| Name | Jonas Mekas |
|---|---|
| Caption | Jonas Mekas |
| Birthname | Jonas Mekas |
| Birthdate | December 23, 1922 |
| Birthplace | Semeniškiai, Biržai, LT |
| Nationality | Lithuanian |
| Field | Cinema |
| Movement | Avant-garde cinema |
Jonas Mekas (; born December 24, 1922 in the village of Semeniškiai, near Biržai) is a Lithuanian filmmaker, writer, and curator who has often been called "the godfather of American avant-garde cinema." His work has been exhibited in museums and festivals across Europe and America.
In 1944 Mekas left Lithuania because of war. En route, his train was stopped in Germany and he and his brother, Adolfas Mekas, were imprisoned in a labor camp in Elmshorn, a suburb of Hamburg, for eight months. The brothers escaped and were detained near the Danish border where they hid on a farm for two months until the end of the war.
After the war, Mekas lived in displaced person camps in Wiesbaden and Kassel. From 1946-48, he studied philosophy at the University of Mainz and at the end of 1949, he emigrated with his brother to the U.S., settling in Williamsburg, Brooklyn, New York. Two weeks after his arrival, he borrowed the money to buy his first Bolex 16-mm camera and began to record moments of his life. He discovered avant-garde film at venues such as Amos Vogel’s pioneering Cinema 16, and he began screening his own films in 1953 at Gallery East on Avenue A and Houston Street, and a Film Forum series at Carl Fisher Auditorium on 57th Street.
In 1954, he became editor of Film Culture, and in 1958, began writing his “Movie Journal” column for The Village Voice. In 1962, he co-founded Film-Makers' Cooperative (FMC) and the Filmmaker’s Cinematheque in 1964, which eventually grew into Anthology Film Archives, one of the world’s largest and most important repositories of avant-garde films. The films and the voluminous collection of photographs and paper documents (mostly from or about avant garde film makers of the 1950-1980 period) were moved from time to time based on Mekas' ability to raise grant money to pay to house the massive collection. At times, Mekas personally paid its housing rent and, at low points in external funding, he had to restrict access to the collection. Easily, he can be credited with single-handedly saving large portions of the avant garde films and associated materials.
He was part of the New American Cinema, with, in particular, fellow film-maker Lionel Rogosin. He was heavily involved with artists such as Andy Warhol, Nico, Allen Ginsberg, Yoko Ono, John Lennon, Salvador Dalí, and fellow Lithuanian George Maciunas.
In 1964, Mekas was arrested on obscenity charges for showing Flaming Creatures (1963) and Jean Genet’s Un Chant d’Amour (1950). He launched a campaign against the censorship board, and for the next few years continued to exhibit films at the Film-makers’ Cinemathèque, the Jewish Museum, and the Gallery of Modern Art.
From 1964-1967, he organized the New American Cinema Expositions, which toured Europe and South America and in 1966 joined 80 Wooster Fluxhouse Coop.
In 1970, Anthology Film Archives opened on 425 Lafayette Street as a film museum, screening space, and a library, with Mekas as its director. Mekas, along with Stan Brakhage, Ken Kelman, Peter Kubelka, James Broughton, and P. Adams Sitney, begin the ambitious Essential Cinema project at Anthology Film Archives to establish a canon of important cinematic works.
Mekas' own output ranging from narrative films (Guns of the Trees, 1961) to documentaries (The Brig, 1963) and to “diaries” such as Walden (1969); Lost, Lost, Lost (1975); Reminiscences of a Voyage to Lithuania (1972) and Zefiro torna (1992) have been screened extensively at festivals and museums around the world. In 2001, he released a five-hour long diary film entitled As I Was Moving Ahead, Occasionally I Saw Brief Glimpses of Beauty, assembled by hand from an archive of fifty years worth of recordings of his life. Peter Sempel filmed Jonas Mekas in the film Jonas in the Desert (1994). Mekas made an 85-minute film showing clips of 160 filmmakers he knew in Birth of a Nation (1995).
Mekas expanded the scope of his practice with his later works of multi-monitor installations. Presented as total immersive environments, they offer a new experience of his classic films and have been exhibited at the 51st Venice Biennial, PS1 Contemporary Art Center, and the Jonas Mekas Visual Arts Center.
In 2004, the dormant Eero Saarinen-designed TWA Flight Center (now Jetblue Terminal 5) at JFK Airport briefly hosted an art exhibition called Terminal 5 curated by Rachel K. Ward and featuring the work of 18 artists including Mekas. The show featured work, lectures and temporary installations drawing inspiration from the idea of travel — and the terminal's architecture.
Beginning in the fall of 2006, Mekas planned to film 365 short videos for Apple Computer's Video iPod, releasing one a day on his website.
Since the 1970s, he has taught film courses at the New School for Social Research, MIT, Cooper Union, and New York University.
Mekas is also a well-known Lithuanian language poet and has published many of his poems and prose in both Lithuanian and English. He has published many of his journals and diaries including "I Had Nowhere to Go: Diaries, 1944-1954," "Letters from Nowhere," and "Just like a Shadow," as well as his articles on film criticism, theory, and technique.
On November 10, 2007, Jonas Mekas opened Jonas Mekas Visual Arts Center in Vilnius.
In its August 2010 the magazine Dazed & Confused published a 8 pages spread about Jonas Mekas.
Category:1922 births Category:Living people Category:People from Panevėžys County Category:University of Mainz alumni Category:Experimental filmmakers Category:Lithuanian film directors Category:Lithuanian poets Category:Fluxus Category:Recipients of the Lithuanian National Prize
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| Name | Yoko Ono小野 洋子 |
|---|---|
| Background | solo_singer |
| Born | February 18, 1933 Tokyo, Japan |
| Genre | Avant-garde, rock, pop, electronica, Shibuya kei, Fluxus |
| Occupation | Artist, musician, film director, peace activist |
| Years active | 1961–present |
| Instrument | Vocals, piano |
| Label | Apple, Geffen, Polydor, Rykodisc, Astralwerks, Chimera Music |
| Associated acts | John LennonThe Plastic Ono BandThe Ghost of a Saber Tooth Tiger |
In 1956, she married composer Toshi Ichiyanagi. They divorced in 1962 after living apart for several years. On November 28 that same year, Ono married an American named Anthony Cox. Cox was a jazz musician, film producer and art promoter. He had heard of Ono in New York and tracked her down to a mental institution in Japan, where her family had placed her following a suicide attempt. Ono had neglected to finalize her divorce from Ichiyanagi, so their marriage was annulled on March 1, 1963 and Cox and Ono married on June 6. Their daughter, Kyoko Chan Cox, was born two months later on August 3, 1963.
The marriage quickly fell apart but the Coxes stayed together for the sake of their joint career. They performed at Tokyo's Sogetsu Hall with Ono lying atop a piano played by John Cage. Soon the Coxes returned to New York with Kyoko. In the early years of this marriage, Ono left most of Kyoko's parenting to Cox while she pursued her art full-time and Tony managed publicity. After she divorced Cox on February 2, 1969, Ono and Cox engaged in a bitter legal battle for custody of Kyoko, which resulted in Ono being awarded full custody. However, in 1971, Cox disappeared with eight-year-old Kyoko, in violation of the custody order. Cox subsequently became a Christian and raised Kyoko in a Christian group known as the Church of the Living Word (or "the Walk"). Cox left the group with Kyoko in 1977. Living an underground existence, Cox changed the girl's name to Rosemary. Cox and Kyoko sent Ono a sympathy message after Lennon's 1980 murder. Afterwards, the bitterness between the parents lessened slightly and Ono publicly announced in People Magazine that she would no longer seek out the now-adult Kyoko, but still wished to make contact with her. In 1994, Kyoko made contact with Ono and established a relationship.
Almost immediately after John Cage finished teaching at the New School for Social Research in the Summer of 1960, Ono was determined to rent a place to present her works along with works of other New York avant-garde artists. She eventually found a cheap loft in downtown Manhattan at 112 Chambers Street that she used as a studio and living space. Composer La Monte Young urged Ono to let him organize concerts in the loft, and Ono acquiesced. but Ono claims to have been eventually pushed into a subsidiary role by Young. The Chambers Street series hosted some of Ono's earliest conceptual artwork including Painting to Be Stepped On, which was a scrap of canvas on the floor that became a completed artwork upon the accrual of footprints. Participants faced a moral dilemma presented by Ono that a work of art no longer needed to be mounted on a wall, inaccessible, but an irregular piece of canvas as low and dirty as to have to be completed by being stepped on.
Ono was an explorer of conceptual art and performance art. An example of her performance art is "Cut Piece" (this instance of performance art is also known as a "happening"), first performed in 1964 at the Sogetsu Art Center in Tokyo. Cut Piece had one destructive verb as its instruction: "Cut." Ono executed the performance in Tokyo by walking on stage and casually kneeling on the floor in a draped garment. Audience members were requested to come on stage and begin cutting until she was naked. Cut Piece was one of Ono’s many opportunities to outwardly communicate her internal suffering through her art. Ono had originally been exposed to Jean-Paul Sartre's theories of existentialism in college, and in order to appease her own human suffering, Ono enlisted her viewers to complete her works of art in order to complete her identity as well. Besides a commentary on identity, Cut Piece was a commentary on the need for social unity and love. It was also a piece that touched on issues of gender and sexism as well as the greater, universal affliction of human suffering and loneliness. Ono performed this piece again in London and other venues, garnering drastically different attention depending on the audience. In Japan, the audience was shy and cautious. In London, the audience participators became zealous to get a piece of her clothing and became violent to the point where she had to be protected by security. An example of her conceptual art includes her book of instructions called Grapefruit. This book, first produced in 1964, includes surreal, Zen-like instructions that are to be completed in the mind of the reader, for example: "Hide and seek Piece: Hide until everybody goes home. Hide until everybody forgets about you. Hide until everybody dies." The book, an example of Heuristic art, was published several times, most widely distributed by Simon and Schuster in 1971, and reprinted by them again in 2000. Many of the scenarios in the book would be enacted as performance pieces throughout Ono's career and have formed the basis for her art exhibitions, including one highly publicized show at the Everson Museum in Syracuse, New York that was nearly closed by a fan riot.
In addition to conceptual art, Ono has also created participatory art, including her 1996 project entitled "Wish Tree" in Japan.
:"Wish Piece by Yoko Ono (1996)
:Make a wish :Write it down on a piece of paper :Fold it and tie it around a branch of a Wish Tree :Ask your friends to do the same :Keep wishing :Until the branches are covered with wishes".
Ono was also an experimental filmmaker who made sixteen films between 1964 and 1972, and gained particular renown for a 1966 Fluxus film called simply No. 4, but often referred to as "Bottoms". The film consists of a series of close-ups of human buttocks as the subject walks on a treadmill. The screen is divided into four almost equal sections by the elements of the gluteal cleft and the horizontal gluteal crease. The soundtrack consists of interviews with those who are being filmed as well as those considering joining the project. In 1996, the watch manufacturing company Swatch produced a limited edition watch that commemorates this film. (Ono also acted in an obscure exploitation film in 1965, Satan's Bed.)
John Lennon once described her as "the world's most famous unknown artist: everybody knows her name, but nobody knows what she does." Her circle of friends in the New York art world has included Kate Millett, Nam June Paik, Dan Richter, Jonas Mekas, Merce Cunningham, Judith Malina, Erica Abeel, Fred DeAsis, Peggy Guggenheim, Betty Rollin, Shusaku Arakawa, Adrian Morris, Stefan Wolpe, Keith Haring, and Andy Warhol, as well as Maciunas and Young.
In 2001, YES YOKO ONO, a forty-year retrospective of Ono's work, received the prestigious International Association of Art Critics USA Award for Best Museum Show Originating in New York City, considered one of the highest accolades in the museum profession. In 2002 Ono was awarded the Skowhegan Medal for work in assorted media. In 2005 she received a lifetime achievement award from the Japan Society of New York.
Ono received an honorary Doctorate of Laws from Liverpool University in 2001. In 2002, she was presented with the honorary degree of Doctor of Fine Arts from Bard College.
In 2008, she showed a large retrospective exhibition, Between The Sky And My Head, at the Kunsthalle Bielefeld, Bielefeld, Germany, and the Baltic Centre for Contemporary Art in Gateshead, UK.
In 2009, she showed a selection of new and old work as part of her show "Anton's Memory" in Venice, Italy. She also received a Golden Lion Award for lifetime achievement from the Venice Biennale in 2009. to Yoko Ono's Wish Tree]] Wish Tree, her installation in the Sculpture Garden - Museum of Modern Art, New York (since July 2010), has become very popular with contributions from all over the world.
Another work displayed a real apple with a card reading "APPLE." When John was told that the price of the apple was £200 (approximately £2300 or $4600 in 2007 money), he later reported that he thought "This is a joke, this is pretty funny". Another display was a white board with nails in it with a sign inviting visitors to hammer a nail into its surface. Since the show was not beginning until the following day, Ono refused to allow Lennon to hammer in a nail. The gallery owner whisked her away, saying, "Don't you know who that is? He's a millionaire!" Upon returning to John, she said he could hammer in a nail for five shillings. Lennon replied, "I'll give you an imaginary five shillings if you let me hammer in an imaginary nail".
Lennon referred to Ono in many of his songs. While still a Beatle he wrote "The Ballad of John and Yoko", and he alluded to her indirectly in "Julia", a song dedicated to his mother, with the lyrics: "Ocean child calls me, so I sing a song of love" (The kanji 洋子 ("Yoko") means "ocean child").
Ono and Lennon collaborated on many albums, beginning in 1968 when Lennon was still a Beatle, with , an album of experimental and difficult electronic music. That same year, the couple contributed an experimental piece to The White Album called "Revolution 9". Ono also contributed backing vocals (on "Birthday"), and one line of lead vocals (on "The Continuing Story of Bungalow Bill") to The White Album. Many of the couple's later albums were released under the name the Plastic Ono Band. The couple also appeared together at concerts. When Lennon was invited to play with Frank Zappa at the Fillmore on June 5, 1971, Ono joined in as well.
In 1969, the Plastic Ono Band's first album, Live Peace in Toronto 1969, was recorded during the Toronto Rock and Roll Revival Festival. In addition to Lennon and Ono, this first incarnation of the group consisted of guitarist Eric Clapton, bass player Klaus Voormann, and drummer Alan White. The first half of their performance consisted of rock standards, and during the second half, Ono took the microphone and along with the band performed an avant garde set, ending with music that consisted mainly of feedback, while Ono screamed and sang.
In November 1968, Yoko miscarried a male child which they named John Ono Lennon II. Ono and Lennon married on March 20, 1969 in Gibraltar. ".]] Ono released her first solo album, Yoko Ono/Plastic Ono Band in 1970, as a companion piece to Lennon's better-known John Lennon/Plastic Ono Band. The two albums have almost identical covers: Ono's featured a photo of her leaning on Lennon, and Lennon's had a photo of him leaning on Ono. Her album included raw and quite harsh vocals that were possibly influenced by Japanese opera, but bear much in common with sounds in nature (especially those made by animals) and free jazz techniques used by wind and brass players. The performers included Ornette Coleman and other renowned free jazz performers. The personnel was supplemented by John Lennon, Ringo Starr and minor performers. Some songs consisted of wordless vocalizations, in a style that would influence Meredith Monk, and other musical artists who have used screams and vocal noise in lieu of words. The album peaked at #183 on the US charts.
In 1971, Ono released Fly – a double album. On this release Ono explored slightly more conventional psychedelic rock with tracks like "Midsummer New York" and "Mind Train", in addition to a number of Fluxus experiments. She also received minor airplay with the ballad "Mrs. Lennon". Perhaps the most famous track from the album is "Don't Worry, Kyoko (Mummy's Only Looking For Her Hand In The Snow)", an ode to Ono's kidnapped daughter.
