A wheelbarrow is a small hand-propelled vehicle, usually with just one wheel, designed to be pushed and guided by a single person using two handles to the rear, or by a sail to push the ancient wheelbarrow by wind. The term "wheelbarrow" is made of two words: "wheel" and "barrow." "Barrow" is a derivation of the Old English "bearwe" which was a device used for carrying loads. Some people incorrectly substitute the word "barrel" in place of "barrow" as this seems to make more sense (possibly because the cavity in a wheelbarrow resembles a half-barrel).

The wheelbarrow is designed to distribute the weight of its load between the wheel and the operator so enabling the convenient carriage of heavier and bulkier loads than would be possible were the weight carried entirely by the operator. As such it is a second-class lever. Traditional Chinese wheelbarrows, however, had a central wheel supporting the whole load. Use of wheelbarrows is common in the construction industry and in gardening. Typical capacity is approximately 170 litres (6 cubic feet) of material.

A two-wheel type is more stable on level ground, while the almost universal one-wheel type has better maneuverability in small spaces, on planks or when tilted ground would throw the load off balance. The use of one wheel also permits greater control of the deposition of the load on emptying.

History

Ancient Greece and Rome

The wheelbarrow may have existed in ancient Greece. Two building material inventories for 408/407 and 407/406 B.C. from the temple of Eleusis list, among other machines and tools, "1 body for a one-wheeler (hyperteria monokyklou)" (''ὑπερτηρία μονοκύκλου'' in Greek):

Since dikyklos (''δίκυκλος'') and tetrakyklos (''τετράκυκλος'') mean nothing but "two-wheeler" and "four-wheeler," and since the monokyklos (''μονόκυκλος'') body is sandwiched in the Eleusis inventory between a four-wheeler body and its four wheels, to take it as anything but a one-wheeler strains credulity far beyond breaking point. It can only be a wheelbarrow, necessarily guided and balanced by a man...what does now emerge as certainty is that the wheelbarrow did not, as is universally claimed, make its European debut in the Middle Ages. It was there some sixteen centuries before.

Although evidence for the wheelbarrow in ancient farming and mining is absent, it is surmised that wheelbarrows were not uncommon on Greek construction sites for carrying moderately light loads and may have been adopted by the Romans. The 4th century Historia Augusta reports emperor Elagabalus to have used a wheelbarrow (Latin: ''pabillus'' from ''pabo'', one-wheeled vehicle) to transport women in his frivolous games at court. While the present evidence does not indicate any use of wheelbarrows into medieval times, the question of continuity in the Byzantine Empire is, due to a lack of research yet, still open.

Ancient China

The earliest descriptions of single-wheeled Chinese wheelbarrows come from 2nd century Han Dynasty tomb murals and brick tomb reliefs. The painted tomb mural of a man pushing a wheelbarrow was found in a tomb at Chengdu, Sichuan province, dated precisely to 118 AD. The stone carved relief of a man pushing a wheelbarrow was found in the tomb of Shen Fujun in Sichuan province, dated circa 150 AD. And then there is the story of the pious Dong Yuan pushing his father around in a single-wheel ''lu che'' barrow, depicted in a mural of the Wu Liang tomb-shrine of Shandong (dated to 147 AD). However, there are even earlier accounts than this that hark back to the 1st century BC and 1st century AD. The 5th century ''Book of Later Han'' stated that the wife of the once poor and youthful imperial censor Bao Xuan helped him push a ''lu che'' back to his village during their feeble wedding ceremony, around 30 BC. Later, during the Red Eyebrows Rebellion (c. 20 AD) against the usurper Wang Mang (45 BC–23 AD), the official Zhao Xi saved his wife from danger by disguising himself and pushing her along in his ''lu che'' barrow, past a group of brigand rebels who questioned him, and allowed him to pass after he convinced them that his wife was terribly ill.

Nevertheless, the Chinese historical text of the ''Sanguozhi'' (Records of the Three Kingdoms), compiled by the ancient historian Chen Shou (233–297 AD), credits the invention of the wheelbarrow to Prime Minister Zhuge Liang (181–234 AD) of Shu Han from 197–234. It was written that in 231 AD, Zhuge Liang developed the vehicle of the wooden ox and used it as a transport for military supplies in a campaign against Cao Wei. Further annotations of the text by Pei Songzhi (430 AD) described the design in detail as a large single central wheel and axle around which a wooden frame was constructed in representation of an ox. Writing later in the 11th century, the Song Dynasty (960–1279) scholar Gao Cheng wrote that the small wheelbarrow of his day, with shafts pointing forward (so that it was pulled), was the direct descendent of Zhuge Liang's wooden ox. Furthermore, he pointed out that the 3rd century 'gliding horse' wheelbarrow featured the simple difference of the shaft pointing backwards (so that it was pushed instead).

Wheelbarrows in China came in two types. The more common type after the 3rd century has a large, centrally mounted wheel. Prior types were universally front-wheeled wheelbarrows. The central-wheeled wheelbarrow could generally transport six human passengers at once, and instead of a laborious amount of energy exacted upon the animal or human driver pulling the wheelbarrow, the weight of the burden was distributed equally between the wheel and the puller. European visitors to China from the 17th century onwards had an appreciation for this, and was given a considerable amount of attention by a member of the Dutch East India Company, Andreas Everardus van Braam Houckgeest, in his writings of 1797 (who accurately described its design and ability to hold large amounts of heavy baggage). However, the lower carrying surface made the European wheelbarrow clearly more useful for short-haul work. Today, traditional wheelbarrows in China are still in wide use.

The Chinese Sailing Carriage

Although there are records of Chinese sailing carriages from the 6th century these land sailing vehicles were not wheelbarrows, and the date of which the sail assisted wheelbarrow was invented is uncertain. Engravings are found in van Braam Houckgeest's 1797 book.

European interest in the Chinese sailing carriage is also seen in the writings of Andreas Everardus van Braam Houckgeest in 1797, who wrote:

Near the southern border of Shandong one finds a kind of wheelbarrow much larger than that which I have been describing, and drawn by a horse or a mule. But judge by my surprise when today I saw a whole fleet of wheelbarrows of the same size. I say, with deliberation, a fleet, for each of them had a sail, mounted on a small mast exactly fixed in a socket arranged at the forward end of the barrow. The sail, made of matting, or more often of cloth, is five or six feet high, and three or four feet broad, with stays, sheets, and halyards, just as on a Chinese ship. The sheets join the shafts of the wheelbarrow and can thus be manipulated by the man in charge.

