Illustration by Arthur Rackham of the ballad The Twa Corbies

A ballad is a form of verse, often a narrative set to music. Ballads were particularly characteristic of the popular poetry and song of the British Isles from the later medieval period until the 19th century and used extensively across Europe and later the Americas, Australia and North Africa. Many ballads were written and sold as single sheet broadsides. The form was often used by poets and composers from the 18th century onwards to produce lyrical ballads. In the later 19th century it took on the meaning of a slow form of popular love song and the term is now often used as synonymous with any love song, particularly the pop or rock power ballad.

Origins[link]

The ballad probably derives its name from medieval French dance songs or "ballares" (from which we also get ballet), as did the alternative rival form that became the French Ballade. In theme and function they may originate from Scandinavian and Germanic traditions of storytelling that can be seen in poems such as Beowulf.^[1] The earliest example we have of a recognisable ballad in form in England is ‘Judas’ in a 13th-century manuscript.^[2]

Ballad form[link]

Most northern and west European ballads are written in ballad stanzas or quatrains (four-line stanzas) of alternating lines of iambic (an unstressed followed by a stressed syllable) tetrameter (eight syllables) and iambic trimeter (six syllables), known as ballad meter. Usually, only the second and fourth line of a quatrain are rhymed (in the scheme a, b, c, b), which has been taken to suggest that, originally, ballads consisted of couplets (two lines) of rhymed verse, each of 14 syllables.^[3] As can be seen in this stanza from ‘Lord Thomas and Fair Annet’:

The horse| fair Ann|et rode| upon|
He amb|led like| the wind|,
With sil|ver he| was shod| before,
With burn|ing gold| behind|.^[1]

However, there is considerable variation on this pattern in almost every respect, including length, number of lines and rhyming scheme, making the strict definition of a ballad extremely difficult. In southern and eastern Europe, and in countries that derive their tradition from them, ballad structure differs significantly, like Spanish romanceros, which are octosyllabic and use consonance rather than rhyme.^[4]

In all traditions most ballads are narrative in nature, with a self-contained story, often concise and relying on imagery, rather than description, which can be tragic, historical, romantic or comic.^[3] Another common feature of ballads is repetition, sometimes of fourth lines in succeeding stanzas, as a refrain, sometimes of third and fourth lines of a stanza and sometimes of entire stanzas.^[1]

Composition[link]

Scholars of ballads are often divided into two camps, the ‘communalists’ who, following the line established by the German scholar Johann Gottfried Herder (1744–1803) and the Brothers Grimm, argue that ballads arose by a combined communal effort and did not have a single author, and ‘individualists’, following the thinking of English collector Cecil Sharp, who assert that there was a single original author.^[2] The communalist position tends to lead to the view that more recent, particularly printed broadside ballads, where we may even know the author, are a debased form of the genre. The individualists position has tended to lead to the view that later changes in the words of ballads are corruptions of an original text.^[5] More recently scholars have pointed to the interchange of oral and written forms of the ballad.^[6]

Classification[link]

Illustration by Arthur Rackham to Young Bekie.

European Ballads have been generally classified into three major groups: traditional, broadside and literary. In America a distinction is drawn between ballads that are versions of European, particularly British and Irish songs, and 'native American ballads', developed without reference to earlier songs. A further development was the evolution of the blues ballad, which mixed the genre with Afro-American music. For the late 19th century the music publishing industry found a market for what are often termed sentimental ballads, and these are the origin of the modern use of the term ballad to mean a slow love song.

Traditional ballads[link]

The traditional, classical or popular (meaning of the people) ballad has been seen as originating with the wandering minstrels of late medieval Europe.^[1] From the end of the 15th century we have printed ballads that suggest a rich tradition of popular music. We know from a reference in William Langland's Piers Plowman, that ballads about Robin Hood were being sung from at least the late 14th century and the oldest detailed material we have is Wynkyn de Worde's collection of Robin Hood ballads printed about 1495.^[7]

Early collections of English ballads were made by Samuel Pepys (1633–1703) and in the Roxburghe Ballads collected by Robert Harley, 1st Earl of Oxford and Mortimer (1661–1724).^[7] In the 18th century there were increasing numbers of such collections, including Thomas D'Urfey's Wit and Mirth: or, Pills to Purge Melancholy (1719–20) and Bishop Thomas Percy's Reliques of Ancient English Poetry (1765).^[7] The last of these also contained some oral material and by the end of the 18th century this was becoming increasingly common, with collections including John Ritson's, The Bishopric Garland (1784), which paralleled the work of figures like Robert Burns and Walter Scott in Scotland.^[7]

Key work on the traditional ballad was undertaken in the late 19th century in Denmark by Svend Grundtvig and for England and Scotland by the Harvard professor Francis James Child.^[2] They attempted to record and classify all the known ballads and variants in their chosen regions. Since Child died before writing a commentary on his work it is uncertain exactly how and why he differentiated the 305 ballads printed that would be published as The English and Scottish Popular Ballads.^[8] There have been many different and contradictory attempts to classify traditional ballads by theme, but commonly identified types are the religious, supernatural, tragic, love ballads, historic, legendary and humorous.^[1]

Broadsides[link]

An 18th-century broadside ballad: The tragical ballad: or, the lady who fell in love with her serving-man.

Broadside ballads (also known as 'roadsheet’, ‘stall’, ‘vulgar’ or ‘come all ye’ ballads) were a product of the development of cheap print in the 16th century. They were generally printed on one side of a medium to large sheet of poor quality paper. In their heyday of the first half of the 17th century, they were printed in black-letter or gothic type and included multiple, eye-catching illustrations, a popular tune tile, as well as an alluring poem.^[9] By the 18th century, they were printed in white letter or roman type and often without much decoration (as well as tune title). These later sheets could include many individual songs, which would be cut apart and sold individually as "slipsongs." Alternatively, they might be folded to make small cheap books or "chapbooks" which often drew on ballad stories.^[10] They were produced in huge numbers, with over 400,000 being sold in England annually by the 1660s.^[11] Tessa Watt estimates the number of copies sold may have been in the millions.^[12] Many were sold by travelling chapmen in city streets or at fairs.^[13] The subject matter varied from what has been defined as the traditional ballad, although many traditional ballads were printed as broadsides. Among the topics were love, religion, drinking-songs, legends, and early journalism, which included disasters, political events and signs, wonders and prodigies.^[14]

Literary ballads[link]

Literary or lyrical ballads grew out of an increasing interest in the ballad form among social elites and intellectuals, particularly in the Romantic movement from the later 18th century. Respected literary figures like Robert Burns and Sir Walter Scott in Scotland both collected and wrote their own ballads, using the form to create an artistic product. Similarly in England William Wordsworth and Samuel Taylor Coleridge produced a collection of Lyrical Ballads in 1798, including Coleridge’s ‘The Rime of the Ancient Mariner’. At the same time in Germany Goethe cooperated with Schiller on a series of ballads, some of which were later set to music by Schubert.^[15] Later important examples of the poetic form included Rudyard Kipling’s ‘Barrack Room Ballads’ (1892-6) and Oscar Wilde’s ‘Ballad of Reading Gaol’ (1897).^[16]

Ballad operas[link]

Painting based on The Beggar's Opera, Act III Scene 2, William Hogarth, c. 1728

In the 18th century ballad operas developed as a form of English stage entertainment, partly in opposition to the Italian domination of the London operatic scene.^[17] It consisted of racy and often satirical spoken (English) dialogue, interspersed with songs that are deliberately kept very short to minimize disruptions to the flow of the story. Subject matter involved the lower, often criminal, orders, and typically showed a suspension (or inversion) of the high moral values of the Italian opera of the period. The first, most important and successful was The Beggar's Opera of 1728, with a libretto by John Gay and music arranged by John Christopher Pepusch, both of whom probably influenced by Parisian vaudeville and the burlesques and musical plays of Thomas D'Urfey (1653–1723), a number of whose collected ballads they used in their work.^[18] Gay produced further works in this style, including a sequel under the title Polly. Henry Fielding, Colley Cibber, Arne, Dibdin, Arnold, Shield, Jackson of Exeter, Hook and many others produced ballad operas that enjoyed great popularity.^[19] Ballad opera was attempted in America and Prussia. Later it moved into a more pastoral form, like Isaac Bickerstaffe's Love in a Village (1763) and Shield’s Rosina (1781), using more original music that imitated, rather than reproduced, existing ballads. Although the form declined in popularity towards the end of the 18th century its influence can be seen in light operas like that of Gilbert and Sullivan's early works like The Sorcerer.^[20] In the 20th century, one of the most influential plays, Kurt Weill and Bertolt Brecht's (1928) The Threepenny Opera was a reworking of The Beggar's Opera, setting a similar story with the same characters, and containing much of the same satirical bite, but only using one tune from the original.^[21] The term ballad opera has also been used to describe musicals using folk music, such as The Martins and the Coys in 1944, and Peter Bellamy's The Transports in 1977.^[22] The satiric elements of ballad opera can be seen in some modern musicals such as Chicago and Cabaret.^[23]

Beyond Europe[link]

Native American ballads[link]

Statue of John Henry outside the town of Talcott in Summers County, West Virginia

Native American ballads are ballads that are native to North America (not to be confused with ballads performed by native Americans).^[24] Some 300 ballads sung in North America have been identified as having origins in British traditional or broadside ballads.^[24] Examples include ‘The Streets of Laredo’, which was found in Britain and Ireland as ‘The Unfortunate Rake’; however, a further 400 have been identified as originating in North America, including among the best known, ‘The Ballad of Davy Crockett' and 'Jesse James'.^[24] They became an increasing area of interest for scholars in the 19th century and most were recorded or catalogued by George Malcolm Laws, although some have since been found to have British origins and additional songs have since been collected.^[24] They are usually considered closest in form to British broadside ballads and in terms of style are largely indistinguishable, however, they demonstrate a particular concern with occupations, journalistic style and often lack the ribaldry of British broadside ballads.^[6]

Blues ballads[link]

The blues ballad has been seen as a fusion of Anglo-American and Afro-American styles of music from the 19th century. Blues ballads tend to deal with active protagonists, often anti-heroes, resisting adversity and authority, but frequently lacking a strong narrative and emphasising character instead.^[24] They were often accompanied by banjo and guitar which followed the blues musical format.^[6] The most famous blues ballads include those about John Henry and Casey Jones.^[24]

Bush ballads[link]

Cover to Banjo Paterson's seminal 1905 collection of bush ballads, entitled The Old Bush Songs

The ballad was taken to Australia by early settlers from Britain and Ireland and gained particular foothold in the rural outback. The rhyming songs, poems and tales written in the form of ballads often relate to the itinerant and rebellious spirit of Australia in The Bush, and the authors and performers are often referred to as bush bards.^[25] The 19th century was the golden age of bush ballads. Several collectors have catalogued the songs including John Meredith whose recording in the 1950s became the basis of the collection in the National Library of Australia.^[25] The songs tell personal stories of life in the wide open country of Australia. Typical subjects include mining, raising and droving cattle, sheep shearing, wanderings, war stories, the 1891 Australian shearers' strike, class conflicts between the landless working class and the squatters (landowners), and outlaws such as Ned Kelly, as well as love interests and more modern fare such as trucking.^[26] The most famous bush ballad is "Waltzing Matilda", which has been called "the unofficial national anthem of Australia".^[27]

Sentimental ballads[link]

Now the most commonly understood meaning of the term ballad, sentimental ballads, sometimes called "tear-jerkers" or "drawing-room ballads" owing to their popularity with the middle classes, had their origins in the early ‘Tin Pan Alley’ music industry of the later 19th century. They were generally sentimental, narrative, strophic songs published separately or as part of an opera (descendants perhaps of broadside ballads, but with printed music, and usually newly composed. Such songs include "Little Rosewood Casket" (1870), "After the Ball" (1892) and "Danny Boy".^[24] By the Victorian era, ballad had come to mean any sentimental popular song, especially so-called "royalty ballads", which publishers would pay popular singers to perform in Britain and the United States in "ballad concerts." Some of Stephen Foster's songs exemplify this genre.^[28] By the 1920s, composers of Tin Pan Alley and Broadway used ballad to signify a slow, sentimental tune or love song, often written in a fairly standardized form (see below). Jazz musicians sometimes broaden the term still further to embrace all slow-tempo pieces.^[29]

Jazz, blues and traditional pop[link]

