Walk Score is the first large-scale, public access walkability index. According to the ''Washington Post'', "Walkscore.com ranks communities nationwide (and soon, globally) based on how many businesses, parks, theaters, schools and other common destinations are within walking distance of any given starting point."

Algorithm

According to the site's creators, :"The Walk Score algorithm awards points based on the distance to the closest amenity in each category. If the closest amenity in a category is within .25 miles (or .4 km), we assign the maximum number of points. The number of points declines as the distance approaches 1 mile (or 1.6 km)—no points are awarded for amenities further than 1 mile. Each category is weighted equally and the points are summed and normalized to yield a score from 0–100. The number of nearby amenities is the leading predictor of whether people walk."

There are a number of relevant factors that the index does not consider:

Street design

Sidewalk availability

Safety of the neighborhood

Barriers in the route between the starting point and the amenity, such as needing to cross a highway

Topography

Frequency of bad weather in the area

Whether the buildings are built far back from the road

Percent of other people in the area that walk to work or do not drive (i.e. prevalence of car culture as opposed to sidewalk culture)

Walkability rankings

In July 2011, the website ranked the 50 most populous cities in the United States according to walkability.

# New York, NY # San Francisco, CA # Boston, MA # Chicago, IL # Philadelphia, PA # Seattle, WA # Washington, DC # Miami, FL # Minneapolis, MN # Oakland, CA

See also

Walkability

Racewalking

References

Category:Google Maps Category:Companies based in Seattle, Washington Category:Pedestrian infrastructure in the United States

name	The Midnight Beast
background	group_or_band
origin	London, United Kingdom
genre	Comedy
years active	2009–present
website	http://themidnightbeast.com/
current members	Stefan AbingdonDru WakelyAshley Horne

The Midnight Beast, sometimes abbreviated as TMB, is a British comedy music group from London, perhaps most famous for their YouTube cover-parody of the 2009 worldwide hit single TiK ToK by American pop artist Ke$ha. The group currently consists of its three founding members, Stefan Abingdon, Dru Wakely and Ashley Horne.

Members

Stefan Abingdon

Stefan James Donald John Abingdon (born 19 January 1989) is a graduate of The BRIT School for Performing Arts & Technology. Prior to the formation of TMB, Abingdon was a member of numerous non-comedic music projects, including Ink, Icarus Burning, Killafornia, R.U.Twin, The Clik Clik, Perfect People, and Chapters, as well as recording songs as a solo act. Abingdon is a multi-instrumentalist, and can be seen playing acoustic and electric guitars, keyboards and ukeleles in YouTube videos with his various bands. When performing with the group live, Abingdon sings and plays both guitars and keyboards. In 2011, Abingdon wrote and produced the title track for Selena Gomez & the Scene's third studio album When the Sun Goes Down.

Dru Wakely

Andrew Francis Wakely (born 10 January 1987) was also a musician prior to the formation of TMB, playing drums alongside Abingdon in Icarus Burning, The Clik Clik, and Perfect People. When performing with the group live, Wakely sings, and also provides drums and percussion. Many of the groups early songs, including the "TiK ToK " parody and "Daddy", make comedic reference to Wakely's supposed feelings of abandonment towards his father. As described in "Daddy", his father left the house on Christmas Eve to pick up some milk at the store, and never returned. Wakely eventually discovered that his father had left him and his mother to run off and start a family with their Spanish housekeeper. While the songs treat these claims as a comedic exaggeration, their authenticity has not been confirmed or denied by Wakely himself.

Ashley Horne

Ashely Neil Horne (born 4 January 1989) is the only member of the group with no known professional musical experience prior to forming TMB, although Horne can be seen playing the bass guitar in concert with the group. Horne was originally pursuing an acting career, and had bit parts in a number of British television series, including ''Foyle's War'', ''EastEnders'' and ''Doctor Who''. A number of the group's songs, "Booty Call", "Just Another Boy Band" and "The Dance Routine" among them, make comedic toungue-in-cheek references to Horne being gay. Like Wakely's childhood stories, they are treated in a very comical light; however, Horne's orientation has not been stated by Horne himself.

Reception

The Midnight Beast have a rather large following on Twitter, Facebook and YouTube, with over 273,000 subscribers and a combined 39 million views on their YouTube channel alone, as well as over 300,000 Facebook fans as of August 2011. The group's songs often appear on iTunes music charts, and their accompanying music videos routinely reach over 1 million veiws on YouTube. The group has also had songs reach positions on national music charts in the U.K. and Australia.

The band and their music have achieved high levels of success not only with fans, but critics as well. Music and internet culture critics have often mentioned the band's instant "internet fame", and the transition of that fame into the real world. On Christmas Day 2009, the "TiK ToK" parody was featured on the front page of MTV.com, and the group have made videos in collabaration with BBC Comedy and MTV Rocks.

The group has also garnered praise from artists that they have parodied. Both Ke$ha and Jay Sean have tweeted positive reactions to the group's parody of their respective songs, TiK ToK and Down, with Ke$ha stating "''holy. shit. this is better than my version.''", and Jay Sean posting "''Hahha brilliant. Someone should mix this with "pants on the ground"...''". Ke$ha would go on to state the she wished the group had directed her own music video.

The group has also attracted minor controversy with its music. In an online post from February 2011, Metro, a British newspaper, raised issue with the lyrics of "Use Your Head", a sexual education-themed skit made for the Marie Stopes International charity's Have A Larc organization, which promotes safe sex. The paper cited the lines "One up the bum and it’s no harm done" and "One up the bum and you won’t be a mum", stating that it appeared that the group was suggesting anal sex as a birth control method. It also quoted unnamed critics who mentioned that the video failed to point out that anal sex could still lead to the transmission of STDs. The story eventually reached the front page of the paper. The song 'Pizza in Ibiza' also attracted some controversy, magazines criticised the throwing of food into the sea and use of condoms.

Discography

EPs

Year	Title	Label	Chart Positions
			UK
2010	''Booty Call EP''	Midnight Beast RecordsAWAL Records

Singles

Year	Title	Peak chart positions			Album
		! width="33"	! width="33"	! width="33"
2009
"Ninjas"
"Lez Be Friends"
"Friends For Never"
"Daddy"
"Booty Call"
"Just Another Boy Band"
	"The Dance Routine"
"Pizza In Ibiza"

Other Songs, Parodies and Skits

''Nerds'' and ''Drunk Girls'', two songs originally performed as solo recordings by Abingdon; the group only plays these songs live

''XXXmas Buddies (How To Get A Xmas...)'', a holiday-themed adult parody of All I Want For Christmas Is You by Mariah Carey and Walter Afanasieff

''Walk With Us'', a comdeic skit

''Dubstep On My Mouth'', a comedic skit revolving around the genre of Dubstep music

''Fashion Innit'', a gonzo report for MTV Rocks; Fashion Innit was included on the Booty Call EP

''House Party'', a skit made for BBC Comedy revolving around the 2010 elections

''Camden Crawling'', a gonzo report for MTV Rocks about the Camden Crawl Festival

''All Time Low Parody'' featuring Tom Deacon, a parody of All Time Low by The Wanted.

''Walk With Us Xmas Special'', a holiday-themed version of the original ''Walk With Us'' skit

''Use Ya Head'', a sexual education-themed skit released in support of the Marie Stopes charity

''Friday Parody'', a "parody" of Friday by Rebecca Black; contrary to the title, it is not a parody, but a full on cover, as in Stefan's words, 'The lyrics are already funny enough'

''E.T. Parody'', a parody of E.T. by Katy Perry and Kanye West

Tours

Unnamed 2010 tour (October 17-October 25)

Unnamed 2011 tour (February 15-February 24)

The Wednesday Tour (June 22-August 24, 2011)

References

External links

http://www.myspace.com/chapterstheband

The Midnight Beast Fansite

Category:British comedy musical groups Category:Musical groups from London

de:The Midnight Beast fi:The Midnight Beast

John Milton Cage Jr. (September 5, 1912 – August 12, 1992) was an American composer, philosopher, poet, music theorist, artist, printmaker, and amateur mycologist and mushroom collector. A pioneer of aleatoric music, electronic music and non-standard use of musical instruments, Cage was one of the leading figures of the post-war avant-garde. Critics have lauded him as one of the most influential American composers of the 20th century. He was also instrumental in the development of modern dance, mostly through his association with choreographer Merce Cunningham, who was also Cage's romantic partner for most of their lives.

Cage is perhaps best known for his 1952 composition ''4′33″'', the three movements of which are performed without a single note being played. The content of the composition is meant to be perceived as the sounds of the environment that the listeners hear while it is performed, rather than merely as four minutes and thirty three seconds of silence, and the piece became one of the most controversial compositions of the twentieth century. Another famous creation of Cage's is the prepared piano (a piano with its sound altered by placing various objects in the strings), for which he wrote numerous dance-related works and a few concert pieces, the best known of which is ''Sonatas and Interludes'' (1946–48).

His teachers included Henry Cowell (1933) and Arnold Schoenberg (1933–35), both known for their radical innovations in music, but Cage's major influences lay in various Eastern cultures. Through his studies of Indian philosophy and Zen Buddhism in the late 1940s, Cage came to the idea of aleatoric or chance-controlled music, which he started composing in 1951. The ''I Ching'', an ancient Chinese classic text on changing events, became Cage's standard composition tool for the rest of his life. In a 1957 lecture, ''Experimental Music'', he described music as "a purposeless play" which is "an affirmation of life – not an attempt to bring order out of chaos nor to suggest improvements in creation, but simply a way of waking up to the very life we're living".

Life

1912–31: Early years

Cage was born in Los Angeles. His father John Milton Cage, Sr. (1886–1964) was an inventor, and his mother Lucretia ("Crete") Harvey (1885–1969) worked intermittently as a journalist for the ''Los Angeles Times''. The family's roots were deeply American: in a 1976 interview, Cage mentioned "a John Cage who helped [George] Washington in the surveying of Virginia". Cage described his mother as a woman with "a sense of society" who was "never happy", while his father is perhaps best characterized by his inventions: sometimes idealistic, such as a diesel-fueled submarine that gave off exhaust bubbles, the senior Cage being uninterested in an undetectable submarine, John Milton Sr. taught his son that "if someone says 'can't' that shows you what to do." In 1944–45 Cage wrote two small character pieces dedicated to his parents: ''Crete'' and ''Dad''. The latter is a short lively piece that ends abruptly, while "Crete" is a slightly longer, mostly melodic contrapuntal work.

