Vision or visions may refer to:

Visual perception, interpreting what is seen

Visual system, the sensory mechanism of eyesight

Vision (spirituality), inspirational experiences

Hallucination, vivid conscious perception in the absence of a stimulus

Film

''Michael Jackson's Vision''

Vision - From the Life of Hildegard von Bingen (film), 2010 film by Margarethe von Trotta

Music

''Vision'' (EP), the first EP by Swedish band No Fun at All

''Vision'' (Frank Duval album)

"Vision", a track on the 1971 Peter Hammill album ''Fool's Mate''

''Visions'' (Atreyu album)

''Visions'' (Clearlight album)

''Visions'' (Grant Green album)

''Visions'' (Libera album)

''Visions'' (Paul Field album)

''Visions'' (Stratovarius album)

''Visions'' (Sun Ra album)

''Visions'', a 2007 album by Disasteradio

"Visions", B-side to "One of These Nights" by The Eagles

"Visions", a track on the 1973 Stevie Wonder album ''Innervisions''

''Visions of Dennis Brown'', 1978 reggae album by Dennis Brown, later reissued as ''Visions''

"Visions of Johanna", a song by Bob Dylan from his 1966 album ''Blonde on Blonde''

Pop culture

Vision (Timely Comics) (Aarkus), 1940s comic book character

Vision (Marvel Comics), member of the superhero team, the Avengers

Visions (Magic: The Gathering) 1997 expansion to Magic: The Gathering collectible card game

Visions (convention), a Chicago area science fiction convention

Buildings

Vision Brisbane, proposed tower of 80 floors

Vision Tower, 60-floor tower in Dubai, United Arab Emirates

Corporate

Goal or vision, a euphemism for planning in commerce and in sport

Vision statement, a corporate long-term goal

Vision Industries, U.S. sports car manufacturer

Vision Street Wear, U.S. footwear company

BT Vision, digital terrestrial television service provided in the United Kingdom

VisionTV, Canadian cable television specialty channel

Vision Airlines, US airline

Organizations

Vision Australia, blindness charity

Vision (Italian think tank), think tank focusing on democracy, open society and social reform

Computer and technologies

Machine vision, a range of technologies for the use of cameras as computer inputs, as in process control

AMD Vision, a marketing term from AMD

Vision Mobile Browser, an internet browser platform for mobile devices

Visi On, an early GUI system for the IBM PC from VisiCorp

Ships

, the name of than one United States Navy ship

MV ''Atlantic Vision'', a ferry

Other

Sega Vision, a portable media player released in 2009

Vision for Space Exploration, a space exploration program

Vision Zero, a project to achieve a safe road transport system

Vision Racing, a racing team in the Indy Racing League

Vision, nightclub associated with Excalibur (nightclub) in Chicago

Vision of the Seas that is owned by Royal Caribbean International

See also

Visionary

Least distance of distinct vision

Category:Vision

da:Vision de:Vision es:Visión (desambiguación) fr:Vision (homonymie) hr:Vizija it:Visione ja:ビジョン pl:Vision pt:Vision ru:Visions sq:Vizioni sk:Videnie

Name	Hildegard of Bingen
Birth date	1098
Death date	September 17, 1179
Feast day	17 September
Venerated in	Roman Catholic Church, Anglican Communion, Lutheranism
Birth place	Bermersheim vor der Höhe, County Palatine of the Rhine, Holy Roman Empire
Death place	Bingen am Rhein, County Palatine of the Rhine, Holy Roman Empire
Titles	Sibyl of the Rhine
Canonized date	No formal canonization, but her name is in the Roman Martyrology
Major shrine	Eibingen Abbey
Prayer attrib	}}

Blessed Hildegard of Bingen (; ) (1098 – 17 September 1179), also known as Saint Hildegard, and Sibyl of the Rhine, was a writer, composer, philosopher, Christian mystic, German Benedictine abbess, visionary, and polymath. Elected a ''magistra'' by her fellow nuns in 1136, she founded the monasteries of Rupertsberg in 1150 and Eibingen in 1165. One of her works as a composer, the ''Ordo Virtutum'', is an early example of liturgical drama.

She wrote theological, botanical and medicinal texts, as well as letters, liturgical songs, poems, and arguably the oldest surviving morality play, while supervising brilliant miniature Illuminations.

Biography

Hildegard of Bingen's date of birth is uncertain. It has been concluded that she may have been born in the year 1098. Hildegard was raised in a family of free nobles. She was her parents' tenth child, sickly from birth. In her ''Vita'', Hildegard explains that from a very young age she had experienced visions.

Perhaps due to Hildegard's visions, or as a method of political positioning, Hildegard's parents, Hildebert and Mechthilde, offered her as a tithe to the church. The date of Hildegard's enclosure in the church is contentious. Her ''Vita'' tells us she was enclosed with an older nun, Jutta, at the age of eight. However, Jutta's enclosure date is known to be in 1112, at which time Hildegard would have been fourteen. Some scholars speculate that Hildegard was placed in the care of Jutta, the daughter of Count Stephan II of Sponheim, at the age of eight, before the two women were enclosed together six years later. There is no written record of the twenty-four years of Hildegard's life that she was in the convent together with Jutta. It is possible that Hildegard could have been a chantress and a worker in the herbarium and infirmarium. In any case, Hildegard and Jutta were enclosed at Disibodenberg in the Palatinate Forest in what is now Germany. Jutta was also a visionary and thus attracted many followers who came to visit her at the enclosure. Hildegard also tells us that Jutta taught her to read and write, but that she was unlearned and therefore incapable of teaching Hildegard Biblical interpretation. Hildegard and Jutta most likely prayed, meditated, read scriptures such as the psalter, and did some sort of handwork during the hours of the Divine Office. This also might have been a time when Hildegard learned how to play the ten-stringed psaltery. Volmar, a frequent visitor, may have taught Hildegard simple psalm notation. The time she studied music could also have been the beginning of the compositions she would later create.

Upon Jutta's death in 1136, Hildegard was unanimously elected as "magistra" of her sister community by her fellow nuns. Abbot Kuno, the Abbot of Disibodenberg, also asked Hildegard to be Prioress. Hildegard, however, wanted more independence for herself and her nuns and asked Abbot Kuno to allow them to move to Rupertsberg. When the abbot declined Hildegard's proposition, Hildegard went over his head and received the approval of Archbishop Henry I of Mainz. Abbot Kuno did not relent, however, until Hildegard was stricken by an illness that kept her paralyzed and unable to move from her bed, an event that she attributed to God's unhappiness at her not following his orders to move her nuns to Rupertsberg. It was only when the Abbot himself could not move Hildegard that he decided to grant the nuns their own monastery. Hildegard and about twenty nuns thus moved to the St. Rupertsberg monastery in 1150, where Volmar served as provost, as well as Hildegard's confessor and scribe. In 1165 Hildegard founded a second convent for her nuns at Eibingen.

Hildegard says that she first saw “The Shade of the Living Light” at the age of three, and by the age of five she began to understand that she was experiencing visions. In Hildegard’s youth, she referred to her visionary gift as her viso. She explained that she saw all things in the light of God through the five senses: sight, hearing, taste, smell, and touch. Hildegard was hesitant to share her visions, confiding only to Jutta, who in turn told Volmar, Hildegard's tutor and, later, secretary. Throughout her life, she continued to have many visions, and in 1141, at the age of 42, Hildegard received a vision she believed to be an instruction from God, to "write down that which you see and hear." Still hesitant to record her visions, Hildegard became physically ill. The illustrations recorded in the book of Scivias were visions that Hildegard experienced, causing her great suffering and tribulations. In her first theological text, ''Scivias'' ("Know the Ways"), Hildegard describes her struggle within:

But I, though I saw and heard these things, refused to write for a long time through doubt and bad opinion and the diversity of human words, not with stubbornness but in the exercise of humility, until, laid low by the scourge of God, I fell upon a bed of sickness; then, compelled at last by many illnesses, and by the witness of a certain noble maiden of good conduct [the nun Richardis von Stade] and of that man whom I had secretly sought and found, as mentioned above, I set my hand to the writing. While I was doing it, I sensed, as I mentioned before, the deep profundity of scriptural exposition; and, raising myself from illness by the strength I received, I brought this work to a close – though just barely – in ten years. [...] And I spoke and wrote these things not by the invention of my heart or that of any other person, but as by the secret mysteries of God I heard and received them in the heavenly places. And again I heard a voice from Heaven saying to me, 'Cry out therefore, and write thus!'

Hildegard's ''Vita'' was begun by Godfrey of Disibodenberg under Hildegard's supervision.

Works

Attention in recent decades to women of the medieval Church has led to a great deal of popular interest in Hildegard, particularly her music. Between 70 and 80 compositions have survived, which is one of the largest repertoires among medieval composers. Hildegard left behind over 100 letters, 72 songs, 70 poems, and 9 books.

One of her better known works, ''Ordo Virtutum'' (''Play of the Virtues''), is a morality play. It is unsure when some of Hildegard’s compositions were composed, though the Ordo Virtutum is thought to have been composed as early as 1151. The morality play consists of monophonic melodies for the Anima (human soul) and 16 Virtues. There is also one speaking part for the Devil. Scholars assert that the role of the Devil would have been played by Volmar, while Hildegard's nuns would have played the parts of Anima and the Virtues.

In addition to the ''Ordo Virtutum'' Hildegard composed many liturgical songs that were collected into a cycle called the ''Symphonia armoniae celestium revelationum.'' The songs from the Symphonia are set to Hildegard’s own text and range from antiphons, hymns, and sequences, to responsories. Her music is described as monophonic; that is, consisting of exactly one melodic line. Hildegard's compositional style is characterized by soaring melodies, often well outside of the normal range of chant at the time. Additionally, scholars such as Margot Fassler and Marianna Richert Pfau describe Hildegard's music as highly melismatic, often with recurrent melodic units, and also note her close attention to the relationship between music and text, which was a rare occurrence in monastic chant of the twelfth century. Hildegard of Bingen’s songs are left open for rhythmic interpretation because of the use of neumes without a staff. The reverence for the Virgin Mary reflected in music shows how deeply influenced and inspired Hildegard of Bingen and her community were by the Virgin Mary and the saints.

The definition of ‘greenness’ is an earthly expression of the heavenly in an integrity that overcomes dualisms. This ‘greenness’ or power of life appears frequently in Hildegard’s works.

In addition to her music, Hildegard also wrote three books of visions, the first of which, her ''Scivias'' ("Know the Way"), was completed in 1151. ''Liber vitae meritorum'' ("Book of Life's Merits") and ''De operatione Dei'' ("Of God's Activities", also known as ''Liber divinorum operum'', "Book of Divine Works") followed. In these volumes, the last of which was completed when she was about 75, Hildegard first describes each vision, then interprets them through Biblical exegesis. The narrative of her visions was richly decorated under her direction, with transcription assistance provided by the monk Volmar and nun Richardis. The book was celebrated in the Middle Ages, in part because of the approval given to it by Pope Eugenius III, and was later printed in Paris in 1513.

Aside from her books of visions, Hildegard also wrote her ''Physica,'' a text on the natural sciences, as well as ''Causae et Curae''. Hildegard of Bingen was well known for her healing powers involving practical application of tinctures, herbs, and precious stones. In both texts Hildegard describes the natural world around her, including the cosmos, animals, plants, stones, and minerals. She combined these elements with a theological notion ultimately derived from Genesis: all things put on earth are for the use of humans. She is particularly interested in the healing properties of plants, animals, and stones, though she also questions God's effect on man's health. One example of her healing powers was curing the blind with the use of Rhine water.

Hildegard also invented an alternative alphabet. The text of her writing and compositions reveals Hildegard's use of this form of modified medieval Latin, encompassing many invented, conflated and abridged words.

Hildegard's musical, literary, and scientific writings are housed primarily in two manuscripts: the Dendermonde manuscript and the Riesenkodex. The Dendermonde manuscript was copied under Hildegard's supervision at Rupertsberg, while the Riesencodex was copied in the century after Hildegard's death.

Hildegard's visionary writings maintain that virginity is the highest level of the spiritual life; however, she also wrote about secular life, including motherhood. In several of her texts, Hildegard describes the pleasure of the marital act.

In addition, there are many instances, both in her letters and visions, that decry the misuse of carnal pleasures. She condemns the sins of same-sex couplings and masturbation. After confession, severe repentance expressed in fasting and bodily penance is needed to obtain forgiveness from God for such sins. For instance, in ''Scivias'' Book II Vision Six.78:

God united man and woman, thus joining the strong to the weak, that each might sustain the other. But these perverted adulterers change their virile strength into perverse weakness, rejecting the proper male and female roles, and in their wickedness they shamefully follow Satan, who in his pride sought to split and divide Him Who is indivisible. They create in themselves by their wicked deeds a strange and perverse adultery, and so appear polluted and shameful in my sight...

...a woman who takes up devilish ways and plays a male role in coupling with another woman is most vile in My (God's) sight, and so is she who subjects herself to such a one in this evil deed...

...And men who touch their own genital organ and emit their semen seriously imperil their souls, for they excite themselves to distraction; they appear to Me as impure animals devouring their own whelps...

...When a person feels himself disturbed by bodily stimulation let him run to the refuge of continence, and seize the shield of chastity, and thus defend himself from uncleanness. (translation by Mother Columba Hart and Jane Bishop)

Human beings show forth God's creative power, and man and woman have complementary roles in the world.

...When God looked upon the human countenance, God was exceedingly pleased. For had not God created humanity according to the divine image and likeness? Human beings were to announce all God's wondrous works by means of their tongues that were endowed with reason. For humanity is God's complete work....

Man and woman are in this way so involved with each other that one of them is the work of the other. Without woman, man could not be called man; without man, woman could not be named woman. Thus woman is the work of man, while man is a sight full of consolation for woman. Neither of them could henceforth live without the other. Man is in this connection an indication of the Godhead while woman is an indication of the humanity of God's Son.

Significance

Hildegard communicated with popes such as Eugene III and Anastasius IV, statesmen such as Abbot Suger, German emperors such as Frederick I Barbarossa, and other notable figures such as Saint Bernard of Clairvaux, who advanced her work, at the behest of her abbot, Kuno, at the Synod of Trier in 1147 and 1148. Hildegard of Bingen’s correspondence with many people is an important element of her literary work because this is where we can see her speaking most directly to us.

Many abbots and abbesses asked her for prayers and opinions on various matters. She traveled widely during her four preaching tours. She had several rather fanatic followers, including Guibert of Gembloux, who wrote frequently to Hildegard and eventually became her secretary after Volmar died in 1173. In addition, Hildegard influenced several monastic women of her time and the centuries that followed; in particular, she engaged in correspondence with another nearby visionary, Elisabeth of Schönau.