As new genres of music, such as ragtime, blues and jazz, began to emerge in the early 20th century the popularity of the genre faded, but the association with sentimentality led to the term ballad being used for a slow love song from the 1950s onwards.^[24] Most pop standard and jazz ballads are built from a single, introductory verse; usually around 16 bars in length, and ending on the dominant; the chorus or refrain, usually it is 16 or 32 bars long, and in AABA form (though other forms such as ABAC are not uncommon). In AABA forms, the B section is usually referred to as the bridge; often a brief coda, sometimes based on material from the bridge, was added as in "Over the Rainbow".^[30] Other key traditional pop and jazz ballads include: "Body and Soul" by Johnny Green; "Misty" by Erroll Garner; "The Man I Love" by George Gershwin; "My Funny Valentine" by Rodgers and Hart, "God Bless the Child" by Billie Holiday, "Ev'ry Time We Say Goodbye" by Cole Porter, the instrumental ballad "Naima" by John Coltrane, "In a Sentimental Mood" by Duke Ellington and "Always" by Irving Berlin.^[31]

Pop and rock ballads[link]

To emphasize the emotional aspect of a power ballad, crowds customarily hold up lit lighters.^[32][33]

The most common use of the term ballad in modern pop music is for an emotional love song.^[34] When the word ballad appears in the title of a song, as for example in The Beatles's "The Ballad of John and Yoko" or Billy Joel's "The Ballad of Billy the Kid", the folk-music sense is generally implied. Ballad is also sometimes applied to strophic story-songs more generally, such as Don McLean's "American Pie".^[35]

Power ballads[link]

Simon Frith identifies the origins of the power ballad in the emotional singing of soul artists, particularly Ray Charles and the adaptation of this style by figures such as Eric Burdon, Tom Jones and Joe Cocker to produce slow tempo songs often building to a loud and emotive chorus backed by drums, electric guitars and sometimes choirs.^[36] According to Charles Aaron, power ballads came into existence in the early 1970s, when rock stars attempted to convey profound messages to audiences.^[37] He argues that the power ballad broke into the mainstream of American consciousness in 1976 as FM radio gave a new lease of life to earlier songs like Led Zeppelin's "Stairway to Heaven" (1971), Aerosmith's "Dream On" (1973), and Lynyrd Skynyrd's "Free Bird" (1974).^[37] Other notable examples include Nazareth's version of "Love Hurts" (1975), Foreigner's "I Want to Know What Love Is"^[36] and Scorpions "Still Loving You" (both 1984), Heart's "What About Love" (1985),^[38] and Whitesnake's "Is This Love" (1987).^[39]

See also[link]

Wikimedia Commons has media related to: Ballads

• Border ballads
• Corrido — a form of ballad originating in northern Mexico and the U.S. Southwest
• Graves, Alfred Perceval
• List of the Child Ballads
• List of folk song collections
• List of Irish ballads
• List of rock ballads
• Murder ballad
• Roud Folk Song Index
• Song structure (popular music)
• Torch song

Notes[link]

References and further reading[link]

• Middleton, Richard. "Popular Music (I)". Grove Music Online ed. L. Macy (subscription required). Accessed 2007-04-06.
• Randel, Don (1986). The New Harvard Dictionary of Music. Cambridge: Harvard University Press. ISBN 0-674-61525-5.
• Temperley, Nicholas. "Ballad (II, 2)". Grove Music Online ed. L. Macy (subscription required). Accessed 2007-04-06.
• Witmer, Robert. "Ballad (jazz)". Grove Music Online ed. L. Macy (subscription required). Accessed 2007-04-06.
• Marcello Sorce Keller, "Sul castel di mirabel: Life of a Ballad in Oral Tradition and Choral Practice", Ethnomusicology, XXX(1986), no. 3, 449- 469.

External links[link]

This article's use of external links may not follow Wikipedia's policies or guidelines. Please improve this article by removing excessive or inappropriate external links, and converting useful links where appropriate into footnote references. (May 2011)

Wikiquote has a collection of quotations related to: Ballads

• The Ballad Society of Japan
• The British Literary Ballads Archive
• The Bodleian Library Ballad Collection: view facsimiles of printed ballads
• The English Broadside Ballad Archive: searchable database of ballad images, citations, and recordings
• Welsh Ballads Website
• The Traditional Ballad Index
• Black-letter Broadside Ballads Of The years 1595-1639 From the Collection of Samuel Pepys
• Smithsonian Global Sound: The Music of Poetry — audio samples of poems, hymns and songs in ballad meter.
• The Oxford Book of Ballads, complete 1910 book by Arthur Quiller-Couch
• Great Rock Ballads
• Jazz and Vocal Ballads
• English Broadside Ballad Archive -- an archive of images and recordings of over 4,000 pre-1700 broadside ballads

Johnny Cash
Cash in 1969.
Background information
Birth name	John R. Cash
Born	(1932-02-26)February 26, 1932 Kingsland, Arkansas, United States
Origin	Kingsland, Arkansas, United States
Died	September 12, 2003(2003-09-12) (aged 71) Nashville, Tennessee, United States
Genres	Country, rock and roll, folk, americana, gospel, blues, rockabilly
Occupations	Singer-songwriter, musician, actor
Instruments	Vocals, guitar, harmonica, mandolin
Years active	1955–2003
Labels	Sun, Columbia, Mercury, American, House of Cash, Legacy Recordings
Associated acts	The Tennessee Three, The Highwaymen, June Carter Cash, The Statler Brothers, The Carter Family, The Oak Ridge Boys, Area Code 615, Roy Orbison, Jerry Lee Lewis, Carl Perkins, Bob Dylan, Tom Petty and the Heartbreakers
Website	johnnycash.com
Notable instruments
Martin Acoustic Guitars[1]

John R. "Johnny" Cash (February 26, 1932 – September 12, 2003), was an American singer-songwriter, actor,^[2] and author,^[2] who has been called one of the most influential musicians of the 20th century.^[3] Although he is primarily remembered as a country music icon, his songs and sound spanned many other genres including rockabilly and rock and roll—especially early in his career—as well as blues, folk, and gospel. This crossover appeal led to Cash being inducted in the Country Music Hall of Fame, the Rock and Roll Hall of Fame, and Gospel Music Hall of Fame.

Cash was known for his deep, distinctive bass-baritone voice;^[4][5][6] for the "boom-chicka-boom" sound of his Tennessee Three backing band; for his rebelliousness,^[7][8] coupled with an increasingly somber and humble demeanor;^[4] for providing free concerts inside prison walls;^[9][10] and for his dark performance clothing, which earned him the nickname "The Man in Black".^[11] He traditionally started his concerts by saying, "Hello, I'm Johnny Cash."^[12][13] and usually following it up with his standard "Folsom Prison Blues".

Much of Cash's music, especially that of his later career, echoed themes of sorrow, moral tribulation and redemption.^[4][14] His signature songs include "I Walk the Line", "Folsom Prison Blues", "Ring of Fire", "Get Rhythm" and "Man in Black". He also recorded humorous numbers, including "One Piece at a Time" and "A Boy Named Sue"; a duet with his future wife, June Carter, called "Jackson"; as well as railroad songs including "Hey, Porter" and "Rock Island Line".^[15] Late in his career, Cash covered songs by several rock artists, most notably "Hurt" by Nine Inch Nails - the resulting music video was voted one of the best of all time and is sometimes seen as Cash's epitaph.

Cash, a troubled but devout Christian,^[16][17] has been characterized as a "lens through which to view American contradictions and challenges."^[18][19][20] A Biblical scholar,^[2][21][22] he penned a Christian novel titled Man in White,^[23][24] and he made a spoken word recording of the entire New King James Version of the New Testament.^[25][26] Even so, Cash declared that he was "the biggest sinner of them all", and viewed himself overall as a complicated and contradictory man.^[27][28] Accordingly,^[29] Cash is said to have "contained multitudes", and has been deemed "the philosopher-prince of American country music".^[30][31]

Personal life[link]

Early life[link]

Johnny Cash was born in Kingsland, Arkansas,^[32] the fourth of seven children to Ray Cash (May 13, 1897, Kingsland, Arkansas – December 23, 1985, Hendersonville, Tennessee)^[33] and Carrie Cloveree Rivers (March 13, 1904, Rison, Arkansas – March 11, 1991, Hendersonville, Tennessee).^[34][35] Cash was named John R. Cash because his parents couldn't think of a name, but he went by J. R. all throughout his childhood as a shortened version of his real name. When Cash enlisted in the Air Force, they wouldn't let him use initials as his name, so he began to use his legal name of John R. Cash. In 1955, when signing with Sun Records, he took Johnny Cash as his stage name.^[36]

The Cash children were, in order: Roy, Margaret Louise, Jack, J. R., Reba, Joanne and Tommy.^[37][38] His younger brother, Tommy Cash, also became a successful country artist.

In March 1935, when Cash was three years old, the family settled in Dyess, Arkansas. He started working in cotton fields at age five, singing along with his family simultaneously while working. The family farm was flooded on at least two occasions, which later inspired him to write the song "Five Feet High and Rising".^[39] His family's economic and personal struggles during the Great Depression inspired many of his songs, especially those about other people facing similar difficulties.

Cash was very close to his older brother, Jack.^[40] In May 1944, Jack was pulled into a whirling head saw in the mill where he worked and was almost cut in two. He suffered for over a week before he died on May 20, 1944, at age 15.^[39] Cash often spoke of the horrible guilt he felt over this incident. According to Cash: The Autobiography, his father was away that morning, but he and his mother, and Jack himself, all had premonitions or a sense of foreboding about that day, causing his mother to urge Jack to skip work and go fishing with his brother. Jack insisted on working, as the family needed the money. On his deathbed, Jack said he had visions of heaven and angels. Decades later, Cash spoke of looking forward to meeting his brother in heaven.

Cash's early memories were dominated by gospel music and radio. Taught by his mother and a childhood friend, Cash began playing guitar and writing songs as a young boy. In high school he sang on a local radio station; decades later he released an album of traditional gospel songs, called My Mother's Hymn Book. He was also significantly influenced by traditional Irish music that he heard performed weekly by Dennis Day on the Jack Benny radio program.^[41]

Cash enlisted in the United States Air Force on July 7, 1950.^[42] After basic training at Lackland Air Force Base and technical training at Brooks Air Force Base, both in San Antonio, Texas, Cash was assigned to a U.S. Air Force Security Service unit, assigned as a Morse Code Intercept Operator for Soviet Army transmissions at Landsberg, Germany "where he created his first band named The Landsberg Barbarians."^[43] He was the first radio operator to pick up the news of the death of Joseph Stalin.^[44] After he was honorably discharged as a Staff Sergeant on July 3, 1954, he returned to Texas.^[45]

Marriages and family[link]

On July 18, 1951, while in Air Force training, Cash met 17-year-old Vivian Liberto at a roller skating rink in her native San Antonio. They dated for three weeks, until Cash was deployed to Germany for a three year tour. During that time, the couple exchanged hundreds of pages of love letters.^[46] On August 7, 1954, one month after his discharge, they were married at St. Anne's Catholic church in San Antonio. The ceremony was performed by her uncle, Father Vincent Liberto. They had four daughters: Rosanne, Kathy, Cindy and Tara. Cash's drug and alcohol abuse, constant touring, and affairs with other women, and his close relationship with future wife June Carter, led Liberto to file for divorce in 1966.^[47]

In 1968, 13 years after they first met backstage at the Grand Ole Opry, Cash proposed to June Carter, an established country singer, during a live performance in London, Ontario,^[48] marrying on March 1, 1968, in Franklin, Kentucky. They had one child together, John Carter Cash (born March 3, 1970). They continued to work together and tour for 35 years, until June Carter died in 2003. Cash died just four months later. Carter co-wrote one of Cash's biggest hits, "Ring of Fire," with singer Merle Kilgore. She and Cash won two Grammy awards for their duets.

Vivian Liberto claims a different version of the origins of "Ring of Fire" in I Walked the Line: My Life with Johnny, stating that Cash gave Carter the credit for monetary reasons.^[49]

Heritage[link]

Cash's heritage was a British Isles mix. He learned upon researching his heritage that he was of Scottish royal descent on his father's side, traced back to Malcolm I of Scotland.^[50][51][52] After meeting with now-dead laird Major Michael Crichton-Stuart of Falkland, Fife, Scotland, Johnny traced the Cash family tree to eleventh-century Fife;^[53][54][55] Cash Loch and other locations in Fife bear the name of his family.^[53]

Cash also had English and Scots-Irish ancestry. Though he did not have American Indian ancestry, his empathy and compassion for Native American Indians were unabated. These feelings were expressed in several of his songs, including "Apache Tears" and "The Ballad of Ira Hayes", and on his album, Bitter Tears: Ballads of the American Indian. Through his maternal grandmother, Rosanna Lee (Hurst) Rivers, Cash is distantly related to millionaire William Randolph Hearst and socialite Patty Hearst.^{[citation needed]}

Friends[link]

Cash was a long time friend of Woody Hayes (ex Ohio State Buckeyes football coach). The lyrics "I braided Twigs of Willows Made a String of Buckeye Beads" from the song Flesh and Blood was for Woody.^{[citation needed]}

Career[link]

Early career[link]

In 1954, Cash and Vivian moved to Memphis, Tennessee, where he sold appliances while studying to be a radio announcer. At night he played with guitarist Luther Perkins and bassist Marshall Grant. Perkins and Grant were known as the Tennessee Two. Cash worked up the courage to visit the Sun Records studio, hoping to get a recording contract. After auditioning for Sam Phillips, singing mostly gospel songs, Phillips told him that he didn't record gospel music any longer. It was once rumored that Phillips told Cash to "go home and sin, then come back with a song I can sell," though in a 2002 interview Cash denied that Phillips made any such comment.^[56] Cash eventually won over the producer with new songs delivered in his early rock'a'billy style. In 1955 Cash made his first recordings at Sun, "Hey Porter" and "Cry! Cry! Cry!", which were released in late June and met with reasonable success on the country hit parade.

