Samuel
Infant Samuel by Joshua Reynolds 1723
Prophet, Seer
Honored in	Judaism Christianity Islam
Major shrine	Tomb of Samuel, Jerusalem

Samuel ( /ˈsæm.juː.əl/;^[1] Hebrew: שְׁמוּאֶל, Modern Shmu'el Tiberian Šəmûʼēl; Greek: Σαμουήλ Samouēl; Latin: Samvel; صموئيل, Ṣamu’īl; Strong's: Shemuwel) is a leader of ancient Israel in the Books of Samuel in the Hebrew Bible. He is also known as a prophet and is mentioned in the Qur'an.^[2]

His status, as viewed by rabbinical literature, is that he was the last of the Hebrew Judges and the first of the major prophets who began to prophesy inside the Land of Israel. He was thus at the cusp between two eras. According to the text of the Books of Samuel, he also anointed the first two kings of the Kingdom of Israel: Saul and David.

Biblical account[link]

Gerbrand van den Eeckhout - Hannah presenting her son Samuel to the priest Eli ca.1665

Family[link]

Samuel's mother was Hannah and his father was Elkanah. Hannah, at the beginning of the narrative, is barren and childless, like Abraham's wife Sarah. Hannah prays to God for a child. Eli who is sitting at the foot of the doorpost in the sanctuary at Shiloh, sees her apparently mumbling and thinks Hannah is drunk, but is soon assured of her motivation and sobriety. Eli was, according to the Books of Samuel, the name of a priest of Shiloh, and one of the last Israelite Judges before the rule of kings in ancient Israel. He blesses her after she promises the child to God. Subsequently Hannah becomes pregnant; her child is Samuel. After he is weaned, she leaves him in Eli's care.

Elkanah is Samuel's father and lives at Ramah (1 Sam. 1:19; 2:11; comp. 28:3), in the district of Zuph. His genealogy is also found in a pedigree of the Kohathites (1 Chron. 6:3-15) and in that of Heman, his great-grandson (ib. vi. 18-22). According to the genealogical tables, Elkanah was, a Levite, a fact otherwise not mentioned in the books of Samuel. The fact that Elkanah, a Levite, was denominated an Ephraimite is analogous to the designation of a Levite belonging to Judah (Judges 17:7, for example).^[3]

Name[link]

According to 1 Samuel 1:20, Hannah named Samuel in memory of her requesting a child from God and God listening. Samuel is translated as Heard of God or possibly as a sentence "God has heard" (from 'Shama', heard and 'El', God — with "Shama" as the verb and "El" as the subject).^[4] Samuel in the Hebrew root word is "sha’al" which is mentioned seven times in 1 Samuel 1 and once as "sha’ul" (1:28), which is Saul’s name in Hebrew. Coogan suggests that Saul’s birth narrative was transferred to Samuel by the Deuteronomistic Historians.^[5]

Calling[link]

One night, around the age of 13, Samuel heard a voice calling his name. According to the Jewish historian Josephus, Samuel was about 12 years old.^[6] He initially assumed it was coming from Eli and went to Eli to ask what he wished to say. Eli, however, sent Samuel back to sleep. After this happened three times Eli realized that the voice was God's, and instructed Samuel on how to respond. Once Samuel responded God told him that the wickedness of the sons of Eli had resulted in their dynasty being condemned to destruction. Eli asked Samuel to honestly recount to him what he had been told, and upon receiving the communication merely said that God should do what seems right to himself.

Leader[link]

During Samuel's youth at Shiloh the Philistines inflicted a decisive defeat against the Israelites at Eben-Ezer (1 Sam. 4:1,2), placed the land under Philistine oppression, and took the sanctuary's Ark for themselves. (Some modern textual scholars consider that the Song of Moses, believed to be originally distinct from the surrounding text of Deuteronomy and not written by Moses, may in reality have been written in response to the theological implications of this disastrous defeat, possibly by Samuel himself.)^{[citation needed]}

This was decades before the Israelites began to be ruled by a king. After 20 years of such oppression, Samuel, who had gained national prominence as a prophet, summoned the people to Mizpah (one of the highest hills in the land), where he organized them into an army, and led them against the Philistines. The Philistines, having marched to Mizpah to attack the newly amassed Israelite army, were soundly defeated and fled in terror. The retreating Philistines were slaughtered by the Israelites, which the Bible portrays positively. The text then states that Samuel erected a large stone at the battle site as a memorial, and there ensued a long period of peace thereafter.

Textual criticism[link]

National prophet, local seer[link]

Some authors see the biblical Samuel as combining descriptions of two distinct roles:

• A seer, based at Ramah, and seemingly known scarcely beyond the immediate neighbourhood of Ramah (Saul, for example, not having heard of him, with his servant informing him of his existence instead). In this role, Samuel is associated with the bands of musical ecstatic roaming prophets (shouters - neb'im) at Gibeah, Bethel, and Gilgal, and some traditional scholars have argued that Samuel was the founder of these groups. At Ramah, Samuel secretly anoints Saul, after having met him for the first time, while Saul was looking for his father's lost donkeys, and treated him to a meal.
• A prophet, based at Shiloh, who went throughout the land, from place to place, with unwearied zeal, reproving, rebuking, and exhorting the people to repentance. In this role, Samuel acted as a (biblical) judge, publicly advising the nation, and also giving private advice to individuals. Eventually Samuel delegates this role to his sons, based at Beersheba, but they behave corruptly and so the people, facing invasion from the Ammonites, persuade Samuel to appoint a king. Samuel reluctantly does so, and anoints Saul in front of the entire nation, who had gathered to see him.

Textual scholars suggest that these two roles come from different sources, which later were spliced together to form the Book(s) of Samuel. The oldest is considered to be that which marks Samuel as the local seer of Ramah, who willingly anoints Saul as King in secret, while the latter is that which presents Samuel as a national figure, who begrudgingly anoints Saul as King in front of a national assembly. This later source is generally known as the republican source, since here, and elsewhere, it denigrates the actions and role of the monarchy (particularly those of Saul) and favours religious figures, in contrast to the other main source – the monarchial source – which treats the monarchy favourably. Theoretically if we had the monarchial source we would see Saul appointed king by public acclamation, due to his military victories, and not by cleromancy involving Samuel. Another difference between the sources is that the republican source treats the shouters as somewhat independent from Samuel (1 Samuel 9) rather than having been led by him (1 Samuel 19:18ff). The passage (1 Samuel 7:15-16) in which Samuel is described as having exercised the functions of a (biblical) judge, during an annual circuit from Ramah to Bethel to Gilgal (the Gilgal between Ebal and Gerizim) to Mizpah and back to Ramah, is thought by textual scholars to be a redaction aimed at harmonizing the two portrayals of Samuel.^[7]