Contributing to Christian European rhetorical traditions, she “authorized herself as a theologian” through alternative rhetorical arts. Hildegard was creative in her interpretation of theology. She believed that her monastery should not allow novices who were from a different class than nobility because it put them in an inferior position. She also stated that ‘woman may be made from man, but no man can be made without a woman’. Due to church limitation on public, discursive rhetoric, the medieval rhetorical arts included: preaching, letter writing, poetry, and the encyclopedic tradition. Hildegard’s participation in these arts speaks to her significance as a female rhetorician, transcending bans on women’s social participation and interpretation of scriptures. The acceptance of public preaching by a woman, even a well-connected abbess and acknowledged prophet does not fit the usual stereotype of this time. She conducted four preaching tours throughout Germany, speaking to both clergy and laity in chapter houses and in public, mainly denouncing clerical corruption and calling for reform. Maddocks claims that it is likely she learned simple Latin, and the tenets of the Christian faith, but was not instructed in the Seven Liberal Arts, which formed the basis of all education for the learned classes in the Middle Ages: the ''Trivium'' of grammar, dialectic, and rhetoric plus the ''Quadrivium'' of arithmetic, geometry, astronomy, and music. The correspondence she kept with the outside world both spiritual and social transgressed the cloister as a space of female confinement, and served to document Hildegard’s grand style and strict formatting of medieval letter writing. The poetry and music of Hildegard’s Symphonia is concerned with the anatomy of female desire thus described as Sapphonic, or pertaining to Sappho, connecting her to a history of female rhetoricians.

In recent years, Hildegard has become of particular interest to feminist scholars. Her reference to herself as a member of the "weaker sex" and her rather constant belittling of women, though at first seemingly problematic, must be considered within the context of the patriarchal church hierarchy. Hildegard frequently referred to herself as an unlearned woman, completely incapable of Biblical exegesis. Such a statement on her part, however, worked to her advantage because it made her statements that all of her writings and music came from visions of the Divine more believable, therefore giving Hildegard the authority to speak in a time and place where few women were permitted a voice. Hildegard used her voice to condemn church practices she disagreed with, in particular simony.

Hildegard has also become a figure of reverence within the contemporary New Age movement, mostly due to her holistic and natural view of healing, as well as her status as a mystic. She was the inspiration for Dr. Gottfried Hertzka's "Hildegard-Medicine", and is the namesake for June Boyce-Tillman's Hildegard Network, a healing center that focuses on a holistic approach to wellness and brings together people interested in exploring the links between spirituality, the arts, and healing,. Hildegard's reincarnation has been debated since 1924 when Austrian mystic Rudolf Steiner lectured that a nun of her description was the past life of Russian poet Vladimir Soloviev, whose Sophianic visions are often compared to Hildegard. Sophiologist Robert Powell writes that hermetic astrology proves the match, and artist mystic Carl Schroeder claims to be in the lineage of Hildegard with the support and validation of reincarnation author Walter Semkiw.

Before Hildegard’s death, a problem arose with the clergy of Mainz. A man buried in Rupertsburg had died after excommunication from the Church. Therefore, the clergy wanted to remove his body from the sacred ground. Hildegard did not accept this idea, replying that it was a sin and that the man had been reconciled to the church at the time of his death. On 17 September 1179, when Hildegard died, her sisters claimed they saw two streams of light appear in the skies and cross over the room where she was dying. and Pope Benedict XVI. Hildegard’s Parish and Pilgrimage Church house the relics of Hildegard, including an altar encasing her remains, in Eibingen near Rüdesheim.

Hildegard of Bingen also appears in the calendar of saints in various Anglican churches. In the Church of England she is commemorated on 17 September.

In space, she is commemorated by the asteroid 898 Hildegard.

Bibliography

Primary sources ;Editions and manuscripts of Hildegard's works

Hildegardis Bingensis, ''Opera minora''. edited by H. Feiss, C. Evans, B. M. Kienzle, C. Muessig, B. Newman, P. Dronke, Corpus Christianorum Continuatio Mediaevalis CCCM 226 (Turnhout: Brepols, 2007), ISBN 978-2-503-05261-8

Wiesbaden, Hessische Landesbibliothek, Hs. 2 (Riesen Codex) or Wiesbaden Codex (ca. 1180–85)

Dendermonde, Belgium, St.-Pieters-&-Paulusabdij Cod. 9 (Villarenser codex) (ca. 1174/75)

Otto Müller Verlag Salzburg 1969: Hildegard von Bingen: Lieder (modern edition in adapted square notation)

München, University Library, MS2∞156

Leipzig, University Library, St. Thomas 371

Paris, Bibl. Nat. MS 1139

Beate Hildegardis Cause et cure, edidit L. Moulinier, Berlin, Akademie Verlag, 2003, CXVII + 384 p.

Hildegardis Bingensis, ''Epistolarium pars prima I-XC'' edited by L. Van Acker, Corpus Christianorum Continuatio Mediaevalis CCCM 91A (Turnhout: Brepols, 1991)

Hildegardis Bingensis, ''Epistolarium pars secunda XCI-CCLr'' edited by L. Van Acker, Corpus Christianorum Continuatio Mediaevalis CCCM 91A (Turnhout: Brepols, 1993)

Hildegardis Bingensis, ''Epistolarium pars tertia CCLI-CCCXC'' edited by L. Van Acker and M. Klaes-Hachmoller, Corpus Christianorum Continuatio Mediaevalis XCIB (Turnhout: Brepols, 2001)

Hildegardis Bingensis, ''Scivias''. A. Führkötter, A. Carlevaris eds., Corpus Christianorum Scholars Version vols. 43, 43A. (Turnhout: Brepols, 2003)

Hildegardis Bingensis, ''Liber vitae meritorum''. A. Carlevaris ed. Corpus Christianorum Continuatio Mediaevalis CCCM 90 (Turnhout: Brepols, 1995)

Hildegardis Bingensis, ''Liber divinorum operum''. A. Derolez and P. Dronke eds., Corpus Christianorum Continuatio Mediaevalis CCCM 92 (Turnhout: Brepols, 1996)

Hildegard of Bingen, ''Two Hagiographies: Vita sancti Rupperti confessoris, Vita sancti Dysibodi episcopi,'' ed. and trans. Hugh Feiss & Christopher P. Evans, Dallas Medieval Texts and Translations 11 (Louvain and Paris: Peeters, 2010)

;Other sources

Friedrich Wilhelm Emil Roth, "Glossae Hildigardis", in: Elias Steinmeyer and Eduard Sievers eds., ''Die Althochdeutschen Glossen'', vol. III. Zürich: Wiedmann, 1895, 1965, pp. 390–404.

''Analecta Sanctae Hildegardis, in Analecta Sacra'' vol. 8 edited by Jean-Baptiste Pitra (Monte Cassino, 1882).

Patrologia Latina vol. 197 (1855).

Explanatio Regulae S. Benedicti

Explanatio Symboli S. Athanasii

Homeliae LVIII in Evangelia.

Hymnodia coelestis.

Ignota lingua, cum versione Latina

Liber divinorum operum simplicis hominis (1163-73/74)

Liber vitae meritorum (1158–63)

Libri simplicis et compositae medicinae.

Physica, sive Subtilitatum diversarum naturarum creaturarum libri novem

Scivias seu Visiones (1141–51)

Solutiones triginta octo quaestionum

Tractatus de sacramento altaris.

See also

Bibliography of Hildegard of Bingen

Discography of Hildegard of Bingen

Hildegard has been portrayed on film by Patricia Routledge (Keeping Up Appearances) in a dramatized BBC biographical documentary called "Hildegard Von Bingen In Portrait: Ordo Virtutum."

The film ''Vision - From the Life of Hildegard von Bingen'', directed by Margarethe von Trotta, premiered in Europe in 2009. Its US distributor is Zeitgeist Films, where it is due to be released in October 2010. Hildegard is played by Barbara Sukowa.

Notes

References

Baird, Joseph L and Ehrman, Radd K. The Letters of Hildegard of Bingen. New York: Oxford University Press, 2004.

Bent, Ian D. and Marianne Pfau. “Hildegard of Bingen.” ''The New Grove Dictionary of Music and Musicians'', 2nd edition, Volume 11. Edited by Stanley Sadie and John Tyrell. New York: Grove, 2001.

Bennett, Judith M. and C. Warren Hollister. Medieval Europe: A Short History. New York: McGraw-Hill, 2006. 289, 317.

Boyce-Tillman, June. “Hildegard of Bingen at 900: The Eye of a Woman.” ''The Musical Times'' 139, no. 1865 (Winter, 1998): 31–36.

Butcher, Carmen Acevedo. Hildegard of Bingen: A Spiritual Reader. Massachusetts: Paraclete Press, 2007.

Davidson, Audrey Ekdahl. “Music and Performance: Hildegard of Bingen’s Ordo Virtutum.” ''The Ordo Virtutum of Hildegard of Bingen: Critical Studies''. Kalamazoo, MI: Western Michigan University, 1992.

Dietrich, Julia. “The Visionary Rhetoric of Hildegard of Bingen.” Listening to Their Voices: The Rhetorical Activities of Historic Women. Ed. Molly Meijer Wertheimer. Columbia: University of South Carolina Press, 1997. 202–214.

Fassler, Margot. “Composer and Dramatist: ‘Melodious Singing and the Freshness of Remorse.’” ''Voice of the Living Light: Hildegard of Bingen and Her World''. Edited by Barbara Newman. Berkeley, Los Angeles, and London: University of California Press, 1998.

Flanagan, Sabina. Hildegard of Bingen, 1098–1179: a visionary life. London: Routledge, 1989.

Fox, Matthew. Illuminations of Hildegard of Bingen. New Mexico: Bear and Company, 1985.

Furlong, Monica. Visions and Longings: Medieval Women Mystics. Massachusetts: Shambhala Publications, 1996.

Glaze, Florence Eliza. “Medical Writer: ‘Behold the Human Creature.’” ''Voice of the Living Light: Hildegard of Bingen and Her World''. Edited by Barbara Newman. Berkeley, Los Angeles, and London: University of California Press, 1998.

Hildegard of Bingen. ''Book of Divine Works of Hildegard of Bingen''. Trans. by Priscilla Throop. Charlotte, VT: MedievalMS, 2009.

________. ''Causae et Curae (Holistic Healing)''. Trans. by Manfred Pawlik and Patrick Madigan. Edited by Mary Palmquist and John Kulas. Collegeville, MN: Liturgical Press, Inc., 1994.

________. ''Causes and Cures of Hildegard of Bingen''. Trans. by Priscilla Throop. Charlotte, VT: MedievalMS, 2006, 2008.

________. ''The Letters of Hildegard of Bingen''. Trans. by Joseph L. Baird and Radd K. Ehrman. New York: Oxford University Press, 1994/1998.

________. ''Physica''. Trans. Priscilla Throop. Rochester Vermont: Healing Arts Press, 1998.

________. ''Scivias''. Trans. by Columba Hart and Jane Bishop. Introduction by Barbara J. Newman. Preface by Caroline Walker Bynum. New York: Paulist Press, 1990.

________. ''Three Lives and a Rule: the Lives of Hildegard, Disibod, Rupert, with Hildegard’s Explanation of the Rule of St. Benedict''. Trans. by Priscilla Throop. Charlotte, VT: MedievalMS, 2010.

Holsinger, Bruce W. Music, Body, and Desire In Medieval Culture. California: Standford University Press, 2001.

Holsinger, Bruce. “The Flesh of the Voice: Embodiment and the Homoerotics of Devotion in the Music of Hildegard of Bingen (1098–1179).” Signs:Journal of Women in Culture and Society 19 (Autumn, 1993): 92–125.

King-Lenzmeier, Anne. Hildegard of Bingen: an integrated version. Minnesota: The Liturgical Press, 2001.

Maddocks, Fiona. Hildegard of Bingen: The Woman of Her Age. New York: Doubleday, 2001.

Madigan, Shawn. Mystics, Visionaries and Prophets: A Historical Anthology of Women’s Spiritual Writings. Minnesota: Augsburg Fortress, 1998.

McGrade, Michael. “Hildegard von Bingen.” ''Die Musik in Geschichte und Gegenwart: allgemeine Enzyklopaldie der Musik'', 2nd edition, T. 2, Volume 8. Edited by Ludwig Fischer. Kassel, New York: Bahrenreiter, 1994.

Moulinier, Laurence, ''Le manuscrit perdu à Strasbourg''. Enquête sur l'œuvre scientifique de Hildegarde, Paris/Saint-Denis, Publications de la Sorbonne-Presses Universitaires de Vincennes, 1995, 286 p.

Moulinier, Laurence, "La botanique de Hildegarde de Bingen", ''Médiévales'', 16–17, 1989, p. 113–129.

Moulinier, Laurence, "Elisabeth, Ursule et les Onze mille vierges : un cas d'invention de reliques à Cologne au XIIe siècle", ''Médiévales'', 22–23, printemps 1992, p. 173–186.

Moulinier, Laurence, "Deux jalons de la construction d'un savoir botanique en Allemagne aux XIIe-XIIIe siècles : Hildegarde de Bingen et Albert le Grand", dans ''Le monde des plantes''. Savoirs et usages sociaux du XIIe au XVIIe siècle, dir. A. J. Grieco, O. Redon, L. Tongiorgi Tomasi, Saint-Denis, P.U.V., 1993, p. 89–105.

Moulinier, Laurence, "Fragments inédits de la Physica : contribution à l'étude de la transmission des manuscrits scientifiques de Hildegarde de Bingen", ''Mélanges de l'Ecole Française de Rome'', 105, fasc. 2, 1993, p. 629–650.

Moulinier, Laurence, "L'abbesse et les poissons : un aspect de la zoologie de Hildegarde", dans ''Exploitation des animaux sauvages à travers le temps, Actes des rencontres'', 15–17 octobre 1992, dir. J. Desse et F. Audoin-Rouzeau, Juan-les-Pins, Editions APDCA, 1993, p. 461–472.

Moulinier, Laurence, "L'ordre du monde animal selon Hildegarde de Bingen" dans L'homme, ''l'animal domestique et l'environnement du Moyen Age au XVIIIe siècle, Actes du colloque de Nantes'', 22–24 octobre 1992, textes réunis par R. Durand, Nantes, Ouest Editions, 1993, p. 51–62.

Moulinier, Laurence, "Hildegarde de Bingen, les plantes médicinales et le jugement de la postérité : pour une mise en perspective", ''Scientiarum historia'', 20, 1994, 1–2, p. 61–75.

Moulinier, Laurence, "Une encyclopédiste sans précédent ? Le cas de Hildegarde de Bingen", dans ''L'enciclopedismo medievale'', éd. M. Picone, ''Actes du colloque international "L'enciclopedismo medievale"'', San Gimignano, 8–10 octobre 1992, Ravenne, A. Longo Editore, 1994, p. 119–134.