On December 4, 1956, Elvis Presley dropped in on studio owner Sam Phillips to pay a social visit while Carl Perkins was in the studio cutting new tracks, with Jerry Lee Lewis backing him on piano. Cash was also in the studio and the four started an impromptu jam session. Phillips left the tapes running and the recordings, almost half of which were gospel songs, survived and have since been released under the title Million Dollar Quartet.

Cash's next record, "Folsom Prison Blues", made the country Top 5, and "I Walk the Line" became No. 1 on the country charts and entered the pop charts Top 20. "Home of the Blues" followed, recorded in July 1957. That same year Cash became the first Sun artist to release a long-playing album. Although he was Sun's most consistently selling and prolific artist at that time, Cash felt constrained by his contract with the small label partly due to the fact that Phillips wasn't keen on Johnny recording gospel, and he was only getting a 3% royalty as opposed to the standard rate of 5%. Presley had already left Sun, and Phillips was focusing most of his attention and promotion on Lewis. The following year Cash left the label to sign a lucrative offer with Columbia Records, where his single "Don't Take Your Guns to Town" became one of his biggest hits.

In the early 1960s, Cash toured with the Carter Family, which by this time regularly included Mother Maybelle's daughters, Anita, June and Helen. June, whom Cash would eventually marry, later recalled admiring him from afar during these tours. In the 1960s he appeared on Pete Seeger's short lived Rainbow Quest.^[57]

He also acted in a 1961 film entitled Five Minutes to Live, later re-released as Door-to-door Maniac. He also wrote and sang the opening theme.

Outlaw image[link]

As his career was taking off in the late 1950s, Cash started drinking heavily and became addicted to amphetamines and barbiturates. For a brief time, he shared an apartment in Nashville with Waylon Jennings, who was heavily addicted to amphetamines. Cash used the uppers to stay awake during tours. Friends joked about his "nervousness" and erratic behavior, many ignoring the warning signs of his worsening drug addiction. In a behind-the-scenes look at The Johnny Cash Show, Cash claims to have "tried every drug there was to try."

Although in many ways spiraling out of control, Cash's frenetic creativity was still delivering hits. His rendition of "Ring of Fire" was a crossover hit, reaching No. 1 on the country charts and entering the Top 20 on the pop charts. The song was written by June Carter and Merle Kilgore. The song was originally performed by June's sister, but the signature mariachi-style horn arrangement was provided by Cash, who said that it had come to him in a dream.

In June 1965, his truck caught fire due to an overheated wheel bearing, triggering a forest fire that burnt several hundred acres in Los Padres National Forest in California.^[58][59] When the judge asked Cash why he did it, Cash said, "I didn't do it, my truck did, and it's dead, so you can't question it."^[39] The fire destroyed 508 acres (206 ha), burning the foliage off three mountains and killing 49 of the refuge's 53 endangered condors. Cash was unrepentant: "I don't care about your damn yellow buzzards." The federal government sued him and was awarded $125,172 ($923,127 today). Cash eventually settled the case and paid $82,001.^[60] He said he was the only person ever sued by the government for starting a forest fire.^[39]

Although Cash carefully cultivated a romantic outlaw image, he never served a prison sentence. Despite landing in jail seven times for misdemeanors, each stay lasted only a single night. His most infamous run-in with the law occurred while on tour in 1965, when he was arrested October 4 by a narcotics squad in El Paso, Texas. The officers suspected that he was smuggling heroin from Mexico, but it was 688 Dexedrine capsules and 475 Equanil tablets that the singer had hidden inside his guitar case. Because they were prescription drugs rather than illegal narcotics, he received a suspended sentence.

Johnny Cash and his second wife, June Carter

Cash was later arrested on May 11, 1965, in Starkville, Mississippi, for trespassing late at night onto private property to pick flowers. (This incident gave the spark for the song "Starkville City Jail", which he spoke about on his live At San Quentin prison album.)

In the mid 1960s, Cash released a number of concept albums, including Ballads Of the True West (1965), an experimental double record mixing authentic frontier songs with Cash's spoken narration, and Bitter Tears (1964), with songs highlighting the plight of the Native Americans. His drug addiction was at its worst at this point, and his destructive behavior led to a divorce from his first wife and canceled performances.

In 1967, Cash's duet with June Carter, "Jackson", won a Grammy Award.

Johnny Cash's final arrest was in Walker County, Georgia where he was taken in after being involved in a car accident while carrying a bag of prescription pills. Cash attempted to bribe a local deputy, who turned the money down, and then spent the night in a LaFayette, Georgia jail. The singer was released after a long talk with Sheriff Ralph Jones, who warned him of his dangerous behavior and wasted potential. Johnny credited that experience for saving his life, and he later came back to LaFayette to play a benefit concert that attracted 12,000 people (the city population was less than 9,000 at the time) and raised $75,000 for the high school.^[61]

Cash curtailed his use of drugs for several years in 1968, after a spiritual epiphany in the Nickajack Cave, when he attempted to commit suicide while under the heavy influence of drugs. He descended deeper into the cave, trying to lose himself and "just die", when he passed out on the floor. He reported to be exhausted and feeling at the end of his rope when he felt God's presence in his heart and managed to struggle out of the cave (despite the exhaustion) by following a faint light and slight breeze. To him, it was his own rebirth. June, Maybelle, and Ezra Carter moved into Cash's mansion for a month to help him conquer his addiction. Cash proposed onstage to June at a concert at the London Gardens in London, Ontario on February 22, 1968; the couple married a week later (on March 1) in Franklin, Kentucky. June had agreed to marry Cash after he had "cleaned up".^[62] He rediscovered his Christian faith, taking an "altar call" in Evangel Temple, a small church in the Nashville area, pastored by Rev. Jimmie Rodgers Snow, son of country music legend Hank Snow.

According to longtime friend Marshall Grant, Cash's 1968 rebirth experience did not result in his completely stopping use of amphetamines. However, in 1970, Cash ended all drug use for a period of seven years. Grant claims that the birth of Cash's son, John Carter Cash, inspired Cash to end his dependence. Cash began using amphetamines again in 1977. By 1983, he was once again addicted, and entered the Betty Ford Clinic in Rancho Mirage, California for rehabilitation. Cash managed to stay off drugs for several years, but by 1989, he was dependent again and entered Nashville's Cumberland Heights Alcohol and Drug Treatment Center. In 1992, he entered the Loma Linda Behavioural Medicine Centre in Loma Linda, California for his final rehabilitation (several months later, his son followed him into this facility for treatment).^[63][64][65]

Folsom Prison Blues[link]

Cash felt great compassion for prisoners. He began performing concerts at various prisons starting in the late 1950s. His first ever prison concert was held on January 1, 1958 at San Quentin State Prison.^[66] These performances led to a pair of highly successful live albums, Johnny Cash at Folsom Prison (1968) and Johnny Cash at San Quentin (1969).

The Folsom Prison record was introduced by a rendition of his classic "Folsom Prison Blues", while the San Quentin record included the crossover hit single "A Boy Named Sue", a Shel Silverstein-penned novelty song that reached No. 1 on the country charts and No. 2 on the U.S. Top Ten pop charts. The AM versions of the latter contained a couple of profanities which were edited out. The modern CD versions are unedited and uncensored and thus also longer than the original vinyl albums, though they still retain the audience reaction overdubs of the originals.

In addition to his performances at U.S. prisons, Cash also performed at the Österåker Prison in Sweden in 1972. The live album På Österåker ("At Österåker") was released in 1973. Between the songs, Cash can be heard speaking Swedish, which was greatly appreciated by the inmates.

"The Man in Black"[link]

Cash advocated prison reform at his July 1972 meeting with United States President Richard Nixon.

From 1969 to 1971, Cash starred in his own television show, The Johnny Cash Show, on the ABC network. The Statler Brothers opened up for him in every episode; the Carter Family and rockabilly legend Carl Perkins were also part of the regular show entourage. However, Cash also enjoyed booking more mainstream performers as guests; such notables included Neil Young, Louis Armstrong, Kenny Rogers and The First Edition (who appeared a record four times on his show), James Taylor, Ray Charles, Eric Clapton (then leading Derek and the Dominos), and Bob Dylan. During the same period, he contributed the title song and other songs to the film Little Fauss and Big Halsey, which starred Robert Redford, Michael J. Pollard, and Lauren Hutton. The title song, The Ballad of Little Fauss and Big Halsey, written by Carl Perkins, was nominated for a Golden Globe award.

Cash had met with Dylan in the mid 1960s and became closer friends when they were neighbors in the late 1960s in Woodstock, New York. Cash was enthusiastic about reintroducing the reclusive Dylan to his audience. Cash sang a duet with Dylan on Dylan's country album Nashville Skyline and also wrote the album's Grammy-winning liner notes.

Another artist who received a major career boost from The Johnny Cash Show was songwriter Kris Kristofferson, who was beginning to make a name for himself as a singer/songwriter. During a live performance of Kristofferson's "Sunday Mornin' Comin' Down", Cash refused to change the lyrics to suit network executives, singing the song with its references to marijuana intact: "On a Sunday morning sidewalk / I'm wishin', Lord, that I was stoned."^[67]

By the early 1970s, he had crystallized his public image as "The Man in Black". He regularly performed dressed all in black, wearing a long black knee-length coat. This outfit stood in contrast to the costumes worn by most of the major country acts in his day: rhinestone suit and cowboy boots. In 1971, Cash wrote the song "Man in Black", to help explain his dress code: "We're doing mighty fine I do suppose / In our streak of lightning cars and fancy clothes / But just so we're reminded of the ones who are held back / Up front there ought to be a man in black."

Cash attired in black performing in Bremen, Northern Germany, in September 1972

He wore black on behalf of the poor and hungry, on behalf of "the prisoner who has long paid for his crime",^[68] and on behalf of those who have been betrayed by age or drugs.^[68] "And," Cash added, "with the Vietnam War as painful in my mind as it was in most other Americans', I wore it 'in mournin' for the lives that could have been.' ... Apart from the Vietnam War being over, I don't see much reason to change my position ... The old are still neglected, the poor are still poor, the young are still dying before their time, and we're not making many moves to make things right. There's still plenty of darkness to carry off."^[68]

He and his band had initially worn black shirts because that was the only matching color they had among their various outfits.^[39] He wore other colors on stage early in his career, but he claimed to like wearing black both on and off stage. He stated that, political reasons aside, he simply liked black as his on-stage color.^[39] To this day, the US Navy's winter blue uniform is referred to by sailors as "Johnny Cashes", as the uniform's shirt, tie, and trousers are solid black.^[69]

In the mid 1970s, Cash's popularity and number of hit songs began to decline. He made commercials for Amoco, an unpopular enterprise in an era in which oil companies made high profits while consumers suffered through high gasoline prices and shortages. However, his autobiography (the first of two), titled Man in Black, was published in 1975 and sold 1.3 million copies. A second, Cash: The Autobiography, appeared in 1997. His friendship with Billy Graham led to the production of a film about the life of Jesus, The Gospel Road, which Cash co-wrote and narrated.

He also continued to appear on television, hosting an annual Christmas special on CBS throughout the 1970s. Later television appearances included a role in an episode of Columbo (Swan Song). He also appeared with his wife on an episode of Little House on the Prairie entitled "The Collection" and gave a performance as John Brown in the 1985 American Civil War television mini-series North and South. Johnny and June also appeared in Dr Quinn, Medicine Woman (TV series) as a recurring couple. Cash also had a starring role in a Columbo film.

