Liver
Liver of a sheep: (1) right lobe, (2) left lobe, (3) caudate lobe, (4) quadrate lobe, (5) hepatic artery and portal vein, (6) hepatic lymph nodes, (7) gall bladder.
Surface projections of the organs of the trunk, showing liver in center
Latin	jecur, iecer
Gray's	subject #250 1188
Vein	hepatic vein, hepatic portal vein
Nerve	celiac ganglia, vagus[1]
Precursor	foregut
MeSH	Liver

The liver is a vital organ present in vertebrates and some other animals. It has a wide range of functions, including detoxification, protein synthesis, and production of biochemicals necessary for digestion. The liver is necessary for survival; there is currently no way to compensate for the absence of liver function long term, although liver dialysis can be used short term.

This organ plays a major role in metabolism and has a number of functions in the body, including glycogen storage, decomposition of red blood cells, plasma protein synthesis, hormone production, and detoxification. It lies below the diaphragm in the abdominal-pelvic region of the abdomen. It produces bile, an alkaline compound which aids in digestion via the emulsification of lipids. The liver's highly specialized tissues regulate a wide variety of high-volume biochemical reactions, including the synthesis and breakdown of small and complex molecules, many of which are necessary for normal vital functions.^[2]

Medical terms related to the liver often start in hepato- or hepatic from the Greek word for liver, hēpar (ἡπαρ).

Anatomy[link]

The liver is a reddish brown organ with four lobes of unequal size and shape. A human liver normally weighs 1.44–1.66 kg (3.2–3.7 lb),^[3] and is a soft, pinkish-brown, triangular organ. It is both the largest internal organ (the skin being the largest organ overall) and the largest gland in the human body. It is located in the right upper quadrant of the abdominal cavity, resting just below the diaphragm. The liver lies to the right of the stomach and overlies the gallbladder. It is connected to two large blood vessels, one called the hepatic artery and one called the portal vein. The hepatic artery carries blood from the aorta, whereas the portal vein carries blood containing digested nutrients from the entire gastrointestinal tract and also from the spleen and pancreas. These blood vessels subdivide into capillaries, which then lead to a lobule. Each lobule is made up of millions of hepatic cells which are the basic metabolic cells. Lobules are the functional units of the liver.

Cell types[link]

Two major types of cells populate the liver lobes: parenchymal and non-parenchymal cells. 80% of the liver volume is occupied by parenchymal cells commonly referred to as hepatocytes. Non-parenchymal cells constitute 40% of the total number of liver cells but only 6.5% of its volume. Sinusoidal endothelial cells, kupffer cells and hepatic stellate cells are some of the non-parenchymal cells that line the hepatic sinusoid.^[4]

Blood flow[link]

The liver gets a dual blood supply from the hepatic portal vein and hepatic arteries. Supplying approximately 75% of the liver's blood supply, the hepatic portal vein carries venous blood drained from the spleen, gastrointestinal tract, and its associated organs. The hepatic arteries supply arterial blood to the liver, accounting for the remainder of its blood flow. Oxygen is provided from both sources; approximately half of the liver's oxygen demand is met by the hepatic portal vein, and half is met by the hepatic arteries.^[5]
Blood flows through the liver sinusoids and empties into the central vein of each lobule. The central veins coalesce into hepatic veins, which leave the liver.

Liver

Liver

Biliary flow[link]

The biliary tree

The term biliary tree is derived from the arboreal branches of the bile ducts. The bile produced in the liver is collected in bile canaliculi, which merge to form bile ducts. Within the liver, these ducts are called intrahepatic (within the liver) bile ducts, and once they exit the liver they are considered extrahepatic (outside the liver). The intrahepatic ducts eventually drain into the right and left hepatic ducts, which merge to form the common hepatic duct. The cystic duct from the gallbladder joins with the common hepatic duct to form the common bile duct.

Bile can either drain directly into the duodenum via the common bile duct, or be temporarily stored in the gallbladder via the cystic duct. The common bile duct and the pancreatic duct enter the second part of the duodenum together at the ampulla of Vater.

Surface anatomy[link]

Peritoneal ligaments[link]

Apart from a patch where it connects to the diaphragm (the so-called "bare area"), the liver is covered entirely by visceral peritoneum, a thin, double-layered membrane that reduces friction against other organs. The peritoneum folds back on itself to form the falciform ligament and the right and left triangular ligaments.

Dissection of portal vein in right lobe of liver

These "lits" are in no way related to the true anatomic ligaments in joints, and have essentially no known functional importance, but they are easily recognizable surface landmarks. An exception to this is the falciform ligament, which attaches the liver to the posterior portion of the anterior body wall.

Lobes[link]

Traditional gross anatomy divided the liver into four lobes based on surface features. The falciform ligament is visible on the front (anterior side) of the liver. This divides the liver into a left anatomical lobe, and a right anatomical lobe.

If the liver is flipped over, to look at it from behind (the visceral surface), there are two additional lobes between the right and left. These are the caudate lobe (the more superior) and the quadrate lobe (the more inferior).

From behind, the lobes are divided up by the ligamentum venosum and ligamentum teres (anything left of these is the left lobe), the transverse fissure (or porta hepatis) divides the caudate from the quadrate lobe, and the right sagittal fossa, which the inferior vena cava runs over, separates these two lobes from the right lobe.

Each of the lobes is made up of lobules; a vein goes from the centre, which then joins to the hepatic vein to carry blood out from the liver.

On the surface of the lobules, there are ducts, veins and arteries that carry fluids to and from them.

Functional anatomy[link]

The central area where the common bile duct, hepatic portal vein, and hepatic artery proper enter is the hilum or "porta hepatis". The duct, vein, and artery divide into left and right branches, and the portions of the liver supplied by these branches constitute the functional left and right lobes.

The functional lobes are separated by an imaginary plane joining the gallbladder fossa to the inferior vena cava. The plane separates the liver into the true right and left lobes. The middle hepatic vein also demarcates the true right and left lobes. The right lobe is further divided into an anterior and posterior segment by the right hepatic vein. The left lobe is divided into the medial and lateral segments by the left hepatic vein. The fissure for the ligamentum teres also separates the medial and lateral segments. The medial segment is also called the quadrate lobe. In the widely used Couinaud (or "French") system, the functional lobes are further divided into a total of eight subsegments based on a transverse plane through the bifurcation of the main portal vein. The caudate lobe is a separate structure which receives blood flow from both the right- and left-sided vascular branches.^[6][7]

In other animals[link]

The liver is found in all vertebrates, and is typically the largest visceral organ. Its form varies considerably in different species, and is largely determined by the shape and arrangement of the surrounding organs. Nonetheless, in most species it is divided into right and left lobes; exceptions to this general rule include snakes, where the shape of the body necessitates a simple cigar-like form. The internal structure of the liver is broadly similar in all vertebrates.^[8]

An organ sometimes referred to as a liver is found associated with the digestive tract of the primitive chordate Amphioxus. However, this is an enzyme secreting gland, not a metabolic organ, and it is unclear how truly homologous it is to the vertebrate liver.^[8]

Physiology[link]

The various functions of the liver are carried out by the liver cells or hepatocytes. Currently, there is no artificial organ or device capable of emulating all the functions of the liver. Some functions can be emulated by liver dialysis, an experimental treatment for liver failure. The liver is thought to be responsible for up to 500 separate functions, usually in combination with other systems and organs.