Moulinier, Laurence, "H comme Histoire : Hrotsvita, Hildegarde et Herrade, trois récits de fondation au féminin", ''Clio, Histoire, femmes et sociétés, 2, Femmes et religion,'' 1995, p. 85–107.

Moulinier, Laurence, "Les merveilles de la Nature vues par Hildegarde de Bingen", dans ''Miracles, prodiges et merveilles au Moyen Age, Actes du XXVe congrès de la SHMESP'', Paris, Publications de la Sorbonne, 1995, p. 115–132. Internet available :

Moulinier, Laurence, "Ein Präzedenzfall der Kompendien Literatur: die Quellen der naturlichen Schriften Hildegards von Bingen", in ''Hildegard von Bingen. Prophetin durch die Zeiten.'' Zum 900. Geburtstag, éd. E. Forster, Freiburg/Basel/Wien, Herder, 1997, p. 431–447.

Moulinier, Laurence, "La faune germanique médiévale aux XIe-XIIe siècles : une brève histoire de noms", dans ''Milieux naturels, espaces sociaux. Etudes offertes à Robert Delort,'' éd. F. Morenzoni et E. Mornet, Paris, Publications de la Sorbonne, 1997, p. 193–208.

Moulinier, Laurence, "Quand le malin fait de l'esprit : le rire au Moyen Age vu depuis l'hagiographie", ''Annales, Histoire, sciences sociales'', 3, Mai-Juin 1997, p. 457–475. Internet available :

Moulinier, Laurence, "Vitae latines et volgarizzamento : l'exemple de la Vie de Hildegarde en français", dans ''Santità, Culti, Agiografia. Temi e prospettive'', éd. S. Boesch Gajano, Rome, Viella, 1997, p. 139–163.

Moulinier, Laurence, "Abbesse et agronome : Hildegarde et la botanique de son temps", dans ''Hildegard of Bingen. The Context of her Thought and Art'', éd. Ch. Burnett, P. Dronke, Londres, The Warburg Institute, 1998, p. 135–156.

Moulinier, Laurence, "Hildegarde exorciste : la 'Vie de Hildegarde' en français et sa principale source inédite", ''Hagiographica'', V, 1998, p. 91–118.

Moulinier, Laurence, "Deux fragments inédits de Hildegarde de Bingen copiés par Gerhard von Hohenkirchen (†1448)", ''Sudhoffs Archiv'', 83, 1999, p. 224–238.

Moulinier, Laurence, "Et papa libros eius canonizavit : réflexions sur l'orthodoxie des écrits de Hildegarde de Bingen", dans S. Elm., E. Rebillard, A. Romano (ed.), ''Orthodoxie, Christianisme, Histoire. Orthodoxy, Christianity'', Collection de l'Ecole française de Rome 270, Rome, EFR, 2000, p. 177–198.

Moulinier, Laurence, "Unterhaltungen mit dem Teufel : Eine französische Hildegard-Vita des 15. Jahrhunderts und ihre Quellen", dans ''Hildegard von Bingen in ihrem historischen Umfeld. Internationaler wissenschaftlicher Kongreß zum 900jährigen Jubiläum'', 13–19 September 1998, Bingen am Rhein, éd. A. Haverkamp, Mayence, Philipp von Zabern, 2000, p. 519–560.

Moulinier, Laurence, "Le corps des jeunes filles dans les traités médicaux du Moyen Age ”, dans ''Le corps des jeunes filles de l’Antiquité à nos jours'', dir. L. Bruit Zaidman, G. Houbre, Chr. Klapisch-Zuber, P. Schmitt Pantel, Paris, Perrin, 2001, p. 80–109.

Moulinier, Laurence, "Hildegarde ou Pseudo-Hildegarde ? Réflexions sur l’authenticité du traité "Cause et cure"", dans R. Berndt éd., ''"Im Angesicht Gottes suche der Mensch sich selbst". Hildegard von Bingen (1098–1179)'', Berlin, Akademie Verlag, 2001, p. 115–146 (Erudiri Sapientia, II).

Moulinier, Laurence, "Magie, médecine et maux de l’âme dans l’œuvre scientifique de Hildegarde", dans R. Berndt éd., ''"Im Angesicht Gottes suche der Mensch sich selbst". Hildegard von Bingen (1098–1179)'', Berlin, Akademie Verlag, 2001, p. 545–559 (Erudiri Sapientia, II).

Moulinier, Laurence, "Un lexique trilingue du XIIe siècle : la lingua ignota de Hildegarde de Bingen", dans ''Lexiques bilingues dans les domaines philosophique et scientifique (Moyen Âge-Renaissance), Actes du colloque international organisé par l’Ecole Pratique des Hautes Etudes-IVe Section et l’Institut Supérieur de Philosophie de l’Université Catholique de Louvain'', Paris, 12–14 juin 1997, éd. J. Hamesse, D. Jacquart, Turnhout, Brepols, 2001, p. 89–111.

Moulinier, Laurence, "Plantes toxiques et humeurs peccantes : la pensée du poison dans l’œuvre de Hildegarde", dans ''Le corps à l’épreuve. Poisons, remèdes et chirurgie : aspects des pratiques médicales dans l’Antiquité et au Moyen Âge'', études réunies par F. Collard et E. Samama, Langres, Dominique Guéniot, 2002, p. 71–101.

Moulinier, Laurence, "Un témoin supplémentaire du rayonnement de sainte Radegonde au Moyen Age ? La Vita domnae Juttae (XIIe siècle)", ''Bulletin de la société des Antiquaires de l’Ouest'', 5e série, t. XV, 3e et 4e trimestres 2001, p. 181–197.

Moulinier, Laurence, "Le chat des cathares de Mayence et autres « primeurs » d’un exorcisme du XIIe siècle", dans ''Retour aux sources. Textes, études et documents d’histoire médiévale offerts à Michel Parisse'', Paris, Picard, 2004, p. 699–709.

Moulinier, Laurence, "Conception et corps féminin selon Hildegarde de Bingen", ''Storia delle donne'', 1, 2005, p. 139–157. Available from

Moulinier, Laurence, "Quête de Dieu et recherche de modèles. Naissance d’une tradition féminine dans la mystique allemande (XIIe-XIVe s.)", dans ''Ecritures'', n° 1, décembre 2005, Les femmes et l’Ecriture. L’amour profane et l’amour sacré, p. 15–55.

Moulinier, Laurence, "Naturkunde und Mystik bei Hildegard von Bingen : der Blick und die Vision", ''Actes du Symposium der Theophrast-Stiftung, "Mystik und Natur", Salzbourg, Universitätsbibliothek'', 16–18 novembre 2007.

Moulinier, Laurence, "Aspects de la maternité chez Hildegarde de Bingen", dans ''La madre. The Mother, Actes du colloque international "La mère", Université de Lausanne'', 23–25 novembre 2005, Florence, SISMEL, 2009, p. 215–234.

20.

Moulinier, Laurence, "La vie d’une âme, la voix d’une sœur", Introduction à Elisabeth de Schönau, ''Visions'', traduit du Latin par Jean-Pierre Troadec, Paris, Le Cerf, 2009, p. 9–31.

Moulinier, Laurence, "Maternità spirituale e direzione di coscienza secondo Ildegarda di Bingen", dans G. Filoramo (éd.), ''Storia della direzione spirituale, II. L'età medievale'', a cura di Sofia Boesch Gajano, Brescia, Morcelliana, 2010, pp. 185–204.

Moulinier, Laurence, "La Terre vue par Hildegarde de Bingen (1098–1179)", dans ''Aux origines de la géologie, de l’Antiquité au Moyen Age, Actes du colloque inernational'' 10–12 mars 2005, Paris Sorbonne (Paris IV), textes réunis sous la direction de Claude Thomasset, Joëlle Ducos et Jean-Pierre Chambon, Paris, Honoré Champion, 2010, p. 205–230.

Newman, Barbara. “Hildegard of Bingen: Visions and Validation.” ''Church History'' 54 (1985): 163–175.

________. “‘Sibyl of the Rhine’: Hildegard’s Life and Times.” ''Voice of the Living Light: Hildegard of Bingen and Her World''. Edited by Barbara Newman. Berkeley, Los Angeles, and London: University of California Press, 1998.

________. ''Sister of Wisdom: St. Hildegard’s Theology of the Feminine''. Berkeley and Los Angeles: University of California Press, 1987.

Newman, Barbara. Voice of the Living Light. California: University of California Press, 1998.

Reed-Jones, Carol. Hildegard of Bingen: Women of Vision. Washington: Paper Crane Press, 2004.

Richert-Pfau, Marianna. “Mode and Melody Types in Hildegard von Bingen’s Symphonia.” ''Sonus'' 11 (1990): 53–71.

Ruether, Rosemary Radford. Visionary Women. Minneapolis: Augsburg Fortress, 2002. 6–13.

Schipperges, Heinrich. Hildegard of Bingen: healing and the nature of the cosmos. New Jersey: Markus Wiener Publishers, 1997.

The Life and Works of Hildegard von Bingen. Internet. Available from http://www.fordham.edu/halsall/med/hildegarde.html; accessed 14 November 2009.

Tillman, June-Boyce. “Hildegard of Bingen at 900: The Eye of a Woman”. The Musical Times 139, no. 1865 (Winter, 1998): 31–36.

Underhill, Evelyn. Mystics of the Church. Pennsylvania: Morehouse Publishing, 1925.

Further reading

;General commentary

Burnett, Charles and Peter Dronke, eds. ''Hildegard of Bingen: The Context of Her Thought and Art''. The Warburg Colloquia. London: The University of London, 1998.

Cherewatuk, Karen and Ulrike Wiethaus, eds. ''Dear Sister: Medieval Women and the Epistolary Genre''. Middle Ages Series. Philadelphia: University of Pennsylvania Press, 1993.

Davidson, Audrey Ekdahl. ''The Ordo Virtutum of Hildegard of Bingen: Critical Studies''. Kalamazoo, MI: Medieval Institute Publications, 1992. ISBN 1-879288-17-6

Dronke, Peter. ''Women Writers of the Middle Ages: A Critical Study of Texts from Perpetua to Marguerite Porete''. 1984. Cambridge: Cambridge University Press, 2001.

Flanagan, Sabina. ''Hildegard of Bingen: A Visionary Life''. London: Routledge, 1998. ISBN 0-7607-1361-8

King-Lenzmeier, Anne H. ''Hildegard of Bingen: An Integrated Vision''. Collegeville, MN: Liturgical Press, 2001.

Newman, Barbara. ''Sister of Wisdom: St. Hildegard’s Theology of the Feminine''. Berkeley: University of California Press, 1987.

Newman, Barbara, ed. ''Voice of the Living Light: Hildegard of Bingen and Her World''. Berkeley: University of California, 1998.

Pernoud, Régine. ''Hildegard of Bingen: Inspired Conscience of the Twelfth Century''. Translated by Paul Duggan. NY: Marlowe & Co., 1998.

Schipperges, Heinrich. ''The World of Hildegard of Bingen: Her Life, Times, and Visions''. Trans. John Cumming. Collegeville, MN: The Liturgical Press, 1999.

Wilson, Katharina. ''Medieval Women Writers''. Athens, GA: University of Georgia Press, 1984.

;On Hildegard's illuminations

Fox, Matthew. ''Illuminations of Hildegard of Bingen''. Santa Fe, NM: Bear & Company, 1985. ISBN 1-879181-97-5

Harris, Anne Sutherland and Linda Nochlin, ''Women Artists: 1550–1950'', Los Angeles County Museum of Art, Knopf, New York, 1976. ISBN 0-394-73326-6

;Background reading

Barber, Richard. ''Bestiary: MS Bodley 764''. Woodbridge: Boydell Press, 1999.

Boyce-Tillman, June. ''The Creative Spirit: Harmonious Living with Hildegard of Bingen'', Harrisburg, PA: Morehouse Publishing, 2000. ISBN 0-8192-1882-0

Butcher, Carmen Acevedo. ''Man of Blessing: A Life of St. Benedict''. Brewster, MA: Paraclete Press, 2006.

Bynum, Caroline Walker. ''Holy Feast and Holy Fast: the Religious Significance of Food to Medieval Women''. Berkeley: University of California Press, 1987.

Bynum, Caroline Walker. ''Resurrection of the Body in Western Christianity, 200-1336''. New York: Columbia University Press, 1995.

Chadwick, Whitney. ''Women, Art, and Society,'' Thames and Hudson, London, 1990. ISBN 0-500-20354-7

Constable, Giles Constable. ''The Reformation of the Twelfth Century''. Cambridge: Cambridge University Press, 1998.

Dronke, Peter, ed. ''A History of Twelfth-Century Western Philosophy''. Cambridge: Cambridge University Press, 1992.

Holweck, the Rt. Reverend Frederick G., ''A Biographical Dictionary of the Saints, with a General Introduction on Hagiology''. 1924. Detroit: Omnigraphics, 1990.

Lachman, Barbara. ''The Journal of Hildegard of Bingen: A Novel''. New York: Crown, 1993.

Lachman, Barbara. ''Hildegard: The Last Year''. Boston: Shambhala, 1997.

McBrien, Richard. ''Lives of the Saints: From Mary and St. Francis of Assisi to John XXIII and Mother Teresa''. San Francisco: HarperSanFrancisco, 2003.

McKnight, Scot. ''The Real Mary: Why Evangelical Christians Can Embrace the Mother of Jesus''. Brewster, MA: Paraclete Press, 2006.

Newman, Barbara trans. ''Symphonia: A Critical Edition of the "Symphonia armoniae celestium revelationum''. Ithaca: Cornell Univ. Press, 1988.

Newman, Barbara. ''God and the Goddesses''. Philadelphia: University of Pennsylvania Press. ISBN 0-8122-1911-2

O’Donohue, John. ''Anam Ċara''. New York: HarperCollins, 1998.

Ohanneson, Joan. ''Scarlet Music. Hildegard of Bingen: A Novel''. New York: Crossroad Publishing Company, 1997.

Pelikan, Jaroslav. ''Mary Through the Centuries: Her Place in the History of Culture''. New Haven: Yale University Press, 1996.

Sacks, Oliver. ''Migraine: Understanding a Common Disorder''. 1985. Reprint. London: Vintage Books, 1999.

Santos Paz, José Carlos, ed. ''La Obra de Gebenón de Eberbach''. Firenze: SISMEL-Edizioni del Galluzzo, 2004.

Sherman, Bernard D. “‘Mistaking the Tail for the Comet’: An Interview with Christopher

Silvas, Anna. ''Jutta and Hildegard: The Biographical Sources''. University Park, PA: The Pennsylvania State University Press, 1998. ISBN 0-271-01954-9

Sweet, Victoria. "Hildegard of Bingen and the Greening of Medieval Medicine." Bulletin of the History of Medicine, 1999, 73:381–403.