He was friendly with every US President starting with Richard Nixon. He was closest to Jimmy Carter, with whom he became close friends.^[39] He stated that he found all of them personally charming, noting that this was probably essential to getting oneself elected.^[39]

When invited to perform at the White House for the first time in 1970,^[70] Richard Nixon's office requested that he play "Okie from Muskogee" (a satirical Merle Haggard song about people who despised youthful drug users and war protesters) and "Welfare Cadillac" (a Guy Drake song which denies the integrity of welfare recipients). Cash declined to play either and instead selected other songs, including "The Ballad of Ira Hayes" (about a brave Native American World War II veteran who was mistreated upon his return to Arizona), and his own compositions, "What Is Truth" and "Man in Black". Cash wrote that the reasons for denying Nixon's song choices were not knowing them and having fairly short notice to rehearse them, rather than any political reason.^[39] However, Cash added, even if Nixon's office had given Cash enough time to learn and rehearse the songs, their choice of pieces that conveyed "antihippie and antiblack" sentiments might have backfired.^[71]

Highwaymen[link]

In 1980, Cash became the Country Music Hall of Fame's youngest living inductee at age 48, but during the 1980s his records failed to make a major impact on the country charts, although he continued to tour successfully. In the mid 1980s, he recorded and toured with Waylon Jennings, Willie Nelson, and Kris Kristofferson as The Highwaymen, making three hit albums which were released beginning with the originally titled "Highwaymen" in 1985, followed by "Highwaymen 2" in 1990, and concluding with "Highwaymen - The Road Goes on forever" in 1995.

During that period, Cash appeared in a number of television films. In 1981, he starred in The Pride of Jesse Hallam, winning fine reviews for a film that called attention to adult illiteracy. In the same year, Cash appeared as a "very special guest star" in an episode of the Muppet Show. In 1983, he appeared as a heroic sheriff in Murder in Coweta County, based on a real-life Georgia murder case, which co-starred Andy Griffith as his nemesis. Cash had tried for years to make the film, for which he won acclaim.

Cash relapsed into addiction after being administered painkillers for a serious abdominal injury in 1983 caused by an unusual incident in which he was kicked and wounded by an ostrich he kept on his farm.^[72]

At a hospital visit in 1988, this time to watch over Waylon Jennings (who was recovering from a heart attack), Jennings suggested that Cash have himself checked into the hospital for his own heart condition. Doctors recommended preventive heart surgery, and Cash underwent double bypass surgery in the same hospital. Both recovered, although Cash refused to use any prescription painkillers, fearing a relapse into dependency. Cash later claimed that during his operation, he had what is called a "near death experience". He said he had visions of Heaven that were so beautiful that he was angry when he woke up alive.^{[citation needed]}

Cash's recording career and his general relationship with the Nashville establishment were at an all-time low in the 1980s. He realized that his record label of nearly 30 years, Columbia, was growing indifferent to him and was not properly marketing him (he was "invisible" during that time, as he said in his autobiography). Cash recorded an intentionally awful song to protest, a self-parody.^{[citation needed]} "Chicken in Black" was about Cash's brain being transplanted into a chicken. Ironically, the song turned out to be a larger commercial success than any of his other recent material. Nevertheless, he was hoping to kill the relationship with the label before they did, and it was not long after "Chicken in Black" that Columbia and Cash parted ways.

In 1986, Cash returned to Sun Studios in Memphis to team up with Roy Orbison, Jerry Lee Lewis, and Carl Perkins to create the album Class of '55. Also in 1986, Cash published his only novel, Man in White, a book about Saul and his conversion to become the Apostle Paul. He also recorded Johnny Cash Reads The Complete New Testament in 1990.

American Recordings[link]

Johnny Cash sings a duet with a Navy lieutenant c.1987.

After Columbia Records dropped Cash from his recording contract, he had a short and unsuccessful stint with Mercury Records from 1987 to 1991 (see Johnny Cash discography).

His career was rejuvenated in the 1990s, leading to popularity with an audience not traditionally interested in country music. In 1991, he sang a version of "Man in Black" for the Christian punk band One Bad Pig's album I Scream Sunday. In 1993, he sang "The Wanderer" on U2's album Zooropa. Although no longer sought after by major labels, he was offered a contract with producer Rick Rubin's American Recordings label, better known for rap and hard rock.

Under Rubin's supervision, he recorded American Recordings (1994) in his living room, accompanied only by his Martin Dreadnought guitar – one of many Cash played throughout his career.^[73] The album featured covers of contemporary artists selected by Rubin and had much critical and commercial success, winning a Grammy for Best Contemporary Folk Album. Cash wrote that his reception at the 1994 Glastonbury Festival was one of the highlights of his career. This was the beginning of a decade of music industry accolades and commercial success. Cash teamed up with Brooks & Dunn to contribute "Folsom Prison Blues" to the AIDS benefit album Red Hot + Country produced by the Red Hot Organization. On the same album, he performed the Bob Dylan favorite "Forever Young".

Cash and his wife appeared on a number of episodes of the television series Dr. Quinn, Medicine Woman starring Jane Seymour. The actress thought so highly of Cash that she later named one of her twin sons after him. He lent his voice for a cameo role in The Simpsons episode "El Viaje Misterioso de Nuestro Jomer (The Mysterious Voyage of Homer)," as the "Space Coyote" that guides Homer Simpson on a spiritual quest. In 1996, Cash enlisted the accompaniment of Tom Petty and the Heartbreakers and released Unchained, which won the Best Country Album Grammy. Believing he did not explain enough of himself in his 1975 autobiography Man in Black, he wrote Cash: The Autobiography in 1997.

Last years[link]

In 1997, Cash was diagnosed with the neurodegenerative disease Shy-Drager syndrome, a form of multiple system atrophy. The diagnosis was later altered to autonomic neuropathy associated with diabetes. This illness forced Cash to curtail his touring. He was hospitalized in 1998 with severe pneumonia, which damaged his lungs. The albums American III: Solitary Man (2000) and American IV: The Man Comes Around (2002) contained Cash's response to his illness in the form of songs of a slightly more somber tone than the first two American albums. The video that was released for "Hurt", a cover of the song by Nine Inch Nails, fits Cash's view of his past and feelings of regret. The video for the song, from American IV, is now generally recognized as "his epitaph,"^[74] and received particular critical and popular acclaim.

Cash's grave (top) and the Cash/Carter memorial (bottom)

June Carter Cash died on May 15, 2003, at the age of 73. June had told Cash to keep working, so he continued to record, completing 60 more songs in the last four months of his life, and even performed a couple of surprise shows at the Carter Family Fold outside Bristol, Virginia. At the July 5, 2003, concert (his last public performance), before singing "Ring of Fire", Cash read a statement about his late wife that he had written shortly before taking the stage:

The spirit of June Carter overshadows me tonight with the love she had for me and the love I have for her. We connect somewhere between here and heaven. She came down for a short visit, I guess, from heaven to visit with me tonight to give me courage and inspiration like she always has.

Death[link]

Cash died of complications from diabetes at approximately 2:00 a.m. CT on September 12, 2003, while hospitalized at Baptist Hospital in Nashville - less than four months after his wife. It was suggested that Johnny's health worsened due to a broken heart over June's death.^[75][76] He was buried next to his wife in Hendersonville Memory Gardens near his home in Hendersonville, Tennessee.

On May 24, 2005, Vivian Liberto, Cash's first wife and the mother of Rosanne Cash and three other daughters, died from surgery to remove lung cancer at the age of 71. It was her daughter Rosanne's 50th birthday.^[77]

In June 2005, Cash's lakeside home on Caudill Drive in Hendersonville was put up for sale by his estate. In January 2006, the house was sold to Bee Gees vocalist Barry Gibb and wife Linda and titled in their Florida limited liability company for $2.3 million. The listing agent was Cash's younger brother, Tommy Cash. During a major restoration of the property by the new owner, Cash's home was accidentally destroyed by workers using linseed oil products in a spontaneous combustion-ignited fire on April 10, 2007.^[78]

One of Cash's final collaborations with producer Rick Rubin, entitled American V: A Hundred Highways, was released posthumously on July 4, 2006. The album debuted in the No.1 position on the Billboard Top 200 album chart for the week ending July 22, 2006.

On February 23, 2010, three days before what would have been Cash's 78th birthday, the Cash Family, Rick Rubin, and Lost Highway Records released his second posthumous record, titled American VI: Ain't No Grave.

Legacy[link]

From his early days as a pioneer of rockabilly and rock and roll in the 1950s, to his decades as an international representative of country music, to his resurgence to fame in the 1990s as a living legend and an alternative country icon, Cash influenced countless artists and left a large body of work. Upon his death, Cash was revered by the greatest popular musicians of his time. His rebellious image and often anti-authoritarian stance influenced punk rock.^[79][80]

Among Cash's children, his daughter Rosanne Cash (by first wife Vivian Liberto) and his son John Carter Cash (by June Carter Cash) are notable country-music musicians in their own right.

Cash nurtured and defended artists on the fringes of what was acceptable in country music even while serving as the country music establishment's most visible symbol. At an all-star concert which aired in 1999 on TNT, a diverse group of artists paid him tribute, including Bob Dylan, Chris Isaak, Wyclef Jean, Norah Jones, Kris Kristofferson, Willie Nelson, Dom DeLuise and U2. Cash himself appeared at the end and performed for the first time in more than a year. Two tribute albums were released shortly before his death; Kindred Spirits contains works from established artists, while Dressed in Black contains works from many lesser-known artists.

In total, he wrote over 1,000 songs and released dozens of albums. A box set titled Unearthed was issued posthumously. It included four CDs of unreleased material recorded with Rubin as well as a Best of Cash on American retrospective CD.

In recognition of his lifelong support of SOS Children's Villages, his family invited friends and fans to donate to that charity in his memory. He had a personal link with the SOS village in Diessen, at the Ammersee Lake in Southern Germany, near where he was stationed as a GI, and also with the SOS village in Barrett Town, by Montego Bay, near his holiday home in Jamaica.^[81] The Johnny Cash Memorial Fund was founded.^[82]

In 1999, Cash received the Grammy Lifetime Achievement Award. In 2004, Rolling Stone Magazine ranked Cash^[83] No.31 on their list of the 100 Greatest Artists of All Time.^[84]

In a tribute to Cash after his death, country music singer Gary Allan included the song "Nickajack Cave (Johnny Cash's Redemption)" on his 2005 album entitled Tough All Over. The song chronicles Cash hitting rock bottom and subsequently resurrecting his life and career.

The main street in Hendersonville, Tennessee, Highway 31E, is known as "Johnny Cash Parkway"; the Johnny Cash Museum is located in the town.

On November 2–4, 2007, the Johnny Cash Flower Pickin' Festival was held in Starkville, Mississippi. Starkville, where Cash was arrested over 40 years earlier and held overnight at the city jail on May 11, 1965, inspired Cash to write the song "Starkville City Jail". The festival, where he was offered a symbolic posthumous pardon, honored Cash's life and music, and was expected to become an annual event.^[85]

JC Unit One, Johnny Cash's private tour bus from 1980 until 2003, was put on exhibit at the Rock and Roll Hall of Fame + Museum in 2007. The Cleveland, Ohio museum offers public tours of the bus on a seasonal basis (it is stored during the winter months and not exhibited during those times).

WWE Superstar The Undertaker used Cash's song "Aint No Grave" (from American VI: Ain't No Grave) to announce his return following an absence in February, 2011, and as his entrance music for Wrestlemania XXVII. Independent circuit wrestlers Tyson Dux and Brodie Lee also use "God's Gonna Cut You Down" (from American V: A Hundred Highways) as entrance music. Other professional wrestlers who have used Cash's songs as entrance music include Austin Aries, who used his cover of the Depeche Mode's song "Personal Jesus" (from American IV: The Man Comes Around), and Necro Butcher, who used both "The Man Comes Around" and "Hurt". WWE also used "Hurt" in a special video package that was aired on Monday Night RAW in November 2005 as a tribute to Eddie Guerrero, a popular WWE Superstar who had died of heart failure while he was still contracted with the company. It is also noted that current WWE Superstar Ted DiBiase, Jr. is a huge fan of Cash, as is former WWE Diva and current TNA Knockout Mickie James.

The television show "The Deadliest Catch" is using the song "Ain't No Grave" as the theme song in many of their commercials.

One of Cash's greatest hits, "Hurt", was also used to advertise Prototype 2 in the trailer called "The Power Of Revenge".

Portrayals[link]

The Canada Trust company used his name and images for their Johnny Cash automatic bank machines during the late 80s and early 90s.

In 1998, country singer Mark Collie was the first to portray Cash, in the short film, I Still Miss Someone.

In November of 2005, Walk the Line, an Academy Award-winning biopic about Cash's life starring Joaquin Phoenix as Johnny (for which he was nominated for the 2005 Best Actor Oscar) and Reese Witherspoon as June (for which she won the 2005 Best Actress Oscar), was released in the United States on to considerable commercial success and critical acclaim. Both Phoenix and Witherspoon have won various other awards for their roles, including the Golden Globe for Best Actor in a Musical or Comedy and Best Actress in a Musical or Comedy, respectively. They both performed their own vocals in the film, and Phoenix learned to play guitar for his role as Cash. Phoenix received the Grammy Award for his contributions to the soundtrack. John Carter Cash, the first child of Johnny and June, served as an executive producer on the film.

