Part of the Backs showing Clare College, Clare bridge, and the back lawns of King's.

The Backs is an area to the east of Queen's Road in the city of Cambridge, England, where several colleges of the University of Cambridge back on to the River Cam, their grounds covering both banks of the river. The name "the Backs" refers to the backs of the colleges. The area, from Magdalene Street bridge in the north to Silver Street bridge in the south, consists of the rear grounds of the following colleges (north to south):

• Magdalene — grounds on the west bank of the river before the Magdalene Street bridge.
• St John's — buildings on both sides of the river, spanned by the St John's kitchen bridge and the Bridge of Sighs
• Trinity — buildings on the east bank, spanned by Trinity bridge.
• Trinity Hall — buildings on the east bank but with no rear grounds on the west bank.
• Clare — buildings on the east bank, spanned by Clare bridge.
• King's — buildings on the east bank, spanned by King's bridge.
• Queens' — buildings on both sides of the river, spanned by the Mathematical Bridge.

Historically, much of the land was used by the colleges for grazing livestock or growing fruit. The river was also an important commercial thoroughfare to the mill at Silver Street.

History[link]

One of the earliest drawings of The Backs, contained in a plan of Cambridge engraved by Richard Lyne in 1574.

A Plan Presented to the University of Cambridge for Some Alterations — by Lancelot Brown, 1779.

In the 16th century, the area consisted of pasture, gardens and orchards owned by colleges of the University, with wooden bridges across the Cam. Over time, the colleges planted avenues of trees and built sturdier bridges. In 1772, St John's College consulted English landscape architect Lancelot ("Capability") Brown (1716–1783), who laid out a "wilderness" on the college side of Queen's Road which still exists today.^[1]

In 1779, Brown presented a plan to the University of Cambridge to create country-house style parkland with its focus on King's College's Gibbs Building. The plan would have involved removing avenues, transforming the river into a lake, and planting clumps of trees to screen the other colleges. It was never implemented, possibly because it would have removed historic college boundaries and three important bridges.^[1]

In response to many elm trees succumbing to Dutch elm disease, a Backs Committee was formed in 1979 so that a joint approach could be taken to the problem facing The Backs. As a result of the committee's work, trees were cut down and new ones planted in their place. However, the committee stopped meeting in 1994.^[1]

In 1995, English Heritage listed The Backs as a Grade 1 Historic Park.^[2]

St John's College's New Court (left) was the first major college building built on the west side of the River Cam.^[3]

Present-day and future development[link]

The River Cam passing through the part of The Backs owned by King's College, looking north.

In the 2000s, six University colleges on The Backs commissioned Robert Myers, a landscape architect who had studied at Girton College, to prepare a new landscape management plan for the area. The report, entitled The Backs Cambridge Landscape Strategy,^[4] was completed in November 2007^[2] and released on 1 December 2007. It sets out proposals for the evolution of The Backs over the next 50 years. Myers' proposal is to improve the "legibility, coherence and visual quality of the landscape as a whole"^[5] by retaining and enhancing the existing structure of the landscape and sight lines, while screening off the traffic on Queens Road. Over-mature and inappropriately-sited trees will be removed and new ones planted. In addition, there will be a phased replacement of avenues, an extension of the "wilderness" planting behind St John's and along the edge of Queens Road, and the creation of a "wildlife corridor". In particular, as regards Queens' Green at the southern end of The Backs which is owned by Cambridge City Council, there is a proposal to extend an existing avenue of beech trees to the Queens Road to create an additional "rung" to the "ladder effect" created by other tree avenues, and to plant more trees and wilderness to partly enclose a stretch of grass.^[1]

The colleges are currently in consultation with the City Council and English Heritage regarding the report,^[2] and if it is approved will carry out the suggested work in their own time using their own funds.^[1] In December 2007, The Daily Telegraph reported that "there has been a remarkable degree of consensus between institutions [i.e., the colleges of the University owning parts of The Backs] well known for prizing their autonomy".^[1]

Gallery[link]

See also[link]

Wikimedia Commons has media related to: River Cam

• List of bridges in Cambridge
• Punting

Notes[link]

References[link]

• Stubbings, Frank H. (Henry) (comp.) (1995). Bedders, Bulldogs and Bedells: A Cambridge Glossary (Rev. and enl. ed.). Cambridge: Cambridge University Press. ISBN 0-521-47978-9. 

Further reading[link]

Articles[link]

• Whiffen, Marcus (1947). Academical Elysium — The Landscaping of the Cambridge Backs. [?Cambridge]: [s.n.] .
• "Queens College Record 2000 — The Grove Elms". Queen's College, Cambridge. 2000. Archived from the original on 2008-01-28. http://web.archive.org/web/20080128145813/http://www.queens.cam.ac.uk/Queens/Record/2000/Fabric/Grove.html. Retrieved 2007-12-21. 

Books and papers[link]

• Workman, J (1976). The Backs (An Outline for the Formation of a Joint Policy for the Conservation of the Trees and Landscape...). [?Cambridge]: [s.n.]. 
• Walters, S.M. (1979). The Future of the Backs: A Memorandum Summarising the Results to Date of Discussion and Action Initiated by King’s College Garden Committee in 1974, with Recommendations for Future Coordinated Action. [?Cambridge]: [s.n.]. 
• Brown, Jane (2002). Trinity College: A Garden History. Cambridge: Trinity College, Cambridge. 

Some of the references in this section were obtained from The Backs Cambridge landscape strategy. Robert Myers Associates. November 2007. p. 28. http://131.111.214.230/about/documents/432_01TheBacksLandscapeReport.pdf. Retrieved 2007-12-21 .