The Book(s) of Samuel variously describe Samuel as having carried out sacrifices at sanctuaries, and having constructed and sanctified altars. According to the Mitzvot only Aaronic priests and/or Levites (depending on the Mitzvah) were permitted to perform these actions, and simply being a nazarite or prophet was insufficient. The books of Samuel and Kings offer numerous examples where this rule is not followed by kings and prophets, but some textual scholars look elsewhere seeking a harmonization of the issues. In the Book of Chronicles, Samuel is described as a Levite, rectifying this situation; however textual scholars widely see the Book of Chronicles as an attempt to redact the Book(s) of Samuel and of Kings to conform to later religious sensibilities. Since many of the Mitzvot themselves are thought to postdate the Book(s) of Samuel (according to the documentary hypothesis), Chronicles is probably making its claim based on religious bias. The Levitical genealogy of 1 Chronicles 4 is not historical, according to modern scholarship.^[7]

The Deuteronomistic Historians' Portrait of Samuel[link]

The Deuteronomistic Historians, who redacted the Former Prophets (Joshua, Judges, 1 & 2 Samuel, 1 & 2 Kings), idealized Samuel as a figure who is larger than life like Joshua. Samuel is a priest even though he is not of the tribe of Levi from his childhood. Samuel is a judge who leads the military like in the Book of Judges and also who exercises judicial functions. In 1 Sam 12:6-17, the Deuteronomic Historians composed a speech of Samuel that puts him as the judge sent by God to save Israel.^[8] In 1 Samuel 9:6-20, Samuel is seen as a local “seer.” The Deuteronomistic Historians preserved this view of Samuel while contributing him as “the first of prophets to articulate the failure of Israel to live up to its covenant with God.” ^[8] For the Deuteronomistic Historians, Samuel was extension of Moses and continuing Moses’ function as a prophet, judge, and a priest which made historical Samuel uncertain.^[8]

Samuel's retirement and death[link]

Apparition of the spirit of Samuel to Saul, by Salvator Rosa, 1668.

Samuel initially appointed his two sons as his successors; however, the Israelites rejected them and insisted on having a king rule over them. Samuel, who is opposed to a king, warns them of the potential negative consequences of such a decision, but at the people's insistence, asks God for a king. Samuel is told to seek out Saul, an animal herder said to be a head taller than his peers, and anoint him as the first King of Israel.

Just before his retirement, Samuel gathered the people to an assembly at Gilgal, and gives them a farewell speech, in which he emphasised how prophets and judges were more important than kings, how kings should be held to account, and how the people should not fall into idol worship, or worship of Asherah or of Baal; Samuel threatened that God would subject the people to foreign invaders should they disobey. This is seen by some people as a deuteronomic redaction;^[7] being that archaeologically sees that Asherah was still worshipped in Israelite households well into the 6th century. However, the Bible is clear in 1 Kings 11:5, 33, and 2 Kings 23:13 that the Israelites fell into Asherah worship later on.^[9]

Samuel then went into retirement, though he reappears briefly in the two accounts of why Saul's dynasty lost divine favour (parts of 1 Samuel 13 and 15), essentially acting, according to scholars, as the narrator's mouthpiece.^{[citation needed]} Apart from being the individual who anoints David as king, a role Samuel is abruptly summoned to take, he does not appear any further in the text until his own death at his hometown Ramah (1 Samuel 25:1, 28:3), where he is buried (cf. 2 Kings 21:18, 2 Chronicles 33:20, and John 19:41). According to classical rabbinical sources, this was at the age of fifty-two.

Samuel's death, however, is not completely the end of his appearance in the narrative. In the passage concerning Saul's visit to the Witch of Endor, ascribed by textual scholars to the republican source, Samuel was temporarily raised from the dead so that he can tell Saul his future. Many Christian interpretations of this event portray Samuel's appearance as being a deception from Satan, or even a demon in disguise. There are other interpretations which say that Saul and the witch having been frightened by his appearance, and Samuel as having been composed, classical rabbinical sources argue that Samuel was terrified by the ordeal, having expected to be appearing to face God's judgement, and had therefore brought Moses with him (to the land of the living) as a witness to his adherence to the mitzvot.^[7]

Perspectives on Samuel[link]

Judaism[link]

According to the Book of Jeremiah, and one of the Psalms (99), Samuel had a high devotion to God. Classical Rabbinical literature adds that he was more than an equal to Moses, God speaking directly to Samuel, rather than Samuel having to attend the tabernacle to hear God.^[10] Samuel is also described by the Rabbis as having been extremely intelligent; he argued that it was legitimate for laymen to slaughter sacrifices, since the Halakha only insisted that the priests bring the blood (cf Leviticus 1:5, Zebahim 32a).^[11] Eli, who was viewed negatively by many Classical Rabbis, is said to have reacted to this logic of Samuel by arguing that it was technically true, but Samuel should be put to death for making legal statements while Eli (his mentor) was present.^[11]

Samuel is also treated by the Classical Rabbis as a much more sympathetic character than he appears at face value in the Bible; his annual circuit is explained as being due to his wish to spare people the task of having to journey to him; Samuel is said to have been very rich, taking his entire household with him on the circuit so that he didn't need to impose himself on anyone's hospitality; when Saul fell out of God's favour, Samuel is described as having grieved copiously and having prematurely aged.^[12]

Christianity[link]

For Evangelical Christians Samuel is considered to be a Prophet, Judge, and wise Leader of Israel, and treated as an example of fulfilled commitments to God. On the Eastern Orthodox liturgical calendar, his feast day is August 20. He is commemorated as one of the Holy Forefathers in the Calendar of Saints of the Armenian Apostolic Church on July 30. In the Coptic Orthodox Church, the commemoration of the departure of Samuel the Prophet is celebrated on 9 Paoni.

Islam[link]

Mosque of the Prophet Samuel, Jerusalem

Tomb of the Prophet Samuel, Jerusalem

Samuel is also a revered prophet^[13] and seer in the Islamic faith. The narrative of Samuel in Muslim literature focuses specifically on his birth and the anointing of Saul. Other elements from his narrative are in accordance with the narratives of other prophets of Israel, as exegesis recounts Samuel's preaching against idolatry. Although he is mentioned in the Qur'an, his name is not given but he is instead referred to as "a Prophet".^[14] According to Islamic history, the Israelites, after the time of the prophet Moses, wanted a king to rule over their country. Thus, God sent the prophet Samuel to anoint Saul as the first king for the Israelites. The Qur'an states:

Have you thought of the elders of Israel after Moses, and how they said to their apostle: "Set up a king for us, then we shall fight in the way of God?" He replied: "This too is possible that when commanded to fight you may not fight at all." They said: "How is it we should not fight in the way of God when we have been driven from our homes and deprived of our Sons?" But when they were ordered to fight they turned away, except for a few; yet God knows the sinners.

