name	Circus
types	Contemporary circus
ancestor	Drama
culture	Ancient Rome
era	}}

A circus is commonly a travelling company of performers that may include acrobats, clowns, trained animals, trapeze acts, musicians, hoopers, tightrope walkers, jugglers, unicyclists and other stunt-oriented artists. The word also describes the performance that they give, which is usually a series of acts that are choreographed to music and introduced by a "ringmaster".A traditional circus performance is normally held in a ring 13m , (42ft) in diameter this dimension was adopted by Philip Astley to enable a horse rider to stand upright on a cantering horse to perform a series of acrobatic manoeuvres and to more easily retain their balance. Most modern circuses have a system of tiered seating around the ring for the public and since the late 19th early 20th century the performance has taken place under canvas and more recently plastic tents commonly called "The Big Top" .

Etymology

First attested in English 14th century, the word ''circus'' derives from Latin "circus", which is the romanization of the Greek "κίρκος" (''kirkos''), itself a metathesis of the Homeric Greek "κρίκος" (''krikos''), meaning "circle" or "ring".

History

Origin

In Ancient Rome, the circus was a building for the exhibition of horse and chariot races, equestrian shows, staged battles, displays featuring trained animals, jugglers and acrobats. The circus of Rome is thought to have been influenced by the Greeks, with chariot racing and the exhibition of animals as traditional attractions. The Roman circus consisted of tiers of seats running parallel with the sides of the course, and forming a crescent around one of the ends. The lower seats were reserved for persons of rank; there were also various state boxes, e.g. for the giver of the games and his friends. In Ancient Rome the circus was the only public spectacle at which men and women were not separated.

The first circus in Rome was the Circus Maximus, in the valley between the Palatine and Aventine hills. It was constructed during the monarchy and, at first, built completely from wood. After being rebuilt several times, the final version of the Circus Maximus could seat 250,000 people; it was built of stone and measured 400 m in length and 90 m in width. Next in importance to the Circus Maximus in Rome were the Circus Flaminius and the Circus Neronis, from the notoriety which it obtained through the Circensian pleasures of Nero. A fourth, the Circus of Maxentius, was constructed by Maxentius; the ruins of this circus have helped archaeologists to reconstruct the Roman circus.

For some time after the fall of Rome, Europe lacked a large and animal-rich circus. Itinerant showmen travelled the fair grounds of Europe. Animal trainers and performers are thought to have exploited the nostalgia for the Roman circus, traveling between towns and performing at local fairs. Another possible link between the Roman and modern circus could have been bands of Gypsies who appeared in Europe in the 14th century and in Britain from the 15th century, bringing with them circus skills and trained animals.

Development

The modern concept of a circus as a circular arena surrounded by tiers of seats, for the exhibition of equestrian, acrobatic and other performances seems to have existed since the late 18th century. The popularity of the circus in England may be traced to that held by Philip Astley in London. The first performance of his circus is said to have been held on January 9, 1768. One of Astley's major contributions to the circus was bringing trick horse-riding into a ring, though Astley referred to it as the Circle. Later, to suit equestrian acts moving from one circus to another, the diameter of the circus ring was set at 42 feet (13 m), which is the size of ring needed for horses to circle comfortably at full gallop. Astley never called his performances a 'circus'; that title was thought up by his rival John Hughes, who set up his Royal Circus a short distance from Astley's 'Amphitheatre of Equestrian Arts' in Lambeth, London. When Astley added tumblers, tightrope-walkers, jugglers, performing dogs, and a clown to fill time between his own demonstrations, he created a modern circus.

Astley was followed by Andrew Ducrow, whose feats of horsemanship had much to do with establishing the traditions of the circus, which were perpetuated by Henglers and Sangers celebrated shows in a later generation. In England circuses were often held in purpose built buildings in large cities, such as the London Hippodrome, which was built as a combination of the circus, the menagerie and the variety theatre, where wild animals such as lions and elephants from time to time appeared in the ring, and where convulsions of nature such as floods, earthquakes and volcanic eruptions have been produced with an extraordinary wealth of realistic display. Antonio Franconi, the founder of the French circus, is credited by many to be a co-creator of the modern circus, along with Philip Astley.

The Englishman John Bill Ricketts brought the first modern circus to the United States. He began his theatrical career with Hughes Royal Circus in London in the 1780s, and came over from England in 1792 to establish his first circus in Philadelphia. The first circus building in the U.S opened on April 3, 1793 in Philadelphia, where Ricketts gave America's first complete circus performance. George Washington attended a performance there later that season.

In the Americas of the first two decades of the 19th century, the Circus of Pepin and Breschard toured from Montreal to Havana, building circus theatres in many of the cities it visited. Victor Pépin, a native New Yorker, was the first American to operate a major circus in the United States. Later the establishments of Purdy, Welch & Co., and of van Amburgh gave a wider popularity to the circus in the United States. In 1825 Joshuah Purdy Brown was the first circus owner to use a large canvas tent for the circus performance. Circus pioneer Dan Rice was probably the most famous circus and clown pre-Civil War, popularizing such expressions as "The One-Horse Show" and "Hey, Rube!". The American circus was revolutionized by P. T. Barnum and William Cameron Coup, who launched P. T. Barnum's Museum, Menagerie & Circus, a travelling combination of animal and human oddities, the exhibition of humans as a freak show or sideshow was thus an American invention. Coup was also the first circus entrepreneur to use circus trains to transport the circus from town to town; a practice that continues today and introduced the first multiple ringed circuses.

In 1840 the equestrian Thomas Cooke returned to England from the United States, bringing with him a circus tent. At this time, itinerant circuses were becoming popular in Britain. William Batty's circus, for example, between 1838 and 1840, traveled from Newcastle to Edinburgh and then to Portsmouth and Southhampton. Pablo Fanque, who is noteworthy as Britain's only black circus proprietor and who operated one of the most celebrated traveling circuses in Victorian England, erected temporary structures for his limited engagements or retrofitted existing structures. One such structure in Leeds, which Fanque assumed from a departing circus, collapsed, resulting in minor injuries to many but the death of Fanque's wife. Three important circus innovators were Italian Giuseppe Chiarini, and Frenchmen Louis Soullier and Jacques Tourniaire, whose early travelling circuses introduced the circus to Latin America, Australia, South East Asia, China, South Africa and Russia. Soullier was the first circus owner to introduce Chinese acrobatics to the European circus when he returned from his travels in 1866 and Tourniaire was the first to introduce the performing art to Ranga where it became extremely popular. Following Barnum's death his circus merged with that of James Anthony Bailey, and traveled to Europe as The Barnum & Bailey Greatest Show On Earth where it toured from 1897 to 1902, impressing other circus owners with its large scale, its touring techniques including the tent and circus train and the combination of circus acts, zoological exhibition and the freak show. This format was adopted by European circuses at the turn of the 20th century.

The influence of the American circus brought about a considerable change in the character of the modern circus. In arenas too large for speech to be easily audible, the traditional comic dialog of the clown assumed a less prominent place than formerly, while the vastly increased wealth of stage properties relegated to the background the old-fashioned equestrian feats, which were replaced by more ambitious acrobatic performances, and by exhibitions of skill, strength and daring, requiring the employment of immense numbers of performers and often of complicated and expensive machinery. In 1919, Lenin, head of the USSR, expressed a wish for the circus to become 'the people's art-form', given facilities and status on a par with theatre, opera and ballet. The USSR nationalized the Soviet circuses. In 1927 the State University of Circus and Variety Arts, better known as the Moscow Circus School was established where performers were trained using methods developed from the Soviet gymnastics program. When the Moscow State Circus company began international tours in the 1950s, its levels of originality and artistic skill were widely applauded, and the high standard of the Russian State circus continues to this day.

Circuses from China, drawing on Chinese traditions of acrobatics, like the Chinese State Circus are also popular touring acts. The International Circus Festival of Monte-Carlo has been held in Monte Carlo since 1974 and was the first of many international awards for circus performers. In the 1960s and 1970s, the circus began to lose popularity as the general public became more interested in alternative forms of entertainment such as movies, music, and TV shows. Some circuses stayed afloat by merging with other circus companies. However a good number of old-fashioned traveling circuses with their usual mixture of acrobat, clown and animal acts is still active in various parts of the world ranging from small family enterprises on the edge of survival to the three ring extravaganzas like Vazquez Hermanos Circus in Mexico. Other companies found new ways to draw in the public with innovative new approaches to the circus form itself.

Contemporary types

Contemporary circus (originally known as ''nouveau cirque'') is a recent performing arts movement that originated in the 1970s in Australia, Canada, France, the West Coast of the United States, and the United Kingdom. Contemporary circus combines traditional circus skills and theatrical techniques to convey a story or theme. Compared with the traditional circus, the contemporary genre of circus tends to focus more attention on the overall aesthetic impact, on character and story development, and on the use of lighting design, original music, and costume design to convey thematic or narrative content. For aesthetic or economic reasons, contemporary circus productions may sometimes be staged in theaters rather than in large outdoor tents. Music used in the production is often composed exclusively for that production, and aesthetic influences are drawn as much from contemporary culture as from circus history. Animal acts appear less frequently in contemporary circus than in traditional circus.

Early examples of ''nouveau cirque'' companies include: Circus Oz, forged in Australia in 1978 from SoapBox Circus and New Circus, both founded in the early 1970s; the Pickle Family Circus, founded in San Francisco in 1975; Nofit State Circus in 1984 from Wales; Cirque du Soleil, founded in Quebec in 1984; and Archaos in 1986. More recent examples include: Teatro ZinZanni, founded in Seattle in 1998; Quebec's Cirque Éloize; Les 7 doigts de la main (also known as The 7 Fingers); and the West African Circus Baobab in the late 1990s. The genre includes other circus troupes such as the Vermont-based Circus Smirkus (founded in 1987 by Rob Mermin), Le Cirque Imaginaire (later renamed Le Cirque Invisible, both founded and directed by Victoria Chaplin, daughter of Charlie Chaplin), the Tiger Lillies, Dislocate, and Vulcana Women's Circus, while The Jim Rose Circus is an interesting take on the sideshow. Swedish contemporary circus company Cirkus Cirkör was founded in 1995. U.S. Company PURE Cirkus was founded in the subgenre of "cirque noir" in 2004, and in Northern England, (United Kingdom), Skewed Circus combines punk, rap, dance music, comedy, and stunts to deliver "pop-circus" entertainment to young urban audiences.

The most conspicuous success story in the contemporary genre has been that of Cirque du Soleil, the Canadian circus company whose estimated annual revenue now exceeds US$810 million, and whose ''nouveau cirque'' shows have been seen by nearly 90 million spectators in over 200 cities on five continents. Despite the contemporary circus' shift toward more theatrical techniques and its emphasis on human rather than animal performance, traditional circus companies still exist alongside the new movement. Numerous circuses continue to maintain animal performers, including Ringling Brothers and Barnum and Bailey Circus, UniverSoul Circus, and the Big Apple Circus from the United States, Circus Krone from Munich, Circus Royale and Lennon Bros Circus from Australia, Vazquez Hermanos Circus, Circo Atayde Hermanos, and Hermanos Mayaror Circus from Mexico, and Moira Orfei Circus from Italy, to name just a few.

Performance

A traditional circus performance is often led by a ringmaster who has a role similar to a Master of Ceremonies. The ringmaster presents performers, speaks to the audience, and generally keeps the show moving. The activity of the circus traditionally takes place within a ring; large circuses may have multiple rings, like the six-ringed Moscow State Circus. A circus often travels with its own band, whose instrumentation in the United States has traditionally included brass instruments, drums, glockenspiel, and sometimes the distinctive sound of the calliope.

Acts

Common acts include a variety of acrobatics, gymnastics (including tumbling and trampoline), aerial acts (such as trapeze, aerial silk, corde lisse), contortion, stilts and a variety of other routines. Juggling is one of the most common acts in a circus; the combination of juggling and gymnastics is called equilibristics and include acts like plate spinning or the rolling globe. Clowns are common to most circuses and are typically skilled in many circus acts; "clowns getting into the act" is a very familiar theme in any circus. Famous circus clowns have included Austin Miles, the Fratellini Family, Emmett Kelly, Grock and Bill Irwin.

Daredevil stunt acts and sideshow acts are also parts of some circus acts, these activities may include human cannonball, chapeaugraphy, fire eating, breathing and dancing, knife throwing, magic shows, sword swallowing or strongman. Famous sideshow performers include Zip the Pinhead and The Doll Family. A popular sideshow attraction from the early 19th century was the flea circus, where fleas were attached to props and viewed through a Fresnel lens.

Animal acts

A variety of animals have historically been used in acts. While the types of animals used vary from circus to circus, big cats, elephants, horses, birds, sea lions, bears and domestic animals are the most common.

The earliest involvement of animals in circus was just the display of exotic creatures. As far back as the early eighteenth century, exotic animals were transported to North America for display, and menageries were a popular form of entertainment. The first true animals acts in the circus were equestrian acts. Soon elephants and big cats were displayed as well. Isaac A. Van Amburgh entered a cage with several big cats in 1833, and is generally considered to be the first wild animal trainer in American circus history. Mabel Stark was a famous female tiger-tamer.

Controversy

Animal welfare groups have documented many cases of animal cruelty in the training of performing circus animals. The animal rights group People for the Ethical Treatment of Animals (PETA) contends that animals in circuses are frequently beaten into submission and that physical abuse has always been the method for training circus animals. According to PETA, although the US Animal Welfare Act does not permit the use of electric shock prods, whips, hooks, or similar instruments by trainers, these are still used today. According to PETA, during an undercover investigation of Carson & Barnes Circus, video footage was captured showing animal care director Tim Frisco training endangered Asian elephants with electrical shock prods and instructing other trainers to "beat the elephants with a bullhook as hard as they could and to sink the sharp metal bullhook into the animals' flesh and twist it until they screamed in pain."

In testimony in U.S. District Court in 2009, Ringling Bros. and Barnum & Bailey Circus CEO Kenneth Feld acknowledged that circus elephants are struck behind the ears, under the chin and on their legs with metal tipped prods, called bull hooks. Feld stated that these practices are necessary to protect circus workers. Feld also acknowledged that an elephant trainer was reprimanded for using an electric shock device, known as a hot shot or electric prod, on an elephant, which Feld also stated was appropriate practice. Feld denied that any of these practices harm elephants. In its January 2010 verdict on the case, brought against Feld Entertainment International by the American Society for the Prevention of Cruelty to Animals 'et al.', the Court ruled that evidence against the circus company was "not credible with regard to the allegations".

On February 1, 1992 at the Great American Circus in Palm Bay, Florida, an elephant named Janet (1965 – February 1, 1992) went berserk while giving a ride to a mother, her two children and three other children. The elephant then stampeded through the circus grounds outside before being shot to death by police. Also, during a Circus International performance in Honolulu, Hawaii on 20 August 1994, an elephant called Tyke (1974 – August 20, 1994) killed her trainer, Allen Campbell, and severely mauled her groomer, Dallas Beckwith, in front of hundreds of horrified spectators. Tyke then bolted from the arena and ran through the streets of Kakaako for more than thirty minutes. Police fired 86 shots at Tyke who eventually collapsed from the wounds and died.

In 1998 in the UK, a parliamentary working group chaired by MP Roger Gale studied living conditions and treatment of animals in UK circuses. All members of this group agreed that a change in the law was needed to protect circus animals. Mr Gale told the BBC, "It's undignified and the conditions under which they are kept are woefully inadequate—the cages are too small, the environments they live in are not suitable and many of us believe the time has come for that practice to end." The group reported concerns about boredom and stress, and noted that an independent study by a member of the Wildlife Conservation Research Unit at Oxford University "found no evidence that circuses contribute to education or conservation." However, in 2007 a different working group under the UK Department for Environment, Food and Rural Affairs, having reviewed information from experts representing both the circus industry and animal welfare, found an absence of "scientific evidence sufficient to demonstrate that travelling circuses are not compatible with meeting the welfare needs of any type of non-domesticated animal presently being used in the United Kingdom." According to that group's report, published in October 2007, "there appears to be little evidence to demonstrate that the welfare of animals kept in travelling circuses is any better or any worse than that of animals kept in other captive environments."

Sweden, Austria, Costa Rica, India, Finland, Singapore, Switzerland, and Denmark have already restricted the use of animals in entertainment. In response to a growing popular concern about the use of animals in entertainment, animal-free circuses are becoming more common around the world. Israel has banned any animal from performing in any circus. In 2009, Bolivia passed legislation banning the use of any animals, wild or domestic, in circuses. The law states that circuses "constitute an act of cruelty." Circus operators had one year from the bill's passage on July 1, 2009 to comply.

In music, films, plays, and books

The atmosphere of the circus has served as a dramatic setting for many musicians. The famous circus theme song is actually called "Entrance of the Gladiators", and was composed in 1904 by Julius Fučík. Other circus music includes "El Caballero", "Quality Plus", "Sunnyland Waltzes", "The Storming of El Caney", "Pahjamah", "Bull Trombone", "Big Time Boogie", "Royal Bridesmaid March", "The Baby Elephant Walk", "Liberty Bell March", "Java", Strauss's "Radetsky March", and "Pageant of Progress". A poster for Pablo Fanque's Circus Royal, one of the most popular circuses of Victorian England, inspired John Lennon to write Being for the Benefit of Mr. Kite! on The Beatles' album, Sgt. Pepper's Lonely Hearts Club Band. The song title refers to William Kite, a well-known circus performer in the 19th century. Producer George Martin and EMI engineers created the song’s fairground atmosphere, one that epitomizes the feel of the entire album, by assembling a sound collage of collected recordings of calliopes and fairground organs, which they cut into strips of various lengths, threw into a box, and then mixed up and edited together randomly, creating a long loop which was mixed into the final production.

Plays set in a circus include the 1896 musical ''The Circus Girl'' by Lionel Monckton, ''Polly of the Circus'' written in 1907 by Margaret Mayo, ''He Who Gets Slapped'' written by Russian Leonid Andreyev 1916 and later adapted into one of the first circus films, ''Caravan'' written in 1932 by Carl Zuckmayer, the revue ''Big Top'' written by Herbert Farjeon in 1942, ''Top of the Ladder'' written by Tyrone Gutheris in 1950, ''Stop the World, I Want to Get Off'' written by Anthony Newley in 1961, and ''Barnum'' with music by Cy Coleman and lyrics and book by Mark Bramble.