Sweet, Victoria. "Rooted in the Earth, Rooted in the Sky: Hildegard of Bingen and Premodern Medicine." New York: Routledge Press, 2006. ISBN 0-415-97634-0

Ulrich, Ingeborg. ''Hildegard of Bingen: Mystic, Healer, Companion of the Angels''. Trans. Linda M. Maloney. Collegeville, MN: Liturgical Press, 1993.

Ward, Benedicta. ''Miracles and the Medieval Mind''. Philadelphia: University of Pennsylvania, 1987.

Weeks, Andrew. ''German mysticism from Hildegard of Bingen to Ludwig Wittgenstein : a literary and intellectual history''. Albany: State University of New York Press, 1993. ISBN 0-7914-1419-1

External links

Hildegard Center for the Arts, A Faith Based Fine Arts Center in Lincoln Nebraska

International Society of Hildegard von Bingen Studies

A Hildegard FAQ Sheet

Hildegard Von Bingen

Hildegard of Bingen Documents, History, Sites to see today, etc.

Source

Discography

Biography and Prayers of Hildegard

Another discography

Church of St. Hildegard in Eibingen, Germany with information about Hildegard von Bingen and the Eibinger Hildegardisshrine

The Reconstruction of the monastery on the Rupertsberg

Young, Abigail Ann. ''Translations from Rupert, Hildegard, and Guibert of Gembloux''. 1999. 27 March 2006.

McGuire, K. Christian. ''Symphonia Caritatis: The Cistercian Chants of Hildegard von Bingen''. 2007. 14 July 2007.

* From Katya Sanna's blog

Category:1098 births Category:1179 deaths Category:People from Alzey-Worms Category:Beatified people Category:People celebrated in the Lutheran liturgical calendar Category:Christian mystics Category:Rhineland mystics Category:German Roman Catholic theologians Category:Women philosophers Category:German spiritual writers Category:German women writers Category:Inventors of writing systems Category:Women of medieval Germany Category:Medieval composers Category:Medieval drama Category:German Roman Catholic abbesses Category:Walhalla enshrinees Category:Women classical composers Category:Herbalists Category:Women physicians Category:Manuscript illuminators Category:12th-century women writers Category:Romanesque artists Category:Sophiology Category:Hymnographers Category:German women artists Category:Anglican saints Category:Women composers

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birth date	August 16, 1953
birth place	Kapuskasing, Ontario
birth name	James Francis Cameron
years active	1978–present
spouse(s)	Sharon Williams (1978–1984)Gale Anne Hurd (1985–1989)Kathryn Bigelow (1989–1991)Linda Hamilton (1997–1999)Suzy Amis (2000–present)
occupation	Film director, film producer, film editor, screenwriter, inventor
Notable works	''The Terminator'', ''Terminator 2: Judgment Day'', ''Avatar'', '' Titanic'', '' Aliens'', ''True Lies'', ''The Abyss''
influences	Stanley Kubrick, Edgar Rice Burroughs, George Lucas, Roger Corman, Steven Spielberg, Ridley Scott
influenced	David Fincher, Rupert Wyatt, McG, Sam Raimi, Joss Whedon, Alister Grierson, Steven Quale, Duncan Jones
website	}}

James Francis Cameron (born August 16, 1953) is a Canadian film director, film producer, screenwriter, editor, and inventor. His writing and directing work includes ''Piranha II: The Spawning'' (1981), ''The Terminator'' (1984), ''Aliens'' (1986), ''The Abyss'' (1989), ''Terminator 2: Judgment Day'' (1991), ''True Lies'' (1994), ''Titanic'' (1997), and ''Dark Angel'' (2000–2002). In the time between making ''Titanic'' and his return to feature films with ''Avatar'' (2009), Cameron spent several years creating many documentary films (specifically underwater documentaries), and also co-developed the digital 3D Fusion Camera System. Described by a biographer as part-scientist and part-artist, Cameron has also contributed to underwater filming and remote vehicle technologies.

In total, Cameron's directorial efforts have grossed approximately US$2 billion in North America and US$6 billion worldwide. Without adjusting for inflation, Cameron's ''Titanic'' and ''Avatar'' are the two highest-grossing films of all time at $1.8 billion and $2.7 billion respectively. In March 2011 he was named Hollywood's top earner by ''Vanity Fair'', with estimated 2010 earnings of $257 million.

Background

Cameron was born in Kapuskasing, Ontario, Canada, 1953 the son of Becky (Lowe), an artist and nurse, and Phillip Cameron, an electrical engineer. His paternal great-great-great-grandfather emigrated from Balquhidder, Scotland in 1825; thus, he descends from Clan Cameron.

Cameron grew up in Chippawa, Ontario with his brother Davie Cameron and attended Stamford Collegiate School in Niagara Falls; his family moved to Brea, California in 1971 when he was 17. Cameron enrolled at Fullerton College, a 2-year community college, in 1973 to study physics. He switched to English, then dropped out before the start of the fall 1974 semester.

After dropping out of Sonora{where?}, he went to further his secondary education at Brea Olinda High School. After graduating, he worked several jobs such as truck driving and wrote when he had time. During this period he taught himself about special effects: "I'd go down to the USC library and pull any thesis that graduate students had written about optical printing, or front screen projection, or dye transfers, anything that related to film technology. That way I could sit down and read it, and if they'd let me photocopy it, I would. If not, I'd make notes."

After seeing the original ''Star Wars'' film in 1977, Cameron quit his job as a truck driver to enter the film industry. When Cameron read Syd Field's book ''Screenplay'', it occurred to him that integrating science and art was possible, and he wrote a ten-minute science fiction script with two friends, entitled ''Xenogenesis''. They raised money and rented camera, lenses, film stock, and studio, and shot it in 35mm. To understand how to operate the camera, they dismantled it and spent the first half-day of the shoot trying to figure out how to get it running.

Early career

While continuing to educate himself in film-making techniques, Cameron started working as a miniature-model maker at Roger Corman Studios. Making rapidly produced, low-budget productions taught Cameron to work efficiently and effectively. He soon found employment as an art director in the sci-fi movie ''Battle Beyond the Stars'' (1980). He did special effects work design and direction on John Carpenter's ''Escape from New York'' (1981), acted as production designer on ''Galaxy of Terror'' (1981), and consulted on the design of ''Android'' (1982).

Cameron was hired as the special effects director for the sequel of ''Piranha'', entitled ''Piranha II: The Spawning'' in 1981. The director left the project and Cameron was hired by Italian producer Assonitis to take over, giving him his first directorial job. He worked with producer Roger Corman. The interior scenes were filmed in Italy while the underwater diving sequences were shot at Grand Cayman Island.

The movie was to be produced in Jamaica, but when Cameron arrived at the studio, he discovered that the project was under-financed and that his crew was mainly composed of Italians who spoke no English. Experiencing considerable stress, Cameron had a nightmare about an invincible robot hitman sent from the future to kill him, giving him the idea for ''The Terminator'', which would later catapult his filming career.

Major films

''The Terminator'' (1984)

After completing a screenplay for ''The Terminator'', Cameron decided to sell it so that he could direct the movie. However, the production companies he contacted, while expressing interest in the project, were unwilling to let a first-time feature film director make the movie. Finally, Cameron found a company called Hemdale Pictures, which was willing to let him direct. Gale Anne Hurd, who had started her own production company, Pacific Western Productions, had previously worked with Cameron in Roger Corman's company and agreed to buy Cameron's screenplay for one dollar, on the condition that Cameron direct the film. Hurd was signed on as producer, and Cameron finally got his first break as director. Orion Pictures distributed the film.

Initially, for the role of the Terminator, Cameron wanted someone who wasn't exceptionally muscular, and who could "blend into" a normal crowd. Lance Henriksen, who had starred in ''Piranha II: The Spawning'', was considered for the title role, but when Arnold Schwarzenegger and Cameron first met over lunch to discuss Schwarzenegger playing the role of Kyle Reese, both came to the conclusion that the cyborg villain would be the more compelling role for the Austrian bodybuilder; Henriksen got the smaller part of LAPD detective Hal Vukovich and the role of Kyle Reese went to Michael Biehn. In addition, Linda Hamilton first appeared in this film in her iconic role of Sarah Connor, and later married Cameron.

''The Terminator'' was a box office hit, breaking expectations by Orion Pictures executives that the film would be regarded as no more than a sci-fi film, and only last a week in theaters. It was a low-budget film which cost $6.5 million to make, cutting expenses in such ways as recording the audio track in mono. However, ''The Terminator'' eventually earned over $78 million worldwide.

''Rambo: First Blood Part II'' (1985)

During the early 1980s, Cameron wrote three screenplays simultaneously: ''The Terminator'', ''Aliens'', and the first draft of ''Rambo: First Blood Part II''. While Cameron continued with ''The Terminator'' and ''Aliens'', Sylvester Stallone eventually took over the script of ''Rambo: First Blood Part II'', creating a final draft which differed radically from Cameron's initial version.

''Aliens'' (1986)

Cameron next began the sequel to ''Alien'', the 1979 film by Ridley Scott. Cameron named the sequel ''Aliens'', and again cast Sigourney Weaver in the iconic role of Ellen Ripley. According to Cameron, the crew on ''Aliens'' was hostile to him, regarding him as a poor substitute for Ridley Scott. Cameron sought to show them ''The Terminator'' but the majority of the crew refused to watch it and remained skeptical of his direction throughout production. Despite this and other off-screen problems (such as clashing with an uncooperative camera man and having to replace one of the lead actors – Michael Biehn of ''Terminator'' took James Remar's place as Corporal Hicks), ''Aliens'' became a box office success, and received Academy Award nominations for Best Actress in a Leading Role for Weaver, Best Art Direction, Best Film Editing, Best Original Score, Best Sound, and won awards for Best Sound Effects Editing and Best Visual Effects. In addition, the film and its lead actress made the cover of ''TIME'' magazine as a result of its numerous and extensive scenes of women in combat - these were almost without precedent and expressed the feminist theme of the film very strongly.

''The Abyss'' (1989)

Cameron's next project stemmed from an idea that had come up during a high school biology class. The story of oil-rig workers who discover otherworldly underwater creatures became the basis of Cameron's screenplay for ''The Abyss'', which cast Ed Harris, Mary Elizabeth Mastrantonio and Michael Biehn. Initially budgeted at $41 million U.S. (though the production ran considerably over budget), it was considered to be one of the most expensive films of its time, and required cutting-edge effects technology. Because much of the film takes place underwater and the technology wasn't advanced enough to digitally create an underwater environment, Cameron chose to shoot much of the movie "reel-for-real", at depths of up to . For creation of the sets, the containment building of an unfinished nuclear power plant was converted, and two huge tanks were used. The main tank was filled with of water, and the second with . The cast and crew resided there for much of the shooting.

''Terminator 2: Judgment Day'' (1991)

After the success of ''The Terminator'', there had always been talks about a sequel to continue the story of Sarah Connor and her struggle against machines from the future. Although Cameron had come up with a core idea for the sequel, and Schwarzenegger expressed interest in continuing the story, there were still problems regarding who had the rights to the story, as well as the logistics of the special effects needed to make the sequel. Finally, in late-1980s, Mario Kassar of Carolco Pictures secured the rights to the sequel, allowing Cameron to greenlight production of the film, now called ''Terminator 2: Judgment Day''.

For the film, Linda Hamilton reprised her iconic role of Sarah Connor. In addition, Schwarzenegger also returned in his role as The Terminator, but this time as a protector. Unlike the T-800, who is made of a metal endoskeleton, the new villain of the sequel, called the T-1000, was a more advanced Terminator made of liquid metal, and with polymorphic abilities. The T-1000 would also be much less bulky than the T-800. For the role, Cameron cast Robert Patrick, a sharp contrast to Schwarzenegger. Cameron explained, "I wanted someone who was extremely fast and agile. If the T-800 is a human Panzer tank, then the T-1000 is a Porsche."

Cameron had originally wanted to incorporate this advanced-model Terminator into the first film, but the special effects at the time were not advanced enough. The ground-breaking effects used in ''The Abyss'' to digitally depict the water tentacle convinced Cameron that his liquid metal villain was now possible.

TriStar Pictures agreed to distribute the film, but under a locked release date only about one year after the start of shooting. The movie, co-written by Cameron and his longtime friend, William Wisher, Jr., had to go from screenplay to finished film in just that amount of time. Like Cameron's previous film, it was one of the most expensive films of its era, with a budget of about $100 million. The biggest challenge of the movie was the special effects used in creating the T-1000. Nevertheless, the film was finished on time, and released to theaters on July 3, 1991.

''Terminator 2'', or ''T2'', as it was abbreviated, broke box-office records (including the opening weekend record for an R-rated film), earning over $200 million in the United States and Canada, and over $300 million in other territories, and became the highest-grossing film of that year. It won four Academy Awards: Best Makeup, Best Sound, Best Sound Effects Editing, and Best Visual Effects. It was also nominated for Best Cinematography and Best Film Editing, but lost both Awards to ''JFK''.

James Cameron announced a third Terminator film many times during the 1990s, but without coming out with any finished scripts. Kassar and Vajna purchased the rights to the Terminator franchise from a bankruptcy sale of Carolco's assets. ''Terminator 3: Rise of the Machines'' was eventually made and released in July 2003 without Cameron's involvement. Jonathan Mostow directed the film and Schwarzenegger returned as the Terminator.

Cameron reunited with the main cast of ''Terminator 2'' to film ''T2 3-D: Battle Across Time'', an attraction at Universal Studios Florida, Universal Studios Hollywood and Universal Studios Japan. It was released in 1996 and was a mini-sequel to ''Terminator 2: Judgment Day''. The show is in two parts: a prequel segment in which a spokesperson talks about Cyberdyne, and a main feature, in which the performers interact with a 3-D movie.

''True Lies'' (1994)

Before the release of ''T2'', Schwarzenegger came to Cameron with the idea of making a remake of the French comedy ''La Totale!'' Titled ''True Lies'', with filming beginning after ''T2'''s release, the story revolves around a secret-agent spy who leads a double life as a married man, whose wife believes he is a computer salesman. Schwarzenegger was cast as Harry Tasker, a spy charged with stopping a plan by a terrorist to use nuclear weapons against the United States. Jamie Lee Curtis and Eliza Dushku played the character's family, and Tom Arnold the sidekick.

Cameron's ''Lightstorm Entertainment'' signed on with Twentieth Century Fox for production of ''True Lies''. Made on a budget of $115 million and released in 1994, the film earned $146 million in North America, and $232 million abroad. The film received an Academy Award nomination for Best Visual Effects.

''Titanic'' (1997)

Cameron expressed interest in the famous sinking of the ship . He decided to script and film his next project based on this event. The picture revolved around a fictional romance story between two young lovers from different social classes who meet on board. Before production began, he took dives to the bottom of the Atlantic and shot actual footage of the ship underwater, which he inserted into the final film. Much of the film's dialogue was also written during these dives.