These sailing wheelbarrows continued in use into the twentieth century.

Medieval Europe

The wheelbarrow reappeared in Europe sometime between 1170 and 1250. Medieval wheelbarrows universally featured a wheel at or near the front (in contrast to their Chinese counterparts, which typically had a wheel in the center of the barrow), the arrangement now universally found on wheelbarrows.

Research on the early history of the wheelbarrow is made difficult by the marked absence of a common terminology. The English historian of science M.J.T. Lewis has identified in English and French sources four mentions of wheelbarrows between 1172 and 1222, three of them designated with a different term. According to the medieval art historian Andrea Matthies, the first archival reference to a wheelbarrow in medieval Europe is dated 1222, specifying the purchase of several wheelbarrows for the English king's works at Dover. The first depiction appears in an English manuscript, Matthew Paris's ''Vitae duorum Offarum'', completed in 1250.

By the 13th century, the wheelbarrow proved useful in building construction, mining operations, and agriculture. However, going by surviving documents and illustrations the wheelbarrow remained a relative rarity until the 15th century. It also seemed to be limited to England, France, and the Low Countries.

Modern times

In the 1970s, British inventor James Dyson produced his ballbarrow, an injection moulded plastic barrow with a spherical wheel.

The Honda HPE60, an electric power-assisted wheelbarrow, was produced in 1998.

See also

Hand truck

Dolly (tool)

Wheelbarrow race

Wheelbarrow Olympics

References

M. J. T. Lewis, "The Origins of the Wheelbarrow," ''Technology and Culture'', Vol. 35, No. 3. (Jul., 1994), pp. 453–475

Andrea L. Matthies, "The Medieval Wheelbarrow," ''Technology and Culture'', Vol. 32, No. 2, Part 1. (Apr., 1991), pp. 356–364

Needham, Joseph (1986). ''Science and Civilization in China: Volume 4, Physics and Physical Technology, Part 2, Mechanical Engineering''. Taipei: Caves Books Ltd.

Temple, Robert. (1986). ''The Genius of China: 3,000 Years of Science, Discovery, and Invention''. With a forward by Joseph Needham. New York: Simon and Schuster, Inc. ISBN 0671620282.

External links

Better Homes and Gardens guide to picking a wheelbarrow

Tip of the Pops - solar powered wheelbarrow disco

The Medieval Technology Pages

Category:Gardening tools Category:Human-powered vehicles Category:Animal-powered vehicles Category:Traditional Chinese objects Category:Ancient Greek technology

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Michael Laurence Nyman, CBE (born in Stratford, London 23 March 1944) is an English composer of minimalist music, pianist, librettist and musicologist, known for the many film scores he wrote during his lengthy collaboration with the filmmaker Peter Greenaway, and his multi-platinum soundtrack album to Jane Campion's ''The Piano''. His operas include ''The Man Who Mistook His Wife for a Hat'', ''Letters, Riddles and Writs'', ''Noises, Sounds & Sweet Airs'', ''Facing Goya'', ''Man and Boy: Dada'', ''Love Counts'', and ''Sparkie: Cage and Beyond'', and he has written six concerti, four string quartets, and many other chamber works, many for his Michael Nyman Band, with and without whom he tours as a performing pianist. Nyman has stated his preference for writing opera to other sorts of music.

Biography

Nyman was born in Stratford, London into a Jewish family, and was educated at the Sir George Monoux Grammar School, Walthamstow. He studied at King's College, London under Alan Bush., and was accepted at the Royal Academy of Music in September, 1961, and studied with Bush and Thurston Dart, focusing on piano and seventeenth-century baroque music. He won the Howard Carr Memorial Prize for composition in July 1964.

In 1969, he provided the libretto for Harrison Birtwistle's opera, ''Down by the Greenwood Side'' and directed the short film ''Love Love Love'' (based on, and identical length to, The Beatles' "All You Need Is Love") before settling into music criticism, where he is generally acknowledged to have been the first to apply the term "minimalism" to music (in a 1968 article in ''The Spectator'' magazine about the English composer Cornelius Cardew). He wrote introductions for George Frideric Handel's Concerti Grossi, Op. 6 and conducted the most important interview with George Brecht in 1976.

Nyman drew frequently on early music sources in his scores for Greenaway's films: Henry Purcell in ''The Draughtsman's Contract'' and ''The Cook, the Thief, His Wife & Her Lover'' (which included Memorial and Miserere Paraphrase), Heinrich Ignaz Franz von Biber in ''A Zed and Two Noughts'', Wolfgang Amadeus Mozart in ''Drowning by Numbers'', and John Dowland in ''Prospero's Books'', largely at the request of the director.

Nyman says he discovered his aesthetic playing the aria, "Madamina, il catalogo è questo" from Mozart's ''Don Giovanni'' on his piano in the style of Jerry Lee Lewis, which "dictated the dynamic, articulation and texture of everything I've subsequently done." He has scored numerous films, the majority of them European art films, including several of those directed by Peter Greenaway. His few forays into Hollywood have been ''Gattaca'', ''Ravenous'' (with musician Damon Albarn), and ''The End of the Affair''. He wrote settings to various texts by Wolfgang Amadeus Mozart for "Letters, Riddles and Writs", part of ''Not Mozart''. He has also produced a soundtrack for the silent film ''Man with the Movie Camera''. Nyman's popularity increased after he wrote the score to Jane Campion's award-winning 1993 film ''The Piano''. The album became a classical music best-seller. He was nominated for both a British Academy Award and a Golden Globe.

Among Nyman's other works are the opera ''Noises, Sounds & Sweet Airs'' (1987), for soprano, alto, tenor and instrumental ensemble (based on Nyman's score for the ballet ''La Princesse de Milan''); ''Ariel Songs'' (1990) for soprano and band; MGV (Musique à Grande Vitesse) (1993) for band and orchestra; concertos for saxophone, piano (based on ''The Piano'' score), violin, harpsichord, trombone, and saxophone & cello recorded by John Harle and Julian Lloyd Webber; the opera ''The Man Who Mistook His Wife for a Hat'' (1986), based on a case-study by Oliver Sacks; and four string quartets. In 2000, he produced a new opera on the subject of cloning on a libretto by Victoria Hardie titled ''Facing Goya'', an expansion of their one-act opera ''Vital Statistics''. The lead, a widowed art banker, is written for contralto and the role was first created by Hilary Summers. His newest operas are ''Man and Boy: Dada'' (2003) and ''Love Counts'' (2005), both on libretti by Michael Hastings.