On March 12, 2006 Ring of Fire, a jukebox musical of the Cash oeuvre, debuted on Broadway at the Ethel Barrymore Theatre, but closed due to harsh reviews and disappointing sales on April 30, 2006.

On April 11, 2010, Million Dollar Quartet, a musical portraying the early Sun recording sessions involving Cash, Elvis Presley, Jerry Lee Lewis, and Carl Perkins, debuted on Broadway. Actor Lance Guest portrayed Cash. The musical was nominated for three awards at the 2010 Tony Awards, and won one.

Discography[link]

See Johnny Cash discography, and Johnny Cash Sun Records discography.

Awards and honors[link]

For detailed lists of music awards, see List of Johnny Cash awards.

Cash received multiple Country Music Association Awards, Grammys, and other awards, in categories ranging from vocal and spoken performances to album notes and videos.

In a career that spanned almost five decades during which he rose to recording industry icon status, Cash was the personification of country music to many people around the world. Cash was a musician who was not tied to a single genre. He recorded songs that could be considered rock and roll, blues, rockabilly, folk, and gospel, and exerted an influence on each of those genres. Moreover, he had the unique distinction among country artists of having "crossed over" late in his career to become popular with an unexpected audience, young indie and alternative rock fans. His diversity was evidenced by his presence in three major music halls of fame: the Nashville Songwriters Hall of Fame (1977), the Country Music Hall of Fame (1980), and the Rock and Roll Hall of Fame (1992). Only thirteen performers are in both of the last two, and only Hank Williams Sr., Jimmie Rodgers, Bob Wills, and Bill Monroe share the honor with Cash of being in all three. However, only Cash was inducted into the Rock and Roll Hall of Fame in the regular manner, unlike the other country members, who were inducted as "early influences." His pioneering contribution to the genre has also been recognized by the Rockabilly Hall of Fame.^[86] He received the Kennedy Center Honors in 1996. Cash stated that his induction into the Country Music Hall of Fame, in 1980, was his greatest professional achievement. In 2001, he was awarded the National Medal of Arts.^[87] He was nominated for an MTV Video Music Award for best cinematography for "Hurt" and was supposed to appear, but died during the night.

In 2007, Cash was inducted into the Hit Parade Hall of Fame.^[88]

Further reading[link]

• Graeme Thomson The Resurrection of Johnny Cash: Hurt, Redemption, and American Recordings Jawbone Press ISBN 978-1-906002-36-7

Sources[link]

Notes[link]

References[link]

Published works[link]

• Cash, Johnny. Man in Black: His Own Story in His Own Words. Grand Rapids: Zondervan, 1975. ISBN 99924-31-58-X.
• Cash, Johnny, with Patrick Carr. Cash: The Autobiography. New York: Harper Collins, 1997. ISBN 0-06-101357-9.
• Cash, Johnny, with June Carter Cash. Love liner notes. New York: Sony, 2000.
• Cash, Johnny, The Man in White, 1986.

External links[link]

	Book: Johnny Cash
Wikipedia books are collections of articles that can be downloaded or ordered in print.

Wikimedia Commons has media related to: Johnny Cash

Wikiquote has a collection of quotations related to: Johnny Cash

• Official website
• Johnny Cash Official Label Website
• Official Johnny Cash Lost Highway Artist Page
• at the Country Music Hall of Fame
• at the Rock and Roll Hall of Fame
• at the Rockabilly Hall of Fame
• at the Hit Parade Hall of Fame
• Larry King's November 26, 2002 interview With Johnny Cash on CNN
• Johnny Cash: Best Photos – slideshow by Life magazine
• Johnny Cash at the Internet Movie Database
• Johnny Cash at AllRovi

v t e Johnny Cash Studio albums With His Hot and Blue Guitar Sings the Songs That Made Him Famous The Fabulous Johnny Cash Greatest! Sings Hank Williams Now, There Was a Song! Now Here's Johnny Cash The Sound of Johnny Cash All Aboard the Blue Train Ring of Fire: The Best of Johnny Cash I Walk the Line Orange Blossom Special Everybody Loves a Nut Happiness is You Old Golden Throat More of Old Golden Throat Hello, I'm Johnny Cash Man in Black A Thing Called Love Any Old Wind That Blows Ragged Old Flag Junkie and the Juicehead Minus Me John R. Cash Look at Them Beans One Piece at a Time The Last Gunfighter Ballad I Would Like to See You Again Gone Girl Silver Rockabilly Blues The Baron The Adventures of Johnny Cash Johnny 99 Rainbow Johnny Cash is Coming to Town Classic Cash: Hall of Fame Series Water from the Wells of Home Boom Chicka Boom The Mystery of Life American Recordings Unchained American III: Solitary Man American IV: The Man Comes Around American V: A Hundred Highways American VI: Ain't No Grave Concept albums Songs of Our Soil Ride This Train The Lure of the Grand Canyon Blood, Sweat and Tears Bitter Tears: Ballads of the American Indian Sings the Ballads of the True West From Sea to Shining Sea America: A 200-Year Salute in Story and Song The Johnny Cash Children's Album The Rambler Gospel albums Hymns by Johnny Cash Hymns from the Heart The Holy Land Sings Precious Memories A Believer Sings the Truth Believe in Him My Mother's Hymn Book Christmas albums The Christmas Spirit The Johnny Cash Family Christmas Classic Christmas Johnny Cash Country Christmas Collaborations Carryin' On with Johnny Cash and June Carter Johnny Cash and His Woman The Legend of Jesse James The Survivors Live Highwayman Heroes Class of '55 Highwayman 2 The Road Goes on Forever VH1 Storytellers Live albums At Folsom Prison At San Quentin The Johnny Cash Show På Österåker Strawberry Cake At Madison Square Garden A Concert Behind Prison Walls Soundtrack albums I Walk the Line Little Fauss and Big Halsy The Gospel Road Return to the Promised Land Compilation albums Greatest Hits, Vol. 1 Heart of Cash The World of Johnny Cash Greatest Hits, Vol. 2 Sunday Morning Coming Down International Superstar Five Feet High and Rising Greatest Hits, Vol. 3 The Unissued Johnny Cash Johnny & June Tall Man Encore Biggest Hits The Man in Black 1954–1958 The Man in Black 1959–1962 Come Along and Ride this Train Wanted Man The Man in Black 1963–1969 16 Biggest Hits Love, God and Murder The Essential Johnny Cash Unearthed The Legend The Legend of Johnny Cash 16 Biggest Hits: Johnny Cash & June Carter Cash Personal File The Legend of Johnny Cash Vol. II Songs "25 Minutes to Go" "Any Old Wind That Blows" "The Ballad of Ira Hayes" "Ballad of a Teenage Queen" "Big River" "Blistered" "A Boy Named Sue" "Busted" "Cat's in the Cradle" "Cocaine Blues" "Cry! Cry! Cry!" "Daddy Sang Bass" "Dark as a Dungeon" "Don't Take Your Guns to Town" "Engine 143" "Flesh and Blood" "Folsom Prison Blues" "Get Rhythm" "Goodnight, Irene" "Green, Green Grass of Home" "Greystone Chapel" "Guess Things Happen That Way" "Hey Porter" "Home of the Blues" "Hurt" "I Still Miss Someone" "I Walk the Line" "If I Were a Carpenter" "It Ain't Me Babe" "In My Life" "In the Jailhouse Now" "Jackson" "Kate" "The Man Comes Around" "Man in Black" "The Matador" "Oh Lonesome Me" "One Piece at a Time" "Oney" "Orange Blossom Special" "The One on the Right Is on the Left" "Remember the Alamo" "(Ghost) Riders in the Sky" "Ring of Fire" "Rock Island Line" "Sunday Mornin' Comin' Down" "Tennessee Flat Top Box" "A Thing Called Love" "Understand Your Man" "What Is Truth" "What'd I Say" Family June Carter Cash John Carter Cash Rosanne Cash Carlene Carter Vivian Liberto Tommy Cash Carter Family Related articles Discography Sun Records discography Highwaymen Walk the Line Book:Johnny Cash

Ira Hamilton Hayes
Nickname	Chief Falling Cloud[citation needed]
Born	(1923-01-12)January 12, 1923 Sacaton, Arizona
Died	January 24, 1955(1955-01-24) (aged 32) Sacaton, Arizona
Place of burial	Arlington National Cemetery, Section 34
Allegiance	United States of America
Service/branch	United States Marine Corps
Years of service	1942 - 1945
Rank	Corporal
Unit	3rd Parachute Battalion 2nd Battalion, 28th Marines 1st Headquarters Battalion, HQMC
Battles/wars	World War II Bougainville Campaign Battle of Iwo Jima

Ira Hamilton Hayes (January 12, 1923 – January 24, 1955) was a Pima Native American and an American Marine who was one of the six men immortalized in the iconic photograph of the flag raising on Iwo Jima during World War II.^[1][2] Hayes was an enrolled member of the Gila River Indian Community in Sacaton, Arizona, and enlisted in the Marine Forces Reserve on August 24, 1942. He trained as a Paramarine and saw action in the Pacific Theatre of World War II. On February 19, 1945, Hayes participated in the landing at Iwo Jima and fought in the subsequent battle for the island. On February 23, Hayes, together with fellow Marines Rene Gagnon, Harlon Block, Franklin Sousley, and Mike Strank, and Navy Corpsman John Bradley, raised the American flag over Mount Suribachi, an event photographed by Joe Rosenthal.

As a result of Rosenthal's photograph, Hayes and the others became national heroes in the United States. He was instrumental in confirming the identity of one of his fellow Marines in the photograph, Harlon Block. Hayes was never comfortable with his new-found fame, however, and after his honorable discharge from the Marine Corps he descended into alcoholism. He died of exposure and alcohol poisoning on January 24, 1955 after a night of drinking, and was buried with full military honors at Arlington National Cemetery.

Hayes was often commemorated in art and film, both before and after his death. He is depicted in the Marine Corps War Memorial at Arlington National Cemetery, based on the famous photograph, and he portrayed himself in the 1949 film Sands of Iwo Jima. His story was the subject of the 1961 film The Outsider, and inspired Peter La Farge's song "The Ballad of Ira Hayes". He was also depicted in the 2006 film Flags of Our Fathers.

Early life[link]

Hayes was born in Sacaton, Arizona, a town located in the Gila River Indian Community in Pinal County, the eldest of six children to Nancy Hamilton (1901–1972) and Joseph Hayes (1887–1978).^[3] The Hayes children were: Ira (1923–1955), Harold (1924–1925), Arlene (1926–1929), Leonard (1927–1952), Vernon (1929–1958), and Kenneth (born 1931).^[3]

Joseph Hayes was a World War I veteran who supported his family by subsistence farming and cotton harvesting.^[4] Nancy Hayes was a devout Presbyterian and a Sunday school teacher at the Assemblies of God church in Sacaton.^[4]

As a child, Hayes was remembered as being shy and sensitive by his family and friends. Sara Bernal, his first cousin, stated, "[Joseph Hayes] was a very quiet man, he would go days without saying anything unless you spoke to him first. The other Hayes children would play and tease me, but not Ira. He was quiet, and somewhat distant. Ira didn't speak unless spoken to. He was just like his father."^[5] His boyhood friend Dana Norris stated, "Even though I'm from the same culture, I could never get under his skin. Ira had the characteristic of not wanting to talk. But we Pimas are not prone to tooting our own horns. Ira was a quiet guy, such a quiet guy."^[5] Despite this, Hayes was a precocious child who displayed an impressive grasp of the English language, a language that many Pimas did not know how to speak.^[4] He was also a voracious reader, learning how to read and write by age four.^[4]

Pfc. Ira H. Hayes, a Pima, at age 19, ready to jump, Marine Corps Paratroop School, 1943

In 1932, the family settled in Bapchule, Arizona, located approximately 12 miles northwest of Sacaton.^[4] The Hayes children attended grade school in Sacaton and high school at the Phoenix Indian School in Phoenix, Arizona. Esther Monahan, one of his classmates, stated, "Ira wasn't like the other guys. He was shy and never talked to us girls. He was so much more shy than the other Pima boys. The girls would chase him and try to hug him and kiss him, like we did with all the boys. We'd catch the other boys, who enjoyed it. But not Ira. Ira would just run away."^[6] After the attack on Pearl Harbor in Hawaii, Ira confided to his classmate Eleanor Pasquale that he was determined on serving in the United States Marine Corps.^[6] Pasquale stated, "Every morning in school, [the students] would get a report on World War II. We would sing the anthems of the Army, Marines, and the Navy."^[7] In June 1942, Hayes graduated at the Phoenix Indian School and returned to the reservation.