In 1971, while studying with Maharishi Mahesh Yogi in Majorca, Ono's second husband, Anthony Cox, accused Ono of abducting their daughter, Kyoko from his hotel. A large number of accusations were then made by both parents toward each other and the matter of custody. Cox eventually moved to Houston, Texas and converted to Evangelical Christianity with his new wife, who was originally from Houston. At the end of 1971, a custody hearing in Houston went against Cox. In violation of the order, he took Kyoko and disappeared. Ono then launched a search for her daughter with the aid of the police and private investigators. Ono wrote a song about her daughter, "Don't Worry Kyoko (Mummy's Only Looking For Her Hand In The Snow)", which appears on Lennon and Ono's album Live Peace In Toronto 1969 and her album Fly. Both versions feature Eric Clapton on guitar. Kyoko is also referenced on the first line of "Happy Christmas (War Is Over)" when Yoko whispers "Happy Christmas Kyoko" followed by Lennon whispering "Happy Christmas Julian".
Both the press and the public were critical of her. She was blamed for the breakup of The Beatles and repeatedly criticized for her influence over Lennon and his music. Her experimental art was not popularly understood. Following the murder, she went into complete seclusion for an extended period.
Following Lennon's murder, Cox and Kyoko sent a message of sympathy to Ono but did not reveal their location. Ono later printed an open letter to Kyoko saying how she missed her but that she would cease her attempts to find her. Kyoko would later appear on the 1987 title track of American English by the British pop band Wax.
In early 1980, Lennon heard Lene Lovich and The B-52's' "Rock Lobster" in a nightclub, and it reminded him of Ono's musical sound. He took this as an indication that her sound had reached the mainstream. Indeed, many musicians, particularly those of the new wave movement, have paid tribute to Ono (both as an artist in her own right, and as a muse and iconic figure). For example, Elvis Costello recorded a version of Ono's song "Walking on Thin Ice", the B-52's who drew from her early recordings
Four months after her husband's murder, Ono began a relationship with antiques dealer and interior designer Sam Havadtoy, which lasted until 2001. She had also been linked to art dealer and Greta Garbo confidante Sam Green, who is mentioned in Lennon's will. In 1982, she released It's Alright (I See Rainbows). The cover featured Ono in her famous wrap-around sunglasses, looking towards the sun, while on the back the ghost of Lennon looks over her and their son. The album scored minor chart success and airplay with the singles "My Man" and "Never Say Goodbye".
In 1984, a tribute album titled Every Man Has a Woman was released, featuring a selection of Ono songs performed by artists such as Elvis Costello, Roberta Flack, Eddie Money, Rosanne Cash and Harry Nilsson. It was one of Lennon's projects that he never got to finish. Later that year, Ono and Lennon's final album, Milk and Honey, was released as an unfinished demo.
Ono's final album of the 1980s was Starpeace, a concept album that she intended as an antidote to Ronald Reagan's "Star Wars" missile defense system. On the cover, a warm, smiling Ono holds the Earth in the palm of her hand. Starpeace became Ono's most successful non-Lennon effort: the single "Hell in Paradise" was a hit, reaching No. 16 on the US dance charts and #26 on the Billboard Hot 100 as well as major airplay on MTV.
In 1986, Ono set out on a goodwill world tour for Starpeace, mostly visiting Eastern European countries.
Ono went on hiatus until signing with Rykodisc in 1992 to release the comprehensive six-disc box set Onobox. It included remastered highlights from all of Ono's solo albums, as well as unreleased material from the 1974 "lost weekend" sessions. There was also a one-disc "greatest hits" release of highlights from Onobox, simply titled Walking on Thin Ice. That year, she agreed to sit down for an extensive interview with music journalist Mark Kemp for a cover story in the alternative music magazine Option. The story took a revisionist look at Ono's music for a new generation of fans more accepting of her role as a pioneer in the merger of pop and the avant-garde.
In 1994, Ono produced her own musical entitled New York Rock, featuring Broadway renditions of her songs. In 1995, she released Rising, a collaboration with her son Sean and his band, Ima. Rising spawned a world tour that traveled through Europe, Japan and the United States. The following year, she collaborated with various alternative rock musicians for an EP entitled Rising Mixes. Guest remixers of Rising material included Cibo Matto, Ween, Tricky, and Thurston Moore.
In 1997, Rykodisc reissued all her solo albums on CD, from Yoko Ono/Plastic Ono Band through Starpeace. Ono and her engineer Rob Stevens personally remastered the audio, and various bonus tracks were added including outtakes, demos and live cuts.
2001 saw the release of Ono's feminist concept album Blueprint for a Sunrise. In 2002, Yoko joined The B-52's in New York for their 25th anniversary concerts. She came out for the encore and performed Rock Lobster with the band. Starting in 2002, some DJs remixed other Ono songs for dance clubs. For the remix project, she dropped her first name and became known as simply "ONO", as a response to the "Oh, no!" jokes that dogged her throughout her career. Ono had great success with new versions of "Walking on Thin Ice", remixed by top DJs and dance artists including Pet Shop Boys, Orange Factory, Peter Rauhofer, and Danny Tenaglia. In April 2003, Ono's Walking on Thin Ice (Remixes) was rated No. 1 on Billboard Magazine's "Dance/Club Play Chart", gaining Ono her first number one hit. On the 12" mix of the original 1981 version of "Walking on Thin Ice", Lennon can be heard remarking "I think we've just got your first No.1, Yoko." She returned to No. 1 on the same charts in November 2004 with "Everyman...Everywoman...", a reworking of her song "Every Man Has a Woman Who Loves Him", in January 2008, with "No No No", and in August 2008, with "Give Peace a Chance." In June 2009, at the age of 76, Ono scored her fifth No. 1 hit on the "Dance/Club Play Chart" with "I'm Not Getting Enough."
Ono released the album Yes, I'm a Witch in 2007, a collection of remixes and covers from her back catalog by various artists including The Flaming Lips, Cat Power, Antony, DJ Spooky, Porcupine Tree and Peaches, released in February 2007, along with a special edition of Yoko Ono/Plastic Ono Band. Yes I'm a Witch has been critically well-received. A similar compilation of Ono dance remixes entitled Open Your Box was also released in April of that year.
In 2009, Ono recorded Between My Head and the Sky, her first album to be released as "Yoko Ono/Plastic Ono Band" since 1973's Feeling the Space. The all-new Plastic Ono Band lineup includes Sean Lennon, Cornelius and Yuka Honda amongst others. On February 16, 2010, Sean organized a concert in Brooklyn, New York called "We Are Plastic Ono Band," at which Yoko performed her music with Sean, Clapton, Klaus Voorman and Jim Keltner, for the first time since the 1970s. Guests including Bette Midler, Paul Simon and his son Harper, and principal members of Sonic Youth interpreted her songs in their own styles.
During her career, Ono has collaborated with a diverse group of artists and musicians including John Lennon, Eric Clapton, Klaus Voormann, Cornelius (Keigo Oyamada, Naoki Shimizu and Yoko Araki), Frank Zappa, Sean Lennon, Yuka Honda, Jim Keltner, Earl Slick, Peaches, John Cage, David Tudor, George Maciunas, Ornette Coleman, Charlotte Moorman, George Brecht, Jackson Mac Low, Jonas Mekas, Fred DeAsis, Yvonne Rainer, La Monte Young, Richard Maxfield, Zbigniew Rybczyński, Yo La Tengo, and Andy Warhol (in 1987 Ono was one of the speakers at Warhol's funeral). As a dance music artist, Ono has worked with re-mixers/producers such as Basement Jaxx, Pet Shop Boys, Cat Power, Bill Kates, Tricky, Thurston Moore, Keiji Haino, Nick Vernier Band, Cibo Matto, Billy Martin, DJ Spooky, Apples In Stereo, Damien Price, The Flaming Lips, DJ Chernobyl, Bimbo Jones, DJ Dan, Craig Armstrong, Jorge Artajo, Shuji Nabara, and Konrad Behr, among others.
, Ono's residence since 1973]]
Ono performed at the opening ceremony for the 2006 Winter Olympic Games in Turin, Italy, wearing white, like many of the others who performed during the ceremony, to symbolize the snow that makes the Winter Olympics possible. She read a free verse poem calling for peace in the world. The poem was an intro to a performance of the song "Imagine", Lennon's anthem to world peace.
On December 13, 2006, Ono's bodyguard was arrested after he was taped trying to extort Ono for two million dollars, threatening to release private conversations and photographs.
On June 26, 2007, Ono appeared on Larry King Live along with Paul McCartney, Ringo Starr, and Olivia Harrison. Ono headlined the Pitchfork Music Festival in Chicago on July 14, 2007, performing a full set that mixed music and performance art. She sang "Mulberry", a song about her time in the countryside after the Japanese collapse in World War II for only the third time in her life, with Thurston Moore. Ono had previously performed the song once with John Lennon and once with Sean Lennon and told the audience of thousands that she will never perform it again.
On October 9, 2007 Ono officially lit the Imagine Peace Tower on Viðey Island in Iceland, dedicated to peace and to Lennon.
Ono returned to Liverpool for the 2008 Liverpool Biennial, where she unveiled "Sky Ladders" in the ruins of Church of St Luke, Liverpool (which was largely destroyed during World War II and now stands roofless as a memorial to those killed in the Liverpool Blitz).
In May 2009, Yoko designed a T-shirt for the second 'Fashion against AIDS' campaign/collection of HIV/AIDS awareness NGO Designers against AIDS and H&M;, with the statement 'Imagine Peace' depicted in 21 different languages.
On March 31, 2009, Yoko Ono went to the inauguration of the exhibition: "Imagine: The Peace Ballad of John & Yoko" to mark the 40th anniversary of Lennon-Ono bed-in at the Queen Elizabeth Hotel in Montreal, Canada from May 26 to June 2, 1969.
Ono appeared on-stage at Microsoft's June 1, 2009 E3 press conference with Olivia Harrison, Paul McCartney and Ringo Starr to promote video game.
Ono appears on the new Basement Jaxx album Scars, featuring on the single "Day of the Sunflowers (We March On)".
On April 1, 2010, Ono was named the first "Global Autism Ambassador" by the Autism Speaks organization. In 2009, she created a piece of artwork called Promise to mark the annual World Autism Awareness Day, which is on April 2.
On July 7, 2010, Ono appeared with Ringo Starr at New York's Radio City Music Hall in celebration of Starr's 70th birthday, performing "With a Little Help from My Friends" and "Give Peace a Chance".
In recent years an image of Ono as a strong, uncompromising survivor has emerged.
On Valentine’s Day, February 14, 2003, on the eve of the Iraqi invasion by the Americans and the British, Ono heard about a romantic couple holding a love-in protest in their tiny bedroom in Addingham, West Yorkshire. She sent the couple, Andrew and Christine Gale, some flowers and wished them the best.
In 2004, Ono remade her song "Everyman... Everywoman..." to support same-sex marriage, releasing remixes that included "Every Man Has a Man Who Loves Him" and "Every Woman Has a Woman Who Loves Her."
In 1995, after the Beatles released Lennon's "Free as a Bird" and "Real Love" with demos provided by Ono, McCartney and his family collaborated with her and Sean Lennon to create the song "Hiroshima Sky is Always Blue", which commemorates the 50th anniversary of the atomic bombing of that Japanese city. Of Ono, McCartney stated: "I thought she was a cold woman. I think that's wrong ... she's just the opposite ... I think she's just more determined than most people to be herself."
In 1997, Ono compared Lennon to Mozart while McCartney, she said, more closely resembled his less-talented rival Salieri. This remark infuriated Linda McCartney, who was battling breast cancer at the time. When she died less than a year later, McCartney pointedly did not invite Ono to a New York memorial service for her.
Accepting an award at the 2005 Q Awards, Ono mentioned that Lennon had once felt insecure about his songwriting, and asked her why other musicians "always cover Paul's songs, and never mine". Ono had responded, "You're a good songwriter; it's not June with spoon that you write. You're a good singer, and most musicians are probably a little bit nervous about covering your songs". McCartney responded by saying, "I don’t take any notice of her. She’s John’s wife so I have to respect her for that, but I don’t think she’s the brightest of buttons. She’s said some particularly daft things in her time. Her life is dedicated to putting me down but I attempt very strongly not to put her down." Ono later issued a statement claiming she did not mean any offense, as her comment was an attempt to console her husband, not attack McCartney; she went on to insist that she respected McCartney and that it was the press who had taken her comments out of context. "
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| Name | Salvador Dalí |
|---|---|
| Caption | Salvador Dalí photographed by Carl Van Vechten on November 29, 1939 |
| Birthname | Salvador Domingo Felipe Jacinto Dalí i Domènech |
| Birthdate | May 11, 1904 |
| Birth place | Figueres, Catalonia, Spain |
| Deathdate | January 23, 1989 |
| Deathplace | Figueres, Catalonia, Spain |
| Nationality | Spanish |
| 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) |
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.
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. 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. Dalí already drew attention as an eccentric and dandy. 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 stated that no one on the faculty was competent enough to examine him. His mastery of painting skills was evidenced by his flawlessly realistic Basket of Bread, painted in 1926. That same year, he made his first visit to Paris, where he met with 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.
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. 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. There he painted numerous paintings he later exhibited at Julien Levy Gallery in New York.
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 started in 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, 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, and the effect is to make him crosseyed and his moustache ends swivel upwards. Also in 1969, he designed the Chupa Chups logo. Also in 1969, he was responsible for creating the advertising aspect of the 1969 Eurovision Song Contest and created a large metal sculpture that stood on the stage 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. under unclear circumstances. It was possibly a suicide attempt by Dalí, or possibly simple negligence by his staff. 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.
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." 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. "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. 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.
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.
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, 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.
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 sent telegrams to Franco, praising him for signing death warrants for prisoners. 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. 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.
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.
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.
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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 | Paris Hilton |
|---|---|
| Caption | Paris Hilton promoting her cell-phone video game "Jewel Jam" at the E3 Video Game Convention |
| Birth name | Paris Whitney Hilton |
| Birth date | February 17, 1981 |
| Birth place | New York City, New York, U.S. |
| Occupation | Socialite, model, actress, singer, songwriter, fashion designer |
| Years active | 1993, 2000–present |
| Website | Official site |
| Hair | Blonde |
| Eyes | blue contact lenses, naturally brown |
| Height | |
| Parents | Richard Howard HiltonKathy Hilton |
| Siblings | Nicky Hilton, Barron Hilton, and Conrad |
Paris Whitney Hilton (born February 17, 1981) is an American socialite, heiress, media personality, model, singer, author, fashion designer and actress. She is a great-granddaughter of Conrad Hilton (founder of Hilton Hotels). Hilton is known for her controversial appearance in a sex tape in 2003, and appearance on the television series The Simple Life alongside fellow socialite and childhood best friend Nicole Richie. She is also known for her 2004 tongue-in-cheek autobiography, several minor film roles (most notably her role in the horror film House of Wax in 2005), her 2006 music album Paris, and her work in modeling.
As a result of several legal incidents, Hilton served a widely publicized sentence in a Los Angeles County jail in 2007. She is an example of the modern phenomenon of the 'celebutante', the celebrity who rises to fame not because of their talent or work but because of their wealth and controversial lifestyle.
Hilton moved between several exclusive homes in her youth, including a suite in the Waldorf-Astoria Hotel in Manhattan, Beverly Hills, and the Hamptons. As a child she was good friends with other socialites, including Nicole Richie and Kim Kardashian. She attended her freshman year of high school at the Marywood-Palm Valley School in Rancho Mirage, California followed by a short time at Convent of the Sacred Heart (which she attended with Lady Gaga) and the Dwight School in New York for her sophomore and junior years. She was then transferred to the Canterbury Boarding School, in New Milford, Connecticut where she was a member of the ice hockey team. In February 1999, she was expelled for violating school rules and later earned her GED.
In December 2007, Hilton's grandfather Barron Hilton pledged 97 percent of his estate to a charitable organization founded by his father, the Conrad N. Hilton Foundation. An immediate pledge of $1.2 billion was made, with a further $1.1 billion due after his death. He cited his father's actions as the motivation for his pledge. According to reports, the potential inheritance of his grandchildren is sharply diminished.
She landed minor and supporting roles in the feature films Nine Lives, Raising Helen, The Hillz, and House of Wax. Her role as Paige Edwards in House of Wax won the Teen Choice Award for "Best Scream" and earned her a nomination for "Choice Breakout Performance – Female". (It also won her the 2005 Razzie for "Worst Supporting Actress" at the 2005 Golden Raspberry Awards.) She also earned a nomination for "Best Frightened Performance" at the 2006 MTV Movie Awards. She landed her first lead roles in 2006 with the straight-to-DVD releases National Lampoon's Pledge This! and Bottoms Up. She plays the Hottie in the box office bomb romantic comedy The Hottie and the Nottie, released in 2008. She also had a minor cameo appearance as herself in An American Carol.