Following World War I, circus films became popular; in 1924 ''He Who Gets Slapped'' was the first film released by MGM; in 1925 ''Sally of the Sawdust'' (remade 1930), ''Variety'', and ''Vaudeville'' were produced, followed by ''The Devil's Circus'' in 1926 and ''The Circus'' starring Charlie Chaplin, ''Circus Rookies'', ''4 Devils''; and ''Laugh Clown Laugh'' in 1928. German film ''Salto Mortale'' about trapeze artists was released in 1930 and remade in the United States and released as ''Trapeze'' starring Burt Lancaster in 1956; in 1932 ''Freaks'' was released; ''Charlie Chan at the Circus'', ''Circus'' (USSR) and ''The Three Maxiums'' were released in 1936 and ''At the Circus'' starring the Marx Brothers and ''You Can't Cheat an Honest Man'' in 1939. Circus films continued to be popular during the Second World War, ''The Great Profile'' starring John Barrymore was released in 1940, the animated Disney film ''Dumbo'', ''Road Show'' and ''The Wagons Roll at Night'' in 1941 and ''Captive Wild Woman'' in 1943.

The film ''Tromba'', about a tiger trainer was released in 1948 and in 1952 Cecil B. de Mille's Oscar winning film ''The Greatest Show on Earth'' was first shown. Released in 1953 were ''Man on a Tightrope'' and Ingmar Bergman's ''Gycklarnas afton'' released as ''Sawdust and Tinsel'' in the United States; ''Life is a Circus''; ''Ring of Fear''; ''3 Ring Circus'' and ''La strada'' an Oscar winning film by Federico Fellini about a girl who is sold to a circus strongman; Fellini made a second film set in the circus called ''The Clowns'' in 1970. Films about the circus made since 1959 include B-movie ''Circus of Horrors'', musical ''Billy Rose's Jumbo'', ''A Tiger Walks'' a Disney film about a tiger that escapes from the circus and ''Circus World'' starring John Wayne. In the film ''Jungle Emperor Leo'', Leo's son, Lune, is captured and placed in a circus, which burns down when a tiger knocks down a ring of fire while jumping through it.

The TV series ''Circus Humberto'', based on the novel by Eduard Bass, follows the history of the circus family Humberto between 1826 and 1924. The setting of the HBO television series Carnivàle, which ran from 2003 to 2005, is also largely set in a traveling circus. The circus has also inspired many writers. Numerous books, both non-fiction and fiction, have been published about circus life. Notable examples of circus-based fiction include ''Circus Humberto'' by Eduard Bass, Cirque Du Freak by Darren Shan, and ''Spangle'' by Gary Jennings. The novel "Water for Elephants" by Sara Gruen tells the fictional tale of a circus veterinarian and was made into a movie with the same title starring Robert Pattinson and Reese Witherspoon.

Buildings

In some towns, there are circus buildings where regular performances are held. The best known are

Circus Krone Building in Munich

Moscow Circus on Tsvetnoy Boulevard in Moscow

Shanghai Circus World in Shanghai

Cirque d'Hiver, Paris

Budapest Circus

Blackpool Tower Circus

Hippodrome Circus, Great Yarmouth

In other countries, purpose-built circus buildings still exist which are no longer used as circuses, or are used for circus only occasionally among a wider programme of events; for example, the Cirkusbygningen (The Circus Building) in Copenhagen, Denmark or Cirkus in Stockholm, Sweden.

See also

Acrobatics

Aerobatics

Animal training

Chautauqua, tent shows that preceded American circus

Circus clown

Circus skills

Cirque du Soleil

Clown

Contemporary circus

Dog and pony show

List of circuses and circus owners

Notes

References

Croft-Cooke, Rupert and Cotes, Peter. 1976. ''Circus: A World History''. Elek. London ISBN 0-236-40051-7

Johnson, William M. 1990. ''The Rose-Tinted Menagerie''. Iridescent Publishing

National Museum of Performing Arts, Theatre Museum. ''Circus Guided Tour''

Further reading

—provides an overview of "low-yield research" into the history of the American Circus as covered in "ragcontent newspapers [and] magazines [such as] ''White Tops''".

External links

Dictionary of Circus Slang (American and British/European)

Circopedia

Will-o'-the-Wisp Fire Circus, Australia

Long Shadows, Circus of Stilt Walkers

Internet forum for circus performers

Circus Category:Greek loanwords

af:Sirkus ar:سيرك az:Sirk be:Цырк be-x-old:Цырк bg:Цирк ca:Circ cs:Cirkus da:Cirkus de:Zirkus et:Tsirkus es:Circo eo:Cirkartoj fa:سیرک fr:Cirque ko:서커스 hy:Կրկես hi:सर्कस hr:Cirkus io:Cirko id:Sirkus it:Circo he:קרקס ka:ცირკი kk:Цирк la:Circus lv:Cirks lt:Cirkas hu:Cirkusz ml:സർ‌ക്കസ് ms:Sarkas nl:Circus (attractie) ja:サーカス no:Sirkus uz:Sirk pcd:Chirque pl:Cyrk (rozrywka) pt:Circo ro:Circ rue:Ціркус ru:Цирк scn:Circu simple:Circus sk:Cirkus sh:Cirkus fi:Sirkus sv:Cirkus tl:Sirko (pagtatanghal) ta:வட்டரங்கு te:సర్కస్ th:ละครสัตว์ tg:Сирк tr:Sirk uk:Цирк (мистецтво) vi:Xiếc yi:צירקוס zh-yue:馬戲團 zh:马戏

years active	1992–present
background	solo_singer
birth name	Britney Jean Spears
birth date	December 02, 1981
birth place
genre	Pop, dance
occupation	Singer, songwriter, dancer, actress, record producer, author, fashion designer, video director
instrument	Vocals, piano
label	Jive
associated acts	InnosenseThe New Mickey Mouse Club
website	}}

Britney Jean Spears (born 1981) is an American recording artist and entertainer. Born in McComb, Mississippi, and raised in Kentwood, Louisiana, Spears began performing as a child, landing acting roles in stage productions and television shows. She signed with Jive Records in 1997 and released her debut album ''...Baby One More Time'' in 1999. During her first decade within the music industry, she became a prominent figure in mainstream popular music and popular culture, followed by a much-publicized personal life. Her first two albums established her as a pop icon and broke sales records, while title tracks "...Baby One More Time" and "Oops!... I Did It Again" became international number-one hits. Spears was credited with influencing the revival of teen pop during the late 1990s.

In 2001, she released her third studio album ''Britney'' and expanded her brand, playing the starring role in the film ''Crossroads''. She assumed creative control of her fourth studio album, ''In the Zone'' (2003), which yielded chart-topping singles "Me Against the Music", "Toxic" and "Everytime". After the release of two compilation albums, Spears experienced personal struggles and her career went under hiatus. Her fifth studio album, ''Blackout'', was released in 2007 and despite receiving little promotion, it spawned hits "Gimme More" and "Piece of Me". In 2008, her erratic behavior and hospitalizations caused her to be placed in a conservatorship. The same year, her sixth studio album ''Circus'' was released, with the global chart-topping lead single "Womanizer". She embarked on her highest-grossing global concert tour, The Circus Starring Britney Spears, in 2009. Her seventh studio album ''Femme Fatale'', released in 2011, has become the first of her albums to yield three top ten singles in the United States.

Spears has sold over 100 million records worldwide. According to the Recording Industry Association of America (RIAA), she is the eighth top-selling female artist in the United States, with 33 million certified albums. Spears is also recognized as the best-selling female artist of the first decade of the 21st century, as well as the fifth overall. She was ranked the 8th Artist of the 2000s by ''Billboard''. In June 2010, Spears was ranked sixth on ''Forbes'' list of the 100 Most Powerful and Influential celebrities in the world; she is also the third most mentioned musician on the internet, according to ''Forbes''.

Biography

1981–97: Early life and career beginnings

Britney Jean Spears was born on December 2, 1981, the second child of Lynne Irene (née Bridges) and James Parnell Spears. She is of English heritage through her maternal grandmother, who was born in London, and of distant Maltese descent. Her siblings are Bryan James and Jamie Lynn. At age three, she started to attend dance lessons in her hometown of Kentwood, Louisiana, and was selected to perform a solo at the annual recital. During her childhood, she also attended gymnastics and voice lessons, and won many state-level competitions and children's talent shows. Spears made her local stage debut at age five, singing "What Child Is This?" at her kindergarten graduation. She said about her ambition as a child, "I was in my own world, [...] I found out what I'm supposed to do at an early age". At age eight, Spears and her mother Lynne traveled to Atlanta for an audition in the 1990s revival of ''The Mickey Mouse Club''. Casting director Matt Cassella rejected her for being too young to join the series at the time, but introduced her to Nancy Carson, a New York City talent agent. Carson was impressed with Spears's vocals and suggested enrolling her at the Professional Performing Arts School; shortly after, Lynne and her daughters moved to a sublet apartment in New York. Spears was hired for her first professional role as the understudy for the lead role of Tina Denmark in the Off-Broadway musical ''Ruthless!''. She also appeared as a contestant on the popular television show ''Star Search'', as well as being cast in a number of commercials. In December 1992, she was finally cast in ''The Mickey Mouse Club'', but returned to Kentwood after the show was canceled. She enrolled at Parklane Academy in nearby McComb, Mississippi. Although she made friends with most of her classmates, she compared the school to "the opening scene in ''Clueless'' with all the cliques. [...] I was so bored. I was the point guard on the basketball team. I had my boyfriend, and I went to homecoming and Christmas formal. But I wanted more."

In June 1997, Spears was in talks with manager Lou Pearlman to join female pop group Innosense. Lynne asked family friend and entertainment lawyer Larry Rudolph for his opinion and submitted a tape of Spears singing over a Whitney Houston karaoke song along with some pictures. Rudolph decided he wanted to pitch her to record labels, therefore she needed a professional demo. He sent Spears an unused song from Toni Braxton; she rehearsed for a week and recorded her vocals in a studio with a sound engineer. Spears traveled to New York with the demo and met with executives from four labels, returning to Kentwood the same day. Three of the labels rejected her, arguing audiences wanted pop bands such as the Backstreet Boys and the Spice Girls, and "there wasn't going to be another Madonna, another Debbie Gibson, or another Tiffany." Two weeks later, executives from Jive Records returned calls to Rudolph. Senior vice president of A&R; Jeff Fenster stated about Spears's audition that "It's very rare to hear someone that age who can deliver emotional content and commercial appeal. [...] For any artist, the motivation—the 'eye of the tiger'— is extremely important. And Britney had that." They appointed her to work with producer Eric Foster White for a month, who reportedly shaped her voice from "lower and less poppy" delivery to "distinctively, unmistakably Britney." After hearing the recorded material, president Clive Calder ordered a full album. Spears had originally envisioned "Sheryl Crow music, but younger more adult contemporary" but felt all right with her label's appointment of producers, since "It made more sense to go pop, because I can dance to it—it's more me." She flew to Cheiron Studios in Stockholm, Sweden, where half of the album was recorded from March to April 1998, with producers Max Martin, Denniz Pop and Rami Yacoub, among others.

1998–00: ''...Baby One More Time'' and ''Oops!... I Did It Again''

After Spears returned to the United States, she embarked on a shopping mall promotional tour to promote her forthcoming album. Her show was a four song set and she was accompanied by two back up dancers. Her first concert tour followed, as an opening act for 'N Sync. Her debut album, ''...Baby One More Time'', was released on January 1999. It debuted at number one on the U.S. ''Billboard'' 200 and was certified two-times platinum by the Recording Industry Association of America after a month. Worldwide, the album topped the charts in fifteen countries and sold over ten million copies in a year. It became the biggest selling album ever by a teenage artist. The title track was released as the lead single from the album. Originally, Jive Records wanted its music video to be animated; however, Spears rejected it, and suggested the final idea of a Catholic schoolgirl. The single sold 500,000 copies on its first day, and peaked at number one on the Billboard Hot 100, topping the chart for two consecutive weeks. "...Baby One More Time" later received a Grammy nomination for Best Female Pop Vocal Performance. The title track also topped the singles chart for two weeks in the United Kingdom, and became the fastest-selling single ever by a female artist, shipping over 460,000 copies. It would later become the 25th most successful song of all time in British chart history. Spears is also the youngest female artist to have a million seller in the country. "(You Drive Me) Crazy" was released as the third single from the album. It became a top-ten hit worldwide and propelled ''...Baby One More Time'' to sell 26 million copies.

The April 1999 cover of ''Rolling Stone'' featured Spears lying on her bed, clad with a bra, shorts and an open top. The American Family Association (AFA) referred to the shoot as "a disturbing mix of childhood innocence and adult sexuality" and called to "God-loving Americans to boycott stores selling Britney's albums." Spears responded to the outcry commenting, "What's the big deal? I have strong morals. [...] I'd do it again. I thought the pictures were fine. And I was tired of being compared to Debbie Gibson and all of this bubblegum pop all the time." Shortly before, Spears had announced publicly she would remain a virgin until marriage. On June 28, 1999, Spears began her first headlining ...Baby One More Time Tour in North America, which was positively received by critics, but generated some controversy due to her racy outfits. An extension of the tour, titled Crazy 2k, followed in March 2000. Spears premiered songs from her upcoming second album during the show. ''Oops!... I Did It Again'', her second studio album, was released in May 2000. It debuted at number one in the US, selling 1,3 million copies, breaking the SoundScan record for the highest debut sales by any solo artist. The album sold over 20 million copies worldwide. Rob Sheffield of ''Rolling Stone'' said that "the great thing about ''Oops!'' – under the cheese surface, Britney's demand for satisfaction is complex, fierce and downright scary, making her a true child of rock & roll tradition." The album's lead single, "Oops!... I Did It Again", peaked at the top of the charts in Australia, New Zealand, the United Kingdom and many other European nations. The album as well as the title track received Grammy nominations for Best Pop Vocal Album and Best Female Pop Vocal Performance, respectively.

The same year, Spears embarked on the Oops!... I Did It Again World Tour, which grossed $40.5 million; she also released her first book, ''Britney Spears' Heart-to-Heart'', co-written with her mother. On September 7, 2000, Spears performed at the 2000 MTV Video Music Awards. Halfway through the performance, she ripped off her black suit to reveal a sequined flesh-colored bodysuit, followed by heavy dance routine. It is noted by critics as the moment that Spears showed signs of becoming a more provocative performer. Amidst media speculation, Spears confirmed she was dating 'N Sync member Justin Timberlake.

2001–03: ''Britney'', ''Crossroads'' and ''In the Zone''

In February 2001, Spears signed a $7–8 million promotional deal with Pepsi, and released another book co-written with her mother, entitled ''A Mother’s Gift''. Her third studio album, ''Britney'', was released in November 2001. While on tour, she felt inspired by hip hop artists such as Jay-Z and The Neptunes and wanted to create a record with a funkier sound. The album debuted at number one in the ''Billboard'' 200 and reached top five positions in Australia, the United Kingdom and mainland Europe and sold over 12 million copies worldwide. Stephen Thomas Erlewine of Allmusic called ''Britney'' "the record where she strives to deepen her persona, making it more adult while still recognizably Britney. [...] It does sound like the work of a star who has now found and refined her voice, resulting in her best record yet." The album was honored with two Grammy nominations—Best Pop Vocal Album and Best Female Pop Vocal Performance for "Overprotected"— and was listed in 2008 as one of ''Entertainment Weekly'''s "100 Best Albums from the Past 25 Years". The album's first single, "I'm a Slave 4 U", became a top-ten hit worldwide.

Spears's performance of the single at the 2001 MTV Video Music Awards featured a caged tiger and a large albino python draped over her shoulders. It was harshly received by animal rights organization PETA, who claimed the animals were mistreated and scrapped plans for an anti-fur billboard that was to feature Spears. To support the album, Spears embarked on the Dream Within a Dream Tour. The show was critically praised for its technical innovations, the ''pièce de résistance'' being a water screen that pumped two tons of water into the stage. The tour grossed $43.7 million, becoming the second highest grossing tour of 2002 by a female artist, behind Cher's Farewell Tour. Her career success was highlighted by ''Forbes'' in 2002, as Spears was ranked the world's most powerful celebrity. Spears also landed her first starring role in ''Crossroads'', released in February 2002. Although the film was largely panned, most critics actually praised Spears's acting. ''Crossroads'', which had a $11 million budget, went on to gross over $57 million worldwide. In June 2002, Spears opened her first restaurant, Nyla, in New York City, but terminated her relationship in November, citing mismanagement and "management's failure to keep her fully apprised". In July 2002, Spears announced she would take a six month break from her career; however, she went back into the studio in October to record her new album. Spears's relationship with Justin Timberlake ended after three years. In December 2002, Timberlake released the song "Cry Me a River" as the second single from his solo debut album. The music video featured a Spears look-alike and fueled the rumors that she had been unfaithful to him. As a response, Spears wrote the ballad "Everytime" with her backing vocalist and friend Annet Artani. The same year, Limp Bizkit frontman Fred Durst confirmed that he was in a relationship with Spears, only to deny it later. In a 2009 interview, he explained that "I just guess at the time it was taboo for a guy like me to be associated with a gal like her." Spears opened the 2003 MTV Video Music Awards with Christina Aguilera, performing "Like a Virgin". Halfway through they were joined by Madonna, with whom they both kissed. The incident was highly publicized.

Spears released her fourth studio album, ''In the Zone'', in November 2003. She assumed more creative control by writing and co-producing most of the material. ''Vibe'' called it "A supremely confident dance record that also illustrates Spears's development as a songwriter." NPR listed the album as one of "The 50 Most Important Recording of the Decade", adding that "the decade's history of impeccably crafted pop is written on her body of work." ''In the Zone'' sold over 609,000 copies in the United States and debuted at the top of the charts, making Spears the first female artist in the SoundScan era to have her first four studio albums to debut at number one. It also debuted at the top of the charts in France and the top ten in Belgium, Denmark, Sweden and the Netherlands. ''In the Zone'' sold over 10 million copies worldwide. The album produced the hit singles: "Me Against the Music", a collaboration with Madonna; "Toxic"—which won a Grammy for Best Dance Recording; "Everytime" and "Outrageous".

