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The Hague Den Haag |
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— City and municipality — | |||
's-Gravenhage | |||
The Hague skyscrapers seen from the 'Plein', with statue of William the Silent | |||
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Nickname(s): Residentiestad (Residential City), Hofstad (Court city) | |||
Coordinates: 52°5′N 4°19′E / 52.083°N 4.317°E / 52.083; 4.317Coordinates: 52°5′N 4°19′E / 52.083°N 4.317°E / 52.083; 4.317 | |||
Country | Netherlands | ||
Province | South Holland | ||
Area(2006) | |||
• City and municipality | 98.20 km2 (37.92 sq mi) | ||
• Land | 82.66 km2 (31.92 sq mi) | ||
• Water | 15.54 km2 (6.00 sq mi) | ||
Population (1 February 2012) | |||
• City and municipality | 501,725 | ||
• Density | 5,894/km2 (15,270/sq mi) | ||
• Urban | 1,022,256 | ||
• Metro | 1,406,000 | ||
• Randstad | 6,659,300 | ||
• Demonym | Hagenaar or Hagenees | ||
Source: [2]. | |||
Time zone | CET (UTC+1) | ||
• Summer (DST) | CEST (UTC+2) |
The Hague (Dutch: Den Haag pronounced [dɛnˈɦaˑχ] ( listen), officially 's-Gravenhage pronounced [ˈsχraˑvə(n)ˌɦaˑɣə] (
listen)) is the capital city of the province of South Holland in the Netherlands. With a population of 500,000 inhabitants (as of 1 September 2011),[1][2] and more than one million inhabitants including the suburbs, it is the third largest city of the Netherlands, after Amsterdam and Rotterdam. Located in the west of the Netherlands, The Hague is in the centre of the Haaglanden conurbation and lies at the southwest corner of the larger Randstad conurbation.
The Hague is the seat of the Dutch government and parliament, the Supreme Court, and the Council of State, but the city is not the capital of the Netherlands which constitutionally is Amsterdam. Queen Beatrix of the Netherlands lives at Huis ten Bosch and works at Noordeinde Palace in The Hague. Most foreign embassies in the Netherlands and 150 international organisations are located in the city, including the International Court of Justice and the International Criminal Court, which makes The Hague one of the major cities hosting the United Nations, along with New York, Vienna and Geneva.
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The Hague originated around 1230, when Floris IV, Count of Holland purchased land alongside a pond (now the Hofvijver) in order to build a hunting residence. In 1248 William II, Count of Holland and Rex Romanorum, decided to extend the residence to a palace. He died in 1256 before this palace was completed, but parts of it were finished by his son Floris V, of which the Ridderzaal (Knights' Hall), still extant, is the most prominent. It is still used for political events, such as the annual speech from the throne by the monarch. From the 13th century on the counts of Holland used The Hague as their administrative centre and residence when in Holland.
The Hague is first mentioned as Die Hage in a document dating from 1242. In the fifteenth century the smarter des Graven hage came into use, literally "the count's wood", with connotations like "the count's hedge, private enclosure or hunting grounds". Gravenhage was officially used for the city from the 17th century on. Today this name is only used in some official documents like birth and marriage certificates. The city itself uses "Den Haag" in all its communication.[3]
When the Dukes of Burgundy gained control over the counties of Holland and Zeeland at the beginning of the 15th century, they appointed a stadtholder to rule in their stead with the States of Holland as an advisory council. Their seat was located in The Hague. At the beginning of the Eighty Years' War, the absence of city walls proved disastrous, as it allowed Spanish troops easily to occupy the town. In 1575 the States of Holland even considered demolishing the city, but this proposal was abandoned, after mediation by William of Orange. From 1588 The Hague also became the location of the government of the Dutch Republic. In order for the administration to maintain control over city matters, The Hague never received official city status (although it did have many of the privileges normally granted only to cities). However, since the days of King Louis Napoleon (1806) The Hague has been allowed to call itself a city.
After the Napoleonic Wars, modern-day Belgium and the Netherlands were combined in the United Kingdom of the Netherlands to form a buffer against France. As a compromise, Brussels and The Hague alternated as capital every two years, with the government remaining in The Hague. After the separation of Belgium in 1830, Amsterdam remained the capital of the Netherlands, while the government was situated in The Hague.
Since early times, probably as far back as the 16th century, the stork has been the symbol of The Hague.[4]
Because of its history, the historical inner city of The Hague differs in various respects from the nearby smaller cities of Leiden and Delft. It does not have a cramped inner city, bordered by canals and walls. Instead it has some small streets in the town centre that may be dated from the late Middle Ages, and several spacious streets boasting large and luxurious 18th century residences built for diplomats and affluent Dutch families. It has a large church dating from the 15th century, an impressive City Hall (built as such) from the 16th century, several large 17th-century palaces, a 17th-century Protestant church built in what was then a modern style, and many important 18th-century buildings. When the government started to play a more prominent role in Dutch society after 1850, The Hague quickly expanded. Many streets were specifically built for the large number of civil servants employed in the country's government and for the Dutchmen who were retiring from the administration and exploitation of the Netherlands East Indies. The growing city annexed the rural municipality of Loosduinen partly in 1903 and completely in 1923.
Parts of the city sustained heavy damage during World War II. The Atlantic Wall was built through part of the city, causing a large quarter to be torn down by the Nazi occupants. On March 3, 1945, the Royal Air Force mistakenly bombed the Bezuidenhout quarter. The target was an installation of V-2 rockets in a nearby park. Because of navigational errors, the bombs fell on a heavily populated and historic part of the city. 511 people died and the scars in the city may still be seen today.
After the war The Hague was at one point the largest building site in Europe. The city expanded massively to the southwest. The destroyed areas were also quickly rebuilt. The population peaked at 600,000 inhabitants around 1965.
In the 1970s and 1980s many, mostly white, middle class families moved to neighbouring towns like Voorburg, Leidschendam, Rijswijk and, most of all, Zoetermeer. This led to the traditional pattern of an impoverished inner city and more prosperous suburbs. Attempts to include parts of these municipalities in the city of The Hague were highly controversial. In the 1990s, with the consent of Dutch Parliament, The Hague annexed fairly large areas from neighbouring towns as well as from not even bordering ones, on which complete new residential areas were built and are still being built.
City life concentrates around the Hofvijver and the Binnenhof, where the Parliament is located. The city has a limited student culture due to its lack of an actual university[citation needed], although the Royal Conservatory of The Hague is located there, as well as The Hague University, a vocational university and a branch of The Open University of the Netherlands. The city has many civil servants and diplomats[citation needed]. In fact, the number and variety of foreign residents (especially the expatriates) makes the city quite culturally diverse, with many foreign pubs, shops and cultural events.
The Hague is the largest Dutch city on the North Sea and includes two distinct beach resorts. The main beach resort Scheveningen, in the northwestern part of the city, is a popular destination for tourists as well as for inhabitants. With 10 million visitors a year, it is the most popular beach town in the Benelux area. Kijkduin, in the southwest, is The Hague's other beach resort. It is significantly smaller and attracts mainly local residents.
The former Dutch colony of Netherlands East Indies ("Nederlands-Indië", now Indonesia) has left its mark on The Hague. Since the 19th century high level civil servants from the Dutch East Indies often spent long term leave and vacation in The Hague. Many streets are named after places in the Netherlands East Indies (as well as other former Dutch colonies such as Suriname) and there is a sizable "Indo" (i.e. mixed Dutch-Indonesian) community. Since the loss of these Dutch possessions in December 1949, "Indo people" also known as "Indische people" often refer to The Hague as "the Widow of the Indies".[5]
The older parts of the town have many characteristically wide and long streets. Houses are generally low-rise (often not more than three floors). A large part of the southwestern city was planned by the progressive Dutch architect H.P. Berlage about 1910. This 'Plan Berlage' decided the spacious and homely streets for several decades. In World War II a large part of western The Hague was destroyed by the Germans. Afterwards, modernist architect W.M. Dudok planned its renewal, putting apartment blocks for the middle class in open, park-like settings.
The layout of the city is more spacious than other Dutch cities, and because of the incorporation of large and old nobility estates, the creation of various parks and the use of green zones around natural streams, it is a much more green city than any other in the Netherlands. That is, excepting some medieval close-knitted streets in the centre. There are only a few canals in The Hague, as most of these were drained in the late 19th century.
Some of the most prosperous and some of the poorest neighbourhoods of the Netherlands can be found in The Hague. The wealthier areas (Statenkwartier, Belgisch Park, Marlot, Benoordenhout and Archipelbuurt) are generally located in the northwest part of the city; however, the Vogelwijk and several very recently built quarters like Vroondaal are in the southwest, not far from the sea. Poorer areas like Transvaal, Moerwijk, and the Schilderswijk can be found in the southeastern areas. This division is reflected in the local accent: The more affluent citizens are usually called "Hagenaars" and speak so-called "bekakt Haags" ("Bekakt" is Dutch for "posh" or "stuck-up"). This contrasts with the "Hagenezen", who speak "plat Haags" ("plat" meaning "common" or "vulgar").
The tallest building is the 142-metre-tall Hoftoren (see image).
The Hague has eight official districts (stadsdelen). They are divided into smaller parts (wijken).[6]
See Districts of The Hague for a detailed breakdown.