Cage's first experiences with music were from private piano teachers in the Greater Los Angeles area and several relatives, particularly his aunt Phoebe Harvey who introduced him to the piano music of the 19th century. He received first piano lessons when he was in the fourth grade at school, but although he liked music, he expressed more interest in sight reading than in developing virtuoso piano technique, and apparently was not thinking of composition. By 1928 Cage was convinced that he wanted to be a writer. That year he graduated from Los Angeles High School as a valedictorian and enrolled at Pomona College, Claremont. However, in 1930 he dropped out, believing that "college was of no use to a writer" by an incident described in the 1991 autobiographical statement:

I was shocked at college to see one hundred of my classmates in the library all reading copies of the same book. Instead of doing as they did, I went into the stacks and read the first book written by an author whose name began with Z. I received the highest grade in the class. That convinced me that the institution was not being run correctly. I left.

Cage persuaded his parents that a trip to Europe would be more beneficial to a future writer than college studies. He subsequently hitchhiked to Galveston and sailed to Le Havre, where he took a train to Paris. Cage stayed in Europe for some 18 months, trying his hand at various forms of art. First he studied Gothic and Greek architecture, but decided he was not interested enough in architecture to dedicate his life to it. Cage started travelling, visited various places in France, Germany and Spain, as well as Capri and, most importantly, Majorca, where he started composing. His first compositions were created using dense mathematical formulae, but Cage was displeased with the results and left the finished pieces behind when he left. Cage's association with theatre also started in Europe: during a walk in Seville he witnessed, in his own words, "the multiplicity of simultaneous visual and audible events all going together in one's experience and producing enjoyment."

1931–36: Apprenticeship

Cage returned to the United States in 1931.) and arts patron Galka Scheyer. in which Cowell suggested that Cage study with Arnold Schoenberg—Cage's musical ideas at the time included composition based on a 25-tone row, somewhat similar to Schoenberg's twelve-tone technique. Cowell mentioned, however, that before approaching Schoenberg, Cage should take some preliminary lessons, and recommended Adolph Weiss, a former Schoenberg pupil.

Following Cowell's advice, Cage travelled to New York City in 1933 and started studying with Weiss as well as taking lessons from Cowell himself at The New School. Cage's routine during that period was apparently very tiring, with just four hours of sleep on most nights, and four hours of composition every day starting at 4 am. Several months later, still in 1933, Cage became sufficiently good at composition to approach Schoenberg. He could not afford Schoenberg's price, however, and when he mentioned it, the older composer asked whether Cage would devote his life to music. After Cage replied that he would, Schoenberg offered to tutor him free of charge.

Cage studied with Schoenberg in California: first at USC and then at UCLA, as well as privately. particularly as an example of how to live one's life being a composer. Schoenberg's methods and their influence on Cage are well documented by Cage himself in various lectures and writings. Particularly well-known is the conversation mentioned in the 1958 lecture ''Indeterminacy'':

After I had been studying with him for two years, Schoenberg said, "In order to write music, you must have a feeling for harmony." I explained to him that I had no feeling for harmony. He then said that I would always encounter an obstacle, that it would be as though I came to a wall through which I could not pass. I said, "In that case I will devote my life to beating my head against that wall."

Cage studied with Schoenberg for two years, but although he admired his teacher, he decided to leave after Schoenberg told the assembled students that he was trying to make it impossible for them to write music. Much later, Cage recounted the incident: "[...] When he said that, I revolted, not against him, but against what he had said. I determined then and there, more than ever before, to write music."

1937–49: Modern dance and Eastern influences

The newly married couple first lived with Cage's parents in Pacific Palisades, then moved to Hollywood. During 1936–38 Cage changed numerous jobs, including one that started his lifelong association with modern dance: dance accompanist at UCLA. He produced music for choreographies and at one point taught a course on "Musical Accompaniments for Rhythmic Expression" at UCLA, with his aunt Phoebe. It was during that time that Cage first started experimenting with unorthodox instruments, such as household items, metal sheets, and so on. This was inspired by Oskar Fischinger, who told Cage that "everything in the world has a spirit that can be released through its sound." Although Cage did not share the idea of spirits, these words inspired him to begin exploring the sounds produced by hitting various non-musical objects.

In 1938, with help from a fellow Cowell student Lou Harrison, Cage became a faculty member at Mills College, teaching the same program as at UCLA, and collaborating with choreographer Marian van Tuyl. Several famous dance groups were present, and Cage's interest in modern dance grew further.

Like his personal life, Cage's artistic life went through a crisis in mid-1940s. The composer was experiencing a growing disillusionment with the idea of music as means of communication: the public rarely accepted his work, and Cage himself, too, had trouble understanding the music of his colleagues. In early 1946 Cage agreed to tutor Gita Sarabhai, an Indian musician who came to the US to study Western music. In return, he asked her to teach him about Indian music and philosophy. Cage also attended, in late 1940s and early 1950s, D. T. Suzuki's lectures on Zen Buddhism, and read the works of Ananda K. Coomaraswamy.

1950s: Discovering chance

''Sonatas and Interludes'' were received well by the public. After a 1949 performance at Carnegie Hall, New York, Cage received a grant from the Guggenheim Foundation, which enabled him to make a trip to Europe, where he met composers such as Olivier Messiaen and Pierre Boulez. More important, however, was Cage's chance encounter with Morton Feldman in New York City in early 1950. Both composers attended a New York Philharmonic Orchestra concert, where the orchestra performed Anton Webern's ''Symphony'', op. 21, followed by a piece by Sergei Rachmaninoff. Cage felt so overwhelmed by Webern's piece that he left before the Rachmaninoff; and in the lobby, he met Feldman, who was leaving for the same reason. The two composers quickly became friends; some time later Cage, Feldman, and Cage's pupil Christian Wolff came to be referred to as "the New York school."

In early 1951, Wolff presented Cage with a copy of the ''I Ching''—a Chinese classic text which describes a symbol system used to identify order in chance events. The ''I Ching'' is commonly used for divination, but for Cage it became a tool to compose using chance. To compose a piece of music, Cage would come up with questions to ask the ''I Ching''; the book would then be used in much the same way as it is used for divination. For Cage, this meant "imitating nature in its manner of operation": his lifelong interest in sound itself culminated in an approach that yielded works in which sounds were free from the composer's will:

When I hear what we call music, it seems to me that someone is talking. And talking about his feelings, or about his ideas of relationships. But when I hear traffic, the sound of traffic—here on Sixth Avenue, for instance—I don't have the feeling that anyone is talking. I have the feeling that sound is acting. And I love the activity of sound [...] I don't need sound to talk to me.

Although Cage had used chance on a few earlier occasions, most notably in the third movement of ''Concerto for Prepared Piano and Chamber Orchestra'' (1950–51), the ''I Ching'' opened new possibilities in this field for him. The first results of the new approach were ''Imaginary Landscape No. 4'' for 12 radio receivers, and ''Music of Changes'' for piano. The latter work was written for David Tudor, whom Cage met through Feldman—another friendship that lasted until Cage's death. Tudor premiered most of Cage's works until early 1960s, when he stopped performing and concentrated on composition. The ''I Ching'' became Cage's standard tool for composition: he used it in practically every work composed after 1951.

Despite the fame ''Sonatas and Interludes'' earned him, and the connections he cultivated with American and European composers and musicians, Cage was quite poor. Although he still had an apartment, at 326 Monroe Street (which he occupied since around 1946) his financial situation in 1951 worsened so much that, while working on ''Music of Changes'', he prepared a set of instructions for Tudor as to how to complete the piece in the event of his death. Nevertheless, Cage managed to survive and maintained an active artistic life, giving lectures, performances, etc. In 1952–53 he completed another mammoth project—the ''Williams Mix'', a piece of tape music, which Earle Brown helped to put together. Also in 1952, Cage wrote down the piece that became his most well-known and most controversial creation: ''4′33″''. The score instructs the performer not to play the instrument during the entire duration of the piece—four minutes, thirty-three seconds—and is meant to be perceived as consisting of the sounds of the environment that the listeners hear while it is performed. Cage conceived "a silent piece" years earlier, but was reluctant to write it down; and indeed, the premiere (given by Tudor on August 29, 1952 at Woodstock, New York) caused an uproar in the audience. The reaction to ''4′33″'' was just a part of the larger picture, however: on the whole, it was the adoption of chance procedures that had disastrous consequences for Cage's reputation. The press, which used to react favorably to earlier percussion and prepared piano music, ignored his new works, and many valuable friendships and connections were lost. Pierre Boulez, who used to promote Cage's work in Europe, was opposed to Cage's use of chance, and so were other composers who came to prominence during the 1950s, i.e. Karlheinz Stockhausen and Iannis Xenakis.

From 1953 onwards, Cage was busy composing music for modern dance, particularly Cunningham's dances (Cage's partner adopted chance too, out of fascination for the movement of the human body), as well as developing new methods of using chance, in a series of works he referred to as ''The Ten Thousand Things''. In Summer 1954 he moved out from New York and settled in a cooperative community in Stony Point, New York. The composer's financial situation gradually improved: in late 1954 he and Tudor were able to embark on a European tour. From 1956 to 1961 Cage taught classes in experimental composition at The New School, and during 1956–58 he also worked as an art director of a typography. Among the works completed during the last years of the decade were ''Concert for Piano and Orchestra'' (1957–58), a seminal work in the history of graphic notation, and ''Variations I'' (1958).