Subsequently, Cameron cast Leonardo DiCaprio, Kate Winslet, Billy Zane, Kathy Bates, Frances Fisher, Gloria Stuart, Bernard Hill, Jonathan Hyde, Victor Garber, Danny Nucci, David Warner, Suzy Amis and Bill Paxton as the films' principal cast. Cameron's budget for the film reached about $200 million, making it the most expensive movie ever made at the time. Before its release, the film was widely ridiculed for its expense and protracted production schedule.

Released to theaters on December 19, 1997, ''Titanic'' grossed less in its first weekend ($28.6 million) than in its second, ($35.4 million), an increase of 23.8%. This is unheard of for a widely released film, which is a testament to the movie's appeal. This was especially noteworthy, considering that the film's running time of more than three hours limited the number of showings each theater could schedule. It held the No. 1 spot on the box-office charts for months, eventually grossing a total of over $600 million in the United States and Canada and more than $1.8 billion worldwide. ''Titanic'' became the highest-grossing film ever made, until Cameron's 2009 film ''Avatar''. The CG visuals surrounding the sinking and destruction of the ship were considered spectacular. Despite criticism during production of the film, it received a record-tying 14 Oscar nominations (tied with ''All About Eve'') at the 1998 Academy Awards. It won 11 Oscars (also record-tying with ''Ben-Hur'' and later ''The Lord of the Rings: The Return of the King''), including Best Picture, Editing, Sound, Special Effects, Music and Score, and the Best Director award for Cameron. Upon receiving the award, Cameron exclaimed, "I'm king of the world!", in reference to one of the main characters' lines from the film. In March 2010, Cameron revealed that ''Titanic'' will be re-released in 3D in April 2012, in order to coincide with the 100th anniversary of the sinking of the actual ship.

''Spider-Man'' and ''Dark Angel'' (2000–2002)

Cameron had initially next planned to do a film of the comic book character Spider-Man, a project developed by Menahem Golan of Cannon Films. Columbia hired David Koepp to adapt Cameron's treatment into a screenplay, and Koepp's first draft is taken often word-for-word from Cameron's story, though later drafts were heavily rewritten by Koepp himself, Scott Rosenberg, and Alvin Sargent. Columbia preferred to credit David Koepp solely, and none of the scripts before or after his were ever examined by the Writers Guild of America, East to determine proper credit attribution. Cameron and other writers objected, but Columbia and the WGA prevailed. In its release in 2002, ''Spider-Man'' had its screenplay credited solely to Koepp.

Unable to make ''Spider-Man'', Cameron moved to television and created ''Dark Angel'', a superheroine-centered series influenced by cyberpunk, biopunk, contemporary superhero franchises, and third-wave feminism. Co-produced with Charles H. Eglee, ''Dark Angel'' starred Jessica Alba as Max Guevara, a genetically enhanced transgenic super-soldier created by a secretive organization. Cameron's work was said to "bring empowered female warriors back to television screens[...] by mixing the sober feminism of his ''The Terminator'' and ''Aliens'' characters with the sexed-up Girl Power of a Britney Spears concert." While a success in its first season, low ratings in the second led to its cancellation. Cameron himself directed the series finale, a two-hour episode wrapping up many of the series' loose ends.

Documentaries (2002–2009)

Cameron's recent projects have included undersea documentaries on the (''Expedition: Bismarck'', 2002) and the ''Titanic'' (''Ghosts of the Abyss'' (2003, in IMAX 3D) and ''Tony Robinson's Titanic Adventure'' (2005)). He was a producer on the 2002 film ''Solaris'', and narrated ''The Exodus Decoded''.

Cameron is a leading advocate for stereoscopic digital 3-D films. In a 2003 interview about his IMAX 3D documentary ''Ghosts of the Abyss'', he mentioned that he is "going to do everything in 3D now". He has made similar statements in other interviews. ''Ghosts of the Abyss'' and ''Aliens of the Deep'' (also an IMAX documentary) were both shot in 3-D and released by Walt Disney Pictures and Walden Media, and Cameron did the same for his new project, ''Avatar'' for 20th Century Fox & Sony Pictures' Columbia Pictures. He intends to use the same technology for ''The Dive'', ''Sanctum'' and an adaptation of the manga series ''Battle Angel Alita''.

Cameron was a co-founder and former CEO of Digital Domain, a visual effects production and technology company.

In addition, he plans to create a 3-D project about the first trip to Mars. ("I've been very interested in the Humans to Mars movement—the 'Mars Underground'—and I've done a tremendous amount of personal research for a novel, a miniseries, and a 3-D film.") He is on the science team for the 2011 Mars Science Laboratory.

Cameron announced on February 26, 2007, that he, along with his director, Simcha Jacobovici, have documented the unearthing of the Talpiot Tomb, which is alleged to be the tomb of Jesus. Unearthed in 1980 by Israeli construction workers, the names on the tomb are claimed, by Cameron, to correlate with the names of Jesus and several individuals closely associated with him. Cameron further claims to have DNA tests, archaeological evidence, and Biblical studies to back up his claim. The documentary, named ''The Lost Tomb of Jesus'', was broadcast on the Discovery Channel on March 4, 2007.

''Avatar'' (2009)

In June 2005, Cameron was announced to be working on a project tentatively titled "Project 880" (now known to be ''Avatar'') in parallel with another project, ''Battle Angel'' (an adaptation of the manga series Battle Angel Alita). Both movies were to be shot in 3D. By December, Cameron stated that he wanted to film ''Battle Angel'' first, followed by ''Avatar''. However in February 2006, he switched goals for the two film projects and decided to film ''Avatar'' first. He mentioned that if both films are successful, he would be interested in seeing a trilogy being made for both.

''Avatar'' had an estimated budget of over $300 million and was released on December 18, 2009. This marked his first feature film since 1997's ''Titanic''. It is composed almost entirely of computer-generated animation, using a more advanced version of the "performance capture" technique used by director Robert Zemeckis in ''The Polar Express''. James Cameron wrote an 80 page scriptment for ''Avatar'' in 1995 and announced in 1996 that he would make the film after completing ''Titanic''. In December 2006, Cameron explained that the delay in producing the film since the 1990s had been to wait until the technology necessary to create his project was advanced enough. The film was originally scheduled to be released in May 2009 but was pushed back to December 2009 to allow more time for post production on the complex CGI and to give more time for theatres worldwide to install 3D projectors. Cameron originally intended ''Avatar'' to be 3D-only. The film went on to break the record for highest-grossing film ever, beating Cameron's previous film ''Titanic''. ''Avatar'' also became the first movie to ever earn more than $2 billion worldwide. It was nominated for nine Academy Awards, including Best Picture and Best Director, and won three for Best Cinematography, Best Visual Effects and Best Art Direction. Cameron lost the award for Best Director to his ex-wife, Kathryn Bigelow, who also took Best Picture with her film ''The Hurt Locker''.

Cameron was declared as the highest earner in Hollywood for 2010 earning $257 million for his blockbuster hit, in a survey listing the top 40 earners by Vanity Fair.

Awards

Cameron received the Bradbury Award from the Science Fiction and Fantasy Writers of America in 1991—but, being primarily thought of as a genre filmmaker, he did not receive any major mainstream filmmaking awards prior to ''Titanic''. With ''Titanic'', Cameron received Academy Awards for Best Film Editing (shared with Conrad Buff and Richard A. Harris), Best Picture (shared with Jon Landau), and Best Director. He also won a Golden Globe Award for best director for the film.

In recognition of "a distinguished career as a Canadian filmmaker", Carleton University, Ottawa, awarded Cameron the honorary degree of Doctor of Fine Arts on June 13, 1998. Cameron accepted the degree in person and gave the Convocation Address.

He also received an honorary doctorate in October 1998 from Brock University in St. Catharines, Ontario, for his accomplishments in the international film industry.

In 1998, Cameron attended convocation to receive an honorary doctorate of Laws from Ryerson University, Toronto. The university awards its highest honor to those who have made extraordinary contributions in Canada, or internationally.

In 1999, Cameron received the honorary Doctor of Fine Arts degree from California State University, Fullerton, where he had been a student in the 1970s. He received the degree at the university's annual Commencement exercises that year, where he gave the keynote speech.

In recognition of his contributions to underwater filming and remote vehicle technology, the University of Southampton awarded Cameron the honorary degree of Doctor of the University. Cameron received his degree in person at the graduation ceremony in July 2004.

On June 3, 2008, it was announced that he would be inducted into Canada's Walk of Fame. On December 18, 2009, the same day ''Avatar'' was released worldwide, Cameron received the 2,396th star on the Hollywood Walk of Fame.

On February 28, 2010 James Cameron was honored with a Visual Effects Society (VES) Lifetime Achievement Award.

With ''Avatar'', Cameron has been nominated for three Academy Awards for Best Picture (shared with Jon Landau), Best Director and Best Film Editing (shared with John Refoua and Stephen E. Rivkin) and received the Golden Globe for Best Picture and Best Director. Cameron and ''Avatar'' lost the Academy Awards for Best Director and Best Picture to Cameron's former wife Kathryn Bigelow for her film, ''The Hurt Locker''.

On September 24, 2010 James Cameron was named Number 1 in The 2010 Guardian Film Power 100 list. In a list compiled by the British magazine New Statesman in September 2010, he was listed 30th in the list of "The World's 50 Most Influential Figures 2010".

Awards

''Rambo: First Blood Part II'' ''[[Aliens (film) ''[[Aliens (film) ''The Abyss'' ''Terminator 2: Judgment Day'' ''True Lies'' ''[[Titanic (1997 film) ''[[Titanic (1997 film) ''Ghosts of the Abyss'' ''Avatar (2009 film)

Year	! Film	! Role	! Notes
style="text-align:center;"	1984	''The Terminator''	Director, Writer
style="text-align:center;"	1985	|	Writer	1986	Aliens">Golden Raspberry Award
style="text-align:center;"	1986	Aliens'' ||	Director, Writer	Academy Award for Best Sound EditingAcademy Award for Best Visual EffectsNominated for Academy Award for Best ActressNominated for Academy Award for Best Original ScoreNominated for Academy Award for Best Sound MixingNominated for Academy Award for Best Film EditingNominated for Academy Award for Best Art Direction
style="text-align:center;"	1989	|	Director, Writer	Academy Award for Best Visual EffectsNominated for Academy Award for Best Art DirectionNominated for Academy Award for Best CinematographyNominated for Academy Award for Best Sound Mixing
style="text-align:center;"	1991	|	Director, Writer and Producer	Academy Award for Best MakeupAcademy Award for Best Sound MixingAcademy Award for Best Sound EditingAcademy Award for Best Visual EffectsNominated for Academy Award for Best CinematographyNominated for Academy Award for Best Film Editing
style="text-align:center;"	1994	|	Director, Writer and Producer	Nominated for 1997	Titanic">Academy Awards
style="text-align:center;"	1997	Titanic'' ||	Director, Writer, Producer and Editor	Academy Award for Best DirectorAcademy Award for Best PictureAcademy Award for Best Film EditingAcademy Award for Best CinematographyAcademy Award for Best Costume DesignAcademy Award for Best Visual EffectsAcademy Award for Best Sound MixingAcademy Award for Best Sound EditingAcademy Award for Best Original ScoreAcademy Award for Best Original SongAcademy Award for Best Art DirectionNominated for Academy Award for Best ActressNominated for Academy Award for Best Supporting ActressNominated for Academy Award for Best Makeup
style="text-align:center;"	2003	|	Director and Producer	Nominated by the Broadcast Film Critics Association for Best Documentary
style="text-align:center;"	2009	Avatar'' ||	Director, Writer, Producer and Editor	Academy Award for Best Cinematography Academy Award for Best Visual Effects Academy Award for Best Art DirectionNominated for Academy Award for Best PictureNominated for Academy Award for Best DirectorNominated for Academy Award for Best Film EditingNominated for Academy Award for Best Original ScoreNominated for Academy Award for Best Sound EditingNominated for Academy Award for Best Sound Mixing

Casting

Cameron often casts certain actors more than once in his films. Cameron has consistently worked with Bill Paxton, Michael Biehn, Lance Henriksen, Jenette Goldstein and Arnold Schwarzenegger.

Actor !! ''Xenogenesis (film)

Xenogenesis'' (1978) !! ''Piranha II: The Spawning'' (1981) !! ''The Terminator'' (1984) !! ''Aliens'' (1986) !! ''The Abyss'' (1989) !! ''Terminator 2: Judgment Day'' (1991) !! ''True Lies'' (1994) !! ''Titanic'' (1997) !! ''Expedition: Bismarck'' (2002) !! ''Ghosts of the Abyss'' (2003) !! ''Avatar'' (2009)!! ''Avatar 2'' (2014)!! ''Avatar 3'' (2015)

! Lance Henriksen

|

Bill Paxton

|

Michael Biehn

|

1

Earl Boen

|

Linda Hamilton

|

Arnold Schwarzenegger

|

Jenette Goldstein

|

Sigourney Weaver

|

Zoe Saldana

|

William Wisher, Jr.2

|

Sam Worthington

|

¹ His reprised role of Reese was cut from the theatrical release, but restored in the DVD's Special Edition Version. ² Although Wisher Jr. has written some of Cameron's works, he is listed in the above table as an actor.

Recurring themes

Throughout Cameron's career, several of his films have had recurring themes and subtexts. These include: the prospects of nuclear holocaust (the Skynet takeover scenario from both Terminator films), attempts to reconcile humanity with technology (as seen in ''Aliens'' and ''Terminator 2: Judgment Day''), humanity repeating the same mistakes, the dangers of corporate greed, strong female characters (Sarah Connor, Neytiri, and Ellen Ripley being the most famous), a strong romance subplot, the love of two worlds (The Terminator, Titanic, Avatar), anti-corporation (''Aliens'', ''Avatar''), anti-military (''The Abyss'', ''Avatar''), patchy 'families' forming during the plot (Aliens, Terminator 2: Judgment Day), self-sacrificing - that may or may not result in actual death/termination - for a loved one or for mankind (all of his feature films as of 2011), holding breath and the danger of suffocation (The Abyss, Terminator 2: Judgment Day, Titanic, Avatar) and an undercurrent of feminism. This was also present with Jamie Lee Curtis's character in ''True Lies'' and Kate Winslet's role in ''Titanic'', in which she served as the main protagonist and narrator.

While ''The Abyss'' dealt with deep sea exploration (shot on a studio set), Cameron himself became an expert in the field of deep sea wreckage exploration exploring the wreckage of Titanic and Bismarck. Cameron will return to this theme with ''The Dive'' (see Projects), shooting from a minisub.

So important is technology in Cameron's films that he waited years for the technical tools of the craft to advance sufficiently to realize his vision for ''Avatar'', for which he had special 3-D cameras developed.