Synthesis[link]

A CT scan in which the liver and portal vein are shown.

• A large part of amino acid synthesis
• The liver performs several roles in carbohydrate metabolism:
  • Gluconeogenesis (the synthesis of glucose from certain amino acids, lactate or glycerol)
  • Glycogenolysis (the breakdown of glycogen into glucose)
  • Glycogenesis (the formation of glycogen from glucose)(muscle tissues can also do this)
• The liver is responsible for the mainstay of protein metabolism, synthesis as well as degradation
• The liver also performs several roles in lipid metabolism:
  • Cholesterol synthesis
  • Lipogenesis, the production of triglycerides (fats).
  • A bulk of the lipoproteins are synthesized in the liver.
• The liver produces coagulation factors I (fibrinogen), II (prothrombin), V, VII, IX, X and XI, as well as protein C, protein S and antithrombin.
• In the first trimester fetus, the liver is the main site of red blood cell production. By the 32nd week of gestation, the bone marrow has almost completely taken over that task.
• The liver produces and excretes bile (a yellowish liquid) required for emulsifying fats. Some of the bile drains directly into the duodenum, and some is stored in the gallbladder.
• The liver also produces insulin-like growth factor 1 (IGF-1), a polypeptide protein hormone that plays an important role in childhood growth and continues to have anabolic effects in adults.
• The liver is a major site of thrombopoietin production. Thrombopoietin is a glycoprotein hormone that regulates the production of platelets by the bone marrow.

Breakdown[link]

• The breakdown of insulin and other hormones
• The liver glucoronidates bilirubin, facilitating its excretion into bile.
• The liver breaks down or modifies toxic substances (e.g., methylation) and most medicinal products in a process called drug metabolism. This sometimes results in toxication, when the metabolite is more toxic than its precursor. Preferably, the toxins are conjugated to avail excretion in bile or urine.
• The liver converts ammonia to urea (urea cycle)

Other functions[link]

• The liver stores a multitude of substances, including glucose (in the form of glycogen), vitamin A (1–2 years' supply), vitamin D (1–4 months' supply), vitamin B12 (1–3 years' supply), iron, and copper.
• The liver is responsible for immunological effects—the reticuloendothelial system of the liver contains many immunologically active cells, acting as a 'sieve' for antigens carried to it via the portal system.
• The liver produces albumin, the major osmolar component of blood serum.
• The liver synthesizes angiotensinogen, a hormone that is responsible for raising the blood pressure when activated by renin, an enzyme that is released when the kidney senses low blood pressure.

Relation to medicine and pharmacology[link]

The oxidative capacity of the liver decreases with aging and therefore, benzodiazepines (BZDs) that require oxidation are more likely to accumulate to toxic levels. Therefore, those with shorter half-lives, such as lorazepam and oxazepam are preferred when benzodiazepines are required in regards to geriatric medicine.

Diseases of the liver[link]

Left lobe liver tumor

The liver supports almost every organ in the body and is vital for survival. Because of its strategic location and multidimensional functions, the liver is also prone to many diseases.^[9]

The most common include: Infections such as hepatitis A. B, C, D, E, alcohol damage, fatty liver, cirrhosis, cancer, drug damage (particularly by acetaminophen (paracetamol) and cancer drugs).

Many diseases of the liver are accompanied by jaundice caused by increased levels of bilirubin in the system. The bilirubin results from the breakup of the hemoglobin of dead red blood cells; normally, the liver removes bilirubin from the blood and excretes it through bile.

There are also many pediatric liver diseases including biliary atresia, alpha-1 antitrypsin deficiency, alagille syndrome, progressive familial intrahepatic cholestasis, and Langerhans cell histiocytosis, to name but a few.

Diseases that interfere with liver function will lead to derangement of these processes. However, the liver has a great capacity to regenerate and has a large reserve capacity. In most cases, the liver only produces symptoms after extensive damage.

Liver diseases may be diagnosed by liver function tests, for example, by production of acute phase proteins.

Disease symptoms[link]

The classic symptoms of liver damage include the following:

• Pale stools occur when stercobilin, a brown pigment, is absent from the stool. Stercobilin is derived from bilirubin metabolites produced in the liver.
• Dark urine occurs when bilirubin mixes with urine
• Jaundice (yellow skin and/or whites of the eyes) This is where bilirubin deposits in skin, causing an intense itch. Itching is the most common complaint by people who have liver failure. Often this itch cannot be relieved by drugs.
• Swelling of the abdomen, ankles and feet occurs because the liver fails to make albumin.
• Excessive fatigue occurs from a generalized loss of nutrients, minerals and vitamins.
• Bruising and easy bleeding are other features of liver disease. The liver makes substances which help prevent bleeding. When liver damage occurs, these substances are no longer present and severe bleeding can occur.^[10]

Diagnosis[link]

The diagnosis of liver function is made by blood tests. Liver function tests can readily pinpoint the extent of liver damage. If infection is suspected, then other serological tests are done. Sometimes, one may require an ultrasound or a CT scan to produce an image of the liver.

Physical examination of the liver is not accurate in determining the extent of liver damage. It can only reveal presence of tenderness or the size of liver, but in all cases, some type of radiological study is required to examine it.^[11]

Biopsy / scan[link]

Damage to the liver is sometimes determined with a biopsy, particularly when the cause of liver damage is unknown. In the 21st century they were largely replaced by high-resolution radiographic scans. The latter do not require ultrasound guidance, lab involvement, microscopic analysis, organ damage, pain, or patient sedation; and the results are available immediately on a computer screen.

In a biopsy, a needle is inserted into the skin just below the rib cage and a tissue sample obtained. The tissue is sent to the laboratory, where it is analyzed under a microscope. Sometimes, a radiologist may assist the physician performing a liver biopsy by providing ultrasound guidance.^[12]

Regeneration[link]

The liver is the only internal human organ capable of natural regeneration of lost tissue; as little as 25% of a liver can regenerate into a whole liver. This is, however, not true regeneration but rather compensatory growth.^[13] The lobes that are removed do not regrow and the growth of the liver is a restoration of function, not original form. This contrasts with true regeneration where both original function and form are restored.

This is predominantly due to the hepatocytes re-entering the cell cycle. That is, the hepatocytes go from the quiescent G0 phase to the G1 phase and undergo mitosis. This process is activated by the p75 receptors.^[14] There is also some evidence of bipotential stem cells, called hepatic oval cells or ovalocytes (not to be confused with oval red blood cells of ovalocytosis), which are thought to reside in the canals of Hering. These cells can differentiate into either hepatocytes or cholangiocytes, the latter being the cells that line the bile ducts.

Scientific and medical works about liver regeneration often refer to the Greek Titan Prometheus who was chained to a rock in the Caucasus where, each day, his liver was devoured by an eagle, only to grow back each night. Some think the myth indicates the ancient Greeks knew about the liver’s remarkable capacity for self-repair, though this claim has been challenged.^[15]

Liver transplantation[link]

Human liver transplants were first performed by Thomas Starzl in the United States and Roy Calne in Cambridge, England in 1963 and 1965, respectively.

After resection of left lobe liver tumor

Liver transplantation is the only option for those with irreversible liver failure. Most transplants are done for chronic liver diseases leading to cirrhosis, such as chronic hepatitis C, alcoholism, autoimmune hepatitis, and many others. Less commonly, liver transplantation is done for fulminant hepatic failure, in which liver failure occurs over days to weeks.