—Qur'an, sura 2 (Al-Baqara), ayah 246^[14]

The Qur'an goes on to state that a king was anointed by the prophet, whose name was Talut (Saul in the Hebrew Bible). However, it states that the Israelites mocked and reviled the newly appointed king, as he was not wealthy from birth. But, in sharp contrast to the Hebrew Bible, the Qur'an praises Saul greatly, and mentions that he was gifted with great spiritual and physical strength. In the Qur'anic account, Samuel prophesies to the children of Israel, telling them that the sign of Saul's kingship will be that the Ark of the Covenant will come back to the Israelites:

And when their prophet said to them: "God has raised Saul king over you," they said: "How can he be king over us when we have greater right to kingship than he, for he does not even possess abundant wealth?" "God has chosen him in preference to you," said the prophet "and gifted him abundantly in wisdom and stature; and God gives authority to whomsoever He will: God is infinite and all-wise."
Their prophet said to them: "The sign of his kingship will be that you will come to have a chest (tabu't) full of peace and tranquility (Sakina) from your Lord and remainder of the legacy of the children of Moses and the children of Aaron, carried over by the angels. In this certainly shall be a sign for you if you really believe."

—Qur'an, sura 2 (Al-Baqara), ayah 247–248^[15]

See also[link]

• Biblical judges
• Books of Samuel
• Book of Samuel the Seer
• List of names referring to El
• Midrash Samuel
• Tomb of Samuel

References[link]

• This article incorporates text from Easton's Bible Dictionary (1897), a publication now in the public domain.

Samuel Barber, photographed by Carl Van Vechten, 1944

Samuel Osborne Barber II (March 9, 1910 – January 23, 1981) was an American composer of orchestral, opera, choral, and piano music. He is one of the most celebrated composers of the 20th century; music critic Donal Henahan stated that "Probably no other American composer has ever enjoyed such early, such persistent and such long-lasting acclaim."^[1] His Adagio for Strings (1936) has earned a permanent place in the concert repertory of orchestras. He was twice awarded the Pulitzer Prize for music, for his opera Vanessa (1956–57) and his Concerto for Piano and Orchestra (1962). Also widely performed is his Knoxville: Summer of 1915 (1947), a work for soprano and orchestra, which sets a prose text by James Agee. Unusual among contemporary composers, nearly all of his compositions have been recorded.^[1]

Biography[link]

Early years[link]

Boyhood home of Samuel Barber in West Chester, Pennsylvania

Barber was born in West Chester, Pennsylvania, the son of Marguerite McLeod (née Beatty) and Samuel Le Roy Barber.^[2] He was born into a comfortable, educated, social, and distinguished Irish-American^{[citation needed]} family. His father was a physician, and his mother was a pianist. His aunt, Louise Homer, was a leading contralto at the Metropolitan Opera and his uncle, Sidney Homer, was a composer of American art songs. Louise Homer is known to have influenced Barber's interest in voice. Through his aunt, Barber had access to many great singers and songs.

At a very early age, Barber became profoundly interested in music, and it was apparent that he had great musical talent and ability. He began studying the piano at the age of 6 and at age 7 composed his first work, Sadness, a 23 measure solo piano piece in C minor.^[1] At the age of nine he wrote to his mother:

Dear Mother: I have written this to tell you my worrying secret. Now don't cry when you read it because it is neither yours nor my fault. I suppose I will have to tell it now without any nonsense. To begin with I was not meant to be an athlet [sic]. I was meant to be a composer, and will be I'm sure. I'll ask you one more thing.—Don't ask me to try to forget this unpleasant thing and go play football.—Please—Sometimes I've been worrying about this so much that it makes me mad (not very).^[3]

Barber attempted to write his first opera, entitled The Rose Tree, at the age of 10. At the age of 12 he became an organist at a local church. When he was 14, he entered the Curtis Institute of Music in Philadelphia, where he studied piano with Isabelle Vengerova, composition with Rosario Scalero, and voice with Emilio de Gorgoza.^[1] He began composing seriously in his late teenage years. Around the same time, he met fellow Curtis schoolmate Gian Carlo Menotti , who became his partner in life as well as in their shared profession. At the Curtis Institute, Barber was a triple prodigy in composition, voice, and piano. He soon became a favorite of the conservatory's founder, Mary Louise Curtis Bok. It was through Mrs. Bok that Barber was introduced to his lifelong publisher, the Schirmer family. At the age of 18, Barber won the Joseph H. Bearns Prize from Columbia University for his violin sonata Fortune's Favorite Child (now lost or destroyed by the composer).^[1]

Middle years[link]

From his early to late twenties, Barber wrote a flurry of successful compositions, launching him into the spotlight of the classical music world. His first orchestral work, the overture to The School for Scandal, was composed in 1931 when he was 21 years old. It premiered successfully two years later in a performance given by the Philadelphia Orchestra under conductor Alexander Smallens.^[1] Many of his compositions were commissioned or first performed by such famous artists as Vladimir Horowitz, Eleanor Steber, Raya Garbousova, John Browning, Leontyne Price, Pierre Bernac, Francis Poulenc, and Dietrich Fischer-Dieskau. In 1935, at the age of 25, he was awarded the American Prix de Rome and was the recipient of a Pulitzer traveling scholarship which allowed him to study abroad in 1935-1936. He was later awarded a Guggenheim Fellowship in 1946.^[1]

When Barber was 28, his Adagio for Strings was performed by the NBC Symphony Orchestra under the direction of Arturo Toscanini in 1938, along with his first Essay for Orchestra. The Adagio had been arranged from the slow movement of Barber's String Quartet, Op. 11. Toscanini had only rarely performed music by American composers before (an exception was Howard Hanson's Second Symphony, which he conducted in 1933).^[4] At the end of the first rehearsal of the piece, Toscanini remarked, "Semplice e bella" (simple and beautiful).

Barber served in the Army Air Corps in World War II, where he was commissioned to write his Second Symphony, a work he later suppressed. (It was released in a Vox recording by the New Zealand Symphony Orchestra conducted by Andrew Schenck). Composed in 1943, the symphony was originally titled Symphony Dedicated to the Air Forces and was premiered in early 1944 by Serge Koussevitsky and the Boston Symphony Orchestra. Barber revised the symphony in 1947, which was published by G. Schirmer,^[5] and recorded the following year by the New Symphony Orchestra of London conducted by the composer,^[6] but Barber subsequently destroyed the score in 1964. It was reconstructed from the instrumental parts.^[7] According to another source, however, it was precisely the parts to the symphony that Barber had torn up.^[8] Hans Heinsheimer was an eyewitness, and reported that he accompanied Barber to the publisher's office where they collected all the music from the library and Barber "tore up all these beautifully and expensively copied materials with his own hands"^[9] Doubt has been cast on this story, however, on grounds that Heinsheimer, as an executive at G. Schirmer, would have allowed Barber into the Schirmer offices to watch him "rip apart the music that his company had invested money in publishing".^[10]

Barber won the Pulitzer Prize twice: in 1958 for his first opera Vanessa, and in 1963 for his Concerto for Piano and Orchestra.

