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#A | A B C D E F G H I J K L M N O P Q R S T U V W X Y Z __NOTOC__ |
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* Philosophers, American American Philosophers
fr:Liste des philosophes américains ro:Lista filozofilor americaniThis text is licensed under the Creative Commons CC-BY-SA License. This text was originally published on Wikipedia and was developed by the Wikipedia community.
Coordinates | 12°2′36″N77°1′42″N |
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{{infobox philosopher | region | Western Philosophers |
era 20th-century philosophy |
color #B0C4DE |
image_name EricVoegelin.jpg| image_size 200px | caption Eric Voegelin | name Eric Voegelin |
birth date | 3 January 1901 |
birth place | Cologne, Germany |
death date | 19 January 1985 |
death place | Stanford, California, USA |
school tradition | Western Philosophy | main_interests History, Consciousness, Religion, Political Science | influences Plato, Aristotle, Augustine, Thomas Aquinas, Church Fathers, Alfred North Whitehead, Karl Kraus, Ernst Cassirer, Karl Jaspers, Hans Urs von Balthasar, Henri de Lubac, Hans Jonas, William James, Ludwig von Mises, Hans-Georg Gadamer, John Fortescue, Giambattista Vico, George Santayana, Paul Valéry, Jean Bodin, Leo Strauss | influenced Russell Kirk, William F. Buckley, Jr., Leo Strauss, Charles R. Embry, Gerhard Niemeyer, David Walsh, Ellis Sandoz, Mendo Castro Henriques }} |
Eric Voegelin, born Erich Hermann Wilhelm Vögelin, (3 January 1901 – 19 January 1985) was a German-born American political philosopher. He was born in Cologne, then Imperial Germany, and educated in political science at the University of Vienna. He became a teacher and then an associate professor of political science at the Faculty of Law. In 1938 he, with his wife, fled from the Nazi forces which had recently entered Vienna, emigrating to the United States, where they became citizens in 1944. He spent most of his academic career at the University of Notre Dame, Louisiana State University, the University of Munich and the Hoover Institution of Stanford University.
Voegelin remained in Baton Rouge until 1958 when he accepted an offer by Munich's Ludwig-Maximilians-Universität to fill Max Weber's former chair in political science, which had been empty since Weber's death in 1920. In Munich he founded the Institut für Politische Wissenschaft. Voegelin returned to America in 1969 to join Stanford University's Hoover Institution on War, Revolution and Peace as Henry Salvatori Fellow where he continued his work until his death on 19 January 1985.
Voegelin published scores of books, essays, and reviews in his lifetime. An early work was ''Die politischen Religionen'' (1938), (''The Political Religions''), on totalitarian ideologies and their structural similarities to religion. His ''magnum opus'' is the multi-volume (English-language) ''Order and History'', which began publication in 1956 and remained incomplete at the time of his death 29 years later. His 1951 Charles Walgreen lectures, published as ''The New Science of Politics'', is generally seen as a prolegomenon to this, and remains his best known work. He left many manuscripts unpublished, including a history of political ideas that has since been published in eight volumes.
''Order and History'' was originally conceived as a six-volume examination of the history of order occasioned by Voegelin's personal experience of the disorder of his time. The first three volumes, ''Israel and Revelation'', ''The World of the Polis'', and ''Plato and Aristotle'', appeared in rapid succession in 1956 and 1957 and focused on the evocations of order in the ancient Near East and Greece.
Voegelin then encountered difficulties that slowed the publication down. This, combined with his university administrative duties and work related to the new institute, meant that seventeen years separated the fourth from the third volume. His new concerns were indicated in the 1966 German collection Anamnesis: ''Zur Theorie der Geschichte und Politik'', and the fourth volume, ''The Ecumenic Age'', appeared in 1974. It broke with the chronological pattern of the previous volumes by investigating symbolizations of order ranging in time from the Sumerian King List to Hegel. Continuing work on the final volume, ''In Search of Order'', occupied Voegelin's final days and it was published posthumously in 1987.
One of Voegelin's main points in his later work is that a sense of order is conveyed by the experience of transcendence. This transcendence can never be fully defined nor described, though it may be conveyed in symbols. A particular sense of transcendent order serves as a basis for a particular political order. It is in this way that a philosophy of politics becomes a philosophy of consciousness. Insights may become fossilised as dogma. The main aim of the political philosopher is to remain open to the truth of order, and convey this to others.
Voegelin is more interested in the ontological issues that arise from these experiences than the epistemological questions of how we know that a vision of order is true or not. For Voegelin, the essence of truth is trust. All philosophy begins with experience of the divine. Since God is experienced as good, one can be confident that reality is knowable. As Descartes would say, God is not a deceiver.
Voegelin's work does not fit in any standard classifications, although some of his readers have found similarities in it to contemporaneous works by, for example, Ernst Cassirer, Ludwig Wittgenstein, Martin Heidegger, and Hans-Georg Gadamer. He has a sometimes unapproachable style and a heavy reliance upon extensive background knowledge. Voegelin often invents terms or uses old ones in new ways. However, there are patterns in his work with which the reader can quickly become familiar.
Among indications of growing engagement with Voegelin's work are the 305 page international bibliography published in 2000 by Munich's Wilhelm Fink Verlag; the presence of dedicated research centers at universities in the United States, Germany, Italy, and the United Kingdom; the appearance of recent translations in languages ranging from Portuguese to Japanese; and the publishing of the nearly complete 34 volume collection of his primary works by the University of Missouri Press and various primary and secondary works offered by the ''Eric-Voegelin-Archiv'' of Ludwig-Maximilians-Universität.
Apart from the Classical Christian writers against heresy, his sources on Gnosticism were secondary, since the texts in the Nag Hammadi library were not yet widely available. For example Voegelin uses Hans Urs von Balthasar, Henri de Lubac, and the Jewish German philosopher Hans Jonas.
Voegelin perceived similarities between ancient Gnosticism and modernist political theories, particularly communism and nazism. He identified the root of the Gnostic impulse as alienation, that is, a sense of disconnection from society and a belief that this lack is the result of the inherent disorder, or even evil, of the world. This alienation has two effects:
According to Voegelin the Gnostics are really rejecting the Christian eschaton of the kingdom of God and replacing it with a human form of salvation through esoteric ritual or practice.
The primary feature that characterizes a tendency as gnostic for Voegelin is that it is motivated by the notion that the world and humanity can be fundamentally transformed and perfected through the intervention of a chosen group of people (an elite), a man-god, or men-Gods, Übermensch, who are the chosen ones that possess a kind of special knowledge (like magic or science) about how to perfect human existence.
This stands in contrast to a notion of redemption that is achieved through the reconciliation of mankind with the divine. Marxism therefore qualifies as "gnostic" because it purports that we can establish the perfect society on earth once capitalism has been overthrown by the "proletariat." Likewise, Nazism is seen as "gnostic" because it posits that we can achieve utopia by attaining racial purity, once the master race has freed itself of the racially inferior and the degenerate.
In the two cases specifically analyzed by Voegelin, the totalitarian impulse is derived from the alienation of the individuals from the rest of society. This leads to a desire to dominate (''libido dominandi'') which has its roots not just in the Gnostic's conviction of the imperative of his vision but also in his lack of concord with a large body of his society. As a result, there is very little regard for the welfare of those who are harmed by the resulting politics, which ranges from coercive to calamitous (e.g. the Russian proverb: "You have to crack a few eggs to make an omelet").
One of his most quoted passages is the following:
The problem of an eidos in history, hence, arises only when a Christian transcendental fulfillment becomes immanentized. Such an immanentist hypostasis of the eschaton, however, is a theoretical fallacy.
From this comes the catchphrase: "Don't immanentize the eschaton!" which simply means: "Do not try to make that which belongs to the afterlife happen here and now." or "Don't try to create heaven on earth."
When Voegelin uses the term gnosis negatively, it is to reflect the word as found in the Manichaeism and Valentinianism of antiquity. As it is later then immanentized (or manifest) in modernity in the wake of Joachim of Fiore and in the various ideological movements outlined in his works. Voegelin also builds on the term gnosticism as it is defined by Hans Jonas in his ''The Gnostic Religion'' in reference to Heidegger's gnosticism. Which is to have an understanding and control over reality that makes Mankind as powerful as the role of God in reality.
Voegelin was arguing from a Hellenistic position that good gnosis is derived from pistis (faith) and that the pagan tradition made a false distinction between faith and noesis. Furthermore, this dualist perspective was the very essence of gnosticism via the misuse of Noema and caused a destructive division between the internal and external world in human consciousness. To reconcile the internal (subjective) and external (objective) world of consciousness was the restoration of order.