External links[link]

• University of Cambridge Official Map — The Backs

Coordinates: 52°12′16″N 0°06′51″E / 52.20437°N 0.11404°E / 52.20437; 0.11404

John Petrucci
John Petrucci in 2012
Background information
Birth name	John Peter Petrucci
Born	(1967-07-12) July 12, 1967 (age 44) Kings Park, Long Island, New York
Genres	Progressive metal, instrumental rock, progressive rock, jazz fusion
Instruments	Guitar, vocals, bass, drums, programming
Years active	1985–present
Labels	Roadrunner, Sound Mind Music, Magna Carta
Associated acts	Dream Theater, Liquid Tension Experiment, Explorers Club, Eric Johnson, Jon Finn Group, Nightmare Cinema, G3
Website	www.johnpetrucci.com
Notable instruments
Ernie Ball Music Man John Petrucci Signature Model

John Peter Petrucci (born July 12, 1967) is an American guitarist and songwriter best known as a founding member of the progressive metal band Dream Theater. Along with his former bandmate Mike Portnoy, he has produced all Dream Theater albums since their 1999 release, Metropolis Pt. 2: Scenes from a Memory. He is also a backing vocalist for Dream Theater. Petrucci was named as the third player on the G3 tour six times, more than any other invited guitarists. In 2009 he was named the No. 2 Best metal guitarist by Joel McIver in his book The 100 Greatest Metal Guitarists.^[1] He was also named as one of the "Top 10 Greatest Guitar Shredders of All Time" by GuitarOne magazine.^[2]

Biography[link]

John Petrucci was born on July 12, 1967 in Kings Park, New York to an Italian American family. He picked up the guitar at the early age of 8 because his older sister was allowed to go to bed later in order to practice the piano. However he decided to quit the guitar when his attempts to stay up late were unsuccessful. He would later pick up the guitar again at the age of 12 when his childhood friend and future Dream Theater keyboardist Kevin Moore invited John to join his cover band.

John attended Berklee College of Music in Boston with childhood friend John Myung (bass), where they met future bandmate Mike Portnoy (drums). These three in addition to Kevin Moore, formed the band Majesty, which would later become Dream Theater.

While Dream Theater is what Petrucci is most commonly associated with, he is also a part of the project band Liquid Tension Experiment and has appeared as a guest on several records by other artists such as the Age of Impact album by the Explorer's Club.

Petrucci has released a guitar instructional video, "Rock Discipline", which covers warm up exercises, exercises to avoid injury while playing, alternate picking, sweep picking, chords and other techniques for developing one's guitar playing. Petrucci also has a book named "Guitar World presents John Petrucci's Wild Stringdom", which was compiled from columns he wrote for Guitar World magazine, bearing that same title.

In 2001, John Petrucci was invited by Joe Satriani and Steve Vai to tour with them on the popular G3 guitar tour, which exposed him to a massive number of new fans and inspired him to record a solo album. The album, Suspended Animation, was released on March 1, 2005, and was made available for order from his web site. Petrucci also appeared on the 2005 and 2006 G3 tours, and in 2007, went on G3 tour again, this time with Paul Gilbert and Joe Satriani. In a recent video with Larry DiMarzio, Petrucci revealed that he's been working on a follow up to his 2004 album, "Suspended Animation" along with the new Dream Theater album.^[3]

Petrucci also wrote and recorded two instrumental soundtrack songs for a Sega Saturn game titled Digital Pinball: Necronomicon. Each track is roughly two minutes long and they are simply titled "Prologue" and "Epilogue".

According to the spoof rock band, Nightmare Cinema (the Dream Theater members changing instruments playing a gig), he got the "alternate stage name" Johnny James.

Dream Theater bandmate Jordan Rudess revealed in an interview that Petrucci is a practicing Catholic.^[4] He currently lives in St. James, New York with his wife Rena Sands, a guitarist in the all-female heavy metal band Meanstreak, and they have 3 children, Samantha and Reny (who are twins), and Kiara. He is also an avid fan of bodybuilding and dedicates much of his off time to weight training.^[5]

He is a voting member of NARAS.

Musical style[link]

John Petrucci during a concert in 2012.

Guitar Technique[link]

Petrucci is respected for his variety of guitar styles and skills. One of the most notable of these is his high speed alternate picking which, as he himself claims, requires a "strong sense of synchronization between the two [playing] hands." John is notable for frequent use of the seven-string electric guitar, which he states is used as a "writing tool", taking advantage of the extended range both for heavier riffing (The Mirror) and to play extended range runs as part of a solo (This Dying Soul). Moreover, Petrucci often combines his metal shredding technique with a slower, emotive soloing style. Indeed, he has cited Alex Lifeson Steve Morse Al DiMeola Steve Howe and many more on his Official Website are named as an important influence. Utilising his wide variety of styles and influences.

In addition, Petrucci is the only band member to have contributed lyrics to every album; he's written lyrics for at least three songs for every single album. These include, among others, the fan favorite Metropolis, Pt. 1: The Miracle and the Sleeper, the heartfelt The Spirit Carries On, the politically charged The Great Debate the epic In the Presence of Enemies and Through Her Eyes. Furthermore, Petrucci has used real-life experiences for lyrical inspiration, which includes songs as The Count of Tuscany, A Nightmare to Remember, and Endless Sacrifice.

Singing[link]

Petrucci has been Dream Theater's backing vocalist since the Awake's Tour. His singing is much darker than James Labrie's and is often used in bridges like "Solitary Shell", and in choruses of songs such as "Forsaken" and "In The Name of God". On the EP Wither Petrucci performs lead vocals on an alternative, demo version of the title track. He had previously done his own vocals for "The Spirit Carries On". During live performances before the departure of Mike Portnoy, he only sang small sections of backing vocals or harmonies.