Later years[link]

Barber spent many years in isolation after the harsh rejection of his third opera Antony and Cleopatra. He suffered from depression, and was also beset by alcoholism.^[11] The opera was written for and premiered at the opening of the new Metropolitan Opera House on September 16, 1966. After this setback, Barber continued to write music until he was almost 70 years old. Barber's music in his later years would be lauded as reflective and contemplative, but without the morbidity or unhappiness of other composers who knew they had a limited time to live. The Third Essay for Orchestra (1978) was his last major work.

Barber died of cancer in 1981 in New York City at the age of 70. He was buried in Oaklands Cemetery in his hometown of West Chester, Pennsylvania.^[12]

Achievements and awards[link]

Barber was the recipient of numerous awards and prizes including the Rome Prize (the American version of the Prix de Rome), two Pulitzers, and election to the American Academy of Arts and Letters. He was elected a Fellow of the American Academy of Arts and Sciences in 1961.^[13]

Barber was initiated, as a full collegiate member, into the Zeta Iota chapter of Phi Mu Alpha Sinfonia music fraternity at Howard University in 1952.

In addition to composing, Barber was active in organizations that sought to help musicians and promote music. He was president of the International Music Council of UNESCO, where he did much to bring into focus and ameliorate the conditions facing musicians and musical organizations worldwide. He was one of the first American composers to visit Russia (then part of the Soviet Union). Barber was also influential in the successful campaign by composers against ASCAP, the goal of which was to increase royalties paid to composers.

Music[link]

Orchestral music[link]

Barber played and studied the music of Johann Sebastian Bach and was an adherent of Johannes Brahms, from whom he learned how to compress profound emotions into small modules of highly charged musical expression (Cello Sonata, 1932).^{[citation needed]}

In 1933, after reading the poem "Prometheus Unbound" by Percy Bysshe Shelley, Barber composed the tone poem Music for a Scene from Shelley, Op. 7. In 1935, when the work was premiered at Carnegie Hall, it was the first time the composer heard one of his orchestral works performed publicly.^{[citation needed]}

Barber's compositional style has been lauded^{[by whom?]} for its musical logic, sense of architectural design, effortless melodic gift, and direct emotional appeal. This was evident in the Overture to The School for Scandal (1931) and Music for a Scene from Shelley (1933). These were characteristics of his music throughout his lifetime.^{[citation needed]}

Through the success of his Overture to The School for Scandal (1931), Music for a Scene from Shelley (1933), Adagio for Strings (1938); (First) Symphony in One Movement (1936), (First) Essay for Orchestra (1937) and Violin Concerto (1939), Barber garnered performances by the world's leading conductors such as Artur Rodziński, Eugene Ormandy, Dimitri Mitropoulos, Bruno Walter, Charles Münch, George Szell, Leopold Stokowski, and Thomas Schippers.

His compositions later included polytonality (Second Symphony, 1944); atonality (Medea, 1946, Prayers of Kierkegaard, 1954); Twelve-tone technique (Nocturne, 1959 and the Piano Sonata, 1949); and jazz (Excursions, 1944; and A Hand of Bridge, 1959).^{[citation needed]}

Among his finest works^{[citation needed]} are his four concertos, one each for Violin (1939), Cello (1945) and Piano (1962), and also the neoclassical Capricorn Concerto for flute, oboe, trumpet and string orchestra. All of these works are rewarding for the soloists and public alike, as all contain both highly virtuosic and beautiful writing, often simultaneously. The latter three have been unfairly neglected until recent years, when there has been a reawakening of interest in the expressive possibilities of these masterpieces.^{[citation needed]}

Barber's final opus was the Canzonetta for oboe and string orchestra (1979/1981).

Piano[link]

The four piano "bagatelles" Excursions, Op. 20 (1942–44), was his first and only venture into Americana music. Its elements of boogie-woogie, blues, theme and variations on a cowboy song, and hoedown are not typical of Barber's generally more classical style.^{[citation needed]} In 1949, Barber wrote his Piano Sonata, which has maintained a prominent position in the concert repertoire since its premiere.^{[citation needed]} The Nocturne for Piano (Homage to John Field), Op. 33, is another respected piece which he composed for the instrument.

Opera[link]

Barber's life partner Gian Carlo Menotti, whom he had met at Curtis, supplied the libretto (text) for Barber's opera, Vanessa. Using his vocal training, in 1956 Barber played and sang the score to the Metropolitan Opera's General Manager, Rudolf Bing, who accepted the work. It premiered in January 1958. The title role was written for Sena Jurinac but she cancelled six weeks before the opening, to be replaced by Eleanor Steber, with whom the role has become closely identified.^{[citation needed]} Vanessa won the 1958 Pulitzer Prize and gained acclaim as the first American grand opera.

Menotti also contributed the libretto for Barber's chamber opera A Hand of Bridge. Barber's Antony and Cleopatra was commissioned to open the new Metropolitan Opera House at Lincoln Center in 1966. The elaborate production designed by Franco Zeffirelli was plagued with technical disasters; it also overwhelmed and obscured Barber's music, which most critics derided as uncharacteristically weak and unoriginal. The critical rejection of music that Barber considered to be among his best sent him into a deep depression. In recent years, a revised version of Antony and Cleopatra, for which Menotti provided collaborative assistance, has enjoyed some success.^[15][16]

Vocal[link]

Barber's background, deeply rooted in singing (including studies with Emilio de Gogorza), his love of poetry, and his intimate knowledge and appreciation of the human voice, inspired his vocal writing. Barber's most famous vocal compositions, Knoxville: Summer of 1915 (to words by James Agee) and Dover Beach (to the poem by Matthew Arnold), were greatly successful. Their critical acclaim has made a powerful case for Barber as one of the twentieth century's most accomplished composers for the voice.^{[citation needed]}

In honor of Barber's influence on American music, on October 19, 1974, he was awarded the prestigious University of Pennsylvania Glee Club Award of Merit.^[17] This award was established in 1964 "to bring a declaration of appreciation to an individual each year who has made a significant contribution to the world of music and helped to create a climate in which our talents may find valid expression."

In September 1992, soprano Cheryl Studer, baritone Thomas Hampson, the preeminent Samuel Barber pianist John Browning and the Emerson String Quartet recorded the complete songs of Samuel Barber (with the exception of Knoxville: Summer of 1915) at the Brahms-Saal of the famous Musikverein in Vienna, Austria. The Deutsche Grammophon (catalogue 435 867–2) set has become a classic of American song on record.^{[citation needed]}

Violin[link]

In 1939 Philadelphia industrialist Samuel Simeon Fels commissioned Barber to write a violin concerto for Fels' ward, Iso Briselli, a graduate from the Curtis Institute of Music the same year as Barber, 1934.^[18] The Barber biographies written by Nathan Broder (1954) and Barbara B. Heyman (1992) discuss the genesis of the concerto during the period of the violin concerto's commission and subsequent year leading up to the first performance. Heyman interviewed Briselli and others familiar with the history in her publication. In late 2010, previously unpublished letters written by Fels, Barber, and Albert Meiff (Briselli's violin coach in that period) from the Samuel Simeon Fels Papers archived at the Historical Society of Pennsylvania became available to the public.^[19]