Voegelin’s conception of ''gnosis'' and his analysis of Gnosticism in general has been criticized by Eugene Webb. In an article entitled "Voegelin’s Gnosticism Reconsidered," Webb explains that Voegelin’s concept of Gnosticism was conceived "not primarily to describe ancient phenomena but to help us understand some modern ones for which the evidence is a great deal clearer." Webb continues, "the category (of Gnosticism) is of limited usefulness for the purpose to which he put it…and the fact that the idea of Gnosticism as such has become so problematic and complex in recent years must at the very least undercut Voegelin’s effort to trace a historical line of descent from ancient sources to the modern phenomena he tried to use them to illuminate."
Category:1901 births Category:1985 deaths Category:American philosophers Category:American political scientists Category:Anti-Gnosticism Category:German philosophers Category:German political scientists Category:People from Cologne Category:People from the Rhine Province Category:People who emigrated to escape Nazism Category:University of Vienna alumni Category:Louisiana State University faculty Category:Ludwig Maximilian University of Munich faculty Category:Stanford University people
cs:Eric Voegelin de:Eric Voegelin es:Eric Voegelin fr:Eric Voegelin it:Eric Voegelin ja:エリック・フェーゲリン pl:Eric Voegelin pt:Eric Voegelin sk:Eric VoegelinThis text is licensed under the Creative Commons CC-BY-SA License. This text was originally published on Wikipedia and was developed by the Wikipedia community.
Coordinates | 12°2′36″N77°1′42″N |
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name | Jim Morrison |
background | solo_singer |
birth name | James Douglas Morrison |
alias | Mr. Mojo Risin' (anagram of "Jim Morrison"), The Lizard King |
born | December 08, 1943Melbourne, Florida, United States |
died | July 03, 1971Paris, France |
genre | Psychedelic rock, blues rock, acid rock, rock and roll, hard rock |
occupation | musician, songwriter, poet, filmmaker, actor |
instrument | Vocals, Piano |
years active | 1963–1971 |
label | Elektra, Columbia |
associated acts | The DoorsRick & the Ravens |
website | thedoors.com }} |
James Douglas "Jim" Morrison (December 8, 1943 – July 3, 1971) was an American lead singer and lyricist of the rock band The Doors, as well as a poet. After The Doors' explosive rise to fame in 1967, Morrison developed a severe alcohol and drug dependence which culminated in his death in Paris in 1971 at age 27, due to a suspected heroin overdose. However the events surrounding his death continue to be the subject of controversy, as no autopsy was performed on his body after death and the exact cause of his death is disputed by many to this day.
Jim Morrison would often improvise poem passages while the band played live, which was his trademark. He is widely regarded, with his wild personality and performances, as one of the most iconic, charismatic and pioneering frontmen in rock music history. Morrison was ranked number 47 on ''Rolling Stone's'' "100 Greatest Singers of All Time", and number 22 on ''Classic Rock Magazine's'' "50 Greatest Singers In Rock".
In 1947, Morrison, then four years old, allegedly witnessed a car accident in the desert, where a family of American Indians were injured and possibly killed. He referred to this incident in a spoken word performance on the song "Dawn's Highway" from the album ''An American Prayer'', and again in the songs "Peace Frog" and "Ghost Song."
Morrison believed the incident to be the most formative event of his life, and made repeated references to it in the imagery in his songs, poems, and interviews. His family does not recall this incident happening in the way he told it. According to the Morrison biography ''No One Here Gets Out Alive'', Morrison's family did drive past a car accident on an Indian reservation when he was a child, and he was very upset by it. The book ''The Doors'', written by the remaining members of The Doors, explains how different Morrison's account of the incident was from the account of his father. This book quotes his father as saying, "We went by several Indians. It did make an impression on him [the young James]. He always thought about that crying Indian." This is contrasted sharply with Morrison's tale of "Indians scattered all over the highway, bleeding to death." In the same book, his sister is quoted as saying, "He enjoyed telling that story and exaggerating it. He said he saw a dead Indian by the side of the road, and I don't even know if that's true."
With his father in the United States Navy, Morrison's family moved often. He spent part of his childhood in San Diego. In 1958, Morrison attended Alameda High School in Alameda, California. He graduated from George Washington High School (now George Washington Middle School) in Alexandria, Virginia, in June 1961. His father was also stationed at Mayport Naval Air Station in Jacksonville, Florida.
Morrison was inspired by the writings of philosophers and poets. He was influenced by Friedrich Nietzsche, whose views on aesthetics, morality, and the Apollonian and Dionysian duality would appear in his conversation, poetry and songs. He read "Plutarch’s Lives of the Noble Greeks" (''Parallel Lives''). He also read the French Symbolist poet Arthur Rimbaud, whose style would later influence the form of Morrison’s short prose poems. He was also influenced by Jack Kerouac, Allen Ginsberg, Lawrence Ferlinghetti, Kenneth Patchen, Michael McClure and Gregory Corso. His English teacher once commented, "I felt that Jim was the only one in the class who read Ulysses, and understood it." Honoré de Balzac, Jean Cocteau, and Molière also interested Morrison, along with most of the French existentialist philosophers. His senior-year English teacher said that, "Jim read as much and probably more than any student in class, but everything he read was so offbeat I had another teacher, who was going to the Library of Congress, check to see if the books Jim was reporting on actually existed. I suspected he was making them up, as they were English books on sixteenth- and seventeenth-century demonology. I’d never heard of them, but they existed, and I’m convinced from the paper he wrote that he read them, and the Library of Congress would’ve been the only source."
Morrison went to live with his paternal grandparents in Clearwater, Florida, where he attended classes at St. Petersburg Junior College. In 1962, he transferred to Florida State University (FSU) in Tallahassee, where he appeared in a school recruitment film. While attending FSU, Morrison was arrested for a prank, following a home football game.
In January 1964, Morrison moved to Los Angeles, to attend the University of California, Los Angeles (UCLA). He attended Jack Hirschman's class on Antonin Artaud in the Comparative Literature program within the UCLA English Department. Artaud's brand of surrealist theatre had a profound impact on Morrison's dark poetic sensibility of cinematic theatricality.
Morrison completed his undergraduate degree at UCLA's film school and the Theater Arts department of the College of Fine Arts in 1965. In an early display of rebellion, he refused to attend the graduation ceremony, his degree diploma being mailed to him. He made two films while attending UCLA. ''First Love'', the first of these films, made with Morrison's classmate and roommate Max Schwartz, was released to the public when it appeared in a documentary about the film ''Obscura''. During these years, while living in Venice Beach, he became friends with writers at the ''Los Angeles Free Press''. Morrison was an advocate of the underground newspaper until his death in 1971. He later conducted a lengthy and in-depth interview with Bob Chorush and Andy Kent, both working for the Free Press at the time (January 1971), and was planning on visiting the headquarters of the busy newspaper shortly before leaving for Paris.
The Doors took their name from the title of Aldous Huxley's ''The Doors of Perception'' (a reference to the "unlocking" of "doors of perception" through psychedelic drug use). Huxley's own title was a quotation from William Blake's ''The Marriage of Heaven and Hell'', in which Blake wrote: "If the doors of perception were cleansed everything would appear to man as it is, infinite."
Although Morrison is known as the lyricist for the group, Krieger also made significant lyrical contributions, writing or co-writing some of the group's biggest hits, including "Light My Fire", "Love Me Two Times", "Love Her Madly" and "Touch Me". On the other hand, Morrison, who didn't write songs using an instrument, would come up with melodies for his own lyrics, with the other band members contributing chords and rhythm. He didn't play any instrument live (except for maracas on a few occasions) or in the studio, but he played the piano on "Orange County Suite".
In June 1966, Morrison and The Doors were the opening act at the Whisky a Go Go on the last week of the residency of Van Morrison's band Them. Van's influence on Jim's developing stage performance was later noted by John Densmore in his book ''Riders On The Storm'': "Jim Morrison learned quickly from his near-namesake's stagecraft, his apparent recklessness, his air of subdued menace, the way he would improvise poetry to a rock beat, even his habit of crouching down by the bass drum during instrumental breaks." On the final night, the two Morrisons and the two bands jammed together on "Gloria".
The Doors achieved national recognition after signing with Elektra Records in 1967. The single "Light My Fire" eventually reached number one on the ''Billboard'' Pop Singles chart. Later, The Doors appeared on ''The Ed Sullivan Show'', a popular Sunday night variety series that had introduced The Beatles and Elvis Presley to the nation. Ed Sullivan requested two songs from The Doors for the show, "People Are Strange", and "Light My Fire". The censors insisted that they change the lyrics of "Light My Fire" from "Girl we couldn't get much higher" to "Girl we couldn't get much better"; this was reportedly due to what could be perceived as a reference to drugs in the original lyric. Giving assurances of compliance to Sullivan, Morrison then proceeded to sing the song with the original lyrics anyway. He later said that he had simply forgotten to make the change. This so infuriated Sullivan that he refused to shake their hands after their performance and had a show producer tell the band that they would never do ''The Ed Sullivan Show'' again. Morrison reportedly said to the producer: "Hey man. We just ''did'' the Sullivan Show." In 1967, Morrison and The Doors produced a promotional film for "Break on Through (To the Other Side)", which was their first single release. The video featured the four members of the group playing the song on a darkened set with alternating views and close-ups of the performers while Morrison lip-synched the lyrics. Morrison and The Doors continued to make music videos, including "The Unknown Soldier", "Moonlight Drive", and "People Are Strange".