Guitar Rig[link]

Studio albums[link]

Live[link]

• "Images & Words Tour" - Mesa Boogie Triaxis Preamp (x2), Mesa Boogie Stereo Simul-Class 2:Ninety Power Amp (x2), Lexicon PCM70 (x1), Samson Wireless Unit (x1), TC Electronic 2290 (x1), TC Electronic 1140 HS Parametric EQ/Preamplifier (x1), Mesa Boogie Matrix Midi Switching (x1), Mesa Boogie Abacus (x1).
• "Waking Up The World Tour" - Mesa Boogie Mark IIC+ (x1), Mesa Boogie Triaxis (x2), Mesa Boogie Stereo Simul-Class 2:Ninety Power Amp (x2), TC Electronic 2290 (x1), Lexicon PCM70 (x1), Dunlop Rack Wah (x1), Custom Mark Snyder Rack Interface (x1), Alesis Data Dump (x1), Mesa Boogie Matrix Midi Switching (x1), Mesa Boogie Abacus (x1), Furman Power Conditioner (x2). Mesa Boogie Traditional Rectifier 4x12 Cabinets With Vintage 30 Speakers (x4). Dunlop DCR-IFC Wah Controller, Ernie Ball 25k Stereo Volume Pedal (x2).
• "Touring Into Infinity" - Mesa Boogie Mark IIC+ (x1), Mesa Boogie Mark IV (x1), Mesa Boogie Rackmount Dual Rectifier (x2), Mesa Boogie Triaxis (x1), Mesa Boogie Stereo Simul-Class 2:Ninety Power Amp (x2), Mesa Boogie High Gain Amp Switcher (x1), Mesa Boogie Matrix Midi Switching (x1), Furman Power Conditioner (x4), Custom Rack Interface (x3), TC Electronic 2290 (x1), Lexicon PCM80 (x2), Dunlop Rack Wah (x1), DBX 166A Compressor/Noise Gate (x1).
• "Scenes From NY" - Mesa Boogie Triaxis (x1), Mesa Boogie Formula Preamp (x1), Mesa Boogie Mark IV (x1), Mesa Boogie Mark IIC+ (x1), Mesa Boogie Rackmount Dual Rectifier (x1), Mesa Boogie Stereo Simul-Class 2:Ninety Power Amp (x2), Dunlop Rack Wah (x1), Voodoo Lab GCX Audio Switcher (x3), Digital Music Corp Stereo Line Mixer (x2), TC Electronic 2290 (x1), Mesa Boogie High Gain Amp Switcher (x2), Custom Rack Interface (x3), Furman Power Conditioner (x4), Lexicon PCM70 (x1), Lexicon PCM80 (x1). Custom Audio Electronics RS-10 Midi Foot Controller (x1) with Custom Audio Electronics RS-10 Expander Module (x2), Dunlop DCR-IFC Wah Controller (x1), Ernie Ball 25k Stereo Volume Pedal (x3). Mesa Boogie Traditional Rectifier 4x12 Cabinets (x6).
• "World Tourbulence" - Mesa Boogie Mark IIC+ (x3), Mesa Boogie Nunya Preamp Custom Made for John (x1), Dunlop DCR-1SR Rack Wah (x1), Eventide DSP7000 (x1), DBX 166A Compressor/Limiter (x1), TC Electronic M2000 (x1), TC Electronic M3000 (x1), TC Electronic 2290 (x2), Digital Music Corp Dual Stereo Line Mixer (x1), Digital Music Corp GCX Audio Switcher (x1), Korg DTR-1 Digital Tuner (x1), Mesa Boogie High Gain Amp Switcher (x1), Furman PL-Pro Power Conditioner (x1), Furman AR-Pro AC Line Regulator (x1), Custom Rack Interface by Mark Snyder, Ernie Ball Volume Pedals (x3), Fulltone Fulldrive 2 Overdrive (x1), Custom Audio Electronics RS-10 Midi Foot Controller with Expansions, MXR Phase 90 (x1), Axess Electronics CFX4 Control Function Switchers (x2), Framptone Talk Box through a Mesa Boogie Nomad, Mesa Boogie Traditional Rectifier 4x12 Cabinets With Celestion Vintage 30 Speakers (x2).
• "Train of Thought Tour" - Mesa Boogie Road King (x3), Mesa Boogie Lonestar (x2), Digital Music Corp Stereo Line Mixer (x1), TC Electronic 2290 (x2), TC Electronic M3000 (x2), TC Electronic G-Force (x1), Eventide DSP7000 (x1), DBX 266XL Compressor/Noise Gate (x1), Mesa Boogie High Gain Amp Switcher (x1), Dunlop CryBaby Custom Shop Rack Wah (x1), Custom Mark Snyder Interface (x1), Furman AR-Pro AC Line Regulator (x1). Mesa Boogie 2x12 Cabinets (x2), Mesa Boogie 4x12 Cabinets (x2). Skrydstrup SC-1 with XT Extension Module (x1), Dunlop DCR-IFC Wah Controller (x1), Ernie Ball 25k Stereo Volume Pedal (x1), Boss TU-2 Tuner (x1), Boss Digital Delay Pedal (x1). Custom Steel Diamond Plate Foot Rests (x2).
• "Octavarium Tour" - Mesa Boogie Road King (x3), Mesa Boogie Lonestar (x2), Digital Music Corp Stereo Line Mixer (x2), TC Electronic 2290 (x2), TC Electronic M3000 (x2), TC Electronic G-Force (x1), Eventide DSP7000 (x1), DBX 266XL Compressor/Noise Gate (x1), Boss DS-1 Distortion Pedal (x1), Boss PH-3 Phaser Pedal (x1), Boss TR-2 Tremolo Pedal (x1), Mesa Boogie High Gain Amp Switcher (x1), Dunlop CryBaby Custom Shop Rack Wah (x1), Custom Mark Snyder Interface (x1), Furman AR-Pro AC Line Regulator (x1). Mesa Boogie 2x12 Cabinets (x2), Mesa Boogie 4x12 Cabinets (x2). Skrydstrup SC-1 with XT Extension Module (x1), Dunlop DCR-IFC Wah Controller (x1), Ernie Ball 25k Stereo Volume Pedal (x1), Boss TU-2 Tuner (x1). Custom Steel Diamond Plate Foot Rests (x2).