Notable compositions[link]

• Dover Beach (Medium voice and string quartet) (Op. 3, 1931)
• The School for Scandal (Overture) (Op. 5, 1931)
• Cello Sonata (Op. 6, 1932)
• Music for a Scene from Shelley (Op. 7, 1933)
• (First) Symphony in One Movement (Op. 9, 1936)
• Adagio for Strings (arr. of String Quartet, movement 2) (Op. 11, 1938)
• Essay for Orchestra (Op. 12, 1937)
• Violin Concerto (Op. 14, 1939)
• Reincarnations for mixed chorus, (Op. 16, 1939–1940); words by Antoine Ó Raifteiri in translation by James Stephens
• Second Essay for Orchestra (Op. 17, 1942)
• Excursions (Op. 20, 1942–44)
• Capricorn Concerto (Op. 21, 1944)
• Cello Concerto (Op. 22, 1945)
• Medea (ballet) (Op. 23, 1946)
• Knoxville: Summer of 1915 (Soprano & Orchestra) (Op. 24, 1948)
• Sonata for Piano (Op. 26, 1949)
• Hermit Songs (Op. 29, 1953)
• Prayers of Kierkegaard (Soprano, Choir & Orchestra) (Op. 30, 1954)
• Summer Music for Wind Quintet (Op. 31, 1956)
• Vanessa (opera) (Op. 32, 1957)
• A Hand of Bridge (Chamber opera) (Op. 35, 1959)
• Toccata Festiva (Organ and Orchestra) (Op. 36, 1960)
• Piano Concerto (Op. 38, 1962)
• Antony and Cleopatra (Op. 40, opera, 1966, rev. 1974)

Notes[link]

References and further reading[link]

• Brévignon, Pierre. 2011. Samuel Barber, un nostalgique entre deux mondes. Paris: Editions Hermann. ISBN 9782705681869.
• Broder, Nathan. 1954. Samuel Barber. New York: G. Schirmer. Reprinted Westport, CT: Greenwood Press, 1985. ISBN 0-313-24984-9.
• Heinsheimer, Hans W. 1968. "The Composing Composer: Samuel Barber". ASCAP Today 2:7.
• Henahan, Donal. 1975. "Juilliard Rehabilitating 'Antony and Cleopatra'". New York Times (February 8).
• Heyman, Barbara B. 1992. Samuel Barber: The Composer and His Music. New York and Oxford: Oxford University Press. ISBN 978-0-19-509058-1.
• Károlyi, Ottó. 1996. Modern American Music: From Charles Ives to the Minimalists. London: Cygnus Arts; Madison [N.J.]: Fairleigh Dickinson University Press. ISBN 978-0-8386-3725-8 (cloth); ISBN 978-1-900541-00-8 (pbk).
• Lee, Douglas A. 2002. Masterworks of 20th-Century Music: The Modern Repertory Of The Symphony Orchestra. New York: Routledge. ISBN 0-415-93846-5
• Mostovoy, Marc. 2010. "Iso Briselli, Samuel Barber, and thbe Violin Concerto, op. 14: Facts and Fiction". Iso Briselli website. (Accessed December 6, 2010)
• Schenck, Andrew. 1988. Booklet notes. Samuel Barber: Symphony No. 2; Music for a Scene from Shelley; Overture to The School for Scandal; First Essay; Adagio for Strings. The New Zealand Symphony Orchestra, Andrew Schenck, cond. CD recording. Stradivari Classics SCD 8012. Hackensack, NJ: Special Music Company.
• Simmons, Walter. 2004. Voices in the Wilderness: Six American Neo-Romantic Composers. Lanham, Md.: Scarecrow Press. ISBN 0-8108-4884-8. Paperback reprint edition, Lanham, Md.: Scarecrow Press, 2006. ISBN 0-8108-5728-6.
• Smith, Patricia Juliana. 2002. "Barber, Samuel". glbtq: An Encyclopedia of Gay, Lesbian, Bisexual, Transgender, and Queer Culture, edited by Claude J. Summers. Chicago: glbtq, Inc.
• Staubrand, Jens. 2009. Kierkegaard International Bibliography: Music Works and Plays: Appendix: About The Seducers Diary and the Illness and Death of Søren Kierkegaard, new edition. Copenhagen: Eget Forlag; i kommission hos Forlaget Underskoven. ISBN 978-87-92259-91-2.
• Valente, Erasmo. 1983. "A Spoleto rinasce Cleopatra". L'unità (June 27).
• Wade, Graham. 2003. A Concise Guide to Understanding Music. Pacific, MO: Mel Bay Publications. ISBN 978-0-7866-4981-5.
• Warrack, John Hamilton, and Ewan West. 1992. The Oxford Dictionary of Opera. Oxford and New York: Oxford University Press ISBN 0-19-869164-5
• Wright, Jeffrey Marsh II. 2010. "The Enlisted Composer: Samuel Barber's Career 1942–1945". PhD diss. Chapel Hill: University of North Carolina at Chapel Hill.

External links[link]

Wikimedia Commons has media related to: Samuel Barber

Biography[link]

• Heyman, Barbara B (1992). Samuel Barber: The Composer and His Music. New York: Oxford University Press. ISBN 0-19-509058-6
• Wittke, Paul. Samuel Barber. G. Schirmer Inc.
• Brévignon, Pierre. 2011. Samuel Barber, un nostalgique entre deux mondes. Paris: Editions Hermann. ISBN 2782705681869.
• Homepage of Capricorn, the French Samuel Barber Society. (In English and French)
• Article "Barber, A Composer Between Two Worlds", by the Capricorn Society on American Center France
• Samuel Osborne Barber. IHAS. PBS.
• Smith, Patricia. Barber, Samuel. glbtq.com
• (French) A biography of Samuel Barber, from IRCAM's website.
• "Samuel Barber", Fyne Times

Other[link]

• Frédéric Chopin and Samuel Barber – ArtsEditor.com opinion article, 2010.

Audio and Video[link]

• Anne Akiko Meyers performs the Barber Violin Concerto
• Art of the States: Samuel Barber
• Erika's aria (piano and voice) from Vanessa, "Must the Winter Come So Soon?", sung by Mary Gayle Greene on YouTube
• In the BBC Discovering Music: Listening Library

Samuel L. Jackson
Jackson at the 2008 San Diego Comic-Con
Born	Samuel Leroy Jackson (1948-12-21) December 21, 1948 (age 63) Washington, D.C., United States
Occupation	Actor, producer
Years active	1972–present
Spouse	LaTanya Richardson (m. 1980) «start: (1980)»"Marriage: LaTanya Richardson to Samuel L. Jackson" Location: (linkback:http://en-wiki.pop.wn.com/index.php/Samuel_L._Jackson)
Website
www.samuelljackson.com

Samuel Leroy Jackson (born December 21, 1948) is an American film and television actor and film producer. After becoming involved with the Civil Rights Movement, he moved on to acting in theater at Morehouse College, and then films. He had several small roles such as in the film Goodfellas before meeting his mentor, Morgan Freeman, and the director Spike Lee. After gaining critical acclaim for his role in Jungle Fever in 1991, he appeared in films such as Patriot Games, Amos & Andrew, True Romance and Jurassic Park. In 1994, he was cast as Jules Winnfield in Pulp Fiction, and his performance received several award nominations and critical acclaim.