More recently, Hilton plays Amber Sweet, the surgery- and painkiller-addicted daughter of a biotech magnate in the goth/rock musical Repo! The Genetic Opera. Critics have responded positively to her performance in the film, in which she sings and acts. In an interview Repo! director Darren Lynn Bousman revealed that he had originally refused to audition Hilton for the role of Amber Sweet. "I broke down," says Bousman, "and I met with her, and immediately she charmed everyone in the room." In the same interview, Bousman also revealed that Hilton was so keen to get the part that she had the script smuggled in to her during her much publicized stint in a Los Angeles jail, and used her time inside to work on her role.
Hilton has also guest-starred in episodes of the popular TV-show The O.C., The George Lopez Show, Las Vegas, American Dreams, Dogg After Dark, and Veronica Mars. Furthermore, she appeared in several music videos, including "" by John Oates and "Just Lose It" by Eminem. Planning is underway for an eponymous cartoon series following the animated life of Hilton, her sister Nicky, and her dog Tinkerbell, which began filming in September 2007. In April 2008, she guest starred on the My Name is Earl episode "I Won't Die with a Little Help from My Friends". On January 29, 2009, Paris Hilton's British Best Friend, began airing on ITV2 in England. The second season of Paris Hilton's My New BFF premiered on June 2, 2009. In June 2009, Hilton shot "Paris Hilton's Dubai BFF". Runner-up of the British series Kat McKenzie died on July 3, 2009 of a suspected overdose.
Hilton guest-starred in the fifth episode of Supernatural's fifth season. "Paris Hilton is playing a demonic creature that takes the form of... Paris Hilton," creator and executive producer Eric Kripke said in a statement. "It'll be a fun, irreverent episode and we here at Supernatural are thrilled that Paris agreed to do it."
Hilton guest-starred in an episode of I Get That a Lot in 2010, on CBS, as a petrol service-station attendant.
On October 1, 2010 the television station Oxygen gives the go-ahead to a new reality show that will star Paris Hilton, the show will follow Hilton in her everyday life the show has yet to get a name.
On July 16, 2007, Hilton confirmed that she was working on a new album with producer Scott Storch. In a recent interview with MTV, Hilton decided that her second album is going to be a dance album. She stated that she "loves Bob Sinclar" and wants to create dance-music vibe. Hilton has installed a professional recording studio in her house to work on the album. On September 30, 2008, Hilton premiered her song "My BFF" on KIIS-FM with host Ryan Seacrest. It is the first single from her as yet untitled second studio album and the theme song of her show Paris Hilton's My New BFF.
For her second studio album, she has confirmed six tracks: "Jailhouse Baby", "Platinum Blonde", "Crave" and "My BFF", "Paris For President", and "Girl Tax", "My BFF" and "Paris For President" were released in 2008 as the first two singles. In November 2008, Hilton talked with Entertainment Weekly backstage at the American Music Awards and she told them that she has finished her second album, and "wrote all the songs". The album is featuring production by Mike Green who worked with the bands Paramore and The Matches. In December 2008, she was looking for a label to release her album, she told Entertainment Weekly. "I'm not sure which label I'm doing it with," she said. "I'm figuring it out right now." Later that month she stated her intention to release her album under her own record label Heiress Records.
Hilton confirmed in a magazine interview that the album is complete.
In September 2009, Hilton's quote: "Dress cute wherever you go, life is too short to blend in" has been added to The Oxford Dictionary of Quotations.
In what The Washington Post opined "might just be her best acting role yet," Hilton appears in the video wearing a leopard print swimsuit. She starts out by suggesting that her personal mention by McCain means that she must now be a candidate in the presidential race, and goes on to mock McCain, and critique the expected qualities and lifestyle of a celebrity in comparison to that of a US president. In a 30 second segment, in the style of an academic speaker, Paris compares and contrasts the policies of McCain and Obama for solving the US energy crisis, and goes on to propose a 'compromise solution' combining elements of both.
The video received 7 million views in two days garnering worldwide press coverage, and drew both written and verbal media response from both campaigns. The merits and drawbacks of the 'Paris compromise solution' with regard to energy policy, as well as its contrast to the adversarial political campaigns, generated multiple comments from US political commentators, as well as Speaker of the House Nancy Pelosi and Congressman Michael Burgess.
Continuing the spoof campaign, in October Hilton featured in a second parody video posted on Funny or Die, the 2 minute 20 second long "Paris Hilton Gets Presidential with Martin Sheen", alongside Hollywood actor Martin Sheen, with his son, actor Charlie Sheen, appearing in a cameo role. Hilton, heavily made up and in a green evening dress, interviews Martin Sheen in a kitchen, discussing various political issues, seeking his advice from his days playing a fictional President on The West Wing.
In 2004, Hilton was involved in the creation of a perfume line by Parlux Fragrances. Originally set to be a small release, high demand led to a wider release before December 2004. The launch was followed by a 47 percent increase in sales of Parlux products, predominantly due to sales of the Hilton-branded perfume. After the success of Hilton's perfume, Parlux Fragrances released several more perfumes with her name, including fragrances for men. Hilton launched a new fragrance in October 2007, called Can Can. This is her fourth women's fragrance after Paris Hilton, Just Me, and Heiress. During the month of November 2008, Hilton released her fifth fragrance for women called, Fairy Dust. In July 2009, her sixth fragrance for women Siren was launched.
In January 2007, Hilton released the DreamCatchers line of hair extensions in partnership with Hair Tech International. In early August 2007, Hilton signed a licensing agreement with Antebi for a signature footwear line, "Paris Hilton Footwear", featuring stilettos, platforms, flats, wedges, and a sports collection, expected to reach stores in 2008. In mid August 2007, Hilton launched a line of tops, dresses, coats, and jeans at Kitson boutique in Los Angeles.
In 2005, Hilton lent her name to a chain of nightclubs owned by Fred Khalilian and known as Club Paris. This association ended in January 2007 after she had failed to attend several scheduled promotional appearances.
In December 2007, Hilton posed nude, covered in gold paint, to promote "Rich Prosecco", a canned version of an Italian sparkling wine. She also traveled to Germany to promote the drink, appearing in various print ads for the product.
In February 2010, Hilton participated in an advertising campaign for the launch of the Brazilian beer Devassa Bem Loura, whose slogan in English roughly translates to "very blonde bitch". As part of the campaign, Hilton joined the brewery's float in the carnival of Rio de Janeiro. Despite the buzz caused by Paris in Rio de Janeiro, Devassa beer had captured just 0.2% of the market at the end of 2010
Hilton told Live with Regis and Kelly: "One-night stands are not for me. I think it's gross when you just give it up. Guys want you more, if you don't just hand it to them on a platter."
Hilton loves small dogs, and lives with a Yorkshire Terrier and a female Chihuahua named Tinkerbell among many other pets. Paris Hilton is frequently seen carrying Tinkerbell (dubbed an "accessory dog") at social events and functions, and in all five seasons of television reality show The Simple Life. In 2004, Tinkerbell "authored" a memoir, The Tinkerbell Hilton Diaries. On August 12, 2004, Tinkerbell went missing after Hilton's apartment was burgled, and a $5,000 reward was offered for her safe return. She was found six days later. By December 1, 2004, Tinkerbell was again spotted with Paris Hilton at various events. Hilton has also purchased a male Chihuahua on July 25, 2007 from Pets of Bel Air in Los Angeles. Hilton's love for man's best friend led her to create an apparel line for dogs called Little Lily by Paris Hilton, with some of the proceeds going to benefit animal rescue. "I have 17 dogs and I like to dress them, so I started designing this clothing line and it's really cute, like dresses and jeans — everything you can imagine for humans, but for dogs," she said in an interview during Super Bowl XLII festivities. Hilton's love for her dogs led to the rumor that she wanted to be frozen with them at the Cryonics Institute, but Hilton denied the rumor on The Ellen DeGeneres Show.
A homemade sex video of Hilton and then-boyfriend Rick Salomon was leaked on the Internet in 2003, later released as the DVD 1 Night in Paris despite attempted legal action. It appeared a week prior to the premiere of The Simple Life.
On January 22, 2007, Hilton's private life was thrust into the media spotlight with the launch of ParisExposed.com, a website that features images of personal documents, video, and other material allegedly obtained when the contents of a storage locker rented by Hilton was auctioned off due to lack of a $208 payment. The website began charging online access to this material and received 1.2 million visitors in just over 40 hours. Among the contents were medications, diaries, photographs, contracts and love letters, as well as a video of her shot by Joe Francis of Girls Gone Wild. On February 3, 2007 Hilton obtained a temporary injunction against ParisExposed.com, closing down the website.
On February 5, 2007, CNN's Anderson Cooper 360 discussed footage obtained from the ParisExposed.com website which features Hilton using the ethnic slurs "niggers", "chink", "Jappy" and the derogatory term "faggot".
Hilton was burglarized at least five times by the Bling Ring. In most cases they were only after cash and clothes. However, during their final burglary of her home, a participant usually not present as a member of the group stole around $2 million in jewelry from her, carrying it out in one of her Louis Vuitton bags. It was only after this theft that she informed police of having been burglarized.
On May 4, 2007 Hilton was sentenced by Judge Michael T. Sauer to 45 days in jail for violating her probation. Initially, Hilton planned to appeal the sentence, and supported an online petition asking California governor Arnold Schwarzenegger for a pardon. The petition was created and organized on May 5, 2007 by Joshua Morales. In response, various opponents started a counter-petition to maintain the sentence. Both petitions attracted tens of thousands of signatures. Hilton later switched lawyers and dropped her plans to appeal.
Hilton was required to begin her jail term on June 5, 2007, and checked herself into the Century Regional Detention Facility, an all-female jail in Lynwood, California after attending the 2007 MTV Movie Awards on June 3, 2007. However Los Angeles County Sheriff Lee Baca signed orders on June 7, reassigning Hilton to 40 days of home confinement with an electronic monitoring device due to an unspecified medical condition. Baca commented on the release saying, "My message to those who don't like celebrities is that punishing celebrities more than the average American is not justice," contesting that under normal circumstances, Hilton would not have served any time in jail, and he added that "The special treatment, in a sense, appears to be because of her celebrity status ... She got more time in jail". On the same day that Hilton was released from jail, Judge Michael Sauer summoned her to reappear in court the following morning (June 8) as the sentencing statement had explicitly said she would serve time in jail with "No work furlough. No work release. No electronic monitoring." At the hearing he declined to be briefed by Hilton's attorney in private chambers on the nature of her condition and sent her back to jail to serve out her original 45-day sentence. Upon hearing the sentence, Hilton shouted, "It's not right!" and started screaming, requesting to hug her mother who was present in the courtroom. Concern about Hilton's condition led to her being moved to the medical wing of the Twin Towers Correctional Facility in Los Angeles, and she was moved back to the Century Regional Detention Facility in Lynwood on June 13.
While in jail, Hilton was influenced by the clergyman minister Marty Angelo: Hilton referred to starting a "new beginning" during her interview with talk show host Larry King on June 28, 2007, two days after being released from jail, and quoted from Angelo's autobiography, entitled Once Life Matters: A New Beginning. On June 9, 2007, Marty Angelo petitioned Sauer, asking to serve out the remainder of Hilton's jail sentence if the judge would release her to an alternative treatment program, but the petition was turned down.
On July 17, 2010, Hilton was detained and released after being caught in possession of cannabis at Figari airport, Corsica.
On August 28, 2010 she was arrested on suspicion of cocaine possession in Las Vegas. Initially her defence claimed that the handbag containing 0.8g of cocaine was not hers as "This purse in question was a high street brand – and by no means up to her high fashion standards.". Later she claimed some of the personal items (like cash and credit cards) from the bag acknowledging it was hers.
In order to avoid being convicted on felony, Paris Hilton pleaded guilty to two misdemeanors on September 17, 2010. Under the terms of the plea bargain, she was sentenced to one year probation, 200 hours community service, $2,000 fine and ordered to complete a drug abuse program. Clark County District Attorney David Roger said that: "If she is arrested for anything besides a minor traffic violation she will spend a year in jail. There will be no discussion. The court will have no discretion." Narita officials questioned Hilton "for hours" and Paris and her sister were forced to sleep over at the airport-hotel. | ABC Family Film |}
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| Name | John Lennon |
|---|---|
| Img alt | A bearded, bespectacled man in his late twenties, with long black hair and wearing a loose-fitting pajama shirt, sings and plays an acoustic guitar. White flowers are visible behind and to the right of him. |
| Background | solo_singer |
| Birth name | John Winston Lennon |
| Born | October 09, 1940Liverpool, England, UK |
| Died | December 08, 1980New York, New York, US |
| Instrument | Vocals, guitar, piano, banjo, harmonica, Mellotron, six-string bass, percussion |
| Genre | Rock, pop |
| Occupation | Musician, singer-songwriter, record producer, artist, writer |
| Years active | 1957–1975, 1980 |
| Label | Parlophone, Capitol, Apple, EMI, Geffen, Polydor |
| Associated acts | The Quarrymen, The Beatles, Plastic Ono Band, The Dirty Mac, John & Yoko/Plastic Ono Band |
| Notable instruments | Rickenbacker 325Epiphone CasinoGibson J-160EGibson Les Paul Junior |
Born and raised in Liverpool, Lennon became involved as a teenager in the skiffle craze; his first band, The Quarrymen, evolved into The Beatles in 1960. As the group disintegrated towards the end of the decade, Lennon embarked on a solo career that produced the critically acclaimed albums John Lennon/Plastic Ono Band and Imagine, and iconic songs such as "Give Peace a Chance" and "Imagine". Lennon disengaged himself from the music business in 1975 to devote time to his family, but re-emerged in 1980 with a new album, Double Fantasy. He was murdered three weeks after its release.
Lennon revealed a rebellious nature and acerbic wit in his music, his writing, his drawings, on film, and in interviews, and he became controversial through his political activism. He moved to New York City in 1971, where his criticism of the Vietnam War resulted in a lengthy attempt by Richard Nixon's administration to deport him, while his songs were adopted as anthems by the anti-war movement.
As of 2010, Lennon's solo album sales in the United States exceed 14 million units, and as writer, co-writer or performer, he is responsible for 27 number-one singles on the US Hot 100 chart. In 2002, a BBC poll on the 100 Greatest Britons voted him eighth, and in 2008, Rolling Stone ranked him the fifth-greatest singer of all-time. He was posthumously inducted into the Songwriters Hall of Fame in 1987 and into the Rock and Roll Hall of Fame in 1994.
Lennon was born in war-time England, on 9 October 1940 at Liverpool Maternity Hospital, to Julia and Alfred Lennon, a merchant seaman who was away at the time of his son's birth. He was named John Winston Lennon after his paternal grandfather, John "Jack" Lennon, and then-Prime Minister Winston Churchill. His father was often away from home but sent regular pay cheques to 9 Newcastle Road, Liverpool, where Lennon lived with his mother, but the cheques stopped when he went absent without leave in February 1944. When he eventually came home six months later, he offered to look after the family, but Julia—by then pregnant with another man's child—rejected the idea. After her sister, Mimi Smith, twice complained to Liverpool's Social Services, Julia handed the care of Lennon over to her. In July 1946, Lennon's father visited Smith and took his son to Blackpool, secretly intending to emigrate to New Zealand with him. Julia followed them—with her partner at the time, 'Bobby' Dykins—and after a heated argument his father forced the five-year-old to choose between them. Lennon twice chose his father, but as his mother walked away, he began to cry and followed her. It would be 20 years before he had contact with his father again.
Throughout the rest of his childhood and adolescence, he lived with his aunt and uncle, Mimi and George Smith, who had no children of their own, at Mendips, 251 Menlove Avenue, Woolton. His aunt bought him volumes of short stories, and his uncle, a dairyman at his family's farm, bought him a mouth organ and engaged him in solving crossword puzzles. Julia visited Mendips on a regular basis, and when he was 11 years old he often visited her at 1 Blomfield Road, Liverpool, where she played him Elvis Presley records, and taught him the banjo, playing "Ain't That a Shame" by Fats Domino.