2004–07: Compilation albums, motherhood, personal struggles and ''Blackout''

On January 3, 2004, Spears married childhood friend Jason Allen Alexander at The Little White Wedding Chapel in Las Vegas, Nevada. The marriage was annulled 55 hours later, stating that Spears "lacked understanding of her actions". She began The Onyx Hotel Tour in support of ''In the Zone'' in March 2004. On June 8, 2004, Spears fell and injured her left knee during the music video shoot for "Outrageous". She was taken immediately to a local hospital, where doctors performed an MRI scan and found floating cartilage. The following day, Spears underwent arthroscopic surgery. She was forced to remain six weeks with a thigh brace, followed by eight to twelve weeks of rehabilitation, which caused The Onyx Hotel Tour to be canceled. During 2004, Spears became involved in the Kabbalah Centre through her friendship with Madonna.

In July 2004, she announced her engagement to American dancer Kevin Federline, whom she had met three months before. The romance received intense attention from the media, since Federline had recently broken up with actress Shar Jackson, who was still pregnant with their second child at the time. The initial stages of their relationship were chronicled in Spears's first reality show ''Britney & Kevin: Chaotic''. They held a wedding ceremony on September 18, 2004, but were not legally married until three weeks later on October 6 due to a delay finalizing the couple's prenuptial agreement. Shortly after, she released her first fragrance with Elizabeth Arden, ''Curious'', which broke the company's first-week gross for a perfume. In October 2004, Spears announced she would be taking another career break to start a family. ''Greatest Hits: My Prerogative'', her first greatest hits compilation album, was released in November 2004. Spears's cover version of Bobby Brown's "My Prerogative" was released as the lead single from the album, reaching the top of the charts in Finland, Ireland, Italy and Norway. The second single, "Do Somethin'", was a top ten hit in Australia, the United Kingdom and other countries of mainland Europe. Worldwide, ''Greatest Hits: My Prerogative'' sold over 5 million copies. In late 2004, Spears went on KIIS-FM radio in Los Angeles, CA to play a new demo titled "Mona Lisa." The demo was to be the first single from an upcoming album called the "Original Doll." However, Spears' label later cancelled the album for unknown reasons. Spears gave birth to her first child, Sean Preston Federline, on September 14, 2005.

In November 2005, she released her first remix compilation, ''B in the Mix: The Remixes'', which consists of eleven remixes. In February 2006, pictures surfaced of Spears driving with her son Sean, on her lap instead of in a car seat. Child advocates were horrified by the photos of her holding the wheel with one hand and Sean with the other. Spears claimed that the situation happened because of a frightening encounter with paparazzi, and that it was a mistake on her part. The following month, she guest-starred on the ''Will & Grace'' episode "Buy, Buy Baby" as closeted lesbian Amber Louise. She publicly announced she no longer studied Kabbalah in June 2006, explaining, "my baby is my religion." Two months later, Spears posed nude for the cover of ''Harper's Bazaar''. The picture was heavily compared to Demi Moore's August 1991 ''Vanity Fair'' cover. She gave birth to her second child, Jayden James Federline, on September 12, 2006. On November 7, 2006, Spears filed for divorce from Federline, citing irreconcilable differences. Their divorce was finalized in July 2007, when the couple reached a global settlement and agreed to share joint custody of their children. Spears's aunt Sandra Bridges Covington, with whom she had been very close, died of ovarian cancer in January. On February 16, 2007, Spears stayed in a drug rehabilitation facility in Antigua for less than a day. The following night, she shaved her head with electric clippers at a hair salon in Tarzana, Los Angeles. She admitted herself to other treatment facilities during the following weeks. After completing a month-long program at Promises, she wrote on her website, "I truly hit rock bottom. Till this day I don't think that it was alcohol or depression. [...] was like a bad kid running around with ADD." In May 2007, she produced a series of promotional concerts at House of Blues venues, titled The M+M's Tour. Spears lost physical custody of her children to Federline on October 1, 2007. The reasons of the court ruling were not revealed to the public.

Her fifth studio album, ''Blackout'', was released in October 2007. It debuted at the top of charts in Canada and Ireland, number two in the U.S. ''Billboard'' 200,—held off from the top spot by Eagles's ''Long Road out of Eden''— France, Japan, Mexico and the United Kingdom and the top ten in Australia, Korea, New Zealand and many European nations. In the United States, Spears became the only female artist to have her first five studio albums debut at the two top slots of the chart. ''Blackout'' sold over 3.1 million copies worldwide. Peter Robinson of ''The Observer'' said that "Britney has delivered the best album of her career, raising the bar for modern pop music with an incendiary mix of Timbaland's ''Shock Value'' and her own back catalogue." Dennis Lim of ''Blender'' commented, "Spears’s fifth studio album is her most consistent, a seamlessly entertaining collection of bright, brash electropop." ''Blackout'' won Album of the Year at MTV Europe Music Awards 2008 and was listed as the fifth Best Pop Album of the Decade by ''The Times''. Spears performed the lead single "Gimme More" at the 2007 MTV Video Music Awards. The performance was panned by many critics. David Willis of BBC stated her performance would "go down in the history books as being one of the worst to grace the MTV Awards". Despite the backlash, the single rocketed to worldwide success, peaking at number one in Canada and the top ten in almost every country it charted. The second single "Piece of Me" reached the top of the charts in Ireland and reached the top five in Australia, Canada, Denmark, New Zealand and the United Kingdom. The third single "Break the Ice" was released the following year and had moderate success due to Spears not being able to promote it properly. In December 2007, Spears began a relationship with paparazzo Adnan Ghalib.

2008–10: Conservatorship and ''Circus''

On January 3, 2008, Spears refused to relinquish custody of her sons to Federline's representatives. She was hospitalized at Cedars-Sinai Medical Center, after police that arrived at her house noted she appeared to be under the influence of an illicit substance. The following day, Spears's visitation rights were suspended at an emergency court hearing, and Federline was given sole physical and legal custody of the children. On January 31, 2008, Spears was committed to the psychiatric ward of Ronald Reagan UCLA Medical Center and put on 5150 involuntary psychiatric hold. The court placed her under temporary conservatorship of her father James Spears and attorney Andrew Wallet, giving them complete control of her assets. Spears was released on February 6, 2008. Her parents expressed disappointment and concern at the decision to release her. The following month, she guest-starred on the ''How I Met Your Mother'' episode "Ten Sessions" as receptionist Abby. She received positive reviews for her performance, as well as bringing the series its highest ratings ever. In July 2008, Spears regained some visitation rights after coming to an agreement with Federline and his counsel. On September 7, 2008, Spears opened the MTV Video Music Awards with a pre-taped comedy sketch with Jonah Hill and an introduction speech. She won Best Female Video, Best Pop Video and Video of the Year for "Piece of Me". A 60-minute introspective documentary, ''Britney: For the Record'', was produced to chronicle Spears' return to the recording industry. Directed by Phil Griffin, ''For the Record'' was entirely shot in Beverly Hills, Hollywood, and New York City during the third quarter of 2008. Main shooting began on September 5, 2008, two days before Spears' appearance at the MTV Video Music Awards. ''For the Record'' was broadcast on MTV on November 30, 2008 to 5.6 million viewers for the two airings on the premiere night. MTV reported that Spears' documentary garnered on average, the highest rating in its Sunday night timeslot, in the network's history.

Her sixth studio album ''Circus'', was released in December 2008. It received positive reviews from critics; according to the music review aggregation of Metacritic, it garnered an average score of 64/100. ''Circus'' debuted at number one in Canada, Czech Republic and the United States, and inside the top in many European nations. In the United States, Spears became the youngest female artist to have five albums debut at number one, earning a place in the ''Guinness Book of World Records''. She also became the only act in the Soundscan era to have four albums debut with 500,000 or more copies sold. ''Circus'' became one of the fastest-selling albums of the year, and has sold 4 million copies worldwide. Its lead single, "Womanizer", became her first number one in the ''Billboard'' Hot 100 since "...Baby One More Time" and topped the charts in countries such as Belgium, Canada, Denmark, Finland, France, Norway and Sweden. It was also nominated for a Grammy in the category of Best Dance Recording. In January 2009, Spears and her father James obtained a restraining order against her former manager Sam Lufti, ex-boyfriend Adnan Ghalib and attorney Jon Eardley—all of whom, court documents claim, had been conspiring to gain control of Spears's affairs. The restraining order forbids Lutfi and Ghalib from contacting Spears or coming within 250 yards of her, her property or family members. Spears embarked on The Circus Starring Britney Spears in March 2009. With a gross of U.S. $131.8 million, it became the fifth highest grossing tour of the year.

She released her second greatest hits album, ''The Singles Collection'' in November 2009. "3" became her third number one single in the US, and was the first song to debut at the top of the charts in three years. Later that month, she released an application for iPhone and iPod Touch titled "It's Britney!". In May 2010, Spears's representatives confirmed she was dating her agent Jason Trawick, and that they had decided to end their professional relationship to focus on their personal relationship. Spears designed a limited edition clothing line for Candie's, which was released in stores in July 2010. On September 28, 2010, she made a cameo appearance on a Spears-themed tribute episode of American TV show ''Glee'', titled "Britney/Brittany". Spears approved of the episode, although her appearances received mixed reviews from critics. The episode drew ''Glee'''s second largest audience, as well as the show's highest ratings ever.

2011–present: ''Femme Fatale''

In March 2011, Spears released her seventh studio album ''Femme Fatale''. Max Martin and Dr. Luke executive produced the album and the album's first single "Hold It Against Me". The single debuted at number-one on the ''Billboard'' Hot 100. This gave Spears her fourth number-one single on the chart, and made her only the second artist in history to have two consecutive singles debut at number-one, after Mariah Carey. The album peaked at number one in the United States(selling 276,000 copies), Canada, and Australia, and peaked inside the top ten on nearly every other chart. The album's peak in the United States ties Britney with Mariah Carey and Janet Jackson for the third-most number ones among women. ''Femme Fatale'' has sold over 590,000 copies in the United States and has been certified platinum by the RIAA. The album received positive critical reviews after its release, receiving a score of 67 on Metacritic, her highest critical score since ''Oops!... I Did It Again,'' with many critics naming the album one of Spears's best. In April 2011, Spears appeared in a remix to the song "S&M;" by Rihanna after Rihanna asked her fans via Twitter who they wanted her to collaborate with. The song reached number one in the US in mid-April 2011, giving Britney her fifth number one on the chart. In early May, Spears' second single from ''Femme Fatale'', "Till The World Ends", reached number three on the ''Billboard'' Hot 100 and had ninety-eight million audience impressions on the ''Billboard'' chart, granting Spears the highest weekly audience of her 13-year chart career. ''Femme Fatale's'' third single "I Wanna Go" reached the top forty on the ''Billboard'' Hot 100 in June 2011. Among females in the last thirteen years, Spears now has the third-most top forty hits, with twenty-one. In August, the single managed to reach the top-ten on the ''Billboard'' Hot 100, which is the first time for Spears to have three songs from one album in the top-ten. On the week ending September 24, 2011, "I Wanna Go" moved 2-1 on the mainstream top 40, becoming her sixth number-one on that chart (making her tied for third all-time) and her first number-one and third top-ten pop song for ''Femme Fatale.'' Spears now has the longest span of number ones on the mainstream top 40, with a length of twelve years, seven months, and four days.

On March 2011, Spears announced that she would tour throughout the United States during summer 2011 The Femme Fatale Tour opened June 16 at the Power Balance Pavilion in Sacramento, California to positive reviews. Many critics noted that Spears sang more of the concert live in response to lip-synching accusations during The Circus Starring Britney Spears, and that the dancing is some of her best in years. The first ten US dates of the tour grossed $6.2 million, landing the fifty-fifth spot on Pollstar's Top 100 North American Tours list for the half-way point of the year. The tour will travel to Europe and South and Central America later in 2011. On August 12, Spears announced that her performances at the Air Canada Centre in Toronto will be taped to air on the EPIX television channel and for a DVD release, resulting in the doubling of traffic to EPIX social sites and 'Britney Spears' becoming a worldwide trending topic on Twitter. Her first televised concert since the Onyx Hotel Tour in 2004, the show, ''Britney Spears: Femme Fatale,'' was shot in 2D and 3D on August 13 and 14 and will premiere on Epix in November.

On June 15, 2011, it was announced by ''Billboard'' that the RCA/Jive Label Group would be splitting, with Jive Records going to a restructured Epic Records, and RCA Records staying intact. In August it was announced that Spears had officially joined the RCA's roster. During the 2011 MTV Video Music Awards on August 28 2011, MTV played tribute to Spears with a group of young female dancers that memorialised Britney's music videos, performances, and style. Following which, Spears accepted the MTV Video Vanguard Award from Lady Gaga, who said that "industry wouldn't be the same without [her]".

On September 9, 2011, Spears announced that her second remix album, ''B in the Mix: The Remixes Vol. 2'', will be released on October 11, along with the tracklist.

Musical style and performance

Following her debut, Spears was credited with leading the revival of teen pop in the late 1990s. ''The Daily Yomiuri'' reported that "[m]usic critics have hailed her as the most gifted teenage pop idol for many years, but Spears has set her sights a little higher-she is aiming for the level of superstardom that has been achieved by Madonna and Janet Jackson." ''Rolling Stone'' wrote: "Britney Spears carries on the classic archetype of the rock & roll teen queen, the dungaree doll, the angel baby who just has to make a scene." Rami Yacoub who co-produced Spears's debut album with lyricist Max Martin, commented, "I know from Denniz Pop and Max's previous productions, when we do songs, there's kind of a nasal thing. With N' Sync and the Backstreet Boys, we had to push for that mid-nasal voice. When Britney did that, she got this kind of raspy, sexy voice." Following the release of her debut album, Chuck Taylor of ''Billboard'' observed, "Spears has become a consummate performer, with snappy dance moves, a clearly real-albeit young-and funkdified voice ... "(You Drive Me) Crazy", her third single ... demonstrates Spears's own development, proving that the 17-year-old is finding her own vocal personality after so many months of steadfast practice." Stephen Thomas Erlewine of Allmusic referred to her music as a "blend of infectious, rap-inflected dance-pop and smooth balladry." Spears later commented, "With ''...Baby One More Time'', I didn't get to show my voice off. The songs were great, but they weren't very challenging".

''Oops!...I Did It Again'' and subsequent albums saw Spears working with several contemporary R&B; producers, leading to "a combination of bubblegum, urban soul, and raga." Her third studio album, ''Britney'' derived from the teen pop niche, "[r]hythmically and melodically ... sharper, tougher than what came before. What used to be unabashedly frothy has some disco grit, underpinned by Spears' spunky self-determination that helps sell hooks that are already catchier, by and large, than those that populated her previous two albums." Guy Blackman of ''The Age'' wrote that while few would care to listen to an entire Spears album, "[t]he thing about Spears, though, is that her biggest songs, no matter how committee-created or impossibly polished, have always been convincing because of her delivery, her commitment and her presence. For her mostly teenage fans, Spears expresses perfectly the conflicting urges of adolescence, the tension between chastity and sexual experience, between hedonism and responsibility, between confidence and vulnerability."

Her vocal ability has also been criticized, often drawing unfavorable comparison to her pop rival, Christina Aguilera Critic Allan Raible derides her overdependence in Circus on digital effects and the robotic effect it creates. "She’s never been a strong vocalist..." writes Raible, "Could she handle these songs with stripped down arrangements and no vocal effects? More importantly, would anyone want to hear her attempt such a performance? Does it matter? No. The focus is still image over substance." Her image and persona are also often contrasted to Christina Aguilera. David Browne of ''Entertainment Weekly'' observed "Christina Aguilera may flash skin and belly button, but in her music and manner, she's too eager not to offend — she's a good girl pretending to be bad. Spears, however, comes across as a bad girl acting good ... Spears' artificial-sweetener voice is much less interesting than the settings, yet that blandness is actually a relief compared with Aguilera's numbing vocal gymnastics. In contrast, Allmusic comments: "Like her peer Christina Aguilera, Britney equates maturity with transparent sexuality and the pounding sounds of nightclubs ... Where Christina comes across like a natural-born skank, Britney is the girl next door cutting loose at college, drinking and smoking and dancing and sexing just a little too recklessly, since this is the first time she ''can'' indulge herself. Sal Cinquemani of Slant Magazine notes, "The disparity between Aguilera and Spears can't be measured solely by the timbre and octave range of their voices ... [Aguilera's] popularity has never reached the fever pitch of Britney's."

Like other dance-oriented pop stars, it has been widely reported that Spears lip-syncs in concert. Author Gary Giddins wrote in his book ''Natural selection: Gary Giddins on comedy, film, music, and books'' (2006) that "among many other performers accused of moving their lips while a machine does the labor are Britney Spears, Luciano Pavarotti, Shania Twain, Beyoncé, and Madonna." Rashod D. Ollison of ''The Baltimore Sun'' observes: "Many pop stars ... feel they have no choice but to seek vocal enhancement. Since the advent of MTV and other video music channels, pop audiences have been fed elaborate videos thick with jaw-dropping effects, awesome choreography, fabulous clothes, marvelous bodies. And the same level of perfection is expected to extend beyond the video set to the concert stage. So if Britney Spears, Janet Jackson or Madonna sounds shrill and flat without a backing track, fans won't pay up to $300 for a concert ticket." Giddins adds, "it was reported Britney Spears fans prefer her to lip-sync—despite her denials of doing so (contradicted by her own director)—because they expect flawless digitalization when they pay serious money for a concert."