Jackson has since appeared in over 100 films including Die Hard with a Vengeance, The 51st State, Jackie Brown, Unbreakable, The Incredibles, Black Snake Moan, Shaft, Snakes on a Plane, as well as the Star Wars prequel trilogy and small roles in Quentin Tarantino's Kill Bill Vol. 2 and Inglourious Basterds.

He played Nick Fury in Iron Man, Iron Man 2, Thor, Captain America: The First Avenger, and Marvel's The Avengers, the first five of a nine-film commitment as the character for the Marvel Cinematic Universe franchise. Jackson's many roles have made him one of the highest-grossing actors at the box office. Jackson has won multiple awards throughout his career and has been portrayed in various forms of media including films, television series, and songs. In 1980, Jackson married LaTanya Richardson, with whom he has a daughter, Zoe.

In October 2011, Jackson surpassed Frank Welker as the highest grossing film actor of all-time.^[1]

Early life[link]

Jackson was born in Washington, D.C.^[2] He grew up as an only child in Chattanooga, Tennessee with his mother, Elizabeth Jackson (née Montgomery), who was a factory worker and later a supplies buyer for a mental institution, and his maternal grandparents and extended family.^[3][4] His father lived away from the family, in Kansas City, Missouri, and later died from alcoholism; Jackson had only met his father twice during his life.^[3][5] Jackson attended several segregated schools^[6] and graduated from Riverside High School in Chattanooga. Between the third and twelfth grades, he played the French horn and trumpet in the school orchestra.^[7] Initially intent on pursuing a degree in marine biology, he attended Morehouse College in Atlanta, Georgia. After joining a local acting group to earn extra points in a class, Jackson found an interest in acting and switched his major.^[8] Before graduating in 1972, he co-founded the "Just Us Theatre".^[3][9]

Civil Rights Movement involvement[link]

After the 1968 assassination of Martin Luther King, Jr., Jackson attended the funeral in Atlanta as one of the ushers.^[10] Jackson then flew to Memphis to join an equal rights protest march. In a Parade interview Jackson revealed: "I was angry about the assassination, but I wasn’t shocked by it. I knew that change was going to take something different – not sit-ins, not peaceful coexistence."^[11] In 1969, Jackson and several other students held members of the Morehouse College board of trustees (including a nearby Martin Luther King, Sr.) hostage on the campus, demanding reform in the school's curriculum and governance.^[12] The college eventually agreed to change its policy, but Jackson was charged with and eventually convicted of unlawful confinement, a second-degree felony.^[13] Jackson was then suspended for two years for his criminal record and his actions (although he would later return to the college to earn his Bachelor of Arts in Drama in 1972).^[14]

While he was suspended, Jackson was employed as a social worker in Los Angeles.^[15] Jackson decided to return to Atlanta, where he met with Stokely Carmichael, H. Rap Brown, and others active in the Black Power movement.^[11] Jackson revealed in the same Parade interview that he began to feel empowered with his involvement in the movement, especially when the group began buying guns.^[11] However, before Jackson could become involved with any significant armed confrontation, his mother sent him to Los Angeles after the FBI told her that he would die within a year if he remained with the Black Power movement.^[11]

Acting career[link]

1970s–1980s[link]

Jackson initially majored in marine biology at Morehouse College before switching to architecture. He later settled on drama after taking a public speaking class and appearing in a version of The Threepenny Opera.^[7] Jackson began acting in multiple plays, including Home and A Soldier's Play.^[3] He appeared in several television films, and made his feature film debut in the blaxploitation independent film Together for Days (1972).^[16] After these initial roles, Jackson proceeded to move from Atlanta to New York City in 1976 and spent the next decade appearing in stage plays such as The Piano Lesson and Two Trains Running, which both premiered at the Yale Repertory Theater.^[15][17] At this point in his early career, Jackson developed alcoholism and cocaine addictions, resulting in him being unable to proceed with the two plays as they continued to Broadway (actors Charles S. Dutton and Anthony Chisholm took his place).^[14] Throughout his early film career, mainly in minimal roles in films such as Coming to America and various television films, Jackson was mentored by Morgan Freeman.^[7] After a 1981 performance in the play A Soldier's Play, Jackson was introduced to director Spike Lee who would later include him in small roles for the films School Daze (1988) and Do the Right Thing (1989).^[3][18] He also played a minor role in the 1990 Martin Scorsese film Goodfellas as real-life Mafia associate Stacks Edwards and also worked as a stand-in on The Cosby Show for Bill Cosby^[12][19] for three years.

1990s[link]

While completing these films, Jackson's drug addiction had worsened. After previously overdosing on heroin several times, Jackson gave up the drug in favor of cocaine.^[20] After seeing the effects of his addiction, his family entered him into a New York rehab clinic.^[7][21] When he successfully completed rehab, Jackson appeared in Jungle Fever, as a crack cocaine addict, a role which Jackson called cathartic as he was recovering from his addiction.^[3] Jackson commented on the transition, "It was a funny kind of thing. By the time I was out of rehab, about a week or so later I was on set and we were ready to start shooting."^[22] The film was so acclaimed that the 1991 Cannes Film Festival created a special "Supporting Actor" award just for him.^[5][23] After this role, Jackson became involved with multiple films, including the comedy Strictly Business, dramas Juice and Patriot Games, and then moved on to two other comedies: National Lampoon's Loaded Weapon 1 (his first starring role) and Amos & Andrew.^[24][25] Jackson then worked with director Steven Spielberg, appearing in Jurassic Park.^[26]

After a turn as the criminal Big Don in the 1993 Tarantino-penned True Romance directed by Tony Scott, Tarantino contacted Jackson for the role of Jules Winnfield in Pulp Fiction. Jackson was surprised to learn that the part had been specifically written for him, "To know that somebody had written something like Jules for me. I was overwhelmed, thankful, arrogant – this whole combination of things that you could be, knowing that somebody's going to give you an opportunity like that."^[27] Although Pulp Fiction was Jackson's thirtieth film, the role made him internationally recognized and he received praise from critics. In a review by Entertainment Weekly, his role was commended: "As superb as Travolta, Willis, and Keitel are, the actor who reigns over Pulp Fiction is Samuel L. Jackson. He just about lights fires with his gremlin eyes and he transforms his speeches into hypnotic bebop soliloquies."^[28] For the Academy Awards, Miramax Films pushed for the supporting actor nomination for Jackson (although he had about the same screen time as Travolta, who was nominated for best actor).^[29] For his performance, Jackson received a nomination for the Academy Award for Best Supporting Actor. In addition, Jackson received a Golden Globe nomination and a BAFTA Best Supporting Actor award win.^[30][31][32]