Filmography

Cameron has contributed to many projects as either a writer, director, producer, or as a combination of the three.

Cameron's first film was the 1978 science fiction short film ''Xenogenesis'', which he directed, wrote and produced. Cameron's films have grossed a total of over $7 billion worldwide.

In addition to works of fiction, Cameron has directed and appeared in several documentaries including ''Ghosts of the Abyss'' and ''Aliens of the Deep''. He also contributed to a number of television series including ''Dark Angel'' and ''Entourage''. He plans to shoot a small drama film after the Avatar trilogy, just to prove that 3D works even for domestic dramas. His next movie is called Myth.

Personal life

Cameron has been married five times: to Sharon Williams (1978–1984), Gale Anne Hurd (1985–1989), Kathryn Bigelow (1989–1991), and Linda Hamilton (1997–1999, daughter Josephine born in 1993). Cameron dated Hamilton since 1991, but the two didn't marry until 1997. Cameron and Hamilton separated soon after, and he became a financial success with ''Titanic''; this success resulted in his $50 million divorce payment to Hamilton. He married Suzy Amis in 2000, and they have one son and two daughters. Cameron lives in Malibu, California with his wife.

Hurd was the producer of Cameron's ''The Terminator'', ''Aliens'', and ''The Abyss'', and the executive producer of ''Terminator 2: Judgment Day''. Hamilton played the role of Sarah Connor in both ''Terminator'' films. Amis played the part of Lizzy Calvert, Rose's granddaughter, in ''Titanic''. Both Cameron (''Avatar'') and Bigelow (''The Hurt Locker'') were nominated for the Oscar, Golden Globe, and BAFTA Award for Best Director for films released in 2009. Cameron won the Golden Globe, whilst Bigelow won the Oscar and the BAFTA for Best Director, becoming the first woman to win either.

Cameron is a member of the NASA Advisory Council and is working on the project to put cameras on an upcoming manned Mars mission. Cameron has also given speeches and raised money for the Mars Society, a non-profit organization lobbying for the colonization of Mars.

In June 2010, Cameron met in Washington with the EPA to discuss possible solutions to the 2010 BP oil spill. Later that week at the All Things Digital Conference, he attracted some notoriety when he stated, "Over the last few weeks I've watched...and [been] thinking, 'Those morons don't know what they're doing'." Reportedly, Cameron had offered BP help to plug the oil well, but they declined. The oil spill was eventually stopped using techniques similar to what Cameron recommended.

Although Cameron has lived his entire adult life in the United States, he remains a Canadian citizen. Cameron applied for American citizenship but withdrew his application after George W. Bush won the presidential election in 2004.

Cameron calls himself "Converted Agnostic", and says "I've sworn off agnosticism, which I now call cowardly atheism". As a child he described the Lord's Prayer as being a 'tribal chant'.

Reputation

Cameron has been labeled by one collaborator, author Orson Scott Card, as selfish and cruel. When asked about working with Cameron on the novelization of ''The Abyss'', Card said the experience was "hell on wheels. He was very nice to me, because I could afford to walk away. But he made everyone around him miserable, and his unkindness did nothing to improve the film in any way. Nor did it motivate people to work faster or better. And unless he changes his way of working with people, I hope he never directs anything of mine."

After working with Cameron on ''Titanic'', Kate Winslet decided she would not work with Cameron again unless she earned "a lot of money." She said that Cameron was a nice man, but she found his temper difficult to deal with. In an editorial, the British newspaper ''The Independent'' said that Cameron "is a nightmare to work with. Studios have come to fear his habit of straying way over schedule and over budget. He is notorious on set for his uncompromising and dictatorial manner, as well as his flaming temper.".

Sam Worthington, the latest lead actor to work with Cameron, stated on the ''Jay Leno Show'' that Cameron had very high expectations from everyone, and would often use a nail gun to nail the film crew's cell phones to a wall above an exit door in retaliation for unwanted ringing during production. Other actors, such as Bill Paxton and Sigourney Weaver, have praised Cameron's perfectionism. Weaver said of Cameron: "He really does want us to risk our lives and limbs for the shot, but he doesn't mind risking his own."

Appearances in media

''Entourage'' – Cameron appeared as himself. In the series' storyline, he is the director of a film based on the superhero Aquaman. Cameron's involvement in the project attracted protagonist Vincent Chase to the title role.

''The Muse''

''Saturday Night Live'' – In the episode hosted by Sigourney Weaver, Cameron appears as himself in an SNL Digital Short in which he presents Lorne Michaels with an idea for a new film that, much to Michaels' dismay, is a sequel to Laser Cats 4, Laser Cats 5 (starring Weaver), parodying ''Terminator'', ''Aliens'', ''Titanic'', and ''Avatar''. Cameron also appeared as himself when his longtime friend Bill Paxton hosted the show.

''Your Studio and You'' – Cameron appears in the short, gardening the Universal studio landscape.

References

Further reading

External links

James Cameron at The INK Conference

James Cameron at Northern Stars

Category:1954 births Category:Best Director Academy Award winners Category:Best Director Golden Globe winners Category:Best Film Editing Academy Award winners Category:Canadian expatriate film directors in the United States Category:Canadian film directors Category:Canadian atheists Category:Canadian emigrants to the United States Category:Canadian people of Scottish descent Category:Canadian screenwriters Category:English-language film directors Category:Living people Category:People from Kapuskasing Category:People from Niagara Falls, Ontario Category:People from Orange County, California Category:Producers who won the Best Picture Academy Award Category:Saturn Award winners Category:Special effects people Category:Canadian film producers Category:Canadian film editors Category:Canadian inventors

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name	Stevie Wonder
background	solo_singer
birth name	Stevland Hardaway Judkins
alias	Stevland Hardaway Morris, Little Stevie Wonder, Eivets Rednow
born	May 13, 1950Saginaw, Michigan, United States
origin	Detroit, Michigan, United States
instrument	Vocals, synthesizer, piano, keyboards, harmonica, clavinet, drums, bass guitar, congas, bongos, melodica, keytar, accordion
genre	Soul, pop, R&B;, funk, jazz
occupation	Singer-songwriter, multi-instrumentalist, record producer, activist
years active	1961–present
label	Tamla, Motown
website	}}

Stevland Hardaway Morris (previously Judkins; born May 13, 1950), known by his stage name Stevie Wonder, is an American singer-songwriter, multi-instrumentalist, record producer and activist. Blind since shortly after birth, Wonder signed with Motown Records' Tamla label at the age of eleven, and continues to perform and record for Motown to this day.

Among Wonder's best known works are singles such as "Superstition", "Sir Duke", "I Wish" and "I Just Called to Say I Love You". Well known albums also include ''Talking Book'', ''Innervisions'' and ''Songs in the Key of Life''. He has recorded more than thirty U.S. top ten hits and received twenty-two Grammy Awards, the most ever awarded to a male solo artist. Wonder is also noted for his work as an activist for political causes, including his 1980 campaign to make Martin Luther King, Jr.'s birthday a holiday in the United States. In 2009, Wonder was named a United Nations Messenger of Peace. In 2008, ''Billboard'' magazine released a list of the Hot 100 All-Time Top Artists to celebrate the US singles chart's fiftieth anniversary, with Wonder at number five.

Early life

Stevie Wonder was born in Saginaw, Michigan in 1950, the third of six children to Calvin Judkins and Lula Mae Hardaway. Owing to his being born six weeks premature, the blood vessels at the back of his eyes had not yet reached the front and their aborted growth caused the retinas to detach. The medical term for this condition is retinopathy of prematurity, or ROP, and while it may have been exacerbated by the oxygen pumped into his incubator, this was not the primary cause of his blindness.

When Stevie Wonder was four, his mother left his father and moved herself and her children to Detroit. She changed her name back to Lula Hardaway and later changed her son's surname to Morris, partly because of relatives. Morris has remained Stevie Wonder's legal name ever since. He began playing instruments at an early age, including piano, harmonica, drums and bass. During childhood he was active in his church choir.

Discovery and early Motown recordings

Ronnie White of The Miracles gives credit to his brother Gerald White for persistently nagging him to come to his friend's house in 1961 to check out Stevie Wonder. Afterward, White brought Wonder and his mother to Motown Records. Impressed by the young musician, Motown CEO Berry Gordy signed Wonder to Motown's Tamla label with the name Little Stevie Wonder. Before signing, producer Clarence Paul gave Wonder his trademark name after stating "we can't keep calling him the eighth wonder of the world". He then recorded the regional Detroit single, "I Call It Pretty Music, But the Old People Call It the Blues", which was released on Tamla in late 1961. Wonder released his first two albums, ''The Jazz Soul of Little Stevie'' and ''Tribute to Uncle Ray'', in 1962, to little success.

Music career

Early success: 1963–1971

By age 13, Wonder had a major hit, "Fingertips (Pt. 2)", a 1963 single taken from a live recording of a Motor Town Revue performance, issued on the album ''Recorded Live: The 12 Year Old Genius''. The song, featuring Wonder on vocals, bongos, and harmonica, and a young Marvin Gaye on drums, was a #1 hit on the U.S. pop and R&B; charts and launched him into the public consciousness.

In 1964, Stevie Wonder made his film debut in ''Muscle Beach Party'' as himself, credited as "Little Stevie Wonder". He returned in the sequel released five months later, ''Bikini Beach''. He performed on-screen in both films, singing "Happy Street," and "Happy Feelin' (Dance and Shout)," respectively.

Dropping the "Little" from his name, Wonder went on to have a number of other hits during the mid-1960s, including "Uptight (Everything's Alright)", "With a Child's Heart", and "Blowin' in the Wind", a Bob Dylan cover, co-sung by his mentor, producer Clarence Paul. He also began to work in the Motown songwriting department, composing songs both for himself and his label mates, including "Tears of a Clown", a number one hit performed by Smokey Robinson & the Miracles.

In 1968 he recorded an album of instrumental soul/jazz tracks, mostly harmonica solos, under the pseudonym (and title) ''Eivets Rednow'', which is "Stevie Wonder" spelled backwards. The album failed to get much attention, and its only single, a cover of "Alfie", only reached number 66 on the U.S. Pop charts and number 11 on the U.S. Adult Contemporary charts. Nonetheless, he managed to score several hits between 1968 and 1970 such as "I Was Made to Love Her"; "For Once in My Life" and "Signed, Sealed, Delivered I'm Yours". In September 1970, at the age of 20, Wonder married Syreeta Wright, a songwriter and former Motown secretary. Wright and Wonder co-wrote the songs on the next album, ''Where I'm Coming From'', which did not succeed in the charts. Reaching his twenty-first birthday on May 13, 1971, he allowed his Motown contract to expire.

In 1970, Wonder co-wrote, and played numerous instruments on the hit "It's a Shame" for fellow Motown act The Spinners. His contribution was meant to be a showcase of his talent and thus a weapon in his ongoing negotiations with Gordy about creative autonomy.

Classic period: 1972–1976

Wonder independently recorded two albums, which he used as a bargaining tool while negotiating with Motown. Eventually the label agreed to his demands for full creative control and the rights to his own songs. The 120-page contract was a precedent at Motown and gave Wonder a much higher royalty rate. Wonder returned to Motown in March 1972 with ''Music of My Mind''. Unlike most previous albums on Motown, which usually consisted of a collection of singles, B-sides and covers, ''Music of My Mind'' was a full-length artistic statement with songs flowing together thematically. Wonder's lyrics dealt with social, political, and mystical themes as well as standard romantic ones, while musically Wonder began exploring overdubbing and recording most of the instrumental parts himself. ''Music of My Mind'' marked the beginning of a long collaboration with Tonto's Expanding Head Band (Robert Margouleff and Malcolm Cecil).

Released in late 1972, ''Talking Book'' featured the No. 1 hit "Superstition", which is one of the most distinctive and famous examples of the sound of the Hohner clavinet keyboard. The song features a rocking groove that garnered Wonder an additional audience on rock radio stations. ''Talking Book'' also featured "You Are the Sunshine of My Life", which also peaked at No. 1. During the same time as the album's release, Stevie Wonder began touring with the Rolling Stones to alleviate the negative effects from pigeon-holing as a result of being an R&B; artist in America. Between them, the two songs won three Grammy Awards. On an episode of the children's television show ''Sesame Street'' that aired in April 1973, Wonder and his band performed "Superstition", as well as an original song called "Sesame Street Song", which demonstrated his abilities with the "talk box".

''Innervisions'', released in 1973, featured "Higher Ground" (#4 on the pop charts) as well as the trenchant "Living for the City" (#8). Both songs reached No. 1 on the R&B; charts. Popular ballads such as "Golden Lady" and "All in Love Is Fair" were also present, in a mixture of moods that nevertheless held together as a unified whole. ''Innervisions'' generated three more Grammy Awards, including Album of the Year. The album is ranked #23 on ''Rolling Stone Magazine's'' 500 Greatest Albums of All Time. Wonder had become the most influential and acclaimed black musician of the early 1970s.

On August 6, 1973, Wonder was in a serious automobile accident while on tour in North Carolina, when a car in which he was riding hit the back of a truck. This left him in a coma for four days and resulted in a partial loss of his sense of smell and a temporary loss of sense of taste. Despite the setback, Wonder re-appeared in concert at Madison Square Garden in March 1974 with a performance that highlighted both up-tempo material and long, building improvisations on mid-tempo songs such as "Living for the City". The album ''Fulfillingness' First Finale'' appeared in July 1974 and set two hits high on the pop charts: the #1 "You Haven't Done Nothin'" and the Top Ten "Boogie On Reggae Woman". The Album of the Year was again one of three Grammys won.

The same year Wonder took part in a Los Angeles jam session which would become known by the bootleg album ''A Toot and a Snore in '74''. He also co-wrote and produced the Syreeta Wright album ''Stevie Wonder Presents: Syreeta''.

On October 4, 1975, Wonder performed at the historical "Wonder Dream Concert" in Kingston, Jamaica, a benefit for the Jamaican Institute for the Blind.

By 1975, in his 25th year, Stevie Wonder had won two consecutive Grammy Awards: in 1974 for ''Innervisions'' and in 1975 for ''Fulfillingness' First Finale''. In 1975 he featured on the album ''It's My Pleasure'' by Billy Preston, playing harmonica on two tracks.

The double album-with-extra-EP ''Songs in the Key of Life'', was released in September 1976. Sprawling in style, unlimited in ambition, and sometimes lyrically difficult to fathom, the album was hard for some listeners to assimilate, yet is regarded by many as Wonder's crowning achievement and one of the most recognizable and accomplished albums in pop music history. The album became the first of an American artist to debut straight at #1 in the ''Billboard'' charts, where it remained for 14 non-consecutive weeks. Two tracks, became #1 Pop/R&B; hits "I Wish" and "Sir Duke". The baby-celebratory "Isn't She Lovely?" was written about his newborn daughter Aisha, while songs such as "Love's in Need of Love Today" (which years later Wonder would perform at the post-September 11, 2001 ''America: A Tribute to Heroes'' telethon) and "Village Ghetto Land" reflected a far more pensive mood. ''Songs in the Key of Life'' won Album of the Year and two other Grammys. The album ranks 56th on ''Rolling Stone Magazine'''s 500 Greatest Albums of All Time.

