{{taxobox |name = ''Helianthus annuus''Sunflower |image = Sunflower sky backdrop.jpg |image_width = 250px |regnum = Plantae |unranked_classis = Eudicots |unranked_ordo = Asterids |ordo = Asterales |familia = Asteraceae |subfamilia = Helianthoideae |tribus = Heliantheae |genus = ''Helianthus'' |binomial = ''Helianthus annuus'' |binomial_authority = L. |}} Sunflower (''Helianthus annuus'') is an annual plant native to the Americas that possesses a large inflorescence (flowering head). The sunflower got its name from its huge, fiery blooms, whose shape and image is often used to depict the sun. The sunflower has a rough, hairy stem, broad, coarsely toothed, rough leaves and circular heads of flowers. The heads consist of 1,000-2,000 individual flowers joined together by a receptacle base.

From the Americas, sunflower seeds were brought to Europe in the 16th century, where, along with sunflower oil, they became a widespread cooking ingredient. Sunflower leaves can be used as cattle feed, while the stems contain a fibre which may be used in paper production.

Description

What is usually called the "flower" on a mature sunflower is actually a "flower head" (also known as a "composite flower") of numerous florets, (small flowers) crowded together. The outer petal-bearing florets are the sterile ray florets and can be yellow, red, orange, or other colors. The florets inside the circular head are called disc florets, which mature into seeds.

The florets within the sunflower's cluster are arranged in a spiral pattern. Generally, each floret is oriented toward the next by approximately the golden angle, 137.5°, producing a pattern of interconnecting spirals, where the number of left spirals and the number of right spirals are successive Fibonacci numbers. Typically, there are 34 spirals in one direction and 55 in the other; on a very large sunflower there could be 89 in one direction and 144 in the other. This pattern produces the most efficient packing of seeds within the flower head.

Sunflowers most commonly grow to heights between 1.5 and 3.5 m (5–12 ft). Scientific literature reports that a 12 m (40 ft), traditional, single-head, sunflower plant was grown in Padua in 1567. The same seed lot grew almost 8 m (26 ft) at other times and places, including Madrid. During the 20th century, heights of over 8 m have been achieved in both Netherlands and Ontario, Canada.

Heliotropism

A common misconception is that sunflowers track the sun. In fact, mature flowerheads typically face east and do not move. The leaves and buds of young sunflowers do exhibit heliotropism (sun turning). Their orientation changes from east to west during the course of a day. The movements become a circadian response and when plants are rotated 180 degrees, the old response pattern is still followed for a few days, with leaf orientation changing from west to east instead. The leaf and flowerhead bud phototropism occurs while the leaf petioles and stems are still actively growing, but once mature, the movements stop. These movements involve the petioles bending or twisting during the day then unbending or untwisting at night.

History

The sunflower is native to Central America. The evidence thus far is that it was first domesticated in Mesoamerica, present day Mexico, by at least 2600 BC. It may have been domesticated a second time in the middle Mississippi Valley, or been introduced there from Mexico at an early date, as maize was. The earliest known examples of a fully domesticated sunflower north of Mexico have been found in Tennessee, and date to around 2300 BC. Many indigenous American peoples used the sunflower as the symbol of their solar deity, including the Aztecs and the Otomi of Mexico and the Incas in South America. Francisco Pizarro was the first European to encounter the sunflower in Tahuantinsuyo, Peru. Gold images of the flower, as well as seeds, were taken back to Spain early in the 16th century. Some researchers argue that the Spaniards tried to suppress cultivation of the sunflower because of its association with solar religion and warfare.

During the 18th century, the use of sunflower oil became very popular in Europe, particularly with members of the Russian Orthodox Church, because sunflower oil was one of the few oils that was not prohibited during Lent, according to some fasting traditions.

Cultivation and uses

To grow best, sunflowers need full sun. They grow best in fertile, moist, well-drained soil with heavy mulch. In commercial planting, seeds are planted 45 cm (1.5 ft) apart and 2.5 cm (1 in) deep. Sunflower "whole seed" (fruit) are sold as a snack food, raw or after roasting in ovens, with or without salt and/or seasonings added. Sunflowers can be processed into a peanut butter alternative, sunbutter. In Germany, it is mixed with rye flour to make ''Sonnenblumenkernbrot'' (literally: sunflower whole seed bread), which is quite popular in German-speaking Europe. It is also sold as food for birds and can be used directly in cooking and salads. American Indians had multiple uses for sunflowers in the past,such as in bread, medical ointments, dyes and body paints.

Sunflower oil, extracted from the seeds, is used for cooking, as a carrier oil and to produce margarine and biodiesel, as it is cheaper than olive oil. A range of sunflower varieties exist with differing fatty acid compositions; some 'high oleic' types contain a higher level of monounsaturated fats in their oil than even olive oil.

The cake remaining after the seeds have been processed for oil is used as a livestock feed. Some recently developed cultivars have drooping heads. These cultivars are less attractive to gardeners growing the flowers as ornamental plants, but appeal to farmers, because they reduce bird damage and losses from some plant diseases. Sunflowers also produce latex, and are the subject of experiments to improve their suitability as an alternative crop for producing hypoallergenic rubber.

Traditionally, several Native American groups planted sunflowers on the north edges of their gardens as a "fourth sister" to the better known three sisters combination of corn, beans, and squash. Annual species are often planted for their allelopathic properties.

However, for commercial farmers growing commodity crops, the sunflower, like any other unwanted plant, is often considered a weed. Especially in the midwestern US, wild (perennial) species are often found in corn and soybean fields and can have a negative impact on yields.

Sunflowers can be used to extract toxic ingredients from soil, such as lead, arsenic and uranium. They were used to remove cesium-137 and strontium-90 from a nearby pond after the Chernobyl disaster, and a similar campaign was mounted in response to the Fukushima Daiichi nuclear disaster. (see phytoremediation)

Sunflower genome

The sunflower, ''Helianthus annuus'', genome is diploid with a base chromosome number of 17 and an estimated genome size of 2871–3189 Mbp. Some sources claim its true size is around 3.5 billion base pairs (slightly larger than the human genome).

Mathematical model of floret arrangement

A model for the pattern of florets in the head of a sunflower was proposed by H. Vogel in 1979. This is expressed in polar coordinates :$r\; =\; c\; \backslash sqrt\{n\},$ :$\backslash theta\; =\; n\; \backslash times\; 137.5^\{\backslash circ\},$ where θ is the angle, ''r'' is the radius or distance from the center, and ''n'' is the index number of the floret and ''c'' is a constant scaling factor. It is a form of Fermat's spiral. The angle 137.5° is related to the golden ratio (55/144 of a circular angle, where 55 and 144 are Fibonacci numbers) and gives a close packing of florets. This model has been used to produce computer graphics representations of sunflowers.

In culture

The sunflower is the state flower of the US state of Kansas, and one of the city flowers of Kitakyūshū, Japan.

The sunflower is often used as a symbol of green ideology, much as the red rose is a symbol of socialism or social democracy. The sunflower is also the symbol of the Vegan Society.

During the late 19th century, the flower was used as the symbol of the Aesthetic Movement.

Subject of Van Gogh's most famous still life, ''Sunflowers''

The sunflower is the national flower of Peru, Russia, and Ukraine.

The sunflower was chosen as the symbol of the Spiritualist Church for many reasons, but mostly because it turns toward the sun as "Spiritualism turns toward the light of truth". Modern Spiritualists always have art or jewelry with sunflower designs.

International Sunflower Guerrilla Gardening Day

International Sunflower Guerrilla Gardening Day is 1 May. It is a day when guerrilla gardeners around the world plant sunflowers in their neighborhoods, typically in neglected public places such as tree pits, shabby flower beds and bare roadside verges. It has taken place since 2007, and was conceived by guerrilla gardeners in Brussels, (who go by the name of The Brussels Farmers). They declared it Journée Internationale de la Guérilla Tournesol. It has been championed by guerrilla gardeners around the world, notably by GuerrillaGardening.org and participation has grown each year since then. In 2010, more than 5000 people signed up for the event from North America, Europe and Asia. Although sunflower sowing at this time of the year is limited to relatively temperate parts of the Northern Hemisphere, this day is also marked in other parts of the world by planting appropriate to the season.

Varieties

The following are varieties of sunflowers (in alphabetical order): {| cellpadding=5px |- |

'American Giant Hybrid'

'Arnika'

'Autumn Beauty' (Autumnal colors)

'Aztec Sun'

'Black Oil'

'Dwarf Sunspot'

'Evening Sun'

'Giant Primrose'

'Indian Blanket Hybrid'

'Irish Eyes'

'Italian White'

|

'Kong Hybrid'

'Large Grey Stripe'

'Lemon Queen' (Pale lemon)

'Mammoth Russian'

'Mongolian Giant'

'Orange Sun'

'Peach Passion'

'Peredovik'

'Red Sun'

'Ring of Fire'

'Rostov'

|

'Skyscraper'

'Soraya'

'Strawberry Blonde'

'Sunny Hybrid'

'Taiyo' (Orange-yellow, chocolate center)

'Tarahumara'

'Teddy Bear'

'Titan'

'Valentine'

'Velvet Queen' (red to dark claret, chocolate center)

'Yellow Empress'

|}

Other species

There are many species in the sunflower genus ''Helianthus'', and many species in other genera that may be called sunflowers.

The Maximillian sunflower (''Helianthus maximillianii'') is one of 38 species of perennial sunflower native to North America. The Land Institute and other breeding programs are currently exploring the potential for these as a perennial seed crop.

The sunchoke (Jerusalem artichoke or ''Helianthus tuberosus'') is related to the sunflower, another example of perennial sunflower.

The Mexican sunflower is ''Tithonia rotundifolia''. It is only very distantly related to North American sunflowers.

False sunflower refers to plants of the genus ''Heliopsis''.

Gallery

See also

Carnitine

List of sunflower diseases

Sheller

Sunflower oil

Notes

References

Pope, Kevin; Pohl, Mary E. D.; Jones, John G.; Lentz, David L.; von Nagy, Christopher; Vega, Francisco J.; Quitmyer Irvy R.; "Origin and Environmental Setting of Ancient Agriculture in the Lowlands of Mesoamerica," ''Science'', 18 May 2001:Vol. 292. no. 5520, pp. 1370–1373.

Shosteck, Robt. 1974. ''Flowers and Plants. An International Lexicon with Biographical Notes''. Quadrangle/The New York Times Book Co. 329 pp.

External links

National Sunflower Association

USDA-ERS Briefing Room - Sunflowerseed Summary of sunflower production, trade, and consumption and links to relevant USDA reports.