• "Score" - Mesa Boogie Custom Built for John "Nunya" Preamp (x1), Mesa Boogie Formula Preamp (x1), Mesa Boogie Rectifier Stereo 2:One Hundred Power Amp (x1), Dunlop Rack Wah (x1), TC Electronic 2290 (x1), TC Electronic M3000 (x2), Eventide DSP7000 (x1), MXR EVH Phaser (x1), MXR Wylde Overdrive (x1), DBX 266XL Compressor/Noise Gate (x1), DOD SR830QX Dual 15 Band Graphic EQ (x1). Skrydstrup Power Conditioner (x2), Skrydstrup Preamp Switcher (x1), Skrydstrup Effects Switcher (x1), Skrydstrup Custom Rack Interface (x2). Custom Steel Diamond Plate Foot Rests (x2).
• "2005 G3 Tokyo" - Dual Rectifier (x2) Road King (x2)
• "2007 G3 tour" - Mesa Boogie Mark IV (x2), Mesa Boogie Formula Preamp (x1), Mesa Boogie High Gain Amp Switcher (x1), Digital Music Corp Stereo Line Mixer (x1), Dunlop Rack Wah (x1), DBX 166A Compressor/Noise Gate (x1), Boss DS-1 (x1), MXR Stereo Chorus Pedal (x1), MXR EVH Flanger (x1), MXR EVH Phaser (x1), TC Electronic 2290 (x1), TC Electronic M3000 (x1), Eventide DSP7000 (x1), Axess Electronics Switchers. Axess Electronics FX-1 Midi Foot Controller w/Extension Module (x1), Boss TU-2 Tuner (x1), Dunlop DCR-IFC Wah Controller (x1), Ernie Ball 25k Stereo Volume Pedal (x1).
• "Chaos In Motion" - Mesa Boogie Mark IV (x2), Mesa Boogie Lonestar (x1), Korg DTR-1 Rack Tuner (x1), Dunlop DCR-2SR Rack Wah (x1), DBX 266XL Compressor/Noise Gate (x1), Mesa Boogie High Gain Amp Switcher (x1), Keeley Modded Boss TR-2 Tremolo Pedal (x1), MXR EVH Flanger (x1), Keeley Modded Ibanez TS-9 Tube Screamer (x1), MXR EVH Phaser (x1), Hermida Tech Zendrive (x1), MXR Wylde Overdrive (x1), MXR Stereo Chorus (x1), Boss DS-1 (x1), Eventide Timefactor Delay Pedal (x1), TC Electronic 2290 (x1), TC Electronic M3000 (x1), Eventide DSP7000 (x1), Digital Music Corp Stereo Line Mixer (x1), Mesa Boogie Rectifier Power Amp (x1), Furman AR-Pro AC Line Regulator (x1), Axess Electronics CFX-4 (x3), Axess Electronics GRX-4 (x2), Voodoo Lab Pedal Power (x2), Framptone A/B Box (x1), Radial JD-1 Passive DI Box (x1). Axess Electronics FX-1 Midi Foot Controller w/Expander (x1), Dunlop DCR-IFC Wah Controller (x1), Ernie Ball 25k Stereo Volume Pedal (x1), Boss TU-2 Tuner (x1), Easy Button (x1). Mesa Boogie Traditional Rectifier 4x12 Cabinets with Celestion Vintage 30 Speakers (x6). Custom Steel Diamond Plate Foot Rests (x2).
• "Liquid Tension Experiment 10th Anniversay Reunion Tour" - Mesa Boogie Mark IV (x2), Mesa Boogie High Gain Amp Switcher (x1), Dunlop DCR-2SR Rack Wah (x1), MXR EVH Flanger (x1), MXR EVH Phaser (x1), TC Electronic 2290 (x1), Digital Music Corp Stereo Line Mixer (x1), DBX 266XL Compressor/Noise Gate (x1), Keeley Modded TS-9DX (x1), TC Electronic M3000 (x1), Eventide DSP7000 (x1). Mesa Boogie Traditional Rectifier 4x12 Cabinets (x2). Dunlop DCR-IFC Wah Controller (x1), Ernie Ball 25k Stereo Volume Pedal (x1). Axess Electronics FX-1 Midi Foot Controller w/Expander (x1), Boss TU-2 Tuner (x1).
• 2010 Iron Maiden Supporting Tour: Mark V (x3), Dunlop Rack Wah, Fractal Audio Axe-Fx Ultra
• "Black Clouds and Silver Linings Tour" - Mesa Boogie Mark V (x3), Voodoo Lab GCX Switcher (x1), Korg DTR-2000 Rack Tuner (x1), Dunlop DSR-2SR Rack Wah System (x1), TC Electronic C400XL Compressor/Gate (x1), Keeley Modded Tube Screamer (x1), MXR EVH Flanger (x1), MXR EVH Phaser (x1), TC Electronic 1210 Spatial Expander/Stereo Chorus/Flanger (x1), TC Electronic M3000 Reverb/Delay (x3), Eventide H7600 Harmonizer (x1), Custom Patch Bay for Pedalboard Connections (x1), Furman AR Pro Power Conditioner (x1), Mesa Boogie High Gain Amp Switcher (x1), Axess Electronics GRX4 Audio Switcher for Pedal and Effects Switching (x3), Axess Electronics CRX4 Control Function Switcher (x1), Furman Aura Pedal (x1), Radial DI Box (x1). Axess Electronics FX-1 Midi Foot Controller w/Expander (x1), Dunlop DCR-IFC Wah Controller (x1), Ernie Ball 25k Stereo Volume Pedal (x1), Boss TU-2 Tuner (x1). Mesa Boogie Traditional Rectifier 4x12 Cabinets with Celestion Vintage 30 Speakers and Custom Grills (x8). Custom Steel Diamond Plate Foot Rests (x2).
• "A Dramatic Tour of Events" - Mesa Boogie Mark V (x2), Fractal Audio Axe-Fx II (x1), Dunlop DCR-2SR Rack Wah, Mark Snyder Custom Rack Interface (x1), Axess Electronics Switchers, Framptone A/B Box (x1), Keeley Modded TS-9DX (x1), Analog Man King of Tone (x1), Analog Man TS808 Mod (x1), Boss PH-3 Phaser (x1), MXR EVH Flanger (x1), Carl Martin Compressor (x1), Furman AR-Pro Power Conditioner. Axess Electronics FX-1 Midi Foot Controller (x1), Dunlop DCR-IFC Wah Controller (x2), Ernie Ball 25k Stereo Volume Pedal (x1), Boss TU-3 Tuner (x1), Custom Steel Diamond Plate Foot Rests with Buttkicker Drivers (x2). Mesa Boogie Traditional Rectifier 4x12 Cabinets with Celestion Vintage 30 Speakers (x3), Mesa Boogie Traditional Rectifier 2x12 Cabinets with Buttkicker Drivers (x3).