In September 1980 he talked about his family and his rebellious nature: }}
He regularly visited his cousin, Stanley Parkes, who lived in Fleetwood. Seven years Lennon's senior, Parkes took him on trips, and to local cinemas. During the school holidays, Parkes often visited Lennon with Leila Harvey, another cousin, often travelling to Blackpool two or three times a week to watch shows. They would visit the Blackpool Tower Circus and see artists such as Dickie Valentine, Arthur Askey, Max Bygraves and Joe Loss, with Parkes recalling that Lennon particularly liked George Formby. After Parkes's family moved to Scotland, the three cousins often spent their school holidays together there. Parkes recalled, "John, cousin Leila and I were very close. From Edinburgh we would drive up to the family croft at Durness, which was from about the time John was nine years old until he was about 16." He was 14 years old when his uncle George died of a liver haemorrhage on 5 June 1955 (aged 52).
Lennon was raised as an Anglican and attended Dovedale Primary School. From September 1952 to 1957, after passing his Eleven-Plus exam, he attended Quarry Bank High School in Liverpool, and was described by Harvey at the time as, "A happy-go-lucky, good-humoured, easy going, lively lad." He often drew comical cartoons which appeared in his own self-made school magazine called The Daily Howl, but despite his artistic talent, his school reports were damning: "Certainly on the road to failure ... hopeless ... rather a clown in class ... wasting other pupils' time."
His mother bought him his first guitar in 1957, an inexpensive Gallotone Champion acoustic for which she "lent" her son five pounds and ten shillings on the condition that the guitar be delivered to her own house, and not Mimi's, knowing well that her sister was not supportive of her son's musical aspirations. As Mimi was sceptical of his claim that he would be famous one day, she hoped he would grow bored with music, often telling him, "The guitar's all very well, John, but you'll never make a living out of it". On 15 July 1958, when Lennon was 17 years old, his mother, walking home after visiting the Smiths' house, was struck by a car and killed.
Lennon failed all his GCE O-level examinations, and was accepted into the Liverpool College of Art only after his aunt and headmaster intervened. Once at the college, he started wearing Teddy Boy clothes and acquired a reputation for disrupting classes and ridiculing teachers. As a result, he was excluded from the painting class, then the graphic arts course, and was threatened with expulsion for his behaviour, which included sitting on a nude model's lap during a life drawing class. He failed an annual exam, despite help from fellow student and future wife Cynthia Powell, and was "thrown out of the college before his final year."
McCartney says that Aunt Mimi: "was very aware that John's friends were lower class", and would often patronise him when he arrived to visit Lennon. According to Paul's brother Mike, McCartney's father was also disapproving, declaring Lennon would get his son "into trouble"; although he later allowed the fledgling band to rehearse in the McCartneys' front room at 20 Forthlin Road. During this time, the 18-year-old Lennon wrote his first song, "Hello Little Girl", a UK top 10 hit for The Fourmost nearly five years later.
George Harrison joined the band as lead guitarist, even though Lennon thought Harrison (at 14 years old) was too young to join the band, so McCartney engineered a second audition on the upper deck of a Liverpool bus, where Harrison played Raunchy for Lennon. Stuart Sutcliffe, Lennon's friend from art school, later joined as bassist. Lennon, McCartney, Harrison and Sutcliffe became "The Beatles" in early 1960. In August that year The Beatles, engaged for a 48-night residency in Hamburg, Germany, and desperately in need of a drummer, asked Pete Best to join them. Lennon was now 19, and his aunt, horrified when he told her about the trip, pleaded with him to continue his art studies instead. After the first Hamburg residency, the band accepted another in April 1961, and a third in April 1962. Like the other band members, Lennon was introduced to Preludin while in Hamburg, and regularly took the drug, as well as amphetamines, as a stimulant during their long, overnight performances.
Brian Epstein, the Beatles' manager from 1962, had no prior experience of artist management, but nevertheless had a strong influence on their early dress code and attitude on stage. Lennon initially resisted his attempts to encourage the band to present a professional appearance, but eventually complied, saying, "I'll wear a bloody balloon if somebody's going to pay me". McCartney took over on bass after Sutcliffe decided to stay in Hamburg, and drummer Ringo Starr replaced Best, completing the four-piece line-up that would endure until the group's break-up in 1970. The band's first single, "Love Me Do", was released in October 1962 and reached #17 on the British charts. They recorded their debut album, Please Please Me, in under 10 hours on 11 February 1963, a day when Lennon was suffering the effects of a cold, which is evident in the vocal on the last song to be recorded that day, Twist and Shout. The Lennon/McCartney songwriting partnership yielded eight of its fourteen tracks. With few exceptions—one being the album title itself—Lennon had yet to bring his love of wordplay to bear on his song lyrics, saying: "We were just writing songs ... pop songs with no more thought of them than that–to create a sound. And the words were almost irrelevant". In a 1987 interview, McCartney said that the other Beatles idolised John: "He was like our own little Elvis ... We all looked up to John. He was older and he was very much the leader; he was the quickest wit and the smartest".
The Beatles achieved mainstream success in the UK around the start of 1963. Lennon was on tour when his first son, Julian, was born in April. During their Royal Variety Show performance, attended by the Queen Mother and other British royalty, Lennon poked fun at his audience: "For our next song, I'd like to ask for your help. For the people in the cheaper seats, clap your hands ... and the rest of you, if you'll just rattle your jewellery." After a year of Beatlemania in the UK, the group's historic February 1964 US debut appearance on The Ed Sullivan Show marked their breakthrough to international stardom. A two-year period of constant touring, moviemaking, and songwriting followed, during which Lennon wrote two books, In His Own Write and A Spaniard in the Works. The Beatles received recognition from the British Establishment when they were appointed Members of the Order of the British Empire in the Queen's Birthday Honours of 1965.
" with The Beatles in 1967 to 400 million viewers of "Our World".]] Deprived of the routine of live performances after their final commercial concert in 1966, Lennon felt lost and considered leaving the band. Since his involuntary introduction to LSD in January, he had made increasing use of the drug, and was almost constantly under its influence for much of the year." According to biographer Ian MacDonald, Lennon's continuous experience with LSD during the year brought him "close to erasing his identity". 1967 saw the release of "Strawberry Fields Forever", hailed by Time magazine for its "astonishing inventiveness", and the group's landmark album Sgt. Pepper's Lonely Hearts Club Band, which revealed Lennon's lyrics contrasting strongly with the simple love songs of the Lennon/McCartney's early years.
In August, after having been introduced to the Maharishi Mahesh Yogi, the group attended a weekend of personal instruction at his Transcendental Meditation seminar in Bangor, Wales, and were informed of Epstein's death during the seminar. "I knew we were in trouble then", Lennon said later. "I didn't have any misconceptions about our ability to do anything other than play music, and I was scared". They later travelled to Maharishi's ashram in India for further guidance, where they composed most of the songs for The Beatles and Abbey Road.
The anti-war, black comedy How I Won the War, featuring Lennon's only appearance in a non–Beatles full-length film, was shown in cinemas in October 1967. McCartney organised the group's first post-Epstein project, the self-written, -produced and -directed television film Magical Mystery Tour, released in December that year. While the film itself proved to be their first critical flop, its soundtrack release, featuring Lennon's acclaimed, Carroll-inspired "I am the Walrus", was a success. With Epstein gone, the band members became increasingly involved in business activities, and in February 1968 they formed Apple Corps, a multimedia corporation comprising Apple Records and several other subsidiary companies. Lennon described the venture as an attempt to achieve, "artistic freedom within a business structure", but his increased drug experimentation and growing preoccupation with Yoko Ono, and McCartney's own marriage plans, left Apple in need of professional management. Lennon asked Lord Beeching to take on the role, but he declined, advising Lennon to go back to making records. Lennon approached Allen Klein, who had managed The Rolling Stones and other bands during the British Invasion. Klein was appointed as Apple’s chief executive by Lennon, Harrison and Starr, but McCartney never signed the management contract.
At the end of 1968, Lennon featured in the film The Rolling Stones Rock and Roll Circus (not released until 1996) in the role of a Dirty Mac band member. The supergroup, comprising Lennon, Eric Clapton, Keith Richards and Mitch Mitchell, also backed a vocal performance by Ono in the film. Lennon and Ono were married on 20 March 1969, and soon released a series of 14 lithographs called "Bag One" depicting scenes from their honeymoon, eight of which were deemed indecent and most of which were banned and confiscated. Lennon's creative focus continued to move beyond the Beatles and between 1968 and 1969 he and Ono recorded three albums of experimental music together: (known more for its cover than for its music), and Wedding Album. In 1969 they formed The Plastic Ono Band, releasing Live Peace in Toronto 1969. In protest at Britain's involvement in the Nigerian Civil War, Lennon returned his MBE medal to the Queen, though this had no effect on his MBE status, which could not be renounced. Between 1969 and 1970 Lennon released the singles "Give Peace a Chance" (widely adopted as an anti-Vietnam-War anthem in 1969), "Cold Turkey" (documenting his withdrawal symptoms after he became addicted to heroin) and "Instant Karma!".
Lennon left the Beatles in September 1969. He agreed not to inform the media while the band renegotiated their recording contract, and was outraged that McCartney publicised his own departure on releasing his debut solo album in April 1970. Lennon's reaction was, "Jesus Christ! He gets all the credit for it!" He later wrote, "I started the band. I disbanded it. It's as simple as that." In later interviews with Rolling Stone, he revealed his bitterness towards McCartney, saying, "I was a fool not to do what Paul did, which was use it to sell a record." He spoke too of the hostility he perceived the other members had towards Ono, and of how he, Harrison, and Starr "got fed up with being sidemen for Paul ... After Brian Epstein died we collapsed. Paul took over and supposedly led us. But what is leading us when we went round in circles?"
With Lennon's next album, Imagine (1971), critical response was more guarded. Rolling Stone reported that "it contains a substantial portion of good music" but warned of the possibility that "his posturings will soon seem not merely dull but irrelevant". The album's title track would become an anthem for anti-war movements, while another, "How Do You Sleep?", was a musical attack on McCartney in response to lyrics from Ram that Lennon felt, and McCartney later confirmed, were directed at him and Ono. However, Lennon softened his stance in the mid-70s and said he had written "How Do You Sleep?" about himself. He said in 1980: "I used my resentment against Paul ... to create a song ... not a terrible vicious horrible vendetta ... I used my resentment and withdrawing from Paul and the Beatles, and the relationship with Paul, to write 'How Do You Sleep'. I don't really go 'round with those thoughts in my head all the time".
Lennon and Ono moved to New York in August 1971, and in December released "Happy Xmas (War Is Over)". To advertise the single, they paid for billboards in 12 cities around the world which declared, in the national language, "WAR IS OVER—IF YOU WANT IT". The new year saw the Nixon Administration take what it called a "strategic counter-measure" against Lennon's anti-war propaganda, embarking on what would be a four-year attempt to deport him: embroiled in a continuing legal battle, he was denied permanent residency in the US until 1976.
Recorded as a collaboration with Ono and with backing from the New York band Elephant's Memory, Some Time in New York City was released in 1972. Containing songs about women's rights, race relations, Britain's role in Northern Ireland, and Lennon's problems obtaining a green card, the album was poorly received—unlistenable, according to one critic. "Woman Is the Nigger of the World", released as a US single from the album the same year, was televised on 11 May, on The Dick Cavett Show. Many radio stations refused to broadcast the song because of the word "nigger". Lennon and Ono gave two benefit concerts with Elephant's Memory and guests in New York in aid of patients at the Willowbrook State School mental facility. Staged at Madison Square Garden on 30 August 1972, they were his last full-length concert appearances.
In 1974, Lennon was drinking heavily and his alcohol-fuelled antics with Harry Nilsson soon made the headlines. Two widely publicised incidents occurred at The Troubadour club in March, the first when Lennon placed a menstruation ‘towel’ on his forehead and scuffled with a waitress, and the second, two weeks later, when Lennon and Nilsson were ejected from the same club after heckling the Smothers Brothers. Lennon decided to produce Nilsson's album Pussy Cats and Pang rented an L.A. beach house for all the musicians but after a month of further debauchery, with the recording sessions in chaos, Lennon moved to New York with Pang to finish work on the album. In April, Lennon had produced the Mick Jagger song "Too Many Cooks (Spoil the Soup)" which was, for contractual reasons, to remain unreleased for more than thirty years. Pang supplied the recording for its eventual inclusion on The Very Best of Mick Jagger (2007).
Settled back in New York, Lennon recorded the album Walls and Bridges. Released in October 1974, it yielded his only number-one single in his lifetime, "Whatever Gets You Thru the Night", featuring Elton John on backing vocals and piano. A second single from the album, "#9 Dream", followed before the end of the year. Starr's Goodnight Vienna (1974) again saw assistance from Lennon, who wrote the title track and played piano. On 28 November, Lennon made a surprise guest appearance at Elton John's Thanksgiving concert at Madison Square Garden, in fulfilment of his promise to join the singer in a live show if "Whatever Gets You Thru the Night"—a song whose commercial potential Lennon had doubted—reached number one. Lennon performed the song along with "Lucy in the Sky with Diamonds" and "I Saw Her Standing There".
Lennon co-wrote "Fame", David Bowie's first US number one, and provided guitar and backing vocals for the January 1975 recording. He and Ono were reunited shortly afterwards. The same month, Elton John topped the charts with his own cover of "Lucy in the Sky with Diamonds", featuring Lennon on guitar and back-up vocals. Lennon released Rock 'n' Roll (1975), an album of cover songs, in February. Soon afterwards, "Stand By Me", taken from the album and a US and UK hit, became his last single for five years. He made what would be his final stage appearance in the ATV special A Salute to Lew Grade, recorded on 18 April and televised in June. Playing acoustic guitar, and backed by his eight-piece band BOMF (introduced as "Etcetera"), Lennon performed two songs from Rock 'n' Roll ("Stand By Me", which was not broadcast, and "Slippin' and Slidin'") followed by "Imagine". The band wore masks on the backs of their heads, making them appear two-faced, a dig at Grade, with whom Lennon and McCartney had been in conflict because of his control of the Beatles' publishing company. (Dick James had sold his majority share to Grade in 1969.) During "Imagine", Lennon interjected the line "and no immigration too", a reference to his battle to remain in the United States.
He emerged from retirement in October 1980 with the single "(Just Like) Starting Over", followed the next month by the album Double Fantasy, which contained songs written during a journey to Bermuda on a 43-foot sailing boat the previous June, that reflected Lennon's fulfillment in his new-found stable family life. Sufficient additional material was recorded for a planned follow-up album Milk and Honey (released posthumously in 1984). Released jointly with Ono, Double Fantasy was not well received, drawing comments such as Melody Maker's "indulgent sterility ... a godawful yawn".
Ono issued a statement the next day, saying "There is no funeral for John," ending it with the words, "John loved and prayed for the human race. Please pray the same for him." His body was cremated at Ferncliff Cemetery in Hartsdale, New York. Ono scattered his ashes in New York's Central Park, where the Strawberry Fields memorial was later created. Chapman pleaded guilty to second degree murder and was sentenced to 20 years to life; as of 2010, he remains in prison, having been repeatedly denied parole.
Recalling his reaction in July 1962 on learning that Cynthia was pregnant, Lennon said, "There's only one thing for it Cyn. We'll have to get married." The couple were married on 23 August at the Mount Pleasant Register Office in Liverpool. His marriage began just as Beatlemania took hold across the UK. He performed on the evening of his wedding day, and would continue to do so almost daily from then on. Epstein, fearing that fans would be alienated by the idea of a married Beatle, asked the Lennons to keep their marriage secret. Julian was born on 8 April 1963; Lennon was on tour at the time and did not see his son until three days later.