In Australia, NSW Fair Trading Minister Virginia Judge has advised disclaimers be printed on any ticket for concerts which contain any prerecorded vocals. She commented: "There could have been some instances where people actually go and purchase a ticket thinking that they're going to have a live performance ... for some people that means that everything is live, it's fresh, it happens instantaneously, it's not something that's been pre-recorded. You want to make sure that they're actually paying for what they think they're getting." Noting on the prevalence of lip-syncing, ''Los Angeles Daily News'' reported "in the context of a Britney Spears concert, does it really matter? Like a Vegas revue show, you don't go to hear the music, you go for the somewhat-ridiculous spectacle of it all". Similarly, Aline Mendelsohn of the ''Orlando Sentinel'' remarked: "Let's get one thing straight: A Britney Spears concert is not about the music ... you have to remember that it's about the sight, not the sound." Critic Glenn Gamboa comments her concert tours are "like her life—a massive money-making venture designed to play up her talents and distract from her shortcomings with a mix of techno-tinged sex appeal and disco-flavored flash. And, like her life, it is, more or less, a success.

Influences

Throughout her career, Spears has drawn frequent comparisons to Madonna and Janet Jackson, in terms of vocals, choreography and stage presence, citing both as influences in her work. She has also named Michael Jackson as a source of inspiration. According to Spears: "I know when I was younger, I looked up to people... like, you know, Janet Jackson and Madonna. And they were major inspirations for me. But I also had my own identity and I knew who I was, you know." In the 2002 book ''Madonnastyle'' by Carol Clerk, she is quoted saying: "I have been a huge fan of Madonna since I was a little girl. She's the person that I've really looked up to. I would really, really like to be a legend like Madonna."

Many critics have argued that Spears should not be considered in the same league of talent as Jackson or Madonna. Journalists Erika Montalvo and Jackie Sheppard of the ''Rocky Mountain Collegian'' observed "[s]ome may argue that Spears is not only a good recording artist but also an important cultural icon." However, in examining her level of skill as an artist, it is questioned that "[a]lthough she has been classified among female elites such as Janet Jackson and Madonna, what does Ms. Spears really have in common with these divas of rock?" Joan Anderman of ''The Boston Globe'' remarked that "[t]hirteen costume changes in 90 minutes won't bless her with Madonna's intelligence or cultural barometer. An army of cutting-edge R&B; producers won't supply her with Janet Jackson's sense of humor or sincere smile ... Britney's heroes aren't great singers. But they're real singers. Spears sounds robotic, nearly inhuman, on her records, so processed is her voice by digital pitch-shifters and synthesizers."

Reporter Ed Bumgardner commented her transition from teen pop start to adult sex symbol with her third studio album ''Britney'' "takes its cues from two other successful performers—Madonna and Janet Jackson—both of whom she brazenly rips off and both of whom, like Spears, are passable singers, at best." Critic Shane Harrison wrote: "From the minimalist thump and "Nasty" feel of "I'm a Slave 4 U" to the scattered quotes in "Boys", [''Britney''] feels like [Spears's] attempt at 'Control'."

Citing Jackson's resolve to incorporate personal and social issues into her work and Madonna's ability to constantly redefine the boundaries of socially acceptable material in the industry, Spears's catalog ultimately pales in comparison, because "[w]hile Jackson and Madonna wrote their own music about subjects of importance, [Spears's] music sounds like an upbeat version of either, 'I want to grow up but the media won't let me,' or 'Here kitty, kitty, I'm wearing my underwear outside of my leather pants'-type ballads." In contrast, Guy Blackman argues that although "no one would argue that Spears is some kind of pioneering pop auteur, there’s still a lot to like about her back catalogue. During her world-conquering peak, she was just about as cutting edge as you could get in the world of global pop superstardom. Spears didn’t just work with big names, she gave big names their names, and maintained her high currency in the world’s most fickle industry for years, when most aspiring starlets are lucky to manage months."

After meeting Spears face to face, Janet Jackson stated: "she said to me, 'I'm such a big fan; I really admire you.' That's so flattering. Everyone gets inspiration from some place. And it's awesome to see someone else coming up who's dancing and singing, and seeing how all these kids relate to her. A lot of people put it down, but what she does is a positive thing." Madonna's respect for Spears has also been a subject of observation. Santiago Fouz-Hernández and Freya Jarman-Ivens, authors of ''Madonna's drowned worlds: new approaches to her cultural transformations, 1983-2003'' (2004) note that the most well known cross-generational relationship exists between Spears and Madonna in which "the entertainment newsmedia almost became obsessed with their relationship of mutual admiration." The biographers also report "[s]ome observers of popular culture, however, feel that the comparisons between the two artist are meaningless and fail to recognize Madonna's unique contribution: Madonna was never 'just another pop star' whereas Britney can more easily be seen as a standard manufactured pop act."

Legacy

Spears became an international pop culture icon immediately after launching her recording career. ''Rolling Stone'' magazine wrote: "One of the most controversial and successful female vocalists of the 21st century," she "spearheaded the rise of post-millennial teen pop ... Spears early on cultivated a mixture of innocence and experience that broke the bank". She is listed by the ''Guinness World Records'' as having the "Best-selling album by a teenage solo artist" for her debut album ''...Baby One More Time'' which sold over thirteen million copies in the United States. Melissa Ruggieri of the ''Richmond Times-Dispatch'' reported, "She's also marked for being the best-selling teenage artist. Before she turned 20 in 2001, Spears sold more than 37 million albums worldwide".

Barbara Ellen of ''The Observer'' has reported: "Spears is famously one of the 'oldest' teenagers pop has ever produced, almost middle aged in terms of focus and determination. Many 19-year-olds haven't even started working by that age, whereas Britney, a former Mouseketeer, was that most unusual and volatile of American phenomena — a child with a full-time career. While other little girls were putting posters on their walls, Britney was wanting to be the poster on the wall. Whereas other children develop at their own pace, Britney was developing at a pace set by the ferociously competitive American entertainment industry". 'Britney Spears' was Yahoo!'s most popular search term between 2005 and 2008, and has been in a total of seven different years. Spears was named as Most Searched Person in the ''Guinness World Records'' book edition 2007 and 2009. Spears has also become a major influence among many new artists, including Kristinia DeBarge, Lady Gaga, Little Boots, Selena Gomez & the Scene, Pixie Lott and Miley Cyrus who has cited Spears as one of her biggest inspirations and has also referenced Spears in her hit song "Party in the U.S.A.". Spears' personal breakdown was also cited as an inspiration for Barry Manilow's album "''15 Minutes''".

In 2011, Adam Markovitz of ''Entertainment Weekly'' commented on the cultural significance of Spears' voice and music. "We don't ask a whole lot from Britney Spears as an entertainer...we'll still send her straight up the charts simply because she's Britney. She's an American institution, as deeply sacred and messed up as pro wrestling or the filibuster. Musically, though, Spears will always have to measure up to her own gold standards of pop euphony: the operatic slither of 2004's 'Toxic' and the candied funk of 2000's 'Oops!...I Did It Again.' Spears is no technical singer, that's for sure. But backed by Martin and Dr. Luke's wall of pound, her vocals melt into a mix of babytalk coo and coital panting that is, in its own overprocessed way, just as iconic and propulsive as Michael Jackson's yips or Eminem's snarls."

Bebo Norman wrote a song about Spears, called "Britney", which was released as a single. Boy band Busted also wrote a song about Spears called "Britney", which was on their debut album. She is also mentioned in P!nk's song "Don't Let Me Get Me". She was cited as the inspiration of Gwyneth Paltrow's character in the 2010 film ''Country Strong''. Richard Cheese called Britney Spears "a remarkable recording artist" and also went on to say that she was "versatile" and what the industry calls an "artist". ''People'' magazine and MTV reported that October 1, 2008, the Bronx's John Philip Sousa Middle School, named their music studio in honor of Britney Spears. Spears herself was present during the ceremony and donated $10,000 to the school's music program.

Discography

''...Baby One More Time'' (1999)

''Oops!... I Did It Again'' (2000)

''Britney'' (2001)

''In the Zone'' (2003)

''Blackout'' (2007)

''Circus'' (2008)

''Femme Fatale'' (2011)

Tours

...Baby One More Time Tour (1999-2000)

Oops!... I Did It Again World Tour (2000)

Dream Within a Dream Tour (2001-02)

The Onyx Hotel Tour (2004)

The M+M's Tour (2007)

The Circus Starring Britney Spears (2009)

Femme Fatale Tour (2011)

See also

Britney Spears filmography

Britney Spears products

Honorific nicknames in popular music

List of best-selling music artists

List of best-selling music artists in the United States

Notes

References

Further reading

Dennis, Steve (2009). ''Britney: Inside the Dream''. Harper Collins. ISBN 978-0007317516.

Peters, Beth (1999). ''True Brit: The Story of Singing Sensation Britney Spears''. Ballantine Books. ISBN 978-0345436870.

Scott, Kieran (2001). ''I was a Mouseketeer!.'' Disney Press. ISBN 978-0786844708.

Smith, Sean (2006). ''Britney The Unauthorized Biography of Britney Spears.'' Pan Macmillan. ISBN 978-0330440776.

Spears, Britney (2000). ''Britney Spears's Heart to Heart''. Three Rivers Press. ISBN 978-0609807019.

Stevens, Amanda (2001). ''Britney Spears: the illustrated story.'' Billboard Books. ISBN 978-0823078677.

External links

Category:1981 births Category:21st-century actors Category:Actors from Louisiana Category:American child singers Category:American dance musicians Category:American dancers Category:American female pop singers Category:American female singers Category:American film actors Category:American music video directors Category:American musicians of English descent Category:American people of English descent Category:American people of Maltese descent Category:American pop singers Category:American singer-songwriters Category:American stage actors Category:American television actors Category:Baptists from the United States Category:English-language singers Category:Grammy Award winners Category:Innosense members Category:Jive Records artists Category:RCA Records artists Category:Living people Category:Mouseketeers Category:Musicians from Louisiana Category:Parklane Academy alumni Category:Participants in American reality television series Category:People from Kentwood, Louisiana Category:Sony BMG artists Category:World Music Awards winners

af:Britney Spears als:Britney Spears ar:بريتني سبيرز az:Britni Spirs be:Брытні Спірс be-x-old:Брытні Сьпірс bcl:Britney Spears bar:Britney Spears bs:Britney Spears bg:Бритни Спиърс ca:Britney Spears cs:Britney Spears cbk-zam:Britney Spears cy:Britney Spears da:Britney Spears de:Britney Spears et:Britney Spears el:Μπρίτνεϊ Σπίαρς eml:Britney Spears es:Britney Spears eo:Britney Spears eu:Britney Spears fa:بریتنی اسپیرز fo:Britney Spears fr:Britney Spears fy:Britney Spears ga:Britney Spears gl:Britney Spears ko:브리트니 스피어스 hy:Բրիթնի Սփիրս hi:ब्रिटनी स्पीयर्स hr:Britney Spears io:Britney Spears ilo:Britney Spears id:Britney Spears is:Britney Spears it:Britney Spears he:בריטני ספירס jv:Britney Spears kn:ಬ್ರಿಟ್ನಿ ಸ್ಪಿಯರ್ಸ್ ka:ბრიტნი სპირსი csb:Britney Spears sw:Britney Spears la:Britney Spears lv:Britnija Spīrsa lt:Britney Spears li:Britney Spears hu:Britney Spears mk:Бритни Спирс ml:ബ്രിട്ട്നി സ്പിയേർസ് ms:Britney Jean Spears mn:Бритни Спирс na:Britney Spears nl:Britney Spears ne:ब्रिट्नी स्पेयर्स ja:ブリトニー・スピアーズ no:Britney Spears nn:Britney Spears oc:Britney Spears pnb:برٹنی سپیئرز pap:Britney Spears pl:Britney Spears pt:Britney Spears kaa:Britney Spears ro:Britney Spears ru:Спирс, Бритни sc:Britney Spears sq:Britney Spears scn:Britney Spears simple:Britney Spears sk:Britney Spearsová sl:Britney Spears so:Britney Spears sr:Бритни Спирс sh:Britney Spears fi:Britney Spears sv:Britney Spears tl:Britney Spears ta:பிரிட்னி ஸ்பியர்ஸ் te:బ్రిట్నీ స్పియర్స్ th:บริตนีย์ สเปียรส์ tr:Britney Spears uk:Брітні Спірс ur:برٹنی سپیئرز vi:Britney Spears yi:בריטני ספירס zh:布蘭妮·斯皮爾斯

name	Alexander Calder
alt	Alexander Calder, by Carl Van Vechten, 1947
birth date	July 22, 1898
birth place	Lawnton, Pennsylvania, US
death date	November 11, 1976
death place	New York City
nationality	United States
field	Sculpture
training	Stevens Institute of Technology, Art Students League of New York
awards	Presidential Medal of Freedom }}

Alexander Calder (July 22, 1898 – November 11, 1976) was an American sculptor and artist most famous for inventing mobile sculptures. In addition to mobile and stable sculpture, Alexander Calder also created paintings, lithographs, toys, tapestry, jewelry and household objects.

Childhood

Alexander "Sandy" Calder was born in Lawnton, Pennsylvania, on July 22, 1898. His father, Alexander Stirling Calder, was a well-known sculptor who created many public installations, a majority of them in Philadelphia. Calder’s grandfather, sculptor Alexander Milne Calder, was born in Scotland and immigrated to Philadelphia in 1868. He is best-known for the colossal statue of William Penn on top of Philadelphia's City Hall tower. Calder’s mother, Nanette Lederer Calder, was a professional portrait painter who studied at the Académie Julian and the Sorbonne in Paris from around 1888 until 1893. She then moved to Philadelphia where she met Alexander Stirling Calder while studying at the Pennsylvania Academy of the Fine Arts. Calder’s parents were married on 22 February 1895. His sister, Margaret "Peggy" Calder, was born in 1896. Her married name was Margaret Calder Hayes, and she was instrumental in the development of the UC Berkeley Art Museum.

In 1902, Calder posed nude for his father’s sculpture ''The Man Cub,'' which is now located in the Metropolitan Museum of Art in New York City. That year, he completed his earliest sculpture, a clay elephant.

Three years later, Stirling Calder contracted tuberculosis and Calder’s parents moved to a ranch in Oracle, Arizona, leaving the children in the care of family friends for a year. The children were reunited with their parents in late March 1906 and stayed at the ranch in Arizona until fall of the same year.

After Arizona, the Calder family moved to Pasadena, California. The windowed cellar of the family home became Calder's first studio and he received his first set of tools. He used scraps of copper wire that he found in the streets to make jewelry and beads for his sister’s dolls. On January 1, 1907, Calder’s mother took him to the Tournament of Roses Parade in Pasadena, where he observed a four-horse-chariot race. This style of event later became the finale of Calder’s wire circus shows.

In 1909, when Calder was in the fourth grade, he sculpted a dog and a duck out of sheet brass as Christmas gifts for his parents. The sculptures were three dimensional and the duck was kinetic because it rocked when gently tapped. These sculptures are frequently cited as early examples of Calder’s skill.

In 1910, the Calder family moved back to Philadelphia, where Alexander briefly attended the Germantown Academy, and then to Croton-on-Hudson in New York State. In Croton, during his early high school years, Calder was befriended by painter Everett Shinn with whom he built a gravity powered system of mechanical trains. Calder described ''We ran the train on wooden rails held by spikes; a chunk of iron racing down the incline speeded the cars. We even lit up some cars with candle lights.''

After Croton, the Calders moved to Spuyten Duyvil to be closer to the Tenth Street Studio Building in New York City, where Stirling Calder rented a studio. While living in Spuyten Duyvil, Calder attended Yonkers High.

In 1912, Stirling Calder was appointed acting chief of the Department of Sculpture of the Panama Pacific International Exposition in San Francisco. He began work on sculptures for the exposition that was held in 1915. During Alexander Calder’s high school years between 1912 and 1915, the Calder family moved back and forth between New York and California. In each new location Calder’s parents reserved cellar space as a studio for their son. Toward the end of this period, Calder stayed with friends in California while his parents moved back to New York so that he could graduate from Lowell High School in San Francisco. Calder graduated in the class of 1915.

Education

In 1919, Calder decided to study mechanical engineering and enrolled at the Stevens Institute of Technology in Hoboken, New Jersey. He was a member of the Delta Tau Delta fraternity and excelled in mathematics. In the summer of 1916, Calder spent five weeks training at the Plattsburg Civilian Military Training Camp. In 1918, he joined the Student’s Army Training Corps, Naval Section, at Stevens and was made guide of the battalion.

:''I learned to talk out of the side of my mouth and have never been quite able to correct it since.''

Calder received a degree from Stevens in 1919. For the next several years, he held a variety of engineering jobs, including working as a hydraulics engineer and a draughtsman for the New York Edison Company. In June 1922, Calder found work as a mechanic on the passenger ship ''H. F. Alexander''. While the ship sailed from San Francisco to New York City, Calder worked on deck off the Guatemalan Coast and witnessed both the sun rising and the moon setting on opposite horizons. He described in his autobiography "It was early one morning on a calm sea, off Guatemala, when over my couch—a coil of rope—I saw the beginning of a fiery red sunrise on one side and the moon looking like a silver coin on the other."

The ''H.F. Alexander'' docked in San Francisco and Calder traveled up to Aberdeen, Washington, where his sister lived with her husband, Kenneth Hayes. Calder took a job as a timekeeper at a logging camp. The mountain scenery inspired him to write home to request paints and brushes. Shortly after this, Calder decided to move back to New York to pursue a career as an artist.

Art career

Calder moved to New York and enrolled at the Art Students' League. While a student, he worked for the ''National Police Gazette'' where, in 1925, one of his assignments was sketching the Ringling Brothers and Barnum and Bailey Circus. Calder became fascinated with the circus, a theme that would reappear in his later work.