Hayes enlisted in the Marine Forces Reserve on August 24, 1942.^[8]

Hayes had been trained at Marine Corps Recruit Depot San Diego, California, and went on to become a paratrooper at Marine Corps Base San Diego and had a codename of Chief Falling Cloud. On December 2, 1942, he joined Company B, 3rd Parachute Battalion, Divisional Special Troops, U.S. 3rd Marine Division, at Camp Elliott, California. On March 14, 1943, Hayes sailed for New Caledonia with the 3rd Parachute Battalion. Hayes served a tour of duty there and first saw combat in the Bougainville Campaign.

The Marine Corps parachute units were disbanded in February 1944, and Hayes transferred to Company E, 2nd Battalion, 28th Marines, U.S. 5th Marine Division at Camp Pendleton, California. Hayes agreed to serve a second tour of duty, and sailed to Hawaii in September 1944.

Battle of Iwo Jima[link]

Hayes is pictured to the far left

On February 19, 1945, the 5th Marine Division landed on Iwo Jima. Hayes partook in the battle for the island and was among the Marines that took Mount Suribachi five days later on February 23, 1945.

The raising of the second American flag on Suribachi by five Marines: Ira Hayes, Rene Gagnon, Harlon Block, Franklin Sousley, and Mike Strank, and a Navy Corpsman, John Bradley, was immortalized by photographer Joe Rosenthal and became an icon of the war. Overnight, Hayes became a national hero, along with the two other survivors in the famous photograph, Rene Gagnon and John Bradley.

When Iwo Jima was secured by U.S. forces, Hayes was ordered to Washington, D.C. Together with the Navy Pharmacist's Mate John Bradley and Marine Private First Class Rene Gagnon, he was assigned to temporary duty with the Finance Division, U.S. Treasury Department, for appearances in connection with the Seventh War Bond Drive.^[9]

Rank and military awards[link]

• Corporal
• Navy and Marine Corps Commendation Medal with Combat "V" Device
• Combat Action Ribbon
• Presidential Unit Citation (Ribbon only) with One 5/16" Silver Star
• American Campaign Medal
• Asiatic-Pacific Campaign Medal with Four Bronze 3/16" Stars (for Vella Lavella, Bougainville, Consolidation of the Northern Solomons, and Iwo Jima)
• World War II Victory Medal
• USMC Occupation of Japan Medal
• Parachutist Badge
• Rifle Sharpshooter Badge

Post World War II[link]

Ira Hayes (left) with Los Angeles mayor Fletcher Bowron (1947)

After the war, Hayes attempted to lead a normal civilian life. "I kept getting hundreds of letters. And people would drive through the reservation, walk up to me and ask, 'Are you the Indian who raised the flag on Iwo Jima?'"^[10] Although he rarely spoke about the flag raising, he spoke about his service in the Marine Corps with great pride.

After returning home from the war, Hayes remained troubled that one of his friends, Harlon Block, one of the flag raisers who was killed in action days after, was mistaken for another man, Hank Hansen. Hayes later hitchhiked 1,300 miles from the Gila River Indian Community to Edward Frederick Block, Sr.'s farm in Weslaco, Texas in order to reveal the truth to Block's family. He was instrumental in having the controversy resolved, to the delight and gratitude of the Block family.

Ira Hayes appeared in the 1949 John Wayne film, Sands of Iwo Jima, along with fellow flag raisers John Bradley and Rene Gagnon. All three men played themselves in the film. Wayne hands the flag to be raised to the three men. (The actual flag that was raised on Mount Suribachi is used in the film.)

After the war, Hayes was arrested 52 times for public drunkenness.^[11] Referring to his alcoholism, he once said: "I was sick. I guess I was about to crack up thinking about all my good buddies. They were better men than me and they're not coming back. Much less back to the White House, like me."^[10]

In 1954, after a ceremony where he was lauded by President Dwight D. Eisenhower as a hero, a reporter approached Hayes and asked him, "How do you like the pomp and circumstance?" Hayes hung his head and said, "I don't."^[12]

Hayes' disquiet about his unwanted fame and his subsequent post-war problems were first recounted in detail by the author William Bradford Huie in The Outsider, published in 1959 as part of his collection Wolf Whistle and Other Stories. The Outsider was filmed in 1961, directed by World War II veteran turned film director Delbert Mann and starring Tony Curtis.^[13]

The 2006 film Flags of Our Fathers, directed by Clint Eastwood, suggests that Hayes suffered from posttraumatic stress disorder.

Death[link]

Ira Hayes' tombstone.

On the morning of January 24, 1955, Hayes was found dead, lying in his own blood and vomit, near an abandoned adobe hut in Sacaton, Arizona. He had been drinking and playing cards at a bar on the reservation with his friends and brothers Vernon and Kenneth. An altercation ensued between Hayes and a Pima named Henry Setoyant, and all left except Hayes and Setoyant.

The Pinal County coroner concluded that Hayes' death was caused by exposure and alcohol poisoning. However, his brother Kenneth still believes that the death resulted from the altercation with Setoyant. The Gila River Police Department did not conduct an investigation into Hayes' death and Setoyant denied any allegations of fighting with Hayes.^[14]

In the 1961 film of his life, (starring Tony Curtis) The Outsider, his death is dramatized for the screen. He is shown freezing to death on an Arizona mountain top, after a night of drinking.

Hayes is buried in Section 34, Grave 479A at Arlington National Cemetery. At the funeral, fellow flag-raiser Rene Gagnon said of him: "Let's say he had a little dream in his heart that someday the Indian would be like the white man — be able to walk all over the United States."^[15]

Commemoration[link]

On November 10, 1993, the United States Marine Corps held a ceremony at the Iwo Jima Memorial commemorating the anniversary of the Corps. Of Ira Hayes, USMC Commandant General Carl Mundy said:

One of the pairs of hands that you see outstretched to raise our national flag on the battle-scarred crest of Mount Suribachi so many years ago, are those of a Native American ... Ira Hayes ... a Marine not of the ethnic majority of our population.

Were Ira Hayes here today ... I would tell him that although my words on another occasion have given the impression that I believe some Marines ... because of their color ... are not as capable as other Marines ... that those were not the thoughts of my mind ... and that they are not the thoughts of my heart.

I would tell Ira Hayes that our Corps is what we are because we are of the people of America ... the people of the broad, strong, ethnic fabric that is our nation. And last, I would tell him that in the future, that fabric will broaden and strengthen in every category to make our Corps even stronger ... even of greater utility to our nation. That's a commitment of this commandant ... And that's a personal commitment of this Marine.

Portrayal in music, film and literature[link]

• Hayes' story was immortalized in a song, "The Ballad of Ira Hayes", by Peter LaFarge. Johnny Cash, Kris Kristofferson, Smiley Bates, Pete Seeger, Bob Dylan, Kinky Friedman, Tom Russell, Hazel Dickens, Patrick Sky, and Townes Van Zandt each covered the song. In 1964, Cash took the song to number 3 on the Billboard country music chart.^[16]
• Ira Hayes appeared as himself in the 1949 John Wayne film, Sands of Iwo Jima.
• In the 1960 telefilm The American, he was played by Marine veteran Lee Marvin.
• Tony Curtis played Hayes in the 1961 film The Outsider.^[13]
• Hayes was portrayed by Adam Beach in the 2006 movie Flags of Our Fathers, directed by Clint Eastwood. The movie was based on the 2000 bestselling book of the same name by James Bradley and Ron Powers.
• The poet Ai dedicates her poem "I Can't Get Started" to Hayes.
• Ira Hayes is mentioned in the poem "Petroglyphs of Serena" by Adrian C. Louis.
• Ira Hayes was also mentioned briefly in the book "Code Talker" by Joseph Bruchac.
• Ira Hayes was also mentioned multiple times in the book "Indian Killer" by Sherman Alexie.

Monuments, memorials, and namings[link]

• Marine Corps War Memorial (rear Marine flag raising figure), Arlington, VA
• Hayes Peak, the northernmost mountain in the Sierra Estrella, Phoenix, AZ
• Ira Hayes Park (statue), Sacaton, Arizona
• Marine Corps League, Ira Hayes Detachment 2, Phoenix, AZ
• American Legion, Ira Hayes Post 84, Sacaton, AZ

See also[link]

	Biography portal
	World War II portal
	United States Marine Corps portal

• Native Americans and World War II
• PTSD
• Raising the Flag on Iwo Jima
• Shadow of Suribachi: Raising The Flags on Iwo Jima
• Survivor guilt

Bibliography[link]

Notes

References

• Bradley, James; Powers, Ron (2006). Flags of Our Fathers (2006 ed.). Bantam Books. ISBN 978-0-553-58908-5.  - Total pages: 576
• Quiet Hero: The Ira Hayes Story written and illustrated by S. D. Nelson, (Lee & Low Books, 2006) ISBN 978-1-58430-263-6.
• The Outsider and Other Stories, by William Bradford Huie, Panther Books, GB 1961, originally published in the USA 1959, by Signet as Wolf Whistle and Other Stories

External links[link]

Wikimedia Commons has media related to: Ira Hayes

• Gila River Indian Community official website
• Peter LaFarge Biography
• The Flag Raisers on Iwojima.com
• The Outsider at the Internet Movie Database
• Flags of Our Fathers - Movie

This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (February 2009)

Dream Evil
Dream Evil at The Electric Ballroom in 2010
Background information
Origin	Gothenburg, Sweden
Genres	Heavy metal, power metal
Years active	1999–present
Labels	Century Media
Website	www.dreamevil.se
Members
Niklas Isfeldt Daniel Varghamne Fredrik Nordström Peter Stålfors Pat Power
Past members
Snowy Shaw Gus G Mark Black

Dream Evil is a heavy metal band from Sweden, assembled and integrated by renowned musical producer Fredrik Nordström in 1999.

Biography[link]

Producer Fredrik Nordström had the ambition of creating a power metal band of his own for a long time, but had difficulty finding anyone with musical ideals similar to his own. However, while on holiday in the Greek islands during the year of 1999, Nordström met the young guitarist Gus G. (from Firewind). The musicians got along quite well, despite an age difference of over a decade. Plans for a band commenced - Gus had already been planning to relocate to Gothenburg, and upon his arrival he looked up Fredrik at Studio Fredman to begin writing.

The first person asked to join the new band was Snowy Shaw (from King Diamond, Mercyful Fate and Notre Dame), but the drummer initially refused their invitation. He would later change his mind and agreed to play on the band's debut album in a session capacity.

Vocalist Niklas Isfeldt had done backing vocals for some of HammerFall's songs produced by Nordström, and since he was not involved in any major projects at the time, he agreed to take the position. He also brought along his longtime friend and Pure-X bandmate Peter Stålfors, who assumed bass duties.

Up until the moment the first promotional photos were shot, the entire band had never been in the same place at the same time before. Some members did not even know each other.

The band soon got a deal with Century Media Records, and intended to name themselves Dragonslayer due to the medieval and fantastical themes of the songs written by Gus and Nordström. The label did not find the name original enough, and thus the band settled for the name Dream Evil, inspired by the Dio album of the same name.

Dream Evil's debut album was released in April 2002, and received positive feedback from the metal press. At one point the album, titled Dragonslayer, reached number one on the Japanese import charts. The band proceeded to play a series of festivals, and also supported Blind Guardian during a part of their world tour.

The band members found that they got along well as a unit, despite the somewhat random manner by which they had been brought together - Snowy Shaw decided to join the band permanently, and Dream Evil went on their first Japanese tour. During their stay in Japan, the band was invited by HammerFall to support their 2003 European tour. Their label manager hinted that it would be a good idea to have a new album out by then.

With little time on their hands, the band wrote the basis of several songs on the flight back to Europe, and on the day of their arrival entered the studio in order to record a new album. They took two weeks in total to record Evilized, and most songs were recorded as they had been written. It was released on 20 January, and one week later Dream Evil proceeded to tour Europe with HammerFall and the less known Masterplan.

For their third album, the band actually took time to write the songs and fine-tune them in the studio. The Book of Heavy Metal took two months to be recorded, and was released in May 2004.

Guitarist Gus G. left the band in late 2004 in order to dedicate more time to Firewind, being replaced by Mark Black (then known as Mark U Black). Black had previously filled in for Gus on a few other occasions and replaced him permanently on their tour as support act for Saxon.

Niklas Isfeldt and Peter Stålfors briefly left in 2005 to be replaced by Jake E. Berg (aka Jake Steel, of Dreamland) and Tommy Larsson, but returned before recordings or live shows were done. At the start of 2006, Snowy Shaw abruptly quit Dream Evil. After a period of silence for several months, Dream Evil announced Pat Power (Patrik Jerksten), a co-worker of Fredrik Nordström from Studio Fredman, as Snowy's replacement.

The first album featuring the new line-up, United, was released on October 13, 2006.

Dream Evil announced on December 7, 2007 on the website that Mark Black would be leaving the band and will be replaced by Daniel Varghamne aka Dannee Demon.