Liver allografts for transplant usually come from donors who have died from fatal brain injury. Living donor liver transplantation is a technique in which a portion of a living person's liver is removed and used to replace the entire liver of the recipient. This was first performed in 1989 for pediatric liver transplantation. Only 20 percent of an adult's liver (Couinaud segments 2 and 3) is needed to serve as a liver allograft for an infant or small child.

More recently, adult-to-adult liver transplantation has been done using the donor's right hepatic lobe, which amounts to 60 percent of the liver. Due to the ability of the liver to regenerate, both the donor and recipient end up with normal liver function if all goes well. This procedure is more controversial, as it entails performing a much larger operation on the donor, and indeed there have been at least two donor deaths out of the first several hundred cases. A recent publication has addressed the problem of donor mortality, and at least 14 cases have been found.^[16] The risk of postoperative complications (and death) is far greater in right-sided operations than that in left-sided operations.

With the recent advances of noninvasive imaging, living liver donors usually have to undergo imaging examinations for liver anatomy to decide if the anatomy is feasible for donation. The evaluation is usually performed by multidetector row computed tomography (MDCT) and magnetic resonance imaging (MRI). MDCT is good in vascular anatomy and volumetry. MRI is used for biliary tree anatomy. Donors with very unusual vascular anatomy, which makes them unsuitable for donation, could be screened out to avoid unnecessary operations.

• LDLTA.jpg

  MDCT image. Arterial anatomy contraindicated for liver donation

• LDLTP.jpg

  MDCT image. Portal venous anatomy contraindicated for liver donation

• LDLT volume measure.jpg

  MDCT image. 3D image created by MDCT can clearly visualize the liver, measure the liver volume, and plan the dissection plane to facilitate the liver transplantation procedure.

• R vs L Liver by CT.PNG

  Phase contrast CT image. Contrast is perfusing the right liver but not the left due to a left portal vein thrombus.

Additional Images[link]

• 

  Liver

Development[link]

Organogenesis[link]

The liver is formed as a result of mesenchymal-to-epithelial interactions. In human embryo, the hepatic diverticulum is the tube of endoderm that extends out from the foregut into the surrounding mesenchyme. The mesenchyme of septum transversum induces this endoderm to proliferate, to branch, and to form the glandular epithelium of the liver. A portion of the hepatic diverticulum (that region closest to the digestive tube) continues to function as the drainage duct of the liver, and a branch from this duct produces the gallbladder.^[17] Besides of signals from the septum transversum mesenchyme, fibroblast growth factor from the developing heart also contribute to hepatic competence, along with retinoic acid emanating from the lateral plate mesoderm. The hepatic endodermal cells undergo a morphological transition from columnar to pseudostratified resulting in thickening into the early liver bud. Their expansion forms a population of the bipotential hepatoblasts.^[18] Hepatic stellate cells are derived from mesenchyme.^[19]

After migration of hepatoblasts into the septum transversum mesenchyme, the hepatic architecture begins to be established, with sinusoids and bile canaliculi appearing. The liver bud separates into the lobes. The left umbilical vein becomes the ductus venosus and the right vitelline vein becomes the portal vein. The expanding liver bud is colonized by hematopoietic cells. The bipotential hepatoblasts begin differentiating into biliary epithelial cells and hepatocytes. The biliary epithelial cells differentiate from hepatoblasts around portal veins, first producing a monolayer, and then a bilayer of cuboidal cells. In ductal plate, focal dilations emerge at points in the bilayer, become surrounded by portal mesenchyme, and undergo tubulogenesis into intrahepatic bile ducts. Hepatoblasts not adjacent to portal veins instead differentiate into hepatocytes and arrange into cords lined by sinudoidal epithelial cells and bile canaliculi. Once hepatoblasts are specified into hepatocytes and undergo further expansion, they begin acquiring the functions of a mature hepatocyte, and eventually mature hepatocytes appear as highly polarized epithelial cells with abundant glycogen accumulation. In the adult liver, hepatocytes are not equivalent, with position along the portocentrovenular axis within a liver lobule dictating expression of metabolic genes involved in drug metabolism, carbohydrate metabolism, ammonia detoxification, and bile production and secretion. WNT/β-catenin has now been identified to be playing a key role in this phenomenon. ^[18]

Fetal blood supply[link]

In the growing fetus, a major source of blood to the liver is the umbilical vein which supplies nutrients to the growing fetus. The umbilical vein enters the abdomen at the umbilicus, and passes upward along the free margin of the falciform ligament of the liver to the inferior surface of the liver. There it joins with the left branch of the portal vein. The ductus venosus carries blood from the left portal vein to the left hepatic vein and then to the inferior vena cava, allowing placental blood to bypass the liver.

In the fetus, the liver develops throughout normal gestation, and does not perform the normal filtration of the infant liver. The liver does not perform digestive processes because the fetus does not consume meals directly, but receives nourishment from the mother via the placenta. The fetal liver releases some blood stem cells that migrate to the fetal thymus, so initially the lymphocytes, called T-cells, are created from fetal liver stem cells. Once the fetus is delivered, the formation of blood stem cells in infants shifts to the red bone marrow.

After birth, the umbilical vein and ductus venosus are completely obliterated in two to five days; the former becomes the ligamentum teres and the latter becomes the ligamentum venosum. In the disease state of cirrhosis and portal hypertension, the umbilical vein can open up again.

As food[link]

Cultural allusions[link]

In Greek mythology, Prometheus was punished by the gods for revealing fire to humans, by being chained to a rock where a vulture (or an eagle) would peck out his liver, which would regenerate overnight. (The liver is the only human internal organ that actually can regenerate itself to a significant extent.) Many ancient peoples of the Near East and Mediterranean areas practiced a type of divination called haruspicy, where they tried to obtain information by examining the livers of sheep and other animals.

In Plato, and in later physiology, the liver was thought to be the seat of the darkest emotions (specifically wrath, jealousy and greed) which drive men to action.^[20] The Talmud (tractate Berakhot 61b) refers to the liver as the seat of anger, with the gallbladder counteracting this.

The Persian, Urdu, and Hindi languages (جگر or जिगर or jigar) refer to the liver in figurative speech to indicate courage and strong feelings, or "their best"; e.g., "This Mecca has thrown to you the pieces of its liver!".^[21] The term jan e jigar, literally "the strength (power) of my liver", is a term of endearment in Urdu. In Persian slang, jigar is used as an adjective for any object which is desirable, especially women. In the Zulu language, the word for liver (isibindi) is the same as the word for courage.

The legend of Liver-Eating Johnson says that he would cut out and eat the liver of each man killed after dinner.

In the motion picture The Message, Hind bint Utbah is implied or portrayed eating the liver of Hamza ibn ‘Abd al-Muttalib during the Battle of Uhud. Although there are narrations that suggest that Hind did "taste", rather than eat, the liver of Hamza, the authenticity of these narrations have to be questioned.

See also[link]

Look up liver in Wiktionary, the free dictionary.