Origin of citizens of The Hague in 2011:[7]
The population of The Hague on 1 September 2011 was 500,000 inhabitants and are with that the third city of the Netherlands. The proportion of immigrants in The Hague 49% and ethnic Dutch 51%. On 1 January 2011 The Hague 241,000 immigrants counted: 73,000 of Western origin and 168,000 with Other non-western.
The city contributes substantially to international politics: The Hague is home to over 150 international organisations. These include the International Court of Justice (ICJ), the International Criminal Court (ICC), the International Criminal Tribunal for the former Yugoslavia (ICTY), and the Appeals Chamber of the International Criminal Tribunal for Rwanda (ICTR).
The foundation of The Hague as an "international city of peace and justice" was laid in 1899, when the world's first Peace Conference took place in The Hague on Tobias Asser's initiative, followed by a second in 1907. A direct result of these meetings was the establishment of the world's first organisation for the settlement of international disputes: the Permanent Court of Arbitration (PCA). Shortly thereafter the Scottish-American millionaire Andrew Carnegie made the necessary funds available to build the Peace Palace ("Vredespaleis") to house the PCA.
After the establishment of the League of Nations, The Hague became the seat of the Permanent Court of International Justice, which was replaced by the UN's International Court of Justice after the Second World War. The establishment of the Iran-US Claims Tribunal (1981), the International Criminal Tribunal for the former Yugoslavia (1993) and the International Criminal Court (2002) in the city further consolidated the role of The Hague as a center for international legal arbitration. Most recently, on 1 March 2009, a U.N. tribunal to investigate and prosecute suspects in the 2005 assassination of Lebanese Prime Minister Rafik Hariri opened in the former headquarters of the Netherlands General Intelligence Agency in Leidschendam, a town within the greater The Hague area.
The Hague is the fourth major centre for the UN, after New York, Geneva and Vienna. In line with the city's history as an important convention center and the current presence of institutions such as the ICJ, The Hague's city council employs a city branding strategy that aims to establish The Hague as the Legal Capital of the World and the International City of Peace and Justice.[8]
Major international organisations based in The Hague include:
Many academic institutions in the fields of international relations, international law and international development are based in The Hague. The Hague Academic Coalition (HAC) is a consortium of those institutions.
Its member institutions are:
In 1948 The Hague Congress was held with 750 delegates from 26 European countries, providing them with the opportunity to discuss ideas about the development of the European Union.
Professional life in The Hague is dominated by the large number of civil servants and diplomats who work in the city. Government ministries and public institutions are almost all located in The Hague. It is also home to several large international businesses, including:
There has never been any large-scale industrial activity in The Hague, with the possible exception of the fishing harbour in Scheveningen. Many of the city’s logistical and minor-industrial services are located in the Binckhorst (Laak district), which contains many large warehouses.
The Hague has its share of museums and cultural institutions:
Other tourist attractions and landmarks in The Hague include:
The Hague does not have the customary metropolitan reputation for a bustling night life, with some festivity exceptions in the course of the year. This is partly explained[citation needed] by the city's lack of a university and hence student life. Night life centers around the three main squares in the city center: the Plein (literally "Square"), the Grote Markt (literally "Great Market") and the Buitenhof (literally the "Outer Court", which lies just outside the Binnenhof). The Plein is taken by several large sidewalk cafés where often politicians may be spotted. The Grote Markt is completely strewn with chairs and tables, summer or winter. The Buitenhof contains the popular Pathé Buitenhof cinema and a handful of bars and restaurants in the immediate vicinity. A similar pattern of night life centers on the cinema in Scheveningen, although, especially in summer, night life concentrates around the sea-front boulevard with its bars, restaurants and gambling halls.
The Hague shares an airport with Rotterdam. It can be reached from Central Station by RandstadRail Line E, with an Airport Shuttle to and from Meijersplein Station. However, with several direct trains per hour from the railway stations Hollands Spoor and Centraal, Amsterdam Airport Schiphol is more frequently used by people travelling to and from The Hague by air.
There are two main train stations in The Hague: Den Haag Hollands Spoor (HS) and Den Haag Centraal Station (CS), only 1.5 km distant from each other. Because these two stations were built and exploited by two different railway companies in the 19th century, east-west lines terminate at Centraal Station, whereas north-south lines run through Hollands Spoor. The international Benelux trains to Brussels call only at Hollands Spoor. Centraal Station does, however, now offer good connections with the rest of the country, with direct services to most major cities, for instance Amsterdam, Rotterdam and Utrecht.
Public transport in The Hague consists of a tramway network and a sizeable number of bus routes, operated by HTM Personenvervoer.[10] Plans for a subway were shelved in the early 1970s. However, in 2004 a tunnel was built under the city centre with two underground tram stations ("Spui" and "Grote Markt"); it is shared by tram routes 2, 3, 4 and 6.
A regional light rail system called RandstadRail connects The Hague to nearby cities, Zoetermeer and Rotterdam. The system suffered from startup problems and derailings in 2006, but is fully operational now.
Major motorways connecting to The Hague include the A12, running to Utrecht and the German border. The A12 runs directly into the heart of the city in a cutting. Built in the 1970s, this section of motorway (the "Utrechtsebaan") is now heavily overburdened. Plans were made in the late 1990s for a second artery road into the city (the "Trekvliettracé" or previously called "Rotterdamsebaan") but have continually been put on hold. Other connecting motorways are the A4, which connects the city with Amsterdam, and the A13, which runs to Rotterdam and connects to motorways towards the Belgian border. There is also the A44 that connects the city to Leiden, Haarlem and Amsterdam.
Delft, Leiden, Leidschendam-Voorburg, Nootdorp, Pijnacker, Rijswijk, Voorburg, Voorschoten, Wassenaar, Wateringen, Zoetermeer
The Hague is the centre of a conurbation called Haaglanden.
The Leiden conurbation lies to the north. The Rotterdam conurbation (called "Stadsregio Rotterdam" or "Rijnmond") lies to the east. The conurbations around The Hague and Rotterdam are close enough to be a single conurbation in some contexts. For example, they share the Rotterdam The Hague Airport and a light rail system called RandstadRail. Consideration is being given to creating a Rotterdam-The Hague metropolitan area (metropoolregio).
This large conurbation centred on The Hague and Rotterdam is, in turn, part of the Randstad, specifically a band of municipalities called the South Wing (Zuidvleugel). The Randstad, which includes Amsterdam, Rotterdam and Utrecht, has a population of 6,659,300. The Hague lies at the southwestern corner of one of the largest urban areas in Europe.
The Hague is twinned with:
In addition, The Hague has a policy to partner with various countries of origin of its citizens. Since 2002 The Hague co-operates with Suriname and in 2009 a co-operation contract was made with the Moroccan provinces of Nador, Al Hoceima and Taza. There are plans to make such contracts with Turkey and the Antilles.[13]
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Buddy Rich | |
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![]() Buddy Rich at the Arcadia Ballroom in New York City in May 1947. |
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Background information | |
Birth name | Bernard Rich |
Also known as | Traps the Drum Wonder (as a boy) and "B" (as an adult) |
Born | (1917-09-30)September 30, 1917 |
Origin | Brooklyn, New York, US |
Died | April 2, 1987(1987-04-02) (aged 69) |
Genres | Jazz, big band, swing, bebop |
Occupations | Musician, songwriter, bandleader, actor |
Instruments | Drums, percussion |
Years active | 1919–1987 |
Associated acts | Joe Marsala Bunny Berigan Artie Shaw Tommy Dorsey Benny Carter Harry James Les Brown Frank Sinatra Charlie Ventura Jazz at the Philharmonic Nat King Cole Ella Fitzgerald Gene Krupa and Louis Armstrong |
Website | http://www.buddyrich.com/ |
Bernard "Buddy" Rich (September 30, 1917 – April 2, 1987) was an American jazz drummer and bandleader. Rich was billed as "the world's greatest drummer"[1] and was known for his virtuosic technique, power, groove, and speed.
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Rich was born in Brooklyn, New York, to Jewish vaudevillians Robert and Bess Rich.[2] His talent for rhythm was first noted by his father, who saw that Buddy could keep a steady beat with spoons at the age of one. He began playing drums in vaudeville when he was 18 months old, billed as "Traps the Drum Wonder." At the peak of Rich's childhood career, he was reportedly the second-highest paid child entertainer in the world (after Jackie Coogan).[3] At 11 he was performing as a bandleader. He received no formal drum instruction, and went so far as to claim that instruction would only degrade his musical talent. He also never admitted to practicing, claiming to play the drums only during performances[citation needed] and was not known to read music. He expressed great admiration for, and was influenced by, the playing of Chick Webb, Gene Krupa, Dave Tough, and Jo Jones, among others.[citation needed].
