vegas in 'Chermany'" and takes a potshot at Bugs, Bugs dives into his hole and says, "Joimany! Yipe!", as Bugs realizes he's behind enemy lines. The confused response to his "left toin" comment also followed a pattern. For example, when he tunnels into Scotland in 1948's ''My Bunny Lies over the Sea'', while thinking he's heading for the La Brea Tar Pits in Los Angeles, California, it provides another chance for an ethnic stereotype: "Therrre's no La Brrrea Tarrr Pits in Scotland!" (to which Bugs responds, "Uh...what's up, Mac-doc?"). A couple of late-1950s shorts of this ilk also featured Daffy Duck travelling with Bugs ("Since when is Pismo Beach inside a cave?!").
Bugs Bunny has some similarities to figures from mythology and folklore, such as Br'er Rabbit, Nanabozho, or Anansi, and might be seen as a modern trickster (for example, he repeatedly uses cross-dressing mischievously). Unlike most cartoon characters, however, Bugs Bunny is rarely defeated in his own games of trickery. One exception to this is the short ''Hare Brush'', in which Elmer Fudd ultimately carries the day at the end; however, critics note that in this short, Elmer and Bugs assume each other's personalities—through mental illness and hypnosis, respectively—and it is only by becoming Bugs that Elmer can win. However, Bugs was beaten at his own game. In the short ''Duck Amuck'' he torments Daffy Duck as the unseen animator, ending with his line, "Ain't I a stinker?" Bugs feels the same wrath of an unseen animator in the short ''Rabbit Rampage'' where he is in turn tormented by Elmer Fudd. At the end of the clip Elmer gleefully exclaims, 'Well, I finally got even with that scwewy wabbit!"
Although it was usually Porky Pig who brought the WB cartoons to a close with his stuttering, "That's all, folks!", Bugs would occasionally appear, bursting through a drum just as Porky did, but munching a carrot and saying in his Bronx-Brooklyn accent, "And dat's de end!"
The name "Bugs" or "Bugsy" as an old-fashioned nickname means "crazy" (or "loopy"). Several famous people from the first half of the twentieth century had that nickname. It is now out of fashion as a nickname, but survives in 1950s–1960s expressions like "you're bugging me", as in "you're driving me crazy".
Bugs wears white gloves, which he is rarely seen without, although he may remove one and use it for slapping an opponent to predicate a duel. Another glove-less example is the episode ''Long-Haired Hare'', where Bugs pretends to be the famed conductor Leopold Stokowski and instructs opera star "Giovanni Jones" to sing and to hold a high note. As Giovanni Jones is turning red with the strain, Bugs slips his left hand out of its glove, leaving the glove hovering in the air in order to command Jones to continue to hold the high note. Bugs then nips down to the mail drop to order, and then to receive, a pair of ear defenders. Bugs puts on the ear defenders and then zips back into the amphitheater and reinserts his hand into his glove as singer Jones is writhing on the stage, still holding that same high note.
Bugs Bunny is also a master of disguise: he can wear any disguise that he wants to confuse his enemies: in ''Bowery Bugs'' he uses diverse disguises: fakir, gentleman, woman, baker and finally policeman. This ability of disguise makes Bugs famous because we can recognize him while at the same time realizing that his enemies are stumped. Bugs has a certain preference for the female disguise: Taz, Elmer Fudd, Yosemite Sam were fooled by this sexy bunny (woman) and in ''Hare Trimmed'', Sam discovers the real face of "Granny" (Bugs's disguise) in the church where they attempt to get married. For all the gullible victims of all these disguises, however, for some reason, Daffy Duck and Cecil Turtle are among those who are never fooled.
Bugs Bunny may also have some mystical potential. In ''Knight-mare Hare'' he was able to return to his bunny form (after being transformed into a donkey) by removing his donkey form as if it were a suit. Merlin of Monroe (the wizard) was unable to do the same thing. Later Bugs Bunny defeated the Count Blood Count in a magical spell duel. However, the story was a dream and Bugs Bunny's victory over Count Blood Count was a result of his intellect, not innate magical power.