After such a concentrated and sustained level of creativity, Wonder stopped recording for three years, releasing only the 3 LP ''Looking Back'', an anthology of his first Motown period. The albums Wonder released during this period were very influential on the music world: the 1983 ''Rolling Stone Record Guide'' said they "pioneered stylistic approaches that helped to determine the shape of pop music for the next decade"; ''Rolling Stone'' magazine's 2003 list of the 500 Greatest Albums of All Time included four of the five albums, with three in the top 90; and in 2005, Kanye West said of his own work, "I'm not trying to compete with what's out there now. I'm really trying to compete with ''Innervisions'' and ''Songs in the Key of Life''. It sounds musically blasphemous to say something like that, but why not set that as your bar?"

Commercial period: 1979–1990

It was in Wonder's next phase that he began to commercially reap the rewards of his legendary classic period. The '80s saw Wonder scoring his biggest hits and reaching an unprecedented level of fame evidenced by increased album sales, charity participation, high-profile collaborations, political impact, and television appearances.

When Wonder did return, it was with the soundtrack album ''Journey through the Secret Life of Plants'' (1979), featured in the film ''The Secret Life of Plants''. Mostly instrumental, the album was composed using the Computer Music Melodian, an early sampler. Wonder toured briefly in support of the album, and used a Fairlight CMI sampler on stage. In this year Wonder also wrote and produced the dance hit "Let's Get Serious", performed by Jermaine Jackson and (ranked by ''Billboard'' as the #1 R&B; single of 1980).

''Hotter than July'' (1980) became Wonder's first platinum-selling single album, and its single "Happy Birthday" was a successful vehicle for his campaign to establish Dr. Martin Luther King's birthday as a national holiday. The album also included "Master Blaster (Jammin')", "I Ain't Gonna Stand for It", and the sentimental ballad, "Lately", which was later covered by Jodeci and S Club 7.

In 1982, Wonder released a retrospective of his '70s work with ''Stevie Wonder's Original Musiquarium'', which included four new songs: the ten-minute funk classic "Do I Do" (which featured Dizzy Gillespie), "That Girl" (one of the year's biggest singles to chart on the R&B; side), "Front Line", a narrative about a soldier in the Vietnam War that Stevie Wonder wrote and sang in the 1st person, and "Ribbon in the Sky", one of his many classic compositions. Wonder also gained a #1 hit that year in collaboration with Paul McCartney in their paean to racial harmony, "Ebony and Ivory".

In 1983, Wonder performed the song "Stay Gold", the theme to Francis Ford Coppola's film adaptation of S.E. Hinton's novel ''The Outsiders''. Wonder wrote the lyrics.

In 1983, Wonder scheduled an album to be entitled "People Work, Human Play." The album never surfaced and instead 1984 saw the release of Wonder's soundtrack album for ''The Woman in Red''. The lead single, "I Just Called to Say I Love You", was a #1 pop and R&B; hit in both the United States and the United Kingdom, where it was placed 13th in the list of best-selling singles in the UK published in 2002. It went on to win an Academy Award for "Best Song" in 1985. The album also featured a guest appearance by Dionne Warwick, singing the duet "It's You" with Stevie and a few songs of her own. The following year's ''In Square Circle'' featured the #1 pop hit "Part-Time Lover". The album also has a Top 10 Hit with "Go Home." It also featured the ballad "Overjoyed" which was originally written for ''Journey Through the Secret Life of Plants'', but didn't make the album. He performed "Overjoyed" on ''Saturday Night Live'' when he was the host. He was also featured in Chaka Khan's cover of Prince's "I Feel For You", alongside Melle Mel, playing his signature harmonica. In roughly the same period he was also featured on harmonica on Eurythmics' single, "There Must Be an Angel (Playing with My Heart)" and Elton John's "I Guess That's Why They Call It The Blues".

By 1985, Stevie Wonder was an American icon, the subject of good-humored jokes about blindness and affectionately impersonated by Eddie Murphy on ''Saturday Night Live''. Wonder sometimes joined in the jokes himself such as in ''The Motown Revue'' with Smokey Robinson. He was in a featured duet with Bruce Springsteen on the all-star charity single for African Famine Relief, "We Are the World", and he was part of another charity single the following year (1986), the AIDS-inspired "That's What Friends Are For". He also played the harmonica on the album ''Dreamland Express'' by John Denver in the song "If Ever", a song Wonder co-wrote with Stephanie Andrews. He also wrote the track "I Do Love You" for The Beach Boys' 1985 self-titled album. Stevie Wonder also played the harmonica on a track called "Can't Help Lovin' That Man" from "Showboat" on "The Broadway Album" by Barbra Streisand.

In 1986, Stevie Wonder appeared on ''The Cosby Show'', as himself, in the episode "A Touch of Wonder".

In 1987, Wonder appeared on Michael Jackson's ''Bad'' album on the duet "Just Good Friends". Michael Jackson also sang a duet with him titled "Get It" on Wonder's 1987 album ''Characters''. This was a minor hit single, as were "Skeletons" and "You Will Know". In the fall of 1988, Wonder dueted with Julio Iglesias on the hit single "My Love", which appeared on Iglesias' album ''Non Stop''.

Later career: 1991–2001

thumb|Stevie Wonder at the Grammy Awards of 1990 After 1987's ''Characters'' LP, Wonder continued to release new material, but at a slower pace. He recorded a soundtrack album for Spike Lee's film ''Jungle Fever'' in 1991. From this album, singles and videos were released for "Gotta Have You" and "These Three Words". The B-side to the "Gotta Have You" single was "Feeding Off The Love Of The Land", which was played during the end credits of the movie ''Jungle Fever'' but was not included on the soundtrack. A piano and vocal version of "Feeding Off The Love Of The Land" was also released on the ''Nobody's Child: Romanian Angel Appeal'' compilation. It is rumored that "Feeding Off The Love Of The Land" was originally intended for release on ''Fulfillingness' First Finale Volume Two'', a project that has never been confirmed as completed.

''Conversation Peace'' and the live album ''Natural Wonder'' were also released in the 1990s. The former received its European launch at a high-profile March 1995 press conference in Paris, where Stevie mentioned how the tearing down of The Wall between East and West Berlin and the desire for a united Europe had played a significant part in the inspiration behind the album.

In 1994, Wonder made a guest appearance on the KISS cover album ''KISS My Ass: Classic KISS Regrooved'', playing harmonica and supplying background vocals for the song "Deuce", performed by Lenny Kravitz.

In 1996, Stevie Wonder's ''Songs in the Key of Life'' was selected as a documentary subject for the Classic Albums documentary series. This series dedicates 60 minutes to one groundbreaking record per feature. The same year, he performed John Lennon's song "Imagine" in the closing ceremony of the Atlanta Olympic Games. The same year, Wonder performed in a remix of "Seasons of Love" from the Jonathan Larson musical ''Rent''.

In 1997, Wonder collaborated with Babyface for a song about abuse (domestic violence) called "How Come, How Long" which was nominated for an award.

In December 1999, Wonder announced that he was interested in pursuing an intraocular retinal prosthesis to partially restore his sight. That same year, Wonder was featured on harmonica in the Sting song "Brand New Day".

In 2000, Stevie Wonder contributed two new songs to the soundtrack for Spike Lee's ''Bamboozled'' album ("Misrepresented People" and "Some Years Ago").

Current career: 2002–present

In March 2002, Wonder performed at the opening ceremonies of the 2002 Winter Paralympics in Salt Lake City.

On July 2, 2005, Wonder performed in the Live 8 concert in Philadelphia.

Wonder's first new album in ten years, ''A Time to Love'', was released on October 18, 2005, after having been pushed back from first a May, and then a June release. The album was released electronically on September 27, 2005, exclusively on Apple's iTunes Music Store. The first single, "So What the Fuss", was released in April. A second single, "From the Bottom of My Heart" was a hit on adult-contemporary R&B; radio. The album also featured a duet with India.Arie on the title track "A Time to Love".

Wonder performed at the pre-game show for Super Bowl XL in Detroit in early 2006, singing various hit singles (with his four-year-old son on drums) and accompanying Aretha Franklin during "The Star Spangled Banner".

In March 2006, Wonder received new national exposure on the top-rated ''American Idol'' television program. Wonder performed "My Love Is on Fire" (from ''A Time To Love'') live on the show itself. In June 2006, Stevie Wonder made a guest appearance on Busta Rhymes' new album, ''The Big Bang'' on the track "Been through the Storm". He sings the refrain and plays the piano on the Dr. Dre and Sha Money XL produced track. He appeared again on the last track of Snoop Dogg's new album ''Tha Blue Carpet Treatment'', "Conversations". The song is a remake of "Have a Talk with God" from ''Songs in the Key of Life''.

In 2006, Wonder staged a duet with Andrea Bocelli on the latter's album ''Amore'', offering harmonica and additional vocals on "Canzoni Stonate". Stevie Wonder also performed at Washington, D.C.'s 2006 "A Capitol Fourth" celebration.

On August 2, 2007, Stevie Wonder announced the A Wonder Summer's Night 13 concert tour—his first U.S. tour in over ten years. This tour was inspired by the recent passing of his mother, as he stated at the conclusion of the tour on December 9 at the Jobing.com Arena in Glendale, Arizona.

On August 28, 2008, Wonder performed at the Democratic National Convention at Invesco Field at Mile High in Denver, Colorado. Songs included a previously unreleased song, "Fear Can't Put Dreams to Sleep," and "Signed, Sealed, Delivered I'm Yours".

On September 8, 2008, Wonder started the European leg of his Wonder Summer's Night Tour, the first time he had toured Europe in over a decade. His opening show was at the National Indoor Arena in Birmingham. During the tour, Wonder played eight UK gigs; four at The O2 Arena in London, two in Birmingham and two at the M.E.N. Arena in Manchester. Stevie Wonder's other stops in the tour's European leg also found him performing in Holland (Rotterdam), Sweden (Stockholm), Germany (Cologne, Mannheim and Munich), Norway (Hamar), France (Paris), Italy (Milan) and Denmark (Aalborg). Wonder also toured Australia (Perth, Adelaide, Melbourne, Sydney and Brisbane) and New Zealand (Christchurch, Auckland and New Plymouth) in October and November.

By June 2008, Wonder was working on two projects simultaneously: a new album titled ''The Gospel Inspired By Lula'' which will deal with the various spiritual and cultural crises facing the world, and ''Through The Eyes Of Wonder'', an album which Wonder has described as a performance piece that will reflect his experience as a blind man. Wonder was also keeping the door open for a collaboration with Tony Bennett and Quincy Jones concerning a rumored jazz album. If Wonder was to join forces with Bennett, it would not be for the first time; Their rendition of "For Once in My Life" earned them a Grammy for best pop collaboration with vocals in 2006. Wonder's harmonica playing can be heard on the 2009 Grammy-nominated "Never Give You Up" featuring CJ Hilton and Raphael Saadiq.

Wonder performed on January 18, 2009 at the We Are One: The Obama Inaugural Celebration at the Lincoln Memorial. On Inauguration Day, January 20, 2009, Wonder performed the song "Brand New Day" with musician Sting. He performed his new song "All About the Love Again" and, with other musical artists, "Signed, Sealed & Delivered". On February 23, 2009, Wonder became the second recipient of the Library of Congress's Gershwin Prize for pop music, honored by President Barack Obama at the White House.

On July 7, 2009, Wonder performed "Never Dreamed You'd Leave In Summer" and "They Won't Go When I Go" at the Staples Center for Michael Jackson's memorial service. On October 29, 2009, Wonder performed at the 25th anniversary concert for the Rock and Roll Hall of Fame. Among performing songs with B.B. King, Wonder performed Michael Jackson's 'The Way You Make Me Feel', during which he became emotionally distraught and was unable to perform until he regained his composure.

On January 22, 2010, Wonder performed Bridge Over Troubled Water for the Hope for Haiti Now: A Global Benefit for Earthquake Relief event to help victims of the earthquake in Port-au-Prince on January 12, 2010.

On March 6, 2010, Wonder was awarded the Commander of the Arts and Letters by French Culture Minister Frédéric Mitterrand. Wonder had been due to receive this award in 1981, but scheduling problems prevented this from happening. A lifetime achievement award was also given to Wonder on the same day, at France's biggest music awards.

His 2010 tour included a two-hour set at the Bonnaroo Music Festival in Manchester, Tennessee, a stop at London's "Hard Rock Calling" in Hyde Park, and appearances at England's Glastonbury Festival, Rotterdam's North Sea Jazz Festival, and a concert in Bergen, Norway and a concert in Dublin, Ireland at the O2 Arena on June 24.

In February 2011, the Apollo Theater announced that Stevie Wonder will be the next in line for the Apollo Legends Hall of Fame. The theater said that the singer will be inducted into the New York City institution's Hall of Fame in five months.

On June 25, 2011, Wonder performed at the opening ceremony of the 2011 Special Olympics World Summer Games in Athens, Greece.

Legacy

A prominent figure in popular music during the latter half of the 20th century, Wonder has recorded more than thirty U.S. top ten hits and won twenty-two Grammy Awards (the most ever won by a solo artist) as well as a Lifetime Achievement Award. He has also won an Academy Award for Best Song, and been inducted into both the Rock and Roll and Songwriters halls of fame. He has also been awarded the Polar Music Prize. American music magazine Rolling Stone named him the ninth greatest singer of all time. In June 2009 he became the fourth artist to receive the Montreal Jazz Festival Spirit Award.

He has ten U.S. number-one hits on the pop charts as well as 20 R&B; number one hits, and album sales totaling more than 100 million units. Wonder has recorded several critically acclaimed albums and hit singles, and writes and produces songs for many of his label mates and outside artists as well. Wonder plays the piano, synthesizer, harmonica, congas, drums, bass guitar, bongos, organ, melodica, and clavinet. In his childhood, he was best known for his harmonica work, but today he is better known for his keyboard skills and vocal ability. Wonder was the first Motown artist and second African American musician to win an Academy Award for Best Original Song for his 1984 hit single "I Just Called to Say I Love You" from the movie ''The Woman in Red''.

