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 | Uriah Heep |
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series | David Copperfield |
creator | Charles Dickens |
gender | Male |
occupation | Moneylender |
nationality | British }} |
Uriah Heep is a fictional character created by Charles Dickens in his novel ''David Copperfield''.
The character is notable for his cloying humility, obsequiousness, and insincerity, making frequent references to his own "'umbleness". His name has become synonymous with being a yes man. He is the central antagonist of the later part of the book.
Uriah has been employed as clerk to Wickfield for four years, since he was eleven. Uriah's father, who instilled him with the need to be humble, died when Uriah was ten, and for the first part of the novel he lives alone with his mother in their "umble abode". Copperfield takes an immediate and permanent dislike to Uriah, in spite of the latter's persistent, if insincere attempts to win his friendship. Uriah addresses Copperfield as "Master Copperfield" well into their adulthood, an indication of his true patronising view.
Uriah is repeatedly mentioned as ugly and repulsive, even in his youth - tall, lank and pale with red hair and lashless eyes. He may be albino, according to frequent mentions of his pale skin and red eyes, though this is never clearly stated. Dickens negatively emphasizes Uriah's movements as well, described as jerking and writhing; this leads some literary scholars to believe Dickens is describing a form of dystonia, a muscular disorder, to increase Uriah's snakelike character. Uriah explains in another part of the book that his ambition and greed are fueled by resentment from the double-standard of his schooling and from his treatment as a child, and by encouragement from his parents. As Uriah works for Wickfield for the next five or so years, he teaches himself law at night, and by blackmailing Mr. Wickfield, gains control over his business.
He eventually succeeds in having himself made a full partner in the business. His eventual ambition is to marry Agnes and gain control of the Wickfield fortune. Like most of Dickens' villains, greed is his main motivation. Heep is eventually stymied by Mr. Micawber and Tommy Traddles, with help from David and Agnes. Once his fraud and treachery are unmasked, he persists in hounding Micawber and Copperfield. Towards the end of the novel, he is last seen in Mr. Creakle’s prison where we find that he has returned to his "umble" ways, and puts himself forward as a model prisoner. He is said to be sentenced for transportation for life, which likely means he will eventually be sent to one of the penal colonies in Australia.
The characteristics of grasping manipulation and insincerity can lead to a person being labelled "a Uriah Heep" as Lyndon Johnson is called in Robert Caro's biography. Seymour Fleming, a character in the play Babes in Arms, is also called thus. Author Philip Roth once compared President Richard Nixon to Uriah Heep. More recently, the historian Tony Judt used the term to describe Marshall Petain of French Vichy government shame.
In the BBC television series ''Blake's 7'', the computer character Slave was described by Peter Tuddenham, who voiced it, as "...a Uriah Heep type of character...."
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 | Alice Cooper |
---|---|
Background | solo_singer |
Birth name | Vincent Damon Furnier |
Born | February 04, 1948Detroit, Michigan, U.S. |
Instrument | Vocals, harmonica, guitar |
Genre | Rock, hard rock, heavy metal, shock rock |
Occupation | Singer-songwriter, actor, DJ |
Years active | 1964–present |
Associated acts | Alice Cooper band, Ozzy Osbourne, Slash |
Label | Straight, Warner Bros., Atlantic, MCA, Epic, Spitfire, Eagle, New West |
Website | }} |
Alice Cooper (born Vincent Damon Furnier; February 4, 1948) is an American rock singer, songwriter and musician whose career spans more than four decades. With a stage show that features guillotines, electric chairs, fake blood, boa constrictors, and baby dolls, Cooper has drawn equally from horror movies, vaudeville, and garage rock to pioneer a grandly theatrical and violent brand of heavy metal designed to shock.
Alice Cooper was originally a band consisting of Furnier on vocals and harmonica, lead guitarist Glen Buxton, Michael Bruce on rhythm guitar, Dennis Dunaway on bass guitar, and drummer Neal Smith. The original Alice Cooper band broke into the international music mainstream with the 1971 hit "I'm Eighteen" from the album ''Love it to Death'', which was followed by the even bigger single "School's Out" in 1972. The band reached their commercial peak with the 1973 album ''Billion Dollar Babies''.Furnier's solo career as Alice Cooper, adopting the band's name as his own name, began with the 1975 concept album ''Welcome to My Nightmare''. In 2008 he released ''Along Came a Spider'', his 18th solo album but his 25th album. Expanding from his original Detroit rock roots, over the years Cooper has experimented with many various musical styles, including conceptual rock, art rock, hard rock, new wave, pop rock, experimental rock and industrial rock.
Alice Cooper is known for his social and witty persona offstage. ''The Rolling Stone Album Guide'' goes so far as to call him the world's most "beloved heavy metal entertainer". He helped to shape the sound and look of heavy metal, and is seen as the one who "first introduced horror imagery to rock'n'roll, and whose stagecraft and showmanship have permanently transformed the genre". Away from music, Cooper is a film actor, a golfing celebrity, a restaurateur and, since 2004, a popular radio DJ with his classic rock show ''Nights with Alice Cooper''.
In 2011 the original Alice Cooper band was inducted into The Rock and Roll Hall of Fame.
While growing up in Detroit, Furnier attended Washington Elementary School, then Nankin Mills Jr. High, now Lutheran High School Westland. Following a series of childhood illnesses, Furnier moved with his family to Phoenix, Arizona, where he attended Cortez High School in north Phoenix, and was a member of the Order of DeMolay.
In 1966 The Spiders graduated from high school, and after North High School footballer, Michael Bruce, replaced John Tatum on rhythm guitar, the band scored a local #1 radio hit with "Don't Blow Your Mind," an original composition from their second single release. By 1967 the band had begun to make regular road trips to Los Angeles, California to play shows. They soon renamed themselves The Nazz and released the single "Wonder Who's Lovin' Her Now," backed with future Alice Cooper track "Lay Down And Die, Goodbye." At around this time drummer John Speer was replaced by Neal Smith. By the end of the year the band had relocated to Los Angeles permanently.
In 1968 upon learning that Todd Rundgren also had a band called Nazz, the band was again in need of another stage name. Believing that the group needed a gimmick to succeed, and that other bands were not exploiting the showmanship potential of the stage, Furnier chose "Alice Cooper" as the band's name and adopted this stage name as his own. Cooper later stated that the name change was one of his most important and successful career moves.
Nonetheless, at the time Cooper and the band realized that the concept of a male playing the role of a villian, a woman killer, in tattered women's clothing and wearing make-up, would have the potential to cause considerable social controversy and grab headlines. In 2007 in his book ''Alice Cooper, Golf Monster'' Cooper stated that his look was inspired in part by film. One of the band's all time favorite movies was ''What Ever Happened to Baby Jane'' starring Bette Davis. "In the movie, Bette wears disgusting caked makeup smeared on her face and underneath her eyes, with deep , dark, black eyeliner." Another movie watched over and over was ''Barbarella''. "When I saw Anita Pallenberg playing the Great Tyrant in that movie in 1968, wearing long black leather gloves with switchblades coming out of them, I thought, 'That's what Alice should look like'. That, and a little bit of Emma Peel from ''The Avengers''".
The conception for the character that Cooper plays on stage came when he took careful observation of the rock world around him. He noticed that rock stars were always made out to be heroes, and that rock villains were scarce. In a 2010 interview he stated, "Why do we always have rock heroes? Why not a rock villain? I was more than happy to be rock's Darth Vader. I was more than happy to be Captain Hook."
The classic Alice Cooper group line-up consisted of singer Alice Cooper (Vincent Furnier), lead guitarist Glen Buxton, rhythm guitarist Michael Bruce, bassist Dennis Dunaway, and drummer Neal Smith. With the exception of Smith, who graduated from Camelback High School (which is referred to in the song "Alma Mater" on the ''School's Out'' album), all of the band members were on the Cortez High School cross-country team, and many of Cooper's stage effects were inspired by their cross-country coach, Emmett Smith (one of Smith's class projects was to build a working guillotine for slicing watermelons). Cooper, Buxton and Dunaway were also art students, and their admiration for the works of surrealist artists such as Salvador Dalí would further inspire their future stage antics.
One night after an unsuccessful gig at the Cheetah club in Venice, California, where the band emptied the entire room of patrons after playing just ten minutes, they were approached and enlisted by music manager Shep Gordon, who ironically saw the band's negative impact that night as a force that could be turned in a more productive direction. Shep then arranged an audition for the band with composer and renowned record producer, Frank Zappa, who was looking to sign bizarre music acts to his new record label, Straight Records. For the audition Zappa told them to come to his house "at 7 o'clock." The band mistakenly assumed he meant 7 o'clock in the morning. Being woken up by a band willing to play that particular brand of psychedelic rock at seven in the morning impressed Zappa enough to sign them to a three-album deal. Another Zappa-signed act, the all-female GTOs, who liked to "dress the Cooper boys up like full size barbie dolls," played a major role in developing the band's early onstage look.
Cooper's first album ''Pretties for You'' (released in 1969) had a slight psychedelic feel. Although it touched the US charts for one week at #193, it was ultimately a critical and commercial failure.
Alice Cooper's "shock rock" reputation apparently developed almost by accident at first. An unrehearsed stage routine involving Cooper and a live chicken garnered attention from the press, and the band decided to capitalize on the tabloid sensationalism, creating in the process a new subgenre, shock rock. Cooper claims that the infamous "Chicken Incident" at the Toronto Rock and Roll Revival concert in September 1969 was an accident. A chicken somehow made its way onto the stage during Cooper's performance, and not having any experience around farm animals, Cooper presumed that, because the chicken had wings, it would be able to fly. He picked it up and threw it out over the crowd, expecting it to fly away. The chicken instead plummeted into the first few rows occupied by disabled people in wheelchairs, who reportedly proceeded to tear the bird to pieces.
The next day the incident made the front page of national newspapers, and Zappa phoned Cooper and asked if the story, which reported that he had bitten off the chicken's head and drunk its blood on stage, was true. Cooper denied the rumor, whereupon Zappa told him, "Well, whatever you do, don't tell anyone you didn't do it", obviously recognizing that such publicity would be priceless for the band.
Alice Cooper appeared at the Woodstock-esque, Strawberry Fields Festival near Toronto, Ontario in August 1970. The band's mix of glam and increasingly violent stage theatrics stood out in stark contrast to the bearded, denim-clad hippie bands of the time. As Cooper himself stated: "We were into fun, sex, death and money when everybody was into peace and love. We wanted to see what was next. It turned out we were next, and we drove a stake through the heart of the Love Generation".
In autumn 1970 the Alice Cooper group teamed with producer Bob Ezrin for the recording of their third album ''Love it to Death''. This was the final album in their Straight Records contract and the band's last chance to create a hit. That first success came with the single "I'm Eighteen", released in November 1970, which reached number 21 on the Billboard Hot 100 in early 1971. Not long after the album's release in January 1971 Warner Bros. Records purchased Alice Cooper's contract from Straight and re-issued the album, giving the group a higher level of promotion.
''Love it to Death'' proved to be their breakthrough album, reaching number 35 on the U.S. Billboard 200 album charts. It would be the first of eleven Alice Cooper group and solo albums produced by Ezrin, who is widely seen as being instrumental in helping to create and develop the band's definitive sound.
The group's 1971 tour featured a stage show involving mock fights and gothic torture modes being imposed on Cooper climaxing with a staged execution by electric chair, with the band sporting tight, sequined, and color-contrasting glam rock-style costumes made by prominent rock fashion designer Cindy Dunaway (sister of band member Neal Smith, and wife of band member Dennis Dunaway). Cooper's androgynous stage role had developed to present a villainous side, portraying a potential threat to modern society. The success of the band's single, the album, and their tour of 1971, which included their first tour of Europe (audience members reportedly included Elton John and a pre-Ziggy David Bowie), provided enough encouragement for Warner Bros. to offer the band a new multi-album contract.
Their follow-up album ''Killer'', released in late 1971, continued the commercial success of ''Love It To Death'' and included further single success with "Under My Wheels", "Be My Lover" in early 1972, and "Halo Of Flies" which became a Top 10 hit in the Netherlands in 1972. Thematically, ''Killer'' expanded on the villainous side of Cooper's androgynous stage role, with its music becoming the soundtrack to the group's morality-based stage show, which by then featured a boa constrictor hugging Cooper onstage, the murderous axe chopping of bloodied baby dolls, and execution by hanging at the gallows. Back then, the real criticism was aimed at questioning the artists' sexual ambiguity, rather than the stage gore. In January 1972, Cooper was again asked about his peculiar name, and told talk show hostess Dinah Shore that he took the name from a "Mayberry RFD" character.
The summer of 1972 saw the release of the single "School's Out". It went Top 10 in the US, was a #1 single in the UK, and remains a staple on classic rock radio to this day. ''School's Out'' the album reached #2 on the US charts and sold over a million copies. The band now relocated to their new mansion in Greenwich, Connecticut. With Cooper's on-stage androgynous persona completely replaced with brattiness and machismo, the band solidified their success with subsequent tours in the US and Europe, and won over devoted fans in droves while at the same time horrifying parents and outraging the social establishment. Controversy seemed to have little negative effect on the band's popularity, as they were selected to be the first band to appear on then-new US television series ABC In Concert in September 1972. In England, Mary Whitehouse, a well known campaigner for values of morality and decency, succeeded in having the BBC ban the video for "School's Out" and Member of Parliament Leo Abse petitioned Home Secretary Reginald Maudling to have the group banned altogether from performing in the country.
In February 1973 ''Billion Dollar Babies'' was released worldwide and became the band's most commercially successful album, reaching #1 in both the US and UK. "Elected", a late-1972 Top 10 UK hit from the album, which inspired one of the first MTV-style story-line promo videos ever made for a song (three years before Queen's promotional video for "Bohemian Rhapsody"), was followed by two more UK Top 10 singles, "Hello Hooray" and "No More Mr. Nice Guy", the latter of which was the last UK single from the album; it reached #25 in the US. The title track, featuring guest vocals by Donovan, was also a US hit single. Due to Glen Buxton's waning health around this time Mick Mashbir was secretly added to the band (who also played, without credit, on ''Muscle of Love'') to supplement Glen's playing.
With a string of successful concept albums and several hit singles, the band continued their gruelling schedule and toured the US once again. Continued attempts by politicians and pressure groups to ban their shocking act only served to fuel the myth of Alice Cooper further and generate even greater public interest. Their 1973 US tour broke box office records previously set by The Rolling Stones and raised rock theatrics to new heights; the multi-level stage show by then featured numerous special effects, including Billion Dollar Bills, decapitated baby dolls and mannequins, a dental psychosis scene complete with dancing teeth, and the ultimate execution prop and highlight of the show: the guillotine. The guillotine and other stage effects were designed for the band by magician James Randi, who appeared on stage during some of the shows as executioner. The Alice Cooper group had now reached its peak and it was among the most visible and successful acts in the industry. (Cooper's stage antics would influence a host of later bands, including, among others, Mercyful Fate, King Diamond, Kiss, Blue Öyster Cult, GWAR, W.A.S.P., Lizzy Borden and, later, Marilyn Manson, Slipknot, Rob Zombie and Norwegian black metal bands.) Beneath the surface, however, the repetitive schedule of recording and touring had begun to take its toll on the band, and Cooper, who was under the constant pressure of getting into character for that night's show, was consistently sighted nursing a can of beer.
''Muscle of Love'', released at the end of 1973, was to be the last studio album from the classic line-up, and marked Alice Cooper's last UK Top 20 single of the 1970s with "Teenage Lament '74". An unsolicited theme song was recorded for the James Bond movie ''The Man with the Golden Gun'', but a different song of the same name by Lulu was chosen instead. By 1974, the ''Muscle of Love'' album had not matched the top-charting success of its predecessor, and the band began to have constant disagreements. Cooper wanted to retain the theatrics in the show that had brought them so much attention, while the rest of the group thought they should be toned down so that they could concentrate more on the music which had given them credibility. Largely as a result of this difference of opinion, the band decided to take a much-needed hiatus.
During this time Cooper relocated back to Los Angeles and started appearing regularly on TV shows such as ''Hollywood Squares'', and Warner Bros. released the ''Alice Cooper's Greatest Hits'' compilation album. It featured classic style artwork and reached the US Top 10, performing better than ''Muscle of Love''. However, the band's 1974 feature film ''Good To See You Again, Alice Cooper'' (consisting mainly of 1973 concert footage with 'comedic' sketches woven throughout to a faint storyline), released on a minor theatrical run mostly to drive-in theaters, saw little box office success.