• Artificial liver
• Bile
• Bile canaliculus
• Hepatic cyst (liver cyst)
• Hepatocyte
• Liver function tests
• Liver shot (martial arts strike)
• Polycystic liver disease
• Porto-Systemic anastomosis

References[link]

External links[link]

Wikimedia Commons has media related to: Livers

• Liver at the Open Directory Project.
• VIRTUAL Liver - online learning resource
• Liver enzymes

lez:Лекь

Tom Waits
Waits during an interview in Buenos Aires, Argentina, April 2007
Background information
Birth name	Thomas Alan Waits
Born	(1949-12-07) December 7, 1949 (age 62) Pomona, California, United States
Genres	Rock, experimental
Occupations	Singer-songwriter, musician, actor, composer
Instruments	Vocals, piano, guitar
Years active	1972–present
Labels	Asylum Records, Island Records, ANTI-
Website	Official website

Thomas Alan "Tom" Waits (born December 7, 1949) is an American singer-songwriter, composer, and actor. Waits has a distinctive voice, described by critic Daniel Durchholz as sounding "like it was soaked in a vat of bourbon, left hanging in the smokehouse for a few months, and then taken outside and run over with a car."^[1] With this trademark growl, his incorporation of pre-rock music styles such as blues, jazz, and vaudeville, and experimental tendencies verging on industrial music,^[2] Waits has built up a distinctive musical persona. He has worked as a composer for movies and musical plays and has acted in supporting roles in films including Paradise Alley and Bram Stoker's Dracula; he also starred in the 1986 film Down by Law. He was nominated for an Academy Award for his soundtrack work on One from the Heart.

Lyrically, Waits' songs frequently present atmospheric portrayals of grotesque, often seedy characters and places—although he has also shown a penchant for more conventional ballads. He has a cult following and has influenced subsequent songwriters despite having little radio or music video support. His songs are best-known through cover versions by more commercial artists: "Jersey Girl", performed by Bruce Springsteen, "Ol' '55", performed by the Eagles, and "Downtown Train", performed by Rod Stewart. Although Waits' albums have met with mixed commercial success in his native United States, they have occasionally achieved gold album sales status in other countries. He has been nominated for a number of major music awards and has won Grammy Awards for two albums, Bone Machine and Mule Variations. In 2011, Waits was inducted into the Rock and Roll Hall of Fame.^[3][4]

Waits lives in Sonoma County, California with his wife, Kathleen Brennan, and three children.

Origins and musical beginnings[link]

Waits was born at Park Avenue Hospital in Pomona, California to Jesse Frank Waits and Alma Johnson McMurray, both schoolteachers.^[5][6] His father was of Scots-Irish descent and his mother was a Norwegian American. After Waits' parents divorced in 1960, he lived with his mother in Whittier, and then moved to National City, in San Diego County, near the Mexico–United States border.^[6] Waits, who taught himself how to play the piano on a neighbor's instrument, often took trips to Mexico with his father, who taught Spanish; he would later say that he found his love of music during these trips through a Mexican ballad that was "probably a Ranchera, you know, on the car radio with my dad."^[7]

By 1965, while attending Hilltop High School within the Sweetwater Union High School District, Chula Vista,^[6] Waits was playing in an R&B/soul band called The Systems and had begun his first job at Napoleone Pizza House in National City (about which he would later sing on "I Can't Wait to Get Off Work (And See My Baby on Montgomery Avenue)" from Small Change and "The Ghosts of Saturday Night (After Hours at Napoleone's Pizza House)" on The Heart of Saturday Night).^[5] He later admitted that he was not a fan of the 1960s music scene, stating, "I wasn't thrilled by Blue Cheer, so I found an alternative, even if it was Bing Crosby."^[8] Five years later, he was working as a doorman at the Heritage nightclub in San Diego—where artists of every genre performed—when he did his first paid gig for $6.^[5] A fan of Bob Dylan, Lord Buckley, Jack Kerouac, Louis Armstrong, Howlin' Wolf, and Charles Bukowski, Waits began developing his own idiosyncratic musical style.

After serving with the United States Coast Guard,^[9] he took his newly formed act to Monday nights at The Troubadour in Los Angeles, where musicians would line up all day for the opportunity to perform on stage that night. In 1971, Waits moved to the Echo Park neighborhood of L.A. (at the time, also home to musicians Glenn Frey of the Eagles, J. D. Souther, Jackson Browne, and Frank Zappa) and signed with Herb Cohen at the age of 21. From August to December 1971, Waits made a series of demo recordings for Cohen's Bizarre/Straight label, including many songs for which he would later become known. These early tracks were released twenty years later on The Early Years, Volume One and Volume Two.

1970s[link]

Waits signed to Asylum Records in 1972,^[10] and after numerous abortive recording sessions, his first record—the jazzy, folk-tinged Closing Time—was released in 1973. The album, which was produced and arranged by former Lovin' Spoonful member Jerry Yester, received positive reviews, but Waits did not gain widespread attention until a number of the album's tracks were covered by more prominent artists. Later in 1973, Tim Buckley released the album Sefronia, which contained a cover version of Waits' song "Martha" from Closing Time, the first-ever cover of a Tom Waits song by a known artist.^[11] This cover later appeared in the 1995 compilation Step Right Up: The Songs of Tom Waits. The album's opening track, "Ol' '55", was recorded by the Eagles in 1974 for their On the Border album.^[11]

He began touring and opening for such artists as Charlie Rich, Martha and the Vandellas, and Frank Zappa. Waits received increasing critical acclaim and gathered a loyal cult following with his subsequent albums. The Heart of Saturday Night (1974), featuring the song "(Looking for) The Heart of Saturday Night", revealed Waits's roots as a nightclub performer, with half-spoken and half-crooned ballads often accompanied by a jazz backup band.^[12] Waits described the album as:

...a comprehensive study of a number of aspects of this search for the center of Saturday night, which Jack Kerouac relentlessly chased from one end of this country to the other, and I've attempted to scoop up a few diamonds of this magic that I see.^[13]

In 1975, Waits moved to the Tropicana Motel on Santa Monica Boulevard^[14] and released the double album Nighthawks at the Diner, recorded in a studio with a small audience in order to capture the ambience of a live show. The record exemplifies this phase of his career, including the lengthy spoken interludes between songs that punctuated his live act. That year, he also contributed backing vocals to Bonnie Raitt's "Your Sweet and Shiny Eyes", from her album Home Plate.

By this time, Waits was drinking heavily, and life on the road was starting to take its toll. Waits, looking back at the period, has said,

I was sick through that whole period [...] It was starting to wear on me, all the touring. I'd been traveling quite a bit, living in hotels, eating bad food, drinking a lot — too much. There's a lifestyle that's there before you arrive and you're introduced to it. It's unavoidable.^[15]

In reaction to these hardships, Waits recorded Small Change (1976), which finds him in a much more cynical and pessimistic mood, lyrically, with many songs such as "The Piano Has Been Drinking (Not Me) (An Evening with Pete King)" and "Bad Liver and a Broken Heart (In Lowell)". With the album, Waits asserted that he "tried to resolve a few things as far as this cocktail lounge, maudlin, crying-in-your-beer image that I have. There ain't nothin' funny about a drunk [...] I was really starting to believe that there was something amusing and wonderfully American about being a drunk. I ended up telling myself to cut that shit out."^[16] The album, which also included long-time fan favorite "Tom Traubert's Blues (Four Sheets to the Wind in Copenhagen)", featured famed drummer Shelly Manne and was, like his previous albums, heavily influenced by jazz.