By the release of their second album, ''Strange Days'', The Doors had become one of the most popular rock bands in the United States. Their blend of blues and rock tinged with psychedelia included a number of original songs and distinctive cover versions, such as their rendition of "Alabama Song", from Bertolt Brecht and Kurt Weill's operetta, ''Rise and Fall of the City of Mahagonny''. The band also performed a number of extended concept works, including the songs "The End", "When the Music's Over", and "Celebration of the Lizard".
In 1967, photographer Joel Brodsky took a series of black-and-white photos of Morrison, in a photo shoot known as "The Young Lion" photo session. These photographs are considered among the most iconic images of Jim Morrison and are frequently used as covers for compilation albums, books, and other memorabilia of the Doors and Morrison. In 1968, The Doors released their third studio album, ''Waiting for the Sun''. Their fourth album, ''The Soft Parade'', was released in 1969. It was the first album where the individual band members were given credit on the inner sleeve for the songs they had written.
After this, Morrison started to show up for recording sessions inebriated. He was also frequently late for live performances. As a result, the band would play instrumental music or force Manzarek to take on the singing duties.
By 1969, the formerly svelte singer gained weight, grew a beard, and began dressing more casually — abandoning the leather pants and concho belts for slacks, jeans and T-shirts.
During a 1969 concert at the Dinner Key Auditorium in Miami, Morrison attempted to spark a riot in the audience. He failed, but a warrant for his arrest was issued by the Dade County Police department three days later for indecent exposure. Consequently, many of The Doors' scheduled concerts were canceled. In 2007 Florida Governor Charlie Crist suggested the possibility of a posthumous pardon for Morrison, which was announced as successful on Dec. 9, 2010. Drummer John Densmore denied Morrison ever exposed himself on stage that night.
(See also Miami incident)
Following ''The Soft Parade'', The Doors released the ''Morrison Hotel'' album. After a lengthy break the group reconvened in October 1970 to record their last album with Morrison, ''L.A. Woman''. Shortly after the recording sessions for the album began, producer Paul A. Rothchild — who had overseen all their previous recordings — left the project. Engineer Bruce Botnick took over as producer.
He self-published two volumes of his poetry in 1969, ''The Lords / Notes on Vision'' and ''The New Creatures''. ''The Lords'' consists primarily of brief descriptions of places, people, events and Morrison's thoughts on cinema. ''The New Creatures'' verses are more poetic in structure, feel and appearance. These two books were later combined into a single volume titled ''The Lords and The New Creatures''. These were the only writings published during Morrison's lifetime.
Morrison befriended Beat Poet Michael McClure, who wrote the afterword for Danny Sugerman's biography of Morrison, ''No One Here Gets Out Alive''. McClure and Morrison reportedly collaborated on a number of unmade film projects, including a film version of McClure's infamous play ''The Beard'', in which Morrison would have played Billy the Kid.
After his death, two volumes of Morrison's poetry were published. The contents of the books were selected and arranged by Morrison's friend, photographer Frank Lisciandro, and girlfriend Pamela Courson's parents, who owned the rights to his poetry. ''The Lost Writings of Jim Morrison'' Volume 1 is titled ''Wilderness,'' and, upon its release in 1988, became an instant ''New York Times'' best seller. Volume 2, ''The American Night,'' released in 1990, was also a success.
Morrison recorded his own poetry in a professional sound studio on two separate occasions. The first was in March 1969 in Los Angeles and the second was on December 8, 1970. The latter recording session was attended by Morrison's personal friends and included a variety of sketch pieces. Some of the segments from the 1969 session were issued on the bootleg album ''The Lost Paris Tapes'' and were later used as part of the Doors' ''An American Prayer'' album, released in 1978. The album reached number 54 on the music charts. The poetry recorded from the December 1970 session remains unreleased to this day and is in the possession of the Courson family.
Morrison's best-known but seldom seen cinematic endeavor is ''HWY: An American Pastoral'', a project he started in 1969. Morrison financed the venture and formed his own production company in order to maintain complete control of the project. Paul Ferrara, Frank Lisciandro and Babe Hill assisted with the project. Morrison played the main character, a hitch hiker turned killer/car thief. Morrison asked his friend, composer/pianist Fred Myrow, to select the soundtrack for the film.
Once Morrison graduated from UCLA, he broke off most of his family contact. By the time Morrison's music ascended to the top of the charts in 1967 he had not been in communication with his family for more than a year and falsely claimed that his parents and siblings were dead (or claiming, as it has been widely misreported, that he was an only child). This misinformation was published as part of the materials distributed with The Doors' self-titled debut album.
In a letter to the Florida Probation and Parole Commission District Office dated October 2, 1970, Morrison's father acknowledged the breakdown in family communications as the result of an argument over his assessment of his son's musical talents. He said he could not blame his son for being reluctant to initiate contact and that he was proud of him nonetheless.
George Morrison was not supportive of his son's career choice in music. One day, an acquaintance brought over a record thought to have Jim on the cover. The record was the Doors self-titled debut. The young man played the record for Morrison's father and family. After hearing the record, Morrison's father wrote him a letter telling him "to give up any idea of singing or any connection with a music group because of what I considered to be a complete lack of talent in this direction."
Morrison's and Courson's relationship was a stormy one, with frequent loud arguments and periods of separation. Biographer Danny Sugerman surmised that part of their difficulties may have stemmed from a conflict between their respective commitments to an open relationship and the consequences of living in such a relationship.
In 1970, Morrison participated in a Celtic Pagan handfasting ceremony with rock critic and science fiction/fantasy author Patricia Kennealy. Before witnesses, one of them a Presbyterian minister, the couple signed a document declaring themselves wedded, but none of the necessary paperwork for a legal marriage was filed with the state. Kennealy discussed her experiences with Morrison in her autobiography ''Strange Days: My Life With and Without Jim Morrison'' in an interview reported in the book ''Rock Wives''.
Morrison also regularly had sex with fans and had numerous short flings with women who were celebrities, including Nico, the singer associated with The Velvet Underground, a one night stand with singer Grace Slick of Jefferson Airplane, an on-again-off-again relationship with ''16 Magazine'''s Gloria Stavers and an alleged alcohol-fueled encounter with Janis Joplin. However rock musician and rock star expert, Alice Cooper, declared on his syndicated radio show that Jim was scrupulously true to Pamela on tour, eschewing all sexual encounters. Linda Ashcroft in her book "Wild Child: My Life With Jim Morrison" details her life with Morrison as well. Judy Huddleston also recalls her relationship with Morrison in "This is The End...My Only Friend: Living and Dying with Jim Morrison". At the time of his death there were reportedly as many as 20 paternity actions pending against him, although no claims were made against his estate by any of the putative paternity claimants.
Morrison died on July 3, 1971. In the official account of his death, he was found in a Paris apartment bathtub by Courson. Pursuant to French law, no autopsy was performed because the medical examiner claimed to have found no evidence of foul play. The absence of an official autopsy has left many questions regarding Morrison's cause of death.
In ''Wonderland Avenue'', Danny Sugerman discussed his encounter with Courson after she returned to the U.S. According to Sugerman's account, Courson stated that Morrison had died of a heroin overdose, having insufflated what he believed to be cocaine. Sugerman added that Courson had given numerous contradictory versions of Morrison's death, at times saying that she had killed Morrison, or that his death was her fault. Courson's story of Morrison's unintentional ingestion of heroin, followed by accidental overdose, is supported by the confession of Alain Ronay, who has written that Morrison died of a hemorrhage after snorting Courson's heroin, and that Courson nodded off instead of phoning for medical help, leaving Morrison bleeding to death.
Ronay confessed in an article in ''Paris Match'' that he then helped cover up the circumstances of Morrison's death. In the epilogue of ''No One Here Gets Out Alive'', Hopkins and Sugerman write that Ronay and Agnès Varda say Courson lied to the police who responded at the death scene, and later in her deposition, telling them Morrison never took drugs.
In the epilogue to ''No One Here Gets Out Alive'', Hopkins says that 20 years after Morrison's death, Ronay and Varda broke silence and gave this account: They arrived at the house shortly after Morrison's death and Courson said that she and Morrison had taken heroin after a night of drinking. Morrison had been coughing badly, had gone to take a bath, and vomited blood. Courson said that he appeared to recover and that she then went to sleep. When she awoke sometime later Morrison was unresponsive, and so she called for medical assistance.
Courson died of a heroin overdose three years later. Like Morrison, she was 27 years old at the time of her death. Contrary to initial reports circulating in 1974, she is not buried with Morrison, but rather her cremated ashes are interred in a wall at Fairhaven Memorial Park in Santa Ana, CA USA, with the plaque bearing the name "Pamela Susan Morrison".