He has also composed the music for the children's television series ''Titch'' which is based on the books written and illustrated by Pat Hutchins.

Many of Nyman's works are written for his own ensemble, the Michael Nyman Band, a group formed for a 1976 production of Carlo Goldoni's ''Il Campiello''. Originally made up of old instruments such as rebecs and shawms alongside more modern instruments like the saxophone in order to produce as loud a sound as possible without amplification, it later switched to a fully amplified line-up of string quartet, three saxophones, trumpet, horn, bass trombone, bass guitar and piano. This line up has been variously altered and augmented for some works.

Nyman also published an influential book in 1974 on experimental music called ''Experimental Music: Cage and Beyond'' (Catalan, Spanish and French translations), which explored the influence of John Cage on classical composers.

In the 1970s, Nyman was a member of the Portsmouth Sinfonia – the self-described World's Worst Orchestra – playing on their recordings and in their concerts. He was the featured pianist on the orchestra's recording of ''Bridge Over Troubled Water'' on the Martin Lewis-produced ''20 Classic Rock Classics'' album on which the Sinfonia gave their unique interpretations of the pop and rock repertoire of the 1950s–1970s. Nyman created a similar group called Foster's Social Orchestra, which specialised in the work of Stephen Foster. One of their pieces appeared in the film ''Ravenous'' and an additional work, not used in the film, appeared on the soundtrack album.

He has also recorded pop music with the Flying Lizards; a version of his ''Bird List'' from the soundtrack to Peter Greenaway's ''The Falls'' (1980) appears on their album ''Fourth Wall'' as "Hands 2 Take."

On 7 July 2007 Nyman performed at Live Earth in Japan. On 2008 Nyman realised, in collaboration with the cultural association Volumina, Sublime, an artist's book that unified his music with his passion for photography.

In a collaboration with friends Max Pugh and Marc Silver, Nyman is now beginning to exhibit his films and photography. Nyman’s video works are filmed with a hand-held camera, often before and after concerts and as part of his international travels, featuring everyday moments. Some works are left relatively unedited whilst others undergo split screens and visual repetition. Soundtracks to some of the video works use location sounds, whilst others recycle existing scores from his archive or a combination of both.

In October 2009, Nyman released The Glare, a collaborative collection of songs with David McAlmont, which cast his work in a new light. The album – recorded with the Michael Nyman Band – finds McAlmont putting lyrics based on contemporary news stories to 11 pieces of Nyman music drawn from different phases of his career.

"David did the research and chose most of the musical pieces," Nyman explains. "I suggested a few pieces,too but I really didn't do very much, although I think it's a true collaboration. You can identify who was responsible for what, but both aspects create a perfect synergy in which neither element can exist without the other."

Although the album was recorded in just two days, there was a huge amount of preparation and rewriting before they entered the studio. "They're third generation songs and when you listen to them, you ask 'Is it Nyman?' 'Is it soul?' 'Is it rock'n'roll?' It's all and none of them," the composer says. "I think we've created a new musical language. I'm no good at writing pop cliché – when I try, it invariably comes out sounding quite different."

The project has a long gestation for the pair first met in 2004 at a exhibition opening and talked about working together. Nothing came of it for almost five years until they got together again via Facebook, met up for lunch – and the idea for The Glare was born.

"I was surprised and delighted by what we've came up with," Nyman says. "So much so, that when I now play these pieces solo, it sounds like something's missing and the music needs David's voice and approach. That's a remarkable thing, because I've been playing these pieces for years. Of all the many collaborations I've been involved in, none has ever given me more pleasure and I'm desperate to take it on the road and play these."

Personal life

He was married to Aet Nyman and has two daughters, Molly and Martha. His first string quartet quotes "Unchained Melody" in homage to Aet, who appears in Greenaway's ''The Falls'', for which he also composed music. Molly is a composer in her own right; in collaboration with Harry Escott she has written several film scores including for ''The Road to Guantanamo'' by her father's frequent collaborator, Michael Winterbottom. Martha is a development researcher for the BBC.

Career highlights

1961–67 – Studies at the Royal Academy of Music and King's College London.

1968–78 – Works as music critic (becoming first person to apply the word "minimalist" to music).

1976 – Founds the Campiello Band (now the Michael Nyman Band) and embarks on eleven-film collaboration with Peter Greenaway.

1981 – Releases first Michael Nyman Band album.

1993 – Soundtrack for ''The Piano'' wins an Ivor Novello Award, Golden Globe, BAFTA and American Film Institute award and goes on to sell over three million copies.

2002–2005 – Composer-in-Residence at Badisches Staatstheater in Karlsruhe, Germany, who performed three Nyman operas and more tunes for his daughters.

2007 – Performed on 7 July from Kyoto, Japan as part of the Live Earth global environmental awareness musical event.

Honours

Nyman was appointed Commander of the Order of the British Empire (CBE) in the 2008 Birthday Honours.

Nyman was awarded an honorary doctorate (DLitt) from The University of Warwick on 30 January 2007. At the ceremony The University of Warwick Brass Society and Chamber Choir, conducted by Paul McGrath, premiered a specially composed procession and recession fanfare composed by Nyman.