Small Change, which was accompanied by the double A-side single "Step Right Up"/"The Piano Has Been Drinking", was a critical and commercial success and far outsold any of Waits's previous albums. With it, Waits broke onto Billboard's Top 100 Albums chart for the first time in his career (a feat Waits would not repeat until 1999 with the release of Mule Variations).^[17] This resulted in a much higher public profile, which brought with it interviews and articles in Time, Newsweek, and Vogue. Waits put together a regular touring band, The Nocturnal Emissions, which featured Frank Vicari on tenor saxophone, Fitzgerald Jenkins on bass guitar, and Chip White on drums and vibraphone. Tom Waits and the Nocturnal Emissions toured the United States and Europe extensively from October 1976 until May 1977,^[17] including a performance of "The Piano Has Been Drinking" on cult BBC2 television music show the Old Grey Whistle Test in May 1976.^[18]

Foreign Affairs (1977) was musically in a similar vein to Small Change, but showed further artistic refinement and exploration into jazz and blues styles. Particularly noteworthy is the long cinematic spoken-word piece, "Potter's Field", set to an orchestral score. The album also features Bette Midler singing a duet with Waits on "I Never Talk to Strangers." The album Blue Valentine (1978) displayed Waits's biggest musical departure to date, with much more focus on electric guitar and keyboards than on previous albums and hardly any strings (with the exception of album-opener "Somewhere" — a cover of Leonard Bernstein's song from West Side Story — and "Kentucky Avenue") for a darker, more blues-oriented sound. The song "Blue Valentines" was also unique for Waits in that it featured a desolate arrangement of solo electric guitar played by Ray Crawford, accompanied by Waits' vocal. Around this time, Waits had a relationship with Rickie Lee Jones^{[citation needed]} (who appears on the sleeve art of the Blue Valentine album). In 1978, Waits also appeared in his first film role, in Paradise Alley as Mumbles the pianist, and contributed the original compositions "(Meet Me in) Paradise Alley" and "Annie's Back in Town" to the film's soundtrack.^[19]

Heartattack and Vine, Waits's last studio album for Asylum, was released in 1980, featuring a developing sound that included both ballads ("Jersey Girl") and rougher-edged rhythm and blues. The same year, he began a long working relationship with Francis Ford Coppola, who asked Waits to provide music for his film One from the Heart. For Coppola's film, Waits originally wanted to work with Bette Midler; she was unavailable due to prior engagements, however. Waits ended up working with singer/songwriter Crystal Gayle as his vocal foil for the album.

1980s[link]

In August 1980, Waits married Kathleen Brennan, a screenwriter, whom he had met while working on the set of the Francis Ford Coppola movie One from the Heart. Brennan is regularly credited as co-author of many songs in his later albums, and Waits often cites her as a major influence on his work. She introduced him to the music of Captain Beefheart. Despite having shared a manager with Beefheart in the 1970s, Waits says, "I became more acquainted with him when I got married."^[20] Waits would later describe his relationship with Brennan as a paradigm shift in his musical development. After leaving Asylum, the label released the first Tom Waits "Best of" album in 1981, a collection called Bounced Checks, notable for including an alternate, stripped down version of "Jersey Girl" and the otherwise unreleased "Mr. Henry", as well as an alternate master of "Whistlin' Past the Graveyard" and a live performance of "The Piano Has Been Drinking". During this period, Waits appeared in a series of minor movie roles, including a cameo role in Wolfen (1981) as an inebriated piano player, and his song "Jitterbug Boy" also appeared on the movie's soundtrack. One from the Heart received its official theatrical release in 1982, with Waits appearing in a cameo as a trumpet player as well as receiving an Oscar nomination for Original Song Score (eventually losing out to Victor Victoria, by Henry Mancini and Leslie Bricusse). This marked the first in a series of collaborations between Waits and Coppola, with Waits appearing in cameos in Coppola's movies The Outsiders (1983), Rumble Fish (1983), and The Cotton Club (1984), and a major role in Bram Stoker's Dracula. Waits also contributed two songs to the documentary Streetwise (1984), "Rat's Theme" and "Take Care of All My Children".

After leaving Asylum for Island Records, Waits released Swordfishtrombones in 1983, a record that marked a sharp turn in his musical direction. While Waits had before played either piano or guitar, he now gravitated towards less common instruments, saying, "Your hands are like dogs, going to the same places they've been. You have to be careful when playing is no longer in the mind but in the fingers, going to happy places. You have to break them of their habits or you don't explore; you only play what is confident and pleasing. I'm learning to break those habits by playing instruments I know absolutely nothing about, like a bassoon or a waterphone."^[21] Swordfishtrombones also introduced instruments such as bagpipes ("Town with No Cheer") and marimba ("Shore Leave") to Waits' repertoire, as well as pump organs, percussion (sometimes reminiscent of the music of Harry Partch), horn sections (often featuring Ralph Carney playing in the style of brass bands or soul music), experimental guitar, and obsolete instruments (many of Waits' albums have featured a damaged, unpredictable Chamberlin, and more recent albums have included the little-used Stroh violin).

His songwriting shifted as well, moving away from the traditional piano-and-strings ballad sound of his 1970s output towards a number of styles largely ignored in pop music, including primal blues, cabaret stylings, rumbas, theatrical approaches in the style of Kurt Weill, tango music, early country music and European folk music as well as the Tin Pan Alley-era songs that influenced his early output. He also recorded a spoken word piece, "Frank's Wild Years", influenced by Ken Nordine's "word jazz" records of the 1950s. Apart from Captain Beefheart and some of Dr. John's early output, there was little precedent in popular music.

Waits's new emphasis on experimenting with various styles and instrumentation continued on 1985's Rain Dogs, a sprawling, 19-song collection which received glowing reviews (the album was ranked #21 on Rolling Stone's list of the 100 greatest albums of the 1980s. In 2003, the album was ranked number 397 on Rolling Stone magazine's list of the 500 greatest albums of all time.) Contributions from guitarists Marc Ribot, Robert Quine, and Keith Richards accompanied Waits' move away from piano-based songs, in juxtaposition with an increased emphasis on instruments such as marimba, accordion, double bass, trombone, and banjo. The album also spawned the 12" single "Downtown Train/Tango Till They're Sore/Jockey Full of Bourbon", with Jean Baptiste Mondino filming a promotional music video for "Downtown Train" (which would later become a hit for Rod Stewart), featuring a cameo from boxing legend Jake LaMotta. The album peaked at #188 on Billboard's Top 200 albums chart; however, its reputation has come to far outshine low initial sales.

Franks Wild Years, a musical play by Waits and Brennan, was staged as an Off-Broadway musical in 1986, directed by Gary Sinise,^[22] in a successful run at Chicago's famed Steppenwolf Theater. Waits himself played the lead role. Waits developed his acting career with several supporting roles and a lead role in Jim Jarmusch's Down by Law in 1986, which also featured two of Waits's songs from Rain Dogs in the soundtrack. In the same year, Waits also contributed vocals to the song "Harlem Shuffle" on The Rolling Stones' album Dirty Work.^[23]

In 1987, he released Franks Wild Years (subtitled "Un Operachi Romantico in Two Acts"), which included studio versions from Waits' play of the same name. Rolling Stone summed up the album's myriad styles this way: "Everything from sleazy strip-show blues to cheesy waltzes to supercilious lounge lizardry is given spare, jarring arrangements using various combinations of squawking horns, bashed drums, plucked banjo, snaky double bass, carnival organ and jaunty accordion."^[24] Waits also continued to further his acting career with a supporting role as Rudy the Kraut in Ironweed (an adaptation of William Kennedy's Pulitzer Prize-winning novel) alongside Jack Nicholson and Meryl Streep, in which Waits performed the song "Big Rock Candy Mountain", as well as a part in Robert Frank's Candy Mountain, in which Waits also performed "Once More Before I Go." In 1988, Waits performed in Big Time, a surreal concert movie and soundtrack which he cowrote with his wife.