Rich first played jazz with a major group in 1937 with Joe Marsala and guitarist Jack Lemaire. He then played with Bunny Berigan (1938) and Artie Shaw (1939), and even instructed a 14-year-old Mel Brooks in drumming for a short period when playing for Shaw.[4] At 21, Rich participated in his first major recording with the Vic Schoen Orchestra (the band that backed the Andrews Sisters).[5] In 1938, he was also hired to play in Tommy Dorsey's orchestra where he met and performed with Frank Sinatra. In 1942, Rich left the Dorsey band to join the United States Marine Corps. He rejoined the Dorsey group after leaving the Marines two years later. In 1946, Rich formed his own band with financial support from Sinatra, and continued to lead different groups on and off until the early fifties.[6][7]
In addition to Tommy Dorsey (1939–1942, 1945, 1954–1955), Rich also played with Benny Carter (1942), Harry James (1953-1956–1962, 1964, 1965), Les Brown, Charlie Ventura, and Jazz at the Philharmonic, as well as leading his own band and performing with all-star groups. In the early fifties Rich played with Dorsey and also began to perform with trumpeter Harry James, an association which lasted until 1966. In 1966, Rich left James in order to develop a new big band. For most of the period from 1966 until his death, he led successful big bands in an era when the popularity of big bands had waned from their 1930s and 40s peak. In this later period, Rich continued to play clubs but he had stated in multiple interviews that the great majority of his big band's performances were at high schools, colleges and universities, with club performances done to a much lesser degree. Rich also served as the session drummer for many recordings, where his playing was often much more understated than in his own big-band performances. Especially notable were Rich's sessions for the late-career comeback recordings of Ella Fitzgerald and Louis Armstrong, on which he worked with pianist Oscar Peterson and his famous trio featuring bassist Ray Brown and guitarist Herb Ellis.
Rich's technique has been one of the most standardized and coveted in drumming. His dexterity, musicality of playing style, speed and smooth execution are considered "holy grails" of drum technique and have been considered next to impossible to duplicate. While Rich typically held his sticks using traditional grip, he was also a skilled "match grip" player, and was one of few drummers to master the one-handed roll on both hands. Some of his more spectacular moves are crossover riffs, where he would criss-cross his arms from one drum to another, sometimes over the arm, and even under the arm at great speed.
He often used contrasting techniques to keep long drum solos from getting mundane. Aside from his energetic explosive displays, he would go into quieter passages. One passage he would use in most solos starts with a simple single-stroke roll on the snare picking up speed and power, then slowly moving his sticks closer to the rim as he gets quieter and then eventually playing on just the rim itself while still maintaining speed. Then he would reverse the effect and slowly move towards the center of the snare while increasing power.
Rich also demonstrated incredible skill at brush technique. On one album, 1955's The Lionel Hampton Art Tatum Buddy Rich Trio, Rich plays brushes almost exclusively throughout.
Another Rich technique that few drummers have been able to perfect is the stick-trick – a fast roll performed by slapping two drumsticks together in a circular motion.
In 1942, Rich and drum teacher Henry Adler co-authored the instructional book Buddy Rich's Modern Interpretation of Snare Drum Rudiments, regarded as one of the more popular snare-drum rudiment books.[citation needed]
One of Adler's former students introduced Adler to Rich. "The kid told me Buddy played better than [Gene] Krupa. Buddy was only in his teens at the time and his friend was my first pupil. Buddy played and I watched his hands. Well, he knocked me right out. He did everything I wanted to do, and he did it with such ease. When I met his folks, I asked them who his teacher was. 'He never studied,' they told me. That made me feel very good. I realized that it was something physical, not only mental, that you had to have."
In a 1985 interview[citation needed], Adler clarified the extent of his teacher-student relationship to Rich and their collaboration on the instructional book:
"I had nothing to do with [the rumor that I taught Buddy how to play]. That was a result of Tommy Dorsey's introduction to the Buddy Rich book," Adler said. "I used to go around denying it, knowing that Buddy was a natural player. Sure, he studied with me, but he didn't come to me to learn how to hold the drumsticks. I set out to teach Buddy to read. He'd take six lessons, go on the road for six weeks and come back. He didn't have time to practice."[citation needed]
"Tommy Dorsey wanted Buddy to write a book and he told him to get in touch with me. I did the book and Tommy wrote the foreword. Technically, I was Buddy's teacher, but I came along after he had already acquired his technique."[citation needed]
When asked about Rich's ability to read music, Bobby Shew, lead trumpeter in Rich's mid-60s big band replied,
Perhaps his most popular later performance was a big band arrangement of a medley derived from the Leonard Bernstein classic West Side Story, first released on the 1966 album Buddy Rich's Swingin' New Big Band
The West Side Story medley is a complex and difficult-to-perform big-band arrangement which highlights Rich's remarkable ability to blend the rhythm of his drumming into his band's playing of the musical chart. Penned by Bill Reddie, Rich received the West Side Story arrangement of Leonard Bernstein's melodies from the famed musical in the mid-1960s and found it to be very challenging even for him. It consists of many rapid-fire time changes and signatures and took almost a month of constant rehearsals to perfect. It since became a staple in all his performances, clocking in at various lengths from seven to fifteen minutes. Bernstein himself had nothing but praise for it.[citation needed] In 2002, a DVD was released called The Lost West Side Story Tapes that captured a 1985 performance of this along with other numbers.[9] These tapes had been previously thought to have been lost in a fire. Rich's ability to create spontaneous drum solos that matched and melded with the musical intricacies and intensity of big band scores was chief among his musical brilliance.
After the West Side Story Medley, Rich's most famous performance was the Channel One Suite by Bill Reddie. Like the West Side Story Medley, the Channel One Suite generally was a quite long performance ranging from about 12 minutes to about 26 minutes and usually contained 2 or 3 drum solos. Although 26 minute performances of the Channel One Suite were not incredibly common, they were not unheard of. A recording of one of his live performances was released in 2006 which contained a 26 minute Channel One Suite.[10]
In Italy, Rich's version of Winning the West was from 1973 to 1976 the musical theme of a weekly TV sports magazine broadcast, La domenica sportiva.
In the 1950s, Rich was a frequent guest on The Steve Allen Show and other television variety shows.[11] Beginning in 1962, Rich was also a frequent guest on Johnny Carson's Tonight Show and The Merv Griffin Show, among others, and appeared with his Big Band on British television, on Michael Parkinson's talk show Parkinson and on the Terry Wogan Show (the last on October 29, 1986, only a few months prior to his death).[12] Along with singer Buddy Greco and comedian George Carlin, Rich starred in a 1967 summer replacement television series called Away We Go.[13] One of his most widely seen television performances was in a 1981 episode[14] of The Muppet Show, where he engaged Muppet drummer "Animal" (played by Ronnie Verrell) in a drum battle. Rich also made guest appearances on the TV shows Here's Lucy and Hee Haw.
In an episode of Michael Parkinson's British talk show, Parkinson kidded Rich about his Donny Osmond kick, by claiming that Rich was the president of The Osmonds' fan club.[citation needed]
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Buddy was known as a performer and endorser of Slingerland Radio King, and Rogers Drums. He switched to Ludwig drums for much of the 1970s to the early 1980s. While recovering from a heart attack in 1959,[15] Rich was presented with an original Slingerland Radio King 5X14 wood snare drum completely reconditioned by the Eames drum company. Later, a mismatched Radio King set was completely refurbished for Rich and he used that set right up to his death in 1987. His typical setup included a 14"X26" bass drum, 9"X13" mounted tom, two 16"X16" floor toms (although he rarely used the second tom where he would simply place a towel on the surface), and a 5"X14" snare drum. His cymbals were typically Zildjian consisting of standard 14" hi hats, 20" ride, either a 6" or 8" splash, two 18" crashes, and a 20" swish.
Although Rich was usually helpful and friendly, he had a short temper. While he threatened many times to fire members of his band, he seldom did so, and for the most part he lauded his band members during television and print interviews. Dusty Springfield allegedly slapped Rich after several days of "putting up with Rich's insults and show-biz sabotage."[16][17]
In the Beastie Boys song "Sabotage", the lyrics "I'm Buddy Rich when I fly off the handle," referred to Rich's temper. Buddy Rich held a black belt in karate, as mentioned in a CNN television interview with Larry King, c. 1985.
Band member and lifelong friend David Lucas says that "Rich had a soft heart underneath it all. His favorite song was "It's Not Easy Being Green".
Rich's temper, mercurial attitude and imposing personality are documented in secret recordings that pianist Lee Musiker made during some of his tantrums on tour buses and backstage in the early 1980s.[18] These recordings, long circulated in bootleg form, have done much to fuel the reputation of Rich's personality. The tapes were popular with comedians Jerry Seinfeld and Larry David, who used three quotes from them more or less verbatim on Seinfeld:[19]
On one recording, Rich threatens to fire Dave Panichi, a trombonist, for wearing a beard.[20][21] Days before Rich died, he was visited by Mel Tormé, who claims that one of Rich's last requests was "to hear the tapes" that featured his angry outbursts.[citation needed] At the time, Tormé was working on an authorized biography of Rich which was released after Rich's death, titled Traps, The Drum Wonder: The Life of Buddy Rich.
Buddy Rich remained active performing until the end of his life. On April 2, 1987, Rich died of heart failure following surgery for a malignant brain tumor. He is interred in the Westwood Village Memorial Park Cemetery in Los Angeles. He was 69.