Cynthia attributes the start of the marriage breakdown to LSD, and as a result, she felt that he slowly lost interest in her. When the group travelled by train to Bangor, Wales, in 1967, for the Maharishi Mahesh Yogi's Transcendental Meditation seminar, a policeman did not recognise her and stopped her from boarding. She later recalled how the incident seemed to symbolize the ending of their marriage. After arriving home at Kenwood, and finding Lennon with Ono, Cynthia left the house to stay with friends. Alexis Mardas later claimed to have slept with her that night, and a few weeks later he informed her that Lennon was seeking a divorce and custody of Julian on grounds of her adultery with him. After negotiations, Lennon capitulated and agreed to her divorcing him on the same grounds. The case was settled out of court, with Lennon giving her £100,000, and custody of Julian.
Lennon delighted in mocking Epstein for his homosexuality and for the fact that he was Jewish. When Epstein invited suggestions for the title of his autobiography, Lennon offered Queer Jew; on learning of the eventual title, A Cellarful of Noise, he parodied, "More like A Cellarful of Boys". He demanded of a visitor to Epstein's flat, "Have you come to blackmail him? If not, you're the only bugger in London who hasn't." During the recording of "Baby, You're a Rich Man", he sang altered choruses of "Baby, you're a rich fag Jew".
Lennon's first son, Julian, was born as his commitments with the Beatles intensified at the height of Beatlemania during his marriage to Cynthia. Lennon was touring with the Beatles when Julian was born on 8 April 1963. Julian's birth, like his mother Cynthia's marriage to Lennon, was kept secret because Epstein was convinced public knowledge of such things would threaten the Beatles' commercial success. Julian recalls how some four years later, as a small child in Weybridge, "I was trundled home from school and came walking up with one of my watercolour paintings. It was just a bunch of stars and this blonde girl I knew at school. And Dad said, 'What's this?' I said, 'It's Lucy in the sky with diamonds.'" Lennon used it as the title of a Beatles' song, and though it was later reported to have been derived from the initials LSD, Lennon insisted, "It's not an acid song." McCartney corroborated Lennon's explanation that Julian innocently came up with the name. Lennon was distant from Julian, who felt closer to McCartney than to his father. During a car journey to visit Cynthia and Julian during Lennon's divorce, McCartney composed a song, "Hey Jules", to comfort him. It would evolve into the Beatles song "Hey Jude". Lennon later said, "That's his best song. It started off as a song about my son Julian ... he turned it into 'Hey Jude'. I always thought it was about me and Yoko but he said it wasn't."
Lennon's relationship with Julian was already strained, and after Lennon and Ono's 1971 move to New York, Julian would not see his father again until 1973. With Pang's encouragement, it was arranged for him (and his mother) to visit Lennon in Los Angeles, where they went to Disneyland. Julian started to see his father regularly, and Lennon gave him a drumming part on a Walls and Bridges track. He bought Julian a Gibson Les Paul guitar and other instruments, and encouraged his interest in music by demonstrating guitar chord techniques. Julian recalls that he and his father "got on a great deal better" during the time he spent in New York: "We had a lot of fun, laughed a lot and had a great time in general."
In a Playboy interview with David Sheff shortly before his death, Lennon said, "Sean was a planned child, and therein lies the difference. I don't love Julian any less as a child. He's still my son, whether he came from a bottle of whiskey or because they didn't have pills in those days. He's here, he belongs to me, and he always will." He said he was trying to re-establish a connection with the then 17-year-old, and confidently predicted, "Julian and I will have a relationship in the future." After his death it was revealed that he had left Julian very little in his will.
Two versions exist of how Lennon met Ono. According to the first, on 9 November 1966 Lennon went to the Indica gallery in London, where Ono was preparing her conceptual art exhibit, and they were introduced by gallery owner John Dunbar. Lennon was intrigued by Ono's "Hammer A Nail": patrons hammered a nail into a wooden board, creating the art piece. Although the exhibition had not yet begun, Lennon wanted to hammer a nail into the clean board, but Ono stopped him. Dunbar asked her, "Don't you know who this is? He's a millionaire! He might buy it." Ono had supposedly not heard of the Beatles, but relented on condition that Lennon pay her five shillings, to which Lennon replied, "I'll give you an imaginary five shillings and hammer an imaginary nail in." The second version, told by McCartney, is that in late 1965, Ono was in London compiling original musical scores for a book John Cage was working on, Notations, but McCartney declined to give her any of his own manuscripts for the book, suggesting that Lennon might oblige. When asked, Lennon gave Ono the original handwritten lyrics to "The Word".
Ono began telephoning and calling at Lennon's home, and when his wife asked for an explanation, he explained that Ono was only trying to obtain money for her "avant-garde bullshit". In May 1968, while his wife was on holiday in Greece, Lennon invited Ono to visit. They spent the night recording what would become the Two Virgins album, after which, he said, they "made love at dawn." When Lennon's wife returned home she found Ono wearing her bathrobe and drinking tea with Lennon who simply said, "Oh, hi." Ono became pregnant in 1968 and miscarried a male child they named John Ono Lennon II on 21 November 1968, a few weeks after Lennon's divorce from Cynthia was granted.
During Lennon's last two years in the Beatles, he and Ono began public protests against the Vietnam War. They were married in Gibraltar on 20 March 1969, and spent their honeymoon in Amsterdam campaigning with a week-long Bed-In for peace. They planned another Bed-In in the United States, but were denied entry, so held one instead at the Queen Elizabeth Hotel in Montreal, where they recorded "Give Peace a Chance". They often combined advocacy with performance art, as in their "Bagism", first introduced during a Vienna press conference. Lennon detailed this period in the Beatles' song "The Ballad of John and Yoko". Lennon changed his name by deed poll on 22 April 1969, adding "Ono" as a middle name. The brief ceremony took place on the roof of the Apple Corps building, made famous three months earlier by the Beatles' Let It Be rooftop concert. Although he used the name John Ono Lennon thereafter, official documents referred to him as John Winston Ono Lennon, since he was not permitted to revoke a name given at birth. After Ono was injured in a car accident, Lennon arranged for a king-sized bed to be brought to the recording studio as he worked on the Beatles' last album, Abbey Road. To escape the acrimony of the band's break-up, Ono suggested they move permanently to New York, which they did on 31 August 1971. They first lived in the St. Regis Hotel on 5th Avenue, East 55th Street, then moved to a street-level flat at 105 Bank Street, Greenwich Village, on 16 October 1971. After a robbery, they relocated to the more secure Dakota at 1 West 72nd Street, in May 1973.
According to author Albert Goldman, Ono was regarded by Lennon as an "almost magical being" who could solve all his problems for him, but this was a "grand illusion", and she openly cheated on him with gigolos. Eventually, writes Goldman, "both he and Yoko were burnt out from years of hard drugs, overwork, emotional breakdowns, quack cures, and bizarre diets, to say nothing of the effects of living constantly in the glare of the mass media." After their separation, "no longer collaborating as a team, they remained in constant communication. ... No longer able to live together, they found that they couldn’t live apart either."
On moving to New York, they "prepared a spare room" in their newly rented apartment for Julian to visit. Lennon, hitherto inhibited by Ono in this regard, began to reestablish contact with other relatives and friends. By December he and Pang were considering a house purchase, and he was refusing to accept Ono's telephone calls. In January 1975, he agreed to meet Ono—who said she had found a cure for smoking—but after the meeting failed to return home or call Pang. When Pang telephoned the next day, Ono told her Lennon was unavailable, being exhausted after a hypnotherapy session. Two days later, Lennon reappeared at a joint dental appointment, stupefied and confused to such an extent that Pang believed he had been brainwashed. He told her his separation from Ono was now over, though Ono would allow him to continue seeing her as his mistress.
Lennon's most intense feelings were reserved for McCartney. In addition to attacking him through the lyrics of "How Do You Sleep?", Lennon argued with him through the press for three years after the group split. The two later began to reestablish something of the close friendship they had once known, and in 1974 even played music together again, before growing apart once more. Lennon said that during McCartney's final visit, in April 1976, they watched the episode of Saturday Night Live in which Lorne Michaels made a $3,000 cash offer to get the Beatles to reunite on the show. The pair considered going to the studio to make a joke appearance, attempting to claim their share of the money, but were too tired. Lennon summarised his feelings towards McCartney in an interview three days before his death: "Throughout my career, I've selected to work with...only two people: Paul McCartney and Yoko Ono....That ain't bad picking."
Along with his estrangement from McCartney, Lennon always felt a musical competitiveness with him and kept an ear on his music. During his five-year career break he was content to sit back so long as McCartney was producing what Lennon saw as mediocre "product". When McCartney released "Coming Up" in 1980, the year Lennon returned to the studio and the last year of his life, he took notice. "It's driving me crackers!" he jokingly complained, because he couldn't get the tune out of his head. Asked the same year whether the group were dreaded enemies or the best of friends, he replied that they were neither, and that he had not seen any of them in a long time. But he also said, "I still love those guys. The Beatles are over, but John, Paul, George and Ringo go on."
Later that year, Lennon and Ono supported efforts by the family of James Hanratty, hanged for murder in 1962, to prove his innocence. Those who had condemned Hanratty were, according to Lennon, "the same people who are running guns to South Africa and killing blacks in the streets. ... The same bastards are in control, the same people are running everything, it's the whole bullshit bourgeois scene." In London, Lennon and Ono staged a "Britain Murdered Hanratty" banner march and a "Silent Protest For James Hanratty", and produced a 40-minute documentary on the case. At an appeal hearing years later, Hanratty's conviction was upheld.
Lennon and Ono showed their solidarity with the Clydeside UCS workers' work-in of 1971 by sending a bouquet of red roses and a cheque for £5,000. On moving to New York City in August that year, they befriended two of the Chicago Seven, Yippie peace activists Jerry Rubin and Abbie Hoffman. Another peace activist, John Sinclair, poet and co-founder of the White Panther Party, was serving ten years in prison for selling two joints of marijuana after previous convictions for possession of the drug. In December 1971 at Ann Arbor, Michigan, 20,000 people attended the "John Sinclair Freedom Rally", a protest and benefit concert with contributions from Lennon, Stevie Wonder, Bob Seger, Bobby Seale of the Black Panther Party, and others. Lennon and Ono, backed by David Peel and Rubin, performed an acoustic set of four songs from their forthcoming Some Time in New York City album including "John Sinclair", whose lyrics called for his release. The day before the rally, Michigan State had drastically reduced the penalties for Sinclair’s crimes and three days after the rally, he was released on bail. The performance was recorded and two of the tracks later appeared on John Lennon Anthology (1998).
Following the Bloody Sunday massacre in 1972, in which 27 civil rights protesters were shot by the British Army during a Northern Ireland Civil Rights Association march, Lennon said that given the choice between the army and the IRA he would side with the latter. Lennon and Ono wrote two songs protesting England's actions in the Northern Irish political situation on their Some Time in New York City album: "Luck of the Irish" and "Sunday Bloody Sunday". In 2000, a former member of Britain's domestic security service MI5 suggested that Lennon had given money to the IRA. Biographer Bill Harry records that following Bloody Sunday, Lennon and Ono financially supported the production of the film The Irish Tapes, a political documentary with a pro-IRA slant.
According to FBI surveillance reports (and confirmed by Tariq Ali in 2006) Lennon was sympathetic to the International Marxist Group, a Trotskyist group formed in Britain in 1968. However, the FBI considered Lennon to have limited effectiveness as a revolutionary since he was "constantly under the influence of narcotics".
John and Yoko add a great voice and drive to the country’s so-called art institution. They inspire and transcend and stimulate and by doing so, only help others to see pure light and in doing that, put an end to this dull taste of petty commercialism which is being passed off as Artist Art by the overpowering mass media. Hurray for John and Yoko. Let them stay and live here and breathe. The country’s got plenty of room and space. Let John and Yoko stay!
On 23 March 1973, Lennon was ordered to leave the US within 60 days. Ono, meanwhile, was granted permanent residence. In response, Lennon and Ono held a press conference on 1 April 1973 at the New York chapter of the American Bar Association, where they announced the formation of the state of Nutopia; a place with "no land, no boundaries, no passports, only people". Waving the white flag of Nutopia (two handkerchiefs), they asked for political asylum in the US. The press conference was filmed, and would later appear in the 2006 documentary The U.S. vs. John Lennon. Lennon's Mind Games (1973) included the track "Nutopian International Anthem", which comprised three seconds of silence. Soon after the press conference, Nixon's involvement in a political scandal came to light, and in June the Watergate hearings began in Washington, DC. They led to the president's resignation 14 months later. Nixon's successor, Gerald Ford, showed little interest in continuing the battle against Lennon, and the deportation order was overturned in 1975. The following year, his US immigration status finally resolved, Lennon received his "green card" certifying his permanent residency, and when Jimmy Carter was inaugurated as president in January 1977, Lennon and Ono attended the Inaugural Ball.
Lennon's love of wordplay and nonsense with a twist found a wider audience when he was 24. Harry writes that In His Own Write (1964) was published after "Some journalist who was hanging around the Beatles came to me and I ended up showing him the stuff. They said, 'Write a book' and that's how the first one came about". Like the Daily Howl it contained a mix of formats including short stories, poetry, plays and drawings. One story, "Good Dog Nigel", tells the tale of "a happy dog, urinating on a lamp post, barking, wagging his tail—until he suddenly hears a message that he will be killed at three o'clock". The Times Literary Supplement considered the poems and stories "remarkable ... also very funny ... the nonsense runs on, words and images prompting one another in a chain of pure fantasy". Book Week reported, "This is nonsense writing, but one has only to review the literature of nonsense to see how well Lennon has brought it off. While some of his homonyms are gratuitous word play, many others have not only double meaning but a double edge." Lennon was not only surprised by the positive reception, but that the book was reviewed at all, and suggested that readers "took the book more seriously than I did myself. It just began as a laugh for me".
In combination with A Spaniard in the Works (1965), In His Own Write formed the basis of the stage play The John Lennon Play: In His Own Write, co-adapted by Victor Spinetti and Adrienne Kennedy. After negotiations between Lennon, Spinetti and the artistic director of the National Theatre, Sir Laurence Olivier, the play opened at the Old Vic in 1968. Lennon and Ono attended the opening night performance, their second public appearance together to date. After Lennon's death, further works were published, including Skywriting by Word of Mouth (1986); Ai: Japan Through John Lennon's Eyes: A Personal Sketchbook (1992), with Lennon's illustrations of the definitions of Japanese words; and Real Love: The Drawings for Sean (1999). The Beatles Anthology (2000) also presented examples of his writings and drawings.
As his Beatles era segued into his solo career, his singing voice found a widening range of expression. Biographer Chris Gregory writes that Lennon was, "tentatively beginning to expose his insecurities in a number of acoustic-led 'confessional' ballads, so beginning the process of 'public therapy' that will eventually culminate in the primal screams of 'Cold Turkey' and the cathartic John Lennon/Plastic Ono Band." David Stuart Ryan notes Lennon's vocal delivery to range from, "extreme vulnerability, sensitivity and even naivety" to a hard "rasping" style. Wiener too describes contrasts, saying the singer's voice can be "at first subdued; soon it almost cracks with despair" Music historian Ben Urish recalls hearing the Beatles' Ed Sullivan Show performance of "This Boy" played on the radio a few days after Lennon's murder: "As Lennon's vocals reached their peak ... it hurt too much to hear him scream with such anguish and emotion. But it was my emotions I heard in his voice. Just like I always had."
In a 2006 Guardian article, Jon Wiener wrote: "For young people in 1972, it was thrilling to see Lennon's courage in standing up to [US President] Nixon. That willingness to take risks with his career, and his life, is one reason why people still admire him today." Whilst for music historians Urish and Bielen, Lennon's most significant effort was "the self-portraits ... in his songs [which] spoke to, for, and about, the human condition."
Lennon continues to be mourned throughout the world and has been the subject of numerous memorials and tributes. In 2010, on what would have been Lennon’s 70th birthday, the John Lennon Peace Monument was unveiled in Chavasse Park, Liverpool, by Cynthia and Julian Lennon. The sculpture entitled ‘Peace & Harmony’ exhibits peace symbols and carries the inscription “Peace on Earth for the Conservation of Life · In Honour of John Lennon 1940–1980”.