1960s: Fame

Cage was affiliated with Wesleyan University and collaborated with members of its Music Department from the 1950s until his death in 1992. At the University, the philosopher, poet, and professor of classics Norman O. Brown befriended Cage, an association that proved fruitful to both. In 1960 the composer was appointed a Fellow on the faculty of the Center for Advanced Studies (now the Center for Humanities) in the Liberal Arts and Sciences at Wesleyan, where he started teaching classes in experimental music. In October 1961, Wesleyan University Press published ''Silence'', a collection of Cage's lectures and writings on a wide variety of subjects, including the famous ''Lecture on Nothing'' that was composed using a complex time length scheme, much like some of Cage's music. ''Silence'' was Cage's first book. He went on to publish five more. ''Silence'', however, remained his most widely read and influential book. But by mid-1960s Cage was receiving so many commissions and requests for appearances, that he was not able to fulfill them. This was accompanied by a busy touring schedule; Subsequently Cage's compositional output from that decade was scant. As set forth by Cage, happenings were theatrical events that abandon the traditional concept of stage-audience and occur without a sense of definite duration. Instead, they are left to chance. They have a minimal script, with no plot. In fact, a "happening" is so-named because it occurs in the present, attempting to arrest the concept of passing time. Cage believed that theater was the closest route to integrating art and real life. The term "happenings" was coined by Allan Kaprow, one of his students, who defined it as a genre in the late fifties. Cage met Kaprow while on a mushroom hunt with George Segal and invited him to join his class. In following these developments Cage was strongly influenced by Antonin Artaud's seminal treatise ''The Theatre and Its Double'', and the happenings of this period can be viewed as a forerunner to the ensuing Fluxus movement. In October 1960, Mary Bauermeister's Cologne studio hosted a joint concert by Cage and the video artist Nam June Paik, who in the course of his ''Etude for Piano'' cut off Cage's tie and then washed his co-performer’s hair with shampoo.

In 1967, Cage's ''A Year from Monday'' was first published by Wesleyan University Press. Cage's parents died during the decade: his father in 1964, and his mother in 1969. Cage had their ashes scattered in Ramapo Mountains, near Stony Point, and asked for the same to be done to him after his death.

1969–87: New departures

Cage's work from the sixties features some of his largest and most ambitious, not to mention socially utopian pieces, reflecting the mood of the era yet also his absorption of the writings of both Marshall McLuhan, on the effects of new media, and R. Buckminster Fuller, on the power of technology to promote social change. ''HPSCHD'' (1969), a gargantuan and long-running multimedia work made in collaboration with Lejaren Hiller, incorporated the mass superimposition of seven harpsichords playing chance-determined excerpts from the works of Cage, Hiller, and a potted history of canonical classics, with fifty-two tapes of computer-generated sounds, 6,400 slides of designs many supplied by NASA, and shown from sixty-four slide projectors, with forty motion-picture films. The piece was initially rendered in a five-hour performance at the University of Illinois in 1969, in which the audience arrived after the piece had begun and left before it ended, wandering freely around the auditorium in the time for which they were there.

However, also in 1969, Cage produced the first fully notated work in years: ''Cheap Imitation'' for piano. The piece is a chance-controlled reworking of Erik Satie's ''Socrate'', and, as both listeners and Cage himself noted, openly sympathetic to its source. Although Cage's affection for Satie's music was well-known, it was highly unusual for him to compose a personal work, one in which the composer ''is'' present. When asked about this apparent contradiction, Cage replied: "Obviously, ''Cheap Imitation'' lies outside of what may seem necessary in my work in general, and that's disturbing. I'm the first to be disturbed by it." Cage's fondness for the piece resulted in a recording—a rare occurrence, since Cage disliked making recordings of his music—made in 1976. Overall, ''Cheap Imitation'' marked a major change in Cage's music: he turned again to writing fully notated works for traditional instruments, and tried out several new approaches, such as improvisation, which he previously discouraged, but was able to use in works from the 1970s, such as ''Child of Tree'' (1975).

''Cheap Imitation'' became the last work Cage performed in public himself. Arthritis had troubled Cage since 1960, and by early 1970s his hands were painfully swollen and rendered him unable to perform. Nevertheless, he still played ''Cheap Imitation'' during the 1970s, before finally having to give up performing. Preparing manuscripts also became difficult: before, published versions of pieces were done in Cage's calligraphic script; now, manuscripts for publication had to be completed by assistants. Matters were complicated further by David Tudor's departure from performing, which happened in early 1970s. Tudor decided to concentrate on composition instead, and so Cage, for the first time in two decades, had to start relying on commissions from other performers, and their respective abilities. Such performers included Grete Sultan, Paul Zukofsky, Margaret Leng Tan, and many others. Aside from music, Cage continued writing books of prose and poetry (mesostics). ''M (John Cage book)'' was first published by Wesleyan University Press in 1973. In January 1978 Cage was invited by Kathan Brown of Crown Point Press to engage in printmaking, and Cage would go on to produce series of prints every year until his death; these, together with some late watercolors, constitute the largest portion of his extant visual art. In 1979 Cage's ''Empty Words'' was first published by Wesleyan University Press.

1987–92: Final years and death

In 1987 Cage completed a piece called ''Two'', for flute and piano, dedicated to performers Roberto Fabbriciani and Carlo Neri. The title referred to the number of performers needed; the music consisted of short notated fragments to be played at any tempo within the indicated time constraints. Cage went on to write some forty such pieces, usually employing a variant of the same technique; together, these works are known as ''Number Pieces''. The process of composition, in many of the later Number Pieces, was simple selection of pitch range and pitches from that range, using chance procedures; ''One¹¹'' (i.e. the eleventh piece for a single performer), completed in early 1992, was Cage's first and only foray into film. Another new direction, also taken in 1987, was opera: Cage produced five operas, all sharing the same title ''Europera'', in 1987–91.

Already in the course of the eighties, Cage's health worsened progressively: he suffered not only from arthritis, but also from sciatica and arteriosclerosis. He suffered a stroke that left the movement of his left leg restricted, and, in 1985, broke an arm. During this time, Cage pursued a macrobiotic diet. Nevertheless, ever since arthritis started plaguing him, the composer was aware of his age, and, as biographer David Revill observed, "the fire which he began to incorporate in his visual work in 1985 is not only the fire he has set aside for so long—the fire of passion—but also fire as transitoriness and fragility." On August 11, 1992, while preparing evening tea for himself and Cunningham, Cage suffered another stroke. He was taken to the nearest hospital, where he died on the morning of August 12. According to his wishes, Cage's body was cremated, and the ashes scattered in the Ramapo Mountains, near Stony Point, New York, the same place where Cage scattered the ashes of his parents, years before. The composer's death occurred only weeks before a celebration of his 80th birthday organized in Frankfurt by the composer Walter Zimmermann and the musicologist Stefan Schaedler was due to take place. However, the event went ahead as planned, including a performance of the ''Concert for Piano and Orchestra'' by David Tudor and Ensemble Modern. Merce Cunningham outlived his partner by 17 years, and died peacefully in his home, of natural causes, on July 26, 2009.

Music

Early works, rhythmic structure, and new approaches to harmony

Cage's first completed pieces are currently lost. According to the composer, the earliest works were very short pieces for piano, composed using complex mathematical procedures and lacking in "sensual appeal and expressive power." Cage then started producing pieces by improvising and writing down the results, until Richard Buhlig stressed to him the importance of structure. Most works from the early 1930s, such as ''Sonata for Clarinet'' (1933) and ''Composition for 3 Voices'' (1934), are highly chromatic and betray Cage's interest in counterpoint. Around the same time, the composer also developed a type of a tone row technique with 25-note rows. After studies with Schoenberg, who never taught dodecaphony to his students, Cage developed another tone row technique, in which the row was split into short motives, which would then be repeated and transposed according to a set of rules. This approach was first used in ''Two Pieces for Piano'' (c. 1935), and then, with modifications, in larger works such as ''Metamorphosis'' and ''Five Songs'' (both 1938).

Soon after Cage started writing percussion music and music for modern dance, he started using a technique that placed the rhythmic structure of the piece into the foreground. In ''Imaginary Landscape No. 1'' (1939) there are four large sections of 16, 17, 18, and 19 bars, and each section is divided into four subsections, the first three of which were all 5 bars long. ''First Construction (in Metal)'' (1939) expands on the concept: there are five sections of 4, 3, 2, 3, and 4 units respectively. Each unit contains 16 bars, and is divided the same way: 4 bars, 3 bars, 2 bars, etc. Finally, the musical content of the piece is based on sixteen motives. Such "nested proportions", as Cage called them, became a regular feature of his music throughout the 1940s. The technique was elevated to great complexity in later pieces such as ''Sonatas and Interludes'' for prepared piano (1946–48), in which many proportions used non-integer numbers (1¼, ¾, 1¼, ¾, 1½, and 1½ for ''Sonata I'', for example), or ''A Flower'', a song for voice and closed piano, in which two sets of proportions are used simultaneously.

In late 1940s, Cage started developing further methods of breaking away with traditional harmony. For instance, in ''String Quartet in Four Parts'' (1950) Cage first composed a number of ''gamuts'': chords with fixed instrumentation. The piece progresses from one ''gamut'' to another. In each instance the ''gamut'' was selected only based on whether it contains the note necessary for the melody, and so the rest of the notes do not form any directional harmony.

Chance

Chart system was also used (along with nested proportions) for the large piano work ''Music of Changes'' (1951), only here material would be selected from the charts by using the ''I Ching''. All of Cage's music since 1951 was composed using chance procedures, most commonly using the ''I Ching''. For example, works from ''Music for Piano'' were based on paper imperfections: the imperfections themselves provided pitches, and the ''I Ching'' was used to determine the methods of sound production, or the rhythms, etc. A whole series of works was created by applying chance operations, i.e. the ''I Ching'', to star charts: ''Atlas Eclipticalis'' (1961–62), and a series of etudes: ''Etudes Australes'' (1974–75), ''Freeman Etudes'' (1977–90), and ''Etudes Boreales'' (1978). Cage's etudes are all extremely difficult to perform, a characteristic dictated by Cage's social and political views: the difficulty would ensure that "a performance would show that the impossible is not impossible"—this being Cage's answer to the notion that solving the world's political and social problems is impossible. Cage described himself as an anarchist, and was influenced by Henry David Thoreau.

Another series of works applied chance procedures to pre-existing music by other composers: ''Cheap Imitation'' (1969; based on Erik Satie), ''Some of "The Harmony of Maine"'' (1978; based on Belcher), and ''Hymns and Variations'' (1979). In these works, Cage would borrow the rhythmic structure of the originals and fill it with pitches determined through chance procedures, or just replace some of the originals' pitches. Yet another series of works, the so-called ''Number Pieces'', all completed during the last five years of the composer's life, make use of ''time brackets'': the score consists of short fragments with indications of when to start and to end them (e.g. from anywhere between 1′15″ and 1′45″, and to anywhere from 2′00″ to 2′30″).

Cage's method of using the ''I Ching'' was far from simple randomization, however. The procedures varied from composition to composition, and were usually complex. For example, in the case of ''Cheap Imitation'', the exact questions asked to the ''I Ching'' were these: # Which of the seven modes, if we take as modes the seven scales beginning on white notes and remaining on white notes, which of those am I using? # Which of the twelve possible chromatic transpositions am I using? # For this phrase for which this transposition of this mode will apply, which note am I using of the seven to imitate the note that Satie wrote? In another example of late music by Cage, ''Etudes Australes'', the compositional procedure involved placing a transparent strip on the star chart, identifying the pitches from the chart, transferring them to paper, then asking the ''I Ching'' which of these pitches were to remain single, and which should become parts of aggregates (chords), and the aggregates were selected from a table of some 550 possible aggregates, compiled beforehand.

Finally, some of Cage's works, particularly those completed during the 1960s, feature instructions to the performer, rather than fully notated music. The score of ''Variations I'' (1958) presents the performer with six transparent squares, one with points of various sizes, five with five intersecting lines. The performer combines the squares and uses lines and points as a coordinate system, in which the lines are axes of various characteristics of the sounds, such as lowest frequency, simplest overtone structure, etc. Some of Cage's graphic scores (e.g. ''Concert for Piano and Orchestra'', ''Fontana Mix'' (both 1958)) present the performer with similar difficulties. Still other works from the same period consist just of text instructions. The score of ''0'00"'' (1962; also known as ''4'33" No. 2'') consists of a single sentence: "In a situation provided with maximum amplification, perform a disciplined action." The first performance had Cage write that sentence. ''Musicircus'' (1967) simply invites the performers to assemble and play together. The first ''Musicircus'' featured multiple performers and groups in a large space who were all to commence and stop playing at two particular time periods, with instructions on when to play individually or in groups within these two periods. The result was a mass superimposition of many different musics on top of one another as determined by chance distribution, producing an event with a specifically theatric feel. Many Musicircuses have subsequently been held, and continue to occur even after Cage's death. This concept of circus was to remain important to Cage throughout his life and featured strongly in such pieces as ''Roaratorio, an Irish circus on Finnegans Wake'' (1979), a many-tiered rendering in sound of both his text ''Writing for the Second Time Through Finnegans Wake'', and traditional musical and field recordings made around Ireland. The piece was based on James Joyce's famous novel, ''Finnegans Wake'', which was one of Cage's favorite books, and one from which he derived texts for several more of his works.

Improvisation

Since chance procedures were used by Cage to eliminate the composer's and the performer's likes and dislikes from music, Cage disliked the concept of improvisation, which is inevitably linked to the performer's preferences. However, in a number of works beginning in the 1970s, he found ways to incorporate improvisation. In ''Child of Tree'' (1975) and ''Branches'' (1976) the performers are asked to use certain species of plants as instruments, for example the cactus. The structure of the pieces is determined through the chance of their choices, as is the musical output; the performers had no knowledge of the instruments. In ''Inlets'' (1977) the performers play large water-filled conch shells – by carefully tipping the shell several times, it is possible to achieve a bubble forming inside, which produced sound. Yet, as it is impossible to predict when this would happen, the performers had to continue tipping the shells – as a result the performance was dictated by pure chance.

Visual art, writings, and other activities

Although Cage started painting in his youth, he gave it up in order to concentrate on music instead. His first mature visual project, ''Not Wanting to Say Anything About Marcel'', dates from 1969. The work comprises two lithographs and a group of what Cage called ''plexigrams'': silk screen printing on plexiglas panels. The panels and the lithographs all consist of bits and pieces of words in different typefaces, all governed by chance operations.

From 1978 to his death Cage worked at Crown Point Press, producing series of prints every year. The earliest project completed there was the etching ''Score Without Parts'' (1978), created from fully notated instructions, and based on various combinations of drawings by Henry David Thoreau. This was followed, the same year, by ''Seven Day Diary'', which Cage drew with his eyes closed, but which conformed to a strict structure developed using chance operations. Finally, Thoreau's drawings informed the last works produced in 1978, ''Signals''.

Between 1979 and 1982 Cage produced a number of large series of prints: ''Changes and Disappearances'' (1979–80), ''On the Surface'' (1980–82), and ''Déreau'' (1982). These were the last works in which he used engraving. In 1983 he started using various unconventional materials such as cotton batting, foam, etc., and then used stones and fire (''Eninka'', ''Variations'', ''Ryoanji'', etc.) to create his visual works. In 1988–1990 he produced watercolors at the Mountain Lake Workshop. The only film Cage produced was one of the Number Pieces, ''One¹¹'', commissioned by composer and film director Henning Lohner who worked with Cage to produce and direct the 90-minute monochrome film. It was completed only weeks before his death in 1992. ''One¹¹'' consists entirely of images of chance-determined play of electric light. It premiered in Cologne, Germany, on September 19, 1992, accompanied by the live performance of the orchestra piece ''103''.

Throughout his adult life, Cage was also active as lecturer and writer. Some of his lectures were included in several books he published, the first of which was ''Silence: Lectures and Writings'' (1961). ''Silence'' included not only simple lectures, but also texts executed in experimental layouts, and works such as ''Lecture on Nothing'' (1959), which were composed in rhythmic structures. Subsequent books also featured different types of content, from lectures on music to poetry—Cage's mesostics.

Cage was also an avid amateur mycologist: he co-founded the New York Mycological Society with four friends, and his mycology collection is presently housed by the Special Collections department of the McHenry Library at the University of California, Santa Cruz.

Reception and influence

Cage's pre-chance works, particularly pieces from the late 1940s such as ''Sonatas and Interludes'', earned him a considerable measure of critical acclaim: the ''Sonatas'' were performed at Carnegie Hall in 1949. However, Cage's adoption of chance operations in 1951 cost him a number of friendships and led to numerous criticisms from fellow composers. Adherents of serialism such as Pierre Boulez and Karlheinz Stockhausen dismissed indeterminate music; Boulez, who was once on friendly terms with Cage, criticized him for "adoption of a philosophy tinged with Orientalism that masks a basic weakness in compositional technique." Prominent critics of serialism, such as the Greek composer Iannis Xenakis, were similarly hostile towards Cage: for Xenakis, the adoption of chance in music was "an abuse of language and [...] an abrogation of a composer's function."

An article by teacher and critic Michael Steinberg, ''Tradition and Responsibility'', criticized avant-garde music in general:

The rise of music that is totally without social commitment also increases the separation between composer and public, and represents still another form of departure from tradition. The cynicism with which this particular departure seems to have been made is perfectly symbolized in John Cage's account of a public lecture he had given: "Later, during the question period, I gave one of six previously prepared answers regardless of the question asked. This was a reflection of my engagement in Zen." While Mr. Cage's famous silent piece [i.e. 4′33″], or his ''Landscapes'' for a dozen radio receivers may be of little interest as music, they are of enormous importance historically as representing the complete abdication of the artist's power.

Cage's aesthetic position was criticized by, among others, prominent writer and critic Douglas Kahn. In his 1999 book ''Noise, Water, Meat: A History of Sound in the Arts'', Kahn acknowledged the influence Cage had on culture, but noted that "one of the central effects of Cage's battery of silencing techniques was a silencing of the social."

While much of Cage's work remains controversial, his influence on countless composers, artists, and writers is undeniable. After Cage introduced chance, Boulez, Stockhausen, and Xenakis remained critical, yet all adopted chance procedures in some of their works (although in a much more restricted manner); and Stockhausen's piano writing in his later Klavierstücke was influenced by Cage's ''Music of Changes'' and David Tudor. Other composers who adopted chance procedures in their works included Witold Lutosławski, Mauricio Kagel, and many others. Music in which some of the composition and/or performance is left to chance was labelled ''aleatoric music''—a term popularized by Pierre Boulez. Helmut Lachenmann's work was influenced by Cage's work with extended techniques.

Cage's rhythmic structure experiments and his interest in sound influenced an even greater number of composers, starting at first with his close American associates Morton Feldman and Christian Wolff (and other American composers, such as La Monte Young), and then spreading to Europe. For example, almost all composers of the English experimental school acknowledge his influence: Michael Parsons, Christopher Hobbs, John White, Gavin Bryars, who studied under Cage briefly, and even Howard Skempton, a composer seemingly very different from Cage, and one whose work has been described as "the emancipation of consonance." Cage's influence is also evident in the Far East: one of Japan's most prominent classical composers of the 20th century, Tōru Takemitsu, was influenced by his music.

Cage's influence was also acknowledged by rock bands, such as Sonic Youth (who performed some of the Number Pieces) and Stereolab (who named a song after Cage), composer and rock and jazz guitarist Frank Zappa, and various noise music artists and bands: indeed, one writer traced the origin of noise music to ''4′33″''. The development of electronic music was also influenced by Cage: in the mid-1970s Brian Eno's label Obscure Records released works by Cage. Prepared piano, which Cage popularized, is featured heavily on Aphex Twin's 2001 album ''Drukqs''. Cage's work as musicologist helped popularize Erik Satie's music, and his friendship with Abstract expressionist artists such as Robert Rauschenberg helped introduce his ideas into visual art. Cage's ideas also found their way into sound design: for example, Academy Award-winning sound designer Gary Rydstrom cited Cage's work as a major influence.

==Archives==

The archive of the John Cage Trust is held at Bard College in upstate New York..

The John Cage Music Manuscript Collection held by the Music Division of The New York Public Library for the Performing Arts contains most of the composer's musical manuscripts, including sketches, worksheets, realizations, and unfinished works.

The John Cage Papers are held in Special Collections and Archives department of Wesleyan University's Olin Library in Middletown, Connecticut. They contain manuscripts, interviews, fan mail, and ephemera. Other material, including clippings, gallery and exhibition catalogs, a collection of Cage's books and serials, posters, objects, exhibition and literary announcement postcards, and brochures from conferences and other organizations

The John Cage Collection at Northwestern University in Illinois contains the composer's correspondence, ephemera, and the ''Notations'' collection.

Cultural references

Sonic Youth on their ''SYR4'' album perform two realizations of Cage's piece ''Six'' and one of ''Four⁸''.

"John Cage Is Dead" is a track on Mickey Hart's ''Mystery Box'' album.

''Who Put John Cage on the Guestlist?'' is the name of an album by Norwegian electronic research group Hemmelig Tempo.

"Jaune d'Oeuf en Cage" ("Yolk in a Cage") is a track by David Fenech on his first album ''Grand Huit''. It is a joke based on the John Cage / Jaune Cage homophone in French.

In the musical ''Rent'', Cage's name is mentioned during the song "La Vie Bohème" among other artists.

In December 2010, 18 years posthumously, Cage made his debut in the UK singles charts with "4' 33" (Cage Against the Machine Version)". The piece peaked at number 21 on the Christmas UK chart.

Footnotes

Notes

References

Bernstein, David W., and Hatch, Christopher, eds. 2001. ''Writings through John Cage's Music, Poetry, and Art''. University of Chicago Press. ISBN 0226044076

Boulez, Pierre, and Cage, John. 1995. ''The Boulez-Cage Correspondence''. Edited by Robert Samuels and Jean-Jacques Nattiez, translated by Robert Samuels. Cambridge University Press. ISBN 0521485584

Brown, Kathan. 2001. ''John Cage Visual Art: To Sober and Quiet the Mind''. Crown Point Press. ISBN 1891300164, ISBN 978-1891300165

Cage, John. 1973. ''Silence: Lectures and Writings'', Wesleyan University Press Paperback (first edition 1961). ISBN 0-8195-6028-6

Eldred, Michael 1995/2006 Hölderlin and John Cage'' www.arte-fact.org

Eldred, Michael 2010 Quivering of Propriation: A Parallel Way to Music'', Section II.3 New Music is the Other Music (Cage) www.arte-fact.org

Fetterman, William. 1996. ''John Cage's Theatre Pieces: Notations and Performances''. Routledge. ISBN 3718656434

Haskins, Rob. 2004. ''"An Anarchic Society of Sounds": The Number Pieces of John Cage''. PhD dissertation, Musicology, Eastman School of Music, University of Rochester.

Kostelanetz, Richard. 2003. ''Conversing with John Cage'', Routledge. ISBN 0-415-93792-2

Nicholls, David (ed.). 2002. ''The Cambridge Companion to John Cage''. Cambridge University Press, 2002. ISBN 0521789680

Nicholls, David. 2007. ''John Cage''. University of Illinois Press. ISBN 0252032152

Patterson, David W. (ed.). ''John Cage: Music, Philosophy, and Intention, 1933–1950''. Routledge, 2002. ISBN 0815329954

Perloff, Marjorie, and Junkerman, Charles. 1994. ''John Cage: Composed in America''. University of Chicago Press, 1994. ISBN 0226660575

Pritchett, James. 1993. ''The Music of John Cage''. Cambridge University Press. ISBN 0521565448

Revill, David. 1993. ''The Roaring Silence: John Cage – a Life''. Arcade Publishing. ISBN 1559702206, ISBN 978-1559702201

Taruskin, Richard. 2005. ''Oxford History of Western Music, The''. Vol. 5. Oxford: Oxford UP, Inc. ''Indeterminacy'' pp. 55–101.

External links

General information and catalogues

A Project by John Cage called ORGAN2/ASLSP is the longest concert ever created.

John Cage Database, includes a complete catalogue of Cage's music with details on individual compositions, as well as a discography, a bibliography and a list of forthcoming performances of Cage's work.

A John Cage Compendium, website by Cage scholar Paul van Emmerik, in collaboration with performer Herbert Henck and András Wilheim. Includes exhaustive catalogues and bibliography, chronology of Cage's life, etc.

Larry Solomon's John Cage Pages, a complete catalogue of Cage's music and a filmography, as well as other materials.

James Pritchett: Writings, articles on Cage's music in HTML and PDF form by Cage scholar James Pritchett.

Edition Peters: John Cage Biography and Works, Cage's principal publisher since 1961.

Guide to the John Cage Mycology Collection

Silence/Stories: related texts and poems by, among others, Lowell Cross, AP Crumlish, Karlheinz Essl, Raymond Federman, August Highland, George Koehler, Richard Kostelanetz, Ian S. Macdonald, Beat Streuli, Dan Waber, Sigi Waters and John Whiting

Link collections

John Cage Online

Specific topics

Kasper, Ulrike. "Sounds Visions, The Work of Jacques Pourcher, Perspectives on John Cage", essay on the exhibition "John Cage and Jacques Pourcher, Works on Paper", Virginia Tech, Blacksburg, USA.

The Music of Chance, article from the UK ''Guardian'' newspaper, quotes from various people who knew Cage.

ORGAN²/ASLSP: As Slow as Possible – John-Cage-Orgelprojekt Halberstadt, Web site about a current ongoing performance of As Slow As Possible, which began in 2001 and is scheduled to have a duration of 639 years

'Silence and Change / Five Hanau Silence': Articles and documents on a project of John Cage, Claus Sterneck and Wolfgang Sterneck in benefit of a squated culture center in Hanau (Germany) in 1991, (English / German).

Listening

In Conversation with Morton Feldman, 1966, Part 1

In Conversation with Morton Feldman, 1966, Part 2

In Conversation with Morton Feldman, 1966, Part 3

In Conversation with Morton Feldman, 1966, Part 4

In Conversation with Morton Feldman, 1966, Part 5

Media

John Cage at UbuWeb: historical, sound, film.

John Cage's etchings at the Crown Point Press website

Art of the States: John Cage, six works by the composer

Indeterminacy, Cage's short stories taken from various publications and accessed in random order.

FontanaMixer: computer program by Karlheinz Essl which generates a realtime version of John Cage's "Fontana Mix" (1958)

Other Minds Archive: John Cage interviewed by Jonathan Cott, streaming audio

Other Minds Archive: John Cage and David Tudor Concert at The San Francisco Museum of Art (January 16, 1965), streaming audio

27, 2002 Suite for Toy Piano (1948) performed by Margaret Leng Tan at the Other Minds Music Festival in 1999 at the Cowell Theater in San Francisco.

1982 performance of ''Speech'' for 5 radios and reel (1955) on YouTube

''Water Walk'' on YouTube from Cage's appearance on the game show ''I've Got a Secret'' in January 1960.

The Anarchy of Silence. John Cage and Experimental Art (2009) a lecture by Julia E. Robinson on occasion of Cage's exhibition at the MACBA, Barcelona

Notes towards a re-reading of the “Roaratorio” the work of John Cage and his special relationship to radio at Ràdio Web MACBA

The Rest isn't Silence... it doesn't exist! Analytical material and recordings going back to the first rehearsal and performance of Imaginary Landscape No 4 in 1951.

Category:1912 births Category:1992 deaths Category:20th-century classical composers Category:American anarchists Category:American composers Category:American writers Category:Anarchist poets Category:Harvard University people Category:Anarchist musicians Category:Experimental composers Category:Fluxus Category:Guggenheim Fellows Category:LGBT musicians from the United States Category:LGBT composers Category:Opera composers Category:People from Los Angeles, California Category:Western mystics Category:Black Mountain College faculty Category:Wesleyan University faculty Category:Contemporary classical music performers Category:American Zen Buddhists Category:American experimental musicians Category:Avant-garde pianists Category:Cornish College of the Arts faculty

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name	Kenny Dalglish MBE
fullname	Kenneth Mathieson Dalglish
birth date	March 04, 1951
birth place	Glasgow, Scotland
height
position	Second striker
currentclub	Liverpool (Manager)
youthyears1	1967–1968
youthclubs1	Cumbernauld United
youthyears2	1968–1969
youthclubs2	Celtic
years1	1969–1977
years2	1977–1990
clubs1	Celtic
clubs2	Liverpool
caps1	204
goals1	112
caps2	355
goals2	118
totalcaps	559 |totalgoals 230
nationalyears1	1971–1986
nationalteam1	Scotland
nationalcaps1	102
nationalgoals1	30
manageryears1	1985–1991
manageryears2	1991–1995
manageryears3	1997–1998
manageryears4	2000
manageryears5	2011–
managerclubs1	Liverpool (Player Manager)
managerclubs2	Blackburn Rovers
managerclubs3	Newcastle United
managerclubs4	Celtic
managerclubs5	Liverpool }}

Kenneth Mathieson "Kenny" Dalglish () MBE (born 4 March 1951) is a Scottish former footballer and the current manager of Liverpool F.C. In a 22-year playing career, he played for two club teams, Celtic and Liverpool, winning numerous honours with both. He is the most capped Scottish player, with 102 appearances, and is Scotland's joint leading goal scorer. Dalglish was voted PFA Player of the Year for the 1982–83 season, and he also won two Football Writers' Footballer of the Year awards. In 2009 he was named by ''FourFourTwo'' magazine as the greatest striker in post-war British football, and in 2006 he was placed first in Liverpool's official list of "100 Players Who Shook the Kop".

Dalglish began his career with Celtic and between 1971 and 1977 he won four Scottish First Division titles, four Scottish Cups and one Scottish League Cup with the club. In 1977, Bob Paisley paid a British transfer record of £440,000 to bring Dalglish to Liverpool. His years at Liverpool marked one of the club's most successful periods: he won seven league titles, three European Cups and five domestic trophies. For these achievements and his style of play he was given the name King Kenny by Liverpool supporters. Dalglish became player-manager of Liverpool in 1985 and in a six-year tenure won three league titles and two FA Cups. He resigned as Liverpool manager in 1991, in the wake of the Hillsborough disaster.

Dalglish joined Blackburn Rovers in 1991 and he turned the Second Division side into Premier League winners in 1995. His move to Newcastle United in 1997 was less successful. Dalglish was appointed Director of Football at Celtic in 1999 but a stint as caretaker manager ended in an acrimonious departure the following year.

Between 2000 and 2010 Dalglish focused on charitable concerns, founding The Marina Dalglish Appeal with his wife to raise money for cancer care. In January 2011 Dalglish was appointed Liverpool's caretaker manager, and he signed a three-year permanent deal with the club in May 2011.

Playing career

Early career

Dalglish, the son of an engineer, was born in Dalmarnock in the East End of Glasgow, and was brought up in Milton in the north of Glasgow. He moved to the docklands of Govan, near Ibrox, home of Rangers football club, when he was 15, and he grew up supporting Rangers.

Dalglish attended Milton Bank Primary School in Milton and started out as a goalkeeper. He then attended High Possil Senior Secondary School, where he won the inter-schools five-a-side and the inter-year five-a-side competitions. He won the Scottish Cup playing for Glasgow Schoolboys and Glasgow Schools, and was then selected for the Scottish schoolboys team that went undefeated in a home nations Victory Shield tournament. In 1966 Dalglish had unsuccessful trials at West Ham and Liverpool.

Celtic

Dalglish signed a provisional contract with Celtic in May 1967. Celtic manager Jock Stein sent Sean Fallon to see Dalglish and his parents at their home; on hearing that Fallon was at the door, Dalglish rushed upstairs to remove the Rangers posters from his bedroom walls. In his first season Dalglish was loaned out to Cumbernauld United, for whom he scored 37 goals. During this time he also worked as an apprentice joiner. By the following year Dalglish was a full professional and a regular member of the highly-rated Celtic reserve team that became known as the Quality Street Gang, due to its having a large number of future Scottish internationals, including Danny McGrain, George Connelly, Lou Macari, and David Hay. Dalglish made his first-team competitive debut for Celtic as a substitute in the 1968 Scottish League Cup quarter-final tie against Hamilton Academical.

Dalglish was in the stands when the Ibrox disaster occurred at an Old Firm match in February 1971, when 66 Rangers fans were killed.

By the 1971–72 season, Dalglish had become established in the Celtic first team. He scored his first competitive goal for the club, a penalty, in a 2–0 Scottish League Cup tie win over Rangers at Ibrox in August 1971, and that season went on to score 23 league and cup goals in 49 appearances. The following season Dalglish was Celtic's leading scorer, with 41 goals in all competitions. He was made Celtic captain in the 1975–76 season, during which Celtic failed to win a trophy for the first time in 12 years, after Stein was badly injured in a car crash and missed most of the season.

On 10 August 1977, after making 320 appearances and scoring 167 goals for Celtic, Dalglish was signed by Liverpool manager Bob Paisley for a British transfer fee record of £440,000. Dalglish's departure was unpopular with the Celtic fans, and when he returned in August 1978 to play in Stein's testimonial, he was booed by a large contingent of Celtic supporters.

Liverpool

Dalglish was signed to replace Kevin Keegan, and Liverpool supporters were initially sceptical that he could perform this task. However, Dalglish quickly settled into his new club. He made his debut, wearing Keegan's number seven shirt, on 13 August 1977 in the season opener at Wembley, in the Charity Shield against Manchester United. He scored his first goal for Liverpool in his league debut a week later on 20 August, against Middlesbrough. Dalglish also scored three days later on his Anfield debut in a 2–0 victory over Newcastle United, and he scored Liverpool's sixth goal when they beat Keegan's Hamburg 6–0 in the second leg of the 1977 UEFA Super Cup final. By the end of his first season with Liverpool, Dalglish had played 62 times and scored 31 goals, including the winning goal in the 1978 European Cup Final final at Wembley against Bruges.

In his second season Dalglish recorded a personal best of 21 league goals for the club, and he was also named Football Writers' Association Footballer of the Year. He did not miss a league game for Liverpool until the 1980–81 season, when he appeared in 34 out of 42 league games and scored only eight goals as Liverpool finished fifth in the league, but still won the European Cup and Football League Cup. He recovered his goal-scoring form the following season, and was an ever-present player in the league once again, scoring 13 goals as Liverpool became league champions for the 13th time, and the third time since Dalglish's arrival. It was also around this time that he began to form a potent strike partnership with Ian Rush; Dalglish began to play just off Rush, "running riot in the extra space afforded to him in the hole". Dalglish was voted PFA Player of the Year for the 1982–83 season, during which he scored 18 league goals as Liverpool retained their title. From 1983 Dalglish became less prolific as a goalscorer, though he remained a regular player.

After becoming player-manager on the retirement of Joe Fagan in the 1985 close season, Dalglish selected himself for just 21 First Division games in 1985–86 as Liverpool won the double, but he started the FA Cup final win over Everton. On the last day of the league season, his goal in a 1–0 away win over Chelsea gave Liverpool their 16th league title. Dalglish had a personally better campaign in the 1986–87 season, scoring six goals in 18 league appearances, but by then he was committed to giving younger players priority for a first team place.

With the sale of Ian Rush to Juventus in 1987, Dalglish formed a new striker partnership of new signings John Aldridge and Peter Beardsley for the 1987–88 season, and he played only twice in a league campaign which saw Liverpool gain their 17th title. Dalglish did not play in Liverpool's 1988–89 campaign, and he made his final league appearance on 5 May 1990 as a substitute against Derby County F.C.. At 39, he was one of the oldest players ever to play for Liverpool. His final goal had come three years earlier, in a 3–0 home league win over Nottingham Forest on 18 April 1987.

Scotland

Tommy Docherty gave Dalglish his debut for the Scottish national side as a substitute in the 1–0 Euro '72 qualifier victory over Belgium on 10 November 1971 at Pittodrie. Dalglish scored his first goal for Scotland a year later on 15 November 1972 in the 2–0 World Cup qualifier win over Denmark at Hampden Park. Scotland eventually qualified and he went to the 1974 FIFA World Cup in West Germany, where they were eliminated during the group stages.

In 1976 Dalglish scored the winning goal for Scotland at Hampden Park against England, by nutmegging Ray Clemence. A year later Dalglish scored against the same opponents and goalkeeper at Wembley, in another 2–1 win.

Dalglish went on to play in both the 1978 FIFA World Cup in Argentina – scoring against eventual runners-up the Netherlands in a famous 3–2 win – and the 1982 FIFA World Cup in Spain, scoring against New Zealand. On both occasions Scotland failed to get past the group stage. In total, Dalglish played 102 times for Scotland (a national record) and he scored 30 goals, (also a national record, which he shares with Denis Law.) Dalglish's final appearance for Scotland, after 15 years as a full international, was on 12 November 1986 at Hampden Park in a Euro 88 qualifying game against Luxembourg, which Scotland won 3-0. His 30th and final international goal had been two years earlier, on 14 November 1984, in a 3-1 win over Spain in a World Cup qualifier, also at Hampden Park.

Managerial career

Liverpool

After the Heysel Stadium disaster in 1985 and Joe Fagan's subsequent resignation as manager, Dalglish became player-manager of Liverpool. In his first season in charge in 1985–86, he guided the club to its first "double". Liverpool achieved this by winning the League Championship by two points over Everton (Dalglish himself scored the winner in a 1–0 victory over Chelsea at Stamford Bridge to secure the title on the final day of the season), and the FA Cup by beating Everton in the final. The following season was trophyless for Liverpool. Before the 1987–88 season, Dalglish signed a number of new players: Peter Beardsley from Newcastle, John Aldridge from Oxford United (who replaced Ian Rush); winger John Barnes from Watford; and Oxford United midfielder Ray Houghton. The new-look Liverpool side shaped by Dalglish topped the league for almost the entire season, and had a run of 37 matches unbeaten in all competitions (including 29 in the league; 22 wins and 7 draws) from the beginning of the season to 21 February 1988, when they lost to Everton in the league. Liverpool were crowned champions with four games left to play, having suffered just two defeats from 40 games. However, Dalglish's side lost the 1988 FA Cup Final to underdogs Wimbledon. Dalglish guided Liverpool to victory over Everton in the second all-Merseyside F.A. Cup final in 1989, but was deprived of a second double in the last minute of the final game of the season. In the 1989–90 season Liverpool won their third league title under Dalglish. At the end of the season Dalglish also received his third Manager of the Year award. Dalglish resigned as manager of Liverpool (on health grounds) on 22 February 1991, two days after a 4–4 draw with rivals Everton in which Liverpool surrendered the lead four times. At the time of his resignation, the club were three points ahead in the league and still in contention for the FA Cup.

Hillsborough disaster

Dalglish was the manager of Liverpool at the time of the Hillsborough disaster on 15 April 1989. The disaster claimed 94 lives on the day, with the final death toll reaching 96. Dalglish attended many funerals of the victims – including four in one day – and was greatly praised for the dignity and compassion he showed in the aftermath of the tragedy. Dalglish broke a twenty-year silence about the disaster in March 2009. He expressed regret that the police and the FA did not consider delaying the kick-off of the match, a move which might have averted the 96 deaths. During the Hillsborough Memorial Service on 15 April 2011, Liverpool MP Steve Rotherham announced that he would submit an Early Day Motion to have Dalglish knighted, "not only for his outstanding playing and managerial career, but also the charity work he has done with his wife, Marina, for breast cancer support and what he did after Hillsborough. It is common knowledge it affected him deeply".

Blackburn Rovers

Dalglish returned to management in October 1991, with Second Division Blackburn Rovers, who he led into the Premier League by beating Leicester City 1–0 in the Second Division Play-off final at Wembley. The resulting promotion meant that Blackburn were back in the top flight of English football for the first time since 1966. In 1992, Dalglish signed Southampton's Alan Shearer for a British record fee of £3.5 million. Despite a serious injury which ruled Shearer out for half the season, Dalglish achieved fourth position with the team in the first year of the new Premier League. The following year, Dalglish failed in an attempt to sign Roy Keane. Blackburn finished two positions higher the following season, as runners-up to Manchester United. By this time, Dalglish had added England internationals Tim Flowers and David Batty to his squad. At the start of the 1994–95 season Dalglish paid a record £5 million for Chris Sutton, with whom Shearer formed an effective strike partnership. By the last game of the season, both Blackburn and Manchester were in contention for the title. Blackburn had to travel to Liverpool, and Manchester United faced West Ham United in London. Blackburn lost 2–1, but still won the title since Manchester United failed to get a result in London. The title meant that Dalglish was only the third football manager in history to lead two different clubs to top-flight league championships, after Herbert Chapman and Brian Clough. Dalglish became Director of Football at Blackburn in June 1995. He left the club at the end of the season after a disappointing campaign under his replacement, Ray Harford.

Newcastle United

In January 1997 Dalglish was appointed manager of Premier League side Newcastle United on a three-and-a-half-year contract, taking over from Kevin Keegan. Dalglish guided the club from fourth position to a runner-up spot in May and a place in the new format of the following season's UEFA Champions League. However, the 1997–98 campaign saw Newcastle finish in only 13th place and, despite Dalglish achieving some notable successes during the season (including a 3–2 UEFA Champions League win over Barcelona and an FA Cup final appearance against Arsenal), he was sacked by Freddie Shepherd after two draws in the opening two games of the subsequent 1998–1999 season, and replaced by former Chelsea manager Ruud Gullit. One commentator has since written, "His 20 months at Newcastle United are the only part of Kenny Dalglish's career that came anywhere near failure".

Celtic

In June 1999 he was appointed Director of Football at Celtic, with his former Liverpool signing John Barnes appointed as head coach. Barnes was sacked in February 2000 and Dalglish was appointed manager, and he guided them to the Scottish League Cup final where they beat Aberdeen 2–0 at Hampden Park, and he left the club shortly thereafter. Dalglish was unhappy with the departure and Celtic's termination of his contract. He had recommended previous manager Barnes to the club and offered himself as a replacement manager should the young Barnes not succeed in the role. In spite of the termination of his contract, Dalglish vowed to stay on as Director of football. After a brief legal battle, Dalglish accepted Celtic's settlement offer of £600,000.

Return to Liverpool

In April 2009 Liverpool manager Rafael Benítez invited Dalglish to take up a role at the club's youth academy. The appointment was confirmed in July 2009, and Dalglish was also made the club's ambassador.

Following Benitez's departure from Liverpool in June 2010, Dalglish was asked to help find a replacement, and in July Fulham's Roy Hodgson was appointed manager. However, a poor series of results at the start of the 2010–11 season led to Liverpool fans calling for Dalglish's return as manager as early as October 2010, and with no subsequent improvement in Liverpool's results up to the end of the year (during which time the club was bought by New England Sports Ventures), Hodgson left Liverpool and Dalglish was appointed caretaker manager on 8 January 2011. Dalglish's first game in charge was on 9 January 2011 at Old Trafford against Manchester United in the 3rd round of the FA Cup, which Liverpool lost 1–0. Dalglish's first league game in charge was against Blackpool on 12 January 2011; Liverpool lost 2–1. After the game, Dalglish admitted that Liverpool faced "a big challenge".

Shortly after his appointment, Dalglish indicated he would like the job on a permanent basis if it was offered to him, and on 19 January the Liverpool chairman Tom Werner stated that the club's owners would favour this option. On 22 January 2011, Dalglish led Liverpool to their first win since his return, against Wolves at Molineux. After signing Andy Carroll from Newcastle for a British record transfer fee of £35 million and Luis Suárez from Ajax for £22.8 million at the end of January (in the wake of Fernando Torres's sale to Chelsea for £50 million), some journalists noted that Dalglish had begun to assert his authority at the club. Following a 1–0 victory against Chelsea at Stamford Bridge in February 2011, described by Alan Smith as "a quite brilliant display in terms of discipline and spirit" and a "defensive masterplan" by David Pleat, Henry Winter wrote, "it can only be a matter of time before he [Dalglish] is confirmed as long-term manager". On 12 May 2011, the club announced that Dalglish had been given a three-year contract.

Personal life

Dalglish has been married to Marina since 26 November 1974. His best man at his wedding was another ex-professional footballer, Jim Donald of Queen of the South. The couple have four children, including Kelly, born 1975 and Paul, born 1977. Kelly is now a correspondent for ESPN UK; Paul followed in his father's footsteps as a footballer, and is the current manager of the Austin Aztex. His other daughters are Lynsey, born 1982 and Lauren, born 1988.

Dalglish's wife was diagnosed with breast cancer in March 2003, but she made a good recovery from the disease. She was awarded an MBE in the 2009 New Year Honours list for services to charity.

Charity work

In 2004, Dalglish and his wife founded the charity The Marina Dalglish Appeal to raise money to help treat cancer. Dalglish has participated in a number of events to raise money for the charity, including a replay of the 1986 FA Cup Final. In June 2007 a Centre for Oncology at University Hospital Aintree was opened, after the charity had raised £1.5 million. Dalglish often competes in the annual Gary Player Invitational Tournament, a charity golfing event which raises money for children's causes around the world. On 1 July 2011, Dalglish was awarded an honorary degree by the University of Ulster, for services to football and charity.

Career statistics

Club

|- |1968–69||rowspan="9"|Celtic||rowspan="7"|Division One||0||0||0||0||1||0||0||0||1||0 |- |1969–70||2||0||0||0||2||0||0||0||4||0 |- |1970–71||3||0||1||0||0||0||1||0||5||0 |- |1971–72||31||17||4||1||8||5||7||0||50||23 |- |1972–73||32||23||6||5||11||10||4||3||53||41 |- |1973–74||33||18||6||1||10||3||7||2||56||24 |- |1974–75||33||16||5||2||8||3||2||0||48||21 |- |1975–76||rowspan="2"|Premier Division||35||24||1||1||10||4||5||3||51||32 |- |1976–77||35||14||7||1||10||10||2||1||54||26 |- |1977–78||rowspan="13"|Liverpool||rowspan="13"|First Division||42||20||1||1||9||6||9||4||61||31 |- |1978–79||42||21||7||4||1||0||4||0||54||25 |- |1979–80||42||16||8||2||7||4||2||0||59||22 |- |1980–81||34||8||2||2||8||7||9||1||53||18 |- |1981–82||42||13||2||2||10||5||6||2||60||22 |- |1982–83||42||18||3||1||7||0||5||1||57||20 |- |1983–84||33||7||0||0||8||2||9||3||50||12 |- |1984–85||36||6||7||0||1||0||7||0||51||6 |- |1985–86||21||3||6||1||2||1||colspan="2"|-||29||5 |- |1986–87||18||6||0||0||5||2||colspan="2"|-||23||8 |- |1987–88||2||0||0||0||0||0||colspan="2"|-||2||0 |- |1988–89||0||0||0||0||1||0||colspan="2"|-||1||0 |- |1989–90||1||0||0||0||0||0||colspan="2"|-||1||0 204||112||30||11||60||35||28||9||322||167 355||118||36||13||59||27||51||11||501||169 559||230||66||24||119||62||79||20||823||336

National team statistics

|- |1971||2||0 |- |1972||2||1 |- |1973||9||1 |- |1974||11||4 |- |1975||10||2 |- |1976||6||3 |- |1977||10||7 |- |1978||10||3 |- |1979||9||1 |- |1980||8||1 |- |1981||4||1 |- |1982||8||4 |- |1983||4||0 |- |1984||3||2 |- |1985||3||0 |- |1986||3||0 |- !Total||102||30 |}

International goals

:''Scores and results list Scotland's goal tally first.'' Hampden Park, Glasgow 16 May 1973 27 March 1974 14 May 1974 6 June 1974 30 October 1974 20 May 1975 29 October 1975 8 May 1976 15 May 1976 8 September 1976 27 April 1977 1 June 1977 1 June 1977 4 June 1977 15 June 1977 21 September 1977 12 October 1977 11 June 1978 25 October 1978 25 October 1978 7 June 1979 26 March 1980 25 February 1981 23 March 1982 15 June 1982 15 December 1982 15 December 1982 12 September 1984 14 November 1984

Goal !! Date !! Venue !! Opponent !! Score !! Result !! Competition
1	15 November 1972	|		1–0	2–0	1974 FIFA World Cup qualification#UEFA Group 8>WCQG8
2	|	Hampden Park, Glasgow		1–2	1–2	1973 British Home Championship>BHC
3	|	Commerzbank-Arena>Waldstadion, Frankfurt		1–2	1–2	Exhibition game>Friendly
4	|	Hampden Park, Glasgow		1–0	2–0	1974 British Home Championship>BHC
5	|	Ullevaal Stadion, Oslo		2–1	2–1	Friendly
6	|	Hampden Park, Glasgow		3–0	3–0	Friendly
7	|	Hampden Park, Glasgow		2–0	3–0	1975 British Home Championship>BHC
8	|	Hampden Park, Glasgow		1–1	3–1	1976 UEFA European Football Championship qualifying#Group 4>ECQG4
9	|	Hampden Park, Glasgow		3–0	3–0	1976 British Home Championship>BHC
10	|	Hampden Park, Glasgow		2–1	2–1	1976 British Home Championship>BHC
11	|	Hampden Park, Glasgow		3–0	6–0	Friendly
12	|	Hampden Park, Glasgow		2–1	3–1	Friendly
13	|	Hampden Park, Glasgow		1–0	3–0	1977 British Home Championship>BHC
14	|	Hampden Park, Glasgow		3–0	3–0	BHC
15	|	Wembley Stadium (1923)>Wembley Stadium, London		2–0	2–1	BHC
16	| Estadio Nacional, Santiago ||		1–0	4–2	Friendly
17	|	Hampden Park, Glasgow		3–0	3–1	1978 FIFA World Cup qualification (UEFA)#UEFA Group 7>WCQG7
18	|	Anfield, Liverpool		2–0	2–0	1978 FIFA World Cup qualification (UEFA)#UEFA Group 7>WCQG7
19	|	Estadio San Martin, Mendoza, Argentina>Mendoza		1–1	3–2	1978 FIFA World Cup#Group 4>WCG4
20	|	Hampden Park, Glasgow		1–1	3–2	1980 UEFA European Football Championship qualifying#Group 2>ECQG2
21	|	Hampden Park, Glasgow		2–2	3–2	1980 UEFA European Football Championship qualifying#Group 2>ECQG2
22	|	Ullevaal Stadion, Oslo		2–0	4–0	1980 UEFA European Football Championship qualifying#Group 2>ECQG2
23	|	Hampden Park, Glasgow		1–0	4–1	1980 UEFA European Football Championship qualifying#Group 2>ECQG2
24	|	Ramat Gan Stadium, Ramat Gan		1–0	1–0	1982 FIFA World Cup qualification (UEFA)#UEFA Group 6>WCQG8
25	|	Hampden Park, Glasgow		2–0	2–1	Friendly
26	|	Estadio La Rosaleda, Málaga		1–0	5–2	1982 FIFA World Cup#Group 6>WCG6
27	|	Heysel Stadion, Brussels		1–0	2–3	1984 UEFA European Football Championship qualifying#Group 1>ECQG1
28	|	Heysel Stadion, Brussels		2–1	2–3	1984 UEFA European Football Championship qualifying#Group 1>ECQG1
29	|	Hampden Park, Glasgow		3–1	6–1	Friendly
30	|	Hampden Park, Glasgow		3–1	3–1	1986 FIFA World Cup qualification (UEFA)#UEFA Group 7>WCQG7

Playing honours

Celtic (1969–1977)

Scottish First Division

Winner: 1971/72, 1972/73, 1973/74, 1976/77

Scottish Cup

Winner: 1971/72, 1973/74, 1974/75, 1976/77

Scottish League Cup

Winner: 1973/74

Liverpool (1977–1990)

Football League First Division

Winner: 1978/79, 1979/80, 1981/82, 1982/83, 1983/84, 1985/86

FA Cup

Winner: 1985/86

Football League Cup

Winner: 1980/81, 1981/82, 1982/83, 1983/84

Charity Shield

Winner: 1977 (Shared), 1979, 1980, 1982, 1986 (Shared)

European Cup

Winner: 1977/78, 1980/81, 1983/84

European Super Cup

Winner: 1977

Managerial honours

Liverpool (1985–1991, 2011– )

Football League First Division

Winner: 1985/86, 1987/88, 1989/90

FA Cup

Winner: 1985/86, 1988/89

Charity Shield

Winner: 1986 (Shared) 1988, 1989, 1990 (Shared)

Blackburn Rovers (1991–1995)

FA Premier League

Winner: 1994/95

Football League Second Division Play Off

Winner: 1991/92

Celtic (2000)

Scottish League Cup

Winner: 1999/00

Awards and achievements

PFA Player of the Year: 1982/83

FWA Footballer of the Year: 1979/79, 1982/83

Scottish Premier Division top goalscorer: 1975/76

Manager of the Year award: 1985/86, 1987/88, 1989/90, 1994/95

Inaugural Inductee to the English Football Hall of Fame: 2002

Member of the Scotland Football Hall of Fame

Member of the FIFA 100

Freedom of the City of Glasgow: 1986

1st in the Liverpool Football Club poll 100 Players Who Shook The Kop: 2006

Scotland: 30 goals in 102 international caps (both national records)

Managerial statistics

Team	Nat	From	To	Record
G	W	D	L	Win %
align=left
align=left
align=left
align=left
align=left
Total

Bibliography

References

External links

Official past players at Liverpool fc.tv

English Football Hall of Fame Profile

LFCHistory.net Player profile

LFCHistory.net Manager profile

ESPN Profile

Category:1974 FIFA World Cup players Category:1978 FIFA World Cup players Category:1982 FIFA World Cup players Category:BBC Scotland Sports Personality of the Year Category:Blackburn Rovers F.C. managers Category:Celtic F.C. players Category:Celtic F.C. managers Category:Cumbernauld United F.C. players Category:English Football Hall of Fame inductees Category:FIFA 100 Category:FIFA Century Club Category:Association football forwards Category:Govan Category:Liverpool F.C. managers Category:Liverpool F.C. players Category:Members of the Order of the British Empire Category:Newcastle United F.C. managers Category:Sportspeople from Glasgow Category:Premier League managers Category:Scotland international footballers Category:Scottish footballers Category:Scottish Football League players Category:Scottish football managers Category:Scottish Sports Hall of Fame inductees Category:The Football League players Category:1951 births Category:Living people Category:Scottish Football Hall of Fame inductees Category:Scottish Premier League managers

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Name	Aaron Lewis
Landscape	Yes
Background	solo_singer
Born	April 13, 1972 Rutland, Vermont
Origin	Longmeadow, Massachusetts,United States
Instrument	Vocals, guitar
Genre	Alternative metal, nu metal, post-grunge, acoustic rock, country
Occupation	Musician, songwriter
Years active	1990–present
Label	Flip, Elektra, Atlantic, Stroudavarious, R&J; Records
Associated acts	Staind
Website	www.aaronlewismusic.com }}

Aaron Lewis, (born April 13, 1972), is the lead vocalist, rhythm guitarist, and founding member of the rock group Staind, with whom he has released six studio albums. He has since ventured into country music with his debut solo album, ''Town Line''. The EP was released on March 1, 2011 on Stroudavarious Records.

Early life

Lewis grew up, largely, in Longmeadow, Massachusetts, then moved to the Forest Park section of Springfield, MA from 8th grade through high school. His mother is Jewish with origins in Russia, Poland and Germany and his father is Catholic of Italian, Welsh and English origin. His hobbies include fishing, golf, riding his motorcycle and dirt bike, as well as hunting. He has worked in landscaping, cleaned hotel rooms, and played solo acoustic sets in bars, pool halls, restaurants and coffeehouses.

Career

Lewis was, before Staind, in a band known as J-CAT with Tori Sands, Chris Ballini, and Staind bandmate Jon Wysocki. An album surfaced on the internet with nine of J-CAT's performances at Club Infinity in Springfield, Massachusetts. The performances were recorded while ''Dysfunction'' was being recorded. Two of Staind's popular singles—"Outside" and "It's Been Awhile"—were both originally performed by J-CAT with somewhat different lyrics. Lewis has been nominated for three Grammys.

Solo career

Lewis has been performing solo acoustic shows since he was 17 and still does today. He has written and performed many songs that have never been officially released such as "Angel", "Something Like Me", "Bonghits for Breakfast" (originally performed with J-CAT), "Anywhere but Here", and "Sleeping at the Wheel".

In July 2010, Lewis finished recording a country music EP entitled ''Town Line'' that was released March 1, 2011 on Stroudavarious Records. It features 7 tracks including 3 versions of the first single "Country Boy" featuring George Jones, Charlie Daniels, and Chris Young, as well as the songs "Massachusetts", "Vicious Circles", "The Story Never Ends", and a re-recording of "Tangled Up in You" originally from ''The Illusion of Progress''. Lewis said in a July 2011 interview that he was introduced to country music as a child by his grandfather, but his interest was recently rekindled when he toured with Kid Rock.

Collaborations

He was featured on the song "No Sex" by Limp Bizkit on their album ''Significant Other''. He was also featured on a remix for the song "Crawling" on Linkin Park's album ''Reanimation'' (the remix is titled "Krwlng" on the album), as well as Cold's album ''13 Ways to Bleed on Stage''. He contributed vocals to the song "Follow" on Sevendust's third album, ''Animosity'', and to the songs "Bleed" and "Send in the Clowns" by the band Cold. He's also featured on Jimmie's Chicken Shack's song "Falling Out", the only single off their 2004 album ''re.present''.

Equipment

1950 Gibson Acoustic J-45

1951 Gibson Acoustic Southern Jumbo

1936 Gibson Acoustic Jumbo J-35

1956 Gibson Les Paul Gold Top

1968 Gibson Les Paul Gold Top

1980's Gibson Heritage Series Les Pauls (At least 5)

Personal life

He is married to Vanessa Lewis and has three daughters, Zoe Jane, Nyla Rae and Indie Shay. Aaron also has two sisters, Evyette and Rachel, as well as a brother, Jesse.

Aaron Lewis is a registered Republican. He is a constitutional conservative and opposes high taxes. His views were expressed in the song "Country Boy".

In a five minute interview with Outdoor Life magazine Aaron Lewis shared that he has been hunting whitetail deer since he was old enough to keep up in the woods, probably age 4 or 5. His preferred method of hunting deer is with a compound or recurve bow, and occasionally utilizes a muzzleloader.

Philanthropy

On November 4, 2006, Aaron performed at his old high school in Longmeadow, Massachusetts and gave all the proceeds to the music department to fund the department's expenses to buy new equipment and supplies. Lewis' main focus, however, is the nonprofit organization, It Takes a Community, where he and his wife have started to reopen their daughter's elementary school in Worthington, Massachusetts.

Discography

Extended plays

Title	Details	Peak chart positions
		! width="40"	! width="40"	! width="40"	! width="40"
''Town Line''		* Release date: March 1, 2011	* Label: Stroudavarious Records	Compact disc>CD, music download	1	7	3	3

Singles

Year	Single	Peak chart positions						Album
		! width="35"	! width="35"	! width="35"	! width="35"	! width="35"	! width="35"
2000		56	31	2	1	—	—
2011		87	—	—	23	50	39

Music videos

! Year	! Video	! Director
2010	"Country Boy" (with George Jones and Charlie Daniels)	Alex Castino

Awards and nominations

! Year	! Association	! Category	! Result
		USA Weekend Breakthrough Video of the Year - "Country Boy"
Collaborative Video of the Year - "Country Boy" (with George Jones and Charlie Daniels)

References

The Darkness Within by Jenny Eliscu, Rolling Stone, July 19, 2001 (In depth interview, includes birthplace)

External links

Official website

Official Staind website

ADDICTEDtoStAiND

Category:1972 births Category:Living people Category:American heavy metal guitarists Category:American heavy metal singers Category:American male singers Category:American rock singer-songwriters Category:Nu metal singers Category:Musicians from Vermont Category:Jewish American musicians Category:American musicians of English descent Category:American musicians of Italian descent Category:American musicians of German descent Category:American musicians of Russian descent Category:American musicians of Polish descent Category:People from Rutland County, Vermont Category:People from Springfield, Massachusetts Category:American country singers Category:Stroudavarious Records artists

de:Aaron Lewis es:Aaron Lewis it:Aaron Lewis he:ארון לואיס pl:Aaron Lewis pt:Aaron Lewis ru:Льюис, Аарон fi:Aaron Lewis