Name	Whitey Ford
Position	Pitcher
Bats	Left
Throws	Left
Birth date	October 21, 1928
Birth place	New York, New York
Debutdate	July 1
Debutyear	1950
Debutteam	New York Yankees
Finaldate	May 21
Finalyear	1967
Finalteam	New York Yankees
Stat1label	Win–Loss record
Stat1value	236–106
Stat2label	Earned run average
Stat2value	2.75
Stat3label	Strikeouts
Stat3value	1,956
Teams	New York Yankees (–)
Highlights	10× All-Star selection (1954, 1955, 1956, 1958, 1959, 1960, 1960², 1961, 1961², 1964) 6× World Series champion (, , , , , ) 1961 Cy Young Award 1961 World Series MVP 1961 Babe Ruth Award 3× AL TSN Pitcher of the Year (1955, 1961, 1963) New York Yankees #16 retired
Hofdate
Hofvote	77.81% }}

Edward Charles "Whitey" Ford (born October 21, 1928) is a former Major League Baseball pitcher who spent his entire 18-year career with the New York Yankees. He was voted into the Baseball Hall of Fame in 1974.

Biography

Early life and career

Ford was a native of the Astoria neighborhood of Queens, located in New York City just a few miles from Yankee Stadium over the Triborough Bridge. Ford was signed by the New York Yankees as an amateur free agent in , and played his entire career in a Yankees uniform. He was given the nickname "Whitey" while in the minor leagues for his exceptionally blond hair. Ford graduated from Aviation High School in nearby Sunnyside, Queens.

Ford began his Major League Baseball career on July 1, , with the Yankees and made a spectacular debut, winning his first nine decisions before losing a game in relief. Ford received a handful of lower-ballot Most Valuable Player votes despite throwing just 112 innings, and was voted the AL Rookie of the Year by the Sporting News. (Walt Dropo was the Rookie of Year choice of the BBWAA.)

In and he served in the Army during the Korean War. He rejoined the Yankees for the season, and the Yankee "Big Three" pitching staff became a "Big Four," as Ford joined Allie Reynolds, Vic Raschi and Eddie Lopat.

Pitching career

Eventually Ford went from the No. 4 pitcher on a great staff to the universally acclaimed No. 1 pitcher of the Yankees, becoming known as the "Chairman of the Board" for his ability to remain calm and in command during high-pressure situations. He was also known as "Slick" a nickname given to him, Billy Martin and Mickey Mantle by manager Casey Stengel who called them Whiskey Slicks. Ford's guile was necessary because he did not have an overwhelming fastball, but being able to throw several other pitches very well gave him pinpoint control. Nonetheless, Ford was an effective strikeout pitcher for his time, tying the then-AL record for six consecutive strikeouts in , and again in 1958. Ford pitched 2 consecutive one-hit games in to tie a record held by several pitchers. He never pitched a no-hitter.

In , Ford led the American League in complete games and games won; in in earned run average and winning percentage; in , in earned run average; and in both and , in games won and winning percentage. Ford won the Cy Young Award in 1961; he likely would have won the AL Cy Young, but this was before the institution of a separate award for each league, and Ford could not match Sandy Koufax's numbers for the Los Angeles Dodgers of the National League. He would also have been a candidate in , but this was before the award was created.

Some of Ford's totals were depressed by Yankees manager Casey Stengel who viewed Ford as his top pitching asset, and often reserved his ace left-hander for more formidable opponents such as the Tigers, Indians and White Sox. When he became manager in 1961, Ralph Houk promised Ford he would pitch every fourth day, regardless of opponent; after exceeding 30 starts only once in his nine seasons under Stengel, Ford had 39 in 1961. A career-best 25-4 record and the Cy Young Award ensued, but Ford's season was overshadowed by the home run battle between Roger Maris and Mickey Mantle. As a left-hander, Ford was also deft at keeping runners at their base: He set a record in 1961 by pitching 243 consecutive innings without allowing a stolen base.

In May 1963, after pitching a shutout, Ford announced he had given up smoking. He said, "My doctor told me that whenever I think of smoking, I should think of a bus starting up and blowing the exhaust in my face." Years later, Ford admitted having made illicit concessions to age: "I didn't begin cheating until late in my career, when I needed something to help me survive. I didn't cheat when I won the twenty-five games in 1961. I don't want anybody to get any ideas and take my Cy Young Award away. And I didn't cheat in 1963 when I won twenty-four games. Well, maybe a little."

Career statistics

Ford won 236 games for New York (career 236-106), still a franchise record. Red Ruffing, the previous Yankee record-holder, still leads all Yankee right-handed pitchers, with 231 of his 273 career wins coming with the Yankees. Other Yankee pitchers have had more career wins (for example, Roger Clemens notched his 300th career victory as a Yankee), but amassed them for multiple franchises. David Wells tied Whitey Ford for 13th place in victories by a left-hander on August 26, .

Among pitchers with at least 300 career decisions, Ford ranks first with a winning percentage of .690, the all-time highest percentage in modern baseball history.

Ford's career winning percentage cannot be attributed solely to being on a good team: The Yankees were 1,486-1,027 during his 16 years; without his 236-106, they had 1,250 wins and 921 losses, for a won-loss percentage of .576. Ford was thus 11.4 percentage points higher than his team's record, independent of his record.

Ford's 2.75 earned run average is the lowest among starting pitchers whose careers began after the advent of the Live Ball Era in . Ford's worst-ever ERA was 3.24. Ford had 45 shutout victories in his career, including eight 1-0 wins.

World Series and All-Star Games

Ford's status on the Yankees was underscored by the World Series. Ford was New York's Game One pitcher in 1955, 1956, 1957, 1958, 1961, 1962, 1963, and 1964. He is the only pitcher to start four consecutive Game Ones, a streak he reached twice. In the 1960 World Series against the Pittsburgh Pirates, Stengel altered this strategy by holding Ford back until Game Three, a decision that angered Ford. The Yankees' ace won both his starts in Games Three and Six with complete-game shutouts, but was then unavailable to relieve in the last game of a Yankees loss, Bill Mazeroski's walk-off home run in the bottom of the ninth winning the game—and the Series—for the Pirates. Ford always felt that had he been able to appear in three of the games instead of just two, the Yankees would have won. Upper management may have agreed: Stengel was fired following the Series.

For his career, Ford had 10 World Series victories, more than any other pitcher. Ford also leads all starters in World Series losses (8) and starts (22), as well as innings, hits, walks, and strikeouts. In 1961 he broke Babe Ruth's World Series record of 29⅔ consecutive scoreless innings. (The record would eventually reach 33⅔. It is still a World Series record, although Mariano Rivera broke it as a postseason record in 2000.) Ford won the 1961 World Series MVP. In addition to Yankee Stadium, Ford also pitched World Series games in seven other stadiums:

Ebbets Field (1953 and 1956)

Milwaukee County Stadium (1957 and 1958)

Forbes Field (1960)

Crosley Field (1961)

Candlestick Park (1962)

Dodger Stadium (1963)

Sportsman's Park (1964)

Ford appeared on eight AL All-Star teams between and .

Retirement

Ford ended his career in declining health. In August , he underwent surgery to correct a circulatory problem in his throwing shoulder. In May , Ford lasted just one inning in what would be his final start, and he announced his retirement at the end of the month at age 38.

Ford wore number 19 in his rookie season. Following his return from the army in , he wore number 16 for the remainder of his career. He was elected to baseball's Hall of Fame in with his longtime pal and Yankee teammate Mickey Mantle; at that time, the Yankees retired his number 16. On August 2, 1987, the Yankees dedicated plaques for Monument Park at Yankee Stadium for Ford and another left-handed pitcher who reached the Hall of Fame, Lefty Gomez; Ford's plaque calls him "[o]ne of the greatest pitchers ever to step on a mound."

After his career ended, Ford admitted to occasionally cheating by doctoring baseballs in various ways, such as the "mudball," which could only be used at home in Yankee Stadium: Yankee groundskeepers would wet down an area near the catcher's box where Yankee catcher Elston Howard was positioned; pretending to lose balance on a pitch while in his crouch and landing on his right hand (with the ball in it), Howard would coat one side of the ball with mud. Ford would sometimes use the diamond in his wedding ring to gouge the ball, but he was eventually caught by an umpire and warned to stop; Howard then sharpened a buckle on his shinguard and used it to scuff the ball. Ford admitted in several interviews to doctoring the ball in the 1962 All Star Game at Candlestick Park to strike out Willie Mays. Ford had a vested interest in doing so; Ford and Mantle had accumulated $1200 ($}} today) in golf pro shop purchases as guests of Horace Stoneham at the Giants owner's country club, a tab which Stoneham had agreed to pick up if Ford could strike out Mays.

In 1977, Ford was part of the broadcast team for the first game in Toronto Blue Jays history. In , Ford ranked 52nd on The Sporting News list of Baseball's Greatest Players, and was a nominee for the Major League Baseball All-Century Team. In 2003, Ford was inducted into the Nassau County Sports Hall of Fame. In , Ford threw the first pitch at the 2008 Major League Baseball All-Star Game. On September 21, 2008 Ford and Yogi Berra were guests of the broadcast team for the final game played at Yankee Stadium.

Legacy

In 1994, a road in Mississauga, Ontario (Canada) was named Ford Road in Ford's honor. This was in the north-central area of Mississauga known informally as "the baseball zone", as several streets in the area are named for hall-of-fame baseball players.

In a 1997 episode of ''The Simpsons'', "The Twisted World of Marge Simpson", an animated Ford, who was in the process of "pleading with the crowd for some kind of sanity", was knocked unconscious by a barrage of pretzels at a baseball game after a 1997 minivan was raffled away to seat 0001, occupied by Charles Montgomery Burns, with the announcer calling the pretzel attack a "black day for baseball". Homer later suggested that Marge call her pretzels "Whitey Whackers."

In 1998, Grammy Award winning musician Everlast scored great success with his CD entitled ''Whitey Ford Sings the Blues''.

In 2001, Ford was portrayed by Anthony Michael Hall in the HBO movie, ''61*'', a Billy Crystal film centered on Roger Maris and Mickey Mantle's quest to break Babe Ruth's single-season home run record.

In 2002, Ford opened up "Whitey Ford's Cafe," a sports-themed restaurant and bar next to Roosevelt Field Mall in Garden City, New York. A replica of the Yankee Stadium facade trimmed both the exterior and the bar, whose stools displayed uniform numbers of Yankee luminaries; replicas of Monument Park's retired uniform numbers lined the hallways, and widescreen TVs were present throughout. Memorabilia featured Bill Dickey's signed glove and Johnny Blanchard's '61 World Series bat, as well as assorted Mickey Mantle mementos, along with jersey tops of Derek Jeter, Jason Giambi, Al Leiter, and Lee Mazzilli. The main dining area housed a panoramic display of Yankee Stadium from the 1950s, specifically a White Sox–Yankee game with Ford pitching and Mickey Mantle in center field; the Yanks are up 2-0. Waiters and waitresses dressed in Yankees road uniforms, with Ford's retired No. 16 on the back. It lasted less than a year before it closed down.

Currently, Ford serves as a member of the advisory board of the Baseball Assistance Team, a 501(c)(3) non-profit organization dedicated to helping former Major League, Minor League, and Negro League players through financial and medical difficulties.

See also

List of Major League Baseball leaders in career wins

List of Major League Baseball ERA champions

List of Major League Baseball wins champions

Top 100 strikeout pitchers of all time

References

External links

whiteyford.com Official website

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Category:1928 births Category:Living people Category:American people of Irish descent Category:American League All-Stars Category:American League ERA champions Category:American League wins champions Category:Baseball players from New York Category:Binghamton Triplets players Category:Butler Yankees players Category:Cy Young Award winners Category:Kansas City Blues (baseball) players Category:Major League Baseball announcers Category:Major League Baseball coaches Category:Major League Baseball pitchers Category:Major League Baseball pitching coaches Category:Major League Baseball players with retired numbers Category:National Baseball Hall of Fame inductees Category:New York Yankees broadcasters Category:New York Yankees coaches Category:New York Yankees players Category:Norfolk Tars players Category:People from Astoria, Queens Category:Sportspeople from Queens Category:United States Army personnel

de:Whitey Ford es:Whitey Ford fr:Whitey Ford ko:화이티 포드 ja:ホワイティー・フォード simple:Whitey Ford fi:Whitey Ford sv:Whitey Ford

name	Carlos Santana
background	solo_singer
birth name	Carlos Augusto Alves Santana
alias	Devadip Carlos Santana
born	July 20, 1947Autlán de Navarro, JaliscoMexico
instrument	Vocals, guitar, percussion, violin
genre	Latin rock, chicano rock, Rock, blues rock, funk, jazz fusion, tejano music, salsa, pop, free jazz
occupation	Musician, songwriter
years active	1966–present
label	Arista, Polydor, Columbia, Polygram, CBS
associated acts	Santana, Los Lonely Boys, John McLaughlin
notable instruments	PRS Santana II Yamaha SG2000 DevadipYamaha SG175 Gibson SG
Website	Santana.com }}

Carlos Augusto Alves Santana (born July 20, 1947) is a Mexican rock guitarist. Santana became famous in the late 1960s and early 1970s with his band, Santana, which pioneered rock, salsa and jazz fusion. The band's sound featured his melodic, blues-based guitar lines set against Latin and African rhythms featuring percussion instruments such as timbales and congas not generally heard in rock music. Santana continued to work in these forms over the following decades. He experienced a resurgence of popularity and critical acclaim in the late 1990s. In 2003, ''Rolling Stone'' magazine listed Santana at number 15 on their list of the 100 Greatest Guitarists of All Time. He has won 10 Grammy Awards and 3 Latin Grammy Awards.

Biography

Early life

Santana was born in Autlán de Navarro, Jalisco, Mexico. His father was a mariachi violinist, and Carlos learned to play the violin at age five and the guitar at age eight. His younger brother, Jorge Santana, would also become a professional guitarist. Young Carlos was heavily influenced by Ritchie Valens at a time when there were very few Latinos in American rock and pop music. The family moved from Autlán de Navarro to Tijuana, the city on Mexico's border with California, and then San Francisco. Carlos stayed in Tijuana but joined his family in San Francisco later and graduated from James Lick Middle School and Mission High School there. He graduated from Mission High in 1965. Javier Bátiz, a famous guitarist from Tijuana, said to have been Carlos's guitar teacher who taught him to play a different style of guitar soloing. After learning Javier Batiz's techniques, Santana would make them his own as well.