Since Rich's death, a number of memorial concerts have been held. In 1994, the Rich tribute album Burning for Buddy: A Tribute to the Music of Buddy Rich was released. Produced by Rush drummer/lyricist Neil Peart, the album features performances of Rich staples by a number of rock and jazz drummers such as Kenny Aronoff, Carl Palmer, Matt Sorum, Dave Weckl, Steve Gadd, Vinnie Colaiuta, Max Roach, Steve Smith, and Peart himself, accompanied by the Buddy Rich Big Band. A second volume was issued in 1997.
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Posthumous releases of previously unreleased recordings[link]
Notable compilation albums[link]
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Wikimedia Commons has media related to: Buddy Rich |
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Persondata | |
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Name | Rich, Buddy |
Alternative names | |
Short description | Jazz drummer and bandleader |
Date of birth | September 30, 1917 |
Place of birth | |
Date of death | April 2, 1987 |
Place of death |
Steve Coleman | |
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Steve Coleman in Paris, July 2004 |
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Background information | |
Born | (1956-09-20) September 20, 1956 (age 55) |
Origin | Chicago, IL, USA |
Genres | Jazz, M-Base |
Occupations | Saxophonist, composer, bandleader |
Instruments | Saxaphone |
Labels | JMT, Pangaea, Novus, BMG, Label Bleu, Pi |
Associated acts | Steve Coleman and Five Elements, M-Base Collective, Strata Institute |
Website | http://www.m-base.com/ |
Steve Coleman, born (1956-09-20) September 20, 1956 (age 55), is an African American saxophone player, spontaneous composer, composer and band leader. His music and concepts have been a heavy influence on contemporary jazz.[1]
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Steve Coleman grew up in one of the large African American neighbourhoods of the northern American big cities, the South Side of Chicago, where music (African American music) was "around all the time", just "part of the community" and "the sound of everything else".[2] As a child, he was "in these little singing groups, imitating the Jackson 5, singing in church or something like that"[2] and he started playing Alto-saxophone at the age of 14. About three years later he began to study the music of Charlie Parker (of whom his father was a fan), Sonny Rollins, John Coltrane and other masters of this music tradition. After spending two years at Illinois Wesleyan University, Coleman transferred to Roosevelt University (Chicago Music College) in downtown Chicago in order to concentrate on Chicago's musical nightlife. Specifically Coleman had been introduced to Chicago premier saxophonists Von Freeman, Bunky Green and others from whom he learned. He told: "When I was growing up and playing in Von Freeman's sessions, there were certain things that were important: Your sound, your groove, and how you express yourself. … There was always this criticism for not having a sound, not having a good groove, a lot of criticism on rhythm: This cat can't swing, he has no feel, etc. So, it's … a matter of learning this particular idiom from these masters who came before you. You have to get with what it is they're good at expressing. How to make it feel a certain way, how to blend, how to swing? You get cats talking about floating the rhythm, swinging the rhythm, and all these different terms".[3] - Steve Coleman also was in contact with Sonny Stitt whom he regards as one of the "cats like Sonny Rollins, Coltrane, Bird [Charlie Parker] … on that same level".[3] In addition to Freeman and others, Stitt was Coleman’s connection to the era of great players like Charlie Parker.[3]
In order to open up new opportunities for further developments, Coleman moved to New York in 1978 where he got, among other things, the experience of playing in big bands (in Thad Jones/Mel Lewis big band, Slide Hampton's big band, Sam Rivers’ Studio Rivbea Orchestra, briefly in Cecil Taylor's big band, and in several other big bands).[4] He found out that "there is a certain discipline that you get, especially a phrasing thing and learning how to play with large groups of people in a group. That carries over to what you do with a smaller group".[4] Soon he began cutting records as a sideman with well known figures like David Murray, Doug Hammond, Dave Holland, Mike Brecker, and Abbey Lincoln. For the first four years in New York Coleman spent a good deal of time playing in the streets and in tiny clubs with a band that he put together with trumpeter Graham Haynes, the group that would evolve into the ensemble Steve Coleman and Five Elements that would serve as the main ensemble for Coleman's activities. In this group, he developed his concept of improvisation within nested looping structures. Coleman joined some other young African American musicians like Cassandra Wilson and Greg Osby and they found the so-called M-Base movement.
Steve Coleman said that Charlie Parker has been "probably my biggest influence".[4] John Coltrane became a prototype to him too, in terms of his music as well as his approach and his further development. Coleman explained: “Charlie Parker, for me, was a extremely sophisticated blues player. He had a very sophisticated way of expressing the blues. It was like a … ‘space blues’ … very high science. And John Coltrane, for me, carried this more foreword into … I want to use the word “world music” but [not in terms of music from “third world countries”]. … John Coltrane wanted to do a kind of universal music, a music of all the people. And this idea influenced me a lot.”[5] - Among the living musicians in Coleman’s early days, Von Freeman influenced him most as an improviser, Sam Rivers influenced him most compositionally, and Doug Hammond was especially important to his conceptual thinking. But many other musicians influenced him too. – West African music (from Guinea coast; with its complex interlocked patterns) has been another huge influence on him since the late 1970s. This interest brought him in contact with ways of thinking in traditional non-western cultures which he began to study in the 1980s. - Coleman was also inspired by natural things like flight patterns of bees[6] and certainly there was the influence from the African American popular music Coleman heard in his youth, especially from James Brown.[7] – In the course of his career, many more influences have been added.
In 1985 Steve Coleman got the chance for his first recording as a leader (released by the German label JMT) and from then on he has recorded extensively (until 2003, since then less frequently). He also had a rather tight touring schedule that included mainly tours through Europe (e.g. averagely about 50 concerts per year in Europe in the time from 1995 to 1999).[8]
Coleman regards the music tradition he is coming from as African Diasporan culture with essential African retentions, especially a certain kind of sensibility. He searched for these roots and their connections of contemporary African American music. For that purpose, he travelled to Ghana at the end of 1993 and came in contact with (among others) the Dagomba (Dagbon) people whose traditional drum music uses very complex polyrhythm and a drum language that allows sophisticated speaking through music (described and recorded by John Miller Chernoff[9]). Thus, Coleman was animated to think about the role of music and the transmission of information in non-western cultures. He wanted to collaborate with musicians who were involved in traditions which come out of West Africa. One of his main interests was the Yoruba tradition (predominantly out of western Nigeria) which is one of the Ancient African Religions underlying Santeria (Cuba and Puerto Rico), Candomble (Bahia, Brazil) and Vodun (Haiti). In Cuba, Coleman found the group Afrocuba de Matanzas who specialized in preserving various styles of Rumba as well as all in Cuba persisting African traditions which are mixed together under the general title of Santeria (Abakua, Arara, Congo, Yoruba). In 1996 Coleman along with a group of 10 musicians as well as dancers and the group Afrocuba de Matanzas worked together for 12 days, performed at the Havana Jazz Festival, and recorded the CD The Sign and The Seal. In 1997 Coleman took a group of musicians from America and Cuba to Senegal to collaborate and participate in musical and cultural exchanges with the musicians of the local Senegalese group Sing Sing Rhythm. He also led his group Five Elements to the south of India in 1998 to participate in a cultural exchange with different musicians in the Karnatic music tradition.
The French computer-music research centre IRCAM offered Coleman to further develop his ideas in the form of interactive computer software at the IRCAM facilities in Paris with the aid of programmers and IRCAM technology. A concert in June 1999 featuring Coleman’s group interacting with what he calls his Rameses 2000 computer software program was the public result of this commission. However, there are no official recordings of this singular project available.
In 2000 Steve Coleman withdrew from performing and recording in order to travel extensively to India, Indonesia, Cuba and Brazil and he continued his research as an associate professor at the University of California at Berkeley in the years 2000 to 2002. He has conducted a lot of workshops[10] and he thinks of himself like a West African Griot, like a person that’s “documenting something in music, telling a story and passing information down” (Steve Coleman).[11] Trumpeter Jonathan Finlayson said about Coleman: “He’s a born teacher … he’s absolutely full of information.”[11]
The rhythms of Coleman's music of the 1990s were described in the literature as "circular and highly complex polymetric patterns which preserve their danceable character of popular funk rhythms despite their internal complexity and asymmetries. … On the scale of things, this is a very intelligent … music, a music which is hipper than any other music has been in a long time, a music which processes manifold stylistically experiences without abandoning its African American identity."[12] These rhythms are generated by overlapping rhythmic(-tonal) cycles of various, often “odd” (5, 7, 9 … beats) lengths interlocking like gear wheels in a very complex way.[13] The cycles are so long and their interaction is so complex that they appear unpredictable nevertheless well organized and grooving to the listener.[14] In order to communicate freely and expressively within these textures, the musicians must be able to hear these contrasting rhythms simultaneously[15] and that is challenging.[16] But the multilayered rhythmic-tonal textures heighten the possibilities for improvised interactivity[15] and their “odd” character is effective in the sense of the following statement of drummer Elvin Jones: „Some parts of Latin music are very rigid, as are some aspects of African rhythms. The flexibility comes from the number of people that are playing the rhythm. It is not always synchronized, so that gives it a certain movement that makes it more fluid. When I applied it, I opted for the fluidity rather than the static portion of the rhythms.”[17] Steve Coleman’s overlapping cycles of various, often “odd” lengths provide a very fluid (multilayered) basis for improvisation.