Sunflower cultivation

Home garden cultural information on growing sunflowers

Pictures of the results of International Sunflower Guerrilla Gardening Day

Helianthus annuus Flowers in Israel

Category:Articles with inconsistent citation formats Category:Agriculture in Mesoamerica Category:Butterfly food plants Category:Crops originating from Mexico Category:Edible nuts and seeds Category:Energy crops Category:Flora of Central America Category:Flora of Delaware Category:Flora of Maryland Category:Flora of Mexico Category:Flora of Pennsylvania Category:Flora of Virginia Category:Flora of Washington, D.C. Category:Flora of West Virginia Category:Flowers Category:Garden plants of North America annuus Category:Honey plants Category:Medicinal plants Category:Phytoremediation plants

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Coordinates	41°52′55″N87°37′40″N
name	Paul Weller
background	solo_singer
birth name	John William Weller
alias	"The Modfather"
born	May 25, 1958Woking, Surrey, England
influences	Small Faces, The Beatles, The Kinks
instrument	Guitar, vocals, piano, bass guitar
genre	Rock, pop, punk rock, mod revival, New Wave
occupation	singer-songwriter, musician, poet
years active	1977–1989 1991–present
record labels	Polydor Records, Island Records
associated acts	The Jam, The Style Council, Smokin' Mojo Filters, Ocean Colour Scene, Oasis
website	Official Paul Weller website
notable instruments	Rickenbacker 330 Gibson SG Epiphone Casino Fender Telecaster Gibson J-160E }}

Paul Weller (born 25 May 1958) is an English singer-songwriter. Starting with the band The Jam (1976–1982), Weller then went on to branch out musically to a more soulful style with The Style Council (1983–1989). In 1991 he re-established himself as a successful solo artist, and continues to remain a respected singer, lyricist and guitarist.

Despite widespread critical recognition in most of all the United States, Weller has remained a national rather than an international star, and much of his songwriting is rooted in British culture. He is also the principal figure of the 1970s and 80s mod revival and is often referred to as the ''Modfather''.

Early years 1958–1976

Weller was born on 25 May 1958 in Sheerwater, near Woking, Surrey, England, to John and Ann Weller. He was initially known as John William Weller but later acquired the name Paul.

His father worked as a taxi driver and his mother was a part-time cleaner. In 1963 Weller started his education at Maybury County First School. His love of music started with The Beatles, then The Who and the Small Faces. By the time Weller was eleven and moving up to secondary school at Sheerwater County Secondary music was the biggest part of his life and he began playing the guitar.

In 1972 Weller formed his first group, The Jam, playing bass guitar with his best friends Steve Brookes (lead guitar) and Dave Waller (rhythm guitar). Weller's father, their manager, began booking the band into local working men's clubs. Joined by Rick Buckler on drums, and with Bruce Foxton soon replacing Waller on rhythm guitar, the four-piece band began to forge a local reputation playing a mixture of Beatles covers and a number of compositions written by Weller and Brookes. In 1976 Brookes left the band and Weller and Foxton decided they would swap guitar roles, with Weller now the guitarist.

Career

The Jam: 1976–1982

Although The Jam emerged at the same time as punk rock bands such as The Clash, The Damned, and the Sex Pistols, The Jam better fitted the mould of the New Wave bands who came later. Also, being from just outside London rather than in it, they were never really part of the tightly-knit punk clique.

Nonetheless, The Clash emerged as one of the leading early advocates of the band, and were sufficiently impressed by The Jam to take them along as the support act on their ''White Riot'' tour of 1977. The Jam's first single "In the City" took them into the UK Top 40 for the first time in May 1977. Although every subsequent single had a placing within the Top 40, it would not be until the band released "The Eton Rifles", with Weller's very political lyrics, that they broke into the Top 10, hitting the No. 3 spot in November 1979.

The increasing popularity of their blend of pop melodies and Weller's barbed lyrics led, in March 1980, to their first number one single, "Going Underground".

They became the only band other than the Beatles to perform two songs ("Town Called Malice" and "Precious") on one edition of ''Top of the Pops''. The Jam even had two singles, "That's Entertainment" and "Just Who Is The 5 O'Clock Hero", reach No. 21 and No. 8 respectively in the UK singles chart despite not even being released in that country – they got there purely on the strength of the huge number of people buying import sales of the German and Dutch single releases. The Jam still hold the record for the best selling import only singles in the UK charts. As the band's popularity increased, however, Weller became restless and eager to explore a more soulful, melodic style with a broader instrumentation.

In 1982, Weller announced that The Jam would disband at the end of the year. Their final single, "Beat Surrender", became their fourth UK chart topper, going straight to No. 1 in its first week. Their farewell concerts at Wembley Arena were multiple sell-outs; their final concert took place at the Brighton Centre on 11 December 1982.

The Style Council: 1983–1989

At the beginning of 1983, Weller collaborated with keyboard player Mick Talbot to form a new group called The Style Council. Weller brought in Steve White to play drums, as well as singer Dee C. Lee, who had previously been a backing singer with Wham!

Free of the limited musical styles he felt imposed by The Jam, under the collective of The Style Council Weller was able to experiment with a wide range of music, from pop and jazz to soul/R&B;, house and folk-styled ballads. The band was at the vanguard of a jazz/pop revival that would continue with the emergence of bands like Matt Bianco, Sade, and Everything but the Girl, whose members Tracey Thorn and Ben Watt contributed vocals and guitar to the 1984 The Style Council song "Paris Match".

Many of the Style Council's early singles performed well in the charts, and Weller experienced his first success in North America, when "My Ever Changing Moods" and "You're The Best Thing" entered the US Billboard Hot 100. In Australia they were far more successful than The Jam, reaching the top of the charts in 1984 with "Shout To The Top".

Weller appeared on 1984's Band Aid record "Do They Know It's Christmas?" and was called upon to mime the absent Bono's lyrics on ''Top of the Pops''. The Style Council were the second act to appear in the British half of Live Aid at Wembley Stadium in 1985.

In December 1984, Weller put together his own charity ensemble, the Council Collective, to make a record, Soul Deep, to raise money for striking miners. The record featured The Style Council plus a number of other performers, notably Jimmy Ruffin and Junior Giscombe. In spite of the song's political content, it still picked up BBC Radio 1 airplay and was performed on ''Top of the Pops'', which led to the incongruous sight of lyrics such as "We can't afford to let the government win / It means death to the trade unions" being mimed amid the show's flashing lights and party atmosphere.

As the 1980s wore on, The Style Council's popularity in the UK began to slide, with the band achieving only one top ten single after 1985. The Style Council's death knell was sounded in 1989 when their record company refused to release their fifth and final studio album, the house-influenced ''Modernism: A New Decade''. With the rejection of this effort, Weller announced The Style Council had split, and although the final album did have a limited vinyl run, it was not until the 1998 retrospective CD box set ''The Complete Adventures of the Style Council'' that the album was widely available.

Early solo career: 1990–1995

In 1989, Weller found himself for the first time since he was 17 without a band and without a recording deal. After taking time off throughout 1990, he returned to the road in 1991, touring as 'The Paul Weller Movement' with long-term drummer and friend Steve White. After a slow start playing small clubs with a mixture of Jam/Style Council classics as well as showcasing new material such as "Into Tomorrow", by the time of the release of his 1992 LP, ''Paul Weller'' he had begun to re-establish himself as a leading British singer/songwriter. This self-titled album saw a return to a more jazz-guitar-focused sound, featuring samples and a funk influence with shades of The Style Council sound. The album also featured a new producer, Brendan Lynch. Tracks such as "Here's a New Thing" and "That Spiritual Feeling" were marketed among the emerging acid jazz scene.

Buoyed by the positive commercial and critical success of his first solo album, Weller returned to the studio in 1993 with a renewed confidence. Accompanied by Steve White, guitarist Steve Cradock, and bassist Damon Minchella, the result of these sessions was the triumphant Mercury Music Prize-nominated ''Wild Wood''.

His 1995 album ''Stanley Road'' took him back to the top of the British charts for the first time in a decade, and went on to become the best-selling album of his career. The album, named after the street in Woking where he had grown up, marked a return to the more guitar-based style of his earlier days. Weller found himself heavily associated with the Britpop movement that gave rise to such bands as Oasis, Pulp and Blur. Weller even appeared as a guest guitarist and backing vocalist on Oasis' hit song "Champagne Supernova". The album's major single, "The Changingman", was also a big hit, taking Weller to #7 in the UK singles charts. Another single, the ballad "You Do Something To Me", was his second consecutive Top 10 single and reached #9 in the UK.

The Modfather: 1996–2007

''Heavy Soul'', the follow-up to the million-selling ''Stanley Road'' saw Weller twist his sound again. The album was more raw than its predecessor; Weller was now frequently playing live in the studio in as few takes as possible. The first single, "Peacock Suit" reached #5 in the UK Singles Chart, and the album reached #2. Success in the charts also came from compilations: "best of" albums by The Jam and Style Council charted, and his own solo "best of" collection ''Modern Classics'' was a substantial success in 1998.

In 2000, while living in Send, Surrey, he released his fifth solo studio album, ''Heliocentric''. There were rumours at the time that this would be his final studio effort, but these proved unfounded when he released the No. 1 hit album ''Illumination'' in September 2002 which was co-produced by Noonday Underground's Simon Dine, preceded by yet another top 10 hit single "It's Written In The Stars". Weller also appears on the 2002 Noonday Underground album called ''Surface Noise'', singing on the track "I'll Walk Right On". Between these two albums he had also released a second successful live album, 2001's ''Days Of Speed'', which contained live acoustic versions from his world tour of the same name. The LP included some of his best-known songs from his solo career and the back catalogues of his The Jam and The Style Council days. Weller had again found himself without a record contract and the tour provided him with the opportunity to view his works as one back catalogue.

In 2003, Weller teamed up with electronic rock duo Death in Vegas on a cover of Gene Clark's "So You Say You Lost Your Baby" which featured on the album ''Scorpio Rising''.

In 2004 Weller released an album of covers entitled ''Studio 150''. It debuted at No. 2 in the UK charts and included Bob Dylan's "All Along the Watchtower" besides covers of songs by Gil Scott-Heron, Rose Royce, Gordon Lightfoot, and others.

His 2005 album ''As Is Now'' featured the singles "From The Floorboards Up", "Come On/Let's Go" and "Here's The Good News". The album was well-received, though critics noted that he was not moving his music forward stylistically, and it became his lowest-charting album since his 1992 debut. In February 2006 it was announced that Weller would be the latest recipient of the Lifetime Achievement Award at the BRIT Awards. Despite a tendency to shun such occasions, Weller accepted the award in person, and performed four songs at the ceremony, including The Jam classic "Town Called Malice".

In June 2006, a double live album titled ''Catch-Flame!'', with songs from both his solo work and his career with ‘The Jam’ and the Style Council, was released. In late 2006, the album ''Hit Parade'' was released, which collected all the singles released by The Jam, Style Council and Weller during his solo career. Two versions of this album were released: a single disc with a selection from each stage of his career, and a four-disc limited edition, which included every single released and came with a 64-page booklet.

Weller was offered a CBE in the 2006 birthday honours, but rejected the order.

Critical success: 2008–present

The double album ''22 Dreams'' was released on 2 June 2008 with "Echoes Round The Sun" as the lead single. Before recording this album, Weller had parted company with his existing band, resulting in the replacement of everyone except guitarist Steve Cradock. As well as Cradock, the new band consisted of Andy Lewis on bass, Andy Crofts of The Moons on keys and Steve Pilgrim of The Stands on drums. This album saw Weller move in a more experimental direction, taking in a wide variety of inflences including jazz, folk, tango as well as pop-soul more associated with his Style Council days.

Weller was the surprise recipient of the 2009 BRIT award for "Best Male Solo Artist", which resulted in controversy when it was discovered a suspiciously high number of bets had been placed for Weller to win the award, for which James Morrison was T4's favourite. It was reported that the bookmakers had lost £100,000 in the event, and that as a result would not be taking bets for the awards in the future.