In 1926, Calder moved to Paris where he established a studio at 22 rue Daguerre in the Montparnasse Quarter. At the suggestion of a Serbian toy merchant, he began to make toys. At the urging of fellow sculptor Jose de Creeft, he submitted them to the Salon des Humoristes. Later that fall, Calder began to create his ''Cirque Calder,'' a miniature circus fashioned from wire, string, rubber, cloth, and other found objects. Designed to fit into suitcases (it eventually grew to fill five), the circus was portable, and allowed Calder to hold performances on both sides of the Atlantic. He gave improvised shows, recreating the performance of a real circus. Soon, his "Cirque Calder" (usually on view at the Whitney Museum of American Art) became popular with the Parisian avant-garde. In 1927, Calder returned to the United States. He designed several kinetic wooden push and pull toys for children, which were mass-produced by the Gould Manufacturing Company, in Oshkosh, WI. His originals, as well as playable replicas, are on display in the Berkshire Museum in Pittsfield, Massachusetts. In 1928, Calder held his first solo show at a commercial gallery at the Weyhe Gallery in New York City. In 1935, he had his first solo museum exhibition in the United States at The Renaissance Society at the University of Chicago. In 1929, Calder had his first solo show of wire sculpture in Paris at Galerie Billiet. The painter Jules Pascin, a friend of Calder's from the cafes of Montparnasse, wrote the preface. In June 1929, while traveling from Paris to New York, Calder met his future wife, Louisa James, grandniece of author Henry James and philosopher William James. They married in 1931. While in Paris, Calder met and became friends with a number of avant-garde artists, including Joan Miró, Jean Arp, and Marcel Duchamp. A visit to Piet Mondrian's studio in 1930 "shocked" him into embracing abstract art. The Cirque Calder can be seen as the start of Calder's interest in both wire sculpture and kinetic art. He maintained a sharp eye with respect to the engineering balance of the sculptures and utilized these to develop the kinetic sculptures Duchamp would ultimately dub as "mobiles," a French pun meaning both "mobile" and "motive." He designed some of the characters in the circus to perform suspended from a thread. However, it was the mixture of his experiments to develop purely abstract sculpture following his visit with Mondrian that lead to his first truly kinetic sculptures, manipulated by means of cranks and pulleys.

By the end of 1931, he moved on to more delicate sculptures which derived their motion from the air currents in the room. From this, Calder's "mobiles" were born. At the same time, Calder was also experimenting with self-supporting, static, abstract sculptures, dubbed "stabiles" by Arp in 1932 to differentiate them from mobiles. Calder and Louisa returned to America in 1933 to settle in a farmhouse they purchased in Roxbury, Connecticut, where they raised a family (first daughter, Sandra born 1935, second daughter, Mary, in 1939). Calder continued to give Cirque Calder performances but also worked with Martha Graham, designing stage sets for her ballets and created a moving stage construction to accompany Eric Satie's ''Socrate'' in 1936.

During World War II, Calder attempted to join the Marines as a camofleur, but was rejected. Instead, he continued to sculpt, but a scarcity of metal led to him producing work in carved wood.

Calder's first retrospective was held in 1938 at George Walter Vincent Smith Gallery in Springfield, Massachusetts. In 1943, the Museum of Modern Art hosted a well-received Calder retrospective, curated by James Johnson Sweeney and Marcel Duchamp.

Calder was one of 250 sculptors who exhibited in the 3rd Sculpture International held at the Philadelphia Museum of Art in the summer of 1949. His mobile, ''International Mobile'' was the centerpiece of the exhibition.

In the 1950s, Calder increasingly concentrated his efforts on producing monumental sculptures. Notable examples are ".125" for JFK Airport in 1957, "La Spirale" for UNESCO in Paris 1958 and "Man" ("L'Homme"), commissioned for Expo 67 in Montreal. Calder's largest sculpture until that time, 20.5 meters high, was "El Sol Rojo," constructed for the 1968 Summer Olympics in Mexico City.

In 1962, he settled into his new workshop Carroi, a very futuristic design and overlooking the valley of the Lower Chevrière to Saché in Indre-et-Loire (France). He did not hesitate to offer his gouaches and small mobile to his friends in the country, he even donated to the town of a stabile trônant since 1974 in front of the church: an anti-sculpture free from gravity.

The actual stabiles and mobiles were manufactured at factory Biémont Tours (France), including "the Man," a stainless steel 24 meters tall, commissioned by Canada's International Nickel (Inco) for the Exposition Universelle de Montréal in 1967. All products were made from a Calder-made model, by the research department (headed by M. Porcheron, with Alain Roy, François Lopez, Michel Juigner ...) to design to scale, then by workers who were qualified boilermakers for the actual manufacturing. Calder oversaw all operations, and if necessary made changes to the final product. All stabiles were manufactured in carbon steel, then painted for a major part in black, except "the Man" who was raw stainless steel , the mobiles were made of aluminum and made of duralumin.

He made most of his monumental sculpture during this time at Etablissements Biémont in Tours, France. Calder would create a model of the work, the research department would scale it to final size, then experienced boilermakers would complete the actual metalwork — all under Calder's watchful eye. Stabiles were made in carbon steel; mobiles were mostly aluminum.

In 1966, Calder published his ''Autobiography with Pictures'' with the help of his son-in-law, Jean Davidson. In June 1969, Calder attended the dedication of his monumental stabile ''“La Grande Vitesse”'' in Grand Rapids, Michigan. This sculpture is notable for being the first public work of art in the United States to be funded with federal monies; acquired with funds granted from the then new National Endowment for the Arts under its “Art for Public Places” program.

Calder created a sculpture called ''WTC Stabile'' (also known as ''Bent Propeller''), which in 1971 was installed at the entrance of the World Trade Center's North Tower. When Battery Park City opened, the sculpture was moved to Vesey and Church Streets. It stood in front of 7 World Trade Center when it was destroyed on September 11, 2001.

In 1974 Calder unveiled to the public two sculptures, ''Flamingo'' and ''Universe'', in Chicago, Illinois. The exhibition ''Alexander Calder: A Retrospective Exhibition'' at the Museum of Contemporary Art, Chicago, opened simultaneously with the unveiling of the sculptures.

Calder died on November 11, 1976, shortly after opening a major retrospective show at the Whitney Museum in New York. He had been working on a third plane, entitled ''Salute to Mexico,'' when he died.

Calder's paintings

In addition to sculptures, Calder painted throughout his career, beginning in the early 1920s. By 1973, Braniff International Airways commissioned him to paint a full-size DC-8-62 as a "flying canvas." In 1975, Calder completed a second plane, this time a Boeing 727–291, as a tribute to the U.S. Bicentennial. In 1975, he was commissioned by BMW to paint a BMW 3.0 CSL which would come to be the first vehicle in the BMW Art Car Project.

Commemoration

Two months after his death, Calder was posthumously awarded the Presidential Medal of Freedom, the United States' highest civilian honor, by President Gerald Ford. However, representatives of the Calder family boycotted the January 10, 1977 ceremony "to make a statement favoring amnesty for Vietnam War draft resisters."

In 1987, the Calder Foundation was founded by Calder's family. The Foundation "runs its own programs, collaborates on exhibitions and publications, and gives advice on matters such as the history, assembly, and restoration of works by Calder." The U.S. copyright representative for the Calder Foundation is the Artists Rights Society. Calder's work is in many permanent collections across the world.

Quotes

"How can art be realized?

Out of volumes, motion, spaces bounded by the great space, the universe.

Out of different masses, tight, heavy, middling—indicated by variations of size or color—directional line—vectors which represent speeds, velocities, accelerations, forces, etc. . . .—these directions making between them meaningful angles, and senses, together defining one big conclusion or many.

Spaces, volumes, suggested by the smallest means in contrast to their mass, or even including them, juxtaposed, pierced by vectors, crossed by speeds.

Nothing at all of this is fixed.

Each element able to move, to stir, to oscillate, to come and go in its relationships with the other elements in its universe.

It must not be just a fleeting moment but a physical bond between the varying events in life.

Not extractions,

But abstractions

Abstractions that are like nothing in life except in their manner of reacting."

:::: – From Abstraction-Création, Art Non Figuratif, no. 1, 1932.

Gallery

Selected works

''Dog'' (1909), folded brass sheet; this was made as a present for Calder's parents

''The Flying Trapeze'' (1925), oil on canvas, 36 x 42 in.

''Elephant'' (c. 1928), wire and wood, 11½ x 5¾ x 29.2 in.

''Two Acrobats'' (ca. 1928), Brass wire, painted wood base, Honolulu Academy of Arts

''Aztec Joséphine Baker'' (c. 1929), wire, 53" x 10" x 9". A representation of Josephine Baker, the exuberant lead dancer from ''La revue nègre'' at the Folies Bergère.

''Untitled'' (1931), wire, wood and motor; one of the first kinetic mobiles.

''Feathers'' (1931), wire, wood and paint; first true mobile, although designed to stand on a desktop

''Cône d'ébène'' (1933), ebony, metal bar and wire; early suspended mobile (first was made in 1932).

''Form Against Yellow'' (1936), sheet metal, wire, plywood, string and paint; wall-supported mobile.

''Object with Yellow Background'' (1936), Painted wood, metal, string, Honolulu Academy of Arts

''Mercury Fountain'' (1937), sheet metal and mercury

''Devil Fish'' (1937), sheet metal, bolts and paint; first piece made from a model.

''1939 New York World's Fair'' (maquette) (1938), sheet metal, wire, wood, string and paint

''Necklace'' (c. 1938), brass wire, glass and mirror

''Sphere Pierced by Cylinders'' (1939), wire and paint; the first of many floor standing, life size ''stabiles'' (predating Anthony Caro's ''plinthless'' sculptures by two decades)

''Lobster Trap and Fish Tail'' (1939), sheet metal, wire and paint (suspended mobile); design for the stairwell of the Museum of Modern Art, New York

''Black Beast'' (1940), sheet metal, bolts and paint (freestanding plinthless stabile)

''S-Shaped Vine'' (1946), sheet metal, wire and paint (suspended mobile)

''Sword Plant'' (1947) sheet metal, wire and paint (Standing Mobile)

''Snow Flurry'' (1948), sheet metal, wire and paint (suspended mobile)

'' Stillman House Mural'' (1952), (pool mural) http://www.aaa.si.edu/collections/images/detail/stillman-house-i-881

''.125'' (1957), steel plate, rods and paint

''La spirale'' (1958), steel plate, rod and paint, 360" high; public monumental mobile for Maison de l'U.N.E.S.C.O., Paris

''Guillotine pour huit'' (1962), at the LaM, Villeneuve d'Ascq, France

''Teodelapio'' (1962), steel plate and paint, monumental stabile, Spoleto, Italy

''Man'' (1967) stainless steel plate, bolts and paint, 65' x 83' x 53', monumental stabile, Montreal Canada

''L'Araignée Rouge (The Red Spider)'' (1976), 15m tall, monumental sculpture, Paris La_Défense France

''La grande vitesse'' (1969), steel plate, bolts and paint, 43' x 55' x 25', Grand Rapids, Michigan

''Reims, Croix du Sud'' (1970), at the LaM, Villeneuve d'Ascq, France

''Eagle'' (1971), steel plate, bolts and paint, 38'9" x 32'8" x 32'8", Olympic Sculpture Park, Seattle, Washington

''White and Red Boomerang'' (1971), Painted metal, wire, Honolulu Academy of Arts

''Stegosaurus'' (1973), steel plate, bolts and paint, 50' tall, Wadsworth Atheneum, Hartford, Connecticut

''Cheval rouge (Red Horse)''(1974), red painted sheet metal, at the National Gallery, Washington, D.C.

''Flamingo'' (1974), red painted steel, at the Federal Plaza, Chicago, Illinois

''The Red Feather'' (1975), black and red painted steel, 11' x 6'3" x 11'2", The Kentucky Center

''Untitled'' (1976), aluminum honeycomb, tubing and paint, 358½ x 912", National Gallery of Art Washington, D.C.

''Mountains and Clouds'' (1976), painted aluminum and steel, 612 inches x 900 inches, Hart Senate Office Building

''The Big Sail'' (1966), this 33 ton metal sculpture is composed of five intersecting forms, four planes, and one curve. It stands 40 feet tall, on the campus of MIT in Cambridge, Massachusetts.

References

Bibliography

Calder, Alexander. ''An Autobiography With Pictures''. Pantheon Books, 1966, ISBN 978-0-394-42142-1

Guerrero, Pedro E. ''Calder at Home. The Joyous Environment of Alexander Calder''. Stewart, Tabori & Chang, New York, 1998, ISBN 978-1-55670-655-4

Prather, Marla. ''Alexander Calder 1898–1976''. National Gallery of Art, Washington D.C., 1998, ISBN 978-0-89468-228-5, ISBN 978-0-300-07518-2

Rosenthal, Mark, and Alexander S. C. Rower. The Surreal Calder. The Menil Collection, Houston, 2005, ISBN 978-0-939594-60-3

Rower, Alexander S. C. Calder Sculpture. Universe Publishing, 1998, ISBN 978-0-7893-0134-5

External links

Calder Foundation website

Atelier Calder website

The Pace Gallery

National Gallery of Art – Alexander Calder mobile

Smithsonian holdings of artworks by Alexander Calder

Guggenheim collection Alexander Calder bio.

Alexander Calder toys at the Berkshire Museum in Pittsfield, MA

Alexander Calder papers online at the Smithsonian Archives of American Art

Guide to the Calder-Hayes Family Papers at The Bancroft Library

Google celebrated Alexander Calder’s Birthday with special logotype

Calder and Braniff Airways

Category:1898 births Category:1976 deaths Category:American sculptors Category:American people of Scottish descent Category:Modern sculptors Category:20th-century sculptors Category:Artists from New York Category:Art Students League of New York alumni Category:Artists from Connecticut Category:Artists from Pennsylvania Category:Stevens Institute of Technology alumni Category:Archives of American Art related

als:Alexander Calder ar:ألكسندر كالدر zh-min-nan:Alexander Calder bg:Александър Калдер ca:Alexander Calder de:Alexander Calder el:Αλεξάντερ Κάλντερ es:Alexander Calder fa:الکساندر کالدر fr:Alexander Calder gl:Alexander Calder it:Alexander Calder he:אלכסנדר קלדר ka:ალექსანდრე კალდერი nl:Alexander Calder ne:अलेक्जेन्डर क्याल्डर ja:アレクサンダー・カルダー no:Alexander Calder pms:Alexander Calder pl:Alexander Calder pt:Alexander Calder ro:Alexander Calder ru:Колдер, Александр simple:Alexander Calder sr:Александер Колдер fi:Alexander Calder sv:Alexander Calder th:อเล็กซานเดอร์ คาลเดอร์ tr:Alexander Calder uk:Александр Колдер vi:Alexander Calder zh:亚历山大·考尔德

Name	Gui Boratto
Background	non_vocal_instrumentalist
Birth name	Guilherme Boratto
Origin	São Paulo, Brazil
Genre	HouseProgressive houseTech houseTechno Minimal techno
Occupation	Disc jockeyRecord producer
Years active	2004 – Present
Label	Kompakt
Website	guiboratto.com.br }}

Gui Boratto (born 1974 in São Paulo) is a Brazilian electronic music producer. In the 1990s he was a member of Sect.

His album ''Chromophobia'' was awarded the title of Mixmag Album of the Month. Regarding why he chose the name Chromophobia, Boratto said: "The same meaning as monochromatism in architecture, which means simplicity. That’s all. I don’t have a morbid fear of colors at all. But also, I was ironic. My music is really colorful."

On stage, Gui uses a laptop equipped with Ableton Live, a JazzMutant Lemur, a monome and an Evolution Uc33e. He sometimes invites a guitar player to join him.

Discography

Albums

''Chromophobia'', Kompakt, 2007

''Take My Breath Away'', Kompakt, 2009

Singles and EPs

"No Turning Back" Take My Breath Away, 2009

"The Rivington EP" (12"), 2008

"Tales From The Lab", 2008

"Royal House", Plastic City, 2007

"Beluga" (12") Audiomatique Recordings, 2006

"Brazilian Soccer - Edition (Paralelo, Tipologia)" (12") Killa Beat Recordings, 2006

''Division EP'' (12") Harthouse Mannheim, 2006

"Gate 7" (12") K2, 2006

"It's Majik" (12") Plastic City, 2006

"Like You" (12") Kompakt Pop, 2006

"Sozinho" (12") K2, 2006

"Speicher 38 (The Rising Evil)" (12") Kompakt Extra, 2006

"Arquipélago" (12") K2, 2005

"Sunrise" (12") Plastic City, 2005

''Twiggy EP'' (12") Circle Music, 2005

Remixes Drum & Bass / Synth-Pop

Kaleidoscopio - "Feliz de Novo" (Gui Boratto Remix)

I Rava One Drean -

Kaleidoscopio - "Meu Sonho" (Star Guitar by Gui Boratto Extended)

Helen Christina - "Canto de Ossanha" (Gui Boratto's extended mix)

Groovetronick vs. Gui Boratto - Sem Mais

Remixes Minimal / Techno

Agoria featuring Scalde - "Baboul Hair Cuttin" (Gui Boratto remix) 6:43

Eyerer and Chopstick - "Haunting" (Gui Boratto remix)

Guy J and Sahar Z - "Hazui" (Gui Boratto remix) 7:13

Monoroom - "Memory Inc" (Gui Boratto remix) 6:32

Zentex - "Pimioe" (Gui Boratto remix) 07:04

Oliver Klein - "Re-Kraft" (Gui Boratto version) 7:43

Alexis Tyrel - "Rebecca Loos" (Gui Boratto Remix) 8:13

Tube and Berger featuring Vanity - "Funky Shit" (Gui Boratto Remix) 6:41

Delon and Dalcan - "Beyond Clouds" (Gui Boratto remix) 7:03

Robert Babicz - "Sin" (Gui Boratto remix) 8:35

Sian - "Flood" (Gui Boratto remix) 09:03

Will Saul and Tam Cooper - "Sequential Circus" (Gui Boratto remix) 7:34

Patrice D Angello and Nick Holson - "One Day" (Gui Borratto Remix) 8:20

Tocadisco Feat. Lennart A. Salomon - "Better Begin" (Gui Boratto Remix) 8:22

Philip Flindt - "Forward (Gui Boratto Remix)" 6:54

Phonique - "Space Cruise" (feat Gui Borrato Phonique Version) 6:40

Pet Shop Boys - "Love etc" (Gui Boratto remix), 2009

Solee - "Impressed" (Gui Boratto Remix) Parquet Recordings, 2009

Adam Freeland - Silverlake Pills (Gui Boratto Remix), 2008

Bomb the Bass - "Black River (featuring Mark Lanegan)"(Gui Boratto Remix), 2008

Sam Taylor-Wood & Pet Shop Boys - "I'm In Love With A German Film Star" (Gui Boratto remix), 2008

Goldfrapp - "A&E;" (Gui Boratto Remix) Mute Records, 2007

Agoria - "Baboul Hair Cuttin'" (Gui Boratto Remix) Different Recordings, 2006

Oscar - "Freak Inside" (Gui Boratto Remix) Confused Recordings, 2006

Kaleidoscopio - "Você Me Apareceu" (Gui Boratto Horn Mix) Cuadra, 2004

Adam Freeland - ManCry (Gui Boratto Remix), 2008 (Unreleased)

Moby – Pale Horses (Gui Boratto’s Last Window Remix)-2009

Massive Attack - Paradise Circus (Gui Boratto Mix), 2009

Trentemoller - Sycamore Feeling, 2010

References

-

External links

Gui Boratto Official Website

MySpace

Boratto interview

Stylus magazine article

Category:Brazilian DJs Category:Brazilian record producers Category:1974 births Category:Living people

da:Gui Boratto de:Gui Boratto fr:Gui Boratto ka:გი ბორატო nl:Gui Boratto pl:Gui Boratto pt:Gui Boratto ru:Боратто, Гильерме sv:Gui Boratto

name	Charlie Chaplin
birth name
birth date	April 16, 1889
birth place	Walworth, London, United Kingdom
death date
death place	Vevey, Vaud, Switzerland
medium	Film, music, mimicry
nationality	British
active	1895–1976
genre	Slapstick, mime, visual comedy
influenced	Marcel MarceauThe Three StoogesFederico FelliniMilton BerlePeter SellersRowan AtkinsonJohnny DeppJacques Tati
spouse	1 child 2 children 8 children
Signature	Firma de Charles Chaplin.svg }}

Sir Charles Spencer "Charlie" Chaplin, KBE (16 April 1889 25 December 1977) was an English comic actor, film director and composer best known for his work during the silent film era. He became the most famous film star in the world before the end of World War I. Chaplin used mime, slapstick and other visual comedy routines, and continued well into the era of the talkies, though his films decreased in frequency from the end of the 1920s. His most famous role was that of The Tramp, which he first played in the Keystone comedy ''Kid Auto Races at Venice'' in 1914. From the April 1914 one-reeler ''Twenty Minutes of Love'' onwards he was writing and directing most of his films, by 1916 he was also producing them, and from 1918 he was even composing the music for them. With Mary Pickford, Douglas Fairbanks and D. W. Griffith, he co-founded United Artists in 1919.