Early career

In San Francisco, he got the chance to see his idols, most notably B.B. King, perform live. He was also introduced to a variety of new musical influences, including jazz and folk music, and witnessed the growing hippie movement centered in San Francisco in the 1960s. After several years spent working as a dishwasher in a diner and busking for spare change, Santana decided to become a full-time musician. In 1966, he gained prominence by a series of accidental events all happening on the same day. Santana was a frequent spectator at Bill Graham's Fillmore West. During a Sunday matinee show, Paul Butterfield was slated to perform there but was unable to do so as a result of being intoxicated. Bill Graham assembled an impromptu band of musicians he knew primarily through his connections with the Grateful Dead, Butterfield's own band and Jefferson Airplane, but he had not yet picked all of the guitarists at the time. Santana's manager, Stan Marcum, immediately suggested to Graham that Santana join the impromptu band and Graham assented. During the jam session, Santana's guitar playing and solo gained the notice of both the audience and Graham. During the same year, Santana formed the Santana Blues Band, with fellow street musicians, David Brown and Gregg Rolie (bassist and keyboard player, respectively).

With their highly original blend of Latin-infused rock, jazz, blues, salsa, and African rhythms, the band (which quickly adapted their frontman's name, Santana) gained an immediate following on the San Francisco club circuit. The band's early success, capped off by a memorable performance at Woodstock in 1969, led to a recording contract with Columbia Records, then run by Clive Davis.

''Santana''

Santana was signed by CBS Records and went into the studio to record their second album. They were not satisfied with the release and decided changes needed to be made. This resulted in the dismissal of Bob Livingston. Santana replaced him with Mike Shrieve, who had a strong background in both jazz and rock. Marcus Malone was forced to quit the band due to personal problems, and the band re-enlisted Michael Carabello. Carabello brought with him percussionist Jose Chepito Areas, who was already well-known in his country, Nicaragua, and, with his skills and professional experience, was a major contributor to the band.

Bill Graham had been a fan of the band from it's inception, arranged for the band to appear at the Woodstock Music and Art Festival before they had even completed their debut album was even released. They were one of the surprises of the festival; their set was legendary and, later, the exposure of their eleven-minute instrumental "Soul Sacrifice" in the ''Woodstock'' film and soundtrack albums vastly increased Santana's popularity. Graham also gave the band some key advice to record the Willie Bobo song "Evil Ways", as he felt it would get them radio airplay. His first eponymous album, ''Santana'', became a huge hit, reaching number four on the U.S. album charts, and the catchy single "Evil Ways" reached number nine on the Billboard Hot 100.

In 1969, Santana's performance at the Woodstock festival introduced the band to an international audience and garnered critical acclaim, although the band's sudden success put pressure on the group, highlighting the different musical directions in which Rolie and Santana were starting to go. Rolie, along with some of the other band members, wanted to emphasize a basic hard rock sound which had been a key component in establishing the band from the start. Santana, however, was increasingly interested in moving beyond his love of blues and rock and wanted more jazzy, ethereal elements in the music, which were influenced by his fascination with Miles Davis and John Coltrane, as well as his growing interest in spirituality. At the same time, Chepito Areas was stricken with a near-fatal brain hemorrhage, and Santana hoped to continue by finding a temporary replacement (first Willie Bobo, then Coke Escovedo), while others in the band, especially Michael Carabello, felt it was wrong to perform publicly without Areas. Cliques formed, and the band started to disintegrate.

Teenage San Francisco Bay Area guitar prodigy Neal Schon was asked to join the band in 1971, in time to complete the third album, ''Santana III''. The band now boasted a powerful dual-lead-guitar act that gave the album a tougher sound. The sound of the band was also helped by the return of a recuperated Chepito Areas and the assistance of Coke Escovedo in the percussion section. Enhancing the band's sound further was the support of popular Bay Area group Tower of Power's horn section, Luis Gasca of Malo, and other session musicians which added to both percussion and vocals, injecting more energy to the proceedings. ''Santana III'' was another success, reaching number one on the album charts, selling two million copies, and yielding the hits "Everybody's Everything" and "No One to Depend On".

But tension in the band continued. Along with musical differences, drug use became a problem, and Santana was deeply worried it was affecting the band's performance. Coke Escovedo encouraged Santana to take more control of the band's musical direction, much to the dismay of some of the others who thought that the band and its sound was a collective effort. Also, financial irregularities were exposed while under the management of Stan Marcum, whom Bill Graham criticized as being incompetent. Growing resentments between Santana and Michael Carabello over lifestyle issues resulted in his departure on bad terms. James Mingo Lewis was hired at the last minute as a replacement at a concert in New York City. David Brown later left due to substance abuse problems. A South American tour was cut short in Lima, Peru, due to student protests against U.S. governmental policies and unruly fans. The madness of the tour convinced Santana that changes needed to be made in the band and in his life.

In January 1972, Santana, Neal Schon and Coke Escovedo joined former Band of Gypsys drummer Buddy Miles for a concert at Hawaii's Diamond Head Crater, which was recorded for the album, Carlos Santana & Buddy Miles! Live!. The performance was erratic and uneven, but the album managed to achieve gold-record status on the weight of Santana's popularity.

''Caravanserai''

In early 1972, Santana and the remaining members of the band started working on their fourth album, ''Caravanserai''. During the studio sessions, Santana and Michael Shrieve brought in other musicians: percussionists James Mingo Lewis and Latin-Jazz veteran, Armando Peraza replacing Michael Carabello, and bassists Tom Rutley and Doug Rauch replacing David Brown. Also assisting on keyboards were Wendy Haas and Tom Coster. With the unsettling influx of new players in the studio, Gregg Rolie and Neal Schon decided that it was time to leave after the completion of the album, even though both contributed to the session. Rolie returned home to Seattle, and after some time later became a founding member of Journey (which Schon would later join as well).

When ''Caravanserai'' did emerge in 1972, it marked a strong change in musical direction towards jazz fusion. The album received critical praise, but CBS executive Clive Davis warned Santana and the band that it would sabotage the band's position as a "Top 40" act. Nevertheless, over the years, the album would achieve platinum status. The difficulties Santana and the band went through during this period were chronicled in Ben Fong-Torres' ''Rolling Stone'' 1972 cover story "The Resurrection of Carlos Santana".

Santana met Deborah King, whom he later married in 1973. She is the daughter of the late blues singer and guitarist Saunders King. They have three children: Salvador, Stella and Angelica. Together with wife Deborah, Santana founded a not-for-profit organization, the Milagro Foundation, which provides financial aid for educational, medical, and other needs.

Shifting styles and spirituality in the 1970s

In 1972, Santana became a huge fan of the pioneering fusion band The Mahavishnu Orchestra and its guitarist John McLaughlin. Aware of Santana's interest in meditation, McLaughlin introduced Santana and Deborah to his guru, Sri Chinmoy. Chinmoy accepted them as disciples in 1973. Santana was given the name Devadip, meaning "The lamp, light and eye of God." Santana and McLaughlin recorded an album together, ''Love, Devotion, Surrender'' with members of Santana and the Mahavishnu Orchestra, along with percussionist Don Alias and organist Larry Young, who both had made appearances on Miles Davis' classic ''Bitches Brew'' in 1969.

In 1973, Santana, having obtained legal rights to the band's name, Santana, formed a new version of the band, Santana, with Armando Peraza and Chepito Areas on percussion, Doug Rauch on bass, Michael Shrieve on drums, and Tom Coster and Richard Kermode on keyboards. Santana was later able to recruit jazz vocalist Leon Thomas for a tour of Japan, which was recorded for the live, sprawling, high-energy fusion album ''Lotus''. CBS records would not allow its release unless the material was condensed. Santana did not agree to those terms, and the album was available in the U.S. only as an expensive, imported, three-record set. The group later went into the studio and recorded ''Welcome'', which further reflected Santana's interests in jazz fusion and his increasing commitment to the spiritual life of Sri Chinmoy.

A collaboration with John Coltrane's widow, Alice Coltrane, ''Illuminations'', followed. The album delved into avant-garde esoteric free jazz, Eastern Indian and classical influences with other ex-Miles Davis sidemen Jack DeJohnette and Dave Holland. Soon after, Santana replaced his band members again. This time Kermode, Thomas and Rauch departed from the group and were replaced by vocalist Leon Patillo (later a successful Contemporary Christian artist) and returning bassist David Brown. He also recruited soprano saxophonist, Jules Broussard to the lineup. The band recorded one studio album ''Borboletta'', which was released in 1974. Drummer Leon "Ndugu" Chancler later joined the band as a replacement for Michael Shrieve, who left to pursue a solo career.

By this time, the Bill Graham's management company had assumed the affairs of the group. Graham was critical of Santana's direction into jazz and felt he needed to concentrate on getting Santana back into the charts with the edgy, street-wise ethnic sound that had made them famous. Santana himself was seeing that the group's direction was alienating many fans. Although the albums and performances were given good reviews by critics in jazz and jazz fusion circles, sales had plummeted.

Santana along with Tom Coster, producer David Rubinson, and Chandler formed yet another version of Santana, adding vocalist Greg Walker. The 1976 album ''Amigos'', which featured the songs "Dance, Sister, Dance" and "Let It Shine", had a strong funk and Latin sound. The album also received considerable airplay on FM album-oriented rock stations with the instrumental "Europa (Earth's Cry Heaven's Smile)" and re-introduced Santana back into the charts. In 1976, ''Rolling Stone'' ran a second cover story on Santana entitled "Santana Comes Home".

The albums conceived through the late 1970s followed the same formula, although with several lineup changes. Among the personnel who came and left the band was percussionist Raul Rekow, who joined in early 1977 and remains to this day. Most-notable of the band's commercial efforts of this era was a version of the 1960s Zombies hit, "She's Not There", on the 1977 album ''Moonflower''.

The relative success of the band's albums in this era allowed Santana to pursue a solo career funded by CBS. First, ''Oneness: Silver Dreams - Golden Reality'', in 1979 and ''The Swing of Delight'' in 1980, which featured some of his musical heroes: Herbie Hancock, Wayne Shorter, Ron Carter and Tony Williams from Miles Davis' legendary 1960s quintet.

The pressures and temptations of being a high-profile rock musician and requisites of the spiritual lifestyle which guru Sri Chinmoy and his followers demanded, were great sources of conflict to Santana's lifestyle and marriage. He was becoming increasingly disillusioned with what he thought was Chinmoy's unreasonable rules imposed on his life, in particular, his refusal to allow Santana and Deborah to start a family. He felt too that his fame was being used to increase the guru's visibility. Santana and Deborah eventually ended their relationship with Chinmoy in 1982.

The 1980s

More radio-pleasing singles followed from Santana and the band. "Winning" in 1981 and "Hold On" (a remake of Canadian artist Ian Thomas' song) in 1982 both reached the top twenty. After his break with Sri Chinmoy, Santana went into the studio to record another solo album with Keith Olson and legendary R&B; producer Jerry Wexler. The 1983 album revisited Santana's early musical experiences in Tijuana with Bo Diddley's "Who Do You Love" and the title cut, Chuck Berry's "Havana Moon". The album's guests included Booker T. Jones, The Fabulous Thunderbirds, Willie Nelson and even Santana's father's mariachi orchestra. Santana again paid tribute to his early rock roots by doing the film score to ''La Bamba'', which was based on the tragically short life of rock and roll legend Ritchie Valens and starred Lou Diamond Philips.

Although the band had concentrated on trying to produce albums with commercial appeal during the 1980s, changing tastes in popular culture began to reflect in the band's sagging record sales of their latest effort ''Beyond Appearances''. In 1985, Bill Graham had to once again pull strings for Santana to convince principal Live Aid concert organizer Bob Geldof to allow the band to appear at the festival. The group's high-energy performance proved they were still a top concert draw the world over despite their poor performance on the charts. Santana regained a great deal of respect in both jazz and rock circles, with Prince and guitarist Kirk Hammett of Metallica citing him as an influence.

The band Santana returned in 1986 with a new album ''Freedom''. Buddy Miles, who was trying to revive his music career after spending much of the late 1970s and early 1980s incarcerated for drug charges, returned for lead vocals. His onstage presence provided a dose of charisma to the show; but, once again, the sales of the album fell below expectations. Growing weary of trying to appease record company executives with formulaic hit records, Santana took great pleasure in jamming and making guest appearances with notables such as the jazz fusion group Weather Report, jazz pianist McCoy Tyner, Blues legend John Lee Hooker, Frank Franklin, Living Colour guitarist Vernon Reid, and West African singer Salif Keita. He and Mickey Hart of the Grateful Dead later recorded and performed with Nigerian drummer Babatunde Olatunji, who conceived one of Santana's famous 1960s drum jams, "Jingo". In 1988, Santana organized a reunion with past members from the Santana band for a series of concert dates. CBS records released a 20-year retrospective of the band's accomplishments with ''Viva Santana!''.

That same year Santana formed an all-instrumental group featuring jazz legend Wayne Shorter on tenor and soprano saxophone. The group also included Patrice Rushen on keyboards, Alphonso Johnson on bass, Armando Peraza and Chepito Areas on percussion, and Leon "Ndugu" Chancler on drums. They toured briefly and received much acclaim from the music press, who compared the effort with the era of ''Caravanserai''. Santana released another solo record, ''Blues for Salvador'', which won a Grammy Award for Best Rock Instrumental Performance.

In 1990, Santana left Columbia Records after twenty-two years and signed with Polygram. The following year, he made a guest appearance on Ottmar Liebert's album ''Solo Para Ti'', on the songs "Reaching out 2 U" and on a cover of his own song, "Samba Pa Ti". In 1992, Santana hired jam band Phish as his opening act.

Return to commercial success

Santana's record sales in the 1990s were very low. Toward the end of the decade, he was without a contract. However, Arista Records' Clive Davis, who had worked with Santana at Columbia Records, signed him and encouraged him to record a star-studded album with mostly younger artists. The result was 1999's ''Supernatural'', which included collaborations with Everlast, Rob Thomas of Matchbox Twenty, Eric Clapton, Lauryn Hill, Wyclef Jean, Cee-Lo, Maná, Dave Matthews, K. C. Porter, J. B. Eckl, and others.

However, the lead single was what grabbed the attention of both fans and the music industry. "Smooth", a dynamic cha-cha stop-start number co-written and sung by Rob Thomas of Matchbox Twenty, was laced throughout with Santana's guitar fills and runs. The track's energy was immediately apparent on radio, and it was played on a wide variety of station formats. "Smooth" spent twelve weeks at number one on the Billboard Hot 100, becoming in the process the last #1 single of the 1990s. The music video, set on a hot barrio street, was also very popular. ''Supernatural'' reached number one on the US album charts and the follow-up single, "Maria Maria", featuring the R&B; duo The Product G&B;, also hit number one, spending ten weeks there in the spring of 2000. ''Supernatural'' eventually sold over 15 million copies in the United States, making it Santana's biggest sales success by far.

Carlos Santana, alongside the classic Santana lineup of their first two albums, was inducted into the Rock and Roll Hall of Fame in 1998. He performed "Black Magic Woman" with the writer of the song, Fleetwood Mac's founder Peter Green. Green was inducted the same night.