Trumpeter Graham Haynes said about Steve Coleman: “He ‘sings’ (on the saxophone) in his way. He’s got his own sound. He’s got a very particular kind of vibrato”.[18] Coleman prefers a subtle expression of timbre and concentrates more on the rhythmic, melodic, structural aspects of music versus timbral considerations using timbral elements as aids for expressing sophisticated rhythm-melodies. He wrote: “I feel strongly that the younger generation that is involved in creative music today are foregoing the detailed rhythmic and melodic developments demonstrated by the older masters (which take an incredible amount of concentration to develop) in favour of more ‘effects’. These trends tend to pendulum back and forth, as each generation reacts to the excesses of the previous generation by moving in the opposite direction.”[19]
One of the main principles at work in Coleman’s music is “balance and form”.[20] As an obvious kind of balance, he realizes symmetry through melody, rhythm, tonality, form, harmony and instrumentation. However, he works with these structures from a dynamic point of view, i.e. as they progress through time.[21] The process represented by the change between the various musical structures is a central aspect of his music.[22]
Though Coleman’s music is a highly structured, complex, “very intelligent music”[12] it is performed in a spontaneous, groove based way similar to dance and sports. Coleman wrote about these similarities between improvising in music and sports in an essay.[23] Among other things, there he described the art of varying the rhythms in subtle ways and seamlessly flowing from one rhythmic form to the next without any break in the forms as “can be observed in the most forms of dance of the people of the African Diaspora as well as sports like boxing, basketball, football, Capoeira, etc. where there is a smoothness to the shifts of direction that is based on timing”. He mentioned the necessity of a lot of specific preparation: “The various 'paths of possibilities' have been studied, worked out, analyzed and internalized, after which the mind and body have been trained to respond by reflex to the dynamic configurations as they develop in real time. … A finely tuned and constantly adjusting balance needs to be developed where one can respond in reflex to the changing musical conditions. … In the African Diaspora this balancing act is as much about style (i.e. how it is done) as it is about what is being done.”
Already in his first recordings, Coleman’s solos sounded somehow “other-worldly and yet familiar at the same time” due to the use of unconventional tones as “belonging to an alternate tonality”.[24] Since the second half of the 1990s he has used complex sounds based on an expanded, nevertheless not “free” but elaborated[25] tonality in his music. Coleman has constantly developed his music further. In 2009 he said: “What we (he with his band members) work on is the language itself. How things fit together, how to answer. It's just like church. … It's call and response, which has been going on since Africa, since forever. It's just that we have our own call and response patterns."[26]
Coleman has stated that he does not agree with “using categories to describe music today, in particular I don’t use the term Jazz. Preferring a more organic approach to music I use the term Spontaneous Composition.”[22] “I have never considered the music of people like Duke Ellington, Don Byas, Charlie Parker, Art Tatum, John Coltrane, Muhal Richard Abrams, Henry Threadgill – I have never considered this creative tradition ‘Jazz’.”[27]
Steve Coleman has been described as an indefatigable person who “constantly learns, studies, observes”, searches to “learn from others, from the world, from nature, and to transmit that knowledge, share his discoveries, his quest”, with an “incredible vitality that he generates on the music scene”.[28] – Coleman said: “The main thing that I consciously try to follow is things I find in nature, in universe. Basically I see the universe as sort of giant palette of forms within forms. So there are forms within forms, within forms, within forms … infinitely - apparent forms because these things are really continuums that approach something definable but never quite exactly become that (like an amoeba where there is an approximate shape with things like dropping and changing). … To me the beauty is the interaction of these forms. … I try to imitate that in my music pretty much. In trying to go for that I think a lot of different things from a lot of different perspectives. There is spiritual stuff, dreams, logic, figure-stuff … I use everything at my disposal … wild analogy whatever.”[29] “I listen to music all over the world and everywhere inside of my world … I use all these tools, imagination, feeling, dreams, intellect ….”[5]
Furthermore, Steve Coleman has stated that his main concern is the “use of music as a language of sonic symbols used to express the nature of man's existence. There extends back into ancient times musicians who have attempted to express through music the various visions and realities that they perceive, and for me this is the driving force behind many of the ‘so-called’ innovations in music (and indeed in other fields as well). I feel that the various tools and fields of inquiry that people have used (physics and metaphysics, number, language, music, dance, astronomy, etc.) are all related and present one holistic body of work. The various forms that my music assumes are not only intuitively inspired by but intuitively and logically determined by the human perception of ‘The Great Work’ (i.e. the creation of all Nature by the Universal Mind).
“One of the primary methods that I use to create my music is linked to two concepts: Sacred Geometry (the use of shapes to symbolically express natural principles), and Energy (the potential for change and change itself in physical, metaphysical and psychic phenomena, including Life, Growth, etc.). I use various kinds of musical structures to symbolize the Sacred Geometry and specific kinds of musical movement to reference the various states of Energy. In any event the concept of Change is central to my theory. It is the Change between the various musical structures that represents process, with the structures themselves being symbolic of various principles. I believe that it is through the Spontaneous Composition of forms that these ideas can be most readily expressed, regardless of external stylistic appearances. It is the movement that is important.
“These ideas, although rare, are not new in music. There have been musicians from virtually every culture that have worked in this areas as is documented in the earliest writings on music. Musicians as diverse as Johann Sebastian Bach, Bela Bartok and John Coltrane have stated similar ideas.”[22]
Already at the beginning of the 1990s Clarinettist and composer Don Byron regarded Steve Coleman as an exceptional personality of American music history.[30] In 2010 pianist Vijay Iyer (who was chosen as "Jazz Musician of the Year 2010" by the Jazz Journalists Association) said: “To me, Steve [Coleman] is as important as [John] Coltrane. He has contributed an equal amount to the history of the music. He deserves to be placed in the pantheon of pioneering artists.”[11] "It's hard to overstate Steve’s influence. He's affected more than one generation, as much as anyone since John Coltrane. It's not just that you can connect the dots by playing seven or 11 beats. What sits behind his influence is this global perspective on music and life. He has a point of view of what he does and why he does it."[31]
Many older CDs can be downloaded for free from Steve Coleman’s web site. There are also a lot of private concert-recordings distributed among aficionados.
With Sam Rivers
With Doug Hammond
With Abbey Lincoln
With Dave Holland
With Chico Freeman
With Billy Hart
With The Errol Parker Tentet
With David Murray
With Cassandra Wilson
With Geri Allen
With Michele Rosewoman
With Lonnie Plaxico
With The Roots
With Ravi Coltrane
With Anthony Tidd’s Quite Sane
The DVD „Elements of One“ by Eve-Marie Breglia shows Steve Coleman (and his band) in the years from 1996 to 2003 encountering: Von Freeman, Afro-Cuban musicians in Cuba, West-African and Afro-Cuban musicians in Senegal, rappers in the United States, Indian musicians in India, ancient Egyptian philosophy in Egypt, and a computer-music research centre in Paris. The DVD contains the 98 minutes long documentary and additional scenes (60 minutes).
The Dozens: Steve Coleman on Charlie Parker and several other essays can be found on Coleman’s web site.
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Name | Coleman, Steve |
Alternative names | |
Short description | |
Date of birth | 1956-09-20 |
Place of birth | |
Date of death | |
Place of death |
Tom Waits | |
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![]() Waits during an interview in Buenos Aires, Argentina, April 2007 |
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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.
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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.
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.
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".
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.
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.
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]
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.
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]
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Persondata | |
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Name | Waits, Tom |
Alternative names | |
Short description | American musician |
Date of birth | December 7, 1949 |
Place of birth | Pomona, California |
Date of death | |
Place of death |
John Mayer | |
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![]() Mayer at the Mile High Music Festival on July 20, 2008 |
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Background information | |
Birth name | John Clayton Mayer |
Born | (1977-10-16) October 16, 1977 (age 34) Bridgeport, Connecticut United States |
Genres | Pop rock, blues rock, acoustic rock, blue-eyed soul |
Occupations | Musician, songwriter, record producer, columnist, graphic designer, photographer, comedian, television host |
Instruments | Guitar, vocals, omnichord, piano, vibraphone, harmonica, percussion, clarinet, violin |
Years active | 1998 (1998)–present |
Labels | Arista, Aware, Columbia |
Associated acts | John Mayer Trio, Fall Out Boy |
Website | johnmayer.com |
Notable instruments | |
Fender Stratocaster Martin Guitars Gibson Guitars |
John Clayton Mayer ( /ˈmeɪ.ər/ MAY-ər;[1] (born October 16, 1977) is an American pop and blues rock musician, singer-songwriter, recording artist, and music producer.[2] Born in Bridgeport, Connecticut and raised in Fairfield, Connecticut, he attended Berklee College of Music in Boston. He moved to Atlanta in 1997, where he refined his skills and gained a following, and he now lives in New York City.[3][4] His first two studio albums, Room for Squares and Heavier Things, did well commercially, achieving multi-platinum status. In 2003, he won a Grammy Award for Best Male Pop Vocal Performance for "Your Body Is a Wonderland."[5]
Mayer began his career performing mainly acoustic rock, but gradually began a transition towards the blues genre in 2005 by collaborating with renowned blues artists such as B. B. King, Buddy Guy, and Eric Clapton, and by forming the John Mayer Trio. The blues influence can be heard throughout his 2005 live album Try! with the John Mayer Trio and his third studio album Continuum, released in September 2006. At the 49th Annual Grammy Awards in 2007 Mayer won Best Pop Vocal Album for Continuum and Best Male Pop Vocal Performance for "Waiting on the World to Change". He released his fourth studio album, Battle Studies, in November 2009. His fifth album, Born and Raised, was released on May 22, 2012. He has sold over 10 million albums in the U.S. and 20 million albums worldwide.