As some of the Alice Cooper band members had begun recording their own solo albums, Cooper decided to do the same himself. In 1975 he released his first solo album, ''Welcome To My Nightmare''. To avoid legal complications over ownership of the group name, Alice Cooper had by then become the singer's new legal name. The success of the solo album marked the final break with the original members of the band with Cooper collaborating with their producer Bob Ezrin, who recruited Lou Reed's backing band, including guitarists Dick Wagner and Steve Hunter, to play on the album. Spearheaded by the US Top 20 hit ballad, "Only Women Bleed", the album was released by Atlantic Records in March of that year and became a Top 10 hit for Cooper. It was a concept album that was based on the nightmare of a child named Steven, featuring narration by classic horror movie film star Vincent Price (several years after ''Welcome To My Nightmare'', he guested on Michael Jackson's "Thriller"), and serving as the soundtrack to Cooper's new stage show, which now included more theatrics than ever (including an furry Cyclops which Cooper decapitates and kills).
By this time, however, alcohol was clearly affecting Cooper's performances. During the ''Welcome to My Nightmare'' tour in Vancouver, and only a few songs into the routine, Cooper tripped over a foot-light, staggered a few paces, lost his bearings, and plunged head-first off the stage and onto the concrete floor of the Pacific Coliseum. Some fans, thinking it was all part of the act, reached through the barriers to pull at his blood-matted hair before bouncers could pull him away for help. He was taken to a local hospital, where medical staff stitched his head wound and provided him with a skullcap. Cooper returned to the venue a couple of hours later and tried to perform a couple of more songs, but within minutes he had to call it a night. The opening act, Suzi Quatro, had already left the building and the remainder of the concert was canceled.
Accompanying the album and stage show was the TV special ''The Nightmare'', starring Cooper and Vincent Price, which aired on US prime-time TV in April 1975. ''The Nightmare'', the first rock music video album ever made (it was later released on home video in 1983 and gained a Grammy Awards nomination for Best Long Form Music Video), was regarded as another groundbreaking moment in rock history. Adding to all that, a concert film, also called ''Welcome to My Nightmare'' produced, directed and choreographed by the West Side Story cast member David Winters and filmed live at London's Wembley Arena in September 1975, was released to theaters in 1976. Though it failed at the box office, it later became a midnight movie favorite and a cult classic.
Such was the immense success of Cooper's solo project that he decided to continue alone as a solo artist, and the original band became officially defunct. It was also during this time that Cooper co-founded the legendary drinking club The Hollywood Vampires, which gave him yet another reason to indulge his continued ample appetite for alcohol.
Following the 1976 US #12 hit "I Never Cry", another ballad, two albums, ''Alice Cooper Goes to Hell'' and ''Lace and Whiskey'', and another ballad hit, the US #9 "You and Me", it became clear from his performances during his 1977 US tour that he was in dire need of help with his alcoholism (at his alcoholic peak it was rumored that Cooper was consuming up to two cases of Budweiser and a bottle of whiskey a day). Following the tour, Cooper had himself hospitalized in a New York sanitarium for treatment, during which time the live album ''The Alice Cooper Show'' was released. His experience in the sanitarium was the inspiration for his 1978 semi-autobiographical album ''From The Inside'', which Cooper co-wrote with Bernie Taupin. The release spawned another US Top 20 hit "How You Gonna See Me Now", which peaked at #12, and was yet another ballad, based on his fear of how his wife would react to him after his spell in hospital.
The subsequent tour's stage show was based inside an asylum, and was filmed for Cooper's first home video release, ''The Strange Case of Alice Cooper'', in 1979. Around this time, Cooper performed "Welcome To My Nightmare", "You and Me", and "School's Out" on ''The Muppet Show'' (episode # 307) on March 28, 1978 (he played one of the devil's henchmen trying to dupe Kermit the Frog and Gonzo into selling their souls). He also appeared in an against-type casting in the campy role of a piano playing, disco bellboy in Mae West's final film, ''Sextette''. Cooper also led celebrities in raising money to remodel the famous Hollywood Sign in California. Cooper himself contributed over $27,000 to the project, buying an O in the sign in memory of friend and comedian Groucho Marx.
In 1983 after the recording of ''DaDa'', Cooper was re-hospitalized for alcoholism. In a deathly state of health he moved back to Phoenix to save his marriage from collapse, and so that he could receive the support of family and friends. Cooper was finally clean and sober by the time ''DaDa'' and ''The Nightmare'' home video (of his 1975 TV Special) were released in the fall of that year; however, both releases performed below expectations. Even with ''The Nightmare'' scoring a nomination for 1984's Grammy Award for Best Long Form Music Video (he lost to Duran Duran), it was not enough for Warner Bros. to keep Cooper on their books, so in 1984 Cooper became a "free agent" for the first time in his career.
After over a year on hiatus, during which time he spent being a full-time father, perfecting his golf swing every day on the golf course, and finding time to star in the Spanish B-grade horror movie production ''Monster Dog'', Cooper sought to pick up the pieces of his musical career. In 1985 he met and began writing songs with guitarist Kane Roberts. Cooper was subsequently signed to MCA Records, and appeared as guest vocalist on Twisted Sister's song "Be Chrool To Your Scuel". A video was made for the song, featuring Cooper donning his black snake-eyes make-up for the first time since 1979. But any publicity it may have generated toward Cooper's return to the music scene was cut short as the video was promptly banned because of its graphically gory make-up (by Tom Savini), and because of the innumerable zombies in the video and their insatiable appetite for gorging on human flesh.
In 1986 Alice Cooper officially returned to the music industry with the album ''Constrictor''. The album spawned the hits "He's Back (The Man Behind the Mask)" (the theme song for the movie ''Friday the 13th Part VI: Jason Lives''; in the video of the song Cooper was given a cameo role as a deranged psychiatrist) and the fan favorite "Teenage Frankenstein". The Constrictor album was a catalyst for Cooper to make (for the first time since the 1982 ''Special Forces'' tour) a triumphant return to the road, on a tour appropriately entitled ''The Nightmare Returns''. The Detroit leg of this tour, which took place at the end of October 1986 during Halloween, was captured on film as ''The Nightmare Returns'', and is viewed by some as being the definitive Alice Cooper concert film. The concert, which received rave reviews in the rock music press, was also described as bringing "Cooper’s violent, twisted onstage fantasies to a new generation". The ''Constrictor'' album was followed by ''Raise Your Fist and Yell'' in 1987, which had an even rougher sound than its predecessor, as well as the Cooper classic "Freedom". The subsequent tour of ''Raise Your Fist and Yell'', which was heavily inspired by the slasher horror movies of the time such as the Friday the 13th series and Nightmare on Elm Street, served up a shocking spectacle similar to its predecessor, and courted the kind of controversy, especially in Europe, that recalled the public outrage caused by Cooper's public performances in America in the early 1970s.
In Britain Labour M.P. David Blunkett called for the show to be banned, saying "I'm horrified by his behaviour — it goes beyond the bounds of entertainment". The controversy spilled over into the German segment of the tour, with the German government actually succeeding in having some of the gorier segments of the performance removed. It was also during the London leg of the tour that Cooper met with a near fatal accident during the hanging execution sequence at the end of the show. Needless to say the attendant publicity served only to increase public interest and ensure that the tour was completely sold out.
''Constrictor'' and ''Raise Your Fist and Yell'' were recorded with lead guitarist Kane Roberts and bassist Kip Winger, both of whom would leave the band by the end of 1988 (although Kane Roberts played guitar on "Bed Of Nails" on 1989's album Trash). Roberts would continue as a solo artist while Kip Winger would go on to form Winger.
In 1987 Cooper made a brief appearance as a vagrant in the horror movie ''Prince of Darkness'', directed by John Carpenter. His role had no lines and consisted of generally menacing the protagonists before eventually impaling one of them with a bicycle frame. Cooper also appeared at ''WrestleMania III'', escorting wrestler Jake 'The Snake' Roberts to the ring. After the match was over, Cooper got involved and threw Jake's snake Damien at The Honky Tonk Man's manager Jimmy Hart. Jake considered the involvement of Cooper to be an honor, as he had idolized Cooper in his youth and was still a huge fan.
In 1988 Cooper's contract with MCA Records expired and he signed with Epic Records. Then in 1989 his career finally experienced a real revival with the Desmond Child produced album ''Trash'', which spawned a hit single "Poison", which reached #2 in the UK and #7 in the US, and a worldwide arena tour.
By the early 1990s Cooper had become a genuine cultural icon, guesting on records by the most successful bands of the time, such as the Guns N' Roses album ''Use Your Illusion I'', (on which he shared vocal duties with Axl Rose on the track "The Garden"); making a brief appearance as the abusive stepfather of Freddy Krueger in the ''Nightmare On Elm Street'' film ''Freddy's Dead: The Final Nightmare'' (1991); and making a famous cameo appearance in the 1992 comedy film ''Wayne's World'', in which he and his band intellectually discuss (after a performance of the song "Feed My Frankenstein" from ''Hey Stoopid'') the history of Milwaukee in surprising depth. In a now famous scene, the movie's main characters Wayne and Garth, upon seeing Cooper, kneel and bow reverently before him while chanting "We're not worthy! We're not worthy!" He later made an appearance on an episode of ''That 70s Show'', at the end of which he and two other (minor) guest characters parody ''Dungeons & Dragons''.
In 1994 Cooper released ''The Last Temptation'', his first concept album since ''DaDa''. The album deals with issues of faith, temptation, alienation, and the frustrations of modern life, and has been described as "a young man's struggle to see the truth through the distractions of the 'Sideshow' of the modern world". Concurrent with the release of ''The Last Temptation'' was a three-part comic book series written by Neil Gaiman, fleshing out the album's story. This was to be Cooper’s last album with Epic Records, and his last studio release for six years, though during this period the live album ''A Fistful of Alice'' was released, and in 1997 he lent his voice to the first track of Insane Clown Posse's ''The Great Milenko''. In 1999, the four-disc box set ''The Life and Crimes of Alice Cooper'' appeared, which contained an authorized biography of Cooper, ''Alcohol and Razor Blades, Poison and Needles: The Glorious Wretched Excess of Alice Cooper, All-American'', written by ''Creem'' magazine editor Jeffrey Morgan.
During his absence from the recording studio, Cooper toured extensively every year throughout the latter part of the 1990s, including, in 1996, South America, which he had not visited since 1974. Also in 1996, Cooper sang the role of Herod on the London cast recording of the musical ''Jesus Christ Superstar''.
The lengthy break between studio albums ended in 2000 with ''Brutal Planet'', which was a return to horror-lined heavy metal, with industrial rock, and with subject matter thematically inspired by the brutality of the modern world, set in a dystopian post-apocalyptic future, and also inspired by a number of news stories that had recently appeared on the CNN news channel. The album was produced by Bob Marlett, with longtime Cooper production collaborator Bob Ezrin returning as Executive Producer. The accompanying world tour, which included Cooper's first concert in Russia, was a resounding success, introducing Alice Cooper to a new audience and producing the live home video, ''Brutally Live'', in 2001. During one memorable episode in ''Brutally Live'', Britney Spears (being played by Alice Cooper's real life daughter, Calico), and representing "everything that my audience hates — the softening of rock and roll...the sweetness of it" is executed by Cooper.
Brutal Planet was succeeded by the sonically similar and widely acclaimed sequel ''Dragontown'', which saw Bob Ezrin back at the helm as producer. The album has been described as leading the listener down "a nightmarish path into the mind of rock's original conceptual storyteller" and by Cooper himself as being "the worst town on Brutal Planet". Like ''The Last Temptation'', both ''Brutal Planet'' and ''Dragontown'' are albums which explore Cooper's personal faith perspective (born again Christianity). It is often cited in the music media that ''Dragontown'' forms the third chapter in a trilogy begun with ''The Last Temptation''; however, Cooper has himself indicated that this in fact is not the case.
Cooper again adopted a leaner, cleaner sound for his critically acclaimed 2003 release ''The Eyes Of Alice Cooper''. Recognizing that many contemporary bands were having great success with his former sounds and styles, Cooper worked with a somewhat younger group of road and studio musicians who were very familiar with his oeuvre of old. However, instead of rehashing the old sounds, they updated them, often with surprisingly effective results. The resulting ''Bare Bones'' tour adopted a less-orchestrated performance style that had fewer theatrical flourishes and a greater emphasis on musicality. The success of this tour helped support the growing recognition that the classic Cooper songs were exceptionally clever, tuneful and unique.
Cooper's radio show, ''Nights with Alice Cooper'', began airing on January 26, 2004 in several US cities. The program showcases classic rock, Cooper's personal stories about his life as a rock icon, and interviews with prominent rock artists. The show is broadcast on nearly 100 stations in the US and Canada, and has also been broadcast all over the world. In 2005, Alice Cooper was inducted into the Michigan Rock and Roll Legends Hall of Fame.
A continuation of the songwriting approach adopted on ''The Eyes of Alice Cooper'' was again adopted by Cooper for his 24th studio album, ''Dirty Diamonds'', released in 2005. ''Dirty Diamonds'' became Cooper's highest charting album since 1994's ''The Last Temptation''. The Dirty Diamonds tour launched in America in August 2005 after several European concerts, including a performance at the Montreux Jazz Festival in Switzerland on July 12. Cooper and his band, including Kiss drummer Eric Singer, were filmed for a DVD released as ''Alice Cooper: Live at Montreux 2005''. One critic, in a review of the Montreux release, commented that Cooper was to be applauded for "still mining pretty much the same territory of teenage angst and rebellion" as he had done more than thirty years previously.
In December 2006 the original Alice Cooper band reunited to perform six classic Alice Cooper songs at Cooper's annual charity event in Phoenix, entitled "Christmas Pudding".
On July 1, 2007, Cooper performed a duet with Marilyn Manson at the B'Estival event in Bucharest, Romania. The performance represented a reconciliation between the two artists; Cooper had previously taken issue with Manson over his overtly anti-Christian onstage antics, which included tearing up Bibles, and he had sarcastically made reference to the originality of Manson's choosing a female name and dressing in women's clothing. Cooper and Manson have been the subject of an academic paper on the significance of adolescent antiheroes.
In January 2008 he was one of the guest singers on the new ''Avantasia'' album ''The Scarecrow'', singing the 7th track, ''The Toy Master''. In July 2008, after lengthy delays, Cooper released ''Along Came a Spider'', his 25th studio album. It was Cooper's highest charting album since 1991's ''Hey Stoopid'', reaching #53 in the US and #31 in the UK. The album, visiting similar territory explored in 1987's ''Raise Your Fist and Yell'', deals with the nefarious antics of a deranged serial killer named "Spider" who is on a quest to use the limbs of his victims to create a human spider. The album generally received positive reviews from music critics, though Rolling Stone magazine opined that the music on the record sorely missed Bob Ezrin's production values. The resulting ''Theatre of Death'' tour of the album (during which Cooper is executed on four separate occasions) was described in a long November 2009 article about Cooper in ''The Times'' as "epic" and featuring "enough fake blood to remake Saving Private Ryan".
On March 29, 2010, Cooper revealed during his weekly radio show on ''Planet Rock'' that his next record is to be titled ''The Night Shift''. Cooper stated he has 10 demos ready.
On May 26, 2010, Cooper made an appearance during the beginning of the season finale of the reality-show, American Idol, in which he sang "School's Out".
On June 20, 2010, Cooper joined Slash on stage in Paris to perform the song "School's Out". On June 15, 2010 to coincide with the release of the "Alice Cooper Track Pack" for Guitar Hero, a free download of the newly-recorded "Elected" was made available on Alice Cooper's official website. He scored alongside his daughter and band member Dick Wagner the score for the Indie horror flick Silas Gore.
During 2010 Cooper began working on a new album, dubbed ''Welcome 2 My Nightmare'', a sequel to the original ''Welcome to My Nightmare''. In a Radio Metal interview, he said that "[w]e'll put some of the original people on it and add some new people[...]I'm very happy with working with Bob (Ezrin) again."
During a press conference in France Cooper said about ''Welcome to My Nightmare II'': "this album is more bloody and more accomplished than the first. It sounds like the early years." By October 2010, Alice and Bob Ezrin had come up with 13 songs, including the ballads "I Am Made of You" and "Something to Remember Me By." In addition, Cooper cut three new songs with original band members Dennis Dunaway, Neal Smith and Michael Bruce.
On December 15, 2010, it was announced Cooper and his former band would be inducted into the Rock and Roll Hall of Fame. The official Rock and Roll Hall of Fame induction ceremony took place March 14, 2011, where Cooper was inducted by fellow horror-rocker Rob Zombie. He showed up for the event wearing a (presumably fake) blood-splattered shirt and had a live giant albino boa snake wrapped around his neck. Cooper told ''Rolling Stone'' magazine that he was "elated" by the news and that the nomination had been made for the original band, as "We all did go to the same high school together, and we were all on the track team, and it was pretty cool that guys that knew each other before the band ended up going that far".
On March 10, 2011 Jackson Browne, David Crosby, Graham Nash, Alice Cooper, Jennifer Warnes, and others performed at a benefit concert in Tucson, Arizona benefiting The Fund For Civility, Respect, and Understanding, a foundation that raise awareness about and provides medical prevention and treatment services to people with mental disorders. The concert also benefited the injured and the families of victims of the January 8, 2011 shootings in Tucson, AZ. On March 19, 2011, Alice appeared on the Tonight Show With Jay Leno, and on June 26, 2011, he took his place in the Reasonably Priced Car at the BBC auto show Top Gear. He also announced on the BBC One chat show, Lee Mack's All Star Cast, that he would be shooting a small cameo in Tim Burton's upcoming film version of Dark Shadows.