The Lennon/McCartney songwriting partnership is regarded as one of the most influential and successful of the 20th century. As performer, writer or co-writer Lennon has had 27 number one singles on the US Hot 100 chart. His album sales in the US stand at 14 million units. Double Fantasy, released shortly before his death, and his best-selling, post-Beatles studio album at three million shipments in the US, won the 1981 Grammy Award for Album of the Year. The following year, the BRIT Award for Outstanding Contribution to Music went to Lennon. Participants in a 2002 BBC poll voted him eighth of "100 Greatest Britons". Between 2003 and 2008, Rolling Stone recognised Lennon in several reviews of artists and music, ranking him fifth of "100 Greatest Singers of All Time" and 38th of "The Immortals: The Fifty Greatest Artists of All Time", and his albums John Lennon/Plastic Ono Band and Imagine, 22nd and 76th respectively of "The RS 500 Greatest Albums of All Time". He was appointed Member of the Order of the British Empire (MBE) with the other Beatles in 1965. He was posthumously inducted into the Songwriters Hall of Fame in 1987 and into the Rock and Roll Hall of Fame in 1994.
, Liverpool]]
Category:1940 births Category:1980 deaths Category:1960s singers Category:1970s singers Category:1980s singers Category:Apple Records artists Category:Alumni of Quarry Bank High School Category:Best Original Music Score Academy Award winners Category:BRIT Award winners Category:British anti-war activists Category:British people murdered abroad Category:Capitol Records artists Category:COINTELPRO targets Category:Critics of religions or philosophies Category:Deaths by firearm in New York Category:English expatriates in the United States Category:English experimental musicians Category:English film actors Category:English-language singers Category:English male singers Category:English murder victims Category:English pacifists Category:English people of Irish descent Category:English rock guitarists Category:English rock pianists Category:English rock singers Category:English singer-songwriters Category:Feminist artists Category:Grammy Award winners Category:Grammy Lifetime Achievement Award winners Category:Ivor Novello Award winners Category:Members of the Order of the British Empire Category:Murdered musicians Category:Musicians from Liverpool Category:Nonviolence advocates Category:People convicted of drug offenses Category:People murdered in New York Category:Plastic Ono Band members Category:Religious skeptics Category:Rhythm guitarists Category:Rock and Roll Hall of Fame inductees Category:Songwriters Hall of Fame inductees Category:The Beatles members Category:The Dirty Mac Category:The Quarrymen members Category:Yoko Ono
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| Name | George Maciunas |
|---|---|
| Caption | George Maciunas Self Portrait |
| Birthname | Jurgis Mačiūnas |
| Birthdate | November 08, 1931 |
| Birthplace | Kaunas Lithuania |
| Deathdate | May 09, 1978 |
| Deathplace | Boston USA |
| Nationality | American-Lithuanian |
| Field | Visual Art, Aesthetics, Artist's Multiples, Installation, Music, Sculpture, Performance, Mail Art |
| Training | Architecture and Graphic Design |
| Movement | Fluxus |
| Spouse | Billie Hutching |
After fleeing Lithuania to avoid being arrested by the advancing Russian Army in 1944, and living briefly in Bad Neuheim, Frankfurt, Germany, Jurgis Mačiūnas and his family emigrated to the USA in 1948, living in a middle class area of Long Island, New York.
After arriving in the USA, George initially studied graphic design at Cooper Union, moving to architecture at the Carnegie Institute of Technology in Pittsburgh and finally art history at New York University's Institute of Fine Arts. This began a fascination with the history of art for the rest of his life, and whilst there he began his first art-history chart, measuring 6 by 12 foot, a "time/space chart categorizing all past styles, movements, schools, artists etc." between 1955 and 1960. Whilst this project remained unfinished, he would publish three versions of a history of the Avant-Garde. The first appeared in 1966, with Fluxus as the focal point. He also began a correspondence with Raoul Hausmann, an original member of Berlin Dada, who advised him to stop using the term 'neo-dada' and concentrate instead on 'fluxus' to describe the nascent movement.
As well as Maciunas' concerts at the AG Gallery, March 1961 featuring music and events by Maciunas himself, Ichiyanagi, Mac Low and Higgins, the two other most important precursors to fluxus were La Monte Young's influential series of performances in the Chambers Street loft of Yoko Ono and Ichiyanagi Toshi, in 1961 involving Henry Flynt, La Monte Young, Joseph Byrd & Robert Morris amongst others; and Robert Watts and George Brecht's Yam Festival, spring 1963 at Rutgers University and New York, which included a series of mail art event scores and performances by John Cage, Allan Kaprow, Alison Knowles, Ay O and Dick Higgins. All of these artists and more eventually became associated with fluxus, 'either through their collaboration on multiples, inclusion in anthologies, or participation in Fluxus concerts'.
Other key influences noted by Maciunas included the happenings that had occurred at the Black Mountain College involving Robert Rauschenberg, John Cage, David Tudor, Merce Cunningham and others; the Nouveaux Réalistes; the Concept Art of Henry Flynt and Marcel Duchamp's notion of the readymade.
Though Maciunas conceived of the name "Fluxus" for a publication covering Lithuanian Culture conceived of during a meeting of Lithuanian émigrés, Fluxus soon developed into much more. Fluxus became an avant-garde movement characterized by playful subversion of previous art traditions (even including those of previous avant-garde movements), Dick Higgins’ famously coined term intermedia, a view that art should not-be something rarefied or commercial, and a firm commitment to blurring the distinctions between art and life. Maciunas’ life-long interest in diagrams made him chart the political, cultural and social history as well as art history and the chronology of Fluxus.
In 1963, Maciunas composed the first Fluxus Manifesto, (see above), which called upon its readers to:
"...purge the world of bourgeois sickness, ‘intellectual’, professional & commercialized culture ... PROMOTE A REVOLUTIONARY FLOOD AND TIDE IN ART, ... promote NON ART REALITY to be grasped by all peoples, not only critics, dilettantes and professionals ... FUSE the cadres of cultural, social & political revolutionaries into united front & action."
To avoid debt collectors, Maciunas took a job as a civilian graphic designer at a U.S. Air Force base in Wiesbaden, Germany in late 1961. It was there that he organized the first Fluxus Festival in September 1962. This festival featured various "concerts," scripted actions performed by Fluxus artists, as well as interpreting a number of works by other members of the international avant-garde .
One of the most notorious events performed at Wiesbaden was Maciunas' interpretation of Philip Corner's Piano Activities, the score of which asked a group of people to 'play', 'scratch or rub' and 'strike soundboard, pins, lid or drag various objects across them.' In Maciunas' interpretation, with the help of Higgins, Williams and others, the piano was completely destroyed. This event was considered scandalous enough to appear on German television four times. The festival then travelled to Cologne, Paris, Düsseldorf, Amsterdam, The Hague and Nice. These concerts and events were to become integral to the legacy of Fluxus.
The shop, like all his business ventures, was notoriously unsuccessful, however. In an interview with Larry Miller in 1978 shortly before his death, Maciunas estimated spending 'about $50,000' on fluxus projects over the years that would never recoup their investment.
Larry Miller, "May I ask a stupid question? Why didn't it pay off? Because isn't part of the idea that it's low cost and multiple distribution..."
GM; "No one was buying it, in those days. We opened up a store on Canal Street, what was it, 1964, and we had it open almost all year. We didn't make one sale in that whole year... We did not even sell a 50 cent item, a postage stamp sheet... you could buy V TRE papers for a quarter, you could buy George Brecht's puzzles for one dollar, Fluxus yearboxes for twenty dollars."
'Perhaps most important of all of Maciunas's publishing activities remain the object multiples, conceived as inexpensive, mass-produced unlimited editions. These were either works made by individual Fluxus artists, sometimes in collaboration with Maciunas, or, most controversially, Maciunas's own interpretations of an artist's concept or score. Their purpose was to erode the cultural status of art and to help to eliminate the artist's ego.'
Maciunas, a trained graphic designer, was responsible for the memorable packaging of fluxus objects, posters and newspapers, helping to give the movement a sense of unity that the artists themselves often denied. He also designed a series of name cards incorporating multiple fonts to characterise each of the participating artists. According to Maciunas, Fluxus was epitomized by the work of George Brecht, particularly his word event, "Exit." The artwork consists solely of a card on which is printed the words: "Word Event" and then the word "Exit" below. Maciunas said of "Exit":
"The best Fluxus ‘Composition’ is a most non-personal, ‘readymade’ one like Brecht's ‘Exit’—it does not require and of us to perform it since it happens daily without any ‘special’ performance of it. Thus our festivals will eliminate themselves (and our need to participate) when they become total readymades (like Brecht's exit)" (see )
An argument with an electrician over unpaid bills resulted in a severe beating, allegedly by 'Mafia thugs', November 8, 1975, which left him with 4 broken ribs, a deflated lung, 36 stitches in his head and blind in one eye. He left New York shortly after, to attempt to start a Fluxus-oriented arts centre in a dilapidated mansion and stud farm in New Marlborough, Massachusetts.
"Fluxus is a latin word Maciunas dug up. I never studied Latin. If it hadn't been for Maciunas nobody might have ever called it anything. We would all have gone our own ways, like the man crossing his street with his umbrella, and a woman walking a dog in another direction. We would have gone our own ways and done our own things: the only reference point for any of this bunch of people who liked each other's works, and each other, more or less, was Maciunas. So fluxus, as far as I'm concerned, is Maciunas." George Brecht
"it was a special mission for George to turn up the lights on any such illusionism and he was ever out to demonstrate that the art world has no clothe. He was perhaps the toughest of all on artists, reserving his strictest judgments for those he saw as self-promoting egoists who played into the hands of "High Art" barons." Larry Miller,
"Dreamer. Child. Utopian, Fascist, Christ, Democrat, Madman. A realist whose realism always needed another kind of reality. (His conceptions of reality never coincided with the accepted reality.) He was beautiful, foolish, dogmatic, charming. Impossible." Milan KnizakAdrian Searle, art critic for the Guardian, put it succinctly in a review of a Fluxus exhibition;
"Maciunas was fascinating, talented, and by all accounts a nightmare. Like André Breton, godfather of the surrealist movement, Maciunas would invite artists, composers and even philosophers to take part in activities. He would charm them, boss them around for years, then perform summary excommunications, banishing those who displeased him..... Maciunas would take against individuals for no good reason - composer Karlheinz Stockhausen was one - and damn by association those who had anything to do with them. All this was wearying."
"Richard Long's walks, Gilbert and George posing as living sculptures, Sarah Lucas's early work and a million other small gestures, actions and ephemeral objects can trace their origins back to fluxus. It was a conduit through which ideas and personalities flowed, and still flow today. Fluxus inevitably failed, and came to be seen as old hat. It was partly a problem of packaging - though Maciunas was a very good graphic designer, for whom no detail was too small to be worried over. Fluxus's aim to eliminate music, theatre, poetry, fiction and all the rest of the fine arts combined was doomed. Only the mass entertainment industry might achieve such a thing." Adrian SearleThe view that his death liberated Fluxus is also widespread;
"I do believe that Fluxus not only survived George, but now that it is finally free to be Fluxus, it is becoming that something/nothing with which George should be happy." Ben Patterson
An oratorio loosely based on Maciunas and titled Machunas premiered in August 2005 in the St. Christopher Summer Festival in Vilnius, Lithuania. Machunas was conceived by artist Lucio Pozzi, with music by Frank J. Oteri. Several of Maciunas' friends and colleagues protested the fact that the libretto was mistaken by many as a biography.
The Maya Stendhal Gallery located in Chelsea has held multiple exhibitions devoted to the legacy and work of George Maciunas. In 2005, the Maya Stendhal Gallery presented "To George With Love: From the Personal Collection of Jonas Mekas," which displayed original drawings, posters, objects, and other Fluxus items as well as various films from the Fluxfilm Anthology, a collection of 41 films made by Fluxus artists. In 2006, the gallery presented "George Maciunas, 1953-1978: Charts Diagrams, Films, Documents, and Atlases." In 2007, the Maya Stendhal Gallery collaborated with the city of Vilnius, Lithuania, to open the Jonas Mekas Visual Arts Center. The center's inaugural exhibition examined the lives and work of prominent figures within the history of the avant-garde, including George Maciunas. In 2008, the gallery held an exhibition devoted to Maciunas’ architectural projects, in particular, a utopian housing structure Maciunas drafted in the late fifties and early sixties, entitled "George Maciunas: Prefabricated Building Systems."
Category:1931 births Category:1978 deaths Category:American artists Category:Fluxus Category:American people of Lithuanian descent Category:Neo-dada Category:Lithuanian artists Category:People from Kaunas
This text is licensed under the Creative Commons CC-BY-SA License. This text was originally published on Wikipedia and was developed by the Wikipedia community.
| Name | Britney Spears |
|---|---|
| Years active | 1992–present |
| Background | solo_singer |
| Birth name | Britney Jean Spears |
| Born | December 02, 1981McComb, Mississippi, |
| Genre | Pop, dance-pop |
| Occupation | Singer, songwriter, dancer, actress, record producer, author, fashion designer, video director |
| Instrument | Vocals, piano |
| Label | Jive |
| Associated acts | The New Mickey Mouse Club |
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In 2001, she released her third studio album Britney and expanded her brand, playing the starring role in the film Crossroads. She assumed creative control of her fourth studio album, In the Zone released in 2003, which yielded chart-topping singles "Me Against the Music", "Toxic" and "Everytime". After the release of two compilation albums, Spears experienced personal struggles and her career went under hiatus. Her fifth studio album, Blackout, was released in 2007 and despite receiving little promotion, it spawned hits "Gimme More" and "Piece of Me". In 2008, her erratic behaviour and hospitalizations caused her to be placed in a conservatorship. The same year, her sixth studio album Circus was released, with the global chart-topping lead single "Womanizer". After embarking on The Circus Starring Britney Spears, she released greatest hits The Singles Collection, which featured U.S. and Canadian number-one single "3".
Spears has sold over 100 million records worldwide, making her one of the best-selling music artists in the history of contemporary music. According to the Recording Industry Association of America (RIAA), she is the eighth top-selling female artist in the United States, with 32 million certified albums. Spears is also recognized as the best-selling female artist of the first decade of the 21st century, as well as the fifth overall. She was ranked the 8th Artist of the 2000–10 decade by Billboard. In June 2010, Spears was ranked sixth on Forbes list of the 100 Most Powerful and Influential celebrities in the world; she is also ranked as the third most powerful musician in the world.