In 2000 ''Supernatural'' won nine Grammy Awards (eight for Santana personally), including Album of the Year, Record of the Year for "Smooth", and Song of the Year for Thomas and Itaal Shur. Santana's acceptance speeches described his feelings about music's place in one's spiritual existence. Later that year at the Latin Grammy Awards he won three awards including Record of the Year. In 2001, Santana's guitar skills were featured in Michael Jackson's song "Whatever Happens", from the album ''Invincible''.

In 2002, Santana released ''Shaman'', revisiting the ''Supernatural'' format of guest artists including P.O.D. and Seal. Although the album was not the runaway success its predecessor had been, it produced two radio-friendly hits. "The Game of Love" featuring Michelle Branch, rose to number five on the Billboard Hot 100 and spent many weeks at the top of the Billboard Adult Contemporary chart, and "Why Don't You & I" written by and featuring Chad Kroeger from the group Nickelback (the original and a remix with Alex Band from the group The Calling were combined towards chart performance) which reached number eight on the Billboard Hot 100. "The Game of Love" went on to win the Grammy Award for Best Pop Collaboration with Vocals.

In early August 2003, Santana was named fifteenth on ''Rolling Stone'' magazine's "List of the "100 Greatest Guitarists of All Time".

On April 21, 2005, Santana was honored as a BMI Icon at the 12th annual BMI Latin Awards. Santana was the first songwriter designated a BMI Icon at the company's Latin Awards. The honor is given to a creator who has been "a unique and indelible influence on generations of music makers."

In 2005, Herbie Hancock approached Santana to collaborate on an album again using the ''Supernatural'' formula. ''Possibilities'' was released on August 30, 2005, featuring Carlos Santana and Angélique Kidjo on "Safiatou". Also, in 2005, fellow Latin star Shakira invited Santana to play the soft rock guitar ballad "Illegal" on her second English-language studio album Oral Fixation Vol. 2.

Santana's 2005 album ''All That I Am'' consists primarily of collaborations with other artists; the first single, the peppy "I'm Feeling You", was again with Michelle Branch and The Wreckers. Other musicians joining the mix this time included Steven Tyler of Aerosmith, Kirk Hammett from Metallica, hip-hop/reggae star Sean Paul and R&B; singer Joss Stone. In April and May 2006, Santana toured Europe, where he promoted his son Salvador Santana's band as his opening act.

In 2007, Santana appeared, along with Sheila E. and José Feliciano, on Gloria Estefan's album ''90 Millas,'' on the single "No Llores". He also teamed again with Chad Kroeger for the hit single "Into the Night".

In 2008, Santana started working with his long-time friend, Marcelo Vieira, on his solo album ''Marcelo Vieira's Acoustic Sounds'', which is due to be released at the end of the year. It features tracks such as "For Flavia" and "Across the Grave", the latter featuring heavy melodic riffs by Santana.

Carlos Santana performed at the 2009 American Idol Finale with the top 13 finalists, which starred many acts such as KISS, Queen and Rod Stewart. On July 8, 2009, Carlos Santana appeared at the Athens Olympic Stadium in Athens with his 10-member all-star band as part of his "Supernatural Santana – A Trip through the Hits" European tour. On July 10, 2009, he also appeared at Philip II Stadium in Skopje. With 2.5 hours concert and 20 000 people, Santana appeared for the first time in that region. "Supernatural Santana – A Trip through the Hits" is currently playing at The Hard Rock hotel in Las Vegas, where it will play through 2011.

Santana is featured as a playable character in the music video game Guitar Hero 5. A live recording of his song "No One To Depend On" is included in game, which was released on September 1, 2009.

Carlos recently opened a chain of upscale Mexican restaurants called "Maria Maria". It is a combined effort with Chef Roberto Santibañez. They are located in Tempe, Arizona, Mill Valley (now closed), Walnut Creek and Danville, California, Austin, Texas, and Boca Raton, Florida.

Influences

Around the age of 8, Santana "fell under the influence" of blues performers like B.B. King and John Lee Hooker. He also credits Jimi Hendrix, Mike Bloomfield and Peter Green as important influences; he considered Bloomfield a direct mentor, writing of a key meeting with Bloomfield in San Francisco in the foreword he wrote to a biography of Bloomfield, ''Michael Bloomfield: If You Love These Blues-An Oral History'' in 2000.

Equipment

Guitars and effects

Santana played a red Gibson SG Special with P-90 pickups at the Woodstock festival. From 1976 until 1982, his main guitar was a Yamaha SG 175B and sometimes a white Gibson SG Custom with 3 open coil pick-ups. In 1982 he started to use a custom made PRS guitar, which became his main instrument around 1988. Santana currently uses a Santana II model guitar using PRS Santana III pickups with nickel covers and a tremolo, with .009-.042 gauge D'Addario strings. Santana's guitar necks and fretboards are constructed out of a single solid piece of Brazilian Rosewood; this helps create the smooth, singing, glass-like tone for which he is known.

Santana also uses a classical guitar, the Alvarez Yairi CY127CE with Alvarez tension nylon strings.

Santana does not use many effects pedals. His PRS guitar is connected to a Mu-Tron wah wah pedal (or, more recently, a Dunlop 535Q wah) and a T-Rex Replica delay pedal. then through a customized Jim Dunlop amp switcher which in turn is connected to the different amps or cabinets.

Previous setups include an Ibanez Tube Screamer right after the guitar. He is also to have been known to use an Electro Harmonix Big Muff distortion for his famous sustain. In the song "Stand Up" from the album ''Marathon'', Santana uses a Heil talk box in the guitar solo.

Amplifiers

Carlos Santana's distinctive lead guitar tone is produced by PRS Santana signature guitars plugged into a multi-amp setup. The rig consists of a Mesa Boogie Mark I, Dumble Overdrive Reverb and more recently a Bludotone amplifier. Carlos often blends the sounds from each amp in various combinations to achieve a more complex tone. He also literally put the Boogie in Mesa Boogie: "Santana exclaimed to Smith, 'Shit, man. That little thing really Boogies! It was this statement that brought the Boogie name to fruition.'"

Specifically, Santana combines a Mesa/Boogie Mark I head running through a Boogie cabinet with Altec 417-8H (or recently JBL E120s) speakers, and a Dumble Overdrive Reverb and/or a Dumble Overdrive Special running through a Brown or Marshall 4x12 cabinet with Celestion G12M "Greenback" speakers, depending on the desired sound. Shure KSM-32 microphones are used to pick up the sound, going to the PA. Additionally, a Fender Cyber-Twin Amp is mostly used at home.

Personal life

Carlos Santana became a naturalized American citizen in 1965.

On October 19, 2007, his wife of 34 years, Deborah, filed for divorce citing "irreconcilable differences".

Carlos Santana became engaged to Cindy Blackman, after proposing to her during a concert of the Universal Tone Tour at Tinley Park in Chicago, Illinois on July 9, 2010. The two were married in December 2010.

Discography

Year	Album details	Peak chart positions										[[Music recording sales certification
		!width="30"	!width="30"	AUT	!width="30"	!width="30"	!width="30"	!width="30"	!width="30"	!width="30"	!width="30"
		* Released: July 20, 1973	* Label: Columbia Records	* Format: LP, CD	14	—	—	—	—	—	—	—	—	7	style="text-align:left;"
	style="text-align:left;"	* Released: October 1974	* Label: Columbia Records	* Format: LP, CD	79	—	—	—	—	—	—	—	—	40
	style="text-align:left;"	* Released: 1979	* Label: Columbia Records	* Format: LP, CD	—	—	—	12	—	43	—	—	—	55

Awards and nominations

|- | style="text-align:center;"| 1973 | "Caravanserai" | Best Pop Instrumental Performance - With Vocal Coloring | |- | style="text-align:center;"| 1988 | "Blues for Salvador" | Best Rock Instrumental Performance (Orchestra, Group Or Soloist) | |- | style="text-align:center;"| 1993 | "Gypsy/Grajonca" | Best Rock Instrumental Performance | |- | style="text-align:center;"| 1996 | "Every Now And Then" | Best Rock Instrumental Performance | |- | style="text-align:center;" rowspan="9"| 2000 | rowspan="2"|"Smooth" | Record of the Year | |- | Best Pop Collaboration with Vocals | |- | rowspan="2"|''Supernatural'' | Album of the Year | |- | Best Rock Album | |- | "Maria Maria" | Best Pop Performance by a Duo or Group with Vocal | |- | "El Farol" | Best Pop Instrumental Performance | |- | "The Calling" | Best Rock Instrumental Performance | |- | "Put Your Lights On" | Best Rock Vocal Performance by a Duo or Group | |- | "Love Of My Life" | Best Pop Collaboration with Vocals | |- | style="text-align:center;"| 2002 | "The Game of Love" | Best Pop Collaboration With Vocals | |}

References

Sources

''Soul Sacrifice; The Carlos Santana Story'' Simon Leng 2000

''Space Between The Stars'' Deborah Santana 2004

''Rolling Stone'' "The Resurrection of Carlos Santana" Ben Fong Torres 1972

''New Musical Express'' "Spirit of Santana" Chris Charlesworth November 1973

''Guitar Player'' Magazine 1978

''Rolling Stone'' "The Epic Life of Carlos Santana" 2000

''Santana I'' – Sony Legacy Edition: liner notes

''Abraxas'' – Sony Legacy Edition: liner notes

''Santana III'' – Sony Legacy edition: liner notes

''Viva Santana'' – CBS CD release 1988; liner notes

''Power, Passion and Beauty – The Story of the Legendary Mahavishnu Orchestra'' Walter Kolosky 2006

''Best of Carlos Santana'' – Wolf Marshall 1996; introduction and interview

Further reading

Chipley Slavicek, Louise. ''Carlos Santana'', Chelsea House Publications or Facts on File, 2006, 119 p., ISBN 0-7910-8844-8

Leng, Simon. ''Soul Sacrifice: The Santana Story'', Firefly-S.A.F. Publishing, 2000, 224 p., ISBN 0-946719-29-2. Republ. as ''Santana'', Catedra, 2002, ISBN 84-376-1947-5

McCarthy, Jim; Ron Sansoe, Ron, foreword by Carlos Santana. ''Voices of Latin Rock: The People and Events That Created This Sound'', Omnibus Press, 2004 and Hal Leonard Publishing, 2005, 316 p., ISBN 0-634-08061-X

Miller, Hal; Santana Debbie; Faulkner, John (ed.), w/ a foreword by Bill Graham. ''Santana: A Retrospective of the Santana Band's Twenty Years in Music'', San Francisco Mission Cultural Center, 1987 or 1988, 50p., no ISBN. Includes a 4-p genealogical tree w/ the members's name for every Santana band from 1966.

Molenda, Michael (ed.). ''Guitar Player Presents Carlos Santana'', Backbeat Books, 2010, 124 p., ISBN 978-0-87930-976-3

Remstein, Henna. ''Carlos Santana (Latinos in the Limelight)'', Chelsea House Publications, 2001, 64 p., ISBN 0-7910-6473-5

Shapiro, Marc. ''Carlos Santana: Back on Top'', St-Martin's Press, 2000 and 2002, 288 p., ISBN 0-312-28852-2

Sumsion, Michael. ''Maximum Santana: The Unauthorized Biography of Santana'', Chrome Dreams, 2003, ISBN 1-84240-107-6. A CD-audio biog

Weinstein, Norman. ''Carlos Santana: A Biography'', Greenwood Press, 2009, 152 p., ISBN 978-0313354205

Woog, Adam. ''Carlos Santana: Legendary Guitarist'', Lucent Books, 2006, 104 p., ISBN 1-59018-972-8

External links

Official website

Milagro Foundation

Information about Carlos Santana

Concerts online at Wolfgang's Vault

Category:1947 births Category:Living people Category:American Christians Category:American musicians of Mexican descent Category:American rock guitarists Category:Arista Records artists Category:Blues rock musicians Category:Columbia Records artists Category:Grammy Award winners Category:Latin Grammy Award winners Category:Latin Recording Academy Person of the Year Honorees Category:Lead guitarists Category:Mexican Christians Category:Mexican emigrants to the United States Category:Naturalized citizens of the United States Category:People from Autlán, Jalisco Category:People from Tijuana Category:Musicians from the San Francisco Bay Area Category:Santana (band) members Category:World music musicians Category:World Music Awards winners Category:Chicano rock musicians

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name	Salvador Dalí
birth name	Salvador Domingo Felipe Jacinto Dalí i Domènech
birth date	May 11, 1904
birth place	Figueres, Catalonia, Spain
death date	January 23, 1989
death place	Figueres, Catalonia, Spain
nationality	Spanish
religion	Roman Catholic
field	Painting, Drawing, Photography, Sculpture, Writing, Film
training	San Fernando School of Fine Arts, Madrid
movement	Cubism, Dada, Surrealism
works	''The Persistence of Memory'' (1931)''Face of Mae West Which May Be Used as an Apartment'', (1935)''Soft Construction with Boiled Beans (Premonition of Civil War)'' (1936)''Swans Reflecting Elephants'' (1937)''Ballerina in a Death's Head'' (1939)''Dream Caused by the Flight of a Bee Around a Pomegranate a Second Before Awakening'' (1944) ''The Temptation of St. Anthony'' (1946)''Galatea of the Spheres'' (1952)''Crucifixion (Corpus Hypercubus)'' (1954)
awards	}}

Salvador Domènec Felip Jacint Dalí i Domènech, Marquis de Púbol (May 11, 1904 – January 23, 1989), commonly known as Salvador Dalí (), was a prominent Spanish Catalan surrealist painter born in Figueres.

Dalí was a skilled draftsman, best known for the striking and bizarre images in his surrealist work. His painterly skills are often attributed to the influence of Renaissance masters. His best-known work, ''The Persistence of Memory'', was completed in 1931. Dalí's expansive artistic repertoire includes film, sculpture, and photography, in collaboration with a range of artists in a variety of media.

Dalí attributed his "love of everything that is gilded and excessive, my passion for luxury and my love of oriental clothes" to a self-styled "Arab lineage," claiming that his ancestors were descended from the Moors.

Dalí was highly imaginative, and also had an affinity for partaking in unusual and grandiose behavior. His eccentric manner and attention-grabbing public actions sometimes drew more attention than his artwork to the dismay of those who held his work in high esteem and to the irritation of his critics.