In the epilogue of ''No One Here Gets Out Alive'', Hopkins and Sugerman also claim that Morrison had asthma and was suffering from a respiratory condition involving a chronic cough and throwing up blood on the night of his death. This theory is partially supported in ''The Doors'' (written by the remaining members of the band) in which they claim Morrison had been coughing up blood for nearly two months in Paris. None of the members of the Doors were in Paris with Morrison in the months before his death.
According to an outside individual who witnessed the funeral at Père Lachaise, a woman by the name of Madame Colinette who was at the cemetery that day mourning the recent loss of her husband, the ceremony was "pitiful", with several of the attendants muttering a few words, throwing flowers over the casket, then leaving quickly and hastily within minutes as if their lives depended upon it. Those who attended included Alain Ronay, Agnes Varda, Bill Siddons (manager), Courson, and Robin Wertle (Morrison's Canadian private secretary at the time for a few months).
In the first version of ''No One Here Gets Out Alive'' published in 1980, Sugerman and Hopkins gave some credence to the rumor that Morrison may not have died at all, calling the fake death theory “not as far-fetched as it might seem”. This theory led to considerable distress for Morrison's loved ones over the years, notably when fans would stalk them, searching for evidence of Morrison's whereabouts. In 1995 a new epilogue was added to Sugerman's and Hopkins's book, giving new facts about Morrison's death and discounting the fake death theory, saying “As time passed, some of Jim and Pamela [Courson]'s friends began to talk about what they knew, and although everything they said pointed irrefutably to Jim's demise, there remained and probably always will be those who refuse to believe that Jim is dead and those who will not allow him to rest in peace.” In a July 2007 newspaper interview, a self-described close friend of Morrison's, Sam Bernett, resurrected an old rumor and announced that Morrison actually died of a heroin overdose in the Rock 'n' Roll Circus nightclub, on the Left Bank in Paris. Bernett claims that Morrison came to the club to buy heroin for Courson then did some himself and died in the bathroom. Bernett alleges that Morrison was then moved back to the rue Beautreillis apartment and dumped in the bathtub by the same two drug dealers from whom Morrison had purchased the heroin. Bernett says those who saw Morrison that night were sworn to secrecy in order to prevent a scandal for the famous club, and that some of the witnesses immediately left the country. There have been many other conspiracy theories surrounding Morrison's death but are less supported by witnesses than are the accounts of Ronay and Courson.
Morrison's death at age twenty-seven included him in a phenomenon called the 27 Club, which currently consists of six other prominent musicians who have died at the same age.
When Courson died in 1974, a battle ensued between Morrison’s and Courson’s parents over who had legal claim to Morrison’s estate. Since Morrison left a will, the question was effectively moot. Upon his death, his property became Courson’s, and on her death her property passed to her next heirs at law, her parents. Morrison's parents contested the will under which Courson and now her parents had inherited their son’s property.
To bolster their position, Courson’s parents presented a document they claimed she had acquired in Colorado, apparently an application for a declaration that she and Morrison had contracted a common-law marriage under the laws of that state. The ability to contract a common-law marriage was abolished in California in 1896. California's conflict of laws rules provided for recognition of common-law marriages when lawfully contracted in foreign jurisdictions — and Colorado was one of the eleven U.S. jurisdictions that still recognized common-law marriage.
Biographers have consistently pointed to a number of writers and philosophers who influenced Morrison's thinking and, perhaps, behavior. While still in his teens Morrison discovered the works of philosopher Friedrich Nietzsche. He was also drawn to the poetry of William Blake, Charles Baudelaire and Arthur Rimbaud. Beat Generation writers such as Jack Kerouac also had a strong influence on Morrison's outlook and manner of expression; Morrison was eager to experience the life described in Kerouac's ''On the Road''. He was similarly drawn to the works of the French writer Louis-Ferdinand Céline. Céline's book, ''Voyage au Bout de la Nuit'' (''Journey to the End of the Night'') and Blake's ''Auguries of Innocence'' both echo through one of Morrison's early songs, "End of the Night". Morrison later met and befriended Michael McClure, a well known beat poet. McClure had enjoyed Morrison's lyrics but was even more impressed by his poetry and encouraged him to further develop his craft.
Morrison's vision of performance was colored by the works of 20th-century French playwright Antonin Artaud (author of ''Theater and its Double'') and by Julian Beck's Living Theater.
Other works relating to religion, mysticism, ancient myth and symbolism were of lasting interest, particularly Joseph Campbell's ''The Hero with a Thousand Faces.'' James Frazer's ''The Golden Bough'' also became a source of inspiration and is reflected in the title and lyrics of the song "Not to Touch the Earth".
Morrison was particularly attracted to the myths and religions of Native American cultures. While he was still in school, his family moved to New Mexico where he got to see some of the places and artifacts important to the Southwest Indigenous cultures. These interests appear to be the source of many references to creatures and places such as lizards, snakes, deserts and "ancient lakes" that appear in his songs and poetry. His interpretation of the practices of a Native American "shaman" were worked into parts of Morrison's stage routine, notably in his interpretation of the Ghost Dance, and a song on his later poetry album, ''The Ghost Song''.
Jim Morrison's vocal influences were Elvis Presley and Frank Sinatra, which is evident in his own baritone crooning style used in several of the Doors songs. It is mentioned within the pages of "No One Here Gets Out Alive" by Danny Sugerman, that Morrison as a teenager was such a fan of Presley's music that he demanded people be quiet when Elvis was on the radio. The Frank Sinatra influence is mentioned in the pages of "The Doors, The Illustrated History" also by Sugerman, where Frank Sinatra is listed on Morrison's Band Bio as being his favorite singer. Reference to this can also be found in a Rolling Stone article about Jim Morrison, regarding the top 100 rock singers of all time.
Iggy and the Stooges are said to have formed after lead singer Iggy Pop was inspired by Morrison while attending a Doors concert in Ann Arbor, Michigan. One of Pop's most popular songs, "The Passenger", is said to be based on one of Morrison's poems. After Morrison's death, Pop was considered as a replacement lead singer for The Doors; the surviving Doors gave him some of Morrison's belongings and hired him as a vocalist for a series of shows. Wallace Fowlie, professor emeritus of French literature at Duke University, wrote ''Rimbaud and Jim Morrison,'' subtitled ''"The Rebel as Poet – A Memoir".'' In this he recounts his surprise at receiving a fan letter from Morrison who, in 1968, thanked him for his latest translation of Arthur Rimbaud's verse into English. "I don't read French easily", he wrote, "...your book travels around with me." Fowlie went on to give lectures on numerous campuses comparing the lives, philosophies and poetry of Morrison and Rimbaud.
Eddie Vedder, lead singer of Pearl Jam, Layne Staley, the late vocalist of Alice in Chains, Scott Weiland, the vocalist of Stone Temple Pilots and Velvet Revolver, Julian Casablancas of The Strokes, James LaBrie of Dream Theater, as well as Scott Stapp of Creed, claimed Morrison to be their biggest influence and inspiration. Stone Temple Pilots and Velvet Revolver have both covered "Roadhouse Blues" by the Doors. Weiland also filled in for Morrison to perform "Break On Through" with the rest of the Doors. Stapp filled in for Morrison for "Light My Fire", "Riders on the Storm" and "Roadhouse Blues" on ''VH1 Storytellers''. Creed performed their version of "Roadhouse Blues" with Robbie Krieger for the 1999 Woodstock Festival.
The book ''The Doors'' by the remaining Doors quotes Morrison's close friend Frank Lisciandro as saying that too many people took a remark of Morrison's that he was interested in revolt, disorder, and chaos “to mean that he was an anarchist, a revolutionary, or, worse yet, a nihilist. Hardly anyone noticed that Jim was restating Rimbaud and the Surreal poets.”
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Coordinates | 12°2′36″N77°1′42″N |
---|---|
name | Monty Python |
medium | Television, film, theatre, audio recordings, books |
nationality | British |
active | 1969–1983 |
genre | Satire, Surreal humour, dark comedy |
influences | The Goons, Spike Milligan, Peter Cook |
influenced | Douglas Adams, Eddie Izzard, George Carlin, Vic and Bob, Matt Stone, Trey Parker |
notable work | ''Monty Python's Flying Circus'' (1969–1974)''And Now for Something Completely Different'' (1971)''Monty Python and the Holy Grail'' (1974)''Monty Python's Life of Brian'' (1979)''Monty Python Live at the Hollywood Bowl'' (1982)''Monty Python's The Meaning of Life'' (1983) |
current members | Graham Chapman John Cleese Terry Gilliam Eric Idle Terry Jones Michael Palin |
website | PythOnline |
footnotes | }} |
Monty Python (sometimes known as The Pythons) was a British surreal comedy group who created their influential ''Monty Python's Flying Circus'', a British television comedy sketch show that first aired on the BBC on 5 October 1969. Forty-five episodes were made over four series. The Python phenomenon developed from the television series into something larger in scope and impact, spawning touring stage shows, films, numerous albums, several books and a stage musical as well as launching the members to individual stardom. The group's influence on comedy has been compared to Elvis Presley's influence on music.