In June 1997, Spears was in talks with manager Lou Pearlman to join female pop group Innosense. Lynne asked family friend and entertainment lawyer Larry Rudolph for his opinion and submitted a tape of Spears singing over a Whitney Houston karaoke song along with some pictures. Rudolph decided he wanted to pitch her to record labels, therefore she needed a professional demo. He sent Spears an unused song from Toni Braxton; she rehearsed for a week and recorded her vocals in a studio with a sound engineer. Spears travelled to New York with the demo and met with executives from four labels, returning to Kentwood the same day. Three of the labels rejected her, arguing audiences wanted pop bands such as The Backstreet Boys and The Spice Girls, and "there wasn't going to be another Madonna, another Debbie Gibson, or another Tiffany." Two weeks later, executives from Jive Records returned calls to Rudolph. Senior vice president of A&R; Jeff Fenster stated about Spears's audition that "It's very rare to hear someone that age who can deliver emotional content and commercial appeal. [...] For any artist, the motivation—the 'eye of the tiger'— is extremely important. And Britney had that." After hearing the recorded material, president Clive Calder ordered a full album. Spears had originally envisioned "Sheryl Crow music, but younger more adult contemporary" but felt alright with her label's appointment of producers, since "It made more sense to go pop, because I can dance to it—it's more me." She flew to Cheiron Studios in Stockholm, Sweden, where half of the album was recorded from March to April 1998, with producers Max Martin, Denniz PoP and Rami, among others. Her debut album, ...Baby One More Time, was released on January 1999. It debuted at number one on the U.S. Billboard 200 and was certified two-times platinum by the Recording Industry Association of America after a month. Worldwide, the album topped the charts in fifteen countries and sold over ten million copies in a year. It became the biggest selling album ever by a teenage artist. "...Baby One More Time" later received a Grammy nomination for Best Female Pop Vocal Performance. The title track also topped the singles chart for two weeks in the United Kingdom, and became the fastest-selling single ever by a female artist, shipping over 460,000 copies. It would later become the 25th most successful song of all time in British chart history. Spears is also the youngest female artist to have a million seller in the country. "(You Drive Me) Crazy" was released as the third single from the album. It became a top-ten hit worldwide and propelled ...Baby One More Time to sell 26 million copies. The April 1999 cover of Rolling Stone featured Spears laying on her bed, clad with a bra, shorts and an open top. The American Family Association (AFA) referred to the shoot as "a disturbing mix of childhood innocence and adult sexuality" and called to "God-loving Americans to boycott stores selling Britney's albums." Spears responded to the outcry commenting, "What's the big deal? I have strong morals. [...] I'd do it again. I thought the pictures were fine. And I was tired of being compared to Debbie Gibson and all of this bubblegum pop all the time." Shortly before, Spears had announced publicly she would remain a virgin until marriage. but generated some controversy due to her racy outfits. An extension of the tour, titled Crazy 2k, followed in March 2000. Spears premiered songs from her upcoming second album during the show. The album sold over 20 million copies worldwide. Rob Sheffield of Rolling Stone said that "the great thing about Oops! – under the cheese surface, Britney's demand for satisfaction is complex, fierce and downright scary, making her a true child of rock & roll tradition." The album's lead single, "Oops!... I Did It Again", peaked at the top of the charts in Australia, New Zealand, the United Kingdom and many other European nations. The album as well as the title track received Grammy nominations for Best Pop Vocal Album and Best Female Pop Vocal Performance, respectively. The same year, Spears embarked on the Oops!... I Did It Again World Tour, which grossed $40.5 million; she also released her first book, Britney Spears' Heart-to-Heart, co-written with her mother. On September 7, 2000, Spears performed at the 2000 MTV Video Music Awards. Halfway through the performance, she ripped of her black suit to reveal a sequined flesh-colored bodysuit, followed by heavy dance routine. It is noted by critics as the moment that Spears showed signs of becoming a more provocative performer. Amidst media speculation, Spears confirmed she was dating 'N Sync member Justin Timberlake. The album debuted at number one in the Billboard 200 and reached top five positions in Australia, the United Kingdom and mainland Europe and sold over 12 million copies worldwide. Stephen Thomas Erlewine of Allmusic called Britney "the record where she strives to deepen her persona, making it more adult while still recognizably Britney. [...] It does sound like the work of a star who has now found and refined her voice, resulting in her best record yet." The album was honored with two Grammy nominations—Best Pop Vocal Album and Best Female Pop Vocal Performance for "Overprotected"— and was listed in 2008 as one of Entertainment Weekly's "100 Best Albums from the Past 25 Years". The album's first single, "I'm a Slave 4 U", became a top-ten hit worldwide. Spears's performance of the single at the 2001 MTV Video Music Awards featured a caged tiger and a large albino python draped over her shoulders. It was harshly received by animal rights organization PETA, who claimed the animals were mistreated and scrapped plans for an anti-fur billboard that was to feature Spears. The tour grossed $43.7 million, becoming the second highest grossing tour of 2002 by a female artist, behind Cher's . Her career success was highlighted by Forbes in 2002, as Spears was ranked the world's most powerful celebrity. Spears also landed her first starring role in Crossroads, released in February 2002. Although the film was largely panned, most critics actually praised Spears's acting. Crossroads, which had a $11 million budget, went on to gross over $57 million worldwide. In July 2002, Spears announced she would take a six month break from her career; however, she went back into the studio in October to record her new album. Spears's relationship with Justin Timberlake ended after three years. In December 2002, Timberlake released the song "Cry Me a River" as the second single from his solo debut album. The music video featured a Spears look-alike and fueled the rumors that she had been unfaithful to him. As a response, Spears wrote the ballad "Everytime" with her backing vocalist and friend Annet Artani. The same year, Limp Bizkit frontman Fred Durst confirmed that he was in a relationship with Spears, only to deny it later. In a 2009 interview, he explained that "I just guess at the time it was taboo for a guy like me to be associated with a gal like her." Spears opened the 2003 MTV Video Music Awards with Christina Aguilera, performing "Like a Virgin". Halfway through they were joined by Madonna, with whom they both kissed. The incident was highly publicized. NPR listed the album as one of "The 50 Most Important Recording of the Decade", adding that "the decade's history of impeccably crafted pop is written on her body of work." In the Zone sold over 609,000 copies in the United States and debuted at the top of the charts, making Spears the first female artist in the SoundScan era to have her first four studio albums to debut at number one. In the Zone sold over 10 million copies worldwide. The album produced the hit singles: "Me Against the Music", a collaboration with Madonna; "Toxic"—which won a Grammy for Best Dance Recording; "Everytime" and "Outrageous". She began The Onyx Hotel Tour in support of In the Zone in March 2004. On June 8, 2004, Spears fell and injured her left knee during the music video shoot for "Outrageous". She was taken immediately to a local hospital, where doctors performed an MRI scan and found floating cartilage. The following day, Spears underwent arthroscopic surgery. She was forced to remain six weeks with a thigh brace, followed by eight to twelve weeks of rehabilitation, which caused The Onyx Hotel Tour to be canceled. During 2004, Spears became involved in the Kabbalah Centre through her friendship with Madonna. In July 2004, she announced her engagement to American dancer Kevin Federline, who she had met three months before. The romance received intense attention from the media, since Federline had recently broken up with actress Shar Jackson, who was still pregnant with their second child at the time. Shortly after, she released her first fragrance with Elizabeth Arden, Curious, which broke the company's first-week gross for a perfume. , her first greatest hits compilation album, was released in November 2004. Spears's cover version of Bobby Brown's "My Prerogative" was released as the lead single from the album, reaching the top of the charts in Finland, Ireland, Italy and Norway. The second single, "Do Somethin'", was a top ten hit in Australia, the United Kingdom and other countries of mainland Europe. Worldwide, Greatest Hits: My Prerogative sold over 5 million copies. In late 2004, Spears went on KIIS-FM radio in Los Angeles, CA to play a new demo titled "Mona Lisa." The demo was to be the first single from an upcoming album called the "Original Doll." However, Spears' label later cancelled the album for unknown reasons. Spears gave birth to her first child, Sean Preston Federline, on September 14, 2005.
In November 2005, she released her first remix compilation, , which consists of eleven remixes. In February 2006, pictures surfaced of Spears driving with her son Sean, on her lap instead of in a car seat. Child advocates were horrified by the photos of her holding the wheel with one hand and Sean with the other. Spears claimed that the situation happened because of a frightening encounter with paparazzi, and that it was a mistake on her part. She publicly announced she no longer studied Kabbalah in June 2006, explaining, "my baby is my religion." On November 7, 2006, Spears filed for divorce from Federline, citing irreconcilable differences. Their divorce was finalized in July 2007, when the couple reached a global settlement and agreed to share joint custody of their children. Spears's aunt Sandra Bridges Covington, with whom she had been very close, died of ovarian cancer in January. On February 16, 2007, Spears stayed in a drug rehabilitation facility in Antigua for less than a day. The following night, she shaved her head with electric clippers at a hair salon in Tarzana, California. She admitted herself to other treatment facilities during the following weeks. After completing a month-long program at Promises, she wrote on her website, "I truly hit rock bottom. Till this day I don't think that it was alcohol or depression. [...] was like a bad kid running around with ADD." Spears lost physical custody of her children to Federline on October 1, 2007. The reasons of the court ruling were not revealed to the public.
Her fifth studio album, Blackout, was released in October 2007. It debuted at the top of charts in Canada and Ireland, number two in the U.S. Billboard 200,—held off from the top spot by Eagles's Long Road out of Eden— France, Japan, Mexico and the United Kingdom and the top ten in Australia, Korea, New Zealand and many European nations. In the United States, Spears became the only female artist to have her first five studio albums debut at the two top slots of the chart. Blackout sold over 3.1 million copies worldwide. Peter Robinson of The Observer said that "Britney has delivered the best album of her career, raising the bar for modern pop music with an incendiary mix of Timbaland's Shock Value and her own back catalogue." Dennis Lim of Blender commented, "Spears’s fifth studio album is her most consistent, a seamlessly entertaining collection of bright, brash electropop." Blackout won Album of the Year at MTV Europe Music Awards 2008 and was listed as the fifth Best Pop Album of the Decade by The Times. Spears performed the lead single "Gimme More" at the 2007 MTV Video Music Awards. The performance was panned by many critics. David Willis of BBC stated her performance would "go down in the history books as being one of the worst to grace the MTV Awards". Despite the backlash, the single rocketed to worldwide success, peaking at number one in Canada and the top ten in almost every country it charted. The second single "Piece of Me" reached the top of the charts in Ireland and reached the top five in Australia, Canada, Denmark, New Zealand and the United Kingdom. The third single "Break the Ice" was released the following year and had moderate success due to Spears not being able to promote it properly. In December 2007, Spears began a relationship with paparazzi Adnan Ghalib.
A 60-minute introspective documentary, , was produced to chronicle Spears' return to the recording industry. Directed by Phil Griffin, For the Record was entirely shot in Beverly Hills, Hollywood, and New York City during the third quarter of 2008. Main shooting began on September 5, 2008, two days before Spears' appearance at the MTV Video Music Awards. For the Record was broadcast on MTV on November 30, 2008 to 3.7 million viewers.
Her sixth studio album Circus, was released in December 2008. It received positive reviews from critics; according to the music review aggregation of Metacritic, it garnered an average score of 64/100. Circus debuted at number one in Canada, Czech Republic and the United States, and inside the top in many European nations. In the United States, Spears became the youngest female artist to have five albums debut at number one, earning a place in the Guinness Book of World Records. She also became the only act in the Soundscan era to have four albums debut with 500,000 or more copies sold. and has sold 4 million copies worldwide. Its lead single, "Womanizer", became her first number one in the Billboard Hot 100 since "...Baby One More Time" and topped the charts in countries such as Belgium, Canada, Denmark, Finland, France, Norway and Sweden. It was also nominated for a Grammy in the category of Best Dance Recording. In January 2009, Spears and her father James obtained a restraining order against her former manager Sam Lufti, ex-boyfriend Adnan Ghalib and attorney Jon Eardley—all of whom, court documents claim, had been conspiring to gain control of Spears's affairs. The restraining order forbids Lutfi and Ghalib from contacting Spears or coming within 250 yards of her, her property or family members. Spears embarked on The Circus Starring Britney Spears in March 2009. With a gross of U.S. $131.8 million, it became the fifth highest grossing tour of the year.
She released her second greatest hits album, The Singles Collection in November 2009. "3" became her third number one single in the US, and was the first song to debut at the top of the charts in three years. Later that month, she released an application for iPhone and iPod Touch titled "It's Britney!". In May 2010, Spears's representatives confirmed she was dating her agent Jason Trawick, and that they had decided to end their professional relationship to focus on their personal relationship. Spears designed a limited edition clothing line for Candie's. It was released on stores in July 2010. On September 28, 2010, she made a cameo appearance on a Spears-themed tribute episode of American TV show Glee, titled "Britney/Brittany". Spears approved of the episode, although her appearances received mixed reviews from critics. The episode drew Glee's second largest audience, as well as the show's highest ratings ever.
Oops!...I Did It Again and subsequent albums saw Spears working with several contemporary R&B; producers, leading to "a combination of bubblegum, urban soul, and raga." Her third studio album, Britney derived from the teen pop niche, "[r]hythmically and melodically ... sharper, tougher than what came before. What used to be unabashedly frothy has some disco grit, underpinned by Spears' spunky self-determination that helps sell hooks that are already catchier, by and large, than those that populated her previous two albums." Guy Blackman of The Age wrote that while few would care to listen to an entire Spears album, "[t]he thing about Spears, though, is that her biggest songs, no matter how committee-created or impossibly polished, have always been convincing because of her delivery, her commitment and her presence. For her mostly teenage fans, Spears expresses perfectly the conflicting urges of adolescence, the tension between chastity and sexual experience, between hedonism and responsibility, between confidence and vulnerability."
Spears possesses the vocal range of a contralto. Her vocal ability has also been criticized, often drawing unfavorable comparison to her pop rival, Christina Aguilera Critic Allan Raible derides her overdependence in Circus on digital effects and the robotic effect it creates. "She’s never been a strong vocalist..." writes Raible, "Could she handle these songs with stripped down arrangements and no vocal effects? More importantly, would anyone want to hear her attempt such a performance? Does it matter? No. The focus is still image over substance." Her image and persona are also often contrasted to Christina Aguilera. David Browne of Entertainment Weekly observed "Christina Aguilera may flash skin and belly button, but in her music and manner, she's too eager not to offend — she's a good girl pretending to be bad. Spears, however, comes across as a bad girl acting good ... Spears' artificial-sweetener voice is much less interesting than the settings, yet that blandness is actually a relief compared with Aguilera's numbing vocal gymnastics. In contrast, Allmusic comments: "Like her peer Christina Aguilera, Britney equates maturity with transparent sexuality and the pounding sounds of nightclubs ... Where Christina comes across like a natural-born skank, Britney is the girl next door cutting loose at college, drinking and smoking and dancing and sexing just a little too recklessly, since this is the first time she can indulge herself. Sal Cinquemani of Slant Magazine notes, "The disparity between Aguilera and Spears can't be measured solely by the timbre and octave range of their voices ... [Aguilera's] popularity has never reached the fever pitch of Britney's.
Like other dance-oriented pop stars, it has been widely reported that Spears lip-syncs in concert. Author Gary Giddins wrote in his book Natural selection: Gary Giddins on comedy, film, music, and books (2006) that "among many other performers accused of moving their lips while a machine does the labor are Britney Spears, Luciano Pavarotti, Shania Twain, Beyoncé, and Madonna." Rashod D. Ollison of The Baltimore Sun observes: "Many pop stars ... feel they have no choice but to seek vocal enhancement. Since the advent of MTV and other video music channels, pop audiences have been fed elaborate videos thick with jaw-dropping effects, awesome choreography, fabulous clothes, marvelous bodies. And the same level of perfection is expected to extend beyond the video set to the concert stage. So if Britney Spears, Janet Jackson or Madonna sounds shrill and flat without a backing track, fans won't pay up to $300 for a concert ticket." Giddins adds, "it was reported Britney Spears fans prefer her to lip-sync—despite her denials of doing so (contradicted by her own director)—because they expect flawless digitalization when they pay serious money for a concert." Noting on the prevalence of lip-syncing, Los Angeles Daily News reported "in the context of a Britney Spears concert, does it really matter? Like a Vegas revue show, you don't go to hear the music, you go for the somewhat-ridiculous spectacle of it all". Similarly, Aline Mendelsohn of the Orlando Sentinel remarked: "Let's get one thing straight: A Britney Spears concert is not about the music ... you have to remember that it's about the sight, not the sound." Critic Glenn Gamboa comments her concert tours are "like her life—a massive money-making venture designed to play up her talents and distract from her shortcomings with a mix of techno-tinged sex appeal and disco-flavored flash. And, like her life, it is, more or less, a success.
Many critics have argued that Spears should not be considered in the same league of talent as Jackson or Madonna. Journalists Erika Montalvo and Jackie Sheppard of the Rocky Mountain Collegian observed "[s]ome may argue that Spears is not only a good recording artist but also an important cultural icon." Joan Anderman of the Boston Globe remarked that "[t]hirteen costume changes in 90 minutes won't bless her with Madonna's intelligence or cultural barometer. An army of cutting-edge R&B; producers won't supply her with Janet Jackson's sense of humor or sincere smile ... Britney's heroes aren't great singers. But they're real singers. Spears sounds robotic, nearly inhuman, on her records, so processed is her voice by digital pitch-shifters and synthesizers."
Reporter Ed Bumgardner commented her transition from teen pop start to adult sex symbol with her third studio album Britney "takes its cues from two other successful performers—Madonna and Janet Jackson—both of whom she brazenly rips off and both of whom, like Spears, are passable singers, at best." Critic Shane Harrison wrote: "From the minimalist thump and "Nasty" feel of "I'm a Slave 4 U" to the scattered quotes in "Boys", [Britney] feels like [Spears's] attempt at 'Control'." The biographers also report "[s]ome observers of popular culture, however, feel that the comparisons between the two artist are meaningless and fail to recognize Madonna's unique contribution: Madonna was never 'just another pop star' whereas Britney can more easily be seen as a standard manufactured pop act." She is listed by the Guinness World Records as having the "Best-selling album by a teenage solo artist" for her debut album ...Baby One More Time which sold over thirteen million copies in the United States. Melissa Ruggieri of the Richmond Times-Dispatch reported, "She's also marked for being the best-selling teenage artist. Before she turned 20 in 2001, Spears sold more than 37 million albums worldwide".