Classic period

Wonder's "classic period" is generally agreed to consist of the concept albums he created in the early- to mid-1970s, peaking in 1976. Some observers see in 1971's ''Where I'm Coming From'' certain indications of the beginning of the classic period, such as its new funky keyboard style which Wonder used throughout the classic period. Some determine Wonder's first "classic" album to be 1972's ''Music of My Mind'', on which he attained personal control of production, and on which he programmed a series of songs integrated with one another to make a concept album. Others skip over early 1972 and determine the beginning of the classic period to be ''Talking Book'' in late 1972, the album in which Wonder "hit his stride".

Impact

Wonder's songs are renowned for being quite difficult to sing. He has a very developed sense of harmony and uses many extended chords utilizing extensions such as ninths, elevenths, thirteenths, diminished fifths, etc. in his compositions. Many of his melodies make abrupt, unpredictable changes. Many of his vocal melodies are also melismatic, meaning that a syllable is sung over several notes. Some of his best known and most frequently covered songs are played in keys which are more often found in jazz than in pop and rock. For example, "Superstition", "Higher Ground" and "I Wish" are in the key of E flat minor, and feature distinctive riffs in the E flat minor pentatonic scale (i.e. largely on the black notes of the keyboard).

Wonder played a large role in bringing synthesizers to the forefront of popular music. He developed many new textures and sounds never heard before. In 1981, Wonder became the first owner of an E-mu Emulator.

Songs sampled by other musicians

Wonder has recorded with Jon Gibson, a Christian Soul musician, on a remake of his own song, "Have a Talk With God" (from the 1989 album ''Body & Soul''), covered by Gibson in which Wonder plays harmonica. The two men met in the early 1980s through a shared music agent (Bill Wolfer).

Red Hot Chili Peppers covered "Higher Ground" in 1989 on their ''Mother's Milk'' album. Stevie Ray Vaughan & Double Trouble covered "Superstition" and Wonder made a cameo appearance in the official music video for the song.

De La Soul sampled "Hey Love" in their song "Talkin' Bout Hey Love" on their 1991 album De La Soul Is Dead.

"Don't You Worry 'bout a Thing" was rendered by English band Incognito in 1992 and John Legend covered this song for the 2005 film, ''Hitch''. George Michael and Mary J. Blige covered "As" in the late 1990s. In 1999, Salome De Bahia made a Brazilian version of "Another Star". Tupac Shakur sampled "That Girl" for his hit song "So Many Tears".

"Pastime Paradise" would become an interpolation for Coolio's "Gangsta's Paradise" while Will Smith would use "I Wish" as the basis for the theme song to his movie, ''Wild Wild West''. The elements of "Love's In Need of Love Today" were used by 50 Cent in the song "Ryder Music", and Warren G sampled "Village Ghetto Land" for his song "Ghetto Village".

Mary Mary, did a cover of his song, "You Will Know" on their 2002 album, ''Incredible''. Australian soul artist Guy Sebastian recorded a cover of "I Wish" on his ''Beautiful Life'' album. In 2003, Raven-Symoné recorded a cover of "Superstition" for the soundtrack to Disney's ''The Haunted Mansion''. In 2005, Canadian singer Dave Moffatt, from the group The Moffatts, sang the song "Overjoyed" from the ''In Square Circle'' album on ''Canadian Idol''. Clay Aiken performed "Isn't She Lovely?" in the episode "My Life in Four Cameras" of ''Scrubs''.

Personal life

Wonder has been married twice: to Motown singer Syreeta Wright from 1970 until their divorce in 1972; and since 2001, to fashion designer Kai Milla Morris. He has seven children from his two marriages and several relationships.

His daughter Aisha Morris (born on February 2, 1975, with Yolanda Simmons as mother) was the inspiration for his hit single "Isn't She Lovely." Aisha Morris is a singer who has toured with her father and accompanied him on recordings, including his 2005 album, ''A Time 2 Love''. Wonder has two sons with Kai Milla Morris; the older is named Kailand and he occasionally performs as a drummer on stage with his father. The younger son, Mandla Kadjay Carl Stevland Morris, was born May 13, 2005, his father's 55th birthday. In May 2006, Wonder's mother died in Los Angeles, at the age of 76. During his September 8, 2008 UK concert in Birmingham, he spoke of his decision to begin touring again following his loss. "I want to take all the pain that I feel and celebrate and turn it around".

Wonder's Taxi Productions owns Los Angeles radio station KJLH.

Charting discography

Top 40 singles

style="width:28px;" rowspan="2"	Year	Title	Chart positions
! style="vertical-align:top; width:30px;"	! style="vertical-align:top; width:30px;"		! style="vertical-align:top; width:30px;"	! style="vertical-align:top; width:30px;"	! style="vertical-align:top; width:30px;"
	1963	"Fingertips	Fingertips – Pt. 2"
	"Uptight (Everything's Alright)"
"Blowin' in the Wind"
	1967	"I Was Made to Love Her (song)	I Was Made to Love Her"
	"For Once in My Life"
"Shoo-Be-Doo-Be-Doo-Da-Day"
"Yester-Me, Yester-You, Yesterday"
	"Never Had a Dream Come True"
"Signed, Sealed, Delivered I'm Yours"
"Heaven Help Us All"
	"We Can Work It Out"
"If You Really Love Me"
	"Superwoman (Where Were You When I Needed You)"
	"You Are the Sunshine of My Life"
"Living for the City"
	"He's Misstra Know It All"
"You Haven't Done Nothin'" (with The Jackson 5)
"Boogie On Reggae Woman"
"Sir Duke"
"Another Star"
	1979	"Send One Your Love"
	"Master Blaster (Jammin')"
"I Ain't Gonna Stand for It"
	"Do I Do"
"Ebony and Ivory" (with Paul McCartney)
"Ribbon in the Sky"
	1984	"I Just Called to Say I Love You"
	"Part-Time Lover"
"That's What Friends Are For" (with Dionne Warwick, Elton John and Gladys Knight)
"Love Light in Flight"
	"Go Home"
"Land of La La"
	1987	"Skeletons (Stevie Wonder song)	Skeletons"
"My Eyes Don't Cry"
"You Will Know"
	1989	"With Each Beat of My Heart"
	1990	"Keep Our Love Alive"
	1992	"These Three Words"
	1995
	"So What the Fuss"
"From the Bottom of My Heart"

U.S. and UK albums

{|class="wikitable" |- ! style="width:28px;" rowspan="2"| Year ! style="width:250px;" rowspan="2"| Album ! colspan="3"| Chart positions |- ! style="vertical-align:top; width:30px;"| US ! style="vertical-align:top; width:30px;"| US R&B; ! style="vertical-align:top; width:30px;"| UK |- |1963 |''Recorded Live: The 12 Year Old Genius'' | style="text-align:center;"| 1 | style="text-align:center;"| – | style="text-align:center;"| – |- |1966 |''Up-Tight'' | style="text-align:center;"| 33 | style="text-align:center;"| 2 | style="text-align:center;"| – |- |1966 |''Down to Earth'' | style="text-align:center;"| 72 | style="text-align:center;"| 8 | style="text-align:center;"| – |- |1967 |''I Was Made to Love Her'' | style="text-align:center;"| 45 | style="text-align:center;"| 7 | style="text-align:center;"| – |- |1968 |''For Once in My Life'' | style="text-align:center;"| 50 | style="text-align:center;"| 4 | style="text-align:center;"| – |- |1969 |''My Cherie Amour'' | style="text-align:center;"| 34 | style="text-align:center;"| 3 | style="text-align:center;"| 17 |- |1970 |''Signed, Sealed, and Delivered'' | style="text-align:center;"| 25 | style="text-align:center;"| 7 | style="text-align:center;"| – |- |1971 |''Where I'm Coming From'' | style="text-align:center;"| – | style="text-align:center;"| 7 | style="text-align:center;"| – |- |1972 |''Music of My Mind'' | style="text-align:center;"| 21 | style="text-align:center;"| 6 | style="text-align:center;"| – |- |1972 |''Talking Book'' | style="text-align:center;"| 3 | style="text-align:center;"| 1 | style="text-align:center;"| 16 |- |1973 |''Innervisions'' | style="text-align:center;"| 4 | style="text-align:center;"| 1 | style="text-align:center;"| 6 |- |1974 |''Fulfillingness' First Finale'' | style="text-align:center;"| 1 | style="text-align:center;"| 1 | style="text-align:center;"| 5 |- |1976 |''Songs in the Key of Life | style="text-align:center;"| 1 | style="text-align:center;"| 1 | style="text-align:center;"| 2 |- |1979 |''Journey through the Secret Life of Plants'' | style="text-align:center;"| 4 | style="text-align:center;"| 4 | style="text-align:center;"| 7 |- |1980 |''Hotter than July'' | style="text-align:center;"| 2 | style="text-align:center;"| 1 | style="text-align:center;"| 2 |- |1982 |''Stevie Wonder's Original Musiquarium | style="text-align:center;"| 4 | style="text-align:center;"| 1 | style="text-align:center;"| 8 |- |1984 |''The Woman in Red'' | style="text-align:center;"| 4 | style="text-align:center;"| 1 | style="text-align:center;"| 2 |- |1985 |''In Square Circle'' | style="text-align:center;"| 5 | style="text-align:center;"| 1 | style="text-align:center;"| 5 |- |1987 |''Characters'' | style="text-align:center;"| 17 | style="text-align:center;"| 1 | style="text-align:center;"| 33 |- |1995 |''Conversation Peace'' | style="text-align:center;"| 17 | style="text-align:center;"| 2 | style="text-align:center;"| 8 |- |1996 |''Natural Wonder'' | style="text-align:center;"| – | style="text-align:center;"| 88 | style="text-align:center;"| – |- |1996 |''Song Review A Greatest Hits Collection'' | style="text-align:center;"| – | style="text-align:center;"| 100 | style="text-align:center;"| 19 |- |2000 |''At the Close of a Century'' | style="text-align:center;"| – | style="text-align:center;"| 100 | style="text-align:center;"| – |- |2002 |''The Definitive Collection'' | style="text-align:center;"| 35 | style="text-align:center;"| 28 | style="text-align:center;"| – |- |2004 |''Best Of Stevie Wonder: 20th Century Masters Christmas Collection'' | style="text-align:center;"| – | style="text-align:center;"| 90 | style="text-align:center;"| – |- |2005 |''A Time to Love'' | style="text-align:center;"| 5 | style="text-align:center;"| 2 | style="text-align:center;"| 24 |- |2007 |''Number 1's'' | style="text-align:center;"| 171 | style="text-align:center;"| 40 | style="text-align:center;"| 23 |}

Awards and recognition

Grammy Awards

Wonder has received 25 Grammy Awards: including a Lifetime Achievement Award

!Year

|	Award	Title
1973	Grammy Award for Best R&B; Song>Best Rhythm & Blues Song
1973	Grammy Award for Best Male R&B; Vocal Performance>Best R&B; Vocal Performance, Male
1973	Grammy Award for Best Male Pop Vocal Performance>Best Pop Vocal Performance, Male
1973	Grammy Award for Album of the Year>Album of the Year
1973	Best Producer*
1974	Best Rhythm & Blues Song
1974	Best Male R&B; Vocal Performance
1974	Best Male Pop Vocal Performance
1974	Grammy Award for Album of the Year>Album of the Year
1974	Best Producer*
1976	Best Male R&B; Vocal Performance
1976	Best Male Pop Vocal Performance
1976	Grammy Award for Producer of the Year, Non-Classical>Best Producer of the Year*
1976	Album of the Year
1985	Best Male R&B; Vocal Performance
1986	Grammy Award for Best Pop Performance by a Duo or Group with Vocal>Best Pop Performance By A Duo Or Group With Vocal ''(awarded to Dionne Warwick, Elton John, Gladys Knight, and Wonder)
1995	Best Rhythm & Blues Song
1995	Best Male R&B; Vocal Performance
1996	Grammy Lifetime Achievement Award
1998	Grammy Award for Best Instrumental Arrangement Accompanying Vocalist(s)>Best Instrumental Arrangement Accompanying Vocal(s) ''(awarded to Herbie Hancock, Robert Sadin, and Wonder)
1998	Best Male R&B; Vocal Performance
2002	Grammy Award for Best R&B; Performance by a Duo or Group with Vocals>Best R&B; Performance By A Duo Or Group With Vocals ''(awarded to Wonder and Take 6)
2005	Best Male Pop Vocal Performance
2005	''(awarded to Beyoncé Knowles>Beyoncé and Wonder)
2006	Best Pop Collaboration With Vocals ''(awarded to Tony Bennett and Wonder)

Between 1965 and 1980, a self-produced artist won an additional Grammy as a producer as well as an artist.

Other awards and recognition

1983: inducted to the Songwriters Hall of Fame. 1984: received an Academy Award for Best Song for "I Just Called to Say I Love You" from the movie ''The Woman in Red''. 1989: inducted to the Rock and Roll Hall of Fame. 1996: received the Grammy Lifetime Achievement Award. 1999: received the Polar Music Prize and Kennedy Center Honors. 2002: received the George and Ira Gershwin Lifetime Achievement Award at UCLA's Spring Sing. The same year, Wonder received the Sammy Cahn Lifetime Achievement Award from the Songwriters Hall of Fame. 2004: received the Billboard Century Award. Also in 2004, Rolling Stone Magazine ranked him #15 on their list of the 100 Greatest Rock and Roll Artists of All Time. 2006: was inducted, as one of the first inductees, into the Michigan Walk of Fame. The same year, Wonder received a Lifetime Achievement Award from the National Civil Rights Museum in Memphis. 2008: Ranked at number five on "The Billboard Hot 100 Top All-Time Artists", making him as the third most successful male artist in the history of ''Billboard'' Hot 100 chart. 2009: Recipient of the second Gershwin Prize For Popular Song. 2009: Recipient of the Montreal Jazz Festival Spirit Award. This special award underlines a popular artist’s extraordinary contribution to the musical world. The Montreal Jazz Festival Spirit Award is in bronze. 2009: Named a Messenger of Peace by the United Nations.

See also

Best selling music artists

List of number-one hits (United States)

List of Billboard Hot 100 chart achievements and milestones

List of artists who reached number one on the Hot 100 (U.S.)

References

External links

Official site

Never That Simple: Stevie Wonder—By Robert Christgau

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Mario Più (born Mario Piperno in Livorno on August 26, 1965) is a professional disc jockey from Livorno, Italy.

His 1999 single, "Communication", also known as "The Communication Song", is notable for being mainly constructed from the interference caused on improperly shielded audio equipment when a GSM mobile telephone rings nearby.

Discography

Singles

"Communication (Somebody Answer The Phone)" - (1999) #5 UK ; #11 Netherlands

"The Vision" (Mario Più Presents DJ Arabesque) - (2001) #16 UK; #74 Netherlands

“Champ Elisées” (BXR 1205) Mario Piú - (2004)

References

External links

Mario Più’s Official Site

Category:Italian dance musicians Category:Year of birth missing (living people) Category:Living people Category:Place of birth missing (living people)

de:Mario Più is:Mario Più it:Mario Più