On March 3, 2008, the band announced that they had begun work on a new studio album, tentatively titled In the Night. The album is set to be released January 25, 2010 in Europe and January 26, 2010 in North America.

On July 23, 2008, the band announced that their first live DVD/CD set, Gold Medal in Metal (Alive & Archive), was released on August 25, 2008. In a interview with bass player Peter Stalfors he talked about a new album for 2012.

Line-up[link]

• Niklas Isfeldt - Vocals (1999–Present)
• Daniel Varghamne - Lead Guitar (2007–Present)
• Fredrik Nordström - Rhythm Guitar (1999–Present)
• Peter Stålfors - Bass (1999–2005, 2005–Present)
• Pat Power - Drums (2006–Present)

Former members[link]

• Gus G. - Lead Guitar (1999–2004)
• Mark Black - Lead Guitar (2000–2007)
• Snowy Shaw - Drums (1999–2006)
• Jake E. Lundberg - Vocals (2005)
• Tommy Larsson - Bass (2005)

Session musicians:

• Magnus Olsfelt - Bass
• Daniel Svensson - Drums
• Klas Bas - Bass

Discography[link]

• Dragonslayer – (2002)
• Evilized – (2003)
• The Book of Heavy Metal – (2004)
• United – (2006)
• In the Night – (2010)
• "TBA" (2012)

EPs[link]

• Children of the Night – (EP, 2003)
• The First Chapter – (EP, 2004)

Live[link]

• Gold Medal in Metal (Alive & Archive) – (2008)^[1]

Notes[link]

External links[link]

Wikimedia Commons has media related to: Dream Evil

• Dream Evil Official Website

Leonard Nimoy
Leonard Nimoy in 2011.
Born	Leonard Simon Nimoy (1931-03-26) March 26, 1931 (age 81) Boston, Massachusetts, U.S.
Residence	Los Angeles, California
Nationality	American
Occupation	Actor, film director, poet, photographer, singer, songwriter
Years active	1951–present
Home town	Boston, Massachusetts, U.S.
Television	the original Star Trek series
Spouse	Sandra Zober (1954–1987) Susan Bay (1988–present)

Leonard Simon Nimoy ( /ˈniːmɔɪ/ NEE-moy; born March 26, 1931) is an American actor, film director, poet, musician and photographer. Nimoy's most famous role is that of Spock in the original Star Trek series (1966–1969), and in multiple film, television, and video-game sequels.

Nimoy began his career in his early twenties, teaching acting classes in Hollywood and making minor film and television appearances through the 1950s, as well as playing the title role in Kid Monk Baroni. In 1953, he served in the United States Army. In 1965, he made his first appearance in the rejected Star Trek pilot, "The Cage", and would go on to play the character of Mr. Spock until 1969, followed by seven feature films and guest slots in various sequels. His character of Spock had a significant cultural impact and garnered Nimoy three Emmy Award nominations; TV Guide named Spock one of the 50 greatest TV characters.^[1][2] After the original Star Trek series, Nimoy starred in Mission: Impossible for two seasons, hosted the documentary series In Search of..., and narrated Civilization IV, as well as making several well-received stage appearances.

Nimoy's fame as Spock is such that both his autobiographies, I Am Not Spock (1977) and I Am Spock (1995) detail his existence as being shared between the character and himself.^[3][4]

Early life[link]

Nimoy was born in Boston, Massachusetts in the West End,^[5] to Yiddish-speaking Orthodox Jewish immigrants from Iziaslav, Soviet Union (now Ukraine).^[6][7][8][9] His father, Max Nimoy, owned a barbershop in the Mattapan section of the city. His mother, Dora Nimoy (née Spinner), was a homemaker.^[10][11] Nimoy began acting at the age of eight in children's and neighborhood theater. His parents wanted him to attend college and pursue a stable career, or even learn to play the accordion—which, his father advised, Nimoy could always make a living with—but his grandfather encouraged him to become an actor.^[12] His first major role was at 17, as Ralphie in an amateur production of Clifford Odets' Awake and Sing!.^[13] Nimoy took drama classes at Boston College in 1953 but failed to complete his studies,^[14] and in the 1970s studied photography at the University of California, Los Angeles.^[12] He has an MA in Education from Antioch College, an honorary doctorate from Antioch University in Ohio ^[15], and an honorary doctorate of humane letters from Boston University. ^[16]

Nimoy served as a sergeant in the U.S. Army from 1953 through 1955,^[17] alongside fellow actor Ken Berry and architect Frank Gehry.

Career[link]

Stage and screen[link]

Nimoy's film and television acting career began in 1951, but after receiving the title role in the 1952 film Kid Monk Baroni, a story about a street punk turned professional boxer, he played more than 50 small parts in B movies, TV shows such as Dragnet, and serials such as Republic Pictures' Zombies of the Stratosphere (1952). To support his family Nimoy often worked other jobs, such as delivering newspapers in the morning.^[18]

He played an Army sergeant in the 1954 science fiction thriller, Them!, a professor in the 1958 science fiction movie The Brain Eaters, and had a role in The Balcony (1963), a film adaptation of the Jean Genet play. Together with Vic Morrow, he produced a 1966 version of Deathwatch, an English language film version of Genet's play Haute Surveillance, adapted and directed by Morrow and starring Nimoy.

On television Nimoy appeared as "Sonarman" in two episodes of the 1957–1958 syndicated military drama, The Silent Service, based on actual events of the submarine section of the United States Navy. He had guest roles in the Sea Hunt series from 1958 to 1960 and had a minor role in The Twilight Zone episode "A Quality of Mercy" in 1961. He also appeared in Highway Patrol.

Nimoy appeared three times on NBC's Wagon Train, the No. 1 program of 1962. He portrayed as Bernabe Zamora in "The Estaban Zamora Story" (1959), "Cherokee Ned" in "The Maggie Hamilton Story" (1960), and Joaquin Delgado in "The Tiburcio Mendez Story" (1961). Susan Oliver played Maggie Hamilton, a young runaway who loathes life on the trail. In the episode Nimoy's Cherokee Ned gets into a fight with scout Flint McCullough, played by Robert Horton, who is searching for Maggie. ^[19]

Throughout the 1960s, Nimoy appeared in a number of other TV series including Bonanza (1960),The Rebel (1960), Two Faces West (1961), Rawhide (episode, Incident Before Black Pass. 1961), The Untouchables (1962), The Eleventh Hour (1962), Combat! (1963, 1965), The series Daniel Boone, and Perry Mason (1963), The Outer Limits (1964), The Virginian (1965) and Get Smart (1966). He appeared again in the 1995 Outer Limits series, again in the episode "I, Robot".

On the stage, Nimoy played the lead-role alien of a short run of Gore Vidal's A Visit to a Small Planet in 1968, shortly before the end of the Star Trek series. This play was staged at the now-folded Pheasant Run Playhouse in St. Charles, Illinois.^[20]

Nimoy as Spock with William Shatner as Kirk, 1968.

Nimoy and William Shatner first worked together on an episode of The Man from U.N.C.L.E., "The Project Strigas Affair" (1964). Their characters were from either side of the Iron Curtain, though with his saturnine looks, Nimoy was predictably the villain, with Shatner playing a reluctant U.N.C.L.E. recruit.

Nimoy first worked with DeForest Kelley in an episode of The Virginian from season two titled "Man of Violence", with Kelley as the doctor and Nimoy as the patient.

[edit] Star Trek

Nimoy's greatest prominence came from his role in the original Star Trek series. As the half-Vulcan, half-human Spock—a role he chose instead of one on the soap opera Peyton Place—Nimoy became a star, and the press predicted that he would "have his choice of movies or television series."^[18] He formed a long-standing friendship with Shatner, who portrayed his commanding officer, saying of their relationship, "We were like brothers."^[22] Star Trek: The Original Series was broadcast from 1966 to 1969. Nimoy earned three Emmy nominations for his work on the iconic program that has defined American television science fiction, both for fans of science fiction, and beyond.

He went on to reprise the Spock character in a voice-over role in Star Trek: The Animated Series (so much so, that the episode "Yesteryear" is the only ST:TAS episode to have been accepted as Star Trek canon). Two episodes of Star Trek: The Next Generation and six Star Trek movies feature the original Star Trek cast. He played the elder Spock in the 2009 Star Trek movie, directed by J. J. Abrams, the film being widely credited with revitalizing the franchise.

Nimoy giving the Vulcan salute in 2011

Spock's Vulcan salute became a recognized symbol of the show identified with him. Nimoy created the sign himself from his childhood memories of the way kohanim (Jewish priests) held their hand when giving blessings. During an interview, he translated the Priestly Blessing which accompanied the sign^[23] and described it during a public lecture:^[24]

May the Lord bless and keep you and may the Lord cause his countenance to shine upon you. May the Lord be gracious unto you and grant you peace.

Nimoy was asked to read these verses as part of his narration for Civilization IV.^{[citation needed]}

[edit] After Star Trek

Following Star Trek in 1969, Nimoy immediately joined the cast of the spy series Mission: Impossible, which was seeking a replacement for Martin Landau. Nimoy was cast in the role of Paris, an IMF agent who was an ex-magician and make-up expert 'The Great Paris'. He played the role during the fourth and fifth seasons of the show from 1969 to 1971.

Nimoy in 1972

He co-starred with Yul Brynner and Richard Crenna in the Western movie Catlow (1971). He also had roles in Night Gallery (1972) and Columbo (1973) where he played a murderous doctor who was one of the few criminals with whom Columbo became angry. Nimoy appeared in various made for television films such as Assault on the Wayne (1970), Baffled (1972), The Alpha Caper (1973), The Missing Are Deadly (1974), Seizure: The Story Of Kathy Morris (1980), and Marco Polo (1982). He received an Emmy award nomination for best supporting actor for the TV film A Woman Called Golda (1982).

In 1975, Leonard Nimoy filmed an opening introduction to Ripley's World of the Unexplained museum located at Gatlinburg, Tennessee and Fisherman's Wharf at San Francisco, California. In the late 1970s, he hosted and narrated the television series In Search of..., which investigated paranormal or unexplained events or subjects. He also has a memorable character part as a psychiatrist in Philip Kaufman's remake of Invasion of the Body Snatchers.

During this time, Nimoy also won acclaim for a series of stage roles. He appeared in such plays as Vincent, Fiddler on the Roof, The Man in the Glass Booth, Oliver!, Six Rms Riv Vu, Full Circle^{[disambiguation needed ]}, Camelot, One Flew Over the Cuckoo's Nest, The King and I, Caligula, The Four Poster, Twelfth Night, Sherlock Holmes, Equus and My Fair Lady.

[edit] Star Trek films

Nimoy signing autographs at a Star Trek convention, c. 1980

When a new Star Trek series was planned in the late 1970s, Nimoy was to be in only two out of eleven episodes, but when the show was elevated to a feature film, he agreed to reprise his role. After directing a few television show episodes, Nimoy started film directing in 1984 with the third installment of the film series. Nimoy would go on to direct the second most successful film (critically and financially) in the franchise after the 2009 Star Trek film, Star Trek IV: The Voyage Home (1986), and Three Men and a Baby, the highest grossing film of 1987, made him a star director.^[21] At a press conference promoting the 2009 Star Trek movie, Nimoy made it clear that he had no further plans or ambition to direct:

No. No, I'm done with all that, thank you. I never set out to be a director. After Spock had died, sort of, in Star Trek II, they brought me in for a meeting and asked if I'd like to be involved in Star Trek III, in the making of it, and I had been told that I should be directing. I took it as an insult because I thought, "what's wrong with my acting?" But I thought maybe now I should do that and I said I'd like to direct the movie, and I suddenly found myself with a directing career which I had enjoyed and I had enough of it. I directed I think five or six films – I had a good time.^[25]

[edit] Other work after Star Trek

In 1978, Nimoy played Dr. David Kibner in Invasion of the Body Snatchers. He also did occasional work as a voice actor in animated feature films, including the character of Galvatron in The Transformers: The Movie in 1986.

Nimoy was featured as the voice-over narrator for the CBS paranormal series Haunted Lives: True Ghost Stories in 1991.

In 1991, Nimoy teamed up with Robert B. Radnitz to produce a movie for TNT about a pro bono publico lawsuit brought by public interest attorney William John Cox on behalf of Mel Mermelstein, an Auschwitz survivor, against a group of organizations engaged in Holocaust denial. Nimoy also played the Mermelstein role and believes: "If every project brought me the same sense of fulfillment that Never Forget did, I would truly be in paradise."^[26]

Nimoy performed as Dr. Jekyll and Mr. Hyde in The Pagemaster in 1994. In 1998, he had a leading role as Mustapha Mond in the made-for-television production of Aldous Huxley's Brave New World.