Works

1963 – ''Introduction and Allegro Concertato for Wind Quartet'' (lost)

1963 – ''Divertimento for Flute, Oboe and Clarinet''

1965 – ''Canzona for Flute''

1974 – ''Bell Set No. 1'' (multiple metal percussion)

1976 – ''1–100'' (4–6 pianos)

1976 – (First) ''Waltz in D'' (variable)

1976 – (Second) ''Waltz in F'' (variable)

1977 – ''In Re Don Giovanni'' (ensemble)

1978 – ''The Otherwise Very Beautiful Blue Danube Waltz'' (multiple pianos)

1979 – ''"The Masterwork" Award Winning Fish-Knife'' (ensemble)

1980 – ''A Neat Slice of Time'' (choir)

1981 – ''Think Slow, Act Fast'' (ensemble)

1981 – ''Five Orchestral Pieces for Opus Tree'' (band*) (based on Anton Webern's Five Orchestral Pieces, Op. 10)

1981 – ''M-Work'' (band)

1981 – ''2 Violins''

1982 – ''Four Saxes (Real Slow Drag)'' (saxophone quartet)

1983 – ''A Handsome, Smooth, Sweet, Smart, Clear Stroke: Or Else Play Not At All''

(orchestra)

1983 – ''Time's Up'' (chamber ensemble)

1983 – ''I'll Stake My Cremona to a Jew's Trump'' (electric violin and viola, both players also simultaneously singing)

1983 – ''Love is Certainly, at Least Alphabetically Speaking'' (soprano and band)

1984 – ''The Abbess of Andouillets'' (choir)

1985 – ''Nose-List Song'' (soprano and orchestra) [this and the above three works are from an unfinished opera setting of Laurence Sterne's ''The Life and Opinions of Tristram Shandy, Gentleman'', which Nyman has repeatedly cited as his all-time favourite book]

1985 – ''Childs Play'' (2 violins; harpsichord)

1985 – ''String Quartet No. 1''

1986 – ''Taking a Line for a Second Walk'' (for orchestra (''Basic Black'') or piano duet)

1986 – ''The Man Who Mistook His Wife for a Hat'' (opera; libretto by Christopher Rawlence; adapted from the Oliver Sacks case study by Nyman, Rawlence, and Michael Morris)

1986 – ''And Do They Do'' (modern dance, 1986)

1987 – ''Vital Statistics'' (opera; libretto by Victoria Hardie)

1988 – ''String Quartet No. 2''

1989 – ''Out of the Ruins'' (choir)

1989 – ''La Traversée de Paris'' (soprano and band)

1989 – ''The Fall of Icarus'' (band)

1989 – ''L'Orgie Parisienne'' Arthur Rimbaud setting (soprano or mezzo soprano and orchestra)

1989 – ''La Sept'' (band)

1990 – ''Shaping the Curve'' (soprano saxophone, string quartet or piano)

1990 – ''Six Celan Songs'' (contralto and orchestra)

1990 – ''Polish Love Song'' (soprano and piano)

1990 – ''String Quartet No. 3''

1990 – ''The Kiss and Other Movements''

1991 – ''The Michael Nyman Songbook'' A collection of songs based on texts by Paul Celan, Wolfgang Amadeus Mozart, William Shakespeare, and Arthur Rimbaud and recorded with vocalist Ute Lemper.

1991 – ''Where the Bee Dances'' (soprano saxophone and orchestra)

1991 – ''Fluegelhorn and Piano''

1992 – ''Time Will Pronounce'' (violin, cello, and piano)

1992 – ''For John Cage'' (brass ensemble)

1992 – ''Self-Laudatory Hymn of Inanna and Her Omnipotence'' (alto and string orchestra or countertenor and viol consort)

1992 – ''The Convertibility of Lute Strings'' (solo harpsichord)

1992 – ''Anne de Lucy Songs'' (soprano and piano)

1992 – ''Le Mari de la Coiffeuse (The Hairdresser's Husband)''

1992 – ''The Upside-Down Violin'' (orchestra/ensemble)

1993 – ''MGV: Musique à grande vitesse'' (band and orchestra)

1993 – ''The Piano Concerto'' (piano and orchestra)

1993 – ''Noises, Sounds & Sweet Airs'' (1993; opera-ballet setting William Shakespeare's ''The Tempest'')

1993 – ''Yamamoto Perpetuo'' (violin solo)

1993 – ''Songs for Tony'' (saxophone quartet)

1994 – ''To Morrow'' (soprano or soprano saxophone, organ)

1994 – ''3 Quartets'' (ensemble)

1994 – ''Concerto for Trombone'' (trombone, orchestra, and steel filing cabinets)

1995 – ''String Quartet No. 4''

1995 – ''Tango for Tim (In memoriam Tim Suster)'' (harpsichord)

1995 – ''The Waltz Song'' (unison voices)

1995 – ''Viola and Piano''

1995 – ''Grounded'' (mezzo-soprano, saxophones, violin, piano)

1995 – ''HRT [High Rise Terminal]'' (chamber ensemble)

1995 – ''Concerto for Harpsichord and Strings''

1995 – ''Double Concerto for Saxophone and Cello'' (saxophone, cello, and orchestra)

1996 – ''After Extra Time'' (ensemble)

1996 – ''Enemy Zero'' (game music)

1997 – ''Enemy Zero – Original Soundtrack''

1997 – ''Strong on Oaks, Strong on the Causes of Oaks'' (orchestra)

1997 – ''The Promise'' (piano)

1997 – ''Gattaca''

1998 – ''Titch'' (worked on the main opening/closing piano theme).

1998 – ''Cycle of Disquietude (Coisas, Vozes, Lettras)'' (soprano, mezzo-soprano, and band)

1998 – ''Orfeu'' (band)

1998 – ''De Granada A La Luna'' (band)

1999 – ''The Commissar Vanishes'' (band)

1999 – ''The End of the Affair''

2000 – ''Facing Goya'' (opera; libretto by Victoria Hardie)

2001 – ''a dance he little thinks of'' (orchestra)

2003 – ''Violin Concerto'' (violin and orchestra)

2003 – ''Man and Boy: Dada'' (opera; libretto by Michael Hastings)

2005 – ''Love Counts'' (opera; libretto by Michael Hastings)

2006 – ''gdm for Marimba and Orchestra'' (concerto)

2006 – ''Acts of Beauty''' (song cycle)

2007 – ''A Handshake in the Dark'' (choral piece with orchestra; text by Jamal Jumá [world premiere 8 March 2007, Barbican, London, performed by the BBC Symphony Chorus and Orchestra, John Storgards conducting])

2007 – ''Interlude in C'' (expansion of a theme from ''The Libertine'' for Accent07 touring ensemble)

2007 – ''Eight Lust Songs'' song cycle

2008 – ''Yamamoto Perpetuo for Solo Flute'' (arranged by Andy Findon)

2009 – ''Sparkie: Cage and Beyond'' opera with Carsten Nicolai

2009 – ''The Musicologist Scores'' (band)

2010 – ''2Graves''

2010 – ''Vertov Sounds''

*originally recorded by Nyman, Ned Sublette, Susan Krongold, Barbara Benary, Jon Gibson, Richard Cohen, Virgil Blackwell, Peter Zummo, and Peter Gordon at The Kitchen, and intended for Peter Greenaway's short film, ''The Tree''.