Since the Train of Thought World Tour, John has used two footrests made by Patrick Slaats (who also designs Jordan Rudess's keyboard stands), such that they are book-ends for his pedalboard. These are utilised whenever Petrucci plays difficult-to-play passages within his songs, as he practices using proper classical guitar techniques - meaning that he rests his guitar on his left thigh when sequences get difficult. Before this, he used regular stage monitors to do this. He stated in the Live at Budokan DVD that he also has a "spit shield" around his cabinets, in order to avoid getting them defaced by Mike Portnoy's "gobs of goobers". He stopped using the spit shield on the A Dramatic Turn of Events tour due to Portnoy's departure.

Discography[link]

Solo Albums[link]

• Suspended Animation (2005)

With Dream Theater[link]

Studio Albums

• When Dream and Day Unite (1989)
• Images and Words (1992)
• Awake (1994)
• A Change of Seasons (EP) (1995)
• Falling into Infinity (1997)
• Metropolis Pt. 2: Scenes from a Memory (1999)
• Six Degrees of Inner Turbulence (2002)
• Train of Thought (2003)
• Octavarium (2005)
• Systematic Chaos (2007)
• Black Clouds & Silver Linings (2009)
• A Dramatic Turn of Events (2011)

Live Albums

• Live at The Marquee (1993)
• Once in a LIVEtime (1998)
• Live Scenes From New York (2001)
• Live at Budokan (2004)
• Score (2006)
• Chaos in Motion 2007–2008 (2008)

With Liquid Tension Experiment[link]

• Liquid Tension Experiment (1998)
• Liquid Tension Experiment 2 (1999)

With G3[link]

• G3: Live in Tokyo (With guitarists Steve Vai and Joe Satriani) (2005)

With Jordan Rudess[link]

• An Evening with John Petrucci and Jordan Rudess (2000)

As a Guest[link]

• Explorers Club - Age of Impact (1998)
• Jon Finn Group - Wicked (1998)
• Jordan Rudess - Feeding the Wheel (2001)
• Derek Sherinian - Blood of the Snake (Played on track "Czar Of Steel") (2006)
• Marty Friedman - Loudspeaker (Special guest guitarist on "Black Orchid") (2006)
• Periphery - TBA (Guests playing a solo) (2012)^[6]

Others[link]

• Working Man - Various Artists (A tribute to Rush) (1996)
• Dragon Attack - Various Artists (A tribute to Queen) (1997)
• Guitar Battle - Various Artists (1998)

Videography[link]

See also[link]

• Dream Theater
• Liquid Tension Experiment
• G3 (tour)

References[link]

External links[link]

Wikimedia Commons has media related to: John Petrucci

• John Petrucci official web site

Jamie Woon (born March 29, 1983^[1]) is a British singer, songwriter and producer signed to Polydor who gained widespread acclaim in 2010 for his single Night Air which was co-produced by Burial, following his previous independent release, Wayfaring Stranger EP.^[2]

The Eurasian son of a Malaysian Chinese father, and Scottish Irish mother (Celtic singer Mae McKenna), he was born and raised in New Malden in the Royal Borough of Kingston upon Thames, Greater London.^[3] He was educated at Sacred Heart RC Primary School (New Malden), S.T Catherines RC Middle School (Raynes Park) & Wimbledon College (Wimbledon). He later attended the BRIT School, where he graduated the year behind Amy Winehouse, whom he later supported live.^[4][5]

Woon's sound and style is presently described as soul inflected vocals backed by samplers and programming, or a single guitar track. He describes his music as "... R&B, it's groove-based vocal-led music ...".^[3]

On 4 January 2011, the BBC announced that Woon had been placed fourth in the BBC's Sound of 2011 poll.^[4]

Woon's debut album is entitled Mirrorwriting and was released on 18 April 2011 via Polydor Records.^[6]

Discography[link]

Studio albums[link]

Extended plays[link]

Singles[link]

Music videos[link]

Official remixes[link]

• "Video Games" (Jamie Woon Remix) - Lana Del Rey

Awards and nominations[link]

References[link]

External links[link]

• Official website
• Jamie Woon on Twitter
• Jamie Woon on Myspace
• Jamie Woon's channel on YouTube
• Jamie Woon's BBC Sound of 2011 page at BBC Online
• Jamie Woon Interview

George Lucas
George Lucas in 2009
Born	George Walton Lucas, Jr. (1944-05-14) May 14, 1944 (age 68) Modesto, California, U.S.
Residence	Marin County, California, U.S.
Nationality	American
Education	Modesto Junior College
Alma mater	University of Southern California (B.A. and B.S.)[1]
Occupation	Chairman & CEO of Lucasfilm
Years active	1965–present
Influenced by	Frank Herbert,[2] Joseph Campbell, Akira Kurosawa, John Ford
Home town	Central Valley, California, U.S.
Net worth	US$3.2 billion (2011)[1]
Spouse	Marcia Lucas (1969–1983)
Partner	Mellody Hobson (2007–present)

George Walton Lucas, Jr. (born May 14, 1944) is an American film producer, screenwriter, director, and entrepreneur. He is the founder, chairman and chief executive of Lucasfilm.^[3] He is best known as the creator of the space opera franchise Star Wars and the archaeologist-adventurer character Indiana Jones. Lucas is one of the American film industry's most financially successful directors/producers, with an estimated net worth of $3.2 billion as of 2011.^[1]