Within the cartoons, although the term "hare" comes up sometimes, again typically as a pun—for example, Bugs drinking "hare tonic" to "stop falling hare" or being doused with "hare restorer" to bring him back from invisibility—Bugs as well as his antagonists most often refer to the character as a "rabbit." The word "bunny" is of no help in answering this question, as it is a synonym for both young hares and young rabbits.
In Nike commercials with Michael Jordan, Bugs had been referred to as "''Hare'' Jordan."
;Mel Blanc :Mel Blanc voiced the character for 49 years, from Bugs' debut in ''A Wild Hare'' (1940) until Blanc's death in 1989. Blanc described the voice as a combination of Bronx and Brooklyn accents; however, Tex Avery claimed that he asked Blanc to give the character not a New York accent ''per se'', but a voice like that of actor Frank McHugh, who frequently appeared in supporting roles in the 1930s and whose voice might be described as New York Irish. In Bugs' second cartoon ''Elmer's Pet Rabbit'', Blanc created a completely new voice for Bugs, which sounded like a Jimmy Stewart impression, but the directors decided the previous voice was better. Though his best-known character was the carrot-chomping rabbit, munching on the carrots interrupted the dialogue. Various substitutes, such as celery, were tried, but none of them ''sounded'' like a carrot. So for the sake of expedience, he would munch and then spit the carrot bits into a spittoon rather than swallowing them, and continue with the dialogue. One often-repeated story, possibly originating from ''Bugs Bunny: Superstar'', is that Blanc was allergic to carrots and ''had'' to spit them out to minimize any allergic reaction — but his autobiography makes no such claim. In fact, in a 1984 interview with Tim Lawson, co-author of ''The Magic Behind The Voices: A Who's Who of Cartoon Voice Actors'' (University Press of Mississippi, 2004), Blanc emphatically denied being allergic to carrots.
;Jeff Bergman :Jeff Bergman was the first to voice Bugs Bunny (and several other Looney Tunes characters) after Blanc died in 1989. He got the job by impressing Warner Bros. higher-ups with a tape of himself re-creating the voices of several of Blanc's characters, including Bugs. He had rigged the tape player so that he could use a switch to instantly toggle back and forth between the original recording of Blanc and Bergman's recording of the same lines. Upon doing this, it was almost impossible for the producers to tell which voice was Blanc's and which voice was Bergman; thus his vocal ability was established and his career launched.
:Bergman first voiced Bugs during the 1990 Academy Awards and then in ''Box Office Bunny'', a 4-minute ''Looney Tunes'' short released in 1990 to commemorate Bugs' fiftieth anniversary. Bergman would next voice Bugs in the 1991 short ''(Blooper) Bunny'', a Greg Ford-directed cartoon produced to coincide with Bugs' 51st and a half anniversary. However, the short never received its intended theatrical release and was shelved for years, until Cartoon Network rediscovered it and broadcast it on their channel several years later. ''(Blooper) Bunny'' has since garnered a cult following among animation fans for its use of edgy humor. Other works for which Bergman provided Bugs' voice include ''Invasion of the Bunny Snatchers'' (an obvious parody of the 1950s sci-fi classic ''Invasion of the Body Snatchers''), ''Tiny Toon Adventures'' (a popular television program of the early nineties that featured the classic ''Looney Tunes'' characters as mentors to their younger counterparts) in the first season, and ''Cartoon All-Stars to the Rescue'' (a television special exposing children to dangers of illegal drugs). Bergman would continue to do the voice of Bugs Bunny until 1993, apparently due to him having difficulty moving to Los Angeles at the time. In 2011, Bergman has returned to voice Bugs for Cartoon Network's new series, ''The Looney Tunes Show''.