Chaplin was one of the most creative and influential personalities of the silent-film era. He was influenced by his predecessor, the French silent film comedian Max Linder, to whom he dedicated one of his films. His working life in entertainment spanned over 75 years, from the Victorian stage and the music hall in the United Kingdom as a child performer, until close to his death at the age of 88. His high-profile public and private life encompassed both adulation and controversy. Chaplin's identification with the left ultimately forced him to resettle in Europe during the McCarthy era in the early 1950s.

In 1999, the American Film Institute ranked Chaplin the 10th greatest male screen legend of all time. In 2008, Martin Sieff, in a review of the book ''Chaplin: A Life'', wrote: "Chaplin was not just 'big', he was gigantic. In 1915, he burst onto a war-torn world bringing it the gift of comedy, laughter and relief while it was tearing itself apart through World War I. Over the next 25 years, through the Great Depression and the rise of Adolf Hitler, he stayed on the job. ... It is doubtful any individual has ever given more entertainment, pleasure and relief to so many human beings when they needed it the most". George Bernard Shaw called Chaplin "the only genius to come out of the movie industry".

Biography

Early life in London (1889–1909)

Charles Spencer Chaplin was born on 16 April 1889, supposedly in East Street, Walworth, London, England. (In 2011, a letter, written to him in the 1970s, came to light, claiming that he had been born in a Gypsy caravan at Black Patch Park in Smethwick, Staffordshire.) His parents were entertainers in the music hall tradition; his father, Charles Spencer Chaplin Sr, was a vocalist and an actor while his mother, Hannah Chaplin, was a singer and an actress who went by the stage name Lilly Harley. They separated before Charlie was three. He learned singing from his parents. The 1891 census shows that his mother lived with Charlie and his older half-brother Sydney on Barlow Street, Walworth.

As a child, Chaplin also lived with his mother in various addresses in and around Kennington Road in Lambeth, including 3 Pownall Terrace, Chester Street and 39 Methley Street. His paternal grandmother's mother was from the Smith family of Romanichals, a fact of which he was extremely proud, though he described it in his autobiography as "the skeleton in our family cupboard". Charles Chaplin Sr. was an alcoholic and had little contact with his son, though Chaplin and his half-brother briefly lived with him and his mistress, Louise, at 287 Kennington Road. The half-brothers lived there while their mentally ill mother lived at Cane Hill Asylum at Coulsdon. Chaplin's father's mistress sent the boy to Archbishop Temple's Boys School. His father died of cirrhosis when Charlie was twelve in 1901. As of the 1901 Census, Chaplin resided at 94 Ferndale Road, Lambeth, as part of a troupe of young male dancers, The Eight Lancashire Lads, managed by William Jackson.

A larynx condition ended the singing career of Hannah Chaplin. After her re-admission to the Cane Hill Asylum, her son was left in the workhouse at Lambeth in south London, moving several weeks later to the Central London District School for paupers in Hanwell.

In 1903 Chaplin secured the role of Billy the pageboy in ''Sherlock Holmes'', written by William Gillette and starring English actor H. A. Saintsbury. Saintsbury took Chaplin under his wing and taught him to marshal his talents. In 1905 Gillette came to England with Marie Doro to debut his new play, ''Clarice'', but the play did not go well. When Gillette staged his one-act curtain-raiser, ''The Painful Predicament of Sherlock Holmes'' as a joke on the British press, Chaplin was brought in from the provinces to play Billy. When ''Sherlock Holmes'' was substituted for ''Clarice'', Chaplin remained as Billy until the production ended on 2 December. During the run, Gillette coached Chaplin in his restrained acting style. It was during this engagement that the teenage Chaplin fell hopelessly in love with Doro, but his love went unrequited and Doro returned to America with Gillette when the production closed.

They met again in Hollywood eleven years later. She had forgotten his name but, when introduced to her, Chaplin told her of being silently in love with her and how she had broken his young heart. Over dinner, he laid it on thick about his unrequited love. Nothing came of it until two years later, when they were both in New York and she invited him to dinner and a drive. Instead, Chaplin noted, they simply “dined quietly in Marie’s apartment alone.” However, as Kenneth Lynn pointed out, “Chaplin would not have been Chaplin if he had simply dined quietly with Marie.”

First years in the United States (1910–1913)

Chaplin first toured the United States with the Fred Karno troupe from 1910 to 1912. After five months in England, he returned to the U.S. for a second tour, arriving with the Karno Troupe on 2 October 1912. In the Karno Company was Arthur Stanley Jefferson, who later became known as Stan Laurel. Chaplin and Laurel shared a room in a boarding house. Laurel returned to England but Chaplin remained in the United States. In late 1913, Chaplin's act with the Karno Troupe was seen by Mack Sennett, Mabel Normand, Minta Durfee, and "Fatty" Arbuckle. Sennett hired him for his studio, the Keystone Film Company as a replacement for Ford Sterling. Chaplin had considerable difficulty adjusting to the demands of film acting and his performance suffered for it. After Chaplin's first film appearance, ''Making a Living'' was filmed, Sennett felt he had made a costly mistake. Most historians agree it was Normand who persuaded him to give Chaplin another chance.

Sennett did not warm to Chaplin right away, and Chaplin believed Sennett intended to fire him following a disagreement with Normand. However, Chaplin's pictures were soon a success, and he became one of the biggest stars at Keystone.

Chaplin was given over to Normand, who directed and wrote a handful of his earliest films. Chaplin did not enjoy being directed by a woman, and they often disagreed. Eventually, the two worked out their differences and remained friends long after Chaplin left Keystone.

The Tramp (1914–1915)

The Tramp debuted during the silent film era in the Keystone comedy ''Kid Auto Races at Venice'' (released on 7 February 1914). However, Chaplin had devised the tramp costume for a film produced a few days earlier but released later (9 February 1914), ''Mabel's Strange Predicament''. Mack Sennett had requested that Chaplin "get into a comedy make-up". As Chaplin recalled in his autobiography: }}

"The Tramp" is a vagrant with the refined manners, clothes, and dignity of a gentleman. Arbuckle contributed his father-in-law's bowler hat ('derby') and his own pants (of generous proportions). Chester Conklin provided the little cutaway tailcoat, and Ford Sterling the size-14 shoes, which were so big, Chaplin had to wear each on the wrong foot to keep them on. He devised the moustache from a bit of crepe hair belonging to Mack Swain. The only thing Chaplin himself owned was the whangee cane.

Chaplin, with his Little Tramp character, quickly became the most popular star in Sennett's company of players. He immediately gained enormous popularity among cinema audiences. "The Tramp", Chaplin's principal character, was known as "Charlot" in the French-speaking world, Italy, Spain, Andorra, Portugal, Greece, Romania and Turkey, "Carlitos" in Brazil and Argentina, and "Der Vagabund" in Germany.

Chaplin continued to play the Tramp through dozens of short films and, later, feature-length productions (in only a handful of other productions did he play characters other than the Tramp). He portrayed a Keystone Kop in ''A Thief Catcher'' filmed 5–26 Jan 1914.

The Tramp was closely identified with the silent era, and was considered an international character; when the sound era began in the late 1920s, Chaplin refused to make a talkie featuring the character. The 1931 production ''City Lights'' featured no dialogue. Chaplin officially retired the character in the film ''Modern Times'' (released 5 February 1936), which appropriately ended with the Tramp walking down an endless highway toward the horizon. The film was only a partial talkie and is often called the last silent film. The Tramp remains silent until near the end of the film when, for the first time, his voice is finally heard, albeit only as part of a French/Italian-derived gibberish song.

Chaplin's early Keystones use the standard Mack Sennett formula of extreme physical comedy and exaggerated gestures. Chaplin's pantomime was subtler, more suitable to romantic and domestic farces than to the usual Keystone chases and mob scenes. The visual gags were pure Keystone, however; the tramp character would aggressively assault his enemies with kicks and bricks. Moviegoers loved this cheerfully earthy new comedian, even though critics warned that his antics bordered on vulgarity. Chaplin was soon entrusted with directing and editing his own films. He made 34 shorts for Sennett during his first year in pictures, as well as the landmark comedy feature ''Tillie's Punctured Romance''.

The Tramp was featured in the first film trailer to be exhibited in a U.S. cinema, a slide promotion developed by Nils Granlund, advertising manager for the Marcus Loew theatre chain, and shown at the Loew's Seventh Avenue Theatre in Harlem in 1914. In 1915, Chaplin signed a much more favourable contract with Essanay Studios, and further developed his cinematic skills, adding new levels of depth and pathos to the Keystone-style slapstick. Most of the Essanay films were more ambitious, running twice as long as the average Keystone comedy. Chaplin also developed his own stock company, including ingénue Edna Purviance and comic villains Leo White and Bud Jamison.

Chaplin's popularity continued to soar in the early years following the start of WW1. He started to become noticed by stars of the legitimate theatre. Minnie Maddern Fiske, one of the legends of the stage endorsed Chaplin's artistry in an article in Harper's Weekly(6 May 1915). At the start of her article Mrs. Fiske spoke, "...To the writer Charles Chaplin appears as a great comic artist, possessing inspirational powers and a technique as unfaltering as Rejane's. If it be treason to Art to say this, then let those exalted persons who allow culture to be defined only upon their own terms make the most of it..." In the following years Chaplin would make many friends from the world of the Broadway stage.

Chaplin was emerging as the supreme exponent of silent films, an emigrant himself from London. Chaplin's Tramp enacted the difficulties and humiliations of the immigrant underdog, the constant struggle at the bottom of the American heap and yet he triumphed over adversity without ever rising to the top, and thereby stayed in touch with his audience. Chaplin's films were also deliciously subversive. The bumbling officials enabled the immigrants to laugh at those they feared.

Pioneering film artist and global celebrity (1916–1918)

In 1916, the Mutual Film Corporation paid Chaplin US$670,000 to produce a dozen two-reel comedies. He was given near complete artistic control, and produced twelve films over an eighteen-month period that rank among the most influential comedy films in all cinema. Of his Mutual comedies, the best known include: ''Easy Street'', ''One A.M.'', ''The Pawnshop'', and ''The Adventurer''. Edna Purviance remained the leading lady, and Chaplin added Eric Campbell, Henry Bergman, and Albert Austin to his stock company; Campbell, a Gilbert and Sullivan veteran, provided superb villainy, and second bananas Bergman and Austin would remain with Chaplin for decades. Chaplin regarded the Mutual period as the happiest of his career, although he also had concerns that the films during that time were becoming formulaic owing to the stringent production schedule his contract required. Upon the U.S. entering World War I, Chaplin became a spokesman for Liberty Bonds with his close friend Douglas Fairbanks and Mary Pickford.

Most of the Chaplin films in circulation date from his Keystone, Essanay, and Mutual periods. After Chaplin assumed control of his productions in 1918 (and kept exhibitors and audiences waiting for them), entrepreneurs serviced the demand for Chaplin by bringing back his older comedies. The films were recut, retitled, and reissued again and again, first for theatres, then for the home-film market, and in recent years, for home video. Even Essanay was guilty of this practice, fashioning "new" Chaplin comedies from old film clips and out-takes. The twelve Mutual comedies were revamped as sound films in 1933, when producer Amadee J. Van Beuren added new orchestral scores and sound effects.

At the conclusion of the Mutual contract in 1917, Chaplin signed a contract with First National to produce eight two-reel films. First National financed and distributed these pictures (1918–23) but otherwise gave him complete creative control over production. Chaplin now had his own studio, and he could work at a more relaxed pace that allowed him to focus on quality. Although First National expected Chaplin to deliver short comedies like the celebrated Mutuals, Chaplin ambitiously expanded most of his personal projects into longer, feature-length films, including ''Shoulder Arms'' (1918), ''The Pilgrim'' (1923) and the feature-length classic ''The Kid'' (1921).

United Artists (1919–1939)

In 1919, Chaplin co-founded the United Artists film distribution company with Mary Pickford, Douglas Fairbanks and D. W. Griffith, all of whom were seeking to escape the growing power consolidation of film distributors and financiers in the developing Hollywood studio system. This move, along with complete control of his film production through his studio, assured Chaplin's independence as a film-maker. He served on the board of UA until the early 1950s.

All Chaplin's United Artists pictures were of feature length, beginning with the atypical drama in which Chaplin had only a brief cameo role, ''A Woman of Paris'' (1923). This was followed by the classic comedies ''The Gold Rush'' (1925) and ''The Circus'' (1928).

After the arrival of sound films, Chaplin continued to focus on silent films with a synchronised recorded score, which included sound effects and music with melodies based in popular songs or composed by him; ''The Circus'' (1928), ''City Lights'' (1931), and ''Modern Times'' (1936) were essentially silent films. ''City Lights'' has been praised for its mixture of comedy and sentimentality. Critic James Agee, for example, wrote in ''Life'' magazine in 1949 that the final scene in ''City Lights'' was the "greatest single piece of acting ever committed to celluloid".

While ''Modern Times'' (1936) is a non-talkie, it does contain talk—usually coming from inanimate objects such as a radio or a TV monitor. This was done to help 1930s audiences, who were out of the habit of watching silent films, adjust to not hearing dialogue. ''Modern Times'' was the first film where Chaplin's voice is heard (in the nonsense song at the end, which Chaplin both performed and wrote the nonsense lyrics to). However, for most viewers it is still considered a silent film.

Although "talkies" became the dominant mode of film making soon after they were introduced in 1927, Chaplin resisted making such a film all through the 1930s. He considered cinema essentially a pantomimic art. He said: "Action is more generally understood than words. Like Chinese symbolism, it will mean different things according to its scenic connotation. Listen to a description of some unfamiliar object—an African warthog, for example; then look at a picture of the animal and see how surprised you are".

It is a tribute to Chaplin's versatility that he also has one film credit for choreography for the 1952 film ''Limelight'', and another as a singer for the title music of ''The Circus'' (1928). The best known of several songs he composed are "Smile", composed for the film ''Modern Times'' (1936) and given lyrics to help promote a 1950s revival of the film, famously covered by Nat King Cole. "This Is My Song" from Chaplin's last film, ''A Countess from Hong Kong'', was a number one hit in several different languages in the late 1960s (most notably the version by Petula Clark and discovery of an unreleased version in the 1990s recorded in 1967 by Judith Durham of The Seekers), and Chaplin's theme from ''Limelight'' was a hit in the 1950s under the title "Eternally." Chaplin's score to ''Limelight'' won an Academy Award in 1972; a delay in the film premiering in Los Angeles made it eligible decades after it was filmed. Chaplin also wrote scores for his earlier silent films when they were re-released in the sound era, notably ''The Kid'' for its 1971 re-release.

''The Great Dictator'' (1940)

Chaplin's first talking picture, ''The Great Dictator'' (1940), was an act of defiance against Nazism. It was filmed and released in the United States one year before the U.S. entry into World War II. Chaplin played the role of "Adenoid Hynkel", Dictator of Tomainia, modelled on German dictator Adolf Hitler, who was only four days his junior and sported a similar moustache. The film also showcased comedian Jack Oakie as "Benzino Napaloni", dictator of Bacteria, a jab at Italian dictator Benito Mussolini.

Paulette Goddard filmed with Chaplin again, depicting a woman in the ghetto. The film was seen as an act of courage in the political environment of the time, both for its ridicule of Nazism, for the portrayal of overt Jewish characters, and the depiction of their persecution. In addition to Hynkel, Chaplin also played a look-alike Jewish barber persecuted by the regime. The barber physically resembled the Tramp character.

At the conclusion, the two characters Chaplin portrayed swapped positions through a complex plot, and he dropped out of his comic character to address the audience directly in a speech denouncing dictatorship, greed, hate, and intolerance, in favour of liberty and human brotherhood.

The film was nominated for Academy awards for Best Picture (producer), Best Original Screenplay (writer) and Best Actor.