On July 2 he joined the Foo Fighters on the first of their two nights at the Milton Keynes Bowl to perform "Schools Out" and "I'm 18".
During an interview Cooper himself conducted with Ozzy Osbourne on his radio show, ''Nights with Alice Cooper'' in 2007, Cooper again affirmed his debt of gratitude to these bands, and to The Beatles in particular. During their discussion, Cooper and Osbourne bemoaned the often inferior quality of songwriting coming from contemporary rock artists. Cooper stated that in his opinion the cause of the problem was that certain modern bands "had forgotten to listen to The Beatles".
On the 25th Anniversary DVD of ''Cabaret'', Liza Minnelli stated that her good friend, Alice Cooper, had told her that his whole career was based on the movie ''Cabaret''.
Evidence of Cooper's eclectic tastes in both classic and contemporary rock music, from the 1960s to the present, can be seen in the track listings of his radio show; in addition, when he appeared on the BBC Radio 2 program ''Tracks of My Years'' in September 2007, he listed his favourite tracks of all time as being: "19th Nervous Breakdown" (1966) by The Rolling Stones; "Turning Japanese" (1980) by The Vapors; "My Sharona" (1979) by The Knack; "Beds Are Burning" (1987) by Midnight Oil; "My Generation" (1965) by The Who; "Welcome To The Jungle" (1987) by Guns N' Roses; "Rebel Rebel" (1974) by David Bowie; "Over Under Sideways Down" (1966) by The Yardbirds; "Are You Gonna Be My Girl" (2003) by Jet; and "A Hard Day's Night" (1964) by The Beatles, and when he appeared on Desert Island Discs in 2010 he chose the songs "Happenings Ten Years Time Ago" by The Yardbirds; "I Get Around" by The Beach Boys; "I'm a Boy" by The Who; Timer by Laura Nyro; "21st Century Schizoid Man" by King Crimson; "Been Caught Stealing" by Jane's Addiction; "Work Song" by The Paul Butterfield Blues Band and "Ballad of a Thin Man" by Bob Dylan.
Rob Zombie, former frontman of White Zombie, claims his first "metal moment" was seeing Alice Cooper on Don Kirshner's Rock Concert.
In a 1978 interview with ''Rolling Stone'', Bob Dylan stated, "I think Alice Cooper is an overlooked songwriter".
In the foreword to Alice Cooper's CD retrospective box set ''The Life and Crimes of Alice Cooper'', John Lydon of The Sex Pistols pronounced ''Killer'' as the greatest rock album of all time, and in 2002 Lydon presented his own tribute program to Cooper on BBC radio. Lydon told the BBC that "I know the words to every Alice Cooper song. The fact is, if you can call what I have a musical career, it all started with me miming to I'm Eighteen on a jukebox".
The Flaming Lips are longtime Alice Cooper fans and used the bass line from "Levity Ball" (an early song from the 1969 release ''Pretties for You'') for their song "The Ceiling Is Bending". They also covered "Sun Arise" for an Alice Cooper tribute album. (Cooper's version, which closes the album ''Love It To Death'', was itself a cover of a Rolf Harris song.)
In 1999 Cleopatra Records released ''Humanary Stew: A Tribute to Alice Cooper'' featuring a number of contributions from rock and metal all-star collaborations, including Dave Mustaine, Roger Daltrey, Ronnie James Dio, Slash, Bruce Dickinson, and Steve Jones. The album was notable for the fact that it was possible to assemble a different supergroup for each cover version on the record, which gave an indication of the depth of esteem in which Cooper is held by other eminent musicians within the music industry.
A song by alternative rock group They Might Be Giants from their 1994 album ''John Henry'' entitled "Why Must I Be Sad?" mentions 13 Cooper songs, and has been described as being "from the perspective of a kid who hears all of his unspoken sadness given voice in the music of Alice Cooper; Alice says everything the kid has been wishing he could say about his alienated, frustrated, teenage world".
Such unlikely non-musician fans of Cooper included Groucho Marx and Mae West, who both reportedly saw the early shows as a form of vaudeville revue, and artist Salvador Dalí, who on attending a show in 1973 described it as being surreal, and made a hologram, ''First Cylindric Chromo-Hologram Portrait of Alice Cooper's Brain''.
On June 20, 2005, ahead of his June–July 2005 tour, Cooper had a wide-ranging interview with interviewer of celebrities Andrew Denton for the Australian ABC Television's ''Enough Rope''. Cooper discussed various issues during a revealing and frank talk, including the horrors of acute alcoholism and his subsequent cure, being a Christian, and his social and work relationship with his family. During the interview, Cooper remarked "I look at Mick Jagger and he's on an 18-month tour and he's six [sic] years older than me, so I figure, when he retires, I have six more years. I will not let him beat me when it comes to longevity."
The actual ownership of the Alice Cooper name is often cited by intellectual property lawyers and law professors as an example of the value of a single copyright or trademark. Since "Alice Cooper" was originally the name of the band, and not the lead singer (e.g. Uriah Heep, Jethro Tull, Amy Meredith, etc.), and it was actually owned by the band as whole, Cooper paid, and continues to pay, a yearly royalty to his original bandmates for the right to use the name commercially. Although the exact amount is not known, insiders agree that it is large enough for the surviving band members to live comfortably.
Another long-time girlfriend of Cooper's was Cindy Lang, with whom he lived for several years. They separated in 1975. Lang sued Cooper for palimony, and they eventually settled out of court in the early 1980s.
After his separation from Lang, Cooper was briefly linked with actress Raquel Welch. Cooper then reportedly left Welch, however, to marry, on March 20, 1976, ballerina instructor/choreographer Sheryl Goddard, who performed in the Alice Cooper show from 1975 to 1982. In November 1983, at the height of Cooper's alcoholism, Sheryl filed for divorce, but by mid-1984, she and Cooper had reconciled. The couple has remained together since. In a 2002 television interview, Cooper claimed that he had "never cheated" on his wife in all the time they had been together. In the same interview, he also claimed that the secret to a lasting and successful relationship is to continue going out on dates with your partner. The couple have three children: elder daughter Calico Cooper (born 1981), an actress and singer who has been performing in the Alice Cooper show since 2000; son Dash (b. 1985), a student at Arizona State University, and also plays in a band called Runaway Phoenix; and younger daughter Sonora Rose (b. 1993).
When asked by the British ''Sunday Times'' newspaper in 2001 how a shock-rocker could be a Christian, Cooper responded "Drinking beer is easy. Trashing your hotel room is easy. But being a Christian, that's a tough call. That's real rebellion!"
Throughout his career, Cooper's philosophy regarding politics is that politics should not be mixed with rock music. He has usually kept his political views to himself, and in 2010 said "I am extremely non-political. I go out of my way to be non-political. I'm probably the biggest moderate you know. When John Lennon and Harry Nilsson used to argue politics, I was sitting right in the middle of them, and I was the guy who was going 'I don't care.' When my parents would start talking politics, I would go in my room and put on The Rolling Stones or The Who on as long as I could to avoid politics. And I still feel that way". On occasion he has spoken out against musicians who promote or opine on politics, for example in the run-up to the 2004 presidential election, he told the Canadian Press that the then crop of rock stars campaigning for and touring on behalf of Democratic candidate John Kerry were committing "treason against rock n' roll". He also added that upon seeing the list of musicians who supported Kerry, "if I wasn't already a Bush supporter, I would have immediately switched. Linda Ronstadt? Don Henley? Geez, that's a good reason right there to vote for Bush."
!Year | !Nominated work | !Award | !Result |
align=center | Alice Cooper: The Nightmare | ||
align=center | Hands of Death (Burn Baby Burn) |
;Past
Category:1948 births Category:Living people Category:People from Allen Park, Michigan * Category:American heavy metal singers Category:American actors Category:American people of English descent Category:American people of French descent Category:Actors from Michigan Category:American Christians Category:American musicians of English descent Category:American musicians of French descent Category:American musicians of Irish descent Category:American people of Irish descent Category:American heavy metal musicians Category:American DJs Category:American rock musicians Category:American rock singers Alice Cooper Category:Musicians from Arizona Category:Bands with fictional stage personas Category:Musicians from Detroit, Michigan Category:People from Phoenix, Arizona Category:People from Paradise Valley, Arizona Category:Atlantic Records artists Category:People self-identifying as alcoholics Category:Rock and Roll Hall of Fame inductees
bg:Алис Купър ca:Alice Cooper cs:Alice Cooper da:Alice Cooper de:Alice Cooper et:Alice Cooper eml:Alice Cooper es:Alice Cooper fa:آلیس کوپر fr:Alice Cooper gl:Alice Cooper hr:Alice Cooper io:Alice Cooper it:Alice Cooper he:אליס קופר la:Alice Cooper lt:Alice Cooper hu:Alice Cooper mk:Елис Купер nl:Alice Cooper ja:アリス・クーパー ka:ელის კუპერი no:Alice Cooper oc:Alice Cooper uz:Alice Cooper pl:Alice Cooper pt:Alice Cooper ro:Alice Cooper ru:Элис Купер scn:Alice Cooper simple:Alice Cooper sk:Alice Cooper sl:Alice Cooper sr:Алис Купер sh:Alice Cooper fi:Alice Cooper sv:Alice Cooper th:อลิซ คูเปอร์ tr:Alice Cooper uk:Еліс КуперThis 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 | Frank Zappa |
---|---|
background | solo_singer |
birth name | Frank Vincent Zappa |
born | December 21, 1940Baltimore, Maryland, U.S. |
died | December 04, 1993Los Angeles, California, U.S. |
instrument | Guitar, vocals, bass, keyboards, drums, synclavier, bicycle |
genre | Progressive rock, jazz fusion, |
occupation | Composer, musician, conductor, producer |
years active | 1950s–1993 |
label | Verve, Bizarre, Straight, DiscReet, Barking Pumpkin |
associated acts | The Mothers of InventionCaptain BeefheartSteve Vai |
website | |
notable instruments | }} |
Frank Vincent Zappa (December 21, 1940 – December 4, 1993) was an American composer, singer-songwriter, electric guitarist, record producer and film director. In a career spanning more than 30 years, Zappa wrote rock, jazz, orchestral and musique concrète works. He also directed feature-length films and music videos, and designed album covers. Zappa produced almost all of the more than 60 albums he released with the band The Mothers of Invention and as a solo artist.
While in his teens, he acquired a taste for percussion-based avant-garde composers such as Edgard Varèse and 1950s rhythm and blues music. He began writing classical music in high school, while at the same time playing drums in rhythm and blues bands; he later switched to electric guitar. He was a self-taught composer and performer, and his diverse musical influences led him to create music that was often impossible to categorize. His 1966 debut album with The Mothers of Invention, ''Freak Out!'', combined songs in conventional rock and roll format with collective improvisations and studio-generated sound collages. His later albums shared this eclectic and experimental approach, irrespective of whether the fundamental format was one of rock, jazz or classical. He wrote the lyrics to all his songs, which—often humorously—reflected his iconoclastic view of established social and political processes, structures and movements. He was a strident critic of mainstream education and organized religion, and a forthright and passionate advocate for freedom of speech, self-education, political participation and the abolition of censorship.
Zappa was a highly productive and prolific artist and gained widespread critical acclaim. Many of his albums are considered essential in rock and jazz history. He is regarded as one of the most original guitarists and composers of his time. He also remains a major influence on musicians and composers. He had some commercial success, particularly in Europe, and for most of his career was able to work as an independent artist. Zappa was posthumously inducted into the Rock and Roll Hall of Fame in 1995 and received the Grammy Lifetime Achievement Award in 1997.
Zappa was married to Kathryn J. "Kay" Sherman from 1960 to 1964. In 1967, he married Adelaide Gail Sloatman, with whom he remained until his death from prostate cancer in 1993. They had four children: Moon Unit, Dweezil, Ahmet Emuukha Rodan and Diva Thin Muffin Pigeen. Gail Zappa manages the businesses of her late husband under the name the ''Zappa Family Trust''.
Zappa was often sick as a child, suffering from asthma, earaches and sinus problems. A doctor treated his sinusitis by inserting a pellet of radium into each of Zappa's nostrils; little was known about the potential dangers of even small amounts of therapeutic radiation. Nasal imagery and references appear in his music and lyrics, as well as in the collage album covers created by his long-time collaborator Cal Schenkel.
Many of Zappa's childhood diseases may have been due to exposure to mustard gas. His health worsened when he lived in Baltimore. In 1952, his family relocated for reasons of health. They moved next to Monterey, California, where his father taught metallurgy at the Naval Postgraduate School. They soon moved to Claremont, then to El Cajon, before finally settling San Diego.
Zappa joined his first band, the Ramblers, at Mission Bay High School in San Diego. He was the band's drummer. About the same time his parents bought a phonograph, which allowed him to develop his interest in music, and to begin building his record collection. R&B; singles were early purchases, starting a large collection he kept for the rest of his life. He was interested in sounds for their own sake, particularly the sounds of drums and other percussion instruments. By age 12, he had obtained a snare drum and began learning the basics of orchestral percussion. Zappa's deep interest in modern classical music began when he read a ''LOOK'' magazine article about the Sam Goody record store chain that lauded its ability to sell an LP as obscure as ''The Complete Works of Edgard Varèse, Volume One''. The article described Varèse's percussion composition ''Ionisation'', produced by EMS Recordings, as "a weird jumble of drums and other unpleasant sounds". Zappa decided to seek out Varèse's music. After searching for over a year, Zappa found a copy (he noticed the LP because of the "mad scientist" looking photo of Varèse on the cover). Not having enough money with him, he persuaded the salesman to sell him the record at a discount. Thus began his lifelong passion for Varèse's music and that of other modern classical composers.
Zappa grew up influenced by avant-garde composers such as Varèse, Igor Stravinsky and Anton Webern, R&B; and doo-wop groups (including the Medallions and local pachuco groups), and modern jazz. His own heterogeneous ethnic background, and the diverse social and cultural mix in and around greater Los Angeles, were crucial in the formation of Zappa as a practitioner of underground music and of his later distrustful and openly critical attitude towards "mainstream" social, political and musical movements. He frequently lampooned musical fads like psychedelia, rock opera and disco. Television also exerted a strong influence, as demonstrated by quotations from show themes and advertising jingles found in his later works.
At Antelope Valley High School, Zappa met Don Vliet (who later expanded his name to Don Van Vliet and adopted the stage name Captain Beefheart). Zappa and Vliet became close friends, sharing an interest in R&B; records and influencing each other musically throughout their careers. Around the same time, Zappa started playing drums in a local band, The Blackouts. The band was racially diverse, and included Euclid James "Motorhead" Sherwood who later became a member of The Mothers of Invention. Zappa's interest in the guitar grew, and in 1957 he was given his first guitar. Among his early influences were Johnny "Guitar" Watson, Howlin' Wolf and Clarence "Gatemouth" Brown. (In the 1970s and '80s, he invited Watson to perform on several albums.) Zappa considered soloing as the equivalent of forming "air sculptures", and developed an eclectic, innovative and highly personal style.
Zappa's interest in composing and arranging proliferated in his last high-school years. By his final year, he was writing, arranging and conducting avant-garde performance pieces for the school orchestra. He graduated from Antelope Valley High School in 1958, and later acknowledged two of his music teachers on the sleeve of the 1966 album ''Freak Out!'' Due to his family's frequent moves, Zappa attended at least six different high schools, and as a student he was often bored and given to distracting the rest of the class with juvenile antics. He left community college after one semester, and maintained thereafter a disdain for formal education, taking his children out of school at age 15 and refusing to pay for their college.
Zappa left home in 1959, and moved into a small apartment in Echo Park, Los Angeles. After meeting Kathryn J. "Kay" Sherman during his short stay at Pomona College, they moved in together in Ontario, and were married December 28, 1960. Zappa worked for a short period in advertising. His sojourn in the commercial world was brief, but gave him valuable insights into how it works. Throughout his career, he took a keen interest in the visual presentation of his work, designing some of his album covers and directing his own films and videos.
During the early 1960s, Zappa wrote and produced songs for other local artists, often working with singer-songwriter Ray Collins and producer Paul Buff. Their "Memories of El Monte" was recorded by The Penguins, although only Cleve Duncan of the original group was featured. Buff owned the small Pal Recording Studio in Cucamonga, which included a unique five-track tape recorder he had built. At that time, only a handful of the most sophisticated commercial studios had multi-track facilities; the industry standard for smaller studios was still mono or two-track. Although none of the recordings from the period achieved major commercial success, Zappa earned enough money to allow him to stage a concert of his orchestral music in 1963 and to broadcast and record it. He appeared on Steve Allen's syndicated late night show the same year, in which he played a bicycle as a musical instrument. With Captain Beefheart, Zappa recorded some songs under the name of The Soots. They were rejected by Dot Records for having "no commercial potential", a verdict Zappa subsequently quoted on the sleeve of ''Freak Out!''