After Pulp Fiction, Jackson received multiple scripts to play his next role: "I could easily have made a career out of playing Jules over the years. Everybody's always sending me the script they think is the new Pulp Fiction."^[33] With a succession of poor-performing films such as Kiss of Death, The Great White Hype, and Losing Isaiah, Jackson began to receive poor reviews from critics who had praised his performance in Pulp Fiction. This ended with his involvement in the two successful box office films A Time To Kill, where he depicted a father who is put on trial for killing two men who raped his daughter, and Die Hard with a Vengeance, starring alongside Bruce Willis in the third installment of the Die Hard series.^[34][35] For A Time to Kill, Jackson earned a NAACP Image for Best Supporting Actor in a Motion Picture and a Golden Globe nomination for a Best Supporting Actor.^[36]

Quickly becoming a box office star, Jackson continued with three starring roles in 1997. In 187 he played a dedicated teacher striving to leave an impact on his students.^[37] He received an Independent Spirit award for Best First Feature alongside first-time writer/director Kasi Lemmons in the drama Eve's Bayou, for which he also served as executive producer.^[38] He joined up again with director Quentin Tarantino and received the Silver Bear for Best Actor at the Berlin Film Festival^[39] and a fourth Golden Globe nomination for his portrayal of arms merchant Ordell Robbie in Jackie Brown.^[40] In 1998, he worked with other established actors such as Sharon Stone and Dustin Hoffman in Sphere and Kevin Spacey in The Negotiator, playing a hostage negotiator who resorts to taking hostages himself when he is falsely accused of murder and embezzlement.^[41][42] In 1999, Jackson starred in the horror film Deep Blue Sea, and as Jedi Master Mace Windu in George Lucas' Star Wars Episode I: The Phantom Menace.^[43][44] In an interview, Jackson claimed that he did not have a chance to read the script for the film and did not learn he was playing the character Mace Windu until he was fitted for his costume (he later said that he was eager to accept any role, just for the chance to be a part of the Star Wars saga).^[45]

2000s[link]

Film roles[link]

Jackson at the 2005 Cannes Film Festival

On June 13, 2000, Jackson was honored with a star on the Hollywood Walk of Fame which can be found at 7018 Hollywood Blvd.^[46] He began the next decade in his film career as a Marine colonel put on trial in Rules of Engagement, co-starred with Bruce Willis for a third time in the supernatural thriller Unbreakable, and starred in the 2000 remake of the 1971 film Shaft.^[47][48][49] Jackson's sole film in 2001 was The Caveman's Valentine, where he played a homeless musician in a murder thriller. The film was directed by Kasi Lemmons, who previously worked with Jackson in Eve's Bayou.^[50] In 2002, he played a recovering alcoholic attempting to keep custody of his kids while fighting a battle of wits with Ben Affleck's character in Changing Lanes.^[3] He returned for Star Wars Episode II: Attack of the Clones, seeing his minor supporting role develop into a major character. Mace Windu's purple lightsaber in the film was the result of Jackson's suggestion;^[3] he wanted to be sure that his character would stand out in a crowded battle scene.^[51][52] Jackson then acted as a NSA agent alongside Vin Diesel in xXx and a kilt-wearing drug dealer in The 51st State.^[53][54] In 2003, Jackson again worked with John Travolta in Basic and then as a police sergeant alongside Colin Farrell in the television show remake S.W.A.T.^[55][56] A song within the soundtrack was named after him, entitled Sammy L. Jackson by Hot Action Cop.^[57] Jackson also appeared in HBO's documentary Unchained Memories, as a narrator along many other stars like Angela Bassett and Whoopi Goldberg. He uses terminology such as paddy rollers (which can be seen on the slave patrol page) when reading his narration.

According to reviews gathered by Rotten Tomatoes, in 2004 Jackson starred in both his lowest and highest ranked films in his career.^[58] In the thriller Twisted, Jackson played a mentor to Ashley Judd.^[59] The film garnered a 2% approval rating on the website, with reviewers calling his performance "lackluster" and "wasted".^[60][61][62] He then lent his voice to the computer-animated film The Incredibles as the superhero Frozone.^[63] The film received a 97% approval rating, and Jackson's performance earned him an Annie Award nomination for Best Voice Acting.^[64][65] He then went on to do a cameo in another Quentin Tarantino film, Kill Bill, Vol. 2.^[66]

In 2005, he began with the sports drama, Coach Carter, where he played a coach (based on the actual coach Ken Carter) dedicated to teaching his players that education is more important than basketball.^[67] Although the film received mixed reviews, Jackson's performance was praised despite the film's storyline.^[68][69] Bob Townsend of the Atlanta Journal-Constitution commended Jackson's performance, "He takes what could have been a cardboard cliche role and puts flesh on it with his flamboyant intelligence."^[70] Jackson also returned for two sequels: XXX: State of the Union, this time commanding Ice Cube, and the final Star Wars prequel film, Star Wars Episode III: Revenge of the Sith.^[71][72] His last film for 2005 was The Man alongside comedian Eugene Levy.^[73] On November 4, 2005, he was presented with the Hawaii International Film Festival Achievement in Acting Award.^[74]

On January 30, 2006, Jackson was honored with a hand and footprint ceremony at Grauman's Chinese Theater; he is the seventh African American and 191st actor to be recognized in this manner.^[75] He next starred opposite actress Julianne Moore in the box office bomb Freedomland, where he depicted a police detective attempting to help a mother find her abducted child while quelling a citywide race riot.^[76][77] Jackson's second film of the year, Snakes on a Plane, gained cult film status months before it was released based on its title and cast.^[78] Jackson's decision to star in the film was solely based on the title.^[79] To build anticipation for the film, he also cameoed in the 2006 music video "Snakes on a Plane (Bring It)" by Cobra Starship. On December 2, 2006, Jackson won the German Bambi Award for International Film, based on his many film contributions.^[80] In December 2006, Jackson starred in Home of the Brave, as a doctor returning home from the Iraq War.^[81]

Jackson in July 2006

On January 30, 2007, Jackson was featured as narrator in Bob Saget's direct-to-DVD Farce of the Penguins.^[82] The film was a spoof of the box office success March of the Penguins (which was narrated by Morgan Freeman).^[83] Also in 2007, he portrayed a blues player who imprisons a young woman (Christina Ricci) addicted to sex in Black Snake Moan, and the horror film 1408, an adaptation of the Stephen King short story.^[84][85] In 2008, Jackson reprised his role of Mace Windu in the CGI film, Star Wars: The Clone Wars, followed by Lakeview Terrace where he played a racist cop who terrorizes an interracial couple.^[86][87] In November of the same year, he starred along with Bernie Mac and Isaac Hayes (who both died prior to the film's release) in Soul Men.^[88] In 2008, he portrayed the villain in The Spirit, which was poorly received by critics and the box office.^[89][90] In 2009, he again worked with Quentin Tarantino when he narrated several scenes in the World War II film, Inglourious Basterds.^[91] In 2010, he starred in the drama Mother and Child and portrayed an interrogator who attempts to locate several nuclear weapons in the direct-to-video film Unthinkable.^[92][93] Alongside Dwayne Johnson, Jackson again portrayed a police officer in the opening scenes of the comedy The Other Guys. He also co-starred with Tommy Lee Jones for a film adaptation of The Sunset Limited.