In 1989, Waits appeared in his final theatrical stage role to date, appearing as Curly in Thomas Babe's Demon Wine, alongside Bill Pullman, Philip Baker Hall, Carol Kane, and Bud Cort. The play opened at the Los Angeles Theater Center in February 1989 to mixed reviews, although Waits' performance was singled out by a number of critics, including John C. Mahoney, who described it as "mesmerizing."^[25] Waits finished the decade with appearances in three movies: as the voice of a radio DJ in Jim Jarmusch's Mystery Train; as Kenny the Hitman in Robert Dornhelm's Cold Feet; and the lead role of Punch & Judy man Silva in Bearskin: An Urban Fairytale. His only musical output of the year consisted of contributing his cover of Phil Phillips' "Sea of Love" to the soundtrack of the Al Pacino movie of the same name^[26] and contributing vocals to The Replacements song "Date to Church", which appeared as a B-side to their single "I'll Be You".

1990s[link]

The Black Rider: The Casting of the Magic Bullets—a theatrical collaboration of Waits, director Robert Wilson, and writer William S. Burroughs—premiered at Hamburg's Thalia Theatre on March 31, 1990. The project was based on a German folktale called Der Freischütz, with Wilson responsible for the design and direction, Burroughs for writing the book, and Waits for music and lyrics, which were heavily influenced by the works of Bertolt Brecht and Kurt Weill.^[27] In the same year, Waits contributed a cover of Cole Porter's "It's All Right with Me" to Red Hot + Blue, the first in the series of compilation albums from the Red Hot Organization — one of the first major AIDS benefits in the music business—which sold over a million copies worldwide. Jim Jarmusch directed a promotional music video for the song.^[28] Waits also collaborated with photographer Sylvia Plachy in the same year; her book Sylvia Plachy's Unguided Tour includes a short Waits record to accompany the photographs and text.

The following year, Waits was extremely busy working on movie soundtracks, acting, and contributing to a number of music projects by other artists. First, Waits appeared on the Primus album Sailing the Seas of Cheese as the voice of "Tommy the Cat", which exposed him to a new audience in alternative rock. This was the first of several collaborations between Waits and the group; Frontman Les Claypool would appear on several subsequent Waits releases. The same year saw Waits provide spoken word contributions to Devout Catalyst, an album by one of Waits' greatest influences, Ken Nordine, on the songs "A Thousand Bing Bangs" and "The Movie." Waits also contributed vocals to a duet with singer Bob Forrest on the song "Adios Lounge" on the Thelonious Monster album Beautiful Mess. He also contributed vocals to two songs ("Little Man" and "I'm Not Your Fool Anymore") on jazz tenor saxophonist Teddy Edwards' album Mississippi Lad. Edwards was extremely complimentary of Waits' contributions, saying:

Tom Waits is the one who got me my contract [sic] with PolyGram. He's wonderful, he's America's best lyricist since Johnny Mercer. He came down to the studio on the Mississippi Lad album, that's the first one I did for PolyGram, and he sang two of my songs, wouldn't accept any money, just trying to give me the best boost that he could.^[29]

The only collection of exclusively Waits-performed material of 1991 appeared when Waits composed and conducted the almost exclusively instrumental music for Jim Jarmusch's 1991 film Night on Earth, which was released as an album the following year. In July 1991, Screamin' Jay Hawkins released the album Black Music for White People, which features covers of two Waits compositions: "Heartattack & Vine" (which later that year was used in a European Levi's advertisement without Waits' permission, resulting in a lawsuit) and "Ice Cream Man". Waits continued to appear in movie acting roles, the most significant of which was his uncredited cameo as a disabled veteran in Terry Gilliam's The Fisher King. He also appeared alongside Kevin Bacon, John Malkovich, and Jamie Lee Curtis in Steve Rash's Queens Logic, and opposite Tom Berenger and Kathy Bates in Hector Babenco's film At Play in the Fields of the Lord, adapted from Peter Matthiessen's 1965 novel.

Bone Machine, Waits's first studio album in five years, was released in 1992. The stark record featured a great deal of percussion and guitar (with little piano or sax), marking another change in Waits' sound. Critic Steve Huey calls it "perhaps Tom Waits's most cohesive album... a morbid, sinister nightmare, one that applied the quirks of his experimental '80s classics to stunningly evocative—and often harrowing—effect... Waits' most affecting and powerful recording, even if it isn't his most accessible."^[30] Bone Machine was awarded a Grammy in the Best Alternative Album category. On December 19, 1992 Alice, Waits's second theatrical project with Robert Wilson, premiered at the Thalia Theatre in Hamburg. Paul Schmidt adapted the text from the works of Lewis Carroll (Alice's Adventures in Wonderland and Through the Looking-Glass, in particular), with songs by Waits and Kathleen Brennan presented as intersections with the text rather than as expansions of the story, as would be the case in conventional musical theater. These songs would be recorded by Waits as a studio album 10 years later on Alice.^[31] 1992 also saw Waits featuring in Francis Ford Coppola's film Bram Stoker's Dracula, as the possessed lunatic Renfield.

In 1993, he released The Black Rider, which contained studio versions of the songs that Waits had written for the musical of the same name three years previously, with the exceptions of "Chase the Clouds Away" and "In the Morning", which appeared in the theatrical production but not on the studio album. William S. Burroughs also guests on vocals on "'Tain't No Sin". In the same year, Waits lent his vocals to Gavin Bryars' 75-minute reworking of his 1971 classical music piece Jesus' Blood Never Failed Me Yet; appeared in Robert Altman's film version of Raymond Carver's stories Short Cuts and Jim Jarmusch's Coffee and Cigarettes: Somewhere in California, a short black-and-white movie with Iggy Pop; and his third child, Sullivan, was born. In 1997, Waits and Brennan wrote and performed the music for Bunny the animated short film by 20th Century Fox's Blue Sky Studios, which was awarded Best Animated Short Film by the Academy of Motion Picture Arts and Sciences.

In 1995, Holly Cole released Temptation, a tribute album consisting entirely of Waits covers.

Another Waits cover was released in 1996, as Meat Loaf covered Martha for his concept album Welcome to the Neighborhood.

In 1998, after Island Records released the compilation Beautiful Maladies: The Island Years, Waits left the label for Epitaph, whose president, Andy Kaulkin, said the label was "...blown away that Tom would even consider us. We are huge fans."^[32] Waits himself was full of praise for the label, saying "Epitaph is rare for being owned and operated by musicians. They have good taste and a load of enthusiasm, plus they're nice people. And they gave me a brand-new Cadillac, of course."^[32]

Waits's first album on his new label, Mule Variations, was issued in 1999. Billboard described the album as musically melding "backwoods blues, skewed gospel, and unruly art stomp into a sublime piece of junkyard sound sculpture."^[33] The album was Waits' first release to feature a turntablist. The album won a Grammy in 2000; as an indicator of how difficult it is to classify Waits's music, he was nominated simultaneously for Best Contemporary Folk Album (which he won) and Best Male Rock Vocal Performance (for the song "Hold On"), both different from the genre for which he won his previous Grammy. The album was also his highest-charting album in the U.S. to date, reaching #30.