In 1964, after his marriage started to break up, he moved into the Pal studio and began routinely working 12 hours or more per day recording and experimenting with overdubbing and audio tape manipulation. This set a work pattern that endured for most of his life. Aided by his income from film composing, Zappa took over the studio from Paul Buff, who was now working with Art Laboe at Original Sound. It was renamed Studio Z. Studio Z was rarely booked for recordings by other musicians. Instead, friends moved in, notably James "Motorhead" Sherwood. Zappa started performing as guitarist with a power trio, The Muthers, in local bars in order to support himself.
An article in the local press describing Zappa as "the Movie King of Cucamonga" prompted the local police to suspect that he was making pornographic films. In March 1965, Zappa was approached by a vice squad undercover officer, and accepted an offer of $100 to produce a suggestive audio tape for an alleged stag party. Zappa and a female friend recorded a faked erotic episode. When Zappa was about to hand over the tape, he was arrested, and the police stripped the studio of all recorded material. The press was tipped off beforehand, and next day's ''The Daily Report'' wrote that "Vice Squad investigators stilled the tape recorders of a free-swinging, a-go-go film and recording studio here Friday and arrested a self-styled movie producer". Zappa was charged with "conspiracy to commit pornography". This felony charge was reduced and he was sentenced to six months in jail on a misdemeanor, with all but ten days suspended. His brief imprisonment left a permanent mark, and was key in the formation of his anti-authoritarian stance. Zappa lost several recordings made at Studio Z in the process, as the police only returned 30 out of 80 hours of tape seized. Eventually, he could no longer afford to pay the rent on the studio and was evicted. Zappa managed to recover some of his possessions before the studio was torn down in 1966.
Wilson signed The Mothers to the Verve Records division of MGM Records, which had built up a strong reputation in the music industry for its releases of modern jazz recordings in the 1940s and 1950s, but was attempting to diversify into pop and rock audiences. Verve insisted that the band officially re-title themselves "The Mothers of Invention" because "Mother", in slang terminology, was short for "motherfucker" — a term that apart from its profane meanings can denote a skilled musician.
During the recording of ''Freak Out!'', Zappa moved into a house in Laurel Canyon with friend Pamela Zarubica, who appeared on the album. The house became a meeting (and living) place for many LA musicians and groupies of the time, despite Zappa's disapproval of their illicit drug use. He labeled people on drugs "assholes in action", and he tried cannabis only a few times, but without any pleasure. He was a regular tobacco smoker for most of his life, and strongly critical of anti-tobacco campaigns. After a short promotional tour following the release of ''Freak Out!'', Zappa met Adelaide Gail Sloatman. He fell in love within "a couple of minutes", and she moved into the house over the summer. They married in 1967, had four children and remained together until Zappa's death.
Wilson nominally produced The Mothers' second album ''Absolutely Free'' (1967), which was recorded in November 1966, and later mixed in New York, although by this time Zappa was in ''de facto'' control of most facets of the production. It featured extended playing by The Mothers of Invention and focused on songs that defined Zappa's compositional style of introducing abrupt, rhythmical changes into songs that were built from diverse elements. Examples are "Plastic People" and "Brown Shoes Don't Make It", which contained lyrics critical of the hypocrisy and conformity of American society, but also of the counterculture of the 1960s. As Zappa put it, "[W]e're satirists, and we are out to satirize everything." At the same time, Zappa had recorded material for a self-produced album based on orchestral works to be released under his own name. Due to contractual problems, the recordings were shelved and only made ready for release late in 1967. Zappa took the opportunity to radically restructure the contents, adding newly recorded, improvised dialogue to finalize what became his first solo album (under the name ''Francis Vincent Zappa''), ''Lumpy Gravy'' (1968). It is an "incredible ambitious musical project", a "monument to John Cage", which intertwines orchestral themes, spoken words and electronic noises through radical audio editing techniques.
Situated in New York, and only interrupted by the band's first European tour, The Mothers of Invention recorded the album widely regarded as the peak of the group's late 1960s work, ''We're Only in It for the Money'' (released 1968). It was produced by Zappa, with Wilson credited as executive producer. From then on, Zappa produced all albums released by The Mothers of Invention and as a solo artist. ''We're Only in It for the Money'' featured some of the most creative audio editing and production yet heard in pop music, and the songs ruthlessly satirized the hippie and flower power phenomena. The cover photo parodied that of The Beatles' ''Sgt Pepper's Lonely Hearts Club Band''. The cover art was provided by Cal Schenkel whom Zappa met in New York. This initiated a life-long collaboration in which Schenkel designed covers for numerous Zappa and Mothers albums.
Reflecting Zappa's eclectic approach to music, the next album, ''Cruising with Ruben & the Jets'' (1968), was very different. It represented a collection of doo-wop songs; listeners and critics were not sure whether the album was a satire or a tribute. Zappa has noted that the album was conceived in the way Stravinsky's compositions were in his neo-classical period: "If he could take the forms and clichés of the classical era and pervert them, why not do the same ... to doo-wop in the fifties?" A theme from Stravinsky's ''The Rite of Spring'' is heard during one song.
In New York, Zappa increasingly used tape editing as a compositional tool. A prime example is found on the double album ''Uncle Meat'' (1969), where the track "King Kong" is edited from various studio and live performances. Zappa had begun regularly recording concerts, and because of his insistence on precise tuning and timing, he was able to augment his studio productions with excerpts from live shows, and vice versa. Later, he combined recordings of different compositions into new pieces, irrespective of the tempo or meter of the sources. He dubbed this process "xenochrony" (strange synchronizations) — reflecting the Greek "xeno" (alien or strange) and "chrono" (time). Zappa also evolved a compositional approach which he called "conceptual continuity," meaning that any project or album was part of a larger project. Everything was connected, and musical themes and lyrics reappeared in different form on later albums. Conceptual continuity clues are found throughout Zappa's entire œuvre.
During the late 1960s, Zappa continued to develop the business sides of his career. He and Herb Cohen formed the Bizarre Records and Straight Records labels, distributed by Warner Bros. Records, as ventures to aid the funding of projects and to increase creative control. Zappa produced the double album ''Trout Mask Replica'' for Captain Beefheart, and releases by Alice Cooper, Wild Man Fischer, and The GTOs, as well as Lenny Bruce's last live performance.
Zappa and The Mothers of Invention returned to Los Angeles in the summer of 1968, and the Zappas moved into a house on Laurel Canyon Boulevard, only to move again to one on Woodrow Wilson Drive in the autumn. This was to be Zappa's home for the rest of his life. Despite being a success with fans in Europe, The Mothers of Invention were not faring well financially. Their first records were vocally oriented, but Zappa wrote more instrumental jazz and classical oriented music for the band's concerts, which confused audiences. Zappa felt that audiences failed to appreciate his "electrical chamber music". In 1969 there were nine band members and Zappa was supporting the group himself from his publishing royalties whether they played or not. 1969 was also the year Zappa, fed up with MGM's interference, left MGM Records for Warner Bros. Records' Reprise Records subsidiary where Zappa/Mothers recordings would bear the Bizarre Records imprint. In late 1969, Zappa broke up the band. He often cited the financial strain as the main reason, but also commented on the band members' lack of sufficient effort. Many band members were bitter about Zappa's decision, and some took it as a sign of Zappa's concern for perfection at the expense of human feeling. Others were irritated by 'his autocratic ways', exemplified by Zappa's never staying at the same hotel as the band members. Several members would, however, play for Zappa in years to come. Remaining recordings with the band from this period were collected on ''Weasels Ripped My Flesh'' and ''Burnt Weeny Sandwich'' (both released in 1970).
After he disbanded The Mothers of Invention, Zappa released the acclaimed solo album ''Hot Rats'' (1969). It features, for the first time on record, Zappa playing extended guitar solos and contains one of his most enduring compositions, "Peaches en Regalia", which reappeared several times on future recordings. It was backed by jazz, blues and R&B; session players including violinist Don "Sugarcane" Harris, drummers John Guerin and Paul Humphrey, multi-instrumentalist and previous member of Mothers of Invention Ian Underwood, and multi-instrumentalist Shuggie Otis on bass, along with a guest appearance by Captain Beefheart (providing vocals to the only non-instrumental track, "Willie the Pimp"). It became a popular album in England, and had a major influence on the development of the jazz-rock fusion genre.
Later in 1970, Zappa formed a new version of The Mothers (from then on, he mostly dropped the "of Invention"). It included British drummer Aynsley Dunbar, jazz keyboardist George Duke, Ian Underwood, Jeff Simmons (bass, rhythm guitar), and three members of The Turtles: bass player Jim Pons, and singers Mark Volman and Howard Kaylan, who, due to persistent legal and contractual problems, adopted the stage name "The Phlorescent Leech and Eddie", or "Flo & Eddie".
This version of The Mothers debuted on Zappa's next solo album ''Chunga's Revenge'' (1970), which was followed by the double-album soundtrack to the movie ''200 Motels'' (1971), featuring The Mothers, The Royal Philharmonic Orchestra, Ringo Starr, Theodore Bikel, and Keith Moon. Co-directed by Zappa and Tony Palmer, it was filmed in a week at Pinewood Studios outside London. Tensions between Zappa and several cast and crew members arose before and during shooting. The film deals loosely with life on the road as a rock musician. It was the first feature film photographed on videotape and transferred to 35 mm film, a process which allowed for novel visual effects. It was released to mixed reviews. The score relied extensively on orchestral music, and Zappa's dissatisfaction with the classical music world intensified when a concert, scheduled at the Royal Albert Hall after filming, was canceled because a representative of the venue found some of the lyrics obscene. In 1975, he lost a lawsuit against the Royal Albert Hall for breach of contract.
After ''200 Motels'', the band went on tour, which resulted in two live albums, ''Fillmore East - June 1971'' and ''Just Another Band From L.A.''; the latter included the 20-minute track "Billy the Mountain", Zappa's satire on rock opera set in Southern California. This track was representative of the band's theatrical performances in which songs were used to build up sketches based on ''200 Motels'' scenes as well as new situations often portraying the band members' sexual encounters on the road.
During 1971–1972 Zappa released two strongly jazz-oriented solo LPs, ''Waka/Jawaka'' and ''The Grand Wazoo'', which were recorded during the forced layoff from concert touring, using floating line-ups of session players and Mothers alumni. Musically, the albums were akin to ''Hot Rats''. Zappa began touring again in late 1972. His first effort was a series of concerts in September 1972 with a 20-piece big band referred to as the Grand Wazoo. This was followed by a scaled-down version known as the Petit Wazoo that toured the U.S. for five weeks from October to December 1972.
In the mid-1970s Zappa prepared material for ''Läther'' (pronounced "leather"), a four-LP project. ''Läther'' encapsulated all the aspects of Zappa's musical styles — rock tunes, orchestral works, complex instrumentals, and Zappa's own trademark distortion-drenched guitar solos. Wary of a quadruple-LP, Warner Bros. Records refused to release it. Zappa managed to get an agreement with Mercury-Phonogram, and test pressings were made targeted at a Halloween 1977 release, but Warner Bros. prevented the release by claiming rights over the material. Zappa responded by appearing on the Pasadena, California radio station KROQ, allowing them to broadcast ''Läther'' and encouraging listeners to make their own tape recordings. A lawsuit between Zappa and Warner Bros. followed, during which no Zappa material was released for more than a year. Eventually, Warner Bros. issued major parts of ''Läther'' against Zappa's will as four individual albums with limited promotion. ''Läther'' was released posthumously in 1996.
Although Zappa eventually gained the rights to all his material created under the MGM and Warner Bros. contracts, the various lawsuits meant that for a period Zappa's only income came from touring, which he therefore did extensively in 1975–1977 with relatively small, mainly rock-oriented, bands. Drummer Terry Bozzio became a regular band member, Napoleon Murphy Brock stayed on for a while, and original Mothers of Invention bassist Roy Estrada joined. Among other musicians were bassist Patrick O'Hearn, singer-guitarist Ray White and keyboardist Eddie Jobson. In December 1976, Zappa appeared as a featured musical guest on the NBC television show ''Saturday Night Live''. The performances included an impromptu musical collaboration with cast member John Belushi during the instrumental piece "The Purple Lagoon". Belushi appeared as his Samurai Futaba character playing the tenor sax with Zappa conducting. Zappa's song, "I'm the Slime", was performed with a voice-over by ''SNL'' booth announcer Don Pardo, who also introduced "Peaches En Regalia" on the same airing.
Zappa's band at the time, with the additions of Ruth Underwood and a horn section (featuring Michael and Randy Brecker), performed during Christmas in New York, recordings of which appear on one of the albums released by Warner Bros., ''Zappa in New York'' (1978). It mixes intense instrumentals such as "The Black Page" and humorous songs like "Titties and Beer". The former composition, written originally for drum kit but later developed for larger bands, is notorious for its complexity in rhythmic structure, radical changes of tempo and meter, and short, densely arranged passages.
''Zappa in New York'' featured a song about sex criminal Michael H. Kenyon, "The Illinois Enema Bandit", which featured Don Pardo providing the opening narrative in the song. Like many songs on the album, it contained numerous sexual references, leading to many critics objecting and being offended by the content. Zappa dismissed the criticism by noting that he was a journalist reporting on life as he saw it. Predating his later fight against censorship, he remarked: "What do you make of a society that is so primitive that it clings to the belief that certain words in its language are so powerful that they could corrupt you the moment you hear them?" The remaining albums released by Warner Bros. Records without Zappa's consent were ''Studio Tan'' in 1978 and ''Sleep Dirt'' in 1979, which contained complex suites of instrumentally-based tunes recorded between 1973 and 1976, and whose release was overlooked in the midst of the legal problems. Also released by the label without the artist's consent was ''Orchestral Favorites'' in 1979, which featured recordings of a concert with orchestral music from 1975.
On December 21, 1979, Zappa's movie ''Baby Snakes'' premiered in New York. The movie's tagline was "A movie about people who do stuff that is not normal". The 2 hour and 40 minutes movie was based on footage from concerts in New York around Halloween 1977, with a band featuring keyboardist Tommy Mars and percussionist Ed Mann (who would both return on later tours) as well as guitarist Adrian Belew. It also contained several extraordinary sequences of clay animation by Bruce Bickford who had earlier provided animation sequences to Zappa for a 1974 TV special (which later become available on the video ''The Dub Room Special'' (1982)). The movie did not do well in theatrical distribution, but won the Premier Grand Prix at the First International Music Festival in Paris in 1981. The Zappa Family Trust released it on DVD, and it has been available since 2003.
Zappa later expanded on his television appearances in a non-musical role. He was an actor or voice artist in episodes of ''Shelley Duvall's Faerie Tale Theatre'', ''Miami Vice'' and ''The Ren and Stimpy Show''. A voice part in ''The Simpsons'' never materialized, to creator Matt Groening's disappointment.
After spending most of 1980 on the road, Zappa released ''Tinsel Town Rebellion'' in 1981. It was the first release on his own Barking Pumpkin Records, and it contains songs taken from a 1979 tour, one studio track and material from the 1980 tours. The album is a mixture of complicated instrumentals and Zappa's use of ''sprechstimme'' (speaking song or voice)—a compositional technique utilized by such composers as Arnold Schoenberg and Alban Berg — showcasing some of the most accomplished bands Zappa ever had (mostly featuring drummer Vinnie Colaiuta). While some lyrics still raised controversy among critics, in the sense that some found them sexist, the political and sociological satire in songs like the title track and "The Blue Light" have been described as a "hilarious critique of the willingness of the American people to believe anything". The album is also notable for the presence of guitar virtuoso Steve Vai, who joined Zappa's touring band in the fall of 1980.
The same year the double album ''You Are What You Is'' was released. Most of it was recorded in Zappa's brand new Utility Muffin Research Kitchen (UMRK) studios, which were located at his house, thereby giving him complete freedom to work. The album included one complex instrumental, "Theme from the 3rd Movement of Sinister Footwear", but focused mainly on rock songs with Zappa's sardonic social commentary—satirical lyrics targeted at teenagers, the media, and religious and political hypocrisy. "Dumb All Over" is a tirade on religion, as is "Heavenly Bank Account", wherein Zappa rails against TV evangelists such as Jerry Falwell and Pat Robertson for their purported influence on the U.S. administration as well as their use of religion as a means of raising money. Songs like "Society Pages" and "I'm a Beautiful Guy" show Zappa's dismay with the Reagan era and its "obscene pursuit of wealth and happiness". In 1981, Zappa also released three instrumental albums, ''Shut Up 'N Play Yer Guitar'', ''Shut Up 'N Play Yer Guitar Some More'', and ''The Return of the Son of Shut Up 'N Play Yer Guitar'', which were initially sold via mail order, but later released through the CBS label due to popular demand. The albums focus exclusively on Frank Zappa as a guitar soloist, and the tracks are predominantly live recordings from 1979–1980; they highlight Zappa's improvisational skills with "beautiful performances from the backing group as well". Another guitar-only album, ''Guitar'', was released in 1988, and a third, ''Trance-Fusion'', which Zappa completed shortly before his death, was released in 2006.