Early life and education[link]

George Lucas was born in Modesto, California, the son of Dorothy Ellinore (née Bomberger) and George Walton Lucas, Sr. (1913–1991), who owned a stationery store.^[4][5]

Lucas grew up in the Central Valley town of Modesto and his early passion for cars and motor racing would eventually serve as inspiration for his USC student film 1:42.08, as well as his Oscar-nominated low-budget phenomenon, American Graffiti. Long before Lucas became obsessed with film making, he wanted to be a race-car driver, and he spent most of his high school years racing on the underground circuit at fairgrounds and hanging out at garages. However, a near-fatal accident in his souped-up Autobianchi Bianchina on June 12, 1962, just days before his high school graduation, quickly changed his mind. Instead of racing, he attended Modesto Junior College and later got accepted into a junior college to study anthropology. While taking liberal arts courses, he developed a passion for cinematography and camera tricks. George Lucas graduated from USC in California.

As a child, Lucas never learned to swim, which became a source of embarrassment and frustration as he became older. Lucas has expressed in several interviews that his inability to swim was "the passion that drove me to succeed in filmmaking... [It] gave me the chip on my shoulder that I think was critical to my later success"^[6]

During this time, an experimental filmmaker named Bruce Baillie tacked up a bedsheet in his backyard in 1960 to screen the work of underground, avant-garde 16 mm filmmakers like Jordan Belson, Stan Brakhage and Bruce Conner. For the next few years, Baillie's series, dubbed Canyon Cinema, toured local coffeehouses. These events became a magnet for the teenage Lucas and his boyhood friend John Plummer. The 19-year-olds began slipping away to San Francisco to hang out in jazz clubs and find news of Canyon Cinema screenings in flyers at the City Lights bookstore. Already a promising photographer, Lucas became infatuated with these abstract films.

"That's when he [George] really started exploring" Plummer recalled. "We went to a theater on Union Street that shows art films, we drove up to San Francisco State for a film festival, and there was an old beatnik coffeehouse in Cow Hollow with shorts that were really out there." It was a season of awakening for Lucas, who had been an uninterested slacker in high school. At an autocross track, Lucas met his first mentor in the film industry — famed cinematographer Haskell Wexler, a fellow aficionado of sleek racing machines. Wexler was impressed by the way the shy teenager handled a camera, cradling it low on his hips to get better angles. "George had a very good eye, and he thought visually," Wexler recalls.^[7]

Lucas then transferred to the University of Southern California School of Cinematic Arts. USC was one of the earliest universities to have a school devoted to motion picture film. During the years at USC, George Lucas shared a dorm room with Randal Kleiser. Along with classmates such as Walter Murch, Hal Barwood and John Milius, they became a clique of film students known as The Dirty Dozen. He also became very good friends with fellow acclaimed student filmmaker and future Indiana Jones collaborator, Steven Spielberg. Lucas was deeply influenced by the Filmic Expression course taught at the school by filmmaker Lester Novros which concentrated on the non-narrative elements of Film Form like color, light, movement, space, and time. Another huge inspiration was the Serbian montagist (and dean of the USC Film Department) Slavko Vorkapich, a film theoretician comparable in historical importance to Sergei Eisenstein, who moved to Hollywood to make stunning montage sequences for studio features at MGM, RKO, and Paramount. Vorkapich taught the autonomous nature of the cinematic art form, emphasizing the unique dynamic quality of movement and kinetic energy inherent in motion pictures.

Lucas saw many inspiring films in class, particularly the visual films coming out of the National Film Board of Canada like Arthur Lipsett's 21-87, the French-Canadian cameraman Jean-Claude Labrecque's cinéma vérité 60 Cycles, the work of Norman McLaren, and the documentaries of Claude Jutra. Lucas fell madly in love with pure cinema and quickly became prolific at making 16 mm nonstory noncharacter visual tone poems and cinéma vérité with such titles as Look at Life, Herbie, 1:42.08, The Emperor, Anyone Lived in a Pretty (how) Town, Filmmaker, and 6-18-67. He was passionate and interested in camerawork and editing, defining himself as a filmmaker as opposed to being a director, and he loved making abstract visual films that create emotions purely through cinema.^[7]

After graduating with a bachelor of fine arts in film in 1967, he tried joining the United States Air Force as an officer, but he was immediately turned down because of his numerous speeding tickets. He was later drafted by the Army for military service in Vietnam, but he was exempted from service after medical tests showed he had diabetes, the disease that killed his paternal grandfather.

In 1967, Lucas re-enrolled as a USC graduate student in film production. Working as a teaching instructor for a class of U.S. Navy students who were being taught documentary cinematography, Lucas directed the short film Electronic Labyrinth: THX 1138 4EB, which won first prize at the 1967–68 National Student Film Festival, and was later adapted into his first full-length feature film, THX 1138. Lucas was awarded a student scholarship by Warner Brothers to observe and work on the making of a film of his choosing. The film he chose was Finian's Rainbow (1968) which was being directed by Francis Ford Coppola, who at the time was revered among film school students of the time as a cinema graduate who had "made it" in Hollywood. In 1969, George Lucas was one of the camera operators on the classic Rolling Stones concert film Gimme Shelter.

Film career[link]

George Lucas is a filmmaker, with a film career dominated by writing and production. Aside from the nine short films he made in the 1960s, he also directed six major features. His work from 1971 and 1977 as a writer-director, which established him as a major figure in Hollywood, consists of just three films: THX 1138, American Graffiti, and Star Wars. There was a 22-year hiatus between the original Star Wars film and his only other feature-film directing credits, the three Star Wars prequels.

Lucas acted as a writer and executive producer on another successful Hollywood film franchise, the Indiana Jones series. In addition, he established his own effects company, Industrial Light and Magic (ILM), to make the original Star Wars film. The company is now one of the most successful in the industry.