Nyman's music re-used

Nyman's "The Heart Asks Pleasure First" (from ''The Piano'') is the music on which Italian rock noir band Belladonna's song "Let There Be Light" is based. Released in December 2010, the track features Michael Nyman himself on piano.

Nyman's "The Heart Asks Pleasure First" (from ''The Piano'') was used as backing music for one of the bank advertisements for Lloyds TSB broadcast on television. It has also been featured in episodes of ''20/20''.

Music from ''Ravenous'' has been used at least once on WFYI's ''Across Indiana'', in a segment titled "On the Trail of John Hunt Morgan", produced by Scott Andrew Hutchins.

Nyman's soundtrack for ''Carrington'' is mostly based on his own ''String Quartet No. 3''.

''A Cock and Bull Story'' contains music from ''The Draughtsman's Contract'', as well as Nyman's arrangements of classical music used in Stanley Kubrick's ''Barry Lyndon'' (it does not use any music from Nyman's ''Tristram Shandy'' opera).

Nyman's music for Peter Greenaway's films has been used in the Japanese television program ''Iron Chef''.

Popular "Chasing Sheep is Best Left to Shepherds" (from ''The Draughtsman's Contract'') constituted the main theme of Spanish TV program ''Queremos Saber'', presented by Mercedes Milà in the nineties.

Nyman features in '9 Songs' (Michael Winterbottom, 2004) playing at the Hackney Empire on his 60th birthday.

Nyman's MGV: Musique à grande vitesse was used in November 2006 for a new one-act ballet for the Royal Ballet in London, DGV (danse à grande vitesse) by Christopher Wheeldon.

Nyman's "The Heart Asks Pleasure First" was covered by the Finnish symphonic metal band Nightwish. Nyman had refused to release the song initially; he later authorised its use.

Time Lapse was used in Sky's 2008 'Heroes' advert

Selections from Nyman's catalogue formed part of the soundtrack for James Marsh's 2008 documentary, ''Man on Wire'', a film about Philippe Petit, a Frenchman, who in 1974 illegally strung a tightrope between the top of the WTC buildings and danced between them for 45 minutes, thus committing the "artistic crime of the 20th century".

Nyman's piece "Car Crash" from Zed & Two Thoughts movie intro was used for once on the final episode of a Greek series called 'To Kafe Tis Xaras'

Recordings

''Man and Boy: Dada'' – MN Records 102

''The Very Best of Michael Nyman: Film Music 1980-2001'' – Virgin EMI CDVED957

''String Quartets 1–3'' – Decca 4730912

''Decay Music'' EMI CVE964 2004

References

External links

Michael Nyman official site

Michael Nyman's homepage at Chester Music

The Power of the Cadence: Michael Nyman in conversation with Robert Davidson

'The Case Against Nyman Revisited' Recent article on Michael Nyman's use of pre-existing music

Nyman à grande vitesse'', review article in ''The Oxonian Review''

Michael Nyman judged The Film of the Month competition in June 2009 on the independent filmmakers networking site Shooting People

An Evening with Michael Nyman, BAFTA event video

Listening

Michael Nyman audio at Internet Archive

Category:20th-century classical composers Category:21st-century classical composers Category:Alumni of King's College London Category:Alumni of the Royal Academy of Music Category:Commanders of the Order of the British Empire Category:Contemporary classical music performers Category:English classical pianists Category:English composers Category:English film score composers Category:English musicologists Category:Ivor Novello Award winners Category:Minimalist composers Category:People from Stratford, London Category:Postmodern composers Category:1944 births Category:Living people Category:Jewish classical musicians

ca:Michael Nyman cs:Michael Nyman da:Michael Nyman de:Michael Nyman es:Michael Nyman fr:Michael Nyman gl:Michael Nyman it:Michael Nyman lt:Michael Nyman hu:Michael Nyman nl:Michael Nyman ja:マイケル・ナイマン pl:Michael Nyman pt:Michael Nyman ro:Michael Nyman ru:Найман, Майкл Лоуренс sk:Michael Nyman fi:Michael Nyman sv:Michael Nyman uk:Майкл Лоуренс Наймен

Coordinates	37°46′45.48″N122°25′9.12″N
name	William Carlos Williams
birth date	September 17, 1883
birth place	Rutherford, NJ, United States
death date	March 04, 1963
death place	Rutherford, NJ, United States
occupation	Writer, doctor
nationality	American
alma mater	University of Pennsylvania
movement	Modernism, imagism
notableworks	"The Red Wheelbarrow"; ''Spring and All''; ''Paterson''
political views	Socialist
website	}}

William Carlos Williams (September 17, 1883 – March 4, 1963) was an American poet closely associated with modernism and Imagism. He was also a pediatrician and general practitioner of medicine, having graduated from the University of Pennsylvania. Williams "worked harder at being a writer than he did at being a physician"; but during his long lifetime, Williams excelled at both.

Biography

Early years

Williams was born in Rutherford, New Jersey to an English father and a Puerto Rican mother. He received his primary and secondary education in Rutherford until 1897, when he was sent for two years to a school near Geneva and to the Lycée Condorcet in Paris. He attended the Horace Mann High School upon his return to New York City and after having passed a special examination, he was admitted in 1902 to the medical school of the University of Pennsylvania.

Family

Williams married Florence Herman (1891–1976) in 1912, after his first proposal to her older sister was refused. They moved into a house in Rutherford, New Jersey, which was their home for many years. Shortly afterward, his first book of serious poems, ''The Tempers'', was published. On a trip to Europe in 1924, Williams spent time with writers Ezra Pound and James Joyce. Florence and Williams' sons stayed behind in Europe to experience living abroad for a year as Williams and his brother had in their youth.