The same year, Waits made a foray into producing music for other artists, teaming up with his old friend Chuck E. Weiss to coproduce (with his wife, Kathleen Brennan) Extremely Cool, as well as appearing on the record as a guest vocalist and guitarist. He also contributed a cover of Skip Spence's "Books of Moses" to More Oar: A Tribute to the Skip Spence Album, a collection of covers of the singer's songs on Birdman Records.^[26] The same year, Waits appeared in the comedy Mystery Men.

2000s[link]

John Hammond's Wicked Grin, a collection of Waits cover songs, was released in 2001. Waits appears on most songs, playing guitar, piano, and/or offering backing vocals. The album also includes the traditional hymn "I Know I've Been Changed", performed as a duet by Hammond and Waits.

Tori Amos included a cover of the song "Time", from Rain Dogs on her 2001 album Strange Little Girls.

Tom Waits in Prague in 2008

In 2002, Waits simultaneously released two albums, Alice and Blood Money. Both collections had been written almost 10 years previously and were based on theatrical collaborations with Robert Wilson; the former a musical play about Lewis Carroll, and the latter an interpretation of Georg Büchner's play fragment Woyzeck. Both albums revisit the tango, Tin Pan Alley, and spoken-word influences of Swordfishtrombones, while the lyrics are both profoundly cynical and melancholic, exemplified by "Misery is the River of the World" and "Everything Goes to Hell." "Diamond in Your Mind", which Waits wrote for Wilson's Woyzeck, did not appear on Blood Money; however, it did emerge on Solomon Burke's album Don't Give Up on Me of the same year. While Waits has played the song live a number of times,^[34][35] an official version would not be released until 2007. The same year, Waits contributed a version of "The Return of Jackie and Judy"^[26] by The Ramones to the compilation album We're a Happy Family: A Tribute to Ramones, which was released in 2003 on Columbia Records. That same year, Waits was also a judge for the 2nd annual Independent Music Awards to support independent artists' careers.^[36] Waits was also a judge for the 10th annual Independent Music Awards.^[36]

Waits released Real Gone, his first nontheatrical studio album since Mule Variations, in 2004. It is Waits's only album to date to feature absolutely no piano on any of its tracks. Waits beatboxes on the opening track, "Top of the Hill", and most of the album's songs begin with Waits's "vocal percussion" improvisations. It is also more rock-oriented, with less blues influence than he has previously demonstrated. The same year, Waits contributed backing vocals to the track "Go Tell It on the Mountain" on the Grammy Award (Best Traditional Gospel Album)-winning album of the same name by The Blind Boys of Alabama. He also contributed a version of Daniel Johnston's "King Kong"^[26] to the tribute album The Late Great Daniel Johnston: Discovered Covered, released on Gammon Records.

At this time, Waits made a return to acting after a five-year break, marked at first by the re-release of his 1993 Jim Jarmusch-directed short Coffee and Cigarettes: Somewhere in California, costarring Iggy Pop, compiled in Coffee and Cigarettes. In 2005, Waits appeared in the Tony Scott film Domino as a soothsayer. In the same year, Waits appeared as himself in Roberto Benigni's romantic comedy La Tigre e la Neve, set in occupied Baghdad during the Iraq War. In the movie, Waits appears in a dream scene as himself, singing the ballad "You Can Never Hold Back Spring"^[26] and accompanying himself at the piano.

A 54-song three-disc box set of rarities, unreleased tracks, and brand-new compositions called Orphans: Brawlers, Bawlers & Bastards was released in November 2006. The three discs are subdivided relating to their content: "Brawlers" features Waits's more upbeat rock and blues songs; "Bawlers", his ballads and love songs; and "Bastards", songs that fit in neither category, including a number of spoken-word tracks. A video for the song "Lie to Me" was produced as a promotion for the collection. Orphans also continues Waits's newfound interest in politics with "Road to Peace", a song about the Israeli–Palestinian conflict. The album is also notable for containing a number of covers of songs by other artists, including The Ramones ("The Return of Jackie and Judy" and "Danny Says"), Daniel Johnston ("King Kong"), Kurt Weill and Bertolt Brecht ("What Keeps Mankind Alive"), and Leadbelly ("Ain't Goin' Down to the Well" and "Goodnight Irene"), as well as renditions of works by poets and authors admired by Waits, such as Charles Bukowski and Jack Kerouac and a previously released duet with Mark Linkous of Sparklehorse entitled "Dog Door". Waits' albums Orphans: Brawlers, Bawlers & Bastards and Alice are both included in metacritic.com's list of the "Top 200: Best-Reviewed Albums"^[37] since 2000 at #10 and #20, respectively (as of November 2009). The same years, Waits appeared on Sparklehorse's album Dreamt for Light Years in the Belly of a Mountain, playing piano on the track "Morning Hollow."

Five different versions of Waits's song "Way Down in the Hole" have been used as the opening theme songs for the HBO television show The Wire. Waits's own version, from Frank's Wild Years, was used for season two. The other versions used for the series were performed by, in season order, The Blind Boys of Alabama, The Neville Brothers, "DoMaJe" and Steve Earle.

Waits made a number of high-profile television and concert appearances between 2006 and 2010. In November 2006, Waits appeared on The Daily Show and performed "The Day After Tomorrow." This was significant for his having been only the third performing guest on the show, the first being Tenacious D and the second The White Stripes. On May 4, 2007, Waits performed "Lucinda" and "Ain't Goin' Down to the Well" from Orphans on the last show of a week Late Night with Conan O'Brien spent in San Francisco. There was a short interview after the last performance. Waits also played in the Bridge School Benefit on October 27–28, 2007 with Kronos Quartet.

On July 10, 2007, Waits released the download-only digital single "Diamond In Your Mind". The version of the song was recorded with Kronos Quartet, with Greg Cohen, Philip Glass, and The Dalai Lama at the benefit concert "Healing The Divide: A Concert for Peace and Reconciliation" at Avery Fisher Hall, recorded on September 21, 2003.

Waits's song "Trampled Rose" (from Real Gone) appeared on the critically acclaimed album Raising Sand, a collaboration between Robert Plant and Alison Krauss. Waits also provided guest vocals on the song "Pray" by fellow ANTI- artists The Book of Knots on their album Traineater.^[38]

He played the role of Kneller in the film Wristcutters: A Love Story, which opened in November 2007.

On January 22, 2008, Waits made a rare live appearance in Los Angeles, performing at a benefit for Bet Tzedek Legal Services—The House of Justice, a nonprofit poverty law center.^[39]

On May 7, 2008, Waits announced the Glitter and Doom Tour starting in June 2008, touring cities in the southern United States and subsequently announced a series of dates in the UK, Ireland and mainland Europe.^[40] Waits was awarded the key to the city of El Paso, Texas during a concert on June 20, 2008.^[41] In his generally positive review of the opening show of the tour, The Wall Street Journal critic Jim Fusilli described Waits' music thus:

The 58-year-old Mr. Waits ... has composed a body of work that's at least comparable to any songwriter's in pop today. A keen, sensitive and sympathetic chronicler of the adrift and downtrodden, Mr. Waits creates three-dimensional characters who, even in their confusion and despair, are capable of insight and startling points of view. Their stories are accompanied by music that's unlike any other in pop history.^[42]

On May 20, 2008 Scarlett Johansson's debut album, entitled Anywhere I Lay My Head, featured covers of ten Tom Waits songs. Waits made an appearance on the album The Spirit of Apollo by alternative hip hop project N.A.S.A., on the track "Spacious Thoughts."