The television series, broadcast by the BBC from 1969 to 1974, was conceived, written and performed by members Graham Chapman, John Cleese, Terry Gilliam, Eric Idle, Terry Jones, and Michael Palin. Loosely structured as a sketch show, but with an innovative stream-of-consciousness approach (aided by Gilliam's animation), it pushed the boundaries of what was acceptable in style and content. A self-contained comedy team responsible for both writing and performing their work, they changed the way performers entertained audiences. The Pythons' creative control allowed them to experiment with form and content, discarding rules of television comedy. Their influence on British comedy has been apparent for years, while in North America it has coloured the work of cult performers from the early editions of ''Saturday Night Live'' through to more recent absurdist trends in television comedy. "Pythonesque" has entered the English lexicon as a result.
In a 2005 UK poll to find ''The Comedian's Comedian'', three of the six Pythons members were voted by fellow comedians and comedy insiders to be among the top 50 greatest comedians ever: Cleese at #2, Idle at #21, and Palin at #30.
Python members appeared in and/or wrote the following shows before ''Monty Python's Flying Circus''. ''The Frost Report'' is credited as first uniting the British Pythons and providing an environment in which they could develop their particular styles:
Several featured other important British comedy writers or performers of the future, including Marty Feldman, Jonathan Lynn, David Jason and David Frost, as well as members of other future comedy teams, Ronnie Corbett and Ronnie Barker (the Two Ronnies), and Tim Brooke-Taylor, Graeme Garden and Bill Oddie (the Goodies).
Following the success of ''Do Not Adjust Your Set'', originally intended to be a children's programme, with adults, ITV offered Palin, Jones, Idle and Gilliam their own series together. At the same time Cleese and Chapman were offered a show by the BBC, which had been impressed by their work on ''The Frost Report'' and ''At Last The 1948 Show''. Cleese was reluctant to do a two-man show for various reasons, including Chapman's supposedly difficult personality. Cleese had fond memories of working with Palin and invited him to join the team. With the ITV series still in pre-production, Palin agreed and suggested the involvement of his writing partner Jones and colleague Idle—who in turn suggested that Gilliam could provide animations for the projected series. Much has been made of the fact that the Monty Python troupe is the result of Cleese's desire to work with Palin and the chance circumstances that brought the other four members into the fold.
After much debate, Jones remembered an animation Gilliam had created for ''Do Not Adjust Your Set'' called ''Beware of the Elephants'', which had intrigued him with its stream-of-consciousness style. Jones felt it would be a good concept to apply to the series: allowing sketches to blend into one another. Palin had been equally fascinated by another of Gilliam's efforts, entitled ''Christmas Cards'', and agreed that it represented "a way of doing things differently". Since Cleese, Chapman and Idle were less concerned with the overall flow of the programme, it was Jones, Palin and Gilliam who became largely responsible for the presentation style of the ''Flying Circus'' series, in which disparate sketches are linked to give each episode the appearance of a single stream-of-consciousness (often using a Gilliam animation to move from the closing image of one sketch to the opening scene of another).
Writing started at 9 am and finished at 5 pm. Typically, Cleese and Chapman worked as one pair isolated from the others, as did Jones and Palin, while Idle wrote alone. After a few days, they would join together with Gilliam, critique their scripts, and exchange ideas. Their approach to writing was democratic. If the majority found an idea humorous, it was included in the show. The casting of roles for the sketches was a similarly unselfish process, since each member viewed himself primarily as a 'writer', rather than an actor desperate for screen time. When the themes for sketches were chosen, Gilliam had carte blanche to decide how to bridge them with animations, using a camera, scissors, and airbrush.
While the show was a collaborative process, different factions within Python were responsible for elements of the team's humour. In general, the work of the Oxford-educated members was more visual, and more fanciful conceptually (e.g., the arrival of the Spanish Inquisition in a suburban front room), while the Cambridge graduates' sketches tended to be more verbal and more aggressive (for example, Cleese and Chapman's many "confrontation" sketches, where one character intimidates or hurls abuse, or Idle's characters with bizarre verbal quirks, such as The Man Who Speaks In Anagrams). Cleese confirmed that "most of the sketches with heavy abuse were Graham's and mine, anything that started with a slow pan across countryside and impressive music was Mike and Terry's, and anything that got utterly involved with words and disappeared up any personal orifice was Eric's". Gilliam's animations, meanwhile, ranged from the whimsical to the savage (the cartoon format allowing him to create some astonishingly violent scenes without fear of censorship).
Several names for the show were considered before ''Monty Python's Flying Circus'' was settled upon. Some were ''Owl Stretching Time'', ''Toad Elevating Moment'', ''A Bucket, a Horse and a Spoon'', ''Vaseline Review'' and ''Bun, Wackett, Buzzard, Stubble and Boot''. ''Flying Circus'' stuck when the BBC explained it had printed that name in its schedules and was not prepared to amend it. Many variations on the name in front of this title then came and went (popular legend holds that the BBC considered ''Monty Python's Flying Circus'' to be a ridiculous name, at which point the group threatened to change their name every week until the BBC relented). "Gwen Dibley's Flying Circus" was named after a woman Palin had read about in the newspaper, thinking it would be amusing if she were to discover she had her own TV show. "Baron Von Took's Flying Circus" was considered as an affectionate tribute to Barry Took, the man who had brought them together. ''Arthur Megapode's Flying Circus'' was suggested, then discarded.
There are differing, somewhat confusing accounts of the origins of the Python name although the members agree that its only "significance" was that they thought it sounded funny. In the 1998 documentary ''Live At Aspen'' during the US Comedy Arts Festival, where the troupe was awarded the AFI Star Award by the American Film Institute, the group implied that "Monty" was selected (Eric Idle's idea) as a gently-mocking tribute to Field Marshal Lord Montgomery, a legendary British general of World War II; requiring a "slippery-sounding" surname, they settled on "Python". On other occasions Idle has claimed that the name "Monty" was that of a popular and rotund fellow who drank in his local pub; people would often walk in and ask the barman, "Has Monty been in yet?", forcing the name to become stuck in his mind. The name Monty Python was later described by the BBC as being "envisaged by the team as the perfect name for a sleazy entertainment agent".
The Python theme music is ''The Liberty Bell'', a march by John Philip Sousa, which was chosen, among other reasons, because the recording was in the public domain.
The use of Gilliam's surreal, collage stop motion animations was another innovative intertextual element of the Python style. Many of the images Gilliam used were lifted from famous works of art, and from Victorian illustrations and engravings. The giant foot which crushes the show's title at the end of the opening credits is in fact the foot of Cupid, cut from a reproduction of the Renaissance masterpiece ''Venus, Cupid, Folly, and Time'' by Bronzino. This foot, and Gilliam's style in general, are visual trademarks of the series.
The Pythons used the British tradition of cross-dressing comedy by donning frocks and makeup and playing female roles themselves while speaking in falsetto. Generally speaking, female roles were played by a woman (usually Carol Cleveland) when the scene specifically required that the character be sexually attractive (although sometimes they used Idle for this). In some episodes and later in ''Monty Python's Life of Brian'' they took the idea one step further by playing women who impersonated men (in the stoning scene).
Many sketches are well-known and widely quoted. "Dead Parrot", "The Lumberjack Song", "Spam", "Nudge Nudge", "The Spanish Inquisition", "Upper Class Twit of the Year", "Cheese Shop" and "The Ministry of Silly Walks" are just a few examples.
The rest of the group carried on for one more "half" series before calling a halt to the programme in 1974. The name ''Monty Python's Flying Circus'' appears in the opening animation for series four, but in the end credits the show is listed as simply "Monty Python". Despite his official departure from the group, Cleese supposedly made a (non-speaking) cameo appearance in the fourth series, but never appeared in the credits as a performer. Several episodes credit him as a co-writer since some sketches were recycled from scenes cut from the ''Holy Grail'' script. While the first three series contained 13 episodes each, the fourth ended after six.
Time-Life Films had the right to distribute all BBC-TV programs in America, however they had decided that British comedy simply would not work in the U.S.A. Therefore, it was not worth the investment to convert the Python shows from the European PAL standard to the American NTSC standard, which meant PBS stations could not afford the programmes. Finally, in 1974, Greg Garrison, TV producer for Dean Martin, used a couple of Python sketches ("Bicycle Repairman" and "The Dull Life of a Stockbroker") on the NBC series ''ComedyWorld'', a summer replacement series for ''The Dean Martin Show''. Payment for use of these segments was enough to pay for the conversion of the entire Python library to NTSC standard. At last, they could be sold to non-commercial TV stations, where officially they began airing in October 1974—exactly 5 years after their BBC debut. One PBS station had a program director (Ron Devillier) so eager that he 'jumped the gun' and started broadcasting the 'Flying Circus' episodes in that summer on the unlikely KERA in Dallas. The ratings shot through the roof—and was an encouraging sign to the other 100 stations that had signed up to air the shows. There was also cross-promotion from FM radio stations across the country, whose airing of tracks from the Python LPs had already introduced American audiences to this bizarre brand of comedy.