Career

Although his primary occupation was as a doctor, Williams had a full literary career. His work consists of short stories, poems, plays, novels, critical essays, an autobiography, translations and correspondence. He wrote at night and spent weekends in New York City with friends—writers and artists like the avant-garde painters Marcel Duchamp and Francis Picabia and the poets Wallace Stevens and Marianne Moore. He became involved in the Imagist movement but soon he began to develop opinions that differed from those of his poetic peers, Ezra Pound and T. S. Eliot. Later in his life, Williams toured the United States giving poetry readings and lectures.

During the First World War, when a number of European artists established themselves in New York City, Williams became friends with members of the avant-garde both American, such as Man Ray, and visitors from Europe, such as Francis Picabia, and Marcel Duchamp. In 1915 Williams began to be associated with a group of New York artists and writers known as "The Others". Founded by the poet Alfred Kreymborg and by Man Ray, this group included Walter Conrad Arensberg, Wallace Stevens, Mina Loy, Marianne Moore and Duchamp. Through these involvements Williams got to know the Dadaist movement, which may explain the influence on his earlier poems of Dadaist and Surrealist principles. His involvement with The Others made Williams a key member of the early modernist movement in America.

Williams disliked Ezra Pound's and especially T. S. Eliot's frequent use of allusions to foreign languages and Classical sources, as in Eliot's ''The Waste Land''. Williams preferred to draw his themes from what he called "the local". In his modernist epic collage of place, ''Paterson'' (published between 1946 and 1958), an account of the history, people, and essence of Paterson, New Jersey, he examined the role of the poet in American society. Williams most famously summarized his poetic method in the phrase "No ideas but in things" (found in his poem "A Sort of a Song" and in ''Paterson''). He advocated that poets leave aside traditional poetic forms and unnecessary literary allusions, and try to see the world as it is. Marianne Moore, another skeptic of traditional poetic forms, wrote Williams had used "plain American which cats and dogs can read," with distinctly American idioms.

One of his most notable contributions to American literature was his willingness to be a mentor for younger poets. Though Pound and Eliot may have been more lauded in their time, a number of important poets in the generations that followed were either personally tutored by Williams or pointed to Williams as a major influence. He had an especially significant influence on many of the American literary movements of the 1950s: poets of the Beat Generation, the San Francisco Renaissance, the Black Mountain school, and the New York School. He personally mentored Theodore Roethke, and Charles Olson, who was instrumental in developing the poetry of the Black Mountain College and subsequently influenced many other poets. Robert Creeley and Denise Levertov, two other poets associated with Black Mountain, studied under Williams. Williams was friends with Kenneth Rexroth, the founder of the San Francisco Renaissance. A lecture Williams gave at Reed College was formative in inspiring three other important members of that Renaissance: Gary Snyder, Philip Whalen and Lew Welch. One of Williams's most dynamic relationships as a mentor was with fellow New Jerseyite Allen Ginsberg. Ginsberg claimed that Williams essentially freed his poetic voice. Williams included several of Ginsberg's letters in ''Paterson'', stating that one of them helped inspire the fifth section of that work. Williams also wrote introductions to two of Ginsberg's books, including ''Howl''. Williams sponsored unknown poets such as H.H. Lewis, a radical Missouri Communist poet, who he believed wrote in the voice of the people. Though Williams consistently loved the poetry of those he mentored, he did not always like the results of his influence on other poets (the perceived formlessness, for example, of other Beat Generation poets). Williams believed more in the interplay of form and expression.

Death

After Williams suffered a heart attack in 1948, his health began to decline, and after 1949 a series of strokes followed. He also underwent treatment for clinical depression in a psychiatric hospital during 1953. Williams died on March 4, 1963 at the age of seventy-nine at his home in Rutherford. He was buried in Hillside Cemetery in Lyndhurst, New Jersey.

Two days after his death, a British publisher announced that he was going to print his poems. During his lifetime, Williams had not received as much recognition from Britain as he had from the United States, and Williams had always protested against the English influence on American poetry.

Poetry

Williams' major collections are ''Kora in Hell'' (1920), ''Spring and All'' (1923), ''Pictures from Brueghel and Other Poems'' (1962), ''Paterson'' (1963, repr. 1992), and ''Imaginations'' (1970). His most anthologized poem is "The Red Wheelbarrow", considered an example of the Imagist movement's style and principles (see also "This Is Just To Say"). However, Williams, like his associate Ezra Pound, had long ago rejected the imagist movement by the time this poem was published as part of ''Spring and All'' in 1923. Williams is more strongly associated with the American Modernist movement in literature, and saw his poetic project as a distinctly American one; he sought to renew language through the fresh, raw idiom that grew out of America's cultural and social heterogeneity, at the same time freeing it from what he saw as the worn-out language of British and European culture.

Williams tried to invent an entirely fresh form, an American form of poetry whose subject matter was centered on everyday circumstances of life and the lives of common people. He then came up with the concept of the variable foot evolved from years of visual and auditory sampling of his world from the first person perspective as a part of the day in the life as a physician. The variable foot is rooted within the multi-faceted American Idiom. This discovery was a part of his keen observation of how radio and newspaper influenced how people communicated and represents the "machine made out of words" (as he described a poem in the introduction to his book, The Wedge) just as the mechanistic motions of a city can become a consciousness. Williams didn’t use traditional meter in most of his poems. His correspondence with Hilda Doolittle also exposed him to the relationship of sapphic rhythms to the inner voice of poetic truth:

:"The stars about the beautiful moon again hide their radiant shapes, when she is full and shines at her brightest on all the earth"—Sappho.

This is to be contrasted with a poem from ''Journey To Love'' titled "Shadows":

:"Shadows cast by the street light :::under the stars, ::::the head is tilted back, :the long shadow of the legs :::presumes a world taken for granted :on which the cricket trills" The breaks in the poem search out a natural pause spoken in the American idiom that is also reflective of rhythms found within jazz sounds that also touch upon Sapphic harmony. Williams experimented with different types of lines and eventually found the "stepped triadic line", a long line which is divided into three segments. This line is used in ''Paterson'' and in poems like "To Elsie" and "The Ivy Crown." Here again one of Williams' aims is to show the truly American (i.e., opposed to European traditions) rhythm which is unnoticed but present in everyday American language. Stylistically, Williams worked with variations on free-form styles, notably developing and utilising the triadic line as in his lengthy love-poem Asphodel, That Greeny Flower.