Lucas co-founded the studio American Zoetrope with Coppola—whom he met during his internship at Warner Brothers—hoping to create a liberating environment for filmmakers to direct outside the perceived oppressive control of the Hollywood studio system^{[citation needed]}. His first full-length feature film produced by the studio, THX 1138, was not a success. Lucas then created his own company, Lucasfilm, Ltd., and directed American Graffiti (1973). His new-found wealth and reputation enabled him to develop a story set in space. Even so, he encountered difficulties getting Star Wars made. It was only because Alan Ladd, Jr., at Fox Studios liked American Graffiti that he forced through a production and distribution deal for the film, which ended up restoring Fox to financial stability after a number of flops.^[8]

Star Wars quickly became the highest-grossing film of all-time, displaced five years later by Spielberg’s E.T. the Extra-Terrestrial. During the filming of Star Wars, Lucas waived his up-front fee as director and negotiated to own the licensing rights (for novelizations, T-shirts, toys, etc.)^{[citation needed]}—rights which the studio thought were nearly worthless^{[citation needed]}. This decision earned him hundreds of millions of dollars^{[citation needed]}, as he was able to directly profit from all the licensed games, toys, and collectibles created for the franchise. This accumulated capital enabled him to finance the sequel himself.

Over the two decades after the first Star Wars film, Lucas worked extensively as a writer and/or producer, including the many Star Wars spinoffs made for film, TV, and other media. He acted as executive producer for the next two Star Wars films, assigning the direction of The Empire Strikes Back to Irvin Kershner and Return of the Jedi to Richard Marquand, while receiving a story credit on the former and sharing a screenwriting credit with Lawrence Kasdan on the latter. Lucas also acted as executive producer and story writer on all four of the Indiana Jones films, which he convinced his colleague and good friend, Steven Spielberg, to direct. Other notable projects as a producer or executive producer in this period include Kurosawa's Kagemusha (1980), Lawrence Kasdan's Body Heat (1981), Jim Henson's Labyrinth (1986), Godfrey Reggio's Powaqqatsi (1986) and the animated film The Land Before Time (1988). There were also some less successful projects, however, including More American Graffiti (1979), the ill-fated Howard the Duck (1986), which was arguably^{[citation needed]} the biggest flop of his career; Willow (1988, which Lucas also wrote); and Coppola's Tucker: The Man and His Dream (1988). Between 1992 and 1996, Lucas served as executive producer for the television spinoff The Young Indiana Jones Chronicles. In 1997, for the 20th anniversary of Star Wars, Lucas went back to his trilogy to enhance and add certain scenes using newly available digital technology. These new versions were released in theaters as the Star Wars Trilogy: Special Edition. For DVD releases in 2004, this series has received further revisions to make them congruent with the prequel trilogy. Besides the additions to the Star Wars franchise, Lucas released Special Edition director's cuts of THX 1138 and American Graffiti containing a number of CGI revisions.

Lucas at the Venice Film Festival in 2009.

The animation studio Pixar was founded as the Graphics Group^{[citation needed]}, one third of the Computer Division of Lucasfilm. Pixar's early computer graphics research resulted in groundbreaking effects in films such as Star Trek II: The Wrath of Khan^[9] and Young Sherlock Holmes,^[9] and the group was purchased in 1986 by Steve Jobs shortly after he left Apple after a power struggle at Apple Computer. Jobs paid U.S. $5 million to Lucas and put U.S. $5 million as capital into the company. The sale reflected Lucas' desire to stop the cash flow losses from his 7-year research projects associated with new entertainment technology tools, as well as his company's new focus on creating entertainment products rather than tools. A contributing factor was cash-flow difficulties following Lucas' 1983 divorce concurrent with the sudden dropoff in revenues from Star Wars licenses following the release of Return of the Jedi.

The sound-equipped system, THX Ltd, was founded by Lucas and Tomlinson Holman^{[citation needed]}. The company was formerly owned by Lucasfilm, and contains equipment for stereo, digital, and theatrical sound for films, and music. Skywalker Sound and Industrial Light & Magic, the sound and visual effects subdivisions of Lucasfilm, respectively, have become among the most respected firms in their fields^{[citation needed]}. Lucasfilm Games, later renamed LucasArts, is well respected in the gaming industry^{[citation needed]}.

In 1994, Lucas began work on the screenplay for the prequel Star Wars Episode I: The Phantom Menace, which would be the first film he had directed in over two decades. The Phantom Menace was released in 1999, beginning a new trilogy of Star Wars films. Lucas also directed Star Wars Episode II: Attack of the Clones and Star Wars Episode III: Revenge of the Sith which were released in 2002 and 2005, respectively. Numerous critics considered these films inferior to the previously released Star Wars, The Empire Strikes Back, and Return of the Jedi.^[10][11][12]

In 2008, he reteamed with Spielberg for Indiana Jones and the Kingdom of the Crystal Skull.

Lucas currently serves as executive producer for Star Wars: The Clone Wars, an animated television series on Cartoon Network, which was preceded by a feature film of the same name. He is also working on a so-far untitled Star Wars live-action series.

For the film Red Tails (2012), Lucas serves as story-writer and executive producer. He also took over direction of reshoots while director Anthony Hemingway worked on other projects. Lucas is working on his first musical, an untitled CGI project being produced at Skywalker Ranch. Kevin Munroe is directing and David Berenbaum wrote the screenplay.^[13]

Semi-retirement[link]

In January 2012, Lucas announced his retirement from producing large-scale blockbuster films and instead re-focusing his career on smaller, independently budgeted features. He did not specify whether or not this would affect his involvement with a fifth installment of the Indiana Jones series.^[14][15][16]

Philanthropy[link]

In 1991, The George Lucas Educational Foundation was founded as a nonprofit operating foundation to celebrate and encourage innovation in schools. The Foundation's content is available under the brand Edutopia, in an award-winning web site, social media and via documentary films. Lucas, through his foundation, was one of the leading proponents of the E-rate program in the universal service fund,^[17] which was enacted as part of the Telecommunications Act of 1996. On June 24, 2008, Lucas testified before the United States House of Representatives subcommittee on Telecommunications and the Internet as the head of his Foundation to advocate for a free wireless broadband educational network.^[18]