In 2009 Weller guested on Dot Allison's 2009 album, ''Room 7½'', co-writing "Love's Got Me Crazy". November and December also saw him on tour, playing shows across the country.

On 24 February 2010, Paul received the Godlike Genius Award at the NME Awards. His 2010 album, ''Wake Up the Nation'', released in April, was met with critical acclaim and subsequently nominated for the Mercury Music Prize. The album also marked his first collaboration with The Jam bassist Bruce Foxton in 28 years. In May 2010 Weller was presented with the Ivor Novello Lifetime Achievement award, stating "''I've enjoyed the last 33 years I've been writing songs and hopefully, with God's good grace, I'll do some more.''"

Personal life

Soon after the formation of The Style Council, Weller and Dee C. Lee, The Style Council's backing singer, began a romantic relationship. The couple married in 1987 and divorced in 1998. They have two children Leah and Nathaniel (Natt), who is also a working musician and once appeared on stage with his father at Hammersmith Apollo at age 12. Weller has another daughter, Dylan, by a short-lived relationship with a make-up artist called Lucy.

While he was recording at the Manor studios in the mid 1990s, he became involved with Samantha Stock. They have two children. In October 2008 they broke up and Weller moved in with Hannah Andrews, a backing singer on his ''22 Dreams'' album, who has toured with his band. The pair married in September 2010.

On 24 April 2009, John Weller, Paul Weller's father and long-time manager since the days of The Jam, died from pneumonia at the age of 77.

Influences

Weller has stated a wide range of influences throughout his musical career, frequently listing The Beatles, Dr Feelgood, The Kinks, The Who, Small Faces and 1960s and 1970s soul music.

Legacy

During the Britpop explosion in the mid-1990s a number of fledgling bands, such as Oasis, Ocean Colour Scene and Blur, cited Weller and The Jam as a major influence. As a new generation of bands emerged, Weller was again noted as an influence by bands such as Hard-Fi, Arctic Monkeys, The Enemy and The Rifles.

References in literature

Paul Weller was the theme of a book, ''The Modfather'', in which David Lines documented his life growing up in Garforth, Leeds, and his adolescent obsession with Paul Weller.

Discography

Albums

''Paul Weller'' – (1992) #8 UK

''Wild Wood'' – (1993) #2 UK (Platinum)

''Stanley Road'' – (1995) #1 UK (4 × Platinum)

''Heavy Soul'' – (1997) #2 UK (Gold)

''Heliocentric'' – (2000) #2 UK (Silver)

''Illumination'' – (2002) #1 UK (Gold)

''Studio 150'' – (2004) #2 UK (Silver)

''As Is Now'' – (2005) #4 UK (Gold)

''22 Dreams'' – (2008) #1 UK (Platinum)

''Wake Up the Nation'' – (2010) #2 UK (Gold)

References

Bibliography

External links

Paul Weller dot Com (Paul Weller's official website)

The Moons (official website)

Category:1958 births Category:Living people Category:The Jam members Category:The Style Council members Category:English rock singers Category:English male singers Category:English New Wave musicians Category:English singer-songwriters Category:English guitarists Category:Mod revival Category:English punk rock singers Category:English socialists Category:People from Woking Category:BRIT Award winners

ca:Paul Weller da:Paul Weller de:Paul Weller es:Paul Weller fr:Paul Weller ko:폴 웰러 it:Paul Weller nl:Paul Weller ja:ポール・ウェラー pl:Paul Weller pt:Paul Weller ru:Уэллер, Пол fi:Paul Weller sv:Paul Weller

Coordinates	41°52′55″N87°37′40″N
Name	Henry Mancini
Background	non_vocal_instrumentalist
Birth name	Enrico Nicola Mancini
Born	April 16, 1924Cleveland, Ohio, United States
Died	June 14, 1994Los Angeles, California, United States
Occupation	Composer, conductor
Instrument	Piano
Genre	Film scores
Spouse	Virginia O'Connor (September 13, 1947 – June 14, 1994) (his death) 3 children }}

Henry Mancini (April 16, 1924 – June 14, 1994) When Mancini was 12 years old, he began piano lessons. Quinto and Henry played flute together in the Aliquippa Italian immigrant band, "Sons of Italy". After graduating from Aliquippa High School in 1942, Mancini attended the renowned Juilliard School of Music in New York. In 1943, after roughly one year at Juilliard, his studies were interrupted when he was drafted into the United States Army. In 1945, he participated in the liberation of a concentration camp in southern Germany.

Career

Newly discharged, Mancini entered the music industry. Entering 1946, he became a pianist and arranger for the very newly re-formed Glenn Miller Orchestra, led by 'Everyman'Tex Beneke. After World War II, Mancini really broadened his composition, counterpoint, harmony group music and orchestration skills during studies opening with two acclaimed "serious" concert hall composers, Ernst Krenek and Mario Castelnuovo-Tedesco.

In 1952, Mancini joined the Universal Pictures music department. During the next six years, he contributed music to over 100 movies, most notably ''The Creature from the Black Lagoon'', ''It Came from Outer Space'', ''Tarantula'', ''This Island Earth'', ''The Glenn Miller Story'' (for which he received his first Academy Award nomination), ''The Benny Goodman Story'' and Orson Welles' ''Touch of Evil''. During this time, he also wrote some popular songs. His first hit was a single by Guy Lombardo and His Royal Canadians titled ''I Won't Let You Out of My Heart''.

Mancini left Universal-International to work as an independent composer/arranger in 1958. Soon after, he scored the television series ''Peter Gunn'' for writer/producer Blake Edwards, the genesis of a relationship which lasted over 35 years and produced nearly 30 films. Together with Alex North, Elmer Bernstein, Leith Stevens and Johnny Mandel, Henry Mancini was one of the pioneers who introduced jazz music into the late romantic orchestral film and TV scores prevalent at the time.

Mancini's scores for Blake Edwards included ''Breakfast at Tiffany's'' (with the standard "Moon River") and ''Days of Wine and Roses'' (with the title song, "Days of Wine and Roses"), as well as ''Experiment in Terror'', ''The Pink Panther'' (and all of its sequels), ''The Great Race'', ''The Party'', and ''Victor Victoria''. Another director with whom Mancini had a longstanding partnership was Stanley Donen (''Charade'', ''Arabesque'', ''Two for the Road''). Mancini also composed for Howard Hawks (''Man's Favorite Sport?'', ''Hatari!'' – which included the well-known "Baby Elephant Walk"), Martin Ritt (''The Molly Maguires''), Vittorio de Sica (''Sunflower''), Norman Jewison (''Gaily, Gaily''), Paul Newman (''Sometimes a Great Notion'', ''The Glass Menagerie)'', Stanley Kramer (''Oklahoma Crude''), George Roy Hill (''The Great Waldo Pepper''), Arthur Hiller (''Silver Streak''), Ted Kotcheff (''Who Is Killing the Great Chefs of Europe?''), and others. Mancini's score for the Alfred Hitchcock film ''Frenzy'' (1972) was rejected and replaced by Ron Goodwin's work.

Mancini scored many TV movies, including ''The Thorn Birds'' and ''The Shadow Box''. He wrote many television themes, including ''Mr. Lucky'' (starring John Vivyan and Ross Martin), ''NBC Mystery Movie'', ''What's Happening!!'', ''Tic Tac Dough'' (1990 version) and ''Once Is Not Enough''. In the 1984–85 television season, four series featured original Mancini themes: ''Newhart'', ''Hotel'', ''Remington Steele'', and ''Ripley's Believe It or Not''. Mancini also composed the "Viewer Mail" theme for ''Late Night with David Letterman''. Mancini composed the theme for ''NBC Nightly News'' used beginning in 1975, and a different theme by him, titled ''Salute to the President'' was used by NBC News for its election coverage (including primaries and conventions) from 1976 to 1992. ''Salute to the President'' was only published in a school-band arrangement, although Mancini performed it frequently with symphony orchestras on his concert tours.

Songs with music by Mancini were staples of the easy-listening genre from the 60s to the 80s. Some of the artists who have recorded Mancini songs include Andy Williams, Paul Anka, Pat Boone, Anita Bryant, Jack Jones, Frank Sinatra, Perry Como, Connie Francis, Eydie Gorme, Steve Lawrence, Trini Lopez, George Maharis, Johnny Mathis, Jerry Vale, Ray Conniff, The Lennon Sisters, The Lettermen, Herb Alpert, Eddie Cano, Frank Chacksfield, Warren Covington, Percy Faith, Ferrante & Teicher, Horst Jankowski, Andre Kostelanetz, Peter Nero, Liberace, Mantovani, Tony Bennett, Julie London, Wayne Newton, Arthur Fiedler and the Boston Pops Orchestra, Peggy Lee, Al Martino, Jim Nabors, and Matt Monro. Lawrence Welk held Mancini in very high regard, and frequently featured Mancini's music on ''The Lawrence Welk Show'' (Mancini, at least once, made a guest appearance on the show).

Mancini recorded over 90 albums, in styles ranging from big band to light classical to pop. Eight of these albums were certified gold by The Recording Industry Association of America. He had a 20 year contract with RCA Records, resulting in 60 commercial record albums that made him a household name artists of easy-listening music. Mancini's earliest recordings in the 1950s and early 1960s were of the jazz idiom; with the success of ''Peter Gunn'', ''Mr. Lucky'', and ''Breakfast at Tiffany's'', Mancini shifted to primarily recording his own music in record albums and film soundtracks. (Although relatively little of his music was written for recordings compared to the amount that was written for film and television.) Beginning with his 1969 hit ''A Time for Us'' (Love Theme from ''Romeo and Juliet'') and its accompanying album ''A Warm Shade of Ivory'', Mancini began to function more as a piano soloist and easy-listening artist primarily recording music written by other people. In this period, for two of his best-selling albums he was joined by trumpet virtuoso and ''Tonight Show'' bandleader Doc Severinsen.

Mancini's range also extended to orchestral scores (''Lifeforce'', ''The Great Mouse Detective'', ''Sunflower'', ''Tom and Jerry: The Movie'', ''Molly Maguires'', ''The Hawaiians''), and darker themes (''Experiment in Terror'', ''The White Dawn'', ''Wait Until Dark'', ''The Night Visitor'').

Mancini was also a concert performer, conducting over fifty engagements per year, resulting in over 600 symphony performances during his lifetime. He conducted nearly all of the leading symphonies of the world, including the London Symphony Orchestra, the Israel Philharmonic, the Boston Pops, the Los Angeles Philharmonic and the Royal Philharmonic Orchestra. One of his favorites was the Minnesota Orchestra, where he debuted the ''Thorn Birds Suite'' in June 1983. He appeared in 1966, 1980 and 1984 in command performances for the British Royal Family. He also toured several times with Johnny Mathis and also with Andy Williams, who had each sung many of Mancini's songs; Mathis and Mancini collaborated on the 1986 album ''The Hollywood Musicals''.

Cameos

Mancini had occasional experience with cameo and voice roles.

Shortly before his death in 1994, he made a one-off cameo appearance in the first season of the sitcom series ''Frasier'', as a call-in patient to Dr. Frasier Crane's radio show. Mancini voiced the character Al, who speaks with a melancholy drawl and hates the sound of his own voice, in the episode "Guess Who's Coming to Breakfast?"