McCarthy era

Although Chaplin had his major successes in the United States and was a resident from 1914 to 1953, he always maintained a neutral nationalistic stance. During the era of McCarthyism, Chaplin was accused of "un-American activities" as a suspected communist and J. Edgar Hoover, who had instructed the FBI to keep extensive secret files on him, tried to end his United States residency. FBI pressure on Chaplin grew after his 1942 campaign for a second European front in the war and reached a critical level in the late 1940s, when Congressional figures threatened to call him as a witness in hearings. This was never done, probably from fear of Chaplin's ability to lampoon the investigators.

In 1952, Chaplin left the US for what was intended as a brief trip home to the United Kingdom for the London premiere of ''Limelight''. Hoover learned of the trip and negotiated with the Immigration and Naturalization Service to revoke Chaplin's re-entry permit, exiling Chaplin so he could not return for his alleged political leanings. Chaplin decided not to re-enter the United States, writing: "Since the end of the last world war, I have been the object of lies and propaganda by powerful reactionary groups who, by their influence and by the aid of America's yellow press, have created an unhealthy atmosphere in which liberal-minded individuals can be singled out and persecuted. Under these conditions I find it virtually impossible to continue my motion-picture work, and I have therefore given up my residence in the United States."

That Chaplin was unprepared to remain abroad, or that the revocation of his right to re-enter the United States by FBI Director J. Edgar Hoover was a surprise to him, may be apocryphal: An anecdote in some contradiction is recorded during a broad interview with Richard Avedon, celebrated New York portraitist.

Avedon is credited with the last portrait of the entertainer to be taken before his departure to Europe and therefore, the last photograph of him as a singularly “American icon.” According to Avedon, Chaplin telephoned him at his studio in New York City, while on a layover for transportation connections before the final leg of his travel to England. The photographer considered the impromptu self-introduction a prank and angrily answered his caller with the riposte, “If you’re Charlie Chaplin, I’m Franklin Roosevelt!” To mollify Avedon, Chaplin assured the photographer of his authenticity and added the comment, “If you want to take my picture, you better do it now. They are coming after me and I won’t be back. I leave ... (imminently).” Avedon interrupted his production commitments to take Chaplin’s portrait the next day, and never personally saw Chaplin again.

Chaplin then made his home in Vevey, Switzerland. He briefly and triumphantly returned to the United States in April 1972, with his wife, to receive an Honorary Oscar, and also to discuss how his films would be re-released and marketed.

Final works (1957–1976)

Chaplin's final two films were made in London: ''A King in New York'' (1957) in which he starred, wrote, directed and produced; and ''A Countess from Hong Kong'' (1967), which he directed, produced, and wrote. The latter film stars Sophia Loren and Marlon Brando, and Chaplin made his final on-screen appearance in a brief cameo role as a seasick steward. He also composed the music for both films with the theme song from ''A Countess From Hong Kong,'' "This is My Song", reaching number one in the UK as sung by Petula Clark. Chaplin also compiled a film ''The Chaplin Revue'' from three First National films ''A Dog's Life'' (1918), ''Shoulder Arms'' (1918) and ''The Pilgrim'' (1923) for which he composed the music and recorded an introductory narration. As well as directing these final films, Chaplin also wrote ''My Autobiography,'' between 1959 and 1963, which was published in 1964.

In his pictorial autobiography ''My Life In Pictures'', published in 1974, Chaplin indicated that he had written a screenplay for his daughter, Victoria; entitled ''The Freak'', the film would have cast her as an angel. According to Chaplin, a script was completed and pre-production rehearsals had begun on the film (the book includes a photograph of Victoria in costume), but were halted when Victoria married. "I mean to make it some day," Chaplin wrote. However, his health declined steadily in the 1970s which hampered all hopes of the film ever being produced.

From 1969 until 1976, Chaplin wrote original music compositions and scores for his silent pictures and re-released them. He composed the scores of all his First National shorts: ''The Idle Class'' in 1971 (paired with The Kid for re-release in 1972), ''A Day's Pleasure'' in 1973, ''Pay Day'' in 1972, ''Sunnyside'' in 1974, and of his feature length films firstly ''The Circus'' in 1969 and ''The Kid'' in 1971. Chaplin worked with music associate Eric James whilst composing all his scores.

Chaplin's last completed work was the score for his 1923 film ''A Woman of Paris'', which was completed in 1976, by which time Chaplin was extremely frail, even finding communication difficult.

Death (1977)

Chaplin's robust health began to slowly fail in the late 1960s, after the completion of his final film ''A Countess from Hong Kong'', and more rapidly after he received his Academy Award in 1972. By 1977, he had difficulty communicating, and was using a wheelchair. Chaplin died in his sleep in Vevey, Switzerland on Christmas Day 1977.

Chaplin was interred in Corsier-Sur-Vevey Cemetery, Switzerland. On 1 March 1978, his corpse was stolen by a small group of Swiss mechanics in an attempt to extort money from his family. The plot failed; the robbers were captured, and the corpse was recovered eleven weeks later near Lake Geneva. His body was reburied under of concrete to prevent further attempts.

Filmmaking techniques

Chaplin never spoke more than cursorily about his filmmaking methods, claiming such a thing would be tantamount to a magician spoiling his own illusion. In fact, until he began making spoken dialogue films with ''The Great Dictator'' in 1940, Chaplin never shot from a completed script. The method he developed, once his Essanay contract gave him the freedom to write for and direct himself, was to start from a vague premise—for example "Charlie enters a health spa" or "Charlie works in a pawn shop." Chaplin then had sets constructed and worked with his stock company to improvise gags and "business" around them, almost always working the ideas out on film. As ideas were accepted and discarded, a narrative structure would emerge, frequently requiring Chaplin to reshoot an already-completed scene that might have otherwise contradicted the story. Chaplin's unique filmmaking techniques became known only after his death, when his rare surviving outtakes and cut sequences were carefully examined in the 1983 British documentary ''Unknown Chaplin''.

This is one reason why Chaplin took so much longer to complete his films than his rivals did. In addition, Chaplin was an incredibly exacting director, showing his actors exactly how he wanted them to perform and shooting scores of takes until he had the shot he wanted. Animator Chuck Jones, who lived near Charlie Chaplin's Lone Star studio as a boy, remembered his father saying he watched Chaplin shoot a scene more than a hundred times until he was satisfied with it. This combination of story improvisation and relentless perfectionism—which resulted in days of effort and thousands of feet of film being wasted, all at enormous expense—often proved very taxing for Chaplin, who in frustration would often lash out at his actors and crew, keep them waiting idly for hours or, in extreme cases, shutting down production altogether.

Comparison with other silent comics

Since the 1960s, Chaplin's films have been compared to those of Buster Keaton and Harold Lloyd (the other two great silent film comedians of the time), especially among the loyal fans of each comic.

The three had different styles: Chaplin had a strong affinity for sentimentality and pathos (which was popular in the 1920s), Lloyd was renowned for his everyman persona and 1920s optimism, and Keaton adhered to onscreen stoicism with a cynical tone more suited to modern audiences.

Commercially, Chaplin made some of the highest-grossing films in the silent era; ''The Gold Rush'' is the fifth with US$4.25 million and ''The Circus'' is the seventh with US$3.8 million. However, Chaplin's films combined made about US$10.5 million while Harold Lloyd's grossed US$15.7 million. Lloyd was far more prolific, releasing twelve feature films in the 1920s while Chaplin released just three. Buster Keaton's films were not nearly as commercially successful as Chaplin's or Lloyd's even at the height of his popularity, and only received belated critical acclaim in the late 1950s and 1960s.

There is evidence that Chaplin and Keaton, who both got their start in vaudeville, thought highly of one another: Keaton stated in his autobiography that Chaplin was the greatest comedian that ever lived, and the greatest comedy director, whereas Chaplin welcomed Keaton to United Artists in 1925, advised him against his disastrous move to MGM in 1928, and for his last American film, ''Limelight'', wrote a part specifically for Keaton as his first on-screen comedy partner since 1915.

Composer and songwriter

Chaplin wrote or co-wrote the scores and songs for many of his films. "Smile", which he composed for his film, ''Modern Times'', hit number 2 on the UK charts when sung by Nat King Cole in the 1950s. It was also Michael Jackson's favourite song. "This Is My Song", written and composed by Chaplin for his film, ''A Countess from Hong Kong'', hit number 1 on the UK charts when sung by Petula Clark in the 1960s. In 1973, Chaplin won the Oscar for Best Film Score for his film, ''Limelight''. Chaplin was not the only member of his family with musical talent; his nephew, Spencer Dryden was the drummer for the Rock and Roll Hall of Fame inducted band, Jefferson Airplane.

Politics

Chaplin's political sympathies always lay with the left. His silent films made prior to the Great Depression typically did not contain overt political themes or messages, apart from the Tramp's plight in poverty and his run-ins with the law, but his 1930s films were more openly political. ''Modern Times'' depicts workers and poor people in dismal conditions. The final dramatic speech in ''The Great Dictator'', which was critical of following patriotic nationalism without question, and his vocal public support for the opening of a second European front in 1942 to assist the Soviet Union in World War II were controversial.

Chaplin declined to support the war effort as he had done for World War I which led to public anger, although his two sons saw service in the Army in Europe. For most of World War II he was fighting serious criminal and civil charges related to his involvement with actress Joan Barry (see below). After the war, his 1947 black comedy, ''Monsieur Verdoux'' showed a critical view of capitalism. Chaplin's final American film, ''Limelight'', was less political and more autobiographical in nature. His following European-made film, ''A King in New York'' (1957), satirised the political persecution and paranoia that had forced him to leave the U.S. five years earlier.

On religion, Chaplin wrote in his autobiography, “In Philadelphia, I inadvertently came upon an edition of Robert Ingersoll's Essays and Lectures. This was an exciting discovery; his atheism confirmed my own belief that the horrific cruelty of the Old Testament was degrading to the human spirit.”

Other controversies

During World War I, Chaplin was criticised in the British press for not joining the Army. He had in fact presented himself for service, but was denied for being too small at 5'5" and underweight. Chaplin raised substantial funds for the war effort during war bond drives not only with public speaking at rallies but also by making, at his own expense, ''The Bond'', a comedic propaganda film used in 1918. The lingering controversy may have prevented Chaplin from receiving a knighthood in the 1930s. A 1916 propaganda short film ''Zepped'' with Chaplin was discovered in 2009.

For Chaplin's entire career, some level of controversy existed over claims of Jewish ancestry. Nazi propaganda in the 1930s and 40s prominently portrayed him as Jewish (named Karl Tonstein) relying on articles published in the U.S. press before, and FBI investigations of Chaplin in the late 1940s also focused on Chaplin's ethnic origins. There is no documentary evidence of Jewish ancestry for Chaplin himself. For his entire public life, he fiercely refused to challenge or refute claims that he was Jewish, saying that to do so would always "play directly into the hands of anti-Semites." Although baptised in the Church of England, Chaplin was thought to be an agnostic for most of his life.

Chaplin's lifelong attraction to younger women remains another enduring source of interest to some. His biographers have attributed this to a teenage infatuation with Hetty Kelly, whom he met in Britain while performing in the music hall, and which possibly defined his feminine ideal. Chaplin clearly relished the role of discovering and closely guiding young female stars; with the exception of Mildred Harris, all of his marriages and most of his major relationships began in this manner.

Personal life and family

Chaplin's mother died in 1928 in Glendale, California, seven years after she was brought to the U.S. by her sons. Unknown to Charlie and Sydney until years later, they had a half-brother through their mother. The boy, Wheeler Dryden (1892–1957), was raised abroad by his father but later connected with the rest of the family and went to work for Chaplin at his Hollywood studio.

The South African duo Locnville, Andrew and Brian Chaplin, are related to Chaplin (their grandfather was Chaplin's first cousin).

Relationships

Hetty Kelly was Chaplin's first love, a dancer with whom he fell in love when she was fifteen and almost married when he was nineteen, in 1908. It is said Chaplin fell madly in love with her and asked her to marry him. When she refused, Chaplin suggested it would be best if they did not see each other again; he was reportedly crushed when she agreed. Years later, her memory would remain an obsession with Chaplin. He was devastated in 1921 when he learned that she had died of influenza during the 1918 flu pandemic.

thumb|left|Chaplin with Edna Purviance in ''The Immigrant'' (1917) Edna Purviance was Chaplin's first major leading lady after Mabel Normand. Purviance and Chaplin were involved in a close romantic relationship during the production of his Essanay and Mutual films in 1916–1917. The romance seems to have ended by 1918, and Chaplin's marriage to Mildred Harris in late 1918 ended any possibility of reconciliation. Purviance would continue as leading lady in Chaplin's films until 1923, and would remain on Chaplin's payroll until her death in 1958. She and Chaplin spoke warmly of one another for the rest of their lives.

right|thumb|upright|Mildred Harris, c. 1918–1920 Mildred Harris: On 23 October 1918, Chaplin, age 29, married the popular child actress, Harris, who was 16 at the time. They had one son, Norman Spencer "The Little Mouse" Chaplin, born on 7 July 1919, who died three days later and is interred under the name ''The Little Mouse'' at Inglewood Park Cemetery, Inglewood California. Chaplin separated from Harris by late 1919, moving back into the Los Angeles Athletic Club. The couple divorced in November 1920, with Harris getting some of their community property and a US$100,000 settlement. Chaplin admitted that he "was not in love, now that [he] was married [he] wanted to be and wanted the marriage to be a success." During the divorce, Chaplin claimed Harris had an affair with noted actress of the time Alla Nazimova, rumoured to be fond of seducing young actresses.

Pola Negri: Chaplin was involved in a very public relationship and engagement with the Polish actress, Negri, in 1922–23, after she arrived in Hollywood to star in films. The stormy on-off engagement was halted after about nine months, but in many ways it foreshadowed the modern stereotypes of Hollywood star relationships. Chaplin's public involvement with Negri was unique in his public life. By comparison he strove to keep his other romances during this period very discreet and private (usually without success). Many biographers have concluded the affair with Negri was largely for publicity purposes.

Marion Davies: In 1924, during the time he was involved with the underage Lita Grey, Chaplin was rumoured to have had a fling with actress Davies, companion of William Randolph Hearst. Davies and Chaplin were both present on Hearst's yacht the weekend preceding the mysterious death of Thomas Harper Ince. Charlie allegedly tried to persuade her to leave Hearst and remain with him, but she refused and stayed by Hearst's side until his death in 1951. Chaplin made a rare cameo appearance in Davies' 1928 film ''Show People'', and by some accounts supposedly continued an affair with her until 1931.

Lita Grey: Chaplin first met Grey during the filming of ''The Kid''. Three years later, at age 35, he became involved with the then 16-year-old Grey during preparations for ''The Gold Rush'' in which she was to star as the female lead. They married on 26 November 1924, after she became pregnant (a development that resulted in her being removed from the cast of the film). They had two sons, the actors Charles Chaplin, Jr. (1925–1968) and Sydney Chaplin (1926–2009). The marriage was a disaster, with the couple hopelessly mismatched. The couple divorced on 22 August 1927. Their extraordinarily bitter divorce had Chaplin paying Grey a then-record-breaking US$825,000 settlement, on top of almost one million dollars in legal costs. The stress of the sensational divorce, compounded by a federal tax dispute, allegedly turned his hair white. The Chaplin biographer Joyce Milton asserted in ''Tramp: The Life of Charlie Chaplin'' that the Grey-Chaplin marriage was the inspiration for Vladimir Nabokov's 1950s novel ''Lolita''.

Merna Kennedy: Lita Grey's friend, Kennedy was a dancer who Chaplin hired as the lead actress in ''The Circus'' (1928). It is rumoured that the two had an affair during shooting. Grey used the rumoured infidelity in her divorce proceedings.

Georgia Hale was Lita Grey's replacement on ''The Gold Rush''. In the documentary series, ''Unknown Chaplin'', (directed and written by film historians Kevin Brownlow and David Gill), Hale, in a 1980s interview states that she had idolised Chaplin since childhood and that the then-19-year-old actress and Chaplin began an affair that continued for several years, which she details in her memoir, ''Charlie Chaplin: Intimate Close-Ups.'' During production of Chaplin's film ''City Lights'' in 1929–30, Hale, who by then was Chaplin's closest companion, was called in to replace Virginia Cherrill as the flower girl. Seven minutes of test footage survives from this recasting, and is included on the 2003 DVD release of the film, but economics forced Chaplin to rehire Cherrill. In discussing the situation in ''Unknown Chaplin'', Hale states that her relationship with Chaplin was as strong as ever during filming. Their romance apparently ended sometime after Chaplin's return from his world tour in 1933.

Louise Brooks was a chorine in the ''Ziegfeld Follies'' when she met Chaplin. He had gone to New York for the opening there of ''The Gold Rush''. For two months in the summer of 1925, the two cavorted together at the Ritz, and with film financier A.C. Blumenthal and Brooks' fellow Ziegfeld girl Peggy Fears in Blumenthal's penthouse suite at the Ambassador Hotel. Brooks was with Chaplin when he spent four hours watching a musician torture a violin in a Lower East Side restaurant, an act he would recreate in ''Limelight''.

May Reeves was originally hired to be Chaplin's secretary on his 1931–1932 extended trip to Europe, dealing mostly with reading his personal correspondence. She worked only one morning, and then was introduced to Chaplin, who was instantly infatuated with her. May became his constant companion and lover on the trip, much to the disgust of Chaplin's brother, Syd. After Reeves also became involved with Syd, Chaplin ended the relationship and she left his entourage. Reeves chronicled her short time with Chaplin in her book, "The Intimate Charlie Chaplin".

thumb|right|Chaplin and Paulette Goddard in ''The Great Dictator'' (1940) Paulette Goddard: Chaplin and actress Goddard were involved in a romantic and professional relationship between 1932 and 1940, with Goddard living with Chaplin in his Beverly Hills home for most of this time. Chaplin gave her starring roles in ''Modern Times'' and ''The Great Dictator''. Refusal to clarify their marital status is often claimed to have eliminated Goddard from final consideration for the role of Scarlett O'Hara in ''Gone with the Wind''. After the relationship ended in 1940, Chaplin and Goddard made public statements that they had been secretly married in 1936; but these claims were likely a mutual effort to prevent any lasting damage to Goddard's career. In any case, their relationship ended amicably in 1942, with Goddard being granted a settlement. Goddard went on to a major career in films at Paramount in the 1940s, working several times with Cecil B. DeMille. Like Chaplin, she lived her later life in Switzerland, dying in 1990.