Biography

Early life

Salvador Domingo Felipe Jacinto Dalí i Domènech was born on May 11, 1904 at 8:45 am GMT in the town of Figueres, in the Empordà region, close to the French border in Catalonia, Spain. Dalí's older brother, also named Salvador (born October 12, 1901), had died of gastroenteritis nine months earlier, on August 1, 1903. His father, Salvador Dalí i Cusí, was a middle-class lawyer and notary whose strict disciplinary approach was tempered by his wife, Felipa Domenech Ferrés, who encouraged her son's artistic endeavors. When he was five, Dalí was taken to his brother's grave and told by his parents that he was his brother's reincarnation, a concept which he came to believe. Of his brother, Dalí said, ''"...[we] resembled each other like two drops of water, but we had different reflections."'' He ''"was probably a first version of myself but conceived too much in the absolute."'' His childhood friends included future FC Barcelona footballers Sagibarba and Josep Samitier. During holidays at the Catalan resort of Cadaqués, the trio played football together.

Dalí attended drawing school. In 1916, Dalí also discovered modern painting on a summer vacation trip to Cadaqués with the family of Ramon Pichot, a local artist who made regular trips to Paris. The next year, Dalí's father organized an exhibition of his charcoal drawings in their family home. He had his first public exhibition at the Municipal Theater in Figueres in 1919.

In February 1921, Dalí's mother died of breast cancer. Dalí was sixteen years old; he later said his mother's death ''"was the greatest blow I had experienced in my life. I worshipped her... I could not resign myself to the loss of a being on whom I counted to make invisible the unavoidable blemishes of my soul."'' After her death, Dalí's father married his deceased wife's sister. Dalí did not resent this marriage, because he had a great love and respect for his aunt.

Madrid and Paris

In 1922, Dalí moved into the Residencia de Estudiantes (Students' Residence) in Madrid and studied at the Academia de San Fernando (School of Fine Arts). A lean 1.72 m (5 ft. 7¾ in.) tall, Dalí already drew attention as an eccentric and dandy man. He wore long hair and sideburns, coat, stockings, and knee breeches in the style of English aesthetes of the late 19th century.

At the Residencia, he became close friends with (among others) Pepín Bello, Luis Buñuel, and Federico García Lorca. The friendship with Lorca had a strong element of mutual passion, but Dalí rejected the poet's sexual advances.

However it was his paintings in which he experimented with Cubism that earned him the most attention from his fellow students. At the time of these early works, Dalí probably did not completely understand the Cubist movement. His only information on Cubist art came from magazine articles and a catalog given to him by Pichot, since there were no Cubist artists in Madrid at the time. In 1924, the still-unknown Salvador Dalí illustrated a book for the first time. It was a publication of the Catalan poem "Les bruixes de Llers" ("The Witches of Llers") by his friend and schoolmate, poet Carles Fages de Climent. Dalí also experimented with Dada, which influenced his work throughout his life.

Dalí was expelled from the Academia in 1926, shortly before his final exams when he was accused of starting an unrest. His mastery of painting skills was evidenced by his realistic ''Basket of Bread'', painted in 1926. That same year, he made his first visit to Paris, where he met Pablo Picasso, whom the young Dalí revered. Picasso had already heard favorable reports about Dalí from Joan Miró. As he developed his own style over the next few years Dalí made a number of works heavily influenced by Picasso and Miró.

Some trends in Dalí's work that would continue throughout his life were already evident in the 1920s. Dalí devoured influences from many styles of art, ranging from the most academically classic, to the most cutting-edge avant garde. His classical influences included Raphael, Bronzino, Francisco de Zurbaran, Vermeer, and Velázquez. He used both classical and modernist techniques, sometimes in separate works, and sometimes combined. Exhibitions of his works in Barcelona attracted much attention along with mixtures of praise and puzzled debate from critics.

Dalí grew a flamboyant moustache, influenced by seventeenth-century Spanish master painter Diego Velázquez. The moustache became an iconic trademark of his appearance for the rest of his life.

1929 through World War II

In 1929, Dalí collaborated with surrealist film director Luis Buñuel on the short film (''An Andalusian Dog''). His main contribution was to help Buñuel write the script for the film. Dalí later claimed to have also played a significant role in the filming of the project, but this is not substantiated by contemporary accounts. Also, in August 1929, Dalí met his muse, inspiration, and future wife Gala, born Elena Ivanovna Diakonova. She was a Russian immigrant ten years his senior, who at that time was married to surrealist poet Paul Éluard. In the same year, Dalí had important professional exhibitions and officially joined the Surrealist group in the Montparnasse quarter of Paris. His work had already been heavily influenced by surrealism for two years. The Surrealists hailed what Dalí called the paranoiac-critical method of accessing the subconscious for greater artistic creativity.

Meanwhile, Dalí's relationship with his father was close to rupture. Don Salvador Dalí y Cusi strongly disapproved of his son's romance with Gala, and saw his connection to the Surrealists as a bad influence on his morals. The last straw was when Don Salvador read in a Barcelona newspaper that his son had recently exhibited in Paris a drawing of the "Sacred Heart of Jesus Christ", with a provocative inscription: "Sometimes, I spit for fun on my mother's portrait."

Outraged, Don Salvador demanded that his son recant publicly. Dalí refused, perhaps out of fear of expulsion from the Surrealist group, and was violently thrown out of his paternal home on December 28, 1929. His father told him that he would disinherit him, and that he should never set foot in Cadaquès again. The following summer, Dalí and Gala rented a small fisherman's cabin in a nearby bay at Port Lligat. He bought the place, and over the years enlarged it, gradually building his much beloved villa by the sea.

In 1931, Dalí painted one of his most famous works, ''The Persistence of Memory'', which introduced a surrealistic image of soft, melting pocket watches. The general interpretation of the work is that the soft watches are a rejection of the assumption that time is rigid or deterministic. This idea is supported by other images in the work, such as the wide expanding landscape, and the other limp watches, shown being devoured by ants.

Dalí and Gala, having lived together since 1929, were married in 1934 in a civil ceremony. They later remarried in a Catholic ceremony in 1958.

Dalí was introduced to America by art dealer Julian Levy in 1934. The exhibition in New York of Dalí's works, including ''Persistence of Memory'', created an immediate sensation. Social Register listees feted him at a specially organized "Dalí Ball." He showed up wearing a glass case on his chest, which contained a brassiere. In that year, Dalí and Gala also attended a masquerade party in New York, hosted for them by heiress Caresse Crosby. For their costumes, they dressed as the Lindbergh baby and his kidnapper. The resulting uproar in the press was so great that Dalí apologized. When he returned to Paris, the Surrealists confronted him about his apology for a surrealist act.

While the majority of the Surrealist artists had become increasingly associated with leftist politics, Dalí maintained an ambiguous position on the subject of the proper relationship between politics and art. Leading surrealist André Breton accused Dalí of defending the "new" and "irrational" in "the Hitler phenomenon," but Dalí quickly rejected this claim, saying, "I am Hitlerian neither in fact nor intention." Dalí insisted that surrealism could exist in an apolitical context and refused to explicitly denounce fascism. Among other factors, this had landed him in trouble with his colleagues. Later in 1934, Dalí was subjected to a "trial", in which he was formally expelled from the Surrealist group. To this, Dalí retorted, "I myself am surrealism."

In 1936, Dalí took part in the London International Surrealist Exhibition. His lecture, entitled , was delivered while wearing a deep-sea diving suit and helmet. He had arrived carrying a billiard cue and leading a pair of Russian wolfhounds, and had to have the helmet unscrewed as he gasped for breath. He commented that "I just wanted to show that I was 'plunging deeply' into the human mind."

Also in 1936, at the premiere screening of Joseph Cornell's film ''Rose Hobart'' at Julian Levy's gallery in New York City, Dalí became famous for another incident. Levy's program of short surrealist films was timed to take place at the same time as the first surrealism exhibition at the Museum of Modern Art, featuring Dalí's work. Dalí was in the audience at the screening, but halfway through the film, he knocked over the projector in a rage. “My idea for a film is exactly that, and I was going to propose it to someone who would pay to have it made,” he said. "I never wrote it down or told anyone, but it is as if he had stolen it." Other versions of Dalí's accusation tend to the more poetic: "He stole it from my subconscious!" or even "He stole my dreams!"

At this stage, Dalí's main patron in London was the very wealthy Edward James. He had helped Dalí emerge into the art world by purchasing many works and by supporting him financially for two years. They also collaborated on two of the most enduring icons of the Surrealist movement: the Lobster Telephone and the Mae West Lips Sofa.

In 1938, Dalí met Sigmund Freud thanks to Stefan Zweig. Later, in September 1938, Salvador Dalí was invited by Gabrielle Coco Chanel to her house La Pausa in Roquebrune on the French Riviera. There he painted numerous paintings he later exhibited at Julien Levy Gallery in New York. La Pausa has been partially replicated at the Dallas Museum of Art to welcome the Reves collection and part of Chanel's original furniture for the house.

In 1939, Breton coined the derogatory nickname "Avida Dollars", an anagram for ''Salvador Dalí'', and a phonetic rendering of the French ''avide à dollars'', which may be translated as "eager for dollars". This was a derisive reference to the increasing commercialization of Dalí's work, and the perception that Dalí sought self-aggrandizement through fame and fortune. Some surrealists henceforth spoke of Dalí in the past tense, as if he were dead. The Surrealist movement and various members thereof (such as Ted Joans) would continue to issue extremely harsh polemics against Dalí until the time of his death and beyond.

In 1940, as World War II was in full swing at Europe, Dalí and Gala moved to the United States, where they lived for eight years. After the move, Dalí returned to the practice of Catholicism. "During this period, Dalí never stopped writing," wrote Robert and Nicolas Descharnes.

In 1941, Dalí drafted a film scenario for Jean Gabin called ''Moontide''. In 1942, he published his autobiography, ''The Secret Life of Salvador Dalí''. He wrote catalogs for his exhibitions, such as that at the Knoedler Gallery in New York in 1943. Therein he expounded, "Surrealism will at least have served to give experimental proof that total sterility and attempts at automatizations have gone too far and have led to a totalitarian system. ... Today's laziness and the total lack of technique have reached their paroxysm in the psychological signification of the current use of the college." He also wrote a novel, published in 1944, about a fashion salon for automobiles. This resulted in a drawing by Edwin Cox in ''The Miami Herald'', depicting Dalí dressing an automobile in an evening gown.

An Italian friar, Gabriele Maria Berardi, claimed to have performed an exorcism on Dalí while he was in France in 1947. In 2005, a sculpture of Christ on the Cross was discovered in the friar's estate. It had been claimed that Dalí gave this work to his exorcist out of gratitude, and two Spanish art experts confirmed that there were adequate stylistic reasons to believe the sculpture was made by Dalí.

Later years in Catalonia

Starting in 1949, Dalí spent his remaining years back in his beloved Catalonia. The fact that he chose to live in Spain while it was ruled by Franco drew criticism from progressives and from many other artists. As such, it is probable that the common dismissal of Dalí's later works by some Surrealists and art critics was related partially to politics rather than to the artistic merit of the works themselves. In 1959, André Breton organized an exhibit called ''Homage to Surrealism'', celebrating the fortieth anniversary of Surrealism, which contained works by Dalí, Joan Miró, Enrique Tábara, and Eugenio Granell. Breton vehemently fought against the inclusion of Dalí's ''Sistine Madonna'' in the International Surrealism Exhibition in New York the following year.

Late in his career, Dalí did not confine himself to painting, but experimented with many unusual or novel media and processes: he made bulletist works and was among the first artists to employ holography in an artistic manner. Several of his works incorporate optical illusions. In his later years, young artists such as Andy Warhol proclaimed Dalí an important influence on pop art. Dalí also had a keen interest in natural science and mathematics. This is manifested in several of his paintings, notably in the 1950s, in which he painted his subjects as composed of rhinoceros horns. According to Dalí, the rhinoceros horn signifies divine geometry because it grows in a logarithmic spiral. He also linked the rhinoceros to themes of chastity and to the Virgin Mary. Dalí was also fascinated by DNA and the hypercube (a 4-dimensional cube); an unfolding of a hypercube is featured in the painting ''Crucifixion (Corpus Hypercubus)''.

Dalí's post–World War II period bore the hallmarks of technical virtuosity and an interest in optical illusions, science, and religion. He became an increasingly devout Catholic, while at the same time he had been inspired by the shock of Hiroshima and the dawning of the "atomic age". Therefore Dalí labeled this period "Nuclear Mysticism." In paintings such as "The Madonna of Port-Lligat" (first version) (1949) and "Corpus Hypercubus" (1954), Dalí sought to synthesize Christian iconography with images of material disintegration inspired by nuclear physics. "Nuclear Mysticism" included such notable pieces as ''La Gare de Perpignan'' (1965) and ''The Hallucinogenic Toreador'' (1968–70). In 1960, Dalí began work on the Dalí Theatre and Museum in his home town of Figueres; it was his largest single project and the main focus of his energy through 1974. He continued to make additions through the mid-1980s.

In 1968, Dalí filmed a humorous television advertisement for Lanvin chocolates. In this, he proclaims in French "Je suis fou de chocolat Lanvin!" (I'm crazy about Lanvin chocolate) while biting a morsel causing him to become crosseyed and his moustache to swivel upwards. In 1969, he designed the Chupa Chups logo in addition to facilitating the design of the advertising campaign for the 1969 Eurovision Song Contest and creating a large on-stage metal sculpture that stood at the Teatro Real in Madrid.

In the television programme ''Dirty Dalí: A Private View'' broadcast on Channel 4 on June 3, 2007, art critic Brian Sewell described his acquaintance with Dalí in the late 1960s, which included lying down in the fetal position without trousers in the armpit of a figure of Christ and masturbating for Dalí, who pretended to take photos while fumbling in his own trousers.

In 1980, Dalí's health took a catastrophic turn. His near-senile wife, Gala, allegedly had been dosing him with a dangerous cocktail of unprescribed medicine that damaged his nervous system, thus causing an untimely end to his artistic capacity. At 76 years old, Dalí was a wreck, and his right hand trembled terribly, with Parkinson-like symptoms.

In 1982, King Juan Carlos bestowed on Dalí the title of ''Marqués de Dalí de Púbol'' () in the nobility of Spain, hereby referring to Púbol, the place where he lived. The title was in first instance hereditary, but on request of Dalí changed for life only in 1983. To show his gratitude for this, Dalí later gave the king a drawing (''Head of Europa'', which would turn out to be Dalí's final drawing) after the king visited him on his deathbed. Gala died on June 10, 1982. After Gala's death, Dalí lost much of his will to live. He deliberately dehydrated himself, possibly as a suicide attempt, or perhaps in an attempt to put himself into a state of suspended animation as he had read that some microorganisms could do. He moved from Figueres to the castle in Púbol, which he had bought for Gala and was the site of her death. In 1984, a fire broke out in his bedroom under unclear circumstances. It was possibly a suicide attempt by Dalí, or possibly simple negligence by his staff. In any case, Dalí was rescued and returned to Figueres, where a group of his friends, patrons, and fellow artists saw to it that he was comfortable living in his Theater-Museum in his final years.