In 1983, two different projects were released, beginning with ''The Man from Utopia,'' a rock-oriented work. The album is eclectic, featuring the vocal-led "Dangerous Kitchen" and "The Jazz Discharge Party Hats", both continuations of the sprechstimme excursions on ''Tinseltown Rebellion.'' The second album, ''London Symphony Orchestra, Vol. 1'', contained orchestral Zappa compositions conducted by Kent Nagano and performed by the London Symphony Orchestra (LSO). A second record of these sessions, ''London Symphony Orchestra, Vol. 2'' was released in 1987. The material was recorded under a tight schedule with Zappa providing all funding, helped by the commercial success of "Valley Girl". Zappa was not satisfied with the LSO recordings. One reason is "Strictly Genteel", which was recorded after the trumpet section had been out for drinks on a break: the track took 40 edits to hide out-of-tune notes. Conductor Nagano, who was pleased with the experience, noted that in "fairness to the orchestra, the music is humanly very, very difficult". Some reviews noted that the recordings were the best representation of Zappa's orchestral work so far. In 1984 Zappa teamed again with Nagano and the Berkeley Symphony Orchestra for a live performance of ''A Zappa Affair'' with augmented orchestra, life-size puppets, and moving stage sets. Although critically acclaimed the work was a financial failure, and only performed twice. Zappa was invited by conference organizer Thomas Wells to be the keynote speaker at the American Society of University Composers at the Ohio State University. It was there Zappa delivered his famous "Bingo! There Goes Your Tenure" address, and had two of his orchestra pieces, "Dupree's Paradise" and "Naval Aviation in Art?" performed by the Columbus Symphony and ProMusica Chamber Orchestra of Columbus.
For the remainder of his career, much of Zappa's work was influenced by his use of the Synclavier as a compositional and performance tool. Even considering the complexity of the music he wrote, the Synclavier could realize anything he could dream up. The Synclavier could be programmed to play almost anything conceivable, to perfection: "With the Synclavier, any group of imaginary instruments can be invited to play the most difficult passages ... with ''one-millisecond'' accuracy—every time". Even though it essentially did away with the need for musicians, Zappa viewed the Synclavier and real-life musicians as separate. In 1984, he released four albums. ''Boulez Conducts Zappa: The Perfect Stranger,'' contains orchestral works commissioned and conducted by world-renowned conductor Pierre Boulez (who was listed as an influence on ''Freak Out!'') and performed by his Ensemble InterContemporain, juxtaposed with premiere Synclavier pieces. Again, Zappa was not satisfied with the performances of his orchestral works as he found them under-rehearsed, but in the album liner notes he respectfully thanks Boulez's demands for precision. The Synclavier pieces stood in contrast to the orchestral works, as the sounds were electronically generated and not, as became possible shortly thereafter, sampled.
The album ''Thing-Fish'' was an ambitious three-record set in the style of a Broadway play dealing with a dystopian "what-if" scenario involving feminism, homosexuality, manufacturing and distribution of the AIDS virus, and a eugenics program conducted by the United States government. New vocals were combined with previously released tracks and new Synclavier music; "the work is an extraordinary example of bricolage". Finally, in 1984, Zappa released ''Francesco Zappa'', a Synclavier rendition of works by 18th century composer Francesco Zappa (no known relation), and ''Them or Us,'' a two-record set of heavily edited live and session pieces.
The PMRC proposal is an ill-conceived piece of nonsense which fails to deliver any real benefits to children, infringes the civil liberties of people who are not children, and promises to keep the courts busy for years dealing with the interpretational and enforcemental problems inherent in the proposal's design. It is my understanding that, in law, First Amendment issues are decided with a preference for the least restrictive alternative. In this context, the PMRC's demands are the equivalent of treating dandruff by decapitation ... The establishment of a rating system, voluntary or otherwise, opens the door to an endless parade of moral quality control programs based on things certain Christians do not like. What if the next bunch of Washington wives demands a large yellow "J" on all material written or performed by Jews, in order to save helpless children from exposure to concealed Zionist doctrine?
Zappa set excerpts from the PMRC hearings to Synclavier music in his composition "Porn Wars" on the 1985 album ''Frank Zappa Meets the Mothers of Prevention'', and the full recording was released in 2010 as ''Congress Shall Make No Law...''. Zappa is heard interacting with Senators Fritz Hollings, Slade Gorton, Al Gore (who claimed, at the hearing, to be a Zappa fan), and in an exchange with Florida Senator Paula Hawkins over what toys Zappa's children played with. Zappa expressed opinions on censorship when he appeared on CNN's ''Crossfire TV series'' and debated issues with ''Washington Times'' commentator John Lofton in 1986. Zappa's passion for American politics was becoming a bigger part of his life. He had always encouraged his fans to register to vote on album covers, and throughout 1988 he had registration booths at his concerts. He even considered running for President of the United States.
The album ''Jazz From Hell,'' released in 1986, earned Zappa his first Grammy Award in 1987 for Best Rock Instrumental Performance. Except for one live guitar solo (St. Etienne), the album exclusively featured compositions brought to life by the Synclavier. Although an instrumental album, containing no lyrics whatsoever, Meyer Music Markets sold ''Jazz from Hell'' featuring an "explicit lyrics" sticker — a warning label introduced by the Recording Industry Association of America in an agreement with the PMRC.
Zappa's last tour in a rock and jazz band format took place in 1988 with a 12-piece group which had a repertoire of over 100 (mostly Zappa) compositions, but which split under acrimonious circumstances before the tour was completed. The tour was documented on the albums ''Broadway the Hard Way'' (new material featuring songs with strong political emphasis), ''The Best Band You Never Heard in Your Life'' (Zappa "standards" and an eclectic collection of cover tunes, ranging from Maurice Ravel's ''Boléro'' to Led Zeppelin's "Stairway to Heaven"), and ''Make a Jazz Noise Here'' (mostly instrumental and avant-garde music). Parts are also found on ''You Can't Do That on Stage Anymore'', volumes 4 and 6.
In 1991, Zappa was chosen to be one of four featured composers at the world-acclaimed Frankfurt Festival in 1992 (the others were John Cage, Karlheinz Stockhausen and Alexander Knaifel). Zappa was approached by the German chamber ensemble, Ensemble Modern, which was interested in playing his music for the event. Although ill, Zappa invited them to Los Angeles for rehearsals of new compositions and new arrangements of older material. In addition to being satisfied with the ensemble's performances of his music, Zappa also got along with the musicians, and the concerts in Germany and Austria were set up for the fall. In September 1992, the concerts went ahead as scheduled, but Zappa could only appear at two in Frankfurt due to illness. At the first concert, he conducted the opening "Overture", and the final "G-Spot Tornado" as well as the theatrical "Food Gathering in Post-Industrial America, 1992" and "Welcome to the United States" (the remainder of the program was conducted by the ensemble's regular conductor Peter Rundel). Zappa received a 20-minute ovation. It would become his last professional public appearance, as the cancer was spreading to such an extent that he was in too much pain to enjoy an event that he otherwise found "exhilarating". Recordings from the concerts appeared on ''The Yellow Shark'' (1993), Zappa's last release during his lifetime, and some material from studio rehearsals appeared on the posthumous ''Everything Is Healing Nicely'' (1999).
Frank Zappa died on Saturday, December 4, 1993 in his home surrounded by his wife and children. At a private ceremony the following day, Zappa was interred in an unmarked grave at the Westwood Village Memorial Park Cemetery in Westwood, Los Angeles, next to the grave of actor Lew Ayres. On Monday, December 6 his family publicly announced that "Composer Frank Zappa left for his final tour just before 6:00 pm on Saturday".
Zappa earned widespread critical acclaim in his lifetime and after his death. ''The Rolling Stone Album Guide'' (2004) writes: "Frank Zappa dabbled in virtually all kinds of music — and, whether guised as a satirical rocker, jazz-rock fusionist, guitar virtuoso, electronics wizard, or orchestral innovator, his eccentric genius was undeniable". Even though his work drew inspiration from many different genres, Zappa was seen establishing a coherent and personal expression. In 1971, biographer David Walley noted that "The whole structure of his music is unified, not neatly divided by dates or time sequences and it is all building into a composite". On commenting on Zappa's music, politics and philosophy, Barry Miles noted in 2004 that they cannot be separated: "It was all one; all part of his 'conceptual continuity. ''Guitar Player'' devoted a special issue to Zappa in 1992, and asked on the cover "Is FZ America's Best Kept Musical Secret?" Editor Don Menn remarked that the issue was about "The most important composer to come out of modern popular music". Among those contributing to the issue was composer and musicologist Nicolas Slonimsky, who conducted premiere performances of works of Ives and Varèse in the 1930s. He became friends with Zappa in the 1980s, and said "I admire everything Frank does, because he practically created the new musical millennium. He does beautiful, beautiful work ... It has been my luck to have lived to see the emergence of this totally new type of music." Conductor Kent Nagano remarked in the same issue that "Frank is a genius. That's a word I don't use often ... In Frank's case it is not too strong ... He is extremely literate musically. I'm not sure if the general public knows that". Pierre Boulez stated in ''Musician'' magazine's posthumous Zappa tribute article that Zappa "was an exceptional figure because he was part of the worlds of rock and classical music and that both types of his work would survive." Many music scholars acknowledge Zappa as one of the most influential composers of his generation. As an electric guitarist, he has become highly regarded.
In 1994, jazz magazine ''Down Beat''
In 1994, lobbying efforts initiated by psychiatrist John Scialli led the International Astronomical Union's Minor Planet Center to name an asteroid in Zappa's honor: ''3834 Zappafrank''. The asteroid was discovered in 1980 by Czechoslovakian astronomer Ladislav Brozek, and the citation for its naming says that "Zappa was an eclectic, self-trained artist and composer ... Before 1989 he was regarded as a symbol of democracy and freedom by many people in Czechoslovakia".
In 1995, a bust of Zappa by sculptor Konstantinas Bogdanas was installed in the Lithuanian capital Vilnius. A replica was offered to the city of Baltimore in 2008, and on September 19, 2010 — the twenty-fifth anniversary of Zappa's testimony to the U.S. Senate — a ceremony dedicating the replica was held, with the bust installed at the Southeast Anchor Branch Library in Baltimore's Highlandtown. Speakers at the event included Gail Zappa and Baltimore Mayor Stephanie Rawlings-Blake In 2002, a bronze bust was installed in German city Bad Doberan, since 1990 location of the ''Zappanale'', an annual music festival celebrating Zappa. At the initiative of musicians community ORWOhaus, the city of Berlin named a street in the Marzahn district "Frank-Zappa-Straße" in 2007. The same year, Baltimore's mayor Sheila Dixon proclaimed August 9 as the city's official "Frank Zappa Day" citing Zappa's musical accomplishments as well as his defense of the First Amendment to the United States Constitution.
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Name | Jesus |
---|---|
Birth date | 7-2 BC/BCE |
Language | Aramaic, Koine Greek, (perhaps some Hebrew) |
Birth place | Bethlehem, Judaea, Roman Empire (traditional);Nazareth, Galilee (modern critical scholarship) |
Death place | Calvary, Judaea, Roman Empire (according to the New Testament, he rose on the third day after his death.) |
Death date | 30–36 AD/CE |
Death cause | Crucifixion |
Resting place | Traditionally and temporarily, a garden tomb in Jerusalem |
Ethnicity | Jewish |
Nationality | Israelite |
Religion | Judaism |
Home town | Nazareth, Galilee, Roman Empire |
Parents | Father: God (Christian view)virginal conception (Islamic view)Mother: Saint MaryAdoptive father: Saint Joseph }} |
Most critical historians agree that Jesus was a Jew who was regarded as a teacher and healer, that he was baptized by John the Baptist, and was crucified in Jerusalem on the orders of the Roman Prefect of Judaea, Pontius Pilate, on the charge of sedition against the Roman Empire. Critical Biblical scholars and historians have offered competing descriptions of Jesus as a self-described Messiah, as the leader of an apocalyptic movement, as an itinerant sage, as a charismatic healer, and as the founder of an independent religious movement. Most contemporary scholars of the historical Jesus consider him to have been an independent, charismatic founder of a Jewish restoration movement, anticipating a future apocalypse. Other prominent scholars, however, contend that Jesus' "Kingdom of God" meant radical personal and social transformation instead of a future apocalypse.
Christians traditionally believe that Jesus was born of a virgin, performed miracles, founded the Church, rose from the dead, and ascended into heaven, from which he will return. The majority of Christians worship Jesus as the incarnation of God the Son, and "the Second Person of the Blessed Trinity". A few Christian groups, however, reject Trinitarianism, wholly or partly, believing it to be non-scriptural. Most Christian scholars today present Jesus as the awaited Messiah promised in the Old Testament and as God, arguing that he fulfilled many Messianic prophecies of the Old Testament.
Judaism rejects assertions that Jesus was the awaited Messiah, arguing that he did not fulfill the Messianic prophecies in the Tanakh. In Islam, Jesus ( or , commonly transliterated as or , respectively) is considered one of God's important prophets, a bringer of scripture, and the product of a virgin birth; but did not experience a crucifixion. Islam and the Bahá'í Faith use the title "Messiah" for Jesus, but do not teach that he was God incarnate.
“Jesus” () is a transliteration, occurring in a number of languages and based on the Latin ''Iesus'', of the Greek (''''), itself a Hellenisation of the Hebrew (''Yĕhōšuă‘'', Joshua) or Hebrew-Aramaic (''Yēšûă‘'').meaning "Yahweh delivers (or rescues)".
The etymology of the name Jesus is generally explained by Christians as "God's salvation" usually expressed as "Yahweh saves", "Yahweh is salvation" and at times as "Jehovah is salvation". The name Jesus appears to have been in use in Judaea at the time of the birth of Jesus. And Philo's reference (''Mutatione Nominum'' item 121) indicates that the etymology of Joshua was known outside Judaea at the time.
In the New Testament, in Luke 1:26-33 the angel Gabriel tells Mary to name her child Jesus, and in Matthew 1:21 an angel tells Joseph to name the child Jesus. The statement in Matthew 1:21 "you shall call his name Jesus, for he will save his people from their sins" associates salvific attributes to the name Jesus in Christian theology.
"Christ" () is derived from the Greek (''Khristós'') meaning "the anointed one", a translation of the Hebrew מָשִׁיחַ (''''), usually transliterated into English as ''Messiah''. In the Septuagint version of the Hebrew Bible (written well over a century before the time of Jesus), the word Christ was used to translate into Greek the Hebrew word . In Matthew 16:16, Apostle Peter's profession: "You are the Christ" identifies Jesus as the Messiah. In post-biblical usage Christ became a name, one part of the name "Jesus Christ", but originally it was a title (the Messiah) and not a name.
Roman involvement in Judaea began around 63 BC/BCE and by 6 AD/CE Judaea had become a Roman province. From 26-37 AD/CE Pontius Pilate was the governor of Roman Judaea. In this time period, although Roman Judaea was strategically positioned between Asia and Africa, it was not viewed as a critically important province by the Romans. The Romans were highly tolerant of other religions and allowed the local populations such as the Jews to practice their own faiths.
In their Nativity accounts, both the Gospels of Luke and Matthew associate the birth of Jesus with the reign of Herod the Great, who is generally believed to have died around 4 BC/BCE. Matthew 2:1 states that: "Jesus was born in Bethlehem of Judaea in the days of Herod the king" and Luke 1:5 mentions the reign of Herod shortly before the birth of Jesus. Matthew also suggests that Jesus may have been as much as two years old at the time of the visit of the Magi and hence even older at the time of Herod's death. But the author of Luke also describes the birth as taking place during the first census of the Roman provinces of Syria and Iudaea, which is generally believed to have occurred in 6 AD/CE. Most scholars generally assume a date of birth between 6 and 4 BC/BCE. Other scholars assume that Jesus was born sometime between 7–2 BC/BCE.
The year of birth of Jesus has also been estimated in a manner that is independent of the Nativity accounts, by using information in the Gospel of John to work backwards from the statement in Luke 3:23 that Jesus was "about 30 years of age" at the start of his ministry. As discussed in the section below, by combining information from John 2:13 and John 2:20 with the writings of Josephus, it has been estimated that around 27-29 AD/CE, Jesus was "about thirty years of age". Some scholars thus estimate the year 28 AD/CE to be roughly the 32nd birthday of Jesus and the birth year of Jesus to be around 6-4 BC/BCE.
However, the common Gregorian calendar method for numbering years, in which the current year is , is based on the decision of a monk Dionysius in the six century, to count the years from a point of reference (namely, Jesus’ birth) which he placed sometime between 2 BC/BCE and 1 AD/CE. Although Christian feasts related to the Nativity have had specific dates (e.g. December 25 for Christmas) there is no historical evidence for the exact day or month of the birth of Jesus.