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John Clayton Mayer was born on October 16, 1977 in Bridgeport, Connecticut to Margaret, an English teacher, and Richard, a high school principal.[6] He grew up in Fairfield, Connecticut, the second of three children.[7] His father is Jewish, and Mayer has said that he "relat[es] to Judaism".[8] He attended Fairfield High School in Fairfield[9] although he was enrolled in the Center for Global Studies at Brien McMahon High School in Norwalk for his junior year (then known as the Center for Japanese Studies Abroad, it is a magnet program for students wanting to learn Japanese).[10]
After watching Michael J. Fox's guitar performance as Marty McFly in Back to the Future, Mayer became fascinated with the instrument, and when he turned 13, his father rented one for him.[11][12] A neighbor gave Mayer a Stevie Ray Vaughan cassette, which cultivated Mayer's love of blues music.[13]a[›] Mayer started taking lessons from a local guitar-shop owner, Al Ferrante, and soon became consumed with playing the instrument.[3][14] His singular focus concerned his parents, and they took him twice to see a psychiatrist—but Mayer was determined to be fine.[3][14] Mayer says that the contentious nature of his parents' marriage led him to "disappear and create my own world I could believe in".[3] After two years of practice, he started playing at blues bars and other venues in the area, while he was still in high school.[10][12] In addition to performing solo, he was a member of a band called Villanova Junction (named for a Jimi Hendrix song) with Tim Procaccini, Joe Beleznay, and Rich Wolf.[3][15] Mayer considered skipping college to pursue his music, but the disapproval of his parents dissuaded him from doing so.[3]
When Mayer was seventeen, he was stricken with cardiac dysrhythmia and was hospitalized for a weekend. Reflecting on the incident, Mayer said, "That was the moment the songwriter in me was born," and he penned his first lyrics the night he got home from the hospital.[4] Shortly thereafter, he began suffering from panic attacks, and lived with the fear of having to enter a mental institution.[3] He continues to manage such episodes with Xanax, an anti-anxiety drug.[4][16] After graduation, he worked for fifteen months at a gas station until he saved enough money to buy a 1996 Stevie Ray Vaughan signature Stratocaster.[17]
Mayer enrolled in the Berklee College of Music in Boston, Massachusetts, aged 19.[7] However, at the urging of his college friend an Atlanta, Georgia native, Clay Cook, he left school after two semesters and moved with Cook to Atlanta.[18] In Atlanta they formed a two-man band called LoFi Masters and began performing in local coffee houses and club venues such as Eddie's Attic.[12] According to Cook, they began to experience musical differences due to Mayer’s desire to move more towards pop music.[19] As a result, the two parted ways, and Mayer embarked on a solo career.[18]
With the help of local producer and engineer Glenn Matullo, Mayer recorded the independent EP Inside Wants Out. Cook co-wrote many of the songs from the EP including Mayer's first commercial single release, "No Such Thing".[19] The EP includes eight songs with Mayer on lead vocals and guitars. However, Cook's only contribution was backing vocals on the song "Comfortable". For the opening track, "Back To You", a full band was enlisted, including the EP’s co-producer David "DeLa" LaBruyere on bass guitars.[20] Mayer and LaBruyere then began to perform throughout Georgia and nearby states.
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Mayer’s reputation began to build, and a March 2000 appearance at South by Southwest brought him to the attention of "launch" label, Aware Records.[14][21][22] After including him in the Aware Festival concerts and having his songs included on Aware compilations, in early 2001, Aware released Mayer's internet-only album titled, Room for Squares. During this time, Aware inked a deal with Columbia Records that gave Columbia first pick in signing Aware artists, and so in September of the same year, Columbia remixed and re-released Room for Squares.[23] As part of the major label "debut", the album's artwork was updated, and the track "3x5" was added. The re-release also included reworked studio versions of the first four songs from his indie album, Inside Wants Out.[24]
By the end of 2002, Room for Squares had spawned several radio hits, including "No Such Thing," "Your Body Is a Wonderland", and ultimately, "Why Georgia". In 2003, Mayer won a Grammy for Best Male Pop Vocal Performance for "Your Body Is a Wonderland." In his acceptance speech he remarked, "This is very, very fast, and I promise to catch up."[25] He also figuratively referred to himself as being sixteen, a remark that many mistook to mean that he was only sixteen years old at the time.[26]
In 2003, Mayer released a live CD and DVD of a concert in Birmingham, Alabama titled Any Given Thursday. The concert featured songs previously not recorded, such as "Man on the Side" (co-written with Cook) and "Something's Missing", which later appeared on Heavier Things. The concert also included "Covered In Rain". According to the accompanying DVD documentary, this song is "part two" of the song "City Love", which features the line "covered in rain". Commercially, the album quickly peaked at number seventeen on the Billboard 200 chart. The CD/DVD received conservative, although consistent, praise, with critics torn between his pop-idol image, and (at the time) emerging guitar prowess. Erik Crawford (of Allmusic) asked "Is he the consummate guitar hero exemplified when he plays a cover of Stevie Ray Vaughan's 'Lenny', or is he the teen idol that the pubescent girls shriek for after he plays 'Your Body Is a Wonderland?'"[27][28]
Heavier Things, Mayer's second album, was released in 2003 to generally favorable reviews. Rolling Stone, Allmusic and Blender all gave positive, although reserved, feedback. PopMatters said that it "doesn't have as many drawbacks as one might assume".[29] The album was commercially successful, and while it did not sell as well as Room for Squares, it peaked at number one on the US Billboard 200 chart. Mayer earned his first number one single with the song "Daughters" as well as a 2005 Grammy for Song of the Year, beating out fellow contenders Alicia Keys and Kanye West. He dedicated the award to his grandmother, Annie Hoffman, who died in May 2004. He also won Best Male Pop Vocal Performance, beating Elvis Costello, Prince, and Seal for the award. In a February 9, 2009 interview on The Ellen DeGeneres Show, Mayer said that he thought he should not have won the Grammy for Song of the year because he thought that Alicia Keys' If I Ain't Got You was the better song. Because of this, he removed the top half of the Grammy and gave it to Keys, and kept the bottom part for himself. At the 37th Annual Songwriters Hall of Fame Induction Ceremony in 2006, Mayer was honored with the Hal David Starlight Award.[30]
Mayer again recorded live concerts across seven nights of his U.S. tour in 2004. These recordings were released to the iTunes Store under the title As/Is, indicating that the errors were included along with the good moments. A few months later, a "best of" CD was compiled from the As/Is nights. The album included a previously unreleased cover of Marvin Gaye's song "Inner City Blues (Make Me Wanna Holler)", featuring a solo from Mayer's support act, jazz and blues turntablist DJ Logic. All the album covers of the As/Is releases feature drawings of anthropomorphic bunnies.[31]
With increased exposure, Mayer's talent came into demand in other areas. Steve Jobs invited Mayer to perform during the keynote address of Apple's annual Macworld Conference & Expo, in January 2004, as Jobs introduced the software application GarageBand.[32] The gig led to Mayer becoming a fixture of the event. He rejoined Jobs on stage for a solo performance at Macworld 2007, following the announcement of the iPhone.[33] Mayer has also done endorsements, such as a Volkswagen commercial for the Beetle's guitar outlet and for the BlackBerry Curve.[34]
Mayer began to collaborate extensively, often working with artists outside of his own genre. He appeared on Common's song "Go!" and on Kanye West's "Bittersweet Poetry".b[›] Following these collaborations, Mayer received praise from rap heavyweights Jay-Z and Nelly.[35] When asked about his presence in the hip hop community, Mayer said, "It's not music out there right now. That's why, to me, hip-hop is where rock used to be."[36]
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It was around this time that Mayer began hinting a change in his musical interests, announcing that he was "closing up shop on acoustic sensitivity."[36] In 2005, he began a string of collaborations with various blues artists, including Buddy Guy, B.B. King, Eric Clapton, as well as jazz artist John Scofield. He also went on tour with legendary jazz pianist Herbie Hancock, which included a show at the Bonnaroo Music Festival in Manchester, Tennessee. These collaborations led to recordings with several of these artists, namely, Clapton (Back Home, Crossroads Guitar Festival), Guy (Bring 'Em In), Scofield (That's What I Say), and King (80). Although Mayer has maintained a reputation for being a sensitive singer-songwriter, he has also gained distinction as an accomplished guitarist, influenced by the likes of the above artists, as well as Eric Johnson, Jimi Hendrix, Stevie Ray Vaughan, Eric Clapton, Robert Cray, and Freddie King.[38]
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From the album Try! The first single, "Who Did You Think I Was?," lyrically underscores Mayer's decision to move away from acoustic pop music and towards blues, with lines such as, "Got a brand new blues that I can't explain."[39] This sample features an extended electric guitar solo.