;Greg Burson :Greg Burson first voiced Bugs Bunny in later episodes of ''Tiny Toon Adventures''. He was then given the responsibility of voicing Bugs in 1995's ''Carrotblanca'', a well-received 8-minute ''Looney Tunes'' cartoon originally shown in cinemas alongside ''The Amazing Panda Adventure'' (US) and ''The Pebble and the Penguin'' (non-US); it has since been released on video packaged with older ''Looney Tunes'' cartoons and was even included in the special edition DVD release of ''Casablanca'', of which it is both a parody and an homage. Burson next voiced Bugs in the 1996 short ''From Hare to Eternity''; the film is notable for being dedicated to the memory of the then-just deceased Friz Freleng, and for being the final ''Looney Tunes'' cartoon that Chuck Jones directed. Burson also provided Bugs' voice in ''The Bugs and Daffy Show'', which ran on Cartoon Network from 1996 to 2003. He died in 2008.
;Billy West :Billy West has been in television since the late 1980s. His first role was for the 1988 revived version of Bob Clampett's ''Beany and Cecil''. West's breakthrough role then came almost immediately, as the voice of Stimpy and later Ren in John Kricfalusi's ''Ren & Stimpy''. West has since been the voice talent for close to 120 different characters, including some of the most iconic animated figures in television history. Perhaps West's most notable film work came in the 1996 film ''Space Jam''. Starring alongside Michael Jordan, West provided the voice of both Bugs Bunny and Elmer Fudd. West would go on to reprise the roles of Bugs in subsequent ''Looney Tunes'' productions, including his cameos on ''Histeria!'', also he made a cameo appearance on ''Kid vs. Kat'' in "Class Act", the Kids' WB! promotional spots, and the 2006 Christmas-themed special ''Bah, Humduck! A Looney Tunes Christmas'' and the DVD compilations "Reality Check" and "Stranger Than Fiction", along with several ''Looney Tunes''-centric CDs, cartoons, and video games.
;Joe Alaskey :Joe Alaskey, like Jeff Bergman, is well-known for his ability to successfully impersonate many ''Looney Tunes'' characters. In fact, Alaskey voiced Yosemite Sam in ''Who Framed Roger Rabbit'', as original voice actor Mel Blanc had found it too hard on his vocal cords (which makes Sam one of the few voices created by Blanc to be voiced by someone else during his lifetime). Alaskey's first performance as Bugs Bunny came in the 2003 feature film ''Looney Tunes: Back in Action'', although he had tested performing the role in a few earlier projects, such as ''Tweety's High-Flying Adventure''. While still best known for providing the voice of Daffy Duck, Alaskey has also gone on to do Bugs' voice in several subsequent productions, including ''Daffy Duck for President'' (which was released on ''The Looney Tunes Golden Collection: Volume 2'' and dedicated to then-just deceased Chuck Jones) and several recent video games and Looney Tunes cartoons, including ''Hare and Loathing in Las Vegas''.
;Samuel Vincent :Samuel Vincent served as the voice of Bugs in the Cartoon Network TV series ''Baby Looney Tunes''.
;Noel Blanc :Noel Blanc, Mel Blanc's son, voiced Bugs for the ''Tiny Toons'' special ''It's a Wonderful Tiny Toon Christmas Special''. The elder Blanc claimed in his later years that Noel substituted for Mel in various cartoon studios, including doing Bugs at Warner Bros., while he was recovering from a near-fatal car wreck. Noel can also be seen doing Bugs' voice with his father in the documentary on the making of the film ''Who Framed Roger Rabbit''.
Bugs has also had an effect on "live" movie acting. During an interview for ''Inside the Actors Studio'', comedian Dave Chappelle cited him as one of his earliest influences, praising voice actor Mel Blanc.
According to Time Warner, Bugs Bunny became the current official mascot for Six Flags theme parks beginning with their 45th anniversary.
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