There have been allegations that Dalí was forced by his guardians to sign blank canvases that would later, even after his death, be used in forgeries and sold as originals. As a result, art dealers tend to be wary of late works attributed to Dalí.

In November 1988, Dalí entered the hospital with heart failure, and on December 5, 1988 was visited by King Juan Carlos, who confessed that he had always been a serious devotee of Dalí.

On January 23, 1989, while his favorite record of ''Tristan and Isolde'' played, he died of heart failure at Figueres at the age of 84, and, coming full circle, is buried in the crypt of his Teatro Museo in Figueres. The location is across the street from the church of Sant Pere, where he had his baptism, first communion, and funeral, and is three blocks from the house where he was born.

The Gala-Salvador Dalí Foundation currently serves as his official estate. The U.S. copyright representative for the Gala-Salvador Dalí Foundation is the Artists Rights Society. In 2002, the Society made the news when they asked Google to remove a customized version of its logo put up to commemorate Dalí, alleging that portions of specific artworks under their protection had been used without permission. Google complied with the request, but denied that there was any copyright violation.

Symbolism

Dalí employed extensive symbolism in his work. For instance, the hallmark "soft watches" that first appear in ''The Persistence of Memory'' suggest Einstein's theory that time is relative and not fixed. The idea for clocks functioning symbolically in this way came to Dalí when he was staring at a runny piece of Camembert cheese on a hot day in August.

The elephant is also a recurring image in Dalí's works. It first appeared in his 1944 work ''Dream Caused by the Flight of a Bee Around a Pomegranate a Second Before Awakening''. The elephants, inspired by Gian Lorenzo Bernini's sculpture base in Rome of an elephant carrying an ancient obelisk, are portrayed "with long, multijointed, almost invisible legs of desire" along with obelisks on their backs. Coupled with the image of their brittle legs, these encumbrances, noted for their phallic overtones, create a sense of phantom reality. "The elephant is a distortion in space," one analysis explains, "its spindly legs contrasting the idea of weightlessness with structure." "I am painting pictures which make me die for joy, I am creating with an absolute naturalness, without the slightest aesthetic concern, I am making things that inspire me with a profound emotion and I am trying to paint them honestly." —Salvador Dalí, in Dawn Ades, ''Dalí and Surrealism''.

The egg is another common Dalíesque image. He connects the egg to the prenatal and intrauterine, thus using it to symbolize hope and love; it appears in ''The Great Masturbator'' and ''The Metamorphosis of Narcissus''. ''The Metamorphosis of Narcissus'' also symbolized death and petrification. Various animals appear throughout his work as well: ants point to death, decay, and immense sexual desire; the snail is connected to the human head (he saw a snail on a bicycle outside Freud's house when he first met Sigmund Freud); and locusts are a symbol of waste and fear.

Endeavors outside painting

Dalí was a versatile artist. Some of his more popular works are sculptures and other objects, and he is also noted for his contributions to theatre, fashion, and photography, among other areas.

Two of the most popular objects of the surrealist movement were ''Lobster Telephone'' and ''Mae West Lips Sofa'', completed by Dalí in 1936 and 1937, respectively. Surrealist artist and patron Edward James commissioned both of these pieces from Dalí; James inherited a large English estate in West Dean, West Sussex when he was five and was one of the foremost supporters of the surrealists in the 1930s. "Lobsters and telephones had strong sexual connotations for [Dalí]," according to the display caption for the ''Lobster Telephone'' at the Tate Gallery, "and he drew a close analogy between food and sex." The telephone was functional, and James purchased four of them from Dalí to replace the phones in his retreat home. One now appears at the Tate Gallery; the second can be found at the German Telephone Museum in Frankfurt; the third belongs to the Edward James Foundation; and the fourth is at the National Gallery of Australia.

The wood and satin ''Mae West Lips Sofa'' was shaped after the lips of actress Mae West, whom Dalí apparently found fascinating. West was previously the subject of Dalí's 1935 painting ''The Face of Mae West''. ''Mae West Lips Sofa'' currently resides at the Brighton and Hove Museum in England.

Between 1941 and 1970, Dalí created an ensemble of 39 jewels. The jewels are intricate, and some contain moving parts. The most famous jewel, "The Royal Heart", is made of gold and is encrusted with 46 rubies, 42 diamonds, and four emeralds and is created in such a way that the center "beats" much like a real heart. Dalí himself commented that "Without an audience, without the presence of spectators, these jewels would not fulfill the function for which they came into being. The viewer, then, is the ultimate artist." (Dalí, 1959.) The "Dalí – Joies" ("The Jewels of Dalí") collection can be seen at the Dalí Theater Museum in Figueres, Catalonia, Spain, where it is on permanent exhibition.

In theatre, Dalí constructed the scenery for Federico García Lorca's 1927 romantic play ''Mariana Pineda''. For ''Bacchanale'' (1939), a ballet based on and set to the music of Richard Wagner's 1845 opera ''Tannhäuser'', Dalí provided both the set design and the libretto. ''Bacchanale'' was followed by set designs for ''Labyrinth'' in 1941 and ''The Three-Cornered Hat'' in 1949.

Dalí became intensely interested in film when he was young, going to the theatre most Sundays. He was part of the era where silent films were being viewed and drawing on the medium of film became popular. He believed there were two dimensions to the theories of film and cinema: "things themselves", the facts that are presented in the world of the camera; and "photographic imagination", the way the camera shows the picture and how creative or imaginative it looks. Dalí was active in front of and behind the scenes in the film world. He created pieces of artwork such as ''Destino'', on which he collaborated with Walt Disney. He is also credited as co-creator of Luis Buñuel's surrealist film ''Un Chien Andalou'', a 17-minute French art film co-written with Luis Buñuel that is widely remembered for its graphic opening scene simulating the slashing of a human eyeball with a razor. This film is what Dalí is known for in the independent film world. ''Un Chien Andalou'' was Dalí's way of creating his dreamlike qualities in the real world. Images would change and scenes would switch, leading the viewer in a completely different direction from the one they were previously viewing. The second film he produced with Buñuel was entitled ''L'Age d'Or'', and it was performed at Studio 28 in Paris in 1930. ''L'Age d'Or'' was "banned for years after fascist and anti-Semitic groups staged a stink bomb and ink-throwing riot in the Paris theater where it was shown." Although negative aspects of society were being thrown into the life of Dalí and obviously affecting the success of his artwork, it did not hold him back from expressing his own ideas and beliefs in his art. Both of these films, ''Un Chien Andalou'' and ''L'Age d'Or'', have had a tremendous impact on the independent surrealist film movement. "If ''Un Chien Andalou'' stands as the supreme record of Surrealism's adventures into the realm of the unconscious, then ''L'Âge d'Or'' is perhaps the most trenchant and implacable expression of its revolutionary intent."

Dalí also worked with other famous filmmakers, such as Alfred Hitchcock. The most well-known of his film projects is probably the dream sequence in Hitchcock's ''Spellbound'', which heavily delves into themes of psychoanalysis. Hitchcock needed a dreamlike quality to his film, which dealt with the idea that a repressed experience can directly trigger a neurosis, and he knew that Dalí's work would help create the atmosphere he wanted in his film. He also worked on a documentary called ''Chaos and Creation'', which has a lot of artistic references thrown into it to help one see what Dalí's vision of art really is. He also worked on the Disney short film production ''Destino''. Completed in 2003 by Baker Bloodworth and Roy E. Disney, it contains dreamlike images of strange figures flying and walking about. It is based on Mexican songwriter Armando Dominguez' song "Destino". When Disney hired Dalí to help produce the film in 1946, they were not prepared for the work that lay ahead. For eight months, they continuously animated until their efforts had to come to a stop when they realized they were in financial trouble. They had no more money to finish the production of the animated film; however, it was eventually finished and shown in various film festivals. The film consists of Dalí's artwork interacting with Disney's character animation. Dalí completed only one other film in his lifetime, ''Impressions of Upper Mongolia'' (1975), in which he narrated a story about an expedition in search of giant hallucinogenic mushrooms. The imagery was based on microscopic uric acid stains on the brass band of a ballpoint pen on which Dalí had been urinating for several weeks.

Dalí built a repertoire in the fashion and photography industries as well. In fashion, his cooperation with Italian fashion designer Elsa Schiaparelli is well-known, where Dalí was hired by Schiaparelli to produce a white dress with a lobster print. Other designs Dalí made for her include a shoe-shaped hat and a pink belt with lips for a buckle. He was also involved in creating textile designs and perfume bottles. In 1950, Dalí created a special "costume for the year 2045" with Christian Dior. Photographers with whom he collaborated include Man Ray, Brassaï, Cecil Beaton, and Philippe Halsman.

With Man Ray and Brassaï, Dalí photographed nature; with the others, he explored a range of obscure topics, including (with Halsman) the ''Dalí Atomica'' series (1948)—inspired by his painting ''Leda Atomica'' — which in one photograph depicts "a painter's easel, three cats, a bucket of water, and Dalí himself floating in the air."

References to Dalí in the context of science are made in terms of his fascination with the paradigm shift that accompanied the birth of quantum mechanics in the twentieth century. Inspired by Werner Heisenberg's Uncertainty Principle, in 1958 he wrote in his "Anti-Matter Manifesto": "In the Surrealist period, I wanted to create the iconography of the interior world and the world of the marvelous, of my father Freud. Today, the exterior world and that of physics has transcended the one of psychology. My father today is Dr. Heisenberg."

In this respect, ''The Disintegration of the Persistence of Memory'', which appeared in 1954, in hearkening back to ''The Persistence of Memory'', and in portraying that painting in fragmentation and disintegration summarizes Dalí's acknowledgment of the new science.

Architectural achievements include his Port Lligat house near Cadaqués, as well as the ''Dream of Venus'' surrealist pavilion at the 1939 World's Fair, which contained within it a number of unusual sculptures and statues. His literary works include ''The Secret Life of Salvador Dalí'' (1942), ''Diary of a Genius'' (1952–63), and ''Oui: The Paranoid-Critical Revolution '' (1927–33). The artist worked extensively in the graphic arts, producing many etchings and lithographs. While his early work in printmaking is equal in quality to his important paintings as he grew older, he would sell the rights to images but not be involved in the print production itself. In addition, a large number of unauthorized fakes were produced in the eighties and nineties, thus further confusing the Dalí print market. He took a stab at industrial design in the 1970s with a 500-piece run of the upscale ''Suomi'' tableware by Timo Sarpaneva that Dalí decorated for the German Rosenthal porcelain maker's ''Studio Linie''.

One of Dalí's most unorthodox artistic creations may have been an entire person. At a French nightclub in 1965, Dalí met Amanda Lear, a fashion model then known as Peki D'Oslo. Lear became his protégé and muse, writing about their affair in the authorized biography ''My Life With Dalí'' (1986). Transfixed by the mannish, larger-than-life Lear, Dalí masterminded her successful transition from modeling to the music world, advising her on self-presentation and helping spin mysterious stories about her origin as she took the disco-art scene by storm. According to Lear, she and Dalí were united in a "spiritual marriage" on a deserted mountaintop. Referred to as Dalí's "Frankenstein," some believe Lear's name is a pun on the French "L'Amant Dalí," or Lover of Dalí. Lear took the place of an earlier muse, Ultra Violet (Isabelle Collin Dufresne), who had left Dalí's side to join The Factory of Andy Warhol.

An avid cheese maker, Dali would sometimes engross himself in cheese-making for over 4 months at a time. His favorite cheese was swiss.

Politics and personality

Salvador Dalí's politics played a significant role in his emergence as an artist. In his youth, he embraced both anarchism and communism, though his writings account anecdotes of making radical political statements more to shock listeners than from any deep conviction. This was in keeping with Dalí's allegiance to the Dada movement.

As he grew older his political allegiances changed, especially as the Surrealist movement went through transformations under the leadership of Trotskyist André Breton, who is said to have called Dalí in for questioning on his politics. In his 1970 book ''Dalí by Dalí'', Dalí was declaring himself an anarchist and monarchist.

With the outbreak of the Spanish Civil War, Dalí fled from fighting and refused to align himself with any group. Likewise, after World War II, George Orwell criticized Dalí for "scuttling off like a rat as soon as France is in danger" after Dalí prospered there for years: "When the European War approaches he has one preoccupation only: how to find a place which has good cookery and from which he can make a quick bolt if danger comes too near." In a notable 1944 review of Dalí's autobiography, Orwell wrote, "One ought to be able to hold in one's head simultaneously the two facts that Dalí is a good draughtsman and a disgusting human being."

After his return to Catalonia after World War II, Dalí became closer to the authoritarian Franco regime. Some of Dalí's statements supported the Franco regime, congratulating Franco for his actions aimed "at clearing Spain of destructive forces." Dalí, having returned to the Catholic faith and becoming increasingly religious as time went on, may have been referring to the Republican atrocities during the Spanish Civil War. Dalí sent telegrams to Franco, praising him for signing death warrants for prisoners. He even met Franco personally and painted a portrait of Franco's granddaughter.

He also once sent a telegram praising the ''Conducător'', Romanian Communist leader Nicolae Ceauşescu, for his adoption of a scepter as part of his regalia. The Romanian daily newspaper ''Scînteia'' published it, without suspecting its mocking aspect. One of Dalí's few possible bits of open disobedience was his continued praise of Federico García Lorca even in the years when Lorca's works were banned.

Dalí, a colorful and imposing presence in his ever-present long cape, walking stick, haughty expression, and upturned waxed mustache, was famous for having said that "every morning upon awakening, I experience a supreme pleasure: that of being Salvador Dalí." The entertainer Cher and her husband Sonny Bono, when young, came to a party at Dalí's expensive residence in New York's Plaza Hotel and were startled when Cher sat down on an oddly shaped sexual vibrator left in an easy chair. When signing autographs for fans, Dalí would always keep their pens. When interviewed by Mike Wallace on his ''60 Minutes'' television show, Dalí kept referring to himself in the third person, and told the startled Mr. Wallace matter-of-factly that "Dalí is immortal and will not die." During another television appearance, on ''The Tonight Show'', Dalí carried with him a leather rhinoceros and refused to sit upon anything else.

Salvador Dalí frequently traveled with his pet ocelot Babou, even bringing it aboard the luxury ocean liner, SS France.

Legacy

Salvador Dalí has been cited as major inspiration from many modern artists, such as Damien Hirst, Noel Fielding, Jeff Koons and most other modern surrealists. Salvador Dali's manic expression and famous moustache have made him something of a Cult icon for the bizarre & surreal.

Listing of selected works

Dalí produced over 1,500 paintings in his career in addition to producing illustrations for books, lithographs, designs for theatre sets and costumes, a great number of drawings, dozens of sculptures, and various other projects, including an animated short film for Disney. He also collaborated with director Jack Bond in 1965, creating a movie titled ''Dalí in New York''. Below is a chronological sample of important and representative work, as well as some notes on what Dalí did in particular years.