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In the spring of 2005, Mayer formed the John Mayer Trio with bassist Pino Palladino and drummer Steve Jordan, both of whom he had met through previous studio sessions. The trio played a combination of blues and rock music. In October 2005, the Trio opened for The Rolling Stones during a sold-out club tour of their own,[40] and that November, released a live album called Try! The band took a break in mid-2006. In September 2006, Mayer announced plans for the Trio to begin work on a future studio album.[41]
Mayer's third studio album, titled Continuum, was released on September 12, 2006, and was produced by Mayer and Steve Jordan. Mayer suggested the album was intended to combine his signature pop music with the feel, sound, groove, and sensibilities of the blues. In that vein, two of the tracks from his Trio release Try!—"Vultures" and "Gravity"—also were included on Continuum.[7]
The first single from Continuum was "Waiting on the World to Change", which debuted on The Ron and Fez Show. The song was the third most downloaded song of the week on the iTunes Store following its release on July 11, 2006, and debuted at #25 on the Billboard Hot 100 Chart.
On August 23, 2006, Mayer debuted the entire album on the Los Angeles radio station Star 98.7, giving commentary on each track.[42] A subsequent version was released the next day on the Clear Channel Music website as a streaming sneak preview. On September 21, 2006, Mayer appeared on CSI: Crime Scene Investigation, playing "Waiting on the World to Change" and "Slow Dancing in a Burning Room." The song "Gravity" was featured on the television series House, in the episode "Cane & Able", and Numb3rs. He recorded a session for the British program Live from Abbey Road at Abbey Road Studios on October 22, 2006.
On December 7, 2006, Mayer was nominated for five 2007 Grammy Awards, including Album of the Year. The John Mayer Trio also received a nomination for their album, Try!. He won two: Best Pop Song with Vocal for "Waiting on the World to Change" and Best Pop Album for Continuum. Mayer remixed an acoustic version of his single "Waiting on the World to Change" with vocal additions from fellow musician Ben Harper. In preparation for recording Continuum, Mayer had booked the Village Recorder in Los Angeles to record five demo acoustic versions of his songs with veteran musician Robbie McIntosh. These recordings became The Village Sessions, an EP released on December 12, 2006. As usual, Mayer oversaw the artwork of the release.[43]
Mayer was featured on the cover of Rolling Stone (#1020) in February 2007, along with John Frusciante and Derek Trucks. He was named as one of the "New Guitar Gods," and the cover nicknamed him "Slowhand, Jr.," a reference to Eric Clapton.[38] Additionally, he was selected by the editors of Time magazine as one of the 100 Most Influential People of 2007 and was listed among artists and entertainers.[44]
On November 20, 2007, the re-issue of Continuum became available online and in stores. The release contains a bonus disc of six live songs from his 2007 tour: five from Continuum and a cover of the Ray Charles song "I Don't Need No Doctor".[45] His new single, "Say", also became available through iTunes. On December 6, 2007, "Belief" was nominated for Best Male Pop Vocal for the 50th Annual Grammy Awards. He accompanied Alicia Keys on guitar on her song "No One" at the ceremony.
In February 2008, Mayer hosted a three-day Caribbean cruise event that included performances with various musicians including David Ryan Harris, Brett Dennen, Colbie Caillat and Dave Barnes, among others. The event was called "The Mayercraft Carrier" and was held aboard the cruise ship known as the Carnival Victory.[46] A follow up cruise titled "Mayercraft Carrier 2" set sail from Long Beach, California from March 27–31, 2009 on the Carnival Splendor.
On July 1, 2008, Mayer released Where the Light Is, a live concert film of Mayer's performance at the Nokia Theatre L.A. Live on December 8, 2007. The film was directed by Danny Clinch. It features an acoustic set and a set with the John Mayer Trio, followed by a set with John's band from the Continuum album. The DVD and Blu-ray bonus material includes footage of Mayer backstage and playing outside on Mulholland Drive.[47]
Australian artist Guy Sebastian invited Mayer to collaborate on three songs from his 2009 album Like It Like That.[48] Mayer also played guitar on the title track of Crosby Loggins' debut LP, Time to Move, released on July 10, 2009.[49]
On July 7, 2009, Mayer performed an instrumental guitar version of Michael Jackson's "Human Nature" at Jackson's televised memorial service.[50]
On November 17, 2009, Mayer's fourth studio album, Battle Studies, was released and debuted at number one on the U.S. Billboard 200 album chart.[51] The album consists of 11 tracks with a total time of 45 minutes. The first single from the album, "Who Says", was released on September 24, 2009 in advance of album, and was followed on October 19 by the single "Heartbreak Warfare" and the single "Half of My Heart" released on June 21, 2010. Despite the album's commercial success, critics were mixed with their praise; while some reviews were glowing, calling it his "most adventurous",[52][53] others called the album "safe" and noted that "Mayer the singer-songwriter and Mayer the man about town sometimes seem disconnected, like they don’t even belong in the same body."[3][54][55][56]
Mayer admitted to Rolling Stone that he thought Battle Studies was not his best album.[57][58]
Early reports indicated that the follow-up to Battle Studies would be called Born and Raised, and would be released in October 2011.[59]
On September 16, 2011 Mayer posted on his blog that his new record, Born and Raised, was being delayed due to granulomas discovered in his throat. The granulomas were found next to the vocal cords and are treatable. Mayer described this as a "temporary setback" and that recording and mixing of "Born and Raised" was entirely finished except for a few remaining vocal tracks. He expects the album to be out in early 2012.[60]
On October 20, 2011 Mayer updated his fans about the treatment of his throat granuloma, announcing that he "had surgery this afternoon to remove it and am now on complete vocal rest for a month or more", during which he plans to "travel the country, look, and listen."[60]
The first single from Born and Raised, called "Shadow Days" was released on February 27, 2012
On February 28, 2012 John Mayer released the track listing for the album and announced that Born and Raised would be released on May 22, 2012.[61]
On March 9, 2012 Mayer announced on his blog that due to the return of a serious throat condition, he has been forced to cancel his tour and refrain from all singing indefinitely.[62]
In 2002, Mayer began the "Back to You" Fund, a nonprofit organization that focuses on fundraising in the areas of health care, education, the arts, and talent development. The foundation raises funds through the auction of exclusive John Mayer items, such as guitar picks, T-shirts, and signed CDs, made available on Mayer's auction site. The auctions have been successful, with some tickets selling for more than seventeen times their face value.[63][64]
Mayer participated at the East Rutherford, New Jersey location of the Live Earth project, a musical rally to support awareness for global warming held July 7, 2007.[65] He converted his tour bus to bio-diesel fuel.[66]
Mayer has performed at a number of benefits and telethons for charity throughout his career. In response to the Virginia Tech massacre, Mayer (along with Dave Matthews Band, Phil Vassar, and Nas) performed a free concert at Virginia Tech's Lane Stadium on September 6, 2007.[67] On December 8, 2007, Mayer hosted the first annual Charity Revue, a tradition he has continued each year. Charities who have benefited from the concerts include Toys for Tots, Inner City Arts, and the Los Angeles Mission.[68] Both CDs and DVDs of the first concert were released under the title Where the Light Is in July 2008. It has not been announced whether the DVD proceeds will go to charity or not.[69] Mayer appeared on Songs for Tibet: The Art of Peace, a celebrity initiative to support Tibet and the 14th Dalai Lama, Tenzin Gyatso.[70]
"I'm actually into sneakers on a design level. I've got a big design thing going on in my life right now ... I love designing stuff. I mean, my biggest dream, forget Grammys, I want to be able to design an Air Max."
In a Rolling Stone interview, Mayer recalled that after former Columbia Records head, Don Ienner, panned Continuum, he briefly considered quitting music and studying design full time.[4] In 2003, Martin Guitars gave Mayer his own signature model acoustic guitar called the OM-28 John Mayer.[72] The guitar was limited to a run of only 404, an Atlanta area code.[73] This model was followed by the release of two Fender signature Stratocaster electric guitars, beginning in 2005. A third Stratocaster, finished in charcoal frost metallic paint with a racing stripe, was also a limited-release, with only 100 guitars made. In January 2006, Martin Guitars released the Martin OMJM John Mayer acoustic guitar. The guitar was intended to have many of the attributes of the Martin OM-28 John Mayer but with a more affordable price tag.[74] In August 2006, Fender started manufacturing SERIES II John Mayer Stratocasters. The new Olympic white with mint green pickguard and cream plastics replaced the shoreline gold model.[75]
In January 2007, Two Rock collaborated with Mayer on custom-designed amps. Only 25 (all signed by Mayer himself) were made available to the public.[76][77] June 2007 saw the release of the "album art" guitar, with the Continuum motif repeated on the face of the instrument,[78] as well as a 500-run John Mayer signature Fender Stratocaster in Cypress-Mica, including the limited Cypress-Mica model was the INCSvsJM gig bag on which Mayer collaborated with Incase designs. In 2006, Mayer was estimated to have more than 200 guitars in his personal collection.[4] In 2010, Fender announced a production model of Mayer's "The Black One" guitar.[79]
With the June 1, 2004, issue of Esquire, Mayer began a column called "Music Lessons with John Mayer". Each article featured a lesson and his (often humorous) take on various topics, both of personal and popular interest. In the August 2005 issue, he invited readers to create music for orphaned lyrics he had written.[80] The winner was Tim Fagan of L.A., as announced in the following January's issue.[81]
Mayer has been active online, and has maintained four blogs: a Myspace page, a blog at his official site, another at Honeyee.com, one at tumblr.com, and a photoblog at StunningNikon.com. He also is one of the most-followed persons on the micro-blogging site Twitter,[82] reaching 3 million followers in January 2010. Although his posts often deal with career-related matters, they also contain jokes, videos, photos, his convictions, and his personal activities; they sometimes overlap in content. He is noted for writing the blogs himself, and not through a publicist.[16][44] On January 23, 2008, he posted a graphic that read, "Done & Dusted & Self Conscious & Back to Work." on his official blog, followed by the quote "There is danger in theoretical speculation of battle, in prejudice, in false reasoning, in pride, in braggadocio. There is one safe resource, the return to nature..";c[›] all the previous blog entries were deleted.[83]
In the mid-2000s he did stand-up comedy sporadically[82] making random appearances at the famed Comedy Cellar in New York and at other venues. He stated that it helped him write better but that increased media attention made him too careful in his technique.[4]
He co-wrote "Worlds of Chance" with Demi Lovato for her second album Here We Go Again.