With the popularity of Python throughout the rest of the 1970s and through most of the 1980s, PBS stations looked at other British comedies, leading to UK shows such as ''Are You Being Served?'' gaining a US audience, and leading, over time, to many PBS stations having a "British Comedy Night" which airs many popular UK comedies.
The backers of the film wanted to cut the famous Black Knight scene (in which the Black Knight loses his limbs in a duel) but it was eventually kept in the movie.
The focus therefore shifted to a separate individual born at the same time, in a neighbouring stable. When Jesus appears in the film (first, as a baby in the stable, and then later on the Mount, speaking the Beatitudes), he is played straight (by actor Kenneth Colley) and portrayed with respect. The comedy begins when members of the crowd mishear his statements of peace, love and tolerance. ("I think he said, 'Blessed are the cheesemakers.'")
Directing duties were handled solely by Jones, having amicably agreed with Gilliam that Jones' approach to film-making was better suited for Python's general performing style. ''Holy Grail's'' production had often been stilted by their differences behind the camera. Gilliam again contributed two animated sequences (one being the opening credits) and took charge of set design. The film was shot on location in Tunisia, the finances being provided this time by former Beatle George Harrison, who together with Denis O'Brien formed the production company Hand-Made Films for the movie. He had a cameo role as the 'owner of the Mount.'
Despite its subject matter attracting controversy, particularly upon its initial release, it has (together with its predecessor) been ranked among the greatest comedy films. A Channel 4 poll in 2005 ranked ''Holy Grail'' in sixth place, with ''Life of Brian'' at the top.
Python's final film returned to something structurally closer to the style of ''Flying Circus''. A series of sketches loosely follows the ages of man from birth to death. Directed again by Jones solo, ''The Meaning of Life'' is embellished with some of Python's most bizarre and disturbing moments, as well as various elaborate musical numbers. The film is by far their darkest work, containing a great deal of black humour, garnished by some spectacular violence (including an operation to remove a liver from a living patient without anaesthetic and the morbidly obese Mr. Creosote exploding over several restaurant patrons). At the time of its release, the Pythons confessed their aim was to offend "absolutely everyone."
Besides the opening credits and the fish sequence, Gilliam, by now an established live action director, no longer wanted to produce any linking cartoons, offering instead to direct one sketch—''The Crimson Permanent Assurance''. Under his helm, though, the segment grew so ambitious and tangential that it was cut from the movie and used as a supporting feature in its own right. (Television screenings also use it as a prologue.) Crucially, this was the last project that all six Pythons would collaborate on, except for the 1989 compilation ''Parrot Sketch Not Included,'' where they are all seen sitting in a closet for four seconds. This would be the last time Chapman appeared on-screen with the Pythons.
Cleese and Jones had an involvement (as performer, writer or director) in all four Amnesty benefit shows, Palin in three, Chapman in two and Gilliam in one. Idle did not participate in the Amnesty shows. Notwithstanding Idle's lack of participation, the other five members (together with "Associate Pythons" Carol Cleveland and Neil Innes) all appeared together in the first ''Secret Policeman's Ball'' benefit—the 1976 ''A Poke In The Eye (With A Sharp Stick)''—where they performed several Python sketches. In this first show they were collectively billed as ''Monty Python''. (Peter Cook deputised for the errant Idle in one major sketch ''The Courtroom''.) In the next three shows, the participating Python members performed many Python sketches, but were billed under their individual names rather than under the collective Python banner. After a six-year break, Amnesty resumed producing ''Secret Policeman's Ball'' benefit shows in 1987 (sometimes with, and sometimes without variants of the iconic title) and by 2006 had presented a total of twelve such shows. The shows since 1987 have featured newer generations of British comedic performers, including many who have attributed their participation in the show to their desire to emulate the Python's pioneering work for Amnesty. (Cleese and Palin made a brief cameo appearance in the 1989 Amnesty show; apart from that the Pythons have not appeared in shows after the first four.)
Palin and Jones wrote the comedic TV series ''Ripping Yarns'' (1976–79), starring Palin. Jones also appeared in the pilot episode and Cleese appeared in a non-speaking part in the episode "Golden Gordon". Jones' film ''Erik the Viking'', also has Cleese playing a small part.
In 1996, Terry Jones wrote and directed an adaption of Kenneth Grahame's novel ''The Wind in the Willows''. It featured four members of Monty Python: Jones as Mr. Toad, Idle as Ratty, Cleese as Mr. Toad's lawyer, and Palin as the Sun. Gilliam was considered for the voice of the river.
In terms of numbers of productions, Cleese has the most prolific solo career, having appeared in 59 theatrical films, 22 TV shows or series (including ''Cheers'', ''3rd Rock from the Sun'', Q's assistant in the James Bond movies, and ''Will & Grace''), 23 direct-to-video productions, six video games, and a number of commercials. His BBC sitcom ''Fawlty Towers'' (written by and starring Cleese together with his then-wife Connie Booth), is considered the greatest solo work by a Python since the sketch show finished. It is the only comedy series to rank higher than the ''Flying Circus'' on the BFI TV 100's list, topping the whole poll.
Idle enjoyed critical success with ''Rutland Weekend Television'' in the mid-1970s, out of which came the Beatles parody The Rutles (responsible for the cult mockumentary ''All You Need Is Cash''), and as an actor in ''Nuns on the Run'' (1990) with Robbie Coltrane. Idle has had success with Python songs: "Always Look on the Bright Side of Life" went to no. 3 in the UK singles chart in 1991. The song had been revived by Simon Mayo on BBC Radio 1, and was consequently released as a single that year. The theatrical phenomenon of the Python musical ''Spamalot'' has made Idle the most financially successful of the troupe post-Python. Written by Idle, it has proved an enormous hit on Broadway, London's West End and also Las Vegas. This was followed by ''Not the Messiah (He's a Very Naughty Boy)'', which repurposes ''The Life of Brian'' as an oratorio. For the work's 2007 premiere at the Luminato festival in Toronto (which commissioned the work), Idle himself sang the "baritone-ish" part.
In 1996, Jones, Idle, Cleese and Palin were featured in a film adaptation of ''The Wind in the Willows'', which was later renamed ''Mr. Toad's Wild Ride''.
In 1998 during the US Comedy Arts Festival, where the troupe was awarded the AFI Star Award by the American Film Institute, the five remaining members along with what was purported to be Chapman's ashes, were reunited on stage for the first time in 18 years. The occasion was in the form of an interview called Monty Python Live At Aspen, (hosted by Robert Klein, with an appearance by Eddie Izzard) in which the team looked back at some of their work and performed a few new sketches.
On 9 October 1999, to commemorate 30 years since the first ''Flying Circus'' television broadcast, BBC2 devoted an evening to Python programmes, including a documentary charting the history of the team, interspersed with new sketches by the Monty Python team filmed especially for the event. The program appears, though omitting a few things, on the DVD ''The Life of Python''. Though Idle's involvement in the special is limited, the final sketch marks the only time since 1989 that all surviving members of the troupe appear in one sketch, albeit not in the same room.
In 2002, four of the surviving members, bar Cleese, performed "The Lumberjack Song" and "Sit on My Face" for George Harrison's memorial concert. The reunion also included regular supporting contributors Neil Innes and Carol Cleveland, with a special appearance from Tom Hanks.
In an interview to publicise the DVD release of ''The Meaning of Life,'' Cleese said a further reunion was unlikely. "It is absolutely impossible to get even a majority of us together in a room, and I'm not joking," Cleese said. He said that the problem was one of business rather than one of bad feelings. A sketch appears on the same DVD spoofing the impossibility of a full reunion, bringing the members “together” in a deliberately unconvincing fashion with modern bluescreen/greenscreen techniques.
Idle has responded to queries about a Python reunion by adapting a line used by George Harrison in response to queries about a possible Beatles reunion. When asked in November 1989 about such a possibility, Harrison responded: "As far as I'm concerned, there won't be a Beatles reunion as long as John Lennon remains dead." Idle's version of this was that he expected to see a proper Python reunion, "just as soon as Graham Chapman comes back from the dead", but added, "we're talking to his agent about terms."
2003's ''The Pythons Autobiography By The Pythons'', compiled from interviews with the surviving members, reveals that a series of disputes in 1998, over a possible sequel to ''Holy Grail'' that had been conceived by Idle, may have resulted in the group's permanent fission. Cleese's feeling was that ''The Meaning of Life'' had been personally difficult and ultimately mediocre, and did not wish to be involved in another Python project for a variety of reasons (not least amongst them was the absence of Chapman, whose straight man-like central roles in the original ''Grail'' and ''Brian'' films had been considered to be essential performance anchorage). Apparently Idle was angry with Cleese for refusing to do the film, which most of the remaining Pythons thought reasonably promising (the basic plot would have taken on a self-referential tone, featuring them in their main 'knight' guises from ''Holy Grail'', mulling over the possibilities of reforming their posse). The book also reveals that a secondary option around this point was the possibility of revitalising the Python brand with a new stage tour, perhaps with the promise of new material. This idea had also hit the buffers at Cleese's refusal, this time with the backing of other members.