Barbara Ellen of The Observer has reported: "Spears is famously one of the 'oldest' teenagers pop has ever produced, almost middle aged in terms of focus and determination. Many 19-year-olds haven't even started working by that age, whereas Britney, a former Mouseketeer, was that most unusual and volatile of American phenomena — a child with a full-time career. While other little girls were putting posters on their walls, Britney was wanting to be the poster on the wall. Whereas other children develop at their own pace, Britney was developing at a pace set by the ferociously competitive American entertainment industry". 'Britney Spears' has been Yahoo!'s most popular search term for the last four consecutive years, seven times in total. Spears was named as Most Searched Person in the Guinness World Records book edition 2007 and 2009. Spears has also become a major influence among many new artists, including Kristinia DeBarge, Lady Gaga, Little Boots, Selena Gomez & The Scene, Pixie Lott and Miley Cyrus who has cited Spears as one of her biggest inspirations and has also referenced Spears in her hit song "Party in the U.S.A.".
Bebo Norman wrote a song about Spears, called "Britney", which was released as a single. Boy band Busted also wrote a song about Spears called "Britney", which was on their debut album. She is also mentioned in P!nk's song "Don't Let Me Get Me". Richard Cheese called Britney Spears "a remarkable recording artist" and also went on to say that she was "versatile" and what the industry calls an "artist". People magazine and MTV reported that October 1, 2008, the Bronx's John Philip Sousa Middle School, named their music studio in honor of Britney Spears. Spears herself was present during the ceremony and donated $10,000 to the school's music program.
Category:1981 births Category:1990s singers Category:2000s singers Category:2010s singers Category:Actors from Louisiana Category:American child singers Category:American dance musicians Category:American dancers Category:American female singers Category:American film actors Category:American music video directors Category:American pop singers Category:American singer-songwriters Category:American stage actors Category:American television actors Category:Baptists from the United States Category:English-language singers Category:Grammy Award winners Category:Innosense members Category:Jive Records artists Category:Living people Category:Mouseketeers Category:Musicians from Louisiana Category:Parklane Academy alumni Category:Participants in American reality television series Category:People from Kentwood, Louisiana Category:Sony BMG artists Category:World Music Awards winners Category:American people of Maltese descent
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| Name | Andy Warhol |
|---|---|
| Caption | Warhol in 1963 |
| Birthname | Andrew Warhola |
| Birthdate | August 06, 1928 |
| Birth place | Pittsburgh, Pennsylvania, U.S. |
| Deathdate | February 22, 1987 |
| Deathplace | New York City, U.S. |
| Nationality | American |
| Field | Painting, Cinema |
| Training | Carnegie Mellon University |
| Movement | Pop art |
| Works | Chelsea Girls (1966 film)Exploding Plastic Inevitable (1966 event)Campbell's Soup Cans (1962 painting) |
Warhol has been the subject of numerous retrospective exhibitions, books, and feature and documentary films. He coined the widely used expression "15 minutes of fame." In his hometown of Pittsburgh, Pennsylvania, The Andy Warhol Museum exists in memory of his life and artwork.
The highest price ever paid for a Warhol painting is $100 million for a 1963 canvas titled Eight Elvises. The private transaction was reported in a 2009 article in The Economist, which described Warhol as the "bellwether of the art market." $100 million is a benchmark price that only Jackson Pollock, Pablo Picasso, Vincent van Gogh, Pierre-August Renoir, Gustav Klimt and Willem de Kooning have achieved.
In third grade, Warhol had chorea, the nervous system disease that causes involuntary movements of the extremities, which is believed to be a complication of scarlet fever and causes skin pigmentation blotchiness. He became a hypochondriac, developing a fear of hospitals and doctors. Often bed-ridden as a child, he became an outcast at school and bonded with his mother. At times when he was confined to bed, he drew, listened to the radio and collected pictures of movie stars around his bed. Warhol later described this period as very important in the development of his personality, skill-set and preferences. When Warhol was 13, his father died in an accident.
Among the imagery tackled by Warhol were dollar bills, celebrities and brand name products. He also used as imagery for his paintings newspaper headlines or photographs of mushroom clouds, electric chairs, and police dogs attacking civil rights protesters. Warhol also used Coca Cola bottles as subject matter for paintings. He had this to say about Coca Cola:
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New York's Museum of Modern Art hosted a Symposium on pop art in December 1962 during which artists like Warhol were attacked for "capitulating" to consumerism. Critics were scandalized by Warhol's open embrace of market culture. This symposium set the tone for Warhol's reception. Throughout the decade it became more and more clear that there had been a profound change in the culture of the art world, and that Warhol was at the center of that shift.
A pivotal event was the 1964 exhibit The American Supermarket, a show held in Paul Bianchini's Upper East Side gallery. The show was presented as a typical U.S. small supermarket environment, except that everything in it – from the produce, canned goods, meat, posters on the wall, etc. – was created by six prominent pop artists of the time, among them the controversial (and like-minded) Billy Apple, Mary Inman, and Robert Watts. Warhol's painting of a can of Campbell's soup cost $1,500 while each autographed can sold for $6. The exhibit was one of the first mass events that directly confronted the general public with both pop art and the perennial question of what art is (or of what is art and what is not).
As an advertisement illustrator in the 1950s, Warhol used assistants to increase his productivity. Collaboration would remain a defining (and controversial) aspect of his working methods throughout his career; in the 1960s, however, this was particularly true. One of the most important collaborators during this period was Gerard Malanga. Malanga assisted the artist with producing silkscreens, films, sculpture, and other works at "The Factory," Warhol's aluminum foil-and-silver-paint-lined studio on 47th Street (later moved to Broadway). Other members of Warhol's Factory crowd included Freddie Herko, Ondine, Ronald Tavel, Mary Woronov, Billy Name, and Brigid Berlin (from whom he apparently got the idea to tape-record his phone conversations).
During the '60s, Warhol also groomed a retinue of bohemian eccentrics upon whom he bestowed the designation "Superstars", including Nico, Joe Dallesandro, Edie Sedgwick, Viva, Ultra Violet, Holly Woodlawn, Jackie Curtis and Candy Darling. These people all participated in the Factory films, and some – like Berlin – remained friends with Warhol until his death. Important figures in the New York underground art/cinema world, such as writer John Giorno and film-maker Jack Smith, also appear in Warhol films of the 1960s, revealing Warhol's connections to a diverse range of artistic scenes during this time.
Amaya received only minor injuries and was released from the hospital later the same day. Warhol however, was seriously wounded by the attack and barely survived (surgeons opened his chest and massaged his heart to help stimulate its movement again). He suffered physical effects for the rest of his life. The shooting had a profound effect on Warhol's life and art.
Solanas was arrested the day after the assault. By way of explanation, she said that Warhol "had too much control over my life." She was eventually sentenced to three years under the control of the Department of Corrections. After the shooting, the Factory scene became much more tightly controlled, and for many the "Factory 60s" ended.
Compared to the success and scandal of Warhol's work in the 1960s, the 1970s were a much quieter decade, as Warhol became more entrepreneurial. According to Bob Colacello, Warhol devoted much of his time to rounding up new, rich patrons for portrait commissions– including Shah of Iran Mohammad Reza Pahlavi, his wife Empress Farah Pahlavi, his sister Princess Ashraf Pahlavi, Mick Jagger, Liza Minnelli, John Lennon, Diana Ross, and Brigitte Bardot. Warhol's famous portrait of Chinese Communist leader Mao Zedong was created in 1973. He also founded, with Gerard Malanga, Interview magazine, and published The Philosophy of Andy Warhol (1975). An idea expressed in the book: "Making money is art, and working is art and good business is the best art."
Warhol used to socialize at various nightspots in New York City, including Max's Kansas City; and, later in the '70s, Studio 54. He was generally regarded as quiet, shy, and a meticulous observer. Art critic Robert Hughes called him "the white mole of Union Square."
During this time Warhol created the Michael Jackson painting signifying his success attributed to his best-selling album Thriller.
By this period, Warhol was being criticized for becoming merely a "business artist". In 1979, reviewers disliked his exhibits of portraits of 1970s personalities and celebrities, calling them superficial, facile and commercial, with no depth or indication of the significance of the subjects. They also criticized his 1980 exhibit of 10 portraits at the Jewish Museum in New York, entitled Jewish Geniuses, which Warhol – who was uninterested in Judaism and Jews – had described in his diary as "They're going to sell."
Warhol's body was taken back to Pittsburgh by his brothers for burial. The wake was at Thomas P. Kunsak Funeral Home and was an open-coffin ceremony. The coffin was a solid bronze casket with gold plated rails and white upholstery. Warhol was dressed in a black cashmere suit, a paisley tie, a platinum wig, and sunglasses. He was posed holding a small prayer book and a red rose. The funeral liturgy was held at the Holy Ghost Byzantine Catholic Church on Pittsburgh's North Side. The eulogy was given by Monsignor Peter Tay. Yoko Ono also made an appearance. The coffin was covered with white roses and asparagus ferns. After the liturgy, the coffin was driven to St. John the Baptist Byzantine Catholic Cemetery in Bethel Park, a south suburb of Pittsburgh. , Slovakia.|left]] At the grave, the priest said a brief prayer and sprinkled holy water on the casket. Before the coffin was lowered, Paige Powell dropped a copy of Interview magazine, an Interview t-shirt, and a bottle of the Estee Lauder perfume "Beautiful" into the grave. Warhol was buried next to his mother and father. A memorial service was held in Manhattan for Warhol on April 1, 1987, at St. Patrick's Cathedral, New York.
Warhol's will dictated that his entire estate – with the exception of a few modest legacies to family members – would go to create a foundation dedicated to the "advancement of the visual arts". Warhol had so many possessions that it took Sotheby's nine days to auction his estate after his death; the auction grossed more than US$20 million.
In 1987, in accordance with Warhol's will, the Andy Warhol Foundation for the Visual Arts began. The Foundation serves as the official Estate of Andy Warhol, but also has a mission "to foster innovative artistic expression and the creative process" and is "focused primarily on supporting work of a challenging and often experimental nature."
The Artists Rights Society is the U.S. copyright representative for the Andy Warhol Foundation for the Visual Arts for all Warhol works with the exception of Warhol film stills. The U.S. copyright representative for Warhol film stills is the Warhol Museum in Pittsburgh. Additionally, the Andy Warhol Foundation for the Visual Arts has agreements in place for its image archive. All digital images of Warhol are exclusively managed by Corbis, while all transparency images of Warhol are managed by Art Resource.
The Andy Warhol Foundation released its 20th Anniversary Annual Report as a three-volume set in 2007: Vol. I, 1987–2007; Vol. II, Grants & Exhibitions; and Vol. III, Legacy Program. The Foundation remains one of the largest grant-giving organizations for the visual arts in the U.S.
By the beginning of the 1960s, Warhol had become a very successful commercial illustrator. His detailed and elegant drawings for I. Miller shoes were particularly popular. They consisted mainly of "blotted ink" drawings (or monoprints), a technique which he applied in much of his early art. Although many artists of this period worked in commercial art, most did so discreetly. Warhol was so successful, however, that his profile as an illustrator seemed to undermine his efforts to be taken seriously as an artist.
Pop art was an experimental form that several artists were independently adopting; some of these pioneers, such as Roy Lichtenstein, would later become synonymous with the movement. Warhol, who would become famous as the "Pope of Pop", turned to this new style, where popular subjects could be part of the artist's palette. His early paintings show images taken from cartoons and advertisements, hand-painted with paint drips. Those drips emulated the style of successful abstract expressionists (such as Willem de Kooning). Warhol's first pop art paintings were displayed in April 1961, serving as the backdrop for New York Department Store Bronwit Teller's window display. This was the same stage his Pop Art contemporaries Jasper Johns, James Rosenquist and Robert Rauschenberg had also once graced. Eventually, Warhol pared his image vocabulary down to the icon itself – to brand names, celebrities, dollar signs – and removed all traces of the artist's "hand" in the production of his paintings.
To him, part of defining a niche was defining his subject matter. Cartoons were already being used by Lichtenstein, typography by Jasper Johns, and so on; Warhol wanted a distinguishing subject. His friends suggested he should paint the things he loved the most. It was the gallerist Muriel Latow who came up with the ideas for both the soup cans and Warhol's dollar paintings. On 23 November 1961 Warhol wrote Latow a check for $50 which, according to the 2009 Warhol biography, Pop, The Genius of Warhol, was payment for coming up with the idea of the soup cans as subject matter. For his first major exhibition Warhol painted his famous cans of Campbell's Soup, which he claimed to have had for lunch for most of his life. The work sold for $10,000 at an auction on November 17, 1971, at Sotheby's New York – a minimal amount for the artist whose paintings sell for over $6 million more recently.
He loved celebrities, so he painted them as well. From these beginnings he developed his later style and subjects. Instead of working on a signature subject matter, as he started out to do, he worked more and more on a signature style, slowly eliminating the hand-made from the artistic process. Warhol frequently used silk-screening; his later drawings were traced from slide projections. At the height of his fame as a painter, Warhol had several assistants who produced his silk-screen multiples, following his directions to make different versions and variations.
In 1979, Warhol was commissioned by BMW to paint a Group 4 race version of the then elite supercar BMW M1 for the fourth installment in the BMW Art Car Project. Unlike the three artists before him, Warhol declined the use of a small scale practice model, instead opting to immediately paint directly onto the full scale automobile. It was indicated that Warhol spent only a total of 23 minutes to paint the entire car.
Warhol produced both comic and serious works; his subject could be a soup can or an electric chair. Warhol used the same techniques– silkscreens, reproduced serially, and often painted with bright colors – whether he painted celebrities, everyday objects, or images of suicide, car crashes, and disasters, as in the 1962–63 Death and Disaster series. The Death and Disaster paintings included Red Car Crash, Purple Jumping Man, and Orange Disaster.
The unifying element in Warhol's work is his deadpan Keatonesque style – artistically and personally affectless. This was mirrored by Warhol's own demeanor, as he often played "dumb" to the media, and refused to explain his work. The artist was famous for having said that all you need to know about him and his works is already there, "Just look at the surface of my paintings and films and me, and there I am. There's nothing behind it." His Rorschach inkblots are intended as pop comments on art and what art could be. His cow wallpaper (literally, wallpaper with a cow motif) and his oxidation paintings (canvases prepared with copper paint that was then oxidized with urine) are also noteworthy in this context. Equally noteworthy is the way these works – and their means of production – mirrored the atmosphere at Andy's New York "Factory". Biographer Bob Colacello provides some details on Andy's "piss paintings":
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Warhol's first portrait of Basquiat (1982) is a black photosilkscreen over an oxidized copper "piss painting".
After many years of silkscreen, oxidation, photography, etc., Warhol returned to painting with a brush in hand in a series of over 50 large collaborative works done with Jean-Michel Basquiat between 1984 and 1986. Despite negative criticism when these were first shown, Warhol called some of them "masterpieces," and they were influential for his later work.
The influence of the large collaborations with Basquiat can be seen in Warhol's The Last Supper cycle, his last and possibly his largest series, seen by some as "arguably his greatest," but by others as “wishy-washy, religiose” and “spiritless." It is also the largest series of religious-themed works by any U.S. artist.
Batman Dracula is a 1964 film that was produced and directed by Warhol, without the permission of DC Comics. It was screened only at his art exhibits. A fan of the Batman series, Warhol's movie was an "homage" to the series, and is considered the first appearance of a blatantly campy Batman. The film was until recently thought to have been lost, until scenes from the picture were shown at some length in the 2006 documentary Jack Smith and the Destruction of Atlantis.
Warhol's 1965 film Vinyl is an adaptation of Anthony Burgess' popular dystopian novel A Clockwork Orange. Others record improvised encounters between Factory regulars such as Brigid Berlin, Viva, Edie Sedgwick, Candy Darling, Holly Woodlawn, Ondine, Nico, and Jackie Curtis. Legendary underground