Waits wrote the following introduction for the Tompkins Square compilation People Take Warning – Murder Ballads & Disaster Songs, 1913–1938:

In the late 1920's and early 1930's, the Depression gripped the Nation. It was a time when songs were tools for living. A whole community would turn out to mourn the loss of a member and to sow their songs like seeds. This collection is a wild garden grown from those seeds.

In late 2009, Terry Gilliam's film The Imaginarium of Doctor Parnassus was released, with Waits in the role of Mr. Nick.^[43][44] Production began in December 2007 in London.^[45] Star Heath Ledger's death in January 2008 cast doubt on the film's future, but the production was salvaged with the addition of new actors playing his character in scenes he did not complete.^[46]

2010s[link]

Waits played the role of "The Engineer" in the film The Book of Eli, opposite Denzel Washington, which opened in January 2010.

He is working on a new stage musical with director and long-time collaborator Robert Wilson and playwright Martin McDonagh.^[47]

In early 2011, Tom Waits completed a set of 23 poems entitled Seeds on Hard Ground, which were inspired by Michael O'Brien's portraits of the homeless in his upcoming book, Hard Ground, which will include the poems alongside the portraits. In anticipation of the book release, Waits and Anti- printed limited edition chapbooks of the poems to raise money for Redwood Empire Food Bank, a homeless referral and family support service in Sonoma County, California. As of January 26, 2011, four editions, each limited to a thousand copies costing $24.99US each, sold out, raising $90,000 for the food bank.^[48]

It was announced on February 9, 2011, that Waits was to be inducted into the Rock and Roll Hall of Fame by Neil Young. The ceremony was held at the Waldorf-Astoria on Monday, March 14, 2011, at 8:30pm EST.^[49] Waits accepted the award with his customary humor, stating, "They say I have no hits and that I'm difficult to work with... like it's a bad thing."^[50]

On February 24, 2011, it was announced via Waits' official website that he has begun work on his next studio album.^[51]

Waits said through his website that on August 23 he would "set the record straight" in regards to rumors of a new release.^[52] On August 23, the title of the new album was revealed to be Bad as Me,^[53] and a new single, also titled "Bad as Me," started being offered via Amazon.com and other sites.^[54] The album was released on October 24.

Waits appears on the songs "Fadin' Moon" and "Ghost to a Ghost" on Hank Williams III's 2011 album Ghost to a Ghost/Gutter Town.

Lawsuits[link]

Waits has steadfastly refused to allow the use of his songs in commercials and has joked about other artists who do (commenting "If Michael Jackson wants to work for Pepsi, why doesn't he just get himself a suit and an office in their headquarters and be done with it?"). He has filed several lawsuits against advertisers who used his material without permission. He has been quoted as saying, "Apparently, the highest compliment our culture grants artists nowadays is to be in an ad — ideally, naked and purring on the hood of a new car", he said in a statement, referring to the Mercury Cougar. "I have adamantly and repeatedly refused this dubious honor."

Waits filed his first lawsuit in 1988 against Frito-Lay. The 9th Circuit Court of Appeals affirmed an award of $2.375 million in his favor (Waits v. Frito-Lay, 978 F. 2d 1093 (9th Cir. 1992)).^[55] Frito-Lay had approached Waits to use one of his songs in an advertisement. Waits declined the offer, and Frito-Lay hired a Waits soundalike to sing a jingle similar to Small Change's "Step Right Up", which is, ironically, a song Waits has called "an indictment of advertising". Waits won the lawsuit, becoming one of the first artists to successfully sue a company for using an impersonator without permission.

In 1993, Levi's used Screamin' Jay Hawkins' version of Waits' "Heartattack and Vine" in a commercial. Waits sued, and Levi's agreed to cease all use of the song and offered a full page apology in Billboard.^[56] Waits found himself in a situation similar to his earlier one with Frito Lay in 2000 when Audi approached him, asking to use "Innocent When You Dream" (from Franks Wild Years) for a commercial broadcast in Spain. Waits declined, but the commercial ultimately featured music very similar to that song. Waits undertook legal action, and a Spanish court recognized that there had been a violation of Waits's moral rights in addition to the infringement of copyright. The production company, Tandem Campany Guasch, was ordered to pay compensation to Waits through his Spanish publisher. Waits was later quoted as jokingly saying the company got the name of the song wrong, thinking it was called "Innocent When You Scheme".^[57]

In 2005, Waits sued Adam Opel AG, claiming that, after having failed to sign him to sing in their Scandinavian commercials, they had hired a sound-alike singer. In 2007, the suit was settled, and Waits gave the sum to charity.^[58]

Waits has also filed a lawsuit unrelated to his music. He was arrested in 1977 outside Duke's Tropicana Coffee Shop in Los Angeles. Waits and a friend were trying to stop some men from bullying other patrons. The men were plainclothes police, and Waits and his friend were taken into custody and charged with disturbing the peace. The jury found Waits not guilty; he took the police department to court and was awarded $7,500 compensation.^[59]

Discography and filmography[link]

Tours[link]

• 1973: Closing Time touring
• 1974–1975: The Heart of Saturday Night touring
• 1975–1976: Small Change touring
• 1977: Foreign Affairs touring
• 1978–1979: Blue Valentine touring
• 1980–1982: Heartattack and Vine touring
• 1985: Rain Dogs touring
• 1987: Big Time touring
• 1999: Get Behind the Mule Tour
• 2004: Real Gone Tour
• 2006: The Orphans Tour
• 2008: Glitter and Doom Tour^[60]

Further reading[link]

• Humphries, Patrick (2007). The Many Lives of Tom Waits. Omnibus. ISBN 1-84449-585-X. 
• Jacobs, Jay S. (2006). Wild Years The Music and Myth of Tom Waits. ECW Press. ISBN 1-55022-716-5. 
• Montandon, Mac (ed.) (2006). Innocent When You Dream: Tom Waits – The Collected Interviews. Orion. ISBN 0-7528-7394-6. 
• Hoskyns, Barney (2009). Lowside of the Road: A Life of Tom Waits. Faber and Faber. 
• Smay, David (2007). Swordfishtrombones. Continuum. ISBN 0-8264-2782-0. 

References[link]

External links[link]

Wikimedia Commons has media related to: Tom Waits

Wikiquote has a collection of quotations related to: Tom Waits

• Official website
• Tom Waits at the Internet Movie Database
• Works by or about Tom Waits in libraries (WorldCat catalog)
• Discography at the Tom Waits Library
• Interview with Amanda Petrusich, Pitchfork Media, November 27, 2006
• Interview with Jon Stewart, The Daily Show, November 28, 2006
• Tom Waits at NPR Music, contains interviews
• Tom Waits on Twitter
• Interview with Tim Adams, The Guardian, October 23, 2011