March 2005 saw a full, if non-performing, reunion of the surviving cast members at the premiere of Idle's musical ''Spamalot'', based on ''Monty Python and the Holy Grail''. It opened in Chicago and has since played in New York on Broadway, London and numerous other major cities across the world. In 2004, it was nominated for 14 Tony Awards and won three: Best Musical, Best Direction of a Musical for Mike Nichols and Best Performance by a Featured Actress in a Musical for Sara Ramirez, who played the Lady of the Lake, a character specially added for the musical. Cleese played the voice of God, played in the film by Chapman.
Owing in part to the success of ''Spamalot'', PBS announced on 13 July 2005, that it would begin to re-air the entire run of ''Monty Python's Flying Circus'' and new one-hour specials focusing on each member of the group, called ''Monty Python's Personal Best.'' Each episode was written and produced by the individual being honoured, with the five remaining Pythons collaborating on Chapman's programme, the only one of the editions to take on a serious tone with its new material.
Eric Idle and John Cleese appeared on stage together singing "Always Look on the Bright Side of Life" with the rest of the performers for the climax of Prince Charles 60th Birthday Show.
In 2009, to commemorate the fortieth anniversary of the first episode of ''Monty Python's Flying Circus'', a six part documentary entitled ''Monty Python: Almost the Truth (The Lawyer's Cut)'' was released, featuring interviews with the surviving members of the team as well as archive interviews with Graham Chapman and numerous excerpts from the television series and films.
Also in commemoration of the 40th anniversary Idle, Palin, Jones and Gilliam appeared in a production of ''Not the Messiah (He's a Very Naughty Boy)'' at the Royal Albert Hall. The European premiere was held on 23 October 2009. An official 40th anniversary Monty Python reunion event took place in New York City on 15 October 2009 where the Team received a Special Award from the British Academy of Film and Television Arts.
In June 2011, it was announced that Monty Python have begun production on their first film project since ''the Meaning of Life'' in 1983. Their next film, ''A Liar's Autobiography'', is an animated 3D movie based on the memoir of the late Python member, Graham Chapman, who died in 1989 at the age of 48. ''A Liar’s Autobiography'' was published in 1980 and details Chapman's journey through medical school, alcoholism, acknowledgement of his gay identity and the toils of surreal comedy.
Asked what was true in a deliberately fanciful account by Chapman of his life, Terry Jones joked: "Nothing . . . it’s all a downright, absolute, blackguardly lie."
The film will use Chapman's own voice - from a reading of his autobiography shortly before he died of cancer - and entertainment channel EPIX announced that the film will be released in early 2012 in both 2D and 3D formats. Produced and directed by London-based Bill Jones, Ben Timlett and Jeff Simpson, the new film has 15 animation companies working on chapters that will range from three to 12 minutes in length, each in a different style.
John Cleese has recorded new dialogue which will be matched with Chapman’s voice and Michael Palin will voice Chapman’s mother and father. Terry Gilliam plays various roles. Among the original Python group, only Eric Idle has not become involved, though Timlett said the filmmakers are “working on” him.
John Cleese is the oldest Python. He met his future Python writing partner, Graham Chapman in Cambridge.
Terry Gilliam, an American, was the only member of the troupe of non-British origin. He started off as an animator and strip cartoonist for Harvey Kurtzman's ''Help!'' magazine, one issue of which featured Cleese. Moving from the USA to England, he animated features for ''Do Not Adjust Your Set'' and was then asked by its makers to join them on their next project: ''Monty Python's Flying Circus''. He co-directed ''Monty Python and the Holy Grail'' and directed short segments of other Python films (for instance "The Crimson Permanent Assurance", the short film that appears before ''The Meaning of Life'').
When Monty Python was first formed, two writing partnerships were already in place: Cleese and Chapman, Jones and Palin. That left two in their own corners: Gilliam, operating solo due to the nature of his work, and Eric Idle. Regular themes in his contributions were elaborate wordplay and musical numbers. After ''Flying Circus'', he hosted ''Saturday Night Live'' four times in the first five seasons. Idle's initially successful solo career faltered in the 1990s with the failures of his 1993 film ''Splitting Heirs'' (written, produced by and starring him) and 1998's ''An Alan Smithee Film: Burn Hollywood Burn'' (in which he starred), which was awarded five Razzies, including 'Worst Picture of the Year'. He revived his career by returning to the source of his worldwide fame, adapting Monty Python material for other media. He also wrote the Broadway musical ''Spamalot'', based on the ''Holy Grail'' movie. He also wrote ''Not the Messiah (He's a Very Naughty Boy)'', an oratorio derived from the ''Life of Brian''.
Terry Jones has been described by other members of the team as the “heart” of the operation. Jones had a lead role in maintaining the group's unity and creative independence. Python biographer George Perry has commented that should you "speak to him on subjects as diverse as fossil fuels, or Rupert Bear, or mercenaries in the Middle Ages or Modern China... in a moment you will find yourself hopelessly out of your depth, floored by his knowledge." Many others agree that Jones is characterised by his irrepressible, good-natured enthusiasm. However, Jones' passion often led to prolonged arguments with other group members—in particular Cleese—with Jones often unwilling to back down. Since his major contributions were largely behind the scenes (direction, writing), and he often deferred to the other members of the group as an actor, Jones' importance to Python was often underrated. However, he does have the legacy of delivering possibly the most famous line in all of Python, as Brian's mother Mandy in ''Life of Brian'', "He's not the Messiah, he's a very naughty boy!", a line voted the funniest in film history on two occasions.
Michael Palin attended Oxford, where he met his Python writing partner Jones. The two also wrote the series ''Ripping Yarns'' together. Palin and Jones originally wrote face-to-face, but soon found it was more productive to write apart and then come together to review what the other had written. Therefore, Jones and Palin's sketches tended to be more focused than that of the others, taking one bizarre situation, sticking to it, and building on it. After ''Flying Circus'', he hosted ''Saturday Night Live'' four times in the first ten seasons. His comedy output began to decrease in amount following the increasing success of his travel documentaries for the BBC. Palin released a book of diaries from the Python years entitled ''Michael Palin Diaries 1969–1979'', published in 2007.
Carol Cleveland was the most important female performer in the Monty Python ensemble, commonly referred to as the "Python Girl." Originally hired by producer/director John Howard Davies for just the first five episodes of the ''Flying Circus'', she went on to appear in approximately two-thirds of the episodes as well as in all of the Python films, and in most of their stage shows as well. Her common portrayal as the stereotypical "blonde bimbo" eventually earned her the sobriquet "Carol Cleavage" from the other Pythons, but she felt that the variety of her roles should not be described in such a pejorative way.
Douglas Adams was "discovered" by Chapman when a version of the ''Footlights Revue'' (a 1974 BBC2 television show featuring some of Adams' early work) was performed live in London's West End. In Cleese's absence from the final TV series, the two formed a brief writing partnership, with Adams earning a writing credit in one episode for a sketch called "Patient Abuse". In the sketch, a man who had been stabbed by a nurse arrives at his doctor's office bleeding profusely from the stomach, when the doctor makes him fill out numerous senseless forms before he can administer treatment. He also had two cameo appearances in this season. Firstly, in the episode ''The Light Entertainment War'', Adams shows up in a surgeon's mask (as Dr. Emile Koning, according to the on-screen captions), pulling on gloves, while Palin narrates a sketch that introduces one person after another, and never actually gets started. Secondly, at the beginning of ''Mr. Neutron'', Adams is dressed in a "pepperpot" outfit and loads a missile onto a cart being driven by Terry Jones, who is calling out for scrap metal ("Any old iron..."). Adams and Chapman also subsequently attempted a few non-Python projects, including ''Out of the Trees.'' He also contributed to a sketch on the soundtrack album for ''Monty Python and the Holy Grail''.
Stand-up comedian Eddie Izzard, a devoted fan of the group, has occasionally stood in for absent members. When the BBC held a "Python Night" in 1999 to celebrate 30 years of the first broadcast of ''Flying Circus'', the Pythons recorded some new material with Izzard standing in for Idle, who had declined to partake in person (he taped a solo contribution from the US). Izzard hosted a history of the group entitled ''The Life of Python'' (1999) that was part of the ''Python Night'' and appeared with them at a festival/tribute in Aspen, Colorado, in 1998 (released on DVD as ''Live at Aspen'').
The term has been applied to animations similar to those constructed by Gilliam (e.g. the cut-out style of ''South Park'', whose creators have often acknowledged a debt to Python, including contributing material to the aforementioned 30th anniversary theme night).
''Good Eats'' creator Alton Brown cited Python as one of the influences that shaped how he created the series, as well as how he authors the script for each episode. Recent episodes even include Gilliam-style animations to illustrate key points.