Throughout Jackson's career, he has appeared in many films alongside mainstream rappers. These include Tupac Shakur (Juice), Queen Latifah (Juice/Sphere), Method Man (One Eight Seven), LL Cool J (Deep Blue Sea/S.W.A.T.), Busta Rhymes (Shaft), Eve (xXx), Ice Cube (xXx: State of the Union), Xzibit (xXx: State of the Union), David Banner (Black Snake Moan), and 50 Cent (Home of the Brave).^[94] Additionally, Jackson has appeared in four films with actor Bruce Willis (National Lampoon's Loaded Weapon 1, Pulp Fiction, Die Hard with a Vengeance, and Unbreakable) and the actors were slated to work together in Black Water Transit before both dropped out.^[95]

Television and other roles[link]

In addition to films, Jackson also appeared in several television shows, a video game, music videos, as well as audiobooks. Jackson had a small part in the Public Enemy music video for "911 Is a Joke". Jackson voiced several television show characters including the lead role in the anime series, Afro Samurai, in addition to a recurring part as the voice of Gin Rummy in several episodes of the animated series The Boondocks.^[96][97] He guest-starred as himself in an episode of the BBC/HBO sitcom Extras.^[98] He voiced the main antagonist, Officer Frank Tenpenny, in the video game Grand Theft Auto: San Andreas.^[99] Jackson also hosted a variety of awards shows. Thus far, he has hosted the MTV Movie Awards (1998),^[100] the ESPYs (1999, 2001, 2002, and 2009),^[101] and the Spike TV Video Game Awards (2005, 2006, and 2007).^[102] In November 2006, he provided the voice of God for The Bible Experience, the New Testament audiobook version of the Bible. He was given the lead role because producers believed his deep, authoritative voice would best fit the role.^[103] He further expanded his audio book legacy by then reading the Audible.com production of the number one Amazon.com best seller Go the Fuck to Sleep.^[104] For the Atlanta Falcons 2010 season, Samuel L. Jackson portrayed Rev. Sultan in the Falcons "Rise Up" commercial to help improve tickets sales.

Upcoming films[link]

Jackson has several upcoming film projects between 2010 and 2012. In 2001, Jackson gave his consent for Marvel Comics to design their "Ultimate" version of the character Nick Fury after his likeness.^[105] In the 2008 film Iron Man, he made a cameo as the character in a post-credit scene.^[106] In February 2009, Jackson signed on to a nine-picture deal with Marvel which would see him appear as the character in Iron Man 2, Thor, Captain America: The First Avenger, and The Avengers as well as any other sequels they would produce.^[107]

He will appear^[when?] in Quentin Tarantino's film, Django Unchained.^[108] He is also set to produce a live-action movie of Afro Samurai,^[109] and is assuming the role of Sho'nuff in a remake of The Last Dragon.^[110]

Box office performance[link]

Jackson has said that he chooses roles that are "exciting to watch" and have an "interesting character inside of a story", and that in his roles he wanted to "do things [he hasn't] done, things [he] saw as a kid and wanted to do and now [has] an opportunity to do".^[111] Throughout the 1990s, A.C. Neilson E.C.I., a box office tracking company, determined that Jackson appeared in more films than any other actor that grossed $1.7 billion domestically.^[112] For all the films in his career, where he is featured as a leading actor or supporting co-star, his films have grossed a total of $2.81^[113] to $4.91 billion^[114] at the North American box office, placing him as the seventh (as strictly lead) or the second highest-grossing movie star (counting supporting roles) of all time; behind only that of voice actor Frank Welker. The 2009 edition of The Guinness World Records, which uses a different calculation to determine film grosses, stated that Jackson is the world's highest grossing actor, having earned $7.42 billion in 68 films.^[115]

Personal life[link]

Jackson with his wife LaTanya Richardson in 2005

In 1980, Jackson married actress and sports channel producer LaTanya Richardson,^[116] whom he met while attending Morehouse College.^[3] The couple have a daughter, Zoe, born in 1982.^[117] In 2009, they started their own charitable organization to help support education.^[116] Jackson and Richardson live in Los Angeles, California.

Jackson has revealed in an interview that he sees every one of his movies in theaters with paying customers claiming that "Even during my theater years, I wished I could watch the plays I was in – while I was in them! I dig watching myself work."^[118] He also enjoys collecting the action figures of the characters he portrays in his films, including Jules Winnfield, Shaft, Mace Windu, and Frozone.^[119] He is a comic book and anime fan.^[45]

Jackson is bald, but enjoys wearing unusual wigs in his films.^[120] Jackson has reflected on his decision to go bald: "I keep ending up on those bald is beautiful lists. It's cool. You know, when I started losing my hair it was during the era when everybody had lots of hair. ... All of a sudden I felt this big hole in the middle of my afro, I couldn't face having a comb over so I had to quickly figure what the haircut for me was."^[120] His first bald role was in The Great White Hype.^[121] Jackson usually gets to pick his own hairstyles for each character he portrays.^[121][122] Although he did poke fun at his baldness the first time he appeared bald on The Tonight Show, explaining that he had to shave his head for one role, but then he kept receiving more and more roles afterward, and had to keep shaving his head so wigs could be made for him. Laughingly, he ended the tale by lamenting to Jay Leno, "The only way I'm gonna have time to grow my hair back, is if I'm not workin'!".

Jackson enjoys playing golf, a game he has been reported to have become very proficient at.^[3] Jackson has a clause in his film contracts that allows him to play golf during production.^[6][30] He has played in the Gary Player Invitational charity golf tournament to assist golf icon Gary Player raise funds for needy children in South Africa. He stated that the golf course is the only place where he "can go dressed as a pimp and fit in perfectly".^[7] Jackson is also a keen basketball fan, and especially favors the Toronto Raptors and the Harlem Globetrotters.^[123] He also became a Liverpool F.C. fan after filming The 51st State in Liverpool. Jackson, a known lover of Ireland, also supports a Dublin based football team Bohemian F.C.^{[124][125][126]}

Jackson campaigned during the 2008 Democratic Primary for then Illinois Senator Barack Obama in Texarkana, Texas. He said "Barack Obama represents everything I was told I could be growing up. I am a child of segregation. When I grew up and people told me I could be president, I knew it was a lie. But now we have a representative... the American Dream is a reality. Anyone can grow up to be a president."^[127] Jackson also said "I voted for Barack because he was black. ’Cuz that’s why other folks vote for other people – because they look like them".^[128]

Filmography[link]

References[link]