In Carlos Lozano's biography, ''Sex, Surrealism, Dalí, and Me'', produced with the collaboration of Clifford Thurlow, Lozano makes it clear that Dalí never stopped being a surrealist. As Dalí said of himself: "the only difference between me and the surrealists is that I am a surrealist."

1910 ''Landscape Near Figueras''

1913 ''Vilabertin''

1916 ''Fiesta in Figueras'' (begun 1914)

1917 ''View of Cadaqués with Shadow of Mount Pani''

1918 ''Crepuscular Old Man'' (begun 1917)

1919 ''Port of Cadaqués (Night)'' (begun 1918) and ''Self-portrait in the Studio''

1920 ''The Artist's Father at Llane Beach'' and ''View of Portdogué (Port Aluger)''

1921 ''The Garden of Llaner (Cadaqués)'' (begun 1920) and ''Self-portrait''

1922 ''Cabaret Scene'' and ''Night Walking Dreams''

1923 ''Self Portrait with L'Humanite'' and ''Cubist Self Portrait with La Publicitat''

1924 ''Still Life (Syphon and Bottle of Rum)'' (for García Lorca) and ''Portrait of Luis Buñuel''

1925 ''Large Harlequin and Small Bottle of Rum'' and a series of fine portraits of his sister Anna Maria, most notably ''Figure at a Window''

1926 ''The Basket of Bread'' and ''Girl from Figueres''

1927 ''Composition with Three Figures (Neo-Cubist Academy)'' and ''Honey is Sweeter than Blood'' (his first important surrealist work)

1929 (''An Andalusian Dog'') film in collaboration with Luis Buñuel, ''The Lugubrious Game'', ''The Great Masturbator'', ''The First Days of Spring'', and ''The Profanation of the Host'' 1930 (''The Golden Age'') film in collaboration with Luis Buñuel

1931 ''The Persistence of Memory'' (his most famous work, featuring the "melting clocks"), ''The Old Age of William Tell'', and ''William Tell and Gradiva''

1932 ''The Spectre of Sex Appeal'', ''The Birth of Liquid Desires'', ''Anthropomorphic Bread'', and ''Fried Eggs on the Plate without the Plate''. ''The Invisible Man'' (begun 1929) completed (although not to Dalí's own satisfaction)

1933 ''Retrospective Bust of a Woman'' (mixed media sculpture collage) and ''Portrait of Gala With Two Lamb Chops Balanced on Her Shoulder'', ''Gala in the Window''

1934 ''The Ghost of Vermeer of Delft Which Can Be Used As a Table'' and ''A Sense of Speed''

1935 ''Archaeological Reminiscence of Millet's Angelus'' and ''The Face of Mae West''

1936 ''Autumn Cannibalism'', ''Lobster Telephone'', ''Soft Construction with Boiled Beans (Premonition of Civil War)'' and two works titled ''Morphological Echo'' (the first of which began in 1934)

1937 ''Metamorphosis of Narcissus'', ''Swans Reflecting Elephants'', ''The Burning Giraffe'', ''Sleep'', ''The Enigma of Hitler'', ''Mae West Lips Sofa'' and ''Cannibalism in Autumn''

1938 ''The Sublime Moment'' and ''Apparition of Face and Fruit Dish on a Beach''

1939 ''Shirley Temple, The Youngest, Most Sacred Monster of the Cinema in Her Time''

1940 ''Slave Market with the Disappearing Bust of Voltaire'', ''The Face of War''

1941 ''Honey is Sweeter than Blood''

1943 ''The Poetry of America'' and ''Geopoliticus Child Watching the Birth of the New Man''

1944 ''Galarina'' and ''Dream Caused by the Flight of a Bee around a Pomegranate a Second Before Awakening''

1944–48 ''Hidden Faces'', a novel

1945, ''Basket of Bread—Rather Death than Shame'' and ''Fountain of Milk Flowing Uselessly on Three Shoes''; also this year, Dalí collaborated with Alfred Hitchcock on a dream sequence to the film ''Spellbound'', to mutual dissatisfaction

1946 ''The Temptation of St. Anthony''

1948 ''Les Elephants''

1949 ''Leda Atomica'' and ''The Madonna of Port Lligat''. Dalí returned to Catalonia this year

1951 ''Christ of Saint John of the Cross'' and ''Exploding Raphaelesque Head''

1951 Katharine Cornell, a portrait of the famed actress

1952 ''Galatea of the Spheres''

1954 ''The Disintegration of the Persistence of Memory'' (begun in 1952), ''Crucifixion (Corpus Hypercubus)'' and ''Young Virgin Auto-Sodomized by the Horns of Her Own Chastity''

1955 ''The Sacrament of the Last Supper,'' ''Lonesome Echo'', record album cover for Jackie Gleason

1956 ''Still Life Moving Fast'', ''Rinoceronte vestido con puntillas''

1957 ''Santiago el Grande'' oil on canvas on permanent display at Beaverbrook Art Gallery in Fredericton, NB, Canada

1958 ''The Meditative Rose''

1959 ''The Discovery of America by Christopher Columbus''

1960 ''Composición Numérica (de fond préparatoire inachevé)''

1960 Dalí began work on the Teatro-Museo Gala Salvador Dalí and ''Portrait of Juan de Pareja, the Assistant to Velázquez''

1963–1964 ''They Will All Come from Saba'' a work in water color depicting the Magi at St. Petersbur's Dali Museum

1965 Dalí donates a gouache, ink and pencil drawing of the Crucifixion to the Rikers Island jail in New York City. The drawing hung in the inmate dining room from 1965 to 1981

1965 ''Dalí in New York''

1967 ''Tuna Fishing''

1969 Chupa Chups logo

1969 – ''Improvisation on a Sunday Afternoon'', television collaboration with the rock group Nirvana

1970 ''The Hallucinogenic Toreador'', acquired in 1969 by A. Reynolds Morse & Eleanor R. Morse before it was completed

1972 ''La Toile Daligram'', ''Helena Devulina Diakanoff – dit., GALA''

1973 "Le Diners De Gala", an ornately illustrated cook book

1976 ''Gala Contemplating the Mediterranean Sea''

1977 ''Dalí's Hand Drawing Back the Golden Fleece in the Form of a Cloud to Show Gala Completely Nude, Very Far Away Behind the Sun'' (stereoscopical pair of paintings)

1983 Dalí completes his final painting, ''The Swallow's Tail''

2003 , an animated short film originally a collaboration between Dalí and Walt Disney, is released. Production on began in 1945

The largest collections of Dalí's work are at the Dalí Theatre and Museum in Figueres, Catalonia, Spain, followed by the Salvador Dalí Museum in St. Petersburg, Florida, which contains the collection of A. Reynolds Morse & Eleanor R. Morse. It holds over 1,500 works from Dalí. Other particularly significant collections include the Reina Sofia Museum in Madrid and the Salvador Dalí Gallery in Pacific Palisades, California. Espace Dalí in Montmartre, Paris, France, as well as the Dalí Universe in London, England, contain a large collection of his drawings and sculptures.

The unlikeliest venue for Dalí's work was the Rikers Island jail in New York City; a sketch of the Crucifixion he donated to the jail hung in the inmate dining room for 16 years before it was moved to the prison lobby for safekeeping. Ironically, the drawing was stolen from that location in March 2003 and has not been recovered.

Novels

Under the encouragement of poet Federico García Lorca, Dalí attempted an approach to a literary career through the means of the "pure novel". In his only literary production, ''Hidden Faces'' (1944), Dalí describes, in vividly visual terms, the intrigues and love affairs of a group of dazzling, eccentric aristocrats who, with their luxurious and extravagant lifestyle, symbolize the decadence of the 1930s.

Gallery

See also

''Little Ashes''

Notes

References

Linde Sabler. "Dalí". London: Haus Publishing, 2004 (paperback, ISBN 978-1-904341-75-8).

Salvador Dali interviewed by Mike Wallace on ''The Mike Wallace Interview'' April 19, 1985

External links

;Biographies and news

Dalí's surreal wind-powered organ lacks only a rhinoceros

UbuWeb: Salvador Dalí—Interview and bank advertisement.

Salvador Dalí in the INA Archives – A collection of interviews and footage of Dalí in the French television

;Other links

Article on Dalí's religious faith

The Salvador Dalí photo library 60.000 photos

Article on Dalí's opera poem ''Être Dieu: opéra-poème, audiovisuel et cathare en six parties'' (Being God: a Cathar Audiovisual Opera-Poem in Six Parts)

Watch Un Chien Andalou at LikeTelevision

Gala-Salvador Dalí Foundation English language site

St. Petersburg Dalí Museum

Kurutz, Steven, "Hello, Dali: Surrealist Museum Becomes a Reality", ''The Wall Street Journal'' Speakeasy blog, January 11, 2011, 4:46 pm ET. Interview with St. Petersburg (FL) museum director Dr. Hank Hine about new building.

"The shameful life of Salvador Dalí" (the witches of Llers)".

Dalí and Fages: "that intelligent and most cordial of collaborations"

;Exhibitions

Espace Dalí">Espace Dalí—The unique permanent exhibition in France (Museum & Dalí Fine Art Galleries)

Dalí & Film – Tate Modern, London

Museum-Gallery Xpo: Salvador Dalí, Marquis de Púbol in Bruges

Museum of Modern Art

Union List of Artist Names, Getty Vocabularies. ULAN Full Record Display for Salvador Dalí. Getty Vocabulary Program, Getty Research Institute. Los Angeles, California.

Category:1904 births Category:1989 deaths Category:Catalan artists Category:Catalan painters Category:Exorcism Category:Légion d'honneur recipients Category:Marquesses of Spain Category:Modern artists Category:Modern painters Category:People from Alt Empordà Category:People with Parkinson's disease Category:Spanish sculptors Category:Spanish people Category:Spanish painters Category:Spanish printmakers Category:Spanish Roman Catholics Category:Surrealist artists Category:20th-century painters

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Name	Mickey Mantle
Position	Center fielder
Bats	Switch
Throws	Right
Birth date	October 20, 1931
Birth place	Spavinaw, Oklahoma
Death date	August 13, 1995
Death place	Dallas, Texas
Debutdate	April 17
Debutyear	1951
Debutteam	New York Yankees
Finaldate	September 28
Finalyear	1968
Finalteam	New York Yankees
Stat1label	Batting average
Stat1value	.298
Stat2label	Home runs
Stat2value	536
Stat3label	Hits
Stat3value	2,415
Stat4label	Runs batted in
Stat4value	1,509
Teams	New York Yankees (–)
Highlights	20× All-Star selection (1952, 1953, 1954, 1955, 1956, 1957, 1958, 1959, 1959², 1960, 1960², 1961, 1961², 1962, 1962², 1963, 1964, 1965, 1967, 1968) 7× World Series champion (, , , , , , ) 3× AL MVP (1956, 1957, 1962) Gold Glove Award winner (1962) 1965 Hutch Award 1956 Triple Crown New York Yankees #7 retired Major League Baseball All-Century Team
Hofdate
Hofvote	88.2% (first ballot) }}

Mickey Charles Mantle (October 20, 1931 – August 13, 1995) was an American professional baseball player. He played his entire 18-year Major League Baseball career for the New York Yankees as an outfielder and first baseman. He won 3 American League MVP titles and played in 16 All-Star games. Mantle appeared in 12 World Series, winning 7 of them. He still holds the records for most World Series home runs (18), RBIs (40), runs (42), walks (43), extra-base hits (26), and total bases (123). He is also the career leader in walk-off home runs, with a combined 13 in regular season and post-season play (12 regular, 1 postseason). He won the triple crown in 1956. He is regarded by many to be the greatest switch hitter of all time, and one of the greatest players in baseball history. Mantle was inducted into the National Baseball Hall of Fame in 1974.

Youth

Mickey Mantle was born in Spavinaw, Oklahoma, the son of Elvin Charles Mantle, a coal miner, and Lovell (née Richardson) Mantle. He was named in honor of Mickey Cochrane, the Hall of Fame catcher from the Philadelphia Athletics, by his father, known as "Mutt," who was an amateur player and fervent fan. According to the book ''Mickey Mantle: America's Prodigal Son,'' by Tony Castro, in later life, Mantle expressed relief that his father had not known Cochrane's true first name, as he would have hated to be named Gordon. Mantle always spoke warmly of his father, and said he was the bravest man he ever knew. "No boy ever loved his father more," he said. His father died of Hodgkin's disease in 1952 at the age of 39, just as his son was starting his career.

When Mantle was four years old, the family moved to the nearby town of Commerce, Oklahoma. Mantle was an all-around athlete at Commerce High School, playing basketball as well as football (he was offered a football scholarship by the University of Oklahoma) in addition to his first love, baseball. His football playing nearly ended his athletic career, and indeed his life. Kicked in the shin during a game, Mantle's leg soon became infected with osteomyelitis, a crippling disease that would have been incurable just a few years earlier. A midnight drive to Tulsa, Oklahoma, enabled Mantle to be treated with newly available penicillin, saving his leg from amputation. He suffered from the effects of the disease for the rest of his life, and it probably led to many other injuries that hampered his professional career. Additionally, Mantle's osteomyelitic condition exempted him from military service, which caused him to become very unpopular with fans early on, who doubtless reasoned that a person who was physically fit to play baseball was sufficiently fit to serve in the military, particularly when it was observed that he was selected as an All-Star in the same year that his "medical exemption" had been given. His earliest days in baseball coincided with the Korean War, a conflict in which other players fought.

Professional career

Mantle's first semi-professional team was the Baxter Springs, Kansas Whiz Kids. In 1948, Yankees' scout Tom Greenwade came to Baxter Springs to watch Mantle's teammate, third baseman Billy Johnson. During the game Mantle switch-hit two homers into the river well beyond the ballpark. Despite Greenwade's interest – he would later call Mantle the best prospect he'd ever seen – the 16-year-old Mantle was forced to wait until his high school graduation in 1949 before inking a minor league contract with their Class-D affiliate in Independence, Kansas. Mantle signed for $400 ($}} today) to play the remainder of the season with a $1,100 ($}} today) signing bonus. His blinding speed soon earned him the nickname "The Commerce Comet," carrying him to the Joplin Miners in Joplin, Missouri. (He would later invest in a Holiday Inn motel in that city, with his name attached to it.)