Politics

Modern liberals portray Williams as aligned with liberal democratic issues; however, as his publications in more politically radical journals like ''New Masses'' suggest, his political commitments were further to the left than the term "liberal" indicates. He considered himself a socialist and opponent of capitalism, and in 1935 published "The Yachts", a poem which indicts the rich elite as parasites and the masses as striving for revolution. The poem features an image of the ocean as the "watery bodies" of the poor masses beating at their hulls "in agony, in despair", attempting to sink the yachts and end "the horror of the race". Furthermore, in the introduction to his 1944 book of poems "The Wedge", he writes of socialism as an inevitable future development and as a necessity for true art to develop. In 1949, he published a booklet/bar "The Pink Church" that was about the human body but was understood, in the context of McCarthyism, as being dangerously pro-communist. The anti-communist movement led to his losing a consultantship with the Library of Congress in 1952/3, an event that contributed to his being treated for clinical depression. In an unpublished article for ''Blast'', Williams wrote artists should resist producing propaganda and be "devoted to writing (first and last)." However, in the same article Williams claims that art can also be "in the service of the proletariat".

Legacy, awards and honors

In May 1963, he was posthumously awarded the Pulitzer Prize for ''Pictures from Brueghel and Other Poems'' (1962) and the Gold Medal for Poetry of the National Institute of Arts and Letters. The Poetry Society of America continues to honor William Carlos Williams by presenting an annual award in his name for the best book of poetry published by a small, non-profit or university press.

Williams' house in Rutherford is now on the National Register of Historic Places. He was inducted into the New Jersey Hall of Fame in 2009.

Bibliography

Poetry collections

''Poems'' (1909)

''The Tempers'' (1913)

''Al Que Quiere!'' (1917)

''Sour Grapes'' (1921)

''Spring and All'' (1923)

''Go Go'' (1923)

''The Cod Head'' (1932)

''Collected Poems, 1921-1931'' (1934)

''An Early Martyr and Other Poems'' (1935)

''Adam & Eve & The City'' (1936)

''The Complete Collected Poems of William Carlos Williams, 1906-1938'' (1938)

''The Broken Span'' (1941)

''The Wedge'' (1944)

''Paterson'' Book I (1946); Book II (1948); Book III (1949); Book IV (1951); Book V (1958)

''Clouds, Aigeltinger, Russia'' (1948)

''The Collected Later Poems'' (1950; rev. ed.1963)

''Collected Earlier Poems'' (1951; rev. ed., 1966)

''The Desert Music and Other Poems'' (1954)

''Journey to Love'' (1955)

''Pictures from Brueghel and Other Poems'' (1962)

''Paterson'' (Books I-V in one volume, (1963)

''Imaginations'' (1970)

''Collected Poems: Volume 1, 1909-1939'' (1988)

''Collected Poems: Volume 2, 1939-1962'' (1989)

''Early Poems'' (1997)

''By Word of Mouth: Poems from the Spanish, 1916-1959'' New Directions Publishing (Sept. 2011)

Books, prose

''Kora in Hell: Improvisations'' (1920) - Prose-poem improvisations.

''The Great American Novel'' (1923) - A novel.

''Spring and All'' (1923) - A hybrid of prose and verse.

''In the American Grain'' (1925), 1967, repr. New Directions 2004 - Prose on historical figures and events.

''A Voyage to Pagany'' (1928) - An autobiographical travelogue in the form of a novel.

''Novelette and Other Prose'' (1932)

''The Knife of the Times, and Other Stories'' (1932)

''White Mule'' (1937) - A novel.

''Life along the Passaic River'' (1938) - Short stories.

''In the Money'' (1940) - Sequel to ''White Mule''.

''Make Light of It: Collected Stories'' (1950)

''Autobiography'' (1951) W. W. Norton & Co. (1 February 1967) ISBN 978-0811202268

''The Build-Up'' (1952) - Completes the "Stecher trilogy" begun with ''White Mule''.

''Selected Essays'' (1954)

''The Selected Letters of William Carlos Williams'' (1957)

''I Wanted to Write a Poem: The Autobiography of the Works of a Poet'' (1958)

''Yes, Mrs. Williams: A Personal Record of My Mother'' (1959)

''The Farmers' Daughters: Collected Stories'' (1961)

''Imaginations'' (1970) - A collection of five previously published early works.

''The Embodiment of Knowledge'' (1974) - Philosophical and critical notes and essays.

''Interviews With William Carlos Williams: "Speaking Straight Ahead"'' (1976)

''A Recognizable Image: William Carlos Williams on Art and Artists'' (1978)

''Pound/Williams: Selected Letters of Ezra Pound and William Carlos Williams'' (1996)

''The Collected Stories of William Carlos Williams'' (1996)

''The Letters of Denise Levertov and William Carlos Williams'' (1998)

''William Carlos Williams and Charles Tomlinson: A Transatlantic Connection'' (1998)

''The Humane Particulars: The Collected Letters of William Carlos Williams and Kenneth Burke'' (2004)

Drama

''Many Loves and Other Plays: The Collected Plays of William Carlos Williams'' (1961)

Notes

See also

List of famous Puerto Ricans

List of Puerto Rican writers

William Carlos Williams Center for the Performing Arts

External links

Profiles

Profile at PoetryFoundation.org

Profile at the Poetry Archive with poems written and audio

Profile at Modern American Poetry Society

Profile and poems written and audio at Poets.org

National Book Foundation Poetry Blog

Archive and works

Yale College Lecture on William Carlos Williams audio, video and full transcripts from Open Yale Courses

William Carlos Williams Papers at Yale University Beinecke Rare Book and Manuscript Library further archive link

Archive at the University of Delaware Library Special Collections Department.

Archive at SUNY Buffalo Libraries.

''The William Carlos Williams Review''. Journal.