The estimation of the date based on the Gospel of Luke relies on the statement in Luke 3:1-2 that the ministry of John the Baptist which preceded that of Jesus began "in the fifteenth year of the reign of Tiberius Caesar". Given that Tiberius began his reign in 14 AD/CE, this yields a date about 28-29 AD/CE.
The estimation of the date based on the Gospel of John uses the statements in John 2:13 that Jesus went to the Temple in Jerusalem around the start of his ministry and in John 2:20 that "Forty and six years was this temple in building" at that time. According to Josephus (Ant 15.380) the temple reconstruction was started by Herod the Great in the 15th-18th year of his reign at about the time that Augustus arrived in Syria (Ant 15.354). Temple expansion and reconstruction was ongoing, and it was in constant reconstruction until it was destroyed in 70 AD/CE by the Romans. Given that it took 46 years of construction, the Temple visit in the Gospel of John has been estimated at around 27-29 AD/CE.
Luke 3:23 states that at the start of his ministry Jesus was "about 30 years of age", but the other Gospels do not mention a specific age. However, in John 8:57 the Jews exclaimed to Jesus: "Thou art not yet fifty years old, and hast thou seen Abraham?" suggesting that he was much less than 50 years old during his ministry. The length of the ministry is subject to debate, based on the fact that the Synoptic Gospels mention only one passover during Jesus' ministry, often interpreted as implying that the ministry lasted approximately one year, whereas the Gospel of John records multiple passovers, implying that his ministry may have lasted at least three years.
A number of approaches have been used to estimate the year of the death of Jesus, including information from the Canonical Gospels, the chronology of the life of Paul the Apostle in the New Testament correlated with historical events, as well as different astronomical models, as discussed below.
All four canonical Gospels report that Jesus was crucified in Calvary during the prefecture of Pontius Pilate, the Roman prefect who governed Judaea from 26 to 36 AD/CE. The late 1st century Jewish historian Josephus, writing in ''Antiquities of the Jews'' (''c.'' 93 AD/CE), and the early 2nd century Roman historian Tacitus, writing in ''The Annals'' (''c.'' 116 AD/CE), also state that Pilate ordered the execution of Jesus, though each writer gives him the title of "procurator" instead of prefect.
The estimation of the date of the conversion of Paul places the death of Jesus before this conversion, which is estimated at around 33-36 AD/CE. (Also see the estimation of the start of Jesus' ministry as a few years before this date above). The estimation of the year of Paul's conversion relies on a series of calculations working backwards from the well established date of his trial before Gallio in Achaea Greece (Acts 18:12-17) around 51-52 AD/CE, the meeting of Priscilla and Aquila which were expelled from Rome about 49 AD/CE and the 14-year period before returning to Jerusalem in Galatians 2:1. The remaining period is generally accounted for by Paul's missions (at times with Barnabas) such as those in Acts 11:25-26 and 2 Corinthians 11:23-33, resulting in the 33-36 AD/CE estimate.
For centuries, astronomers and scientists have used diverse computational methods to estimate the date of crucifixion, Isaac Newton being one of the first cases. Newton's method relied on the relative visibility of the crescent of the new moon and he suggested the date as Friday, April 23, 34 AD/CE. In 1990 astronomer Bradley E. Schaefer computed the date as Friday, April 3, 33 AD/CE. In 1991, John Pratt stated that Newton's method was sound, but included a minor error at the end. Pratt suggested the year 33 AD/CE as the answer. Using the completely different approach of a lunar eclipse model, Humphreys and Waddington arrived at the conclusion that Friday, April 3, 33 AD/CE was the date of the crucifixion.
However, in general, the authors of the New Testament showed little interest in an absolute chronology of Jesus or in synchronizing the episodes of his life with the secular history of the age. The gospels were primarily written as theological documents in the context of early Christianity with the chronological timelines as a secondary consideration. One manifestation of the gospels being theological documents rather than historical chronicles is that they devote about one third of their text to just seven days, namely the last week of the life of Jesus in Jerusalem.
Although the gospels do not provide enough details to satisfy the demands of modern historians regarding exact dates, it is possible to draw from them a general picture of the life story of Jesus. However, as stated in John 21:25 the gospels do not claim to provide an exhaustive list of the events in the life of Jesus.
Since the 2nd century attempts have been made to ''harmonize'' the gospel accounts into a single narrative; Tatian's Diatesseron perhaps being the first harmony and other works such as Augustine' book ''Harmony of the Gospels'' followed. A number of different approaches to gospel harmony have been proposed in the 20th century, but no single and unique harmony can be constructed. While some scholars argue that combining the four gospel stories into one story is tantamount to creating a fifth story different from each original, others see the gospels as blending together to give an overall and comprehensive picture of Jesus' teaching and ministry. Although there are differences in specific temporal sequences, and in the parables and miracles listed in each gospel, the flow of the key events such as Baptism, Transfiguration and Crucifixion and interactions with people such as the Apostles are shared among the gospel narratives.
The gospels include a number discourses by Jesus on specific occasions, e.g. the Sermon on the Mount or the Farewell Discourse, and also include over 30 parables, spread throughout the narrative, often with themes that relate to the sermons. Parables represent a major component of the teachings of Jesus in the gospels, forming approximately one third of his recorded teachings, and John 14:10 positions them as the revelations of God the Father. The gospel episodes that include descriptions of the miracle of Jesus also often include teachings, providing an intertwining of his "words and works" in the gospels.
The accounts of the genealogy and Nativity of Jesus in the New Testament appear only in the Gospel of Luke and the Gospel of Matthew. While there are documents outside of the New Testament which are more or less contemporary with Jesus and the gospels, many shed no light on the more biographical aspects of his life and these two gospel accounts remain the main sources of information on the genealogy and Nativity.
While Luke traces the genealogy upwards towards Adam and God, Matthew traces it downwards towards Jesus. Both gospels state that Jesus was begotten not by Joseph, but by God. Both accounts trace Joseph back to King David and from there to Abraham. These lists are identical between Abraham and David (except for one), but they differ almost completely between David and Joseph. Matthew gives Jacob as Joseph’s father and Luke says Joseph was the son of Heli. Attempts at explaining the differences between the genealogies have varied in nature, e.g. that Luke traces the genealogy through Mary while Matthew traces it through Joseph; or that Jacob and Heli were both fathers of Joseph, one being the legal father, after the death of Joseph's actual father — but there is no scholarly agreement on a resolution for the differences.
Luke is the only Gospel to provide an account of the birth of John the Baptist, and he uses it to draw parallels between the births of John and Jesus. Luke relates the two births in the visitation of Mary to Elizabeth. He further connects the two births by noting that Mary and Elizabeth are cousins. In Luke 1:31-38 Mary learns from the angel Gabriel that she will conceive and bear a child called Jesus through the action of the Holy Spirit. When Mary is due to give birth, she and Joseph travel from Nazareth to Joseph's ancestral home in Bethlehem to register in the census of Quirinius. In Luke 2:1-7. Mary gives birth to Jesus and, having found no place in the inn, places the newborn in a manger. An angel visits the shepherds and sends them to adore the child in Luke 2:22. After presenting Jesus at the Temple, Joseph and Mary return home to Nazareth.
The Nativity appears in chapters 1 and 2 of the Gospel of Matthew, where, following the bethrothal of Joseph and Mary, Joseph is troubled in Matthew 1:19-20 because Mary is pregnant, but in the first of Joseph's three dreams an angel assures him not be afraid to take Mary as his wife, because her child was conceived by the Holy Spirit. In Matthew 1:1-12, the Wise Men or Magi bring gifts to the young Jesus after following a star which they believe was a sign that the King of the Jews had been born. King Herod hears of Jesus' birth from the Wise Men and tries to kill him by massacring all the male children in Bethlehem under the age of two (the Massacre of the Innocents). Before the massacre, Joseph is warned by an angel in his dream and the family flees to Egypt and remains there until Herod's death, after which they leave Egypt and settle in Nazareth to avoid living under the authority of Herod's son and successor Archelaus.
Luke 2:41–52 includes an incident in the childhood of Jesus, where he was found teaching in the temple by his parents after being lost. The Finding in the Temple is the sole event between Jesus’ infancy and baptism mentioned in any of the canonical Gospels.
In Mark 6:3 Jesus is called a ''tekton'' (τέκτων in Greek), usually understood to mean carpenter. Matthew 13:55 says he was the son of a ''tekton''. ''Tekton'' has been traditionally translated into English as "carpenter", but it is a rather general word (from the same root that leads to "technical" and "technology") that could cover makers of objects in various materials, even builders.
Beyond the New Testament accounts, the specific association of the profession of Jesus with woodworking is a constant in the traditions of the 1st and 2nd centuries and Justin Martyr (d. ca. 165) wrote that Jesus made yokes and ploughs.
The four gospels are not the only references to John's ministry around the River Jordan. In Acts 10:37-38, Apostle Peter refers to how the ministry of Jesus followed "the baptism which John preached". In the Antiquities of the Jews (18.5.2) first century historian Flavius Josephus also wrote about John the Baptist and his eventual death in Perea.
In the gospels, John had been foretelling (as in Luke 3:16) of the arrival of a someone "mightier than I". Apostle Paul also refers to this anticipation by John in Acts 19:4. In Matthew 3:14, upon meeting Jesus, the Baptist states: "I need to be baptized by you." However, Jesus persuades John to baptize him nonetheless. In the baptismal scene, after Jesus emerges from the water, the sky opens and a voice from Heaven states: "This is my beloved Son with whom I am well pleased". The Holy Spirit then descends upon Jesus as a dove in Matthew 3:13-17, Mark 1:9-11, Luke 3:21-23. In John 1:29-33 rather than a direct narrative, the Baptist bears witness to the episode. This is one of two cases in the gospels where a voice from Heaven calls Jesus "Son", the other being in the Transfiguration of Jesus episode.
After the baptism, the Synoptic gospels proceed to describe the Temptation of Jesus, but John 1:35-37 narrates the first encounter between Jesus and two of his future disciples, who were then disciples of John the Baptist. In this narrative, the next day the Baptist sees Jesus again and calls him the Lamb of God and the "two disciples heard him speak, and they followed Jesus". One of the disciples is named Andrew, but the other remains unnamed, and Raymond E. Brown raises the question of his being the author of the Gospel of John himself. In the Gospel of John, the disciples follow Jesus thereafter, and bring other disciples to him, and Acts 18:24-19:6 portrays the disciples of John as eventually merging with the followers of Jesus.
The Temptation of Jesus is narrated in the three Synoptic gospels after his baptism. In these accounts, as in Matthew 4:1-11 and Luke 4:1-13, Jesus goes to the desert for forty days to fast. While there, Satan appears to him and tempts him in various ways, e.g. asking Jesus to show signs that he is the Son of God by turning stone to bread, or offering Jesus worldly rewards in exchange for worship. Jesus rejects every temptation and when Satan leaves, angels appear and minister to Jesus.
The three Synoptic gospels refer to just one passover during his ministry, while the Gospel of John refers to three passovers, suggesting a period of about three years. However, the Synoptic gospels do not require a ministry that lasted only one year, and scholars such as Köstenberger state that the Gospel of John simply provides a more detailed account.
The gospel accounts place the beginning of Jesus' ministry in the countryside of Judaea, near the River Jordan. Jesus' ministry begins with his Baptism by John the Baptist (Matthew 3, Luke 3), and ends with the Last Supper with his disciples (Matthew 26, Luke 22) in Jerusalem. The gospels present John the Baptist's ministry as the pre-cursor to that of Jesus and the Baptism as marking the beginning of Jesus' ministry, after which Jesus travels, preaches and performs miracles.
The ''Early Galilean ministry'' begins when Jesus goes back to Galilee from the Judaean desert after rebuffing the temptation of Satan. In this early period Jesus preaches around Galilee and in Matthew 4:18-20 his first disciples encounter him, begin to travel with him and eventually form the core of the early Church. This period includes the Sermon on the Mount, one of the major discourses of Jesus.
The ''Major Galilean ministry'' which begins in Matthew 8 refers to activities up to the death of John the Baptist. It includes the Calming the storm and a number of other miracles and parables, as well as the Mission Discourse in which Jesus instructs the twelve apostles who are named in Matthew 10:2-3 to carry no belongings as they travel from city to city and preach.
The ''Final Galilean ministry'' includes the Feeding the 5000 and Walking on water episodes, both in Matthew 14. The end of this period (as Matthew 16 and Mark 8 end) marks a turning point is the ministry of Jesus with the dual episodes of Confession of Peter and the Transfiguration - which begins his ''Later Judaean ministry'' as he starts his final journey to Jerusalem through Judaea.
As Jesus travels towards Jerusalem, in the ''Later Perean ministry'', about one third the way down from the Sea of Galilee along the Jordan, he returns to the area where he was baptized, and in John 10:40-42 "many people believed in him beyond the Jordan", saying "all things whatsoever John spake of this man were true". This period of ministry includes the Discourse on the Church in which Jesus anticipates a future community of followers, and explains the role of his apostles in leading it. At the end of this period, the Gospel of John includes the Raising of Lazarus episode.
The ''Final ministry in Jerusalem'' is sometimes called the ''Passion Week'' and begins with the Jesus' triumphal entry into Jerusalem on Palm Sunday. In that week Jesus drives the money changers from the Temple, and Judas bargains to betray him. This period includes the Olivet Discourse and the Second Coming Prophecy and culminates in the Last Supper, at the end of which Jesus prepares his disciples for his departure in the Farewell discourse. The accounts of the ministry of Jesus generally end with the Last Supper. However, some authors also consider the period between the Resurrection and the Ascension part of the ministry of Jesus.
In the New Testament the teachings of Jesus are presented in terms of his "words and works". The words of Jesus include a number of sermons, as well as parables that appear throughout the narrative of the Synoptic Gospels (the gospel of John includes no parables). The works include the miracles and other acts performed during his ministry. Although the Canonical Gospels are the major source of the teachings of Jesus, the Pauline Epistles, which were likely written decades before the gospels, provide some of the earliest written accounts of the teachings of Jesus.
The New Testament does not present the teachings of Jesus as merely his own preachings, but equates the words of Jesus with divine revelation, with John the Baptist stating in John 3:34: "he whom God hath sent speaketh the words of God" and Jesus stating in John 7:16: "My teaching is not mine, but his that sent me" and again re-asserting that in John 14:10: "the words that I say unto you I speak not from myself: but the Father abiding in me doeth his works." In Matthew 11:27 Jesus claims divine knowledge, stating: "No one knows the Son except the Father and no one knows the Father except the Son", asserting the mutual knowledge he has with the Father.
The gospels include a number discourses by Jesus on specific occasions, such as the Farewell discourse delivered after the Last Supper, the night before his crucifixion. Although some of the teachings of Jesus are reported as taking place within the formal atmosphere of a synagogue (e.g. in Matthew 4:23) many of the discourses are more like conversations than formal lectures.
The Gospel of Matthew has a structured set of sermons, often grouped as the Five Discourses of Matthew which present many of the key teachings of Jesus. Each of the five discourses has some parallel passages in the Gospel of Mark or the Gospel of Luke. The five discourses in Matthew begin with the Sermon on the Mount, which encapsulates many of the moral teaching of Jesus and which is one of the best known and most quoted elements of the New Testament. The Sermon on the Mount includes the ''Beatitudes'' which describe the character of the people of the Kingdom of God, expressed as "blessings". The Beatitudes focus on love and humility rather than force and exaction and echo the key ideals of Jesus' teachings on spirituality and compassion. The other discourses in Matthew include the ''Missionary Discourse'' in Matthew 10 and the ''Discourse on the Church'' in Matthew 18, providing instructions to the disciples and laying the foundation of the codes of conduct for the anticipated community of followers.
Parables represent a major component of the teachings of Jesus in the gospels, the approximately thirty parables forming about one third of his recorded teachings. The parables may appear within longer sermons, as well as other places within the narrative. Jesus' parables are seemingly simple and memorable stories, often with imagery, and each conveys a teaching which usually relates the physical world to the spiritual world.
The gospel episodes that include descriptions of the miracle of Jesus also often include teachings, providing an intertwining of his "words and works" in the gospels. Many of the miracles in the gospels teach the importance of faith, for instance in Cleansing ten lepers and Daughter of Jairus the beneficiaries are told that they were healed due to their faith.
Peter's Confession begins as a dialogue between Jesus and his disciples in Matthew 16:13, Mark 8:27 and Luke 9:18. Jesus asks his disciples: ''But who do you say that I am?'' Simon Peter answers him: ''You are the Christ, the Son of the living God''. In Matthew 16:17 Jesus blesses Peter for his answer, and states: "flesh and blood hath not revealed it unto thee, but my Father who is in heaven." In blessing Peter, Jesus not only accepts the titles ''Christ'' and ''Son of God'' which Peter attributes to him, but declares the proclamation a divine revelation by stating that his Father in Heaven had revealed it to Peter. In this assertion, by endorsing both titles as divine revelation, Jesus unequivocally declares himself to be both Christ and the Son of God.