Together with John De Lancie, another ex-actor from the Star Trek series, Nimoy created Alien Voices, an audio-production venture that specializes in audio dramatizations. Among the works jointly narrated by the couple are The Time Machine, A Journey to the Center of the Earth, The Lost World, The Invisible Man, and The First Men in the Moon, as well as several television specials for the Sci-Fi Channel. In an interview published on the official Star Trek website, Nimoy said that Alien Voices was discontinued because the series didn't sell well enough to recoup costs.

From 1994 until 1998, Nimoy narrated the Ancient Mysteries series on A&E including "The Sacred Water of Lourdes" and "Secrets of the Romanovs". He also appeared in advertising in the United Kingdom for the computer company Time Computers in the late 1990s. In 1997, Nimoy played the prophet Samuel, alongside Nathaniel Parker, in The Bible Collection movie "David". He had a central role in Brave New World, a 1998 TV-movie version of Aldous Huxley's novel where he played a character reminiscent of Spock in his philosophical balancing of unpredictable human qualities with the need for control. Nimoy has also appeared in several popular television series — including Futurama and The Simpsons — as both himself and Spock.

Nimoy appeared in Hearts of Space program number 142 – "Whales alive."

In 1999, he voiced the narration of the English version of the Sega Dreamcast game Seaman and promoted Y2K educational films.^[27]

In 2000, he provided on-camera hosting and introductions for 45 half-hour episodes of an anthology series entitled Our 20th Century on the AEN TV Network. The series covers world news, sports, entertainment, technology, and fashion using original archive news clips from 1930 to 1975 from the National Archives in Washington D.C. and other private archival sources.

In 2003, he announced his retirement from acting to concentrate on photography, but subsequently appeared in several television commercials with William Shatner for Priceline.com. He appeared in a commercial for Aleve, an arthritis pain medication, which aired during the 2006 Super Bowl.

Nimoy provided a comprehensive series of voiceovers for the 2005 computer game Civilization IV. He did the TV series Next Wave where he interviewed people about technology. He is the host in the documentary film The Once and Future Griffith Observatory currently running in the Leonard Nimoy Event Horizon Theater located at the recently reopened Griffith Observatory in Los Angeles, California.

In 2007, he produced the play, Shakespeare's Will by Canadian Playwright Vern Thiessen. The one-woman show starred Jeanmarie Simpson as Shakespeare's wife, Anne Hathaway. The production was directed by Nimoy's wife, Susan Bay.^[28][29][30]

Nimoy was given casting approval over who would play the young Spock in the newest film.^[31]

On January 6, 2009, he was interviewed by William Shatner on Biography Channel's Shatner's Raw Nerve.

In May 2009, he made an appearance as the mysterious Dr. William Bell in the season finale of Fringe, which explores the existence of a parallel universe. Nimoy returned as Dr. Bell in the autumn for an extended arc, and according to Roberto Orci, co-creator of Fringe, Bell will be "the beginning of the answers to even bigger questions."^[32][33] This choice led one reviewer to question if Fringe's plot might be a homage to the Star Trek episode "Mirror, Mirror", which featured an alternate reality "Mirror Universe" concept and an evil version of Spock distinguished by a goatee.^[34]

On the May 9, 2009 episode of Saturday Night Live, Nimoy appeared as a surprise guest on the skit "Weekend Update". During a mock interview, Nimoy called old Trekkies who did not like the new movie "dickheads". In the 2009 Star Trek movie, he plays the older Spock from the original Star Trek timeline; Zachary Quinto portrays the young Spock.

Starring with Will Ferrell in the TV-based movie Land of the Lost in June 2009, he voiced the part of "The Zarn", an Altrusian.

Nimoy is also a frequent and popular reader for "Selected Shorts", an ongoing series of programs at Symphony Space in New York City (that also tours around the country) which features actors, and sometimes authors, reading works of short fiction. The programs are broadcast on radio and available on websites through Public Radio International, National Public Radio and WNYC radio. Nimoy was honored by Symphony Space with the renaming of the Thalia Theater as the Leonard Nimoy Thalia Theater.

Nimoy has also provided voiceovers for the Star Trek Online massively multiplayer online game, released in February 2010,^[35] as well as Kingdom Hearts Birth by Sleep as Master Xehanort, the series' leading villain. Tetsuya Nomura, the director of Birth by Sleep, stated that he chose Nimoy for the role specifically because of his role as Spock.

Retirement[link]

In April 2010, Leonard Nimoy announced that he is retiring from playing the signature character of Star Trek's Spock, citing both his advanced age and the desire to give Zachary Quinto the opportunity to enjoy full media attention with the Spock character.^[36] Kingdom Hearts: Birth by Sleep was to be his final performance. However, in February 2011, he announced his definite plan to return to Fringe and reprise his role as William Bell.^[37] His retirement from acting has not included voice acting, as his appearance in the third season of Fringe includes his voice (his character appears only in animated scenes), and he provided the voice of Sentinel Prime in Transformers: Dark of the Moon. In May 2011 Nimoy starred in the alternate version music video of Bruno Mars' The Lazy Song. Aaron Bay-Schuck, the Atlantic Records executive who signed Bruno Mars to the label, is Nimoy's stepson.^[38] Nimoy provided the voice of Spock as a guest star in a Season 5 episode of the CBS sitcom, The Big Bang Theory. The episode is titled "The Transporter Malfunction" and aired on March 29, 2012.^[39] He also lent his voice as narrator to the free documentary "Destiny in Space" showcasing video and images of space from nine shuttle missions over four years time. In Spring 2012, Nimoy reprised his role of William Bell on Fringe, in the fourth season episodes "Letters of Transit" and "Brave New World".^[40] Nimoy is confirmed to be reprising his role as Master Xehanort in the upcoming game Kingdom Hearts: Dream Drop Distance.

Photography[link]

Nimoy's interest in photography began in childhood; he still owns a camera which he rebuilt at the age of 13. His photography studies at UCLA occurred after Star Trek and Mission: Impossible, when Nimoy seriously considered changing careers. His work has been exhibited at the R. Michelson Galleries in Northampton, Massachusetts^[12] and the Massachusetts Museum of Contemporary Art.

Writing[link]

This section may contain original research. Please improve it by verifying the claims made and adding references. Statements consisting only of original research may be removed. More details may be available on the talk page. (November 2008)

Nimoy has written two volumes of autobiography. The first was called I Am Not Spock (1977) and was controversial, as many fans incorrectly assumed that Nimoy was distancing himself from the Spock character. In the book, Nimoy conducts dialogues between himself and Spock. The contents of this first autobiography also touched on a self-proclaimed "identity crisis" that seemed to haunt Nimoy throughout his career. It also related to an apparent love/hate relationship with the character of Spock and the Trek franchise.

The second volume, I Am Spock (1995), saw Nimoy communicating that he finally realized his years of portraying the Spock character had led to a much greater identification between the fictional character and himself. Nimoy had much input into how Spock would act in certain situations, and conversely, Nimoy's contemplation of how Spock acted gave him cause to think about things in a way that he never would have thought if he had not portrayed the character. As such, in this autobiography Nimoy maintains that in some meaningful sense he has merged with Spock while at the same time maintaining the distance between fact and fiction.

Nimoy has also written several volumes of poetry, some published along with a number of his photographs. His latest effort is titled A Lifetime of Love: Poems on the Passages of Life (2002). His poetry can be found in the Contemporary Poets index of The HyperTexts.^[42] In the mid-1970s Nimoy wrote and starred in a one-man play called Vincent based on the play Van Gogh by Phillip Stephens.

In 1995, Nimoy was involved in the production of Primortals, a comic book series published by Tekno Comix about first contact with aliens, which had arisen from a discussion he had with Isaac Asimov. There was a novelization by Steve Perry.

Music[link]

During and following Star Trek, Nimoy also released five albums of vocal recordings on Dot Records,^[43] including Trek-related songs such as "Highly Illogical", and cover versions of popular tunes, such as "Proud Mary". He has described how his recording career got started:

Charles Grean of Dot Records had arranged with the studio to do an album of space music based on music from Star Trek, and he has a teenage daughter who's a fan of the show and a fan of Mr. Spock. She said, 'Well, if you're going to do an album of music from Star Trek, then Mr. Spock should be on the album.' So Dot contacted me and asked me if I would be interested in either speaking or singing on the record. I said I was very interested in doing both. ...That was the first album we did, which was called Mr. Spock's Music from Outer Space. It was very well received and successful enough that Dot then approached me and asked me to sign a long-term contract.^[44]

The albums were popular and resulted in numerous live appearances and promotional record signings that attracted crowds of fans in the thousands. The early recordings were produced by Charles Grean, who may be best known for his version of "Quentin's Theme" from the mid-sixties goth soap opera Dark Shadows. These recordings are generally regarded as unintentionally camp, though his tongue-in-cheek performance of "The Ballad of Bilbo Baggins" received a fair amount of airplay when Peter Jackson's The Lord of the Rings films were released.

In addition to his own music career he directed a 1985 music video for The Bangles' "Going Down to Liverpool". He makes a brief cameo appearance in the video as their driver. This came about because his son Adam Nimoy (now a frequent television director) was a friend of Bangles lead singer Susanna Hoffs from college. He released a version of Johnny Cash's song "I Walk the Line".

Nimoy's voice appeared in sampled form on a song by the pop band Information Society in the late Eighties. The song, "What's on Your Mind (Pure Energy)" (released in 1988), reached No. 3 on the US Pop charts, and No. 1 on Dance charts. The group's self-titled LP contains several other samples from the original Star Trek television series.

Nimoy also appears in the alternate music video for the song "Lazy Song" by pop artist Bruno Mars.^[45]

Personal life[link]

Nimoy has long been active in the Jewish community, and he can speak and read Yiddish. In 1997, he narrated the documentary A Life Apart: Hasidism in America, about the various sects of Hasidic Orthodox Jews. In October 2002, Nimoy published The Shekhina Project, a photographic study exploring the feminine aspect of God's presence, inspired by Kabbalah.

Nimoy has been married twice. In 1954, he married actress Sandra Zober (1927–2011), whom he divorced in 1987.^[12] He had two children with her, director Adam Nimoy and Julie Nimoy, who both appeared in an Oldsmobile commercial, with the tagline "This is not your father's Oldsmobile". In 1988, he married actress Susan Bay, who is a cousin of director Michael Bay.^[46]

In a 2001 DVD,^[47] Nimoy revealed that he became an alcoholic while working on Star Trek and ended up in rehab.^[48] William Shatner, in his 2008 book Up Till Now: The Autobiography, speaks about how later in their lives Nimoy tried to help Shatner's alcoholic wife.

Nimoy still has the last pair of Spock's ears he wore on the series, as a memento. He has said that the character of Spock, which he played twelve to fourteen hours a day, five days a week, influenced his personality in private life. Each weekend during the original run of the series, he would be in character throughout Saturday and into Sunday, behaving more like Spock than himself: more logical, more rational, more thoughtful, less emotional and finding a calm in every situation. It was only on Sunday in the early afternoon that Spock's influence on his behavior would fade off and he would feel more himself again – only to start the cycle over Monday morning.^[49]

Nimoy also introduced the Vulcan nerve pinch in an early Star Trek episode "The Enemy Within".^[50] Initially, Spock was supposed to knock out an evil Kirk in the Engineering room by striking him on the back of the head. Nimoy felt that the action was not in keeping with the nature of Spock's character, so he suggested the "pinch" as a non-violent alternative, suggesting that Vulcans have the ability to emit energy from their fingertips, which, if applied to the correct nerve cluster, could render a human unconscious.^[50] Nimoy explained this to the episode's director and according to Nimoy, the director had no idea what he was talking about. However, Nimoy would express relief in later interviews and appearances that when he explained the concept to William Shatner, he understood it immediately, and Nimoy credits Shatner's reaction to the nerve pinch in the episode as what really sold it. In early scripts for Star Trek, the nerve pinch was referred to as the "F.S.N.P.," which stood for "Famous Spock Neck Pinch."^[51][52]

He has remained good friends with co-star William Shatner (also of Ukrainian-Jewish descent) and was best man at Shatner's third marriage in 1997. Shatner is only four days older than Nimoy. He also remained good friends with DeForest Kelley until Kelley's death in 1999.

The Space Foundation named Nimoy as the recipient of the 2010 Douglas S. Morrow Public Outreach Award^[53] for creating a positive role model that inspired untold numbers of viewers to learn more about the universe. An honor Nimoy did not receive, however, was the naming of asteroid 2309 Mr. Spock after his character, at least not directly. The asteroid was named by discoverer James B. Gibson after his pet cat, "Mr. Spock," said feline indeed being named after the Star Trek character.

In 2009, Nimoy was honored by his childhood hometown when the Office of Mayor Thomas Menino proclaimed the date of November 14, 2009 as Leonard Nimoy Day in the City of Boston.^[54]

Filmography[link]