Category:British comedy troupes Category:British television comedy Category:Virgin Records artists Category:Arista Records artists Category:European Film Awards winners (people) Category:Charisma Records artists
bg:Монти Пайтън ca:Monty Python cs:Monty Python da:Monty Python de:Monty Python el:Μόντυ Πάιθον es:Monty Python eo:Monty Python eu:Monty Python fa:مونتی پایتون fr:Monty Python ko:몬티 파이튼 hr:Monty Python id:Monty Python ia:Monty Python is:Monty Python it:Monty Python he:מונטי פייתון ka:მონტი პაითონი la:Pytho Montium lv:Monty Python lt:Monty Python hu:Monty Python mk:Монти Пајтон nl:Monty Python ja:モンティ・パイソン no:Monty Python nn:Monty Python nds:Monty Python pl:Monty Python pt:Monty Python ro:Monty Python ru:Монти Пайтон sq:Monty Python simple:Monty Python sk:Monty Python sr:Монти Пајтон sh:Monty Python fi:Monty Python sv:Monty Python tr:Monty Python uk:Монті Пайтон zh:蒙提·派森This text is licensed under the Creative Commons CC-BY-SA License. This text was originally published on Wikipedia and was developed by the Wikipedia community.
Coordinates | 12°2′36″N77°1′42″N |
---|---|
Name | Molly Ivins |
Birth name | Mary Tyler Ivins |
Occupation | Journalist |
Birth date | August 30, 1944 |
Birth place | Monterey, California |
Death date | |
Death cause | Inflammatory breast cancer |
Death place | Austin, Texas }} |
Ivins enrolled in Scripps College in 1962 but was not happy there, and transferred to Smith College in 1963. During this time, she became romantically involved with Henry "Hank" Holland, Jr., a family friend, and then a student at Yale, whom she referred to as "the love of my life." When he was killed in a motorcycle accident in 1964, her friends would later say that she never seemed to find anyone else who could replace his memory, and she never married. She spent her junior year at the Institute of Political Science in Paris, and received her B.A. in history in 1966. She earned a master's degree at Columbia University's school of journalism in 1967.
After graduating from Columbia, she took a job in the Twin Cities at the ''Minneapolis Tribune'', where she covered "militant blacks, angry Indians, radical students, uppity women and a motley assortment of other misfits and troublemakers."
In 1970 Ivins left the ''Tribune'' for Austin, Texas to be the co-editor and political reporter for the ''Texas Observer''. She covered the Texas Legislature and befriended folklorist John Henry Faulk, Secretary of State Bob Bullock and future Governor Ann Richards, among others. She also gained increasing national attention through op-ed and feature stories in ''The New York Times'' and ''The Washington Post'' along with a busy speaking schedule inside and outside Texas. The ''Times'', concerned that its prevailing writing style was too staid and lifeless, hired her away from the ''Observer'' in 1976, and she wrote for the ''Times'' until 1982. During her run there, Ivins became Rocky Mountain bureau chief, covering nine western states, although the writer was known to say she was named chief because there was no one else in the bureau. Ivins also wrote the obituary for Elvis Presley in ''The New York Times'' for the August 17, 1977 edition. Generally, her more colorful writing style clashed with the editors' expectations, and in 1980, after she wrote about a "community chicken-killing festival" in New Mexico and called it a "gang-pluck," she was recalled to New York as punishment. When Abe Rosenthal, editor of the ''Times'', accused her of trying to inspire readers to think "dirty thoughts" with these words, her response was, "Damn if I could fool you, Mr. Rosenthal." One friend saw her rebellion against the ''Times'' authority structure as a continuation of her rebellion against her father's authority. In late 1981, after receiving an offer from the ''Dallas Times Herald'' to write a column about anything she liked, Ivins left New York for Dallas.
Ivins wrote for the ''Dallas Times Herald'' for ten years, although by 1985 the editors had moved her to the paper's Austin bureau to reduce friction with Dallas city leaders. Her freelance work and speaking engagements continued to grow, and she hired Elizabeth Faulk, John Henry Faulk's widow, as a personal assistant. In 1991, her book ''Molly Ivins Can't Say That, Can She?'' was published, and spent 29 weeks on the New York Times bestseller list. Also in 1991, rival newspaper ''Dallas Morning News'' bought the ''Times Herald'' and closed it down. The ''Fort Worth Star-Telegram'' immediately made Ivins an offer and said she could stay in Austin. Ivins accepted, and wrote a column for the Fort Worth paper from 1992 until 2001, when she became an independent journalist. Her column, syndicated by Creators Syndicate, eventually appeared in nearly 400 newspapers nationwide.
Ivins also remained a board member and contributor to the Texas Democracy Foundation, which publishes the ''Texas Observer'' in Austin.
In 1995, humorist Florence King wrote in a ''The American Enterprise'' column that Ivins had plagiarized King's work and mis-stated a quotation from a King column in a 1988 ''Mother Jones'' article. David Rubien, writing in Salon, described the incident: "In a 1995 article for ''Mother Jones'' on Southern manners and mores, she extensively quoted, with affectionate attribution, statements from Florence King's book ''Southern Ladies and Gentlemen''. But for some careless reason Ivins still fails to comprehend, she left the attribution off a few King statements." Ivins wrote a letter of apology to King, but characteristically ended it with:"...boy you really are a mean bitch, aren't you? Sincerely, Molly Ivins, plagiarist." King published Ivins's apology and her own reply in a later article.
After her death, George W. Bush, a frequent target of her barbs, said in a statement, "I respected her convictions, her passionate belief in the power of words. She fought her illness with that same passion. Her quick wit and commitment will be missed."
Practice, practice, practice, that's what Texas provides when it comes to sleaze and stink. Who can forget such great explanations as "Well, I'll just make a little bit of money, I won't make a whole lot"? And "There was never a Bible in the room"?
In 2003, she coined the term "Great Liberal Backlash of 2003," and was a passionate critic of the 2003 Iraq War. She is also credited with applying the nickname "Shrub" to George W. Bush.
"We are the people who run this country. We are the deciders. And every single day, every single one of us needs to step outside and take some action to help stop this war...We need people in the streets, banging pots and pans and demanding, 'Stop it, now!'" (from her last column)
"Having breast cancer is massive amounts of no fun. First they mutilate you; then they poison you; then they burn you. I have been on blind dates better than that."
"So keep fightin' for freedom and justice, beloveds, but don't you forget to have fun doin' it. Lord, let your laughter ring forth. Be outrageous, ridicule the fraidy-cats, rejoice in all the oddities that freedom can produce. And when you get through kickin' ass and celebratin' the sheer joy of a good fight, be sure to tell those who come after how much fun it was."—quoted by John Nichols for ''The Nation'' Original source: "The Fun's in the Fight" column for ''Mother Jones'', 1993.
On Bill Clinton: "If left to my own devices, I'd spend all my time pointing out that he's weaker than bus-station chili. But the man is so constantly subjected to such hideous and unfair abuse that I wind up standing up for him on the general principle that some fairness should be applied. Besides, no one but a fool or a Republican ever took him for a liberal." (Introduction to ''You Got to Dance With Them What Brung You'')
On James M. Collins, US Representative, R-Dallas: "If his IQ slips any lower we'll have to water him twice a day." Collins had said that the current energy crisis could be averted if "...we didn't use all that gas on school busing..." Ivins' quote engendered substantial controversy, with calls and letters pouring into her newspaper, ''The Dallas Times Herald''. The newspaper turned the controversy into a publicity campaign, with billboards all over the city asking, "Molly Ivins Can't Say That, Can She?"—which she later employed as the title for her first book.
On George W. Bush, she likened him to a post turtle.
"Of Bush's credentials as an economic conservative, there is no question at all - he owes his political life to big corporate money; he's a CEO's wet dream. He carries their water, he's stumpbroke - however you put it, George W. Bush is a wholly owned subsidiary of corporate America. ... We can find no evidence that it has ever occurred to him to question whether it is wise to do what big business wants."
In addition to these formal awards, Ivins said that she was particularly proud of two distinct honors: having the Minneapolis police force's mascot pig named after her, and being banned from the Texas A&M; campus.
In Huntsville, TX each year the Walker County Democrat Club has a Charity Dinner in honor of Molly Ivins.
Category:Article Feedback Pilot Category:1944 births Category:2007 deaths Category:Alumni of Sciences Po Category:American anti–Iraq War activists Category:American columnists Category:American journalists Category:American political writers Category:Deaths from breast cancer Category:Columbia University alumni Category:People from Houston, Texas Category:Smith College alumni Category:Scripps College alumni Category:Alumni of women's universities and colleges Category:Writers from Texas Category:Cancer deaths in Texas
de:Molly Ivins fr:Molly Ivins pt:Molly IvinsThis text is licensed under the Creative Commons CC-BY-SA License. This text was originally published on Wikipedia and was developed by the Wikipedia community.
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