The account of the Transfiguration of Jesus appears in Matthew 17:1-9, Mark 9:2-8, Luke 9:28-36. Jesus takes Peter and two other apostles with him and goes up to a mountain, which is not named. Once on the mountain, Matthew (17:2) states that Jesus "was transfigured before them; his face shining as the sun, and his garments became white as the light." At that point the prophets Elijah and Moses appear and Jesus begins to talk to them. Luke is specific in describing Jesus in a state of glory, with Luke 9:32 referring to "they saw his glory". A bright cloud appears around them, and a voice from the cloud states: "This is my beloved Son, with whom I am well pleased; listen to him".
The Transfiguration not only supports the identity of Jesus as the Son of God (as in his Baptism), but the statement "listen to him", identifies him as the messenger and mouth-piece of God. The significance is enhanced by the presence of Elijah and Moses, for it indicates to the apostles that Jesus is the voice of God, and instead of Elijah or Moses, he should be listened to, by virtue of his filial relationship with God. 2 Peter 1:16-18, echoes the same message: at the Transfiguration God assigns to Jesus a special "honor and glory" and it is the turning point at which God exalts Jesus above all other powers in creation.
At the end of both episodes, as in some other pericopes in the New Testament such as miracles, Jesus tells his disciples not to repeat to others, what they had seen - the command at times interpreted in the context of the theory of the Messianic Secret. At the end of the Transfiguration episode, Jesus commands the disciples to silence about it "until the Son of man be risen from the dead", relating the Transfiguration to the Resurrection episode.
In the four Canonical Gospels, Jesus' Triumphal entry into Jerusalem takes place a few days before the last Last Supper, marking the beginning of the Passion narrative. While at Bethany Jesus sent two disciples to retrieve a donkey that had been tied up but never ridden and rode it into Jerusalem, with Mark and John stating Sunday, Matthew Monday, and Luke not specifying the day. As Jesus rode into Jerusalem the people there lay down their cloaks in front of him, and also lay down small branches of trees and sang part of Psalms 118: 25-26.
In the three Synoptic Gospels, entry into Jerusalem is followed by the Cleansing of the Temple episode, in which Jesus expels the money changers from the Temple, accusing them of turning the Temple to a den of thieves through their commercial activities. This is the only account of Jesus using physical force in any of the Gospels. John 2:13-16 includes a similar narrative much earlier, and scholars debate if these refer to the same episode. The synoptics include a number of well known parables and sermons such as the Widow's mite and the Second Coming Prophecy during the week that follows.
In that week, the synoptics also narrate conflicts between Jesus and the elders of the Jews, in episodes such as the Authority of Jesus Questioned and the Woes of the Pharisees in which Jesus criticizes their hypocrisy. Judas Iscariot, one of the twelve apostles approaches the Jewish elders and performs the "Bargain of Judas" in which he accepts to betray Jesus and hand him over to the elders. Matthew specifies the price as thirty silver coins.
In all four gospels, during the meal, Jesus predicts that one of his Apostles will betray him. Jesus is described as reiterating, despite each Apostle's assertion that he would not betray Jesus, that the betrayer would be one of those who were present. In Matthew 26:23-25 and John 13:26-27 Judas is specifically singled out as the traitor.
In Matthew 26:26-29, Mark 14:22-25, Luke 22:19-20 Jesus takes bread, breaks it and gives it to the disciples, saying: "This is my body which is given for you". In 1 Corinthians 11:23-26 Apostle Paul provides the theological underpinnings for the use of the Eucharist, stating: "This cup is the new covenant in my blood; do this, whenever you drink it, in remembrance of me." Although the Gospel of John does not include a description of the bread and wine ritual during the Last Supper, most scholars agree that John 6:58-59 (the Bread of Life Discourse) has a Eucharistic nature and resonates with the "words of institution" used in the Synoptic Gospels and the Pauline writings on the Last Supper.
In all four Gospels Jesus predicts that Peter will deny knowledge of him, stating that Peter will disown him three times before the rooster crows the next morning. The synoptics mention that after the arrest of Jesus Peter denied knowing him three times, but after the third denial, heard the rooster crow and recalled the prediction as Jesus turned to look at him. Peter then began to cry bitterly.
The Gospel of John provides the only account of Jesus washing his disciples' feet before the meal. John's Gospel also includes a long sermon by Jesus, preparing his disciples (now without Judas) for his departure. Chapters 14-17 of the Gospel of John are known as the ''Farewell discourse'' given by Jesus, and are a rich source of Christological content.
In Matthew 26:36-46, Mark 14:32-42, Luke 22:39-46 and John 18:1, immediately after the Last Supper, Jesus takes a walk to pray, Matthew and Mark identifying this place of prayer as Garden of Gethsemane.
Jesus is accompanied by Peter, John and James the Greater, whom he asks to "remain here and keep watch with me." He moves "a stone's throw away" from them, where he feels overwhelming sadness and says "My Father, if it is possible, let this cup pass me by. Nevertheless, let it be as you, not I, would have it." Only the Gospel of Luke mentions the details of the sweat of blood of Jesus and the visitation of the angel who comforts Jesus as he accepts the will of the Father. Returning to the disciples after prayer, he finds them asleep and in Matthew 26:40 he asks Peter: "So, could you men not keep watch with me for an hour?"
While in the Garden, Judas appears, accompanied by a crowd that includes the Jewish priests and elders and people with weapons. Judas gives Jesus a kiss to identify him to the crowd who then arrests Jesus. One of Jesus' disciples tries to stop them and uses a sword to cut off the ear of one of the men in the crowd. Luke states that Jesus miraculously healed the wound and John and Matthew state that Jesus criticized the violent act, insisting that his disciples should not resist his arrest. In Matthew 26:52 Jesus makes the well known statement: ''all who live by the sword, shall die by the sword''.
Prior to the arrest, in Matthew 26:31 Jesus tells the disciples: "All ye shall be offended in me this night" and in 32 that: "But after I am raised up, I will go before you into Galilee." After his arrest, Jesus' disciples go into hiding. In Matthew 27:3-5 Judas, distraught by his betrayal of Jesus, attempts to return the thirty pieces of silver he had received for betraying Jesus, then hangs himself.
In, Matthew 26:57, Mark 14:53 and Luke 22:54 Jesus was taken to the high priest's house where he was mocked and beaten that night. The next day, early in the morning, the chief priests and scribes gathered together and lead Jesus away into their council. In John 18:12-14, however, Jesus is first taken to Annas, the father-in-law of Caiaphas, and then to Caiaphas. In all four Gospel accounts the trial of Jesus is interleaved with the ''Denial of Peter'' narrative, where Apostle Peter who has followed Jesus denies knowing him three times, at which point the rooster crows as predicted by Jesus during the Last Supper.
In the Gospel accounts Jesus speaks very little, mounts no defense and gives very infrequent and indirect answers to the questions of the priests, prompting an officer to slap him. In Matthew 26:62 the lack of response from Jesus prompts the high priest to ask him: "Answerest thou nothing?" Mark 14:55-59 states that the chief priests had arranged false witness against Jesus, but the witnesses did not agree together. In Mark 14:61 the high priest then asked Jesus: "Are you the Christ, the Son of the Blessed? And Jesus said, I am" at which point the high priest tore his own robe in anger and accused Jesus of blasphemy. In 22:70 when asked: "Are you then the Son of God?" Jesus answers: "You say that I am" affirming the title Son of God. At that point the priests say: "What further need have we of witness? for we ourselves have heard from his own mouth" and decide to condemn Jesus.
Taking Jesus to Pilate's Court, the Jewish elders ask Pontius Pilate to judge and condemn Jesus — accusing him of claiming to be the King of the Jews. In Luke 23:7-15 (the only Gospel account of this episode), Pilate realizes that Jesus is a Galilean, and is thus under the jurisdiction of Herod Antipas. Pilate sends Jesus to Herod to be tried. However, Jesus says almost nothing in response to Herod's questions, or the continuing accusations of the chief priests and the scribes. Herod and his soldiers mock Jesus, put a gorgeous robe on him, as the King of the Jews, and sent him back to Pilate. Pilate then calls together the Jewish elders, and says that he has "found no fault in this man."
The use of the term king is central in the discussion between Jesus and Pilate. In John 18:36 Jesus states: "My kingdom is not of this world", but does not directly deny being the King of the Jews. And when in John 19:12 Pilate seeks to release Jesus, the priests object and say: "Every one that makes himself a king speaks against Caesar... We have no king but Caesar." Pilate then writes "Jesus of Nazareth, King of the Jews" as a sign (abbreviated as INRI in depictions) to be affixed to the cross of Jesus.
In Matthew 27:19 Pilate's wife, tormented by a dream, urges Pilate not to have anything to do with Jesus, and Pilate publicly washes his hands of responsibility, yet orders the crucifixion in response to the demands of the crowd. The trial by Pilate is followed by the flagellation episode, the soldiers mock Jesus as the King of Jews by putting a purple robe (that signifies royal status) on him, place a Crown of Thorns on his head, and beat and mistreat him in Matthew 27:29-30, Mark 15:17-19 and John 19:2-3. Jesus is then sent to Calvary for crucifixion.
After the trials, Jesus made his way to Calvary (the path is traditionally called via Dolorosa) and the three Synoptic Gospels indicate that he was assisted by Simon of Cyrene, the Romans compelling him to do so. In Luke 23:27-28 Jesus tells the women in multitude of people following him not to cry for him but for themselves and their children. Once at Calvary (Golgotha), Jesus was offered wine mixed with gall to drink — usually offered as a form of painkiller. Matthew's and Mark's Gospels state that he refused this.
The soldiers then crucified Jesus and cast lots for his clothes. Above Jesus' head on the cross was the inscription King of the Jews, and the soldiers and those passing by mocked him about the title. Jesus was crucified between two convicted thieves, one of whom rebuked Jesus, while the other defended him. Each gospel has its own account of Jesus' last words, comprising the seven last sayings on the cross. In John 19:26-27 Jesus entrusts his mother to the disciple he loved and in Luke 23:34 he states: "Father, forgive them; for they know not what they do", usually interpreted as his forgiveness of the Roman soldiers and the others involved.
In the three Synoptic Gospels, various supernatural events accompany the crucifixion, including darkness of the sky, an earthquake, and (in Matthew) the resurrection of saints. The tearing of the temple veil, upon the death of Jesus, is referenced in the synoptic. The Roman soldiers did not break Jesus' legs, as they did to the other two men crucified (breaking the legs hastened the crucifixion process), as Jesus was dead already. One of the soldiers pierced the side of Jesus with a lance and water flowed out. In Mark 13:59, impressed by the events the Roman centurion calls Jesus the Son of God.
Following Jesus' death, Joseph of Arimathea asked the permission of Pilate to remove the body. The body was removed from the cross, was wrapped in a clean cloth and buried in a new rock-hewn tomb, with the assistance of Nicodemus. In Matthew 27:62-66 the Jews go to Pilate the day after the crucifixion and ask for guards for the tomb and also seal the tomb with a stone as well as the guard, to be sure the body remains there.
In the four Canonical Gospels, when the tomb of Jesus is discovered empty, in Matthew 28:5, Mark 16:5, Luke 24:4 and John 20:12 his resurrection is announced and explained to the followers who arrive there early in the morning by either one or two beings (either men or angels) dressed in bright robes who appear in or near the tomb. The gospel accounts vary as to who arrived at the tomb first, but they are women and are instructed by the risen Jesus to inform the other disciples. All four accounts include Mary Magdalene and three include Mary the mother of Jesus. The accounts of Mark 16:9, John 20:15 indicate that Jesus appeared to the Magdalene first, and Luke 16:9 states that she was among the Myrrhbearers who informed the disciples about the resurrection. In Matthew 28:11-15, to explain the empty tomb, the Jewish elders bribe the soldiers who had guarded the tomb to spread the rumor that Jesus' disciples took his body.
After the discovery of the empty tomb, the Gospels indicate that Jesus made a series of appearances to the disciples. These include the well known Doubting Thomas episode, where Thomas did not believe the resurrection until he was invited to put his finger into the holes made by the wounds in Jesus' hands and side; and the Road to Emmaus appearance where Jesus meets two disciples. The catch of 153 fish appearance includes a miracle at the Sea of Galilee, and thereafter Jesus encourages Apostle Peter to serve his followers.
The final post-resurrection appearance in the Gospel accounts is when Jesus ascends to Heaven where he remains with God the Father and the Holy Spirit. The Canonical Gospels include only brief mentions of the Ascension of Jesus, Luke 24:51 states that Jesus "was carried up into heaven". The ascension account is further elaborated in Acts 1:1-11 and mentioned 1 Timothy 3:16. In Acts 1:1-9, forty days after the resurrection, as the disciples look on, "he was taken up; and a cloud received him out of their sight." 1 Peter 3:22 describes Jesus as being on "the right hand of God, having gone into heaven".
The Acts of the Apostles also contain "post-ascension" appearances by Jesus. These include the vision by Stephen just before his death in Acts 7:55, and the road to Damascus episode in which Apostle Paul is converted to Christianity. The instruction given to Ananias in Damascus in Acts 9:10-18 to heal Paul is the last reported conversation with Jesus in the Bible until the Book of Revelation was written.
The New Testament attributes a wide range of titles to Jesus by the authors of the Gospels, by Jesus himself, a voice from Heaven (often assumed to be God) during the Baptism and Transfiguration, as well as various groups of people such as the disciples, and even demons throughout the narrative. The emphasis on the titles used in each of the four canonical Gospels gives a different emphasis to the portrayal of Jesus in that Gospel.
Two of the key titles used for Jesus in the New Testament are Christ and Son of God. The opening words in Mark 1:1 attribute both Christ and Son of God as titles, reaffirming the second title again in Mark 1:11. The Gospel of Matthew also begins in 1:1 with the Christ title and reaffirms it in Matthew 1:16. Beyond the declarations by the Gospel writers, titles are attributed in the narrative. The statement by Apostle Peter in Matthew 16:16 ("you are the Christ, the Son of the living God") is a key turning point in the Gospel narrative, where Jesus is proclaimed as both Christ and Son of God by his followers and he accepts both titles. The immediate declaration by Jesus that the titles were revealed to Peter by "my Father who is in Heaven" not only endorses both titles as divine revelation but includes a separate assertion of sonship by Jesus within the same statement.
In the Gospel of John, Jesus refers to himself as the Son of God far more frequently than in the Synoptic Gospels. In a number of other episodes Jesus claims sonship by referring to the Father, e.g. in Luke 2:49 when he is found in the temple a young Jesus calls the temple "my Father's house", just as he does later in John 2:16 in the Cleansing of the Temple episode. However, scholars still debate if Jesus specifically accepted divinity in these statements. In John 11:27 Martha tells Jesus "you are the Christ, the Son of God", signifying that both titles were later used (yet considered distinct) in the narrative. While the Gospel of John frequently uses the Son of God title, the Gospel of Luke emphasizes Jesus as a prophet.
One of the most frequent titles for Jesus in the New Testament is the Greek word ''Kyrios'' (κύριος) which may mean God, Lord or master and is used to refers to him over 700 times. In everyday Aramaic, ''Mari'' was a very respectful form of polite address, well above "Teacher" and similar to Rabbi. In Greek this has at times been translated as Kyrios. The Rabbi title is used in several New Testament episodes to refer to Jesus, but more often in the Gospel of John than elsewhere and does not appear in the Gospel of Luke at all. Although Jesus accepts this title in the narrative, in Matthew 23:1-8 he rejected the title of Rabbi for his disciples, saying: "But be not ye called Rabbi".
Many New Testament scholars state that Jesus claimed to be God through his frequent use of "I am" (''Ego eimi'' in Greek and ''Qui est'' in Latin). This term is used by Jesus in the Gospel of John on several occasions to refer to himself, seven times with specific titles. It is used in the Gospel of John both with or without a predicate. The seven uses with a predicate that have resulted in titles for Jesus are: ''Bread of Life'', ''Light of the World'', ''the Door'', ''the Good Shepherd'', ''the Resurrection of Life'', ''the Way, the Truth and the Life'', ''the Vine''. It is also used without a predicate, which is very unusual in Greek and Christologists usually interpret it as God's own self-declaration. In John 8:24 Jesus states: "unless you believe that I am you will die in your sins" and in John 8:59 the crowd attempts to stone Jesus in response to his statement that "Before Abraham was, I am". However, some scholars state that Jesus never made a direct claim to divinity.
The Gospel of John opens by identifying Jesus as the divine Logos in John 1:1-18. The Greek term Logos () is often translated as "the Word" in English. The identification of Jesus as the Logos which became Incarnate appears only at the beginning of the Gospel of John and the term Logos is used only in two other Johannine passages: 1 John 1:1 and Revelation 19:13. John's Logos statements build on each other: the statement that the Logos existed "at the beginning" asserts that as Logos Jesus was an eternal being like God; that the Logos was "with God" asserts the distinction of Jesus from God; and Logos "was God" states the unity of Jesus with God.