In 2005, Lucas gave US$1 million to help build the Martin Luther King, Jr. National Memorial on the National Mall in Washington D.C. to commemorate American civil rights leader Martin Luther King, Jr.^[19]

On September 19, 2006, USC announced that George Lucas had donated $175–180 million to his alma mater to expand the film school. It is the largest single donation to USC and the largest gift to a film school anywhere.^[20] Previous donations led to the already existing George Lucas Instructional Building and Marcia Lucas Post-Production building.^[21][22]

Awards[link]

The American Film Institute awarded Lucas its Life Achievement Award on June 9, 2005.^[23] This was shortly after the release of Star Wars Episode III: Revenge of the Sith, about which he joked stating that, since he views the entire Star Wars series as one film, he could actually receive the award now that he had finally "gone back and finished the movie."

On June 5, 2005, Lucas was named among the 100 "Greatest Americans" by the Discovery Channel.^[24]

Lucas was nominated for four Academy Awards: Best Directing and Writing for American Graffiti, and Best Directing and Writing for Star Wars. He received the Academy's Irving G. Thalberg Award in 1991. He appeared at the 79th Academy Awards ceremony in 2007 with Steven Spielberg and Francis Ford Coppola to present the Best Director award to their friend Martin Scorsese. During the speech, Spielberg and Coppola talked about the joy of winning an Oscar, making fun of Lucas, who has not won a competitive Oscar.

Lucas at the Time 100 2006 gala

On June 17, 2006, the Science Fiction Hall of Fame inducted George Lucas and three others.^[25][26]

On January 1, 2007 George Lucas served as the Grand Marshal for the 2007 Tournament of Roses Parade, and made the coin toss at the 2007 Rose Bowl.

On August 25, 2009, Governor Arnold Schwarzenegger and Maria Shriver announced that Lucas would be one of 13 California Hall of Fame inductees in The California Museum's yearlong exhibit. The induction ceremony was on December 1, 2009 in Sacramento, California.

On September 6, 2009, Lucas was in Venice to present to the Pixar team the Golden Lion for Lifetime Achievement during the 2009 Biennale Venice Film Festival.

Personal life[link]

In 1969, Lucas married film editor Marcia Lou Griffin, who went on to win an Academy Award for her editing work on the original Star Wars film. George and Marcia adopted a daughter, Amanda, in 1981, and divorced in 1983. Lucas has since adopted two more children: Katie, born in 1988, and Jett, born in 1993. All three of his children have appeared in the three Star Wars prequels, as has Lucas himself. Lucas had been in a long relationship with and engaged to singer Linda Ronstadt. He has been dating Mellody Hobson, president of Ariel Investments, since 2006 and she has accompanied him to several events including the 79th Academy Awards ceremony in February 2007, an American Film Institute event in October 2007, the 2008 Cannes Film Festival held in May, and the 2010 Golden Globes.^[27][28][29]

Lucas was born and raised in a strong Methodist family. The religious and mythical themes in Star Wars were inspired by Lucas' interest in the writings of mythologist Joseph Campbell,^[30] and he would eventually come to identify strongly with the Eastern religious philosophies he studied and incorporated into his films, which were a major inspiration for "the Force." Lucas eventually came to state that his religion was "Buddhist Methodist". Lucas resides in Marin County.^[31][32]

Lucas has said that he is a fan of Seth MacFarlane's hit TV show Family Guy. MacFarlane has said that Lucasfilm was extremely helpful when the Family Guy crew wanted to parody their works.^[33]

Lucas has pledged to give half of his fortune to charity as part of an effort called The Giving Pledge led by Bill Gates and Warren Buffett to persuade America's richest individuals to donate their financial wealth to charities.^[34][35]

Filmography[link]

References[link]

Sources[link]

• Rinzler, J.W. "The Making of Star Wars, The Definitive Story Behind the Original Film", Ebury Press, 2007.
• Silberman, Steve "Life After Darth" Wired, November, 2005
• "George Lucas: Interviews" University Press of Mississippi (February 16, 2007)
• The Cinema of George Lucas (Hardcover) by Marcus Hearn, Publisher: Harry N. Abrams (March 1, 2005)
• Michael Rubin, "Droidmaker: George Lucas and the Digital Revolution" (2005) [ISBN 0937404675]

External links[link]

Wikiquote has a collection of quotations related to: George Lucas

Wikimedia Commons has media related to: George Lucas

• George Lucas biography at the Science Fiction Hall of Fame
• George Lucas at the Internet Movie Database
• George Lucas at AllRovi
• George Lucas at the Notable Names Database
• George Lucas at the Internet Speculative Fiction Database
• George Lucas biography at Lucasfilm.com
• George Lucas biography at World Business Forum where Lucas is a featured speaker for the 2009 event

African American

Frederick Douglass · Barack Obama · Rosa Parks Condoleezza Rice · M. L. King, Jr. · Beyoncé Knowles Malcolm X · Oprah Winfrey · Booker T. Washington Michael Jordan · Harriet Tubman · Muhammad Ali
Total population
African American 42,020,743[1] (13.6% of the US population)
Regions with significant populations
Predominantly in the Southern United States and in urban areas within the country
Languages
American English · African American Vernacular English · Gullah language
Religion
Predominantly Protestant; also Roman Catholic, Muslim and agnostic
Related ethnic groups
Other Afro-American peoples of the Americas (especially Anglophones) Americo-Liberians · Sierra Leone Creole people Black Nova Scotians, Foreign-born Afro-Americans, Afro-Latin American view talk edit

African Americans^[2] (also referred to as Black Americans or Afro-Americans, and formerly as American Negroes) are citizens or residents of the United States that have ancestry from any of the native populations of Sub-Saharan Africa.^[3]