Joan Barry (1920–1996): In 1942, Chaplin had a brief affair with Barry, whom he was considering for a starring role in a proposed film, but the relationship ended when she began harassing him and displaying signs of severe mental illness (not unlike his mother). Chaplin's brief involvement with Barry proved to be a nightmare for him. After having a child, she filed a paternity suit against him in 1943. Although blood tests proved Chaplin was not the father of Barry's child, Barry's attorney, Joseph Scott, convinced the court that the tests were inadmissible as evidence, and Chaplin was ordered to support the child. The injustice of the ruling later led to a change in California law to allow blood tests as evidence. Federal prosecutors also brought Mann Act charges against Chaplin related to Barry in 1944, of which he was acquitted. Chaplin's public image in America was gravely damaged by these sensational trials. Barry was institutionalised in 1953 after she was found walking the streets barefoot, carrying a pair of baby sandals and a child's ring, and murmuring: "This is magic". Chaplin's second wife, Lita Grey, later asserted that Chaplin had paid corrupt government officials to tamper with the blood test results. She further stated that "there is no doubt that she [Carol Ann] was his child." Oona O'Neill: During Chaplin's legal trouble over the Barry affair, he met O'Neill, daughter of Eugene O'Neill, and married her on 16 June 1943. He was fifty-four; she had just turned eighteen. The marriage produced eight children; their last child, Christopher, was born when Chaplin was 73 years old. Oona survived Chaplin by fourteen years, and died from pancreatic cancer in 1991.

Children

! Child	! Birth	! Death	! Chaplin's Age at Time of Birth	! Mother	! Grandchildren
Norman Spencer Chaplin	7 July 1919	10 July 1919	30	Mildred Harris
	5 May 1925	20 March 1968	36		Susan Maree Chaplin (b 1959)
	31 March 1926	3 March 2009	36	Stephan Chaplin (b 19xx)
Carol Ann Barry Chaplin (Disputed)	2 October 1943		54		Unknown
	31 July 1944		55		Shane Saura Chaplin (b 1974) Oona Castilla Chaplin (b 1986)
	7 March 1946		56	Kathleen Chaplin (b. 1975) Dolores Chaplin (b. 1979) Carmen Chaplin (b 19xx) George Chaplin (b 19xx)
	28 March 1949		59	Julien Ronet (b. 1980)
Victoria Chaplin	19 May 1951		62	Aurélia Thiérrée (b. 1971) James Thiérrée (b. 1974)
	23 August 1953		64	Kiera Chaplin (b. 1982)
Jane Cecil Chaplin	23 May 1957		68
Annette Emily Chaplin	3 December 1959		70	Orson Salkind (b. 1986) Osceola Salkind (b. 1994)
	6 July 1962		73

Awards and recognition

Chaplin was knighted in 1975 at the age of 85 as a Knight Commander of the British Empire (KBE) by Queen Elizabeth II. The honour had been first proposed in 1931. Knighthood was suggested again in 1956, but was vetoed after a Foreign Office report raised concerns over Chaplin's purported "communist" views and his moral behaviour in marrying two 16 year girls; it was felt that honouring him would damage both the reputation of the British honours system and relations with the United States.

Among other recognitions, Chaplin was given a star on the Hollywood Walk of Fame in 1970; that he had not been among those originally honoured in 1961 caused some controversy. Chaplin's Swiss mansion is to be opened as a museum tracing his life from the music halls in London to Hollywood fame.

A statue of Charlie Chaplin was made by John Doubleday, to stand in Leicester Square in London. It was unveiled by Sir Ralph Richardson in 1981. A bronze statue of him is at Waterville, County Kerry.

Academy Awards

Chaplin received three Academy Awards in his lifetime: one for Best Original Score, and two Honorary Awards. However, during his active years as a filmmaker, Chaplin expressed disdain for the Academy Awards; his son Charles Jr wrote that Chaplin invoked the ire of the Academy in the 1930s by jokingly using his 1929 Oscar as a doorstop. This may help explain why ''City Lights'' and ''Modern Times,'' considered by several polls to be two of the greatest of all motion pictures, were not nominated for a single Academy Award.

The 1st Academy Awards ceremony: When the first Oscars were awarded on 16 May 1929, the voting audit procedures that now exists had not yet been put into place, and the categories were still very fluid. Chaplin's ''The Circus'' was set to be heavily recognised, as Chaplin had originally been nominated for Best Production, Best Director in a Comedy Picture, Best Actor and Best Writing (Original Story). However, the Academy decided to withdraw his name from all the competitive categories and instead give him a Special Award "for versatility and genius in acting, writing, directing and producing ''The Circus''". The only other film to receive a Special Award that year was ''The Jazz Singer''.

The 13th Academy Awards ceremony: In 1941, ''The Great Dictator'' was nominated for five awards, including two for Chaplin: Best Writing and Best Actor. Chaplin lost out on both counts. For writing, he lost to Preston Sturges for ''The Great McGinty'', and for acting to James Stewart for ''The Philadelphia Story''.

The 20th Academy Awards ceremony: In 1948, Chaplin's screenplay for ''Monsieur Verdoux'' was nominated, but the award went instead to Sidney Sheldon for ''The Bachelor and the Bobby-Soxer''.

The 44th Academy Awards ceremony: Chaplin's second Oscar was awarded forty-three years after his first, in 1972. Chaplin came out of exile to accept the Honorary Award for "the incalculable effect he has had in making motion pictures the art form of this century". Stepping onto the stage of the Dorothy Chandler Pavilion, Chaplin received the longest standing ovation in Academy Award history, lasting a full twelve minutes.

The 45th Academy Awards ceremony: In 1973, Chaplin's film ''Limelight'' was honoured with an Oscar for Best Original Score. Though the film had originally been released in 1952, due to Chaplin's political difficulties at the time, the film did not play for one week in Los Angeles, and thus did not meet the criterion for nomination until it was re-released in 1972.

Legacy

Chaplin's "tramp" character is possibly the most imitated on all levels of entertainment. Chaplin once entered a "Chaplin look-alike" competition and didn't even make the final round. The influence of his 'Tramp' character could be seen on other artists and media providers. Beginning early on there were many tributes, and parodies made. Early examples include; E. C. Segar's 1916 comic strip "Charlie Chaplin's Comedy Capers". Segar would later become famous for his character Popeye, and his 'Chaplin' comics would later be collected in 1917 into five books, precursors of the later comic book format. Two different animated cartoon series also starred 'Charlie' a tramp character, the first a series of nine shorts from 1916 by Movca Film Service. And later ten films by the Pat Sullivan Studio from 1918–1919, which would later use the 'Charlie/Charley' gestures to create Felix the Cat, the character made one later appearance in one of Felix's 1923 cartoons "Felix in Hollywood". From 1917 to 1918, silent film actor Billy West made more than 20 films as a comedian precisely imitating Chaplin's tramp character, makeup and costume.

The third of composer Karl Amadeus Hartmann's 1929–30 composition ''Wachsfigurenkabinett: Fünf kleine Opern (Waxworks: Five Little Operas)'' is entitled 'Chaplin-Ford-Trot', and features the character of Charlie Chaplin (in a speaking rather than operatic role).

Kamal Haasan moulded his character "Chaplin Chellappa" on Chaplin in the Tamil film Punnagai Mannan

In 1985, Chaplin was honoured with his image on a postage stamp of the United Kingdom, and in 1994 he appeared on a United States postage stamp designed by caricaturist Al Hirschfeld.

IBM ran a series of commercials for their personal computers during the 1980s featuring a Chaplin impersonator.

John Woo directed a parody film of Chaplin's "The Kid" called Hua ji shi dai (1981), also known as "Laughing Times."

A minor planet, 3623 Chaplin, discovered by Soviet astronomer Lyudmila Karachkina in 1981, is named after Chaplin.

In 1992, a film was made about Chaplin's life entitled ''Chaplin'', directed by Oscar-winner Richard Attenborough, and starring Robert Downey, Jr., in an Oscar-nominated performance, and Geraldine Chaplin playing the part of Charlie Chaplin's mother, her own grandmother.

In 2001, British comedian Eddie Izzard played Chaplin in Peter Bogdanovich's film, ''The Cat's Meow'', which speculated about the still-unsolved death of producer Thomas H. Ince during a yachting party thrown by William Randolph Hearst, of which Chaplin was a guest.

On 15 April 2011, a day before his 122nd birthday anniversary, Google celebrated this with a special Google Doodle video on its global and other country-wide homepages.

Filmography and current rights issues

Chaplin wrote, directed, and starred in dozens of feature films and short subjects. Highlights include ''The Immigrant'' (1917), ''The Gold Rush'' (1925), ''City Lights'' (1931), ''Modern Times'' (1936), and ''The Great Dictator'' (1940), all of which have been selected for inclusion in the National Film Registry. Three of these films made the AFI's 100 Years...100 Movies and AFI's 100 Years...100 Movies (10th Anniversary Edition) lists: ''The Gold Rush'', ''City Lights'', and ''Modern Times''.

A listing of the dozens of Chaplin films and alternate versions can be found in the Ted Okuda-David Maska book ''Charlie Chaplin at Keystone and Essanay: Dawn of the Tramp''. Thanks to The Chaplin Keystone Project, efforts to produce definitive versions of Chaplin's pre-1918 short films have come to a successful end: after ten years of research and clinical international cooperation work, 34 Keystone films have been fully restored and published in October 2010 on a 4-DVD box set. All twelve Mutual films were restored in 1975 by archivist David Shepard and Blackhawk Films, and new restorations with even more footage were released on DVD in 2006.

Today, nearly all of Chaplin's output is owned by Roy Export S.A.S. in Paris, which enforces the library's copyrights and decides how and when this material can be released. French company MK2 acts as worldwide distribution agent for the Export company. In the U.S. as of 2010, distribution is handled under license by Janus Films, with home video releases from Criterion Collection, affiliated with Janus.

See also

List of people on the cover of Time magazine (1920s)

References

Further reading

Charles Chaplin: ''My Autobiography''. Simon & Schuster, 1964.

Charles Chaplin: ''Die Geschichte meines Lebens''. Fischer-Verlag, 1964. (germ.)

Charlie Chaplin ''Die Wurzeln meiner Komik'' in: Jüdische Allgemeine Wochenzeitung, 3 March 1967, gekürzt: wieder ebd. 12.4. 2006, S. 54 (germ.)

''Chaplin: A Life'' by Stephen Weissman Arcade Publishing 2008.

Charles Chaplin: ''My Life in Pictures''. Bodley Head, 1974.

Alistair Cooke: ''Six Men''. Harmondsworth, 1978.

S. Frind: Die Sprache als Propagandainstrument des Nationalsozialismus, in: Muttersprache, 76. Jg., 1966, S. 129–135. (germ.)

Georgia Hale, ''Charlie Chaplin: Intimate Close-Ups'', edited by Heather Kiernan. Lanham: Scarecrow Press, 1995 and 1999. ISBN 978-1-57886-004-3 (1999 edition).

Victor Klemperer: ''LTI – Notizbuch eines Philologen.'' Leipzig: Reclam, 1990. ISBN 978-3-379-00125-0; Frankfurt am Main (19. A.) 2004 (germ.)

''Charlie Chaplin at Keystone and Essanay: Dawn of the Tramp'', Ted Okuda & David Maska. iUniverse, New York, 2005.

''Chaplin: His Life and Art'', David Robinson. McGraw-Hill, second edition 2001.

''Chaplin: Genius of the Cinema'', Jeffrey Vance. Abrams, New York, 2003. ISBN 978-0-8109-4532-6

''Charlie Chaplin: A Photo Diary'', Michel Comte & Sam Stourdze. Steidl, first edition, hardcover, 359pp, ISBN 978-3-88243-792-8, 2002.

''Chaplin in Pictures'', Sam Stourdze (ed.), texts by Patrice Blouin, Christian Delage and Sam Stourdze, NBC Editions, ISBN 978-2-913986-03-9, 2005.

''Double Exposure: Charlie Chaplin as Author and Celebrity'', Jonathan Goldman. M/C Journal 7.5.

''Charlie Chaplin's World of Comedy'', Wes D. Gehring, 1980.

External links

Official sites

* Charlie Chaplin Website

* Charlie Chaplin Comedy Film Festival Website

* The Charlie Chaplin Archive

Biography

* Charlie Chaplin Biography

* Charlie Chaplin's Golden Silence

* Chaplin A Life: 40 Photo-Essays

* Works by or about Charlie Chaplin at Internet Archive (scanned books original editions color illustrated)

Filmography

* Films by, about or starring Charlie Chaplin at the Internet Archive

** More Chaplin films at the Internet Archive

Others

* Obituary, NY Times, 26 December 1977 ''Chaplin's Little Tramp, an Everyman Trying to Gild Cage of Life, Enthralled World''

* The TIME 100: Charlie Chaplin

* Chaplin films at ednapurviance.org

* About Chaplin UK

* Top 10 Charlie Chaplin Movies

Category:1889 births Category:1977 deaths Category:19th-century English people Category:Academy Honorary Award recipients Category:Actors awarded British knighthoods Category:Actors from London Category:Articles containing video clips Category:Autobiographers Category:Best Original Music Score Academy Award winners Category:British expatriates in the United States Category:British Romani people Category:Cinema pioneers Category:English agnostics Category:English child actors Category:English comedians Category:English expatriates in Switzerland Category:English film actors Category:English film directors Category:English screenwriters Category:English silent film actors Category:English socialists Category:Erasmus Prize winners Category:Knights Commander of the Order of the British Empire Category:McCarthyism Category:Mimes Category:Music hall performers Category:Romani actors Category:Romani film directors Category:Short film directors Category:Silent film comedians Category:Slapstick comedians Category:Vaudeville performers Category:Children of Entertainers

kbd:Чарли Чаплин af:Charlie Chaplin ar:تشارلي تشابلن an:Charles Chaplin ast:Charles Chaplin az:Çarli Çaplin bn:চার্লি চ্যাপলিন zh-min-nan:Charlie Chaplin ba:Чарли Чаплин be:Чарлі Чаплін be-x-old:Чарлі Чаплін bar:Charlie Chaplin bs:Charlie Chaplin br:Charlie Chaplin bg:Чарли Чаплин ca:Charles Chaplin cv:Чарли Чаплин cs:Charlie Chaplin cy:Charles Chaplin da:Charlie Chaplin de:Charles Chaplin et:Charlie Chaplin el:Τσάρλι Τσάπλιν es:Charles Chaplin eo:Charlie Chaplin ext:Charles Chaplin eu:Charlie Chaplin fa:چارلی چاپلین hif:Charlie Chaplin fo:Charlie Chaplin fr:Charlie Chaplin fy:Charlie Chaplin ga:Charlie Chaplin gd:Charlie Chaplin gl:Charlie Chaplin gu:ચાર્લી ચૅપ્લિન ko:찰리 채플린 hy:Չարլի Չապլին hi:चार्ली चैप्लिन hr:Charles Chaplin io:Charlie Chaplin bpy:চার্লি চ্যাপলিন id:Charlie Chaplin ia:Charlie Chaplin is:Charlie Chaplin it:Charlie Chaplin he:צ'ארלי צ'פלין jv:Charlie Chaplin kn:ಚಾರ್ಲಿ ಚಾಪ್ಲಿನ್ pam:Charlie Chaplin ka:ჩარლზ ჩაპლინი kk:Чаплин, Чарли kw:Charlie Chaplin sw:Charlie Chaplin ht:Charlie Chaplin krc:Чарли Чаплин la:Carolus Chaplin lv:Čārlijs Čaplins lb:Charlie Chaplin lt:Charlie Chaplin li:Charlie Chaplin lmo:Charlie Chaplin hu:Charles Chaplin mk:Чарли Чаплин ml:ചാര്‍ളി ചാപ്ലിന്‍ mr:चार्ली चॅप्लिन arz:تشارلى تشابلين ms:Charlie Chaplin mn:Чарльз Спенсер Чаплин my:ချက်ပလင်၊ ချာလီ nah:Charles Chaplin mrj:Чаплин, Чарльз nl:Charlie Chaplin new:चार्ली च्याप्लिन ja:チャールズ・チャップリン nap:Charlie Chaplin no:Charlie Chaplin nn:Charlie Chaplin nov:Charlie Chaplin oc:Charlie Chaplin uz:Charlie Chaplin pnb:چارلی چپلن pap:Charlie Chaplin pfl:Dscharlie Dschäblin pms:Charlie Chaplin nds:Charlie Chaplin pl:Charlie Chaplin pnt:Τσάρλι Τσάπλιν pt:Charlie Chaplin kaa:Charlie Chaplin ksh:Charlie Chaplin ro:Charlie Chaplin qu:Charlie Chaplin rue:Чарлі Чаплін ru:Чаплин, Чарльз sah:Чарли Чаплин sc:Charlie Chaplin sq:Charlie Chaplin scn:Charlie Chaplin simple:Charlie Chaplin sk:Charlie Chaplin sl:Charlie Chaplin szl:Charlie Chaplin so:Charlie Chaplin ckb:چارڵی چاپلن srn:Charlie Chaplin sr:Чарли Чаплин sh:Charlie Chaplin fi:Charles Chaplin sv:Charlie Chaplin tl:Charlie Chaplin ta:சார்லி சாப்ளின் roa-tara:Charlie Chaplin tt:Чарльз Чаплин te:చార్లీ చాప్లిన్ th:ชาร์ลี แชปลิน tg:Чарли Чаплин tr:Charlie Chaplin uk:Чарлі Чаплін ur:چارلی چیپلن vec:Charlie Chaplin vi:Charlie Chaplin vo:Charlie Chaplin war:Charlie Chaplin yi:טשארלי טשאפלין zh-yue:差利 bat-smg:Charlie Chaplin zh:查理·卓别林