In 2004, Mayer hosted a one-shot, half-hour comedy special on VH1 titled John Mayer Has a TV Show, with antics including wearing a bear suit while anonymously teasing concertgoers in the parking lot outside one of his concerts. The American network CBS announced on January 14, 2009 that they were in negotiations with Mayer for a variety show; it may air as a special or as a regular series.[84][85] In an interview with Rolling Stone, posted online on January 22, 2010, Mayer confirmed that the program, also called John Mayer Has a TV Show, was still in development, and that personnel were being hired. He described the concept as "a high quality music performance show, where I could also steer it a little bit. It's about there being a bastion of artists being made to look good and sound good.".[86]
Mayer has made many appearances on talk shows and other television programs, most notably, on a Chappelle's Show comedy skit, Late Night with David Letterman and on the final episode of Late Night with Conan O'Brien. Mayer made an appearance with Rob Dyrdek in the MTV show Rob Dyrdek's Fantasy Factory.
Mayer has written the theme song to the upcoming show Rollin' with Zach on the OWN network.
Mayer has toured with many musical groups, including Maroon 5,[87] Guster, Howie Day, Mat Kearney, Counting Crows,[88] Ben Folds, The Wallflowers, Teitur,[89] Brett Dennen, Sheryl Crow, Colbie Caillat, Train, Ellie Goulding, OneRepublic and Paramore. Crow and Mayer, who had just previously appeared on the Cars Soundtrack together, co-headlined a tour that ran from August to October 2006.[90] In 2007, Mayer toured Europe, hoping to reach the popularity abroad that he enjoys in North America.[91] The initial North American Continuum tour ended on February 28, 2007, with a show at Madison Square Garden, a performance which the New York Post described as "career-defining."[92] In 2010, Mayer and Keith Urban performed at a CMT Crossroads concert which saw Mayer and Urban performing a medley of their own songs together and a rendition of George Michael's single, "Faith". This performance was led to Urban and Mayer teaming up again for future performances, including at the 2010 CMT Music Awards.
Mayer allows audio taping at most of his live performances, and he also allows for the non-commercial trading of those recordings. He does this to give fans the opportunity to recreate the live experience, and to encourage fan interaction.[93]
Mayer often shows up at small venues unannounced (or with little advance notice) for surprise concerts—occasionally for free or without accepting the performance fee.[94][95][96][97] He has made appearances throughout the Los Angeles, Atlanta and New York areas, including shows at The Laugh Factory,[98] Eddie's Attic,[99] and the Village Underground.[97] His latest surprise appearance was on January 8, 2011 at Hotel Cafe where he played seven new unreleased songs. In 2004, after being asked for numerous past years, he performed for over 1000 students at the Pennsbury High School Senior Prom. Wonderland, a book written by Micheal Bamberger, describes the world- famous prom and John Mayer's performance.
Mayer has a number of tattoos. These include: "Home" and "Life" (from the song title) on the back of his left and right arms respectively, "77" (his year of birth) on the left side of his chest, and a koi-like fish on his right shoulder. His entire left arm is covered in a sleeve tattoo that he acquired gradually, ending in April 2008; it includes: "SRV" (for his idol, Stevie Ray Vaughan) on his shoulder, a decorated rectangle on his biceps, a dragon-like figure on his inner arm, and various other floral designs. In 2003, he got a tattoo of three squares on his right forearm, which, he has explained, he will fill in gradually.[100]
Mayer has followed the discipline of Krav Maga.[101][102][103] He is an avid collector of watches and owns timepieces worth tens of thousands of dollars.[104][105] Mayer also has an extensive collection of sneakers, estimated (in 2006[update]) at more than 200 pairs.[4][106]
Mayer's parents concluded an uncontested divorce on May 27, 2009.[107] After the divorce, Mayer moved his (82-year-old) father to an assisted-living facility in Los Angeles.[3]
In September 2011, according to a Rolling Stone magazine article, Mayer has granuloma in his throat which must be treated surgically – this has caused him to cancel various planned shows.[108]
Mayer sold his home in the Los Angeles suburbs in 2011.[3][4][109] He also recently sold his apartment in New York City's SoHo neighborhood and moved to Montana following his throat surgery where he has purchased a home.[110]
In April 2010 Mayer gave a controversial interview to Playboy magazine, in which he made sexually explicit comments about former girlfriends Jessica Simpson and Jennifer Aniston. It was alleged that one remark he made in the interview was racist.[111] He later apologized onstage for these statements.[112]
Despite assertions that he would not be doing any more press,[86] an interview with Playboy magazine (posted to their website on February 10, 2010) set off accusations in the media and on Twitter of his being a misogynist, kiss-and-tell ex-boyfriend, and racist.[101][113] He apologized via Twitter for his use of the word "nigger," saying, "It was arrogant of me to think I could intellectualize...a word that is so emotionally charged."[114] He also tearfully apologized to his band and fans at his concert in Nashville later that night.[115] Mayer was dubbed an "accidental racist" by comedian, Kumail Nanjiani.[116]
Mayer has won seven awards from eighteen nominations.
Year | Awardee | Category | Result |
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2003 | John Mayer | Best New Artist | Nominated |
"Your Body Is a Wonderland" | Best Male Pop Vocal Performance | Won | |
2005 | "Daughters" | Song of the Year | Won |
Best Male Pop Vocal Performance | Won | ||
2007 | Continuum | Album of the Year | Nominated |
Best Pop Vocal Album | Won | ||
Try! | Best Rock Album | Nominated | |
"Waiting on the World to Change" | Best Male Pop Vocal Performance | Won | |
"Route 66" | Best Male Rock Vocal Performance | Nominated | |
2008 | "Belief" | Best Male Pop Vocal Performance | Nominated |
2009 | "Say" | Best Male Pop Vocal Performance | Won |
Best Song Written for a Motion Picture, Television or Other Visual Media | Nominated | ||
"Gravity" | Best Male Rock Vocal Performance | Won | |
"Lesson Learned" | Best Pop Collaboration with Vocals | Nominated | |
Where the Light Is: John Mayer Live in Los Angeles | Best Long Form Music Video | Nominated | |
2011 | Battle Studies | Best Pop Vocal Album | Nominated |
"Half of My Heart" | Best Male Pop Vocal Performance | Nominated | |
"Crossroads" | Best Solo Rock Vocal Performance | Nominated |
Year | Award | Category |
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2002 | MTV Video Music Awards |
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Orville H. Gibson Guitar Awards |
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VH1 Big in 2002 Awards |
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Pollstar Concert Industry Awards |
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2003 | 20th Annual ASCAP Awards |
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31st Annual American Music Awards |
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15th Annual Boston Music Awards |
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MTV Video Music Awards |
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Radio Music Awards |
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Teen People Awards |
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Danish Music Awards |
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2004 | BDS Certified Spin Awards March 2004 recipients |
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2005 | 33rd annual American Music Awards |
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World Music Awards |
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People's Choice Awards |
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2007 | 35th Annual American Music Awards |
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23rd Annual TEC Awards |
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^ a: Generally, it was believed that Mayer's father, a Bridgeport High School principal, had given him a tape player (confiscated from a student) that happened to contain Stevie Ray Vaughan album. However, in a 2006 interview on the New Zealand show Close Up (and other interviews), Mayer said that this wasn't true.[13]
^ b: "Bittersweet Poetry" was released in the summer of 2007 (three years after its creation) as an iTunes pre-order bonus track to the album Graduation.
^ c: The quote is taken from the posthumously-published book Battle Studies by Colonel Ardant Du Picq (d. 1870)[119]
^ d: His actual words were: "Jessica はとても素敵な女性で、一緒に居られて最高です。" In Romanized script, he said "Jessica wa totemo suteki na josei de, issho ni irarete saikō desu."
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Persondata | |
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Name | Mayer, John Clayton |
Alternative names | Mayer, Johnny |
Short description | Guitarist and singer/songwriter |
Date of birth | October 16, 1977 |
Place of birth | Bridgeport, Connecticut, U.S. |
Date of death | |
Place of death |