Wearing #6, Mantle was called up to the majors on April 7, 1951, to play right field; by June, manager Casey Stengel, speaking to ''SPORT'', stated "He's got more natural power from both sides than anybody I ever saw." Joe DiMaggio, in his final season, called Mantle "the greatest prospect I can remember." After a brief slump, Mantle was sent down to the Yankees' top farm team, the Kansas City Blues. However, he was not able to find the power he once had in the lower minors. Out of frustration, he called his father one day and told him, "I don't think I can play baseball anymore." Mutt drove up to Kansas City that day. When he arrived, he started packing his son's clothes and (in Mickey's memory) said, "I thought I raised a man. I see I raised a coward instead. You can come back to Oklahoma and work the mines with me." Mantle immediately broke out of his slump, going on to hit .361 with 11 homers and 50 RBIs during his stay in Kansas City. After 40 games, he was called back to New York for good.

In his first World Series game, October 4, 1951, the Yankees were pitted against the Giants for what was Willie Mays's first World Series game as well.

Mantle moved to center field in 1952, replacing Joe DiMaggio, who retired at the end of the 1951 season after one year playing alongside Mantle in the Yankees outfield. Mantle played center field full-time until 1965, when he was moved to left field. His final two seasons were spent at first base. Among his many accomplishments are all-time World Series records for home runs (18), runs scored (42), and runs batted in (40).

Mantle also hit some of the longest home runs in Major League history. On September 10, 1960, he hit a ball left-handed that cleared the right-field roof at Tiger Stadium in Detroit and, based on where it was found, was estimated years later by historian Mark Gallagher to have traveled 643 feet (196 m). Another Mantle homer, hit right-handed off Chuck Stobbs at Griffith Stadium in Washington, D.C. on April 17, 1953, was measured by Yankees traveling secretary Red Patterson (hence the term "tape-measure home run") to have traveled 565 feet (172 m). Though it is apparent that they are actually the distances where the balls ended up after bouncing several times, there is no doubt that they both landed more than 500 feet (152 m) from home plate. Mantle twice hit balls off the third-deck facade at Yankee Stadium, nearly becoming the only player (along with Negro Leagues star Josh Gibson, though Gibson's home run has never been conclusively verified) to hit a fair ball out of the stadium during a game. On May 22, 1963, against Kansas City's Bill Fischer, Mantle hit a ball that fellow players and fans claimed was still rising when it hit the high facade, then caromed back onto the playing field. It was later estimated by some that the ball could have traveled had it not been blocked by the ornate and distinctive facade. While physicists might question those estimates, on August 12, 1964, he hit one whose distance was undoubted: a center field drive that cleared the batter's eye screen, beyond the marker at the Stadium.

Although he was a feared power hitter from either side of the plate, Mantle considered himself a better right-handed hitter even though he had more home runs from the left side of the plate: 372 left-handed, 164 right-handed. That was due to Mantle having batted left-handed much more often, as the large majority of pitchers are right-handed. In addition, many of his left-handed home runs were hit in Yankee Stadium, a park much friendlier to left-handed hitters than to right-handed hitters. When Mantle played for the Yankees, the distance to the right-field foul pole stood at a mere 296 feet (90 m), with markers in the power alleys of 344 and 407, while the left-field power alley ranged from 402 to 457 feet (139 m) from the plate.

In 1956, Mantle won the Hickok Belt as top professional athlete of the year. This was his "favorite summer," a year that saw him win the Triple Crown, leading the majors with a .353 batting average, 52 HR, and 130 RBI, and his first of three MVP awards. Mantle remains the last man to win the Major League Triple Crown by leading both leagues in all three categories. He is also the last player to win a single league Triple Crown as a switch hitter.

Also in 1956, Mantle made a (talking) cameo appearance in a song recorded by Teresa Brewer, "I Love Mickey," which extolled Mantle's power hitting. The song was included in one of the ''Baseball's Greatest Hits'' CDs.

Mantle may have been even more dominant in 1957, leading the league in runs and walks, batting a career-high .365 (second in the league to Ted Williams' .388), and hitting into a league-low five double plays. Mantle reached base more times than he made outs (319 to 312), one of two seasons in which he achieved the feat.

On January 16, 1961, Mantle became the highest-paid player in baseball by signing a $75,000 ($}} today) contract. DiMaggio, Hank Greenberg, and Ted Williams, who had just retired, had been paid over $100,000 in a season, and Ruth had a peak salary of $80,000. But Mantle became the highest-paid active player of his time.

Mantle's relationship with the New York press was not always friendly. During the 1961 season, Mantle and teammate Roger Maris, known as the M&M; Boys, chased Babe Ruth's single-season home run record. Five years earlier, in 1956, Mantle had challenged Ruth's record for most of the season, and the New York press had been protective of Ruth on that occasion also. When Mantle finally fell short, finishing with 52, there seemed to be a collective sigh of relief from the New York traditionalists. Nor had the New York press been all that kind to Mantle in his early years with the team: he struck out frequently, was injury-prone, was a "true hick" from Oklahoma, and was perceived as being distinctly inferior to his predecessor in center field, Joe DiMaggio. Over the course of time, however, Mantle (with a little help from his teammate Whitey Ford, a native of New York's Borough of Queens) had gotten better at "schmoozing" with the New York media, and had gained the favor of the press. This was a talent that Maris, a blunt-spoken upper-Midwesterner, was never willing or able to cultivate; as a result, he wore the "surly" jacket for his duration with the Yankees. So as 1961 progressed, the Yanks were now "Mickey Mantle's team," and Maris was ostracized as the "outsider," and said to be "not a true Yankee." The press seemed to root for Mantle and to belittle Maris. But Mantle was felled by an abscessed hip late in the season, leaving Maris to break the record (he finished with 61). Mantle finished with 54 while leading the league in runs scored and walks.

In the bottom of the ninth inning of Game 3 of the 1964 World Series against the St. Louis Cardinals, Mickey Mantle blasted Barney Schultz's first pitch into the right field stands at Yankee Stadium, which won the game for the Yankees 2–1. However, the Cardinals would ultimately walk away with the World Series title.

Injuries slowed Mantle and the Yankees during the 1965 season, and they finished in 6th, 25 games behind the Minnesota Twins. Mantle hit .255 that season with only 19 home runs. After the 1966 season, he was moved to first base with Joe Pepitone taking over his place in the outfield. By this point, the Yankees were in a decline that lasted until George Steinbrenner bought the team in 1973.

Mantle's last home run came on September 20, 1968 off Boston's Jim Lonborg.

Retirement

Mantle announced his retirement on March 1, 1969, and in 1974, as soon as he was eligible, he was inducted into the Baseball Hall of Fame; his uniform number 7 was retired by the Yankees. (He had briefly worn uniform number 6, as a continuation of Babe Ruth's 3, Lou Gehrig's 4, and Joe DiMaggio's 5, in 1951, but his poor performance led to his temporary demotion to a minor league in mid-season. When he returned, Bobby Brown, who had worn number 6 before Mantle, had reclaimed it, so Mantle was given number 7 by Yankees longtime equipment manager Pete Sheehy.) When he retired, the Mick was third on the all-time home run list with 536.

Mantle served as a part-time color commentator on NBC's baseball coverage in 1969, teaming with Curt Gowdy and Tony Kubek to call some ''Game of the Week'' telecasts as well as that year's All-Star Game. In 1972 he was a part-time TV commentator for the Montreal Expos.

Despite being among the best-paid players of the pre-free agency era, Mantle was a poor businessman, having made several bad investments. His lifestyle would be restored to one of luxury, and his hold on his fans raised to an amazing level, by his position of leadership in the sports memorabilia craze that swept the USA, beginning in the 1980s. Mantle was a prized guest at any baseball card show, commanding fees far in excess of any other player for his appearances and autographs. This popularity continues long after his death, as Mantle-related items far outsell those of any other player except possibly Babe Ruth, whose items, due to the distance of years, now exist in far smaller quantities. Mantle insisted that the promoters of baseball card shows always include one of the lesser-known Yankees of his era, such as Moose Skowron or Hank Bauer so that they could earn some money from the event.

Despite the failure of Mickey Mantle's Country Cookin' restaurants in the early 1970s, Mickey Mantle's Restaurant & Sports Bar opened in New York at 42 Central Park South (59th Street) in 1988. It became one of New York's most popular restaurants, and his original Yankee Stadium Monument Park plaque is displayed at the front entrance. Mantle let others run the business operations, but made frequent appearances.

In 1983, Mantle worked at the Claridge Resort and Casino in Atlantic City, New Jersey, as a greeter and community representative. Most of his activities were representing the Claridge in golf tournaments and other charity events. But Mantle was suspended from baseball by Commissioner Bowie Kuhn on the grounds that any affiliation with gambling were grounds for being placed on the "permanently ineligible" list. Kuhn warned Mantle before he accepted the position that he would have to place him on the list if Mantle went to work there. Hall of Famer Willie Mays, who had also taken a similar position, had already had action taken against him. Mantle accepted the position, regardless, as he felt the rule was "stupid." He was placed on the list, but reinstated on March 18, 1985 by Kuhn's successor, Peter Ueberroth.

Injuries

Mickey Mantle's career was plagued with injuries. Beginning in high school, he accumulated both acute and chronic injuries to bones and cartilage in his legs. Applying thick wraps to both of his knees became a pre-game ritual, and by the end of his career, simply swinging a bat caused him to fall to one knee in pain. Baseball scholars often ponder "what if" had he not been injured, and he was able to lead a healthy career.

As a 19-year-old rookie in his first World Series, Mantle tore the cartilage in his right knee on a fly ball by Willie Mays while playing right field. Joe DiMaggio, in the last year of his career, was playing center field. Mays' fly was hit to deep right center, and as both Mantle and DiMaggio converged to make the catch, DiMaggio called for it at the last second, causing Mantle to suddenly stop short as his cleats caught a drainage cover in the outfield grass. His knee twisted awkwardly and he instantly fell. Witnesses say it looked "like he had been shot." He was carried off the field on a stretcher and watched the rest of the World Series on TV from a hospital bed. Some have speculated that Mantle may have torn his Anterior Cruciate Ligament during the incident and played the rest of his career without having it properly treated since ACLs could not be repaired with the surgical techniques available in that era. Still, Mantle still was known as the "fastest man to first base" and won the American League triple crown after these injuries. With the Korean War raging, he was drafted by the US Army but failed the physical exam and was rejected as unfit for service. During the 1957 World Series, Milwaukee Braves second baseman Red Schoendienst fell on Mantle's left shoulder in a play at the bag. Over the next decade, Mantle would experience increasing difficulty hitting from his left side.

Troubled family

On December 23, 1951, Mantle married Merlyn Johnson in Commerce, Oklahoma; they had four sons. In an autobiography, Mantle said he married Merlyn not out of love, but because he was told to by his domineering father. While his drinking became public knowledge during his lifetime, the press (per established practice at the time) kept quiet about his many marital infidelities. Mantle was not entirely discreet about them, and when he went to his retirement ceremony in 1969, he brought his mistress along with his wife. In 1980, Mickey and Merlyn separated for 15 years, but neither filed for divorce. During this time, Mantle lived with his agent, Greer Johnson.

The couple's four sons were Mickey Jr. (1953–2000), David (1955–), Billy (1957–94), whom Mickey named for Billy Martin, his best friend among his Yankee teammates, and Danny (1960–). Like Mickey, Merlyn and their sons all became alcoholics, and Billy developed Hodgkin's disease, as had several previous men in Mantle's family.

During the final years of his life, Mantle purchased a luxury condominium on Lake Oconee near Greensboro, Georgia, near Greer Johnson's home, and frequently stayed there for months at a time. He occasionally attended the local Methodist church, and sometimes ate Sunday dinner with members of the congregation. He was well liked by the citizens of Greensboro, and seemed to like them in return. This was probably because the town respected Mantle's privacy, refusing either to talk about their famous neighbor to outsiders or to direct fans to his home. In one interview, Mickey stated that the people of Greensboro had "gone out of their way to make me feel welcome, and I've found something there I haven't enjoyed since I was a kid."

Mantle's off-field behavior is the subject of the book ''The Last Boy: Mickey Mantle and the End of America's Childhood'', written in 2010 by sports journalist Jane Leavy. The book was based on interviews she had with Mantle. Excerpts from the book have been published in ''Sports Illustrated''.

Mickey's fourth cousin, Mary Mantle, is a member of the women's gymnastics team at the University of Oklahoma.

Illness and death

Well before he finally sought treatment for alcoholism, Mantle admitted his hard living had hurt both his playing and his family. His rationale was that the men in his family had all died young, so he expected to die young as well. His father had died in 1952 of Hodgkin's disease, and his grandfather had also died young of the same disease. "I'm not gonna be cheated," he would say. Mantle did not know at the time that most of the men in his family had inhaled lead and zinc dust in the mines, which contribute to Hodgkins' and other cancers. As the years passed, and he had outlived all the men in his family by several years, he frequently used a line popularized by football legend Bobby Layne, a Dallas neighbor and friend of Mantle's who also died in part due to alcohol abuse: "If I'd known I was gonna live this long, I'd have taken a lot better care of myself."

Mantle's wife and sons all completed treatment for alcoholism, and told him he needed to do the same. He checked into the Betty Ford Clinic on January 7, 1994 after being told by a doctor that his liver "looked like a doorstop" and was so badly damaged that "your next drink could be your last." Also helping Mantle to make the decision to go to the Betty Ford Clinic was sportscaster Pat Summerall, who had played for the New York Giants football team while they played at Yankee Stadium, by then a recovering alcoholic and a member of the same Dallas-area country club as Mantle; Summerall himself had been treated at the clinic in 1992.

Shortly after completing treatment, his son Billy died on March 12, 1994 at age 36 of heart problems brought on by years of substance abuse. Despite the fears of those who knew him that this tragedy would send him back to drinking, he remained sober. Mickey Jr. later died of liver cancer on December 20, 2000 at age 47. Danny later battled prostate cancer.

Mantle spoke with great remorse of his drinking in a 1994 ''Sports Illustrated'' cover story. He said that he was telling the same old stories, and realizing how many of them involved himself and others being drunk - including at least one drunk-driving accident - he decided they were not funny anymore. He admitted he had often been cruel and hurtful to family, friends, and fans because of his alcoholism, and sought to make amends. He became a born-again Christian because of his former teammate Bobby Richardson, an ordained Baptist minister who shared his faith with him. After the bombing of the Alfred P. Murrah Federal Building in Oklahoma City on April 19, 1995, he joined with fellow Oklahoman and Yankee Bobby Murcer to raise money for the victims.

Mantle received a liver transplant at Baylor University Medical Center in Dallas, on June 8, 1995. His liver was severely damaged by alcohol-induced cirrhosis, as well as hepatitis C. Prior to the operation doctors also discovered he had inoperable liver cancer known as an undifferentiated hepatocellular carcinoma, further facilitating the need for a transplant. In July, he had recovered enough to deliver a press conference at Baylor, and noted that many fans had looked to him as a role model. "This is a role model: Don't be like me," a frail Mantle said. He also established the Mickey Mantle Foundation to raise awareness for organ donations. Soon, he was back in the hospital, where it was found that his cancer was rapidly spreading throughout his body.