Some authors have suggested that other titles applied to Jesus in the New Testament had meanings in the 1st century quite different from those meanings ascribed today, e.g. “Son of David” is found elsewhere in Jewish tradition to refer to the heir to the throne.
The Christian gospels were written primarily as theological documents rather than historical chronicles. However, the question of the existence of Jesus as a historical figure should be distinguished from discussions about the historicity of specific episodes in the gospels, the chronology they present, or theological issues regarding his divinity. A number of historical non-Christian documents, such as Jewish and Greco-Roman sources, have been used in historical analyses of the existence of Jesus. Most critical historians agree that Jesus existed and regard events such as his baptism and his crucifixion as historical.
Robert E. Van Voorst states that the non-historicity of the existence of Jesus has always been controversial, and has consistently failed to convince scholars of many disciplines, and that classical historians, as well as biblical scholars now regard it as effectively refuted. Walter P. Weaver, among others, states that the denial of Jesus’ existence has never convinced any large number of people, in or out of technical circles.
Separate non-Christian sources used to establish the historical existence of Jesus include the works of first century Roman historians Flavius Josephus and Tacitus. Josephus scholar Louis H. Feldman has stated that few have doubted the genuineness of Josephus' reference. Bart D. Ehrman states that the existence of Jesus and his crucifixion by the Romans is attested to by a wide range of sources, including Josephus and Tacitus.
A very small number of modern scholars argue that Jesus never existed, but that view is a distinct minority, and a somewhat recent argument. Karl Rahner has observed that "in antiquity, even the most bitter enemies of Christianity never expressed doubts about the existence of Jesus." The ''Cambridge companion to Jesus'' states that the "farfetched theories that Jesus' existence was a Christian invention are highly implausible."
Biblical scholars have used the historical method to develop plausible reconstructions of Jesus' life. Since the 19th century, these scholars have constructed a Jesus different in ways from the image found in the gospels. Scholars of the “historical Jesus” distinguish their concept from the “Jesus Christ” of Christianity.
The principal sources of information regarding Jesus’ life and teachings are the three Synoptic Gospels. Scholars conclude the authors of the gospels wrote a few decades after Jesus’ crucifixion (between 65 – 100 AD/CE), in some cases using sources (the author of Luke-Acts references this explicitly). Historians of Christianity generally describe Jesus as a healer who preached the restoration of God's kingdom.
The English title of Albert Schweitzer’s 1906 book, ''The Quest of the Historical Jesus,'' is a label for the post-Enlightenment effort to describe Jesus using critical historical methods. Since the end of the 18th century, scholars have examined the gospels and tried to formulate historical biographies of Jesus. Contemporary efforts benefit from a better understanding of 1st-century Judaism, renewed Roman Catholic biblical scholarship, broad acceptance of critical historical methods, sociological insights, and literary analysis of Jesus' sayings. The historical outlook on Jesus relies on critical analysis of the Bible, especially the gospels. Many Biblical scholars have sought to reconstruct Jesus’ life in terms of the political, cultural, and religious crises and movements in late 2nd Temple Judaism and in Roman-occupied Palestine, including differences between Galilee and Judaea, and between different sects such as the Pharisees, Sadducees, Essenes and Zealots, and in terms of conflicts among Jews in the context of Roman occupation.
Jesus grew up in Galilee and much of his ministry took place there. The languages spoken in Galilee and Judea during the first century AD/CE include Aramaic, Hebrew and Greek, with Aramaic being the predominant language. Most scholars agree that during the early part of first century AD/CE Aramaic was the mother tongue of virtually all women in Galilee and Judae. Most scholars support the theory that Jesus spoke Aramaic and that he may have also spoken Hebrew and Greek.
Arrival of the Kingdom – Jesus taught about the Kingdom of God. He said that the age of the Kingdom had in some sense arrived, starting with the activity of John the Baptist.
Apocalyptic vision – Most scholars hold that the movement Jesus led was apocalyptic, expecting God to intervene imminently to restore Israel. John the Baptist's movement was apocalyptic, and Jesus began his public career as one of his students. Scholars commonly surmise that Jesus' eschatology was apocalyptic, like John's.
Parables – Jesus taught in pithy parables and with striking images. His teaching was marked by hyperbole and unusual twists of phrase. Jesus likened the Kingdom of Heaven to small and lowly things, such as yeast or a mustard seed, that have great effects. Significantly, he never described the Kingdom in military terms. He used his sayings to elicit responses from the audience, engaging them in discussion.
The family of God – Jesus repeatedly set himself at odds with traditional family duties in order to emphasize that the true family of a believer was God's family, forming a community of believers as children of God.
God as a loving father – Jesus placed a special emphasis on God as one's heavenly father. This teaching contrasts with the more common practice of depicting God as a king or lord.
Virtue of being childlike – Jesus was remarkable in stating that one must become like a child to enter the Kingdom of God.
Importance of faith and prayer – Jesus identified faith or trust in God as a primary spiritual virtue. Associated with this main theme, Jesus taught that one should rely on prayer and expect prayer to be effective.
Healing and exorcism – Jesus taught that his healings and exorcisms indicated that a new eschatological age had arrived or was arriving.
The Gospels report that Jesus foretold his own Passion, but, according to Geza Vermes, the confused and fearful actions of the disciples suggest that it came as a surprise to them.
Pharisees were a powerful force in 1st-century Judaea. Early Christians shared several beliefs of the Pharisees, such as resurrection, retribution in the next world, angels, human freedom, and Divine Providence. After the fall of the Temple, the Pharisee outlook was established in Rabbinic Judaism. Some scholars speculate that Jesus was himself a Pharisee. In Jesus' day, the two main schools of thought among the Pharisees were the House of Hillel, which had been founded by the eminent Tanna, Hillel the Elder, and the House of Shammai. Jesus' assertion of hypocrisy may have been directed against the stricter members of the House of Shammai, although he also agreed with their teachings on divorce. Jesus also commented on the House of Hillel's teachings (Babylonian Talmud, Shabbat 31a) concerning the greatest commandment and the Golden Rule. Historians do not know whether there were Pharisees in Galilee during Jesus' life, or what they would have been like.
Sadducees were particularly powerful in Jerusalem. They accepted the written Law only, rejecting the traditional interpretations accepted by the Pharisees, such as belief in retribution in an afterlife, resurrection of the body, angels, and spirits. After Jesus caused a disturbance at the Temple, it was to have been the Sadducees who had him arrested and turned over to the Romans for execution. After the fall of Jerusalem, they disappeared from history.
Essenes were apocalyptic ascetics, one of the three (or four) major Jewish schools of the time, though they were not mentioned in the New Testament. Some scholars theorize that Jesus was an Essene, or close to them. Among these scholars is Pope Benedict XVI, who supposes in his book on Jesus that "it appears that not only John the Baptist, but possibly Jesus and his family as well, were close to the Qumran community."
Zealots were a revolutionary party opposed to Roman rule, one of those parties that, according to Josephus inspired the fanatical stand in Jerusalem that led to its destruction in the year 70 AD/CE. Luke identifies Simon, a disciple, as a "zealot", which might mean a member of the Zealot party (which would therefore have been already in existence in the lifetime of Jesus) or a zealous person. The notion that Jesus himself was a Zealot does not do justice to the earliest Synoptic material describing him.
Biblical scholars hold that the works describing Jesus were initially communicated by oral tradition, and were not committed to writing until several decades after Jesus' crucifixion. After the original oral stories were written down in Greek, they were transcribed, and later translated into other languages. The books of the New Testament had mostly been written by 100 AD/CE, making them, at least the Synoptic Gospels, historically relevant. The Gospel tradition certainly preserves several fragments of Jesus' teaching. The Gospel of Mark is believed to have been written ''c.'' 70 AD/CE. Matthew is placed at being sometime after this date and Luke is thought to have been written between 70 and 100 AD/CE. According to the majority viewpoint, the gospels were written not by the evangelists identified by tradition but by non-eyewitnesses who worked with second-hand sources and who modified their accounts to suit their religious agendas.
Critical scholars consider scriptural accounts more likely when they are attested in multiple texts, plausible in Jesus' historical environment, and potentially embarrassing to the author's Christian community. The "criterion of embarrassment" holds that stories about events with aspects embarrassing to Christians (such as the denial of Jesus by Peter, or the fleeing of Jesus' followers after his arrest) would likely not have been included if those accounts were fictional. Sayings attributed to Jesus are deemed more likely to reflect his character when they are distinctive, vivid, paradoxical, surprising, and contrary to social and religious expectations, such as "Blessed are the poor". Short, memorable parables and aphorisms capable of being transmitted orally are also thought more likely to be authentic.
The earliest extant texts which refer to Jesus are Paul's letters (mid-1st century), which affirm Jesus' crucifixion. Keulman and Gregory hold that the Gospel of Thomas, a collection of 114 sayings of Jesus, predates the four orthodox gospels, and believe it may have been composed around mid-1st century.
A minority of prominent scholars, such as J. A. T. Robinson, have maintained that the writers of the gospels of Matthew, Mark and John were either apostles and eyewitness to Jesus' ministry and death, or were close to those who had been.
Classicist Michael Grant stated that standard historical criteria prevent one from rejecting the existence of a historical Jesus.
Professor of Divinity James Dunn describes the mythical Jesus theory as a ‘thoroughly dead thesis’.
Christians profess Jesus to be the only Son of God, the Lord, and the eternal Word (which is a translation of the Greek ''Logos''), who became man in the incarnation, so that those who believe in him might have eternal life. They further hold that he was born of the Virgin Mary by the power of the Holy Spirit in an event described as the miraculous virgin birth or incarnation. Christians believe that Christ is the true head of the one holy universal and apostolic church.
Orthodox Christians believe that the Godhead is triune, a "Trinity", and that Jesus, as the second person of the Trinity, is fully God. As the 6th-century Athanasian Creed says, the Trinity is "one God" and "three persons... and yet they are not three Gods, but one God." Some unorthodox Christian groups do not accept the doctrine of the Trinity, including The Church of Jesus Christ of Latter-day Saints (LDS Church), Unitarianism, Jehovah's Witnesses, Oneness Pentecostals, Sabbatarian Churches of God and the Christadelphians. (See also Nontrinitarianism.)
Christians consider the Gospel and other New Testament accounts of Jesus to be divinely inspired. Christian writers, such as Benedict XVI, proclaim the Jesus of the Gospels, discounting the historical reconstruction of Jesus as entirely inadequate.
Judaism, including Orthodox Judaism, Hareidi Judaism, Reform Judaism, Karaite Judaism, Conservative Judaism, and Reconstructionist Judaism, rejects the idea of Jesus being God, or a person of a Trinity, or a mediator to God. Judaism also holds that Jesus is not the Messiah, arguing that he had not fulfilled the Messianic prophecies in the Tanakh nor embodied the personal qualifications of the Messiah. According to Jewish tradition, there were no more prophets after Malachi, who lived centuries before Jesus and delivered his prophesies about 420 BC/BCE.
The Talmud includes stories which some consider accounts of Jesus in the Talmud, although there is a spectrum from scholars, such as Maier (1978), who considers that only the accounts with the name ''Yeshu'' refer to the Christian Jesus, and that these are late redactions, to scholars such as Klausner (1925), who suggested that accounts related to Jesus in the Talmud may contain traces of the historical Jesus. However the majority of contemporary historians disregard this material as providing information on the historical Jesus. Many contemporary Talmud scholars view these as comments on the relationship between Judaism and Christians or other sectarians, rather than comments on the historical Jesus.
The ''Mishneh Torah'', an authoritative work of Jewish law, provides the last established consensus view of the Jewish community, in ''Hilkhot Melakhim'' 11:10–12 that Jesus is a "stumbling block" who makes "the majority of the world err to serve a divinity besides God". Because, is there a greater stumbling-block than this one? So that all of the prophets spoke that the Messiah redeems Israel, and saves them, and gathers their banished ones, and strengthens their commandments. And this one caused (nations) to destroy Israel by sword, and to scatter their remnant, and to humiliate them, and to exchange the Torah, and to make the majority of the world err to serve a divinity besides God. However, the thoughts of the Creator of the world — there is no force in a human to attain them because our ways are not God's ways, and our thoughts not God's thoughts. And all these things of Jesus the Nazarene, and of (Muhammad) the Ishmaelite who stood after him — there is no (purpose) but to straighten out the way for the King Messiah, and to restore all the world to serve God together. So that it is said, "Because then I will turn toward the nations (giving them) a clear lip, to call all of them in the name of God and to serve God (shoulder to shoulder as) one shoulder." Look how all the world already becomes full of the things of the Messiah, and the things of the Torah, and the things of the commandments! And these things spread among the far islands and among the many nations uncircumcised of heart.}}
According to Conservative Judaism, Jews who believe Jesus is the Messiah have "crossed the line out of the Jewish community". Reform Judaism, the modern progressive movement, states "For us in the Jewish community anyone who claims that Jesus is their savior is no longer a Jew and is an apostate".
In Islam, Jesus (Arabic: عيسى; `Īsā) is considered to be a Messenger of God and the Messiah who was sent to guide the Children of Israel with the Gospel. Jesus is seen in Islam as a precursor to Muhammad, and is believed by Muslims to have foretold the latter's coming. Jesus is mentioned more times in the Qur'an, by name, than Muhammad. According to the Qur'an, believed by Muslims to be God's final revelation, Jesus was born to Mary as the result of virginal conception, and was given the ability to perform miracles. Islamic traditions narrate that he will return to earth near the day of judgement to restore justice and defeat the Antichrist.
Although the view of Jesus having migrated to India has also been researched in the publications of independent historians with no affiliation to the movement, the Ahmadiyya Movement are the only religious organization to adopt these views as a characteristic of their faith. The general notion of Jesus in India is older than the foundation of the movement, and is discussed at length by Grönbold and Klatt.
The movement also interprets the second coming of Christ prophesied in various religious texts would be that of a person "similar to Jesus" (''mathīl-i ʿIsā''). Thus, Ahmadi's consider that the founder of the movement and his prophetical character and teachings were representative of Jesus and subsequently a fulfillment of this prophecy.
God is one and has manifested himself to humanity through several historic Messengers. Bahá'ís refer to this concept as Progressive Revelation, which means that God's will is revealed to mankind progressively as mankind matures and is better able to comprehend the purpose of God in creating humanity. In this view, God's word is revealed through a series of messengers: Moses, Jesus, Mohammed, Bahá'u'lláh (the founder of the Bahá'í Faith) among them. In the Book of Certitude, Bahá'u'lláh claims that these messengers have a two natures: divine and human. Examining their divine nature, they are more or less the same being. However, when examining their human nature, they are individual, with distinct personality. For example, when Jesus says "I and my Father are one", Bahá'ís take this quite literally, but specifically with respect to his nature as a Manifestation. When Jesus conversely stated "...And the Father himself, which hath sent me, hath borne witness of me", Bahá'ís see this as a simple reference to the individuality of Jesus. This divine nature, according to Bahá'u'lláh, means that any Manifestation of God can be said to be the return of a previous Manifestation, though Bahá'ís also believe that some Manifestations with specific missions return with a "new name", and a different, or expanded purpose. Bahá'ís believe that Bahá'u'lláh is, in both respects, the return of Jesus.
During the "lost years" not mentioned in the New Testament, Jesus reportedly studied in Nalanda and further in Tibet.
Manichaeism accepted Jesus as a prophet, along with Gautama Buddha and Zoroaster.
The New Age movement entertains a wide variety of views on Jesus. The creators of ''A Course In Miracles'' claim to trance-channel his spirit. However, the New Age movement generally teaches that Christhood is something that all may attain. Theosophists, from whom many New Age teachings originated (a Theosophist named Alice A. Bailey invented the term ''New Age''), refer to Jesus of Nazareth as the Master Jesus and believe he had previous incarnations.
Many writers emphasize Jesus' moral teachings. Garry Wills argues that Jesus' ethics are distinct from those usually taught by Christianity. The Jesus Seminar portrays Jesus as an itinerant preacher who taught peace and love, rights for women and respect for children, and who spoke out against the hypocrisy of religious leaders and the rich. Thomas Jefferson, one of the Founding Fathers of the United States and a deist, created the Jefferson Bible entitled "The Life and Morals of Jesus of Nazareth" that included only Jesus' ethical teachings because he did not believe in Jesus' divinity or any of the other supernatural aspects of the Bible.
Category:0s BC births Category:1st-century deaths Category:1st-century executions Category:Apocalypticists Category:Carpenters Category:Christian mythology Category:Christian religious leaders Category:Creator gods Category:Deified people Category:Founders of religions Category:God in Christianity Category:Islamic mythology Category:Jewish Messiah claimants Category:Life-death-rebirth gods Category:Messianism Category:New Testament people Category:People executed by crucifixion Category:People executed by the Roman Empire Category:People from Bethlehem Category:People from Nazareth Category:Prophets in Christianity Category:Prophets of Islam Category:Roman era Jews Category:Savior gods Category:Self-declared messiahs Category:Rabbis of the Land of Israel
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