Category:1883 births Category:1963 deaths Category:American poets Category:Physicians from New Jersey Category:American pediatricians Category:Imagists Category:Objectivist poets Category:Beat Generation Category:American socialists Category:Pulitzer Prize for Poetry winners Category:Writers from Philadelphia, Pennsylvania Category:Writers from New Jersey Category:Puerto Rican poets Category:American people of English descent Category:American people of Puerto Rican descent Category:Horace Mann School alumni Category:University of Pennsylvania School of Medicine alumni Category:People from Rutherford, New Jersey Category:People associated with the Dil Pickle Club

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Coordinates	37°46′45.48″N122°25′9.12″N
name	Jemaine Clement
background	solo_singer
birthname	Jemaine Clement
alias	The Hiphopopotamus
birth date	January 10, 1974
origin	Masterton, New Zealand
instrument	Bass guitar, guitar, percussion, piano, ukulele, omnichord, drums, xylophone, synthesizer, vocals
genre	Comedy, folk, acoustic
occupation	Comedian, musician, actor
years active	1994–present
label	Sub Pop
associated acts	Bret McKenzie, The Humourbeasts, Flight of the Conchords, So You're a Man
notable instruments	}}

Jemaine Clement (born 10 January 1974) is a New Zealand comedian, actor and musician, best known as one half of the musical comedy duo Flight of the Conchords along with Bret McKenzie.

Early life

Clement was born in New Zealand and raised by his Māori mother, in the Wairarapa region. He moved to New Zealand's capital Wellington, where he studied drama and film at Victoria University of Wellington. There he met Taika Waititi (a.k.a. Taika Cohen) with whom he went on to form So You're a Man and The Humourbeasts. In 2004, the Humourbeasts toured New Zealand in a stage show titled ''The Untold Tales of Maui'', a rework of the traditional Maori legends of Māui. The duo received New Zealand's highest comedy honour, the Billy T Award.

Career

Music

It was at Victoria University that Clement and Bret McKenzie formed Flight of the Conchords. They have toured internationally and released four CDs: ''Folk the World Tour'' in 2002, ''The Distant Future'' EP in 2007, ''Flight of the Conchords'' in 2008 and ''I Told You I Was Freaky'' in 2009. The Conchords produced a six-part improvisational comedy radio program on BBC Radio 2 and have appeared on ''Late Night with Conan O'Brien'', ''The Late Show with David Letterman'' and ''The Late Late Show''. After appearing in 2005 on HBO's ''One Night Stand'', the Conchords were offered their own 12-part HBO series ''Flight of the Conchords''. Its first season ran from June to September 2007, and was renewed for a second season, which aired on HBO in the US from January to March 2009. In December 2009, the Conchords announced the show would not have a third season.

Film

Clement has appeared in a number of feature films. His feature debut was in the kung fu comedy ''Tongan Ninja'', directed by New Zealander Jason Stutter. He has worked with Stutter on two more movies to date: the low budget ghost comedy ''Diagnosis Death'' and the drama ''Predicament'', based on the book by late New Zealand novelist Ronald Hugh Morrieson. Clement also has a role in American comedy ''Gentlemen Broncos'', directed by ''Napoleon Dynamite'''s Jared Hess. This role landed him a nomination for the Independent Spirit Award for Best Supporting Male. Though ''Gentlemen Broncos'' was almost universally panned by critics, some singled out Clement's performance for praise.

Clement has starred in a number of television commercials internationally and provided voiceovers for many others in New Zealand. In 1999, Clement was a Radio Awards Winner as writer for ''Trashed'', for Channel Z, Wellington. In 2000 he was given a Special Radio Awards Commendation for ''The Sunglass Store''. He also was a writer and cast member of the television shows ''Skitz'' and ''Tellylaughs'' in New Zealand.

On 5 February 2006, Outback Steakhouse began running a series of television commercials starring Clement during Super Bowl XL in which Clement pretends to be Australian and feigns an Australian accent. One of the long-running gags of ''Flight of the Conchords'' is the traditional ill-will between New Zealand and Australia and the differences between their accents. The campaign ended in July 2006.

Jemaine, along with fellow Conchord member Bret, was featured as one of 2008's "100 Sexiest People" in a special edition of the Australian magazine ''Who''. In May 2010, it was confirmed Clement will portray Boris (formerly named Yaz) in the upcoming science fiction film ''Men in Black III''. Most recently, he voiced Jerry in ''Despicable Me'' as well as Nigel in Rio, and appeared in the film ''Dinner for Schmucks''.

Other

Clement and fellow Conchord McKenzie guest starred as a pair of camp counselors in "Elementary School Musical", the season premiere of the 22nd season of ''The Simpsons'', which aired on 26 September 2010.

Personal life

In August 2008, Clement married his long time girlfriend, theater actress and playwright Miranda Manasiadis. Clement's first child, a son named Sophocles Iraia, was born in October, 2008, in New York City.

Filmography

''Fizz (movie) ''Tongan Ninja'' ''Futile Attraction'' ''What We Do In The Shadows'' ''Eagle vs Shark'' ''Flight of the Conchords (TV series) ''The Drinky Crow Show'' ''[[Gentlemen Broncos">The Drinky Crow Show#Episode list ''[[Gentlemen Broncos'' ''Despicable Me'' ''Men in Black III''

Year	! Film	! Role	! Notes
1995	''Blood Suckers''	Vampire
1999	Fizz'' ||	Chased Man
2002	|	Action fighter, voice of Tongan Ninja/Writer
2004	|	The Editor, Darcy
2006	|	Director/Writer
2007	|	Jarrod
2007–2009	Flight of the Conchords'' ||	Jemaine Clemaine/creator/co-writer/executive producer	Emmy nomination for Primetime Emmy Award for Outstanding Lead Actor – Comedy Series>Outstanding lead actor in a comedy series
2008	|		Episodes: "2009
rowspan="2"	2009	|	Ronald Chevalier	2010 Independent Spirit Award nomination for Best Supporting Male
''Diagnosis: Death''	Garfield Olyphant
rowspan="4"	2010	|	Jerry the Minion
''Predicament''	Spook
''Dinner for Schmucks''	Kieran Vollard
''The Simpsons''	Bret McKenzie) >
2011	Rio (film)>Rio''
2012	|	Boris

References

External links

Flight of the Conchords official site

What the Folk! Flight of the Conchords fan site

NZ on screen profile

BBC Radio 2

Flight of the Conchords official MySpace

Category:1974 births Category:Flight of the Conchords members Category:Living people Category:New Zealand comedians Category:New Zealand film actors Category:New Zealand Māori people Category:New Zealand musicians Category:New Zealand television actors

de:Jemaine Clement fr:Jemaine Clement it:Jemaine Clement ja:ジェマイン・クレメント pl:Jemaine Clement fi:Jemaine Clement sv:Jemaine Clement