Though he was very popular, Mantle's liver transplant was a source of some controversy. Some felt that his fame had permitted him to receive a donor liver in just one day, bypassing other patients who had been waiting for much longer. Mantle's doctors insisted that the decision was based solely on medical criteria, but acknowledged that the very short wait created the appearance of favoritism. While he was recovering, Mantle made peace with his estranged wife, Merlyn, and repeated a request he made decades before for Bobby Richardson to read a poem at Mantle's funeral if he died.

Mantle died on August 13, 1995 at Baylor University Medical Center in Dallas with his wife at his side. The Yankees played Cleveland that day and honored him with a moving tribute. By coincidence, Kenny Lofton, the lead off batter for the Indians, wore number 7, and the scoreboard read "At Bat: 7" from the time Yankee Stadium opened until the game started. Eddie Layton played "Somewhere Over the Rainbow" on the Hammond organ because Mickey had once told him it was his favorite song. The team played the rest of the season with black mourning bands topped by a small number 7 on their left sleeves. Mantle was interred in the Sparkman-Hillcrest Memorial Park Cemetery in Dallas. In eulogizing Mantle, sportscaster Bob Costas described him as "a fragile hero to whom we had an emotional attachment so strong and lasting that it defied logic." Costas added: "In the last year of his life, Mickey Mantle, always so hard on himself, finally came to accept and appreciate the distinction between a role model and a hero. The first, he often was not. The second, he always will be. And, in the end, people got it." Richardson did oblige in reading the poem at Mantle's funeral, something he described as being extremely difficult.

After Mantle's death, Greer Johnson was taken to federal court in November 1997 by the Mantle family to stop her from auctioning many of Mantle's personal items, including a lock of hair, a neck brace, and expired credit cards. Eventually, the two sides reached a settlement, ensuring the sale of some of Mickey Mantle's belongings for approximately $500,000.

Honors

thumb|right|Mantle's monument in [[Monument Park (Yankee Stadium)|Monument Park.]]On Mickey Mantle Day, June 8, 1969, in addition to the retirement of his uniform Number 7, Mantle was given a plaque that would hang on the center field wall at Yankee Stadium, near the monuments to Babe Ruth, Lou Gehrig, and Miller Huggins. The plaque was given to him by Joe DiMaggio, and Mantle then gave DiMaggio a similar plaque, telling the crowd, "His should be just a little bit higher than mine." When Yankee Stadium was reopened in 1976 following its renovation, the plaques and monuments were moved to Monument Park, behind the left-center field fence. Shortly before his death, Mantle videotaped a message to be played on Old-Timers' Day, which he was too ill to attend. He said, "When I die, I wanted on my tombstone, 'A great teammate.' But I didn't think it would be this soon." The words were indeed carved on the plaque marking his resting place at the family mausoleum in Dallas. On August 25, 1996, about a year after his death, Mantle's Monument Park plaque was replaced with a monument, bearing the words "A great teammate" and keeping a phrase that had been included on the original plaque: "A magnificent Yankee who left a legacy of unequaled courage." Mantle's original plaque, along with DiMaggio's, are now on display at the Yogi Berra Museum and Learning Center, with the DiMaggio plaque still hung a few inches higher than Mantle's.

Mantle and former teammate Whitey Ford were elected to the Baseball Hall of Fame together in 1974, Mantle's first year of eligibility, Ford's second.

Beginning in 1997, the Topps Baseball Card company retired the card #7 in its base sets in tribute to Mantle, whose career was taking off just as Topps began producing baseball cards. Mantle's cards, especially his 1952 Topps card, are extremely popular and valuable among card collectors. Though Topps un-retired the #7 in 2006, the number is reserved for cards of Mantle, remade with each year's design.

In 1998, "The Sporting News" placed Mantle at 17th on its list of "Baseball's 100 Greatest Players". That same year, he was one of 100 nominees for the Major League Baseball All-Century Team, and was chosen by fan balloting as one of the team's outfielders. ESPN's ''SportsCentury'' series that ran in 1999 ranked him No. 37 on its "50 Greatest Athletes" series.

In 2006, Mantle was featured on a United States postage stamp. The stamp is one of a series of four honoring baseball sluggers, the others being Mel Ott, Roy Campanella, and Hank Greenberg.

Depictions

In 2001, the movie ''61*'', produced by Yankee fan Billy Crystal, chronicled Mantle (played by Thomas Jane) and Maris (played by Barry Pepper) chasing Babe Ruth's single season home run record. Mickey's son, Danny, and grandson, Will, appeared briefly as a father and son watching as Mickey hit a home run.

In 2003, Tom Russell's album ''Modern Art'' included the song "The Kid from Spavinaw", retelling the arc of Mantle's career. Mantle also had multiple references in the sitcom ''Seinfeld'', specifically the episodes "The Visa" where Kramer punches him while at a baseball fantasy camp and "Seven" where George Costanza wants to name his future baby as 'Seven' based on Mickey Mantle's game number. Jerry rebukes him and suggests to name the baby as just Mickey. George eventually discovers that his idea was not so bad and is upset when someone else "steals" his idea and beats him to it by naming their baby as Seven.

In the Nickelodeon cartoon ''Hey Arnold!'', there is a famous baseball player by the name of "Mickey Kaline", whose name would be a mixture of both legendary baseball players Al Kaline and Mickey Mantle.

He was also depicted in several episodes of ''The Flintstones''. In some episodes, he was called "Mickey Marble" and in others, he was called "Mickey Mantlepiece".

Career statistics

Awards and achievements

See also

My Favorite Summer 1956

Hitting for the cycle

50 home run club

500 home run club

List of Major League Baseball Home Run Records

List of top 300 Major League Baseball home run hitters

List of major league players with 2,000 hits

List of Major League Baseball players with 1000 runs

List of Major League Baseball players with 1000 RBI

List of Major League Baseball leaders in career stolen bases

List of Major League Baseball batting champions

List of Major League Baseball home run champions

List of Major League Baseball RBI champions

List of Major League Baseball runs scored champions

List of Major League Baseball triples champions

Major League Baseball titles leaders

Biographies

Leavy, Jane. ''THE LAST BOY: Mickey Mantle and the End of America’s Childhood'', 2010, ISBN 0060883529

Castro, Tony, ''Mickey Mantle: America's Prodigal Son'', 2002, ISBN 1-57488-384-4

Gallagher, Mark, ''Explosion! Mickey Mantle's Legendary Home Runs'', 1987, ISBN 0-87795-853-X

References

;General

SPORT magazine, June 1951

;In-line citations

External links

7: ''The Mickey Mantle Novel'' by Peter Golenbock

Downloadable audio interview with sportswriter Peter Golenbock (''Dynasty, Bats, Balls, Guidry, The Bronx Zoo'') on his controversial book ''7: The Mickey Mantle Novel''

Mantle photo Mantle with Senator Robert Kennedy on Mickey Mantle Day, September 18, 1965

Mantle-Maris photo Mantle with Roger Maris in the summer of '61.

Mickey Mantle at IMDb

Mickey Mantle at Findagrave.com

"50 Years Later, A Slide Still Confounds", New York Times, 30 September 2010

Category:1931 births Category:1995 deaths Category:500 home run club Category:Alcohol-related deaths in Texas Category:American Christians Category:American League All-Stars Category:American League batting champions Category:American League home run champions Category:American League RBI champions Category:American League Triple Crown winners Category:Baseball players from Oklahoma Category:Cancer deaths in Texas Category:Deaths from liver cancer Category:Gold Glove Award winners Category:Independence Yankees players Category:Joplin Miners players Category:Kansas City Blues (baseball) players Category:Major League Baseball announcers Category:Major League Baseball center fielders Category:Major League Baseball players with retired numbers Category:Montreal Expos broadcasters Category:National Baseball Hall of Fame inductees Category:New York Yankees coaches Category:New York Yankees players Category:Organ transplant recipients Category:People from Dallas, Texas Category:People from Mayes County, Oklahoma Category:Sportspeople from Oklahoma

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title	Ben Gazzara
birthname	Biagio Anthony Gazzara
birth date	August 28, 1930
birth place	New York City, New York, U.S.
occupation	Actor
yearsactive	1953-present
spouse	1 child }}

Ben Gazzara (born August 28, 1930) is an American actor.

Early life

Gazzara was born Biagio Anthony Gazzara in New York City, the son of Italian immigrants Angelina (née Cusumano) and Antonio Gazzara, who was a laborer and carpenter. Gazzara grew up on New York's tough Lower East Side. He actually lived on E. 29th Street and participated in the drama program at Madison Square Boys and Girls Club located across the street. He later attended New York City's famed Stuyvesant High School. He found relief from his bleak surroundings by joining a theater company at a very young age. Years later, he said that the discovery of his love for acting saved him from a life of crime during his teen years. Despite his obvious talent, he went to City College of New York to study electrical engineering. After two years, he relented. He took classes in acting at the Dramatic Workshop of The New School in New York with the influential German director Erwin Piscator and afterward joined the Actors Studio.

Career

In the 1950s, Gazzara starred in various Broadway productions, most notably Tennessee Williams' ''Cat On A Hot Tin Roof'', directed by Elia Kazan. However, he lost out on the film role to Paul Newman. He was nominated three times for the Tony Award for Best Performance by a Leading Actor in a Play—in 1956 for ''A Hatful of Rain'', in 1975 for the paired short plays ''Hughie'' and ''Duet'', and in 1977 for a revival of ''Who's Afraid of Virginia Woolf?'' opposite Colleen Dewhurst.

Gazzara has had a long and varied acting career, with spells as an accomplished director, mostly in television. He directed ''Columbo'' episodes A Friend in Deed and Troubled Waters. He joined other Actors Studio members in the 1957 film ''The Strange One''. Then came a high-profile performance as a soldier on trial for avenging his wife's rape in Otto Preminger's 1959 classic courtroom drama ''Anatomy of a Murder''.

Subsequent screen credits included ''The Young Doctors'' (1961), ''A Rage to Live'' (1965), ''The Bridge at Remagen'' (1969), ''Capone'' (1975), ''Voyage of the Damned'' (1976), and ''High Velocity'' (1976).

In 1954, Gazzara made several appearances on NBC's legal drama ''Justice'', based on case studies from the Legal Aid Society of New York. Gazzara became well-known in several television series, beginning with ''Arrest and Trial'', which ran from 1963 to 1964 on ABC, and the more-successful series ''Run for Your Life'' from 1965 to 1968 on NBC, in which he played a terminally ill man trying to get the most out of the last two years of his life. For his work in the series, Gazzara received two Emmy nominations for "Outstanding Lead Actor in a Drama Series" and three Golden Globe nominations for "Best Performance by an Actor in a Television Series - Drama."

Some of the actor's most-formidable characters were those he created with his friend John Cassavetes in the 1970s. They collaborated for the first time on Cassavetes's film ''Husbands'' (1970), in which he appeared alongside Peter Falk and Cassavetes himself. In ''The Killing of a Chinese Bookie'', Gazzara took the leading role of the hapless strip-joint owner, Cosmo Vitelli. A year later, Gazzara starred in yet another Cassavetes-directed movie, ''Opening Night'', as stage director Manny Victor, who struggles with the mentally unstable star of his show, played by Cassavetes's wife Gena Rowlands. In 1974, he co-starred with Anthony Hopkins in the acclaimed TV mini-series ''QB VII''. In 1979, Gazzara starred in the movie "Saint Jack".

In the 1980s, Gazzara appeared in a variety of movies, such as '''They All Laughed'' (directed by Peter Bogdanovich), and in a villainous role in the oft-televised Patrick Swayze film ''Road House,'' which the actor jokingly says is probably his most-watched performance. He starred with Rowlands in a controversial and critically acclaimed AIDS-themed TV movie ''An Early Frost'' (1985), for which he received his third Emmy nomination.

Very much in demand for supporting parts, Gazzara appeared in thirty-eight films—many for TV—in the 1990s. He worked with a number of renowned directors, such as the Coen brothers (''The Big Lebowski''), Spike Lee (''Summer of Sam''), David Mamet (''The Spanish Prisoner''), Walter Hugo Khouri (''Forever''), Todd Solondz (''Happiness''), John Turturro (''Illuminata''), and John McTiernan (''The Thomas Crown Affair'').

In his eighties, Gazzara continues to be active. In 2003, he was in the ensemble cast of the experimental film ''Dogville'', directed by Lars von Trier of Denmark and starring Nicole Kidman, as well as the television film ''Hysterical Blindness'' (he received his first Emmy Award for his role). Several other projects have recently been completed or are currently in production. In 2005, he played Agostino Casaroli in the TV miniseries ''Pope John Paul II.''

Personal life

Gazzara was featured in a 1994 article in Cigar Aficionado; he was diagnosed with throat cancer in 1999. He lost more than 40 pounds during treatment.

He has been married three times, first to Louise Erickson (1951–1957), then actress Janice Rule (1961–1979), and finally, German model Elke Krivat (sometimes known as Elke Stuckmann) since 1982.

In his 2004 autobiography the actor recounts his love affair with actress Audrey Hepburn. They co-starred in two of her final films, "Bloodline" (1979) and "They All Laughed" (1981).

He is a friend of Robert Vaughn, who played Napoleon Solo on ''The Man From U.N.C.L.E.''. During on location filming of the big-budget war movie ''The Bridge at Remagen'' with co-stars Vaughn, Bradford Dillman and George Segal, the U.S.S.R. led an invasion of Czechoslovakia. Filming was halted temporarily, and the cast and crew were detained. They were later allowed to leave, and filming was completed in West Germany. During their departure Gazzara and Vaughn planned and executed the daring escape of a Czech waitress whom they had befriended. As recounted in Gazzara's autobiography, Vaughn and Gazzara smuggled her to Austria in their car, being waved through a border crossing that had not yet been taken over by the Soviet army.

Further reading

"Broadway: The Golden Age - by the Legends Who Were there," a film by Rick McKay Films, etc. Broadcast on KCET, Ch.28 (PBS in Los Angeles, December 16, 2006. Gazzara speaks openly about getting off of 29th St.

Harris, Irving (2009), ''Madison Square Memoir: The Magic and History of Madison Square Boys and Girls Club'' (visit www.madisonsquare.org); Gazzara wrote the introduction.

Sutton, Imre, 2008. ''Back to E.29th Street: Where Fact and Fiction Revisit Kips Bay, N. Y.'' (Fullerton, CA: Americo Publications)

References

External links

Category:1930 births Category:American film actors Category:American television actors Category:Emmy Award winners Category:Living people Category:People from New York City Category:American people of Italian descent Category:American people of Sicilian descent Category:Stuyvesant High School alumni

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