Mancini also had an uncredited performance as a pianist in the 1967 movie ''Gunn'', the movie version of the series ''Peter Gunn'', the score of which was originally composed by Mancini himself.

In the 1966 Pink Panther cartoon ''Pink, Plunk, Plink'', the panther commandeered an orchestra and proceeded to conduct Mancini's theme for the series. At the end, the shot switched to rare live action, and Mancini was seen alone applauding in the audience.

Death and legacy

Mancini died of pancreatic cancer in Los Angeles on June 14, 1994. He was working at the time on the Broadway stage version of ''Victor/Victoria'', which he never saw on stage. Mancini was survived by his wife of 43 years, singer Virginia "Ginny" O'Connor, with whom he had three children. They had met while both were members of the Tex Beneke orchestra, just after World War II. In 1948, Ginny was one of the founders of the Society of Singers, a non-profit organization which benefits the health and welfare of professional singers worldwide. Additionally the Society awards scholarships to students pursuing an education in the vocal arts. One of Mancini's twin daughters, Monica Mancini, is a professional singer; her sister Felice runs The Mr. Holland's Opus Foundation (MHOF). His son Christopher is a music publisher and promoter in Los Angeles.

In 1996, the Henry Mancini Institute, an academy for young music professionals, was founded by Jack Elliott in Mancini's honor, and was later under the direction of composer-conductor Patrick Williams. By the mid 2000s, however, the institute could not sustain itself and closed its doors on December 30, 2006. However, the American Society of Composers, Authors and Publishers (ASCAP) Foundation "Henry Mancini Music Scholarship" has been awarded annually since 2001. While still alive, Henry created a scholarship at UCLA and the bulk of his library and works are archived in the highly esteemed music library at UCLA.

In 2005, the Henry Mancini Arts Academy was opened as a division of the Lincoln Park Performing Arts Center. The Center is located in Midland, Pennsylvania, minutes away from Mancini's hometown of Aliquippa. The Henry Mancini Arts Academy is an evening-and-weekend performing arts program for children from pre-K to grade 12, with some classes also available for adults. The program includes dance, voice, musical theater, and instrumental lessons.

The American Film Institute ranked Mancini's score for ''The Pink Panther'' No. 20 on their list of the greatest film scores. His scores for the following films were also nominated for the list:

''Breakfast at Tiffany's'' (1961)

''Charade'' (1963)

''Hatari!'' (1962)

''Touch of Evil'' (1958)

''Wait Until Dark'' (1967)

Awards

Mancini was nominated for an unprecedented 72 Grammys, winning 20. Additionally he was nominated for 18 Academy Awards, winning four. He also won a Golden Globe Award and was nominated for two Emmys.

Mancini won a total of four Oscars for his music in the course of his career. He was first nominated for an Academy Award in 1955 for his original score of ''The Glenn Miller Story'', on which he collaborated with Joseph Gershenson. He lost out to Adolph Deutsch and Saul Chaplin's ''Seven Brides for Seven Brothers''. In 1962, he was nominated in the Best Music, Original Song category for "Bachelor in Paradise" from the film of the same name, in collaboration with lyricist Mack David. That song did not win. However, Mancini did receive two Oscars that year: one in the same category, for the song "Moon River" (shared with lyricist Johnny Mercer), and one for "Best Music, Scoring of a Dramatic or Comedy Picture" for ''Breakfast at Tiffany's''. The following year, he and Mercer took another Best Song award for "Days of Wine and Roses", another eponymous theme song. His next eleven nominations went for naught, but he finally garnered one last statuette working with lyricist Leslie Bricusse on the score for ''Victor Victoria'', which won the "Best Music, Original Song Score and Its Adaptation or Best Adaptation Score" award for 1983. All three of the films for which he won were directed by Blake Edwards. His score for ''Victor/Victoria'' was adapted for the 1995 Broadway musical of the same name.

On April 13, 2004, the United States Postal Service honored Mancini with a 37 cent commemorative stamp. The stamp shows Mancini conducting with a list of some of his most famous movies and TV show themes in the background. The stamp is Scott catalog number 3839.

Discography

Hit singles

Year	Single	Peak chart positions
		!style="width:4em;font-size:85%;"	!style="width:4em;font-size:85%;"	!style="width:4em;font-size:85%;"	!style="width:4em;font-size:85%;"
1960		21	—	—	—
		90	—	—	—
	11	1	—	44
1962		95	—	—	—
		33	10	—	—
	93	—	—	—
	36	15	—	—
		31	10	—	—
	97	—	—	—
	77	14	—	—
	—	—	—	10
		117	23	—	—
	—	27	—	—
1966		—	6	—	—
		—	17	—	—
	—	4	—	—
		—	21	—	—
	—	36	—	—
		1	1	—	—
	87	15	—	—
	—	39	—	—
		115	17	—	—
	—	26	—	—
		13	2	—	—
	—	14	—	42
		—	38	—	—
	117	—	2	—
1973		—	38	—	—
1974		—	21	—	—
1975		—	45	—	—
		—	40	—	—
	—	38	—	—
1977		45	22	—	—
1980		101	—	—	—
1984		—	—	—	23

Albums

''The Versatile Henry Mancini'', Liberty LRP 3121

''The Mancini Touch'', RCA Victor LSP 2101

''The Blues & the Beat'', RCA Victor LSP-2147

''Mr. Lucky Goes Latin'', RCA Victor LSP-2360

''Our Man in Hollywood'', RCA Victor LSP-2604

''Uniquely Mancini'', RCA Victor LSP-2692

''The Best of Mancini'', RCA Victor LSP-2693

''Mancini Plays Mancini'', RCA Camden CAS-2158

''Everybody's Favorite'', RCA Camden CXS-9034

''Concert Sound of Henry Mancini'', RCA Victor LSP-2897

''Dear Heart and Other Songs'', RCA Victor LSP-2990

''Theme Scene'', RCA Victor LSP-3052

''Debut Conducting the Philadelphia Orchestra'', RCA Victor LSP-3106

''The Best of Vol. 3'', RCA Victor LSP-3347

''The Latin Sound of Henry Mancini'', RCA Victor LSP-3356

''A Merry Mancini Christmas'', RCA Victor LSP-3612

''Pure Gold'', RCA Victor LSP-3667

''Mancini Country'', RCA Victor LSP-3668

''Mancini '67'', RCA Victor LSP-3694

''Music of Hawaii'', RCA Victor LSP-3713

''Brass on Ivory'', RCA Victor LSP-3756

''A Warm Shade of Ivory'', RCA Victor LSP-3757

''Big Latin Band'', RCA Victor LSP-4049

''Six Hours Past Sunset'', RCA Victor LSP-4239

''Theme music from Z & Other Film Music'', RCA Victor LSP-4350

''Big Screen-Little Screen'', RCA Victor LSP-4630

''This Is Henry Mancini'', RCA Victor VPS6029

''Music from the TV Series "The Mancini Generation"'', RCA Victor LSP-4689

''Brass, Ivory & Strings'' (with Doc Severinsen), RCA APL1-0098

''The Theme Scene'', RCA AQLI-3052

''Country Gentleman'', RCA APD1-0270 (Quadraphonic)

''Hangin' Out'', RCA CPL1-0672

''Symphonic Soul'', RCA APD1-1025 (Quadraphonic)

''Mancini's Angels'', RCA CPL1-2290

(with Johnny Mathis), ''The Hollywood Musicals'', Columbia FC 40372

''The Pink Panther Meets Speedy Gonzales'', Koch Schwann CD

''The Legendary Henry Mancini'', BMG Australia 3 CD set

Soundtracks

Many of Mancini's "soundtracks" are actually "Music from ...", which allowed him to arrange the music to be more accessible and to release records without the expense of paying studio orchestra fees.

''The Music from Peter Gunn'', RCA Victor LSP 1956

''More Music from Peter Gunn'', RCA Victor LSP 2040

''Music from Mr. Lucky'', RCA Victor LSP 2198

''Bachelor in Paradise'', Film Score Monthly FSMCD vol. 7 Nr. 18

''Breakfast at Tiffany's: Music from the Motion Picture'', RCA Victor LSP-2362

''A Change of Seasons''

''Mr. Hobbs Takes a Vacation'', Intrada special collection vol. 11

''Experiment in Terror'', RCA Victor LSP-2442

''Hatari!'', RCA Victor LSP-2559

''Charade'', RCA Victor LSP-2755

''The Pink Panther'', RCA Victor LSP 2795

''The Great Race'', RCA Victor LSP-3402

''Arabesque'', RCA Victor LSP-3623

''What Did You Do in the War, Daddy?'', RCA Victor LSP-3648

''Two for the Road'', RCA Victor LSP-3802

''Gunn'', RCA Victor LSP-3840

''The Party'', RCA Victor LSP-3997

''Me, Natalie'', Columbia OS 3350

''Visions of Eight'', RCA Victor ABL1-0231

''The Great Waldo Pepper'', MCA 2085

''Darling Lili'', RCA LSPX 1000

''Gaily, Gaily'', UAS 5202

''The Glass Menagerie'', MCA MCAD 6222

''The Great Mouse Detective'', Varèse Sarabande VSD 5359

''The Hawaiians'', UAS 5210

''Lifeforce'', BSXCD 8844

''The Molly Maguires'', Bay Cities BCD 3029

''Nightwing''

''Oklahoma Crude'', RCA APL1 0271

''The Pink Panther Strikes Again'', UA-LA 694

''Revenge of the Pink Panther'', EMI 791113-2

''Santa Claus: The Movie'', EMI SJ 17177

''Silver Streak'', Intrada special collection vol. 5

''Sometimes a Great Notion'', Decca DL 79185

''Son of the Pink Panther'', Milan 21-16461-2

''Sunflower'', SLC SLCS 7035

''The Thief Who Came to Dinner'', WB BS 2700

''The Thorn Birds'', Varèse Sarabande 30206 65642 8

''Tom and Jerry – The Movie'', MCA MCD 10721

''Touch of Evil'', Movie Sound MSCD 401

''Victor Victoria'', GNP Crescendo GNPD 8038

''W.C. Fields and Me'', MCA 2092

''Who Is Killing the Great Chefs of Europe?'', Epic SE 35692

''Without a Clue''

Filmography

''Breakfast at Tiffany's

''Days of Wine and Roses

''The Pink Panther

''Charade Universal Studios

''A Shot in the Dark

''Frenzy (Rejected Score)

''The White Dawn

''The Return of the Pink Panther

''The Pink Panther Strikes Again

''Revenge of the Pink Panther

''Victor Victoria

''Trail of the Pink Panther

''Curse of the Pink Panther

''The Great Mouse Detective'' – Walt Disney Pictures

''Ghost Dad'' – Universal Studios

''Tom and Jerry: The Movie'' – Turner Pictures

''Son of the Pink Panther

''Blind Date (1987 film)

Bibliography

Mancini, Henry: ''Sounds And Scores: a practical guide to professional orchestration'' (Book on orchestration of popular music, 1962)

Mancini, Henry: ''Did they mention the music?'' (Autobiography, with Gene Lees, 1989)

Thomas, Tony: ''Music For The Movies'' (1973)

Thomas, Tony: ''Film Score'' (1979)

Larson, Randall: 'Henry Mancini: On Scoring Lifeforce and Santa Claus' (interview)(in: ''CinemaScore'', #15, 1987)

Büdinger, Matthias: 'An interview with Henry Mancini' (in: ''Soundtrack'', vol. 7, No. 26, 1988)

Büdinger, Matthias: 'Henry Mancini' (in: ''Soundtrack'', vol. 13, No. 50, 1994)

Büdinger, Matthias: 'Henry Mancini remembered' (in: ''Soundtrack'', vol. 13, No. 51)

Büdinger, Matthias: 'Whistling Away The Dark' In: ''Film Score Monthly'', # 45, p. 7

Büdinger, Matthias: 'Henry Mancini 1924–1994' In: ''Film Score Monthly'', # 46/47, p. 5

Büdinger, Matthias: 'Feeling Fancy Free' (in: ''Film Score Monthly'', vol. 10, No. 2)

Brown, Royal S.: Overtones and undertones – reading film music (1994)

References

External links

Henry Mancini, Space Age Pop

A Henry Mancini discography

Joe Reisman scores, 1945–1986 Music Division, New York Public Library for the Performing Arts.

Henry Mancini, Soundtrackinfo

Official site on Mancini's 80th anniversary

A Mancini anthology

Memories of Henry Mancini

The story behind the making of the music from Peter Gunn, including interviews with the musicians and sound engineers

Henry Mancini interview recorded 5.9.1968 on the Pop Chronicles

Category:1924 births Category:1994 deaths Category:American conductors (music) Category:American film score composers Category:American military personnel of World War II Category:Best Original Music Score Academy Award winners Category:Best Song Academy Award winning songwriters Category:Big band pianists Category:Cancer deaths in California Category:Deaths from pancreatic cancer Category:Easy listening music Category:Grammy Lifetime Achievement Award winners Category:American jazz musicians of Italian descent Category:Juilliard School alumni Category:Liberty Records artists Category:Light music composers Category:Musicians from Pittsburgh, Pennsylvania Category:Musicians from Cleveland, Ohio Category:RCA Victor artists Category:Songwriters Hall of Fame inductees Category:Swing pianists Category:American Roman Catholics Category:The Pink Panther Category:United States Army soldiers

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name	Ai Weiwei
birth date	May 18, 1957
birth place	Beijing, China
spouse	Lu Qing
nationality	Chinese
works	''Sunflower Seeds''
awards	}}

Title	Ai Weiwei
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Ai Weiwei (born 18 May 1957) is a Chinese artist and political activist, who is also active in architecture, curating, photography, film, and social and cultural criticism. Ai collaborated with Swiss architects Herzog & de Meuron as the artistic consultant on the Beijing National Stadium for the 2008 Olympics. As a political activist, he has been highly and openly critical of the Chinese Government's stance on democracy and human rights. He has investigated government corruption and cover-ups, in particular the Sichuan schools corruption scandal following the collapse of so-called "tofu-skin schools" in the 2008 Sichuan earthquake. In 2011, following his arrest at Beijing airport on 3 April, he was held for over two months without any official charges being filed; officials alluded to their allegations of "economic crimes" (tax evasion).

Life and work

Ai Weiwei's father was Chinese poet Ai Qing, who was denounced during the Anti-Rightist Movement and in 1958 sent to a labour camp in Xinjiang with his wife, Gao Ying. Ai Weiwei was one year old at the time and lived in Shihezi for 16 years. In 1975 the family returned to Beijing. Ai Weiwei is married to artist Lu Qing.

In 1978, Ai enrolled in the Beijing Film Academy and attended school with Chinese directors Chen Kaige and Zhang Yimou. In 1978, he was one of the founders of the early avant garde art group the "Stars", together with Ma Desheng, Wang Keping, Huang Rui, Li Shuang, Zhong Acheng and Qu Leilei. The group disbanded in 1983. Yet Ai Weiwei participated in regular Stars group shows, ''The Stars: Ten Years,'' 1989 (Hanart Gallery, Hong-Hong and Taipei), and a retrospective exhibition in Beijing in 2007:''Origin Point'' (Today Art Museum, Beijing).

From 1981 to 1993, he lived in the United States, mostly in New York, creating conceptual art by altering readymade objects. He studied at Parsons School of Design. At the same time, Ai became fascinated by blackjack card games and frequented Atlantic City casinos. He is still regarded in gambling circles as a top tier professional blackjack player.

In 1993, Ai returned to China after his father became ill. He helped establish the experimental artists' Beijing East Village and published a series of three books about this new generation of artists: ''Black Cover Book'' (1994), ''White Cover Book'' (1995), and ''Gray Cover Book'' (1997).

Ai Weiwei is its Artistic Director of ''China Art Archives & Warehouse'' (CAAW), which he co-founded in 1997. This contemporary art archive and experimental gallery in Beijing concentrated on experimental art from the People's Republic of China, initiates and facilitates exhibitions and other forms of introductions inside and outside China. The building which houses it is designed by Ai.

In 1999, Ai moved to Caochangdi, in the northeast of Beijing, and built a studio house – his first architectural project. Due to his interest in architecture, he founded the architecture studio FAKE Design, in 2003. In 2000, he co-curated the art exhibition ''Fuck Off'' with curator Feng Boyi in Shanghai, China.

Ai and HHF Architects designed a private residence in upstate New York in 2006, which to date remains Ai's only residential architecture project in the United States. According to the ''New York Times'', the residence is divided into four modules and the details are "extraordinarily refined". In 2009, the Chicago Athenaeum Museum of Architecture and Design selected the home for its International Architecture Awards, one the world's most prestigious global awards for new architecture, landscape architecture, interiors and urban planning. In 2010, ''Wallpaper'' magazine nominated the residence for its Wallpaper Design Awards category: Best New Private House.

On 15 March 2010, Ai took part in ''Digital Activism in China'', a discussion hosted by The Paley Media Center in New York with Jack Dorsey (founder of Twitter) and Richard MacManus.

Exhibitions

Ai's artwork has been exhibited in Australasia, Europe, North and South America. Solo exhibitions include Stiftung DKM, Duisburg (2010); Museum of Contemporary Craft, Portland (2010); Arcadia University Gallery, Glenside (2010); Mori Art Museum, Tokyo (2009); Haus der Kunst, Munich (2009); Three Shadows Photography Art Center, Beijing (2009); Sherman Contemporary Art Foundation, Cambelltown Arts Center, Sydney (2008); Groninger Museum, Groningen (2008).

Ai Weiwei’s work was included in the ''48th Venice Biennale'' in Italy (1999), ''1st Guangzhou Triennale'' in China (2002), ''1st Monpellier Biennial of Chinese Contemporary Art'' in France (2005), ''The 2nd Guangzhou Triennial'' (2005), ''Busan Biennial'' in Korea (2006), ''The 5th Asia-Pacific Triennial of Contemporary Art'' in Australia (2006), ''Documenta 12'' in Germany (2007), ''Liverpool Biennial International 08'' in the United Kingdom (2008), ''2010 Venice Architecture Biennale'' and the ''29th Sao Paulo Biennial'' in Brazil (2010).

''Fairytale'' is the title of Ai Weiwei's contribution for Documenta 12 in 2007. For this project Ai Weiwei brought 1001 people from all over China to a small town in Germany called Kassel. They were chosen through an open invitation he posted on his blog. Ai even designed clothes, luggage and a temporary home in an old textile factory. He let them wander around the city during the exhibition time of three months. The participants were divided into five groups that each stayed in Kassel for eight days. According to Philip Tinari the primary design object here is not the clothing or suitcases but the participants' experiences, even their spirits. During the exhibition his monumental outdoor sculpture titled ''Template'', made of wooden doors and windows from destroyed Ming and Qing Dynasty houses (1368–1911), collapsed after a storm. In 2008 he curated the architecture project ''Ordos 100'' in Ordos City, Inner Mongolia. He invited 100 architects from all over the world (29 countries) to participate in this project.

Ai curated the exhibition ''The State of Things'', together with Belgian artist Luc Tuymans. It was shown at the Centre for Fine Arts in Brussels from 18 October 2009 to 10 January 2010 and at the National Art Museum in Beijing from 1–30 May 2010. From October 2009 to January 2010 Ai Weiwei exhibited ''So Sorry'' at Haus der Kunst in Munich, Germany. This solo exhibition showed Ai Weiwei’s largest retrospective to date. The title refers to the thousands of apologies expressed recently by governments, industries, and financial corporations worldwide in an effort to make up for tragedies and wrongdoings – though often withhout shouldering the consequences or the desire to acknowledge let alone repair. Saying sorry – or not saying it – is in the headlines everywhere and thus also in China. For this show Ai Weiwei created the installation ''Remembering'' on Haus der Kunst's façade. It was made out of 9000 children's backpacks. They spell out the sentence 'She lived happily for seven years in this world' in Chinese characters. This is a quote from a mother whose child died in the Sichuan earthquake in 2008. Ai Weiwei said: "The idea to use backpacks came from my visit to Sichuan after the earthquake in May 2008. During the earthquake many schools collapsed. Thousands of young students lost their lives, and you could see bags and study material everywhere. Then you realize individual life, media, and the lives of the students are serving very different purposes. The lives of the students disappeared within the state propaganda, and very soon everybody will forget everything."

On 25 July 2009 Ai Weiwei opened his solo show ''According to What?'' at Tokyo's Mori Art Museum, Japan. This exhibition presented 26 works, most made over the past decade.

In December 2009, Ai Weiwei had a small exhibition at the Comme des Garcons store in Hong Kong.

In February 2010, ''Ai Weiwei: Dropping the Urn'', the first exhibition by Ai Weiwei to travel outside New York City in the United States, opened at Arcadia University Art Gallery. The exhibition traveled to the Museum of Contemporary Craft in 2010, and the Knoxville Museum of Art and the Victoria and Albert Museum, London, in 2011.

From March to September 2010, Ai exhibited ''Barely Something'', an exhibition curated by Roger M. Buergel, the director of Documenta12, at the Museum DKM in Duisburg, Germany.

In October 2010, ''Sunflower Seeds'' was installed at the Tate Modern Turbine Hall, London. The work consists of one hundred million porcelain "seeds," each individually hand-painted in the town of Jingdezhen by 1,600 Chinese artisans, and scattered over a large area of the exhibition hall. The artist was keen for visitors to walk across and roll in the work to experience and contemplate the essence of his comment on mass consumption, Chinese industry, famine and collective work. However, on 16 October, Tate Modern stopped people from walking on the exhibit due to health liability concerns over the porcelain dust. In February 2011, a pile from ''Sunflower Seeds'' sold for 559,394 (well above its high estimate of 195,000) at Sotheby's in London.

Despite the artist's absence, ''Circle of Animals/Zodiac Heads'' opened on 4 May 2011, at the Pulitzer Fountain outside the Plaza Hotel in New York City. The heads were also on display at Somerset House in London from 12 May – 26 June 2011. The heads copy 18th century heads in the gardens of the Old Summer Palace, or Yuanmingyuan, near Beijing. They were ransacked by British and French troops during the Second Opium War of 1860, some of them resurfacing in 2000. A Guggenheim curator read Ai's words, "Without freedom of speech there is no modern world, just a barbaric one."

Ai's work is included in numerous public collections, among others the Los Angeles County Museum of Art, and the Museum of Contemporary Art, San Diego. On 20 April 2011, Ai was appointed Visiting Professor of the Berlin University of the Arts.

For the first time outside of China, his photographs of his time in New York City from 1983 to 1993 are featured in an exhibition presented by Asia Society. The exhibition opening on 29 June coincided shortly after his prison release on 24 June. It showcases 227 photos. The exhibition lasts until 14 August 2011

Awards

In March 2010 Ai Weiwei received an ''Honorary Doctorate Degree'' from the Faculty of Politics and Social Science, University of Gent, Belgium.

In September 2010 he received ''Das Glas der Vernunft'' (The Prism of Reason), Kassel Citizen Award, Kassel, Germany.

Ai Weiwei was ranked 13 in ArtReview's guide to the 100 most powerful figures in contemporary art: ''Power 100'', 2010.

Beijing National Stadium

Ai was commissioned as the artistic consultant for design, collaborating with the Swiss firm Herzog & de Meuron, for the Beijing National Stadium for the 2008 Summer Olympics, also known as the "Bird's Nest." Although ignored by the Chinese media, he had voiced his anti-Olympics views. He later distanced himself from the project, saying, "I've already forgotten about it. I turn down all the demands to have photographs with it," saying it is part of a "pretend smile" of bad taste. In August 2007 he also accused those choreographing the Olympic opening ceremony, including Steven Spielberg and Zhang Yimou, of failing to live up to their responsibility as artists. Ai said "It's disgusting. I don't like anyone who shamelessly abuses their profession, who makes no moral judgment." In February 2008, Spielberg withdrew from his role as advisor to the 2008 Summer Olympics. When asked why he participated in the designing of the Bird's Nest in the first place, Ai replied "I did it because I love design."

Sichuan earthquake student casualties investigation

On 15 December 2008, Ai Weiwei supported an investigation into student casualties in the 2008 Sichuan earthquake started by another Chinese artist. The investigation aimed to compile a list of students killed in the earthquake by 12 May 2009, the earthquake's first anniversary. As of 14 April 2009, the list had accumulated 5,385 names. Ai published the collected names as well as numerous articles documenting the investigation on his blog which was shut down by Chinese authorities in May 2009. He also posted his list of names of schoolchildren who died on the wall of his office at FAKE Design in Beijing

Ai Weiwei suffered headaches and claimed he had difficulty concentrating on his work since returning from Chengdu in August 2009, where he was beaten by the police for trying to testify for Tan Zuoren, a fellow investigator of the shoddy construction and student casualties in the earthquake.

On 14 September 2009, Ai was diagnosed to be suffering internal bleeding in a hospital in Munich, Germany, and the doctor arranged for emergency brain surgery. The cerebral hemorrhage is believed to be linked to the police attack.

According to the ''Financial Times'', in an attempt to force Ai to leave the country, two accounts used by him had been hacked in a sophisticated attack on Google in China dubbed Operation Aurora, their contents read and copied; his bank accounts were investigated by state security agents who claimed he was under investigation for "unspecified suspected crimes".

Shanghai studio controversy

In November 2010, Ai was placed under house arrest by the Chinese police. He said this was to prevent the planned party marking the demolition of his newly built Shanghai studio.

The building was designed and built by Ai upon encouragement and persuasion from a "high official [from Shanghai]" as part of a new cultural area designated by Shanghai Municipal authorities; Ai would have used it as a studio and to teach architecture courses. But now Ai has been accused of erecting the structure without the necessary planning permission and a demolition notice has been ordered, even though, Ai said, officials had been extremely enthusiastic, and the entire application and planning process was "under government supervision". According to Ai, a number of artists were invited to build new studios in this area of Shanghai because officials wanted to create a cultural area.

On 3 November 2010 Ai said the government had informed him two months earlier that the newly completed studio would be knocked down because it was illegal. Ai complained that this was unfair, as he was "the only one singled out to have my studio destroyed." ''The Guardian'' reported Ai saying Shanghai municipal authorities were 'frustrated' by documentaries on subjects they considered sensitive: two of the better known ones featured Shanghai resident Feng Zhenghu, who lived in forced exile for three months in Narita Airport, Tokyo; another well known documentary focused on Yang Jia, who murdered six Shanghai police officers.

In the end, the party took place without Weiwei's presence; his supporters feasted on river crab, an allusion to "harmony", and a euphemism used to jeer official censorship. Ai was released from house arrest the next day.

Like other activists and intellectuals, Ai was prevented from leaving China in late 2010. Ai suggested that the authorities wanted to prevent him from attending the ceremony in December 2010 to award the 2010 Nobel Peace Prize to fellow dissident Liu Xiaobo. Ai said that he had not been invited to the ceremony, and was attempting to travel to South Korea for a meeting when he was told that he could not leave for reasons of national security.

In the evening of 11 January 2011, Ai's studio was demolished in a surprise move by the local government.

2011 arrest

''South China Morning Post'' reports that Ai received at least two visits from the police, the last being on 31 March – three days before his detention – apparently with offers of membership to the Chinese People's Political Consultative Conference. A staff member recalled that Ai had mentioned receiving the offer earlier, "[but Ai] didn't say if it was a membership of the CPPCC at the municipal or national level, how he responded or whether he accepted it or not."

On 24 February, amid an online campaign for Middle East-style protests in major Chinese cities by overseas dissidents, Ai posted on his Twitter account: "I didn’t care about jasmine at first, but people who are scared by jasmine sent out information about how harmful jasmine is often, which makes me realize that jasmine is what scares them the most. What a jasmine!"

thumb|The caption(草泥马挡中央, "grass mud horse covering the middle") to Ai's self-portrait sounds almost the same in Chinese as 肏你妈党中央, "Fuck your mother, the [[Central Committee of the Communist Party of China|Communist party central committee".]] On 3 April, Ai was arrested just before catching a flight to Hong Kong and his studio facilities were searched. A police contingent of approximately 50 officers came to his studio, threw a cordon around it and searched the premises. They took away laptops and the hard drive from the main computer; along with Ai, police also detained eight staff members and Ai's wife, Lu Qing. Police also visited the mother of Ai's two year-old son. While state media originally reported on 6 April that Ai was arrested at the airport because "his departure procedures were incomplete," the Chinese Ministry of Foreign Affairs said on 7 April that Ai was arrested under investigation for alleged economic crimes. Then, on 8 April, police returned to Ai's workshop to examine his financial affairs. On 9 April, Ai's accountant, as well as studio partner Liu Zhenggang and driver Zhang Jingsong, disappeared, while Ai's assistant Wen Tao has remained missing since Ai's arrest on 3 April. Ai's wife said that she was summoned by the Beijing Chaoyang district tax bureau, where she was interrogated about his studio's tax on 12 April.

Response to Ai's arrest

Analysts and other activists said Ai had been widely thought to be untouchable, but Nicholas Bequelin from Human Rights Watch suggested that his arrest, calculated to send the message that no one would be immune, must have had the approval of someone in the top leadership. International governments, human rights groups and art institutions, among others, have called for Ai's release, while Chinese officials have yet to notify Ai's family of his whereabouts.

State media started describing Wei as a 'deviant and a plagiarist' in early 2011. The ''China Daily'' subsidiary, the ''Global Times'' editorial on 6 April 2011 attacked Wei, saying "Ai Weiwei likes to do something 'others dare not do.' He has been close to the red line of Chinese law. Objectively speaking, Chinese society does not have much experience in dealing with such persons. However, as long as Ai Weiwei continuously marches forward, he will inevitably touch the red line one day." Two days later, the journal scorned Western media for questioning Ai's charge as a "catch-all crime", and denounced the use of his political activism as a "legal shield" against everyday crimes. It said "Ai's detention is one of the many judicial cases handled in China every day. It is pure fantasy to conclude that Ai's case will be handled specially and unfairly." Frank Ching expressed in the ''South China Morning Post'' that how the Global Times could radically shift its position from one day to the next was reminiscent of ''Alice in Wonderland''. Michael Sheridan of ''The Times'' suggested that Ai had offered himself to the authorities on a platter with some of his provocative art, particularly photographs of himself nude with only a toy alpaca hiding his modesty – with a caption『草泥马挡中央』 ("grass mud horse covering the middle"). The term possesses of a double meaning in Chinese: one possible interpretation was given by Sheridan as: "Fuck your mother, the party central committee".

''Ming Pao'' in Hong Kong reacted strongly to the state media's character attack on Ai, saying that authorities had employed “a chain of actions outside the law, doing further damage to an already weak system of laws, and to the overall image of the country.” Pro-Beijing newspaper in Hong Kong, ''Wen Wei Po'', announced that Ai was under arrest for tax evasion, bigamy and spreading indecent images on the internet, and vilified him with multiple instances of strong rhetoric. Supporters said "the article should be seen as a mainland media commentary attacking Ai, rather than as an accurate account of the investigation."

The United States and European Union protested Ai's detention. The international arts community also mobilised petitions calling for the release of Ai: "1001 Chairs for Ai Weiwei" was organized by Creative Time of New York that calls for artists to bring chairs to Chinese embassies and consulates around the world on 17 April 2011, at 1 pm local time "to sit peacefully in support of the artist's immediate release." Artists in Hong Kong, Germany and Taiwan demonstrated and called on Ai to be released.

The Solomon R. Guggenheim Foundation and the International Council of Museums, which organised petitions, said they had collected more than 90,000 signatures calling for the release of Ai Weiwei. On 13 April 2011, a group of European intellectuals led by Václav Havel had issued an open letter to Wen Jiabao, condemning the arrest and demanding the immediate release of Ai Weiwei. The signatories include Ivan Klíma, Jiří Gruša, Jáchym Topol, Elfriede Jelinek, Adam Michnik, Adam Zagajewski, Helmuth Frauendorfer; Bei Ling (Chinese:贝岭), a Chinese poet in exile drafted and also signed the open letter.

On 16 May 2011, the Chinese authorities allowed his wife to visit him briefly. Liu Xiaoyuan, his attorney and personal friend, reported that Wei was in good physical condition and receiving treatment for his chronic diabetes and hypertension; he was not in a prison or hospital but under some form of house arrest.

Release

On 22 June 2011, the Chinese authorities released Ai Weiwei on bail after close to three months' detention on charges of tax evasion . Beijing Fake Cultural Development Ltd., a company Ai controlled, had allegedly evaded taxes and intentionally destroyed accounting documents. State media also reports that Ai Weiwei was granted bail takes on account of Ai's "good attitude in confessing his crimes", willingness to pay back taxes, and his chronic illnesses. According to the Chinese Foreign Ministry, he is prohibited from leaving Beijing without permission for one year.

Ai's supporters widely viewed his detention as retaliation for his vocal criticism of the government. On 23 June 2011, professor Wang Yujin of China University of Political Science and Law stated that the release of Ai Weiwei on bail shows that the Chinese government could not find any solid evidence of Ai's alleged "economic crime".

On 24 June 2011, Ai told a Radio Free Asia reporter that he was thankful for the support of the Hong Kong public, and praised Hong Kong's conscience society. Ai also mentioned that his detention by the Chinese regime was hellish (Chinese: 九死一生), and stressed that he is forbidden to say too much to reporters.

After his release, his sister gave some details about his detention condition to the press, explaining that he was subjected to a kind of psychological torture: he was detained in a tiny room with constant light, and two guards were set very close to him at all times, and watched him constantly.

Unpaid taxes and fines

In June 2011, the Beijing Local Taxation Bureau demanded a total of over 12 million yuan (US $1.85 million) from Beijing Fake Cultural Development Ltd in unpaid taxes and fines, and accorded three days to appeal the demand in writing. According to Ai's wife, Beijing Fake Cultural Development Ltd has hired two Beijing lawyers as defense attorneys. Ai's family state that Ai is neither the chief executive nor the legal representative of the design company, which is registered in his wife’s name." Lawyer-friend Liu Xioyuan has initiated an internet donation campaign to help Ai to pay the unpaid taxes.

See also

83598 Aiweiwei – Asteroid named after Ai Weiwei

References

Further reading

External links

Ai Weiwei's official site

Ai Weiwei's Photo Albums on Google+

Ai Weiwei's Profile on Google+

News about Ai Weiwei on China Digital Times

Ai Weiwei interview in ''New Statesman'' by John Sunyer , 12 October 2010.

Man in the News: Ai Weiwei in ''Financial Times'' by Jamil Anderlini and David Pilling, 12 November 2010.

Teehaus 2009

Ai Weiwei speaks at TED2011 via video including candid comments on his treatment by authorities

艾未未看香港：年輕一代在變　關心中國政治

"Ai Weiwei is a Creative Artist" by Li Xianting 栗宪庭 and Chang Yihe 章诒和 Chinese original text followed by full English translation on Gaodawei Blog

Translations of Ai Weiwei on Chinese society, art and politics from the Chinese blog Love Ai Weiwei, translations follow Chinese text, revised translations on Gaodawei Blog

Ai Weiwei: Art / Architecture im Kunsthaus Bregenz Video: Exhibition and interview with Director Yilmaz Dziewior.

"The City: Beijing; Ai Weiwei finds China’s capital is a prison where people go mad", August 28, 2011.

Category:1957 births Category:Living people Category:Contemporary artists Category:Chinese architects Category:Chinese artists Category:Beijing Film Academy alumni Category:Parsons School of Design alumni Category:Chinese dissidents Category:Chinese Netizen Category:Chinese democracy activists Category:Charter 08 signatories Category:People from Beijing Category:Prisoners and detainees of the People's Republic of China Category:Ai Weiwei Category:Weiquan movement

bcl:Ai Weiwei ca:Ai Weiwei cs:Aj Wej-wej de:Ai Weiwei es:Ai Weiwei fr:Ai Weiwei ko:아이웨이웨이 io:Ai Weiwei it:Ai Weiwei he:איי וייוויי lv:Ai Veivei lb:Ai Weiwei nl:Ai Weiwei ja:艾未未 no:Ai Weiwei pl:Ai Weiwei pt:Ai Weiwei ro:Ai Weiwei ru:Ай Вэйвэй fi:Ai Weiwei sv:Ai Weiwei ta:ஐ வெய்வே th:ไอ้ เว่ยเว่ย vi:Ngải Vị Vị zh-yue:艾未未 zh:艾未未

Coordinates	41°52′55″N87°37′40″N
name	Freddie Hubbard
background	non_vocal_instrumentalist
birth name	Frederick Dewayne Hubbard
birth date	April 07, 1938
died	December 29, 2008Sherman Oaks, California, U.S.
origin	Indianapolis, Indiana, U.S.
instrument	TrumpetFlugelhornCornet
genre	JazzBebopHard bopPost bop
occupation	MusicianBandleaderComposer
years active	1958–2008
label	Atlantic, Columbia, CTI, Blue Note
notable instruments	}}

Frederick Dewayne "Freddie" Hubbard (April 7, 1938 – December 29, 2008) was an American jazz trumpeter. He was known primarily for playing in the bebop, hard bop and post bop styles from the early 1960s and on. His unmistakable and influential tone contributed to new perspectives for modern jazz and bebop.

Biography

Early career

Hubbard started playing the mellophone and trumpet in his school band at Arsenal Technical High School in Indianapolis, Indiana. Trumpeter Lee Katzman, former sideman with Stan Kenton, recommended that he begin studying at the Arthur Jordan Conservatory of Music (now the Jordan College of Fine Art at Butler University) with Max Woodbury, the principal trumpeter of the Indianapolis Symphony Orchestra. In his teens Hubbard worked locally with brothers Wes and Monk Montgomery and worked with bassist Larry Ridley and saxophonist James Spaulding. In 1958, at the age of 20, he moved to New York, and began playing with some of the best jazz players of the era, including Philly Joe Jones, Sonny Rollins, Slide Hampton, Eric Dolphy, J. J. Johnson, and Quincy Jones. In June 1960 Hubbard made his first record as a leader, ''Open Sesame'', with saxophonist Tina Brooks, pianist McCoy Tyner, bassist Sam Jones, and drummer Clifford Jarvis.

In December 1960, Hubbard was invited to play on Ornette Coleman's ''Free Jazz'' after Coleman had heard him playing with Don Cherry.

Then in May 1961, Hubbard played on ''Olé Coltrane'', John Coltrane's final recording session with Atlantic Records. Together with Eric Dolphy, Hubbard was the only 'session' musician who appeared on both ''Olé'' and ''Africa/Brass'', Coltrane's first album with ABC/Impulse! Later, in August 1961, Hubbard made one of his most famous records, ''Ready for Freddie'', which was also his first collaboration with saxophonist Wayne Shorter. Hubbard joined Shorter later in 1961 when he replaced Lee Morgan in Art Blakey's Jazz Messengers. He played on several Blakey recordings, including ''Caravan'', ''Ugetsu'', ''Mosaic'', and ''Free For All''. Hubbard remained with Blakey until 1966, leaving to form the first of several small groups of his own, which featured, among others, pianist Kenny Barron and drummer Louis Hayes.

It was during this time that he began to develop his own sound, distancing himself from the early influences of Clifford Brown and Morgan, and won the ''Downbeat'' jazz magazine "New Star" award on trumpet.

Throughout the 1960s Hubbard played as a sideman on some of the most important albums from that era, including, Oliver Nelson's ''The Blues and the Abstract Truth'', Eric Dolphy's ''Out to Lunch'', Herbie Hancock's ''Maiden Voyage'', and Wayne Shorter's ''Speak No Evil''. He recorded extensively for Blue Note Records in the 1960s: eight albums as a bandleader, and twenty-eight as a sideman. Hubbard was described as "the most brilliant trumpeter of a generation of musicians who stand with one foot in 'tonal' jazz and the other in the atonal camp". Though he never fully embraced the free jazz of the '60s, he appeared on two of its landmark albums: Coleman's ''Free Jazz'' and Coltrane's ''Ascension''.

Later career

Hubbard achieved his greatest popular success in the 1970s with a series of albums for Creed Taylor and his record label CTI Records, overshadowing Stanley Turrentine, Hubert Laws, and George Benson. Although his early 1970s jazz albums ''Red Clay'', ''First Light'', ''Straight Life'', and ''Sky Dive'' were particularly well received and considered among his best work, the albums he recorded later in the decade were attacked by critics for their commercialism. ''First Light'' won a 1972 Grammy Award and included pianists Herbie Hancock and Richard Wyands, guitarists Eric Gale and George Benson, bassist Ron Carter, drummer Jack DeJohnette, and percussionist Airto Moreira. In 1994, Freddie, collaborating with Chicago jazz vocalist/co-writer Catherine Whitney, had lyrics set to the music of ''First Light''.

In 1977 Hubbard joined with Herbie Hancock, Tony Williams, Ron Carter and Wayne Shorter, members of the mid-sixties Miles Davis Quintet, for a series of performances. Several live recordings of this group were released as ''VSOP'', ''VSOP: The Quintet'', ''VSOP: Tempest in the Colosseum'' (all 1977) and ''VSOP: Live Under the Sky'' (1979).

Hubbard's trumpet playing was featured on the track Zanzibar, on the 1978 Billy Joel album ''52nd Street'' (the 1979 Grammy Award Winner for Best Album). The track ends with a fade during Hubbard's performance. An "unfaded" version was released on the 2004 Billy Joel box set ''My Lives''.

In the 1980s Hubbard was again leading his own jazz group, attracting very favorable reviews, playing at concerts and festivals in the USA and Europe, often in the company of Joe Henderson, playing a repertory of Hard-bop and modal-jazz pieces. Hubbard played at the legendary Monterey Jazz Festival in 1980 and in 1989 (with Bobby Hutcherson). He played with Woody Shaw, recording with him in 1985, and two years later recorded ''Stardust'' with Benny Golson. In 1988 he teamed up once more with Blakey at an engagement in Holland, from which came ''Feel the Wind''. In 1990 he appeared in Japan headlining an American-Japanese concert package which also featured Elvin Jones, Sonny Fortune, pianists George Duke and Benny Green, bass players Ron Carter, and Rufus Reid, with jazz and vocalist Salena Jones. He also performed at the Warsaw Jazz Festival at which ''Live at the Warsaw Jazz Festival'' (Jazzmen 1992) was recorded.

Following a long setback of health problems and a serious lip injury in 1992 where he ruptured his upper lip and subsequently developed an infection, Hubbard was again playing and recording occasionally, even if not at the high level that he set for himself during his earlier career. His best records ranked with the finest in his field.

In 2006, The National Endowment for the Arts honored Hubbard with its highest honor in jazz, the NEA Jazz Masters Award.

On December 29, 2008, Hubbard's hometown newspaper, ''The Indianapolis Star'' reported that Hubbard died from complications from a heart attack suffered on November 26 of the same year. ''Billboard'' magazine reported that Hubbard died in Sherman Oaks, California.

Freddie Hubbard had close ties to the Jazz Foundation of America in his later years. Freddie is quoted as saying, “When I had congestive heart failure and couldn't work, The Jazz Foundation paid my mortgage for several months and saved my home! Thank God for those people." The Jazz Foundation of America’s Musicians' Emergency Fund took care of Freddie during times of illness. After his passing Mr. Hubbard’s estate requested that tax deductible donations be made in Freddie’s name to The Jazz Foundation of America.

Discography

As leader

{| cellspacing="0" cellpadding="2" border="0" |- style="background:#ffdead;" ! align="left" style="border-bottom:1px solid grey; border-top:1px solid grey;" | Title ! width="10" style="border-bottom:1px solid grey; border-top:1px solid grey;" | ! align="left" style="border-bottom:1px solid grey; border-top:1px solid grey;" | Year ! width="10" style="border-bottom:1px solid grey; border-top:1px solid grey;" | ! align="left" style="border-bottom:1px solid grey; border-top:1px solid grey;" | Label |- | style="border-bottom:1px solid grey;" | ''Open Sesame'' | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | 1960 | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | Blue Note |- | style="border-bottom:1px solid grey;" | ''Goin' Up'' | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | 1960 | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | Blue Note |- | style="border-bottom:1px solid grey;" | ''Hub Cap'' | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | 1961 | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | Blue Note |- | style="border-bottom:1px solid grey;" | ''Ready for Freddie'' | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | 1961 | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | Blue Note |- | style="border-bottom:1px solid grey;" | ''The Artistry of Freddie Hubbard '' | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | 1962 | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | Impulse! |- | style="border-bottom:1px solid grey;" | ''Hub-Tones'' | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | 1962 | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | Blue Note |- | style="border-bottom:1px solid grey;" | ''Here to Stay'' | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | 1962 | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | Blue Note |- | style="border-bottom:1px solid grey;" | ''The Body & the Soul'' | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | 1963 | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | Impulse! |- | style="border-bottom:1px solid grey;" | ''Breaking Point'' | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | 1964 | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | Blue Note |- | style="border-bottom:1px solid grey;" | ''Blue Spirits'' | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | 1965 | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | Blue Note |- | style="border-bottom:1px solid grey;" | ''The Night of the Cookers'' | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | 1965 | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | Blue Note |- | style="border-bottom:1px solid grey;" | ''Jam Gems: Live at the Left Bank'' | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | 2001 | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | Label M |- | style="border-bottom:1px solid grey;" | ''Backlash'' | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | 1966 | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | Atlantic |- | style="border-bottom:1px solid grey;" | ''High Blues Pressure'' | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | 1968 | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | Atlantic |- | style="border-bottom:1px solid grey;" | ''A Soul Experiment'' | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | 1969 | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | Atlantic |- | style="border-bottom:1px solid grey;" | ''The Black Angel'' | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | 1970 | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | Atlantic |- | style="border-bottom:1px solid grey;" | ''The Hub of Hubbard'' | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | 1970 | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | MPS |- | style="border-bottom:1px solid grey;" | ''Red Clay'' | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | 1970 | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | CTI |- | style="border-bottom:1px solid grey;" | ''Straight Life'' | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | 1970 | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | CTI |- | style="border-bottom:1px solid grey;" | ''Sing Me a Song of Songmy'' | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | 1971 | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | Atlantic |- | style="border-bottom:1px solid grey;" | ''First Light'' | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | 1971 | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | CTI |- | style="border-bottom:1px solid grey;" | ''Sky Dive'' | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | 1973 | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | CTI |- | style="border-bottom:1px solid grey;" | ''Freddie Hubbard/Stanley Turrentine In Concert Volume One'' | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | 1974 | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | CTI |- | style="border-bottom:1px solid grey;" | ''In Concert Volume Two'' | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | 1974 | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | CTI |- | style="border-bottom:1px solid grey;" | ''Keep Your Soul Together'' | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | 1974 | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | CTI |- | style="border-bottom:1px solid grey;" | ''Polar AC'' | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | 1975 | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | CTI |- | style="border-bottom:1px solid grey;" | ''High Energy'' | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | 1974 | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | Columbia |- | style="border-bottom:1px solid grey;" | ''Gleam'' | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | 1975 | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | Sony (Japan) |- | style="border-bottom:1px solid grey;" | ''Liquid Love'' | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | 1975 | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | Columbia |- | style="border-bottom:1px solid grey;" | ''Windjammer'' | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | 1976 | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | Columbia |- | style="border-bottom:1px solid grey;" | ''Bundle of Joy'' | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | 1977 | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | Columbia |- | style="border-bottom:1px solid grey;" | ''Super Blue'' | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | 1978 | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | Columbia |- | style="border-bottom:1px solid grey;" | ''The Love Connection'' | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | 1979 | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | Columbia |- | style="border-bottom:1px solid grey;" | ''Skagly'' | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | 1980 | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | Columbia |- | style="border-bottom:1px solid grey;" | ''Live at the North Sea Jazz Festival'' | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | 1980 | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | Pablo |- | style="border-bottom:1px solid grey;" | ''Mistral'' with Art Pepper | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | 1981 | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | Liberty |- | style="border-bottom:1px solid grey;" | ''Outpost'' | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | 1981 | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | Enja |- | style="border-bottom:1px solid grey;" | ''Splash'' | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | 1981 | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | Fantasy |- | style="border-bottom:1px solid grey;" | ''Rollin''' | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | 1982 | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | MPS |- | style="border-bottom:1px solid grey;" | ''Keystone Bop Vol. 2: Friday & Saturday'' | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | 1996 | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | Prestige |- | style="border-bottom:1px solid grey;" | ''Keystone Bop: Sunday Night'' | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | 1982 | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | Prestige |- | style="border-bottom:1px solid grey;" | ''Born to Be Blue'' | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | 1982 | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | Pablo |- | style="border-bottom:1px solid grey;" | ''Ride Like the Wind'' | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | 1982 | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | Elektra/Asylum |- | style="border-bottom:1px solid grey;" | ''Above & Beyond'' | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | 1982 | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | Metropolitan |- | style="border-bottom:1px solid grey;" | ''Back to Birdland'' | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | 1982 | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | Real Time |- | style="border-bottom:1px solid grey;" | ''Sweet Return'' | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | 1983 | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | Atlantic |- | style="border-bottom:1px solid grey;" | ''The Rose Tattoo'' | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | 1983 | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | Baystate (Japan) |- | style="border-bottom:1px solid grey;" | ''Double Take'' with Woody Shaw | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | 1985 | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | Blue Note |- | style="border-bottom:1px solid grey;" | ''Life Flight'' | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | 1987 | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | Blue Note |- | style="border-bottom:1px solid grey;" | ''The Eternal Triangle'' with Woody Shaw | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | 1987 | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | Blue Note |- | style="border-bottom:1px solid grey;" | ''Feel the Wind'' with Art Blakey | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | 1988 | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | Timeless |- | style="border-bottom:1px solid grey;" | ''Times are Changing'' | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | 1989 | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | Blue Note |- | style="border-bottom:1px solid grey;" | ''Topsy - Standard Book'' | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | 1989 | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | Alpha/Compose |- | style="border-bottom:1px solid grey;" | ''Bolivia'' | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | 1991 | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | Music Masters |- | style="border-bottom:1px solid grey;" | ''At Jazz Jamboree Warszawa '91: A Tribute to Miles'' | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | 2000 | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | Starburst |- | style="border-bottom:1px solid grey;" | ''Live at Fat Tuesday's'' | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | 1992 | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | Music Masters |- | style="border-bottom:1px solid grey;" | ''Blues for Miles'' | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | 1992 | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | Evidence |- | style="border-bottom:1px solid grey;" | ''MMTC: Monk, Miles, Trane & Cannon'' | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | 1995 | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | Music Masters |- | style="border-bottom:1px solid grey;" | ''New Colors'' | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | 2001 | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | Hip Hop Essence |- | style="border-bottom:1px solid grey;" | ''On The Real Side (70th Birthday Celebration)'' | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | 2008 | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | Times Square Records |}

As sideman

With Art Blakey

''Mosaic'' (1961)

''Buhaina's Delight'' (1961)

''A Jazz Hour with Art Blakey's Jazz Messengers: Blues March'' (1961)

''Three Blind Mice'' (1962)

''Caravan'' (1962)

''Ugetsu'' (1963)

''Free For All'' (1964)

''Kyoto'' (1964)

With John Coltrane

''Stardust'' (1958)

''Olé Coltrane'' (1961)

''Africa/Brass'' (1961)

''Ascension'' (1965)

With Eric Dolphy

''Outward Bound'' (1960)

''Out to Lunch!'' (1964)

With Curtis Fuller

''Soul Trombone'' (Impulse!, 1961)

''Cabin in the Sky'' (Impulse!, 1962)

With Dexter Gordon

''Doin' Allright'' (1961)

''Clubhouse'' (1964)

''The Other Side of Round Midnight'' (1986)

With Herbie Hancock

''Takin' Off'' (1962)

''Empyrean Isles'' (1964)

''Maiden Voyage'' (1965)

''Blow-Up (Soundtrack)'' (1966)

''VSOP'' (1977)

''VSOP: The Quintet'' (1977)

''VSOP: Tempest in the Colosseum'' (1977)

''VSOP: Live Under the Sky'' (1979)

''Round Midnight (Soundtrack)'' (1986)

With Andrew Hill

''Pax'' (1965)

''Compulsion!!!!!'' (1965)

With Joe Henderson

''Big Band'' (1996)

With Bobby Hutcherson

''Dialogue'' (Blue Note, 1965)

''Highway One'' (Columbia, 1978)

With Wes Montgomery

''Fingerpickin''' (1958)

''Road Song'' (1968)

With Duke Pearson

''Dedication!'' (1961)

''Sweet Honey Bee'' (1966)

''The Right Touch'' (1967)

With McCoy Tyner

''Together'' (1978)

''Quartets 4 X 4'' (1980)

With Others

Ornette Coleman - ''Free Jazz: A Collective Improvisation'' (1960)

Tina Brooks - ''True Blue'' (1960)

Kenny Drew - ''Undercurrent'' (1960)

Jackie McLean - ''Bluesnik'' (1961)

Oliver Nelson - ''The Blues and the Abstract Truth'' (1961)

Bill Evans - ''Interplay'' (1962)

Wayne Shorter - ''Speak No Evil'' (1964)

Sam Rivers - ''Contours'' (1965)

Sonny Rollins - ''East Broadway Run Down'' (1966)

George Benson - ''The Other Side of Abbey Road'' (1969)

Quincy Jones - ''Walking in Space'' (1969)

Leon Thomas - ''A Piece of Cake'' (Palcoscenico Records)

Stanley Turrentine - ''Sugar'' (1970)

Kenny Burrell - ''God Bless the Child'' (1971)

Randy Weston - ''Blue Moses'' (1972)

Milt Jackson - ''Sunflower'' (1973)

Charles Earland - ''Leaving This Planet'' (1973)

Don Sebesky - ''Giant Box'' (1973)

Billy Joel - ''52nd Street'' (1978)

Rufus - ''Numbers'' (1979)

George Cables - ''Cables' Vision'' (1979)

Oscar Peterson – ''Face to Face'' (1982)

Roberto Ávila & Sarava - ''Come to Brazil'' (1989)

Kirk Lightsey Trio - ''Temptation'' (1991)

Poncho Sanchez - ''Cambios'' (1991)

Filmography

1981 ''Studiolive'' (Sony) 2004 ''Live at the Village Vanguard'' (Immortal) 2005 ''All Blues'' (FS World Jazz)

2009 ''Freddie Hubbard: One of a Kind''

References

External links

Bio at Jazztrumpetsolos.com

Freddie Hubbard's Website

Bio and Selected Recordings at Grove Music Online

Interview with Downbeat Magazine

The Freddie Hubbard Discography

"Randy Brecker Selects Twelve Essential Freddie Hubbard Tracks", (Jazz.com)

for a feature on his 2008 album

AP Obituary in the LA Times

Freddie Hubbard Remembered at NPR Music

Live. Cantaloupe Island. Freddie Hubbard live with Herbie Hancock, Joe Henderson, Tony Williams, Ron Carter. At the Birdland (jazz club).

Video: Freddie Hubbard performs "Cherokee"

Category:1938 births Category:2008 deaths Category:African American brass musicians Category:American jazz trumpeters Category:Grammy Award winners Category:Hard bop trumpeters Category:Jazz-funk trumpeters Category:Deaths from myocardial infarction Category:Jazz fusion trumpeters Category:Mainstream jazz trumpeters Category:Musicians from Indianapolis, Indiana Category:Post-bop trumpeters Category:Soul-jazz trumpeters Category:Enja Records artists Category:Blue Note Records artists Category:Columbia Records artists Category:Prestige Records artists Category:Atlantic Records artists Category:Elektra Records artists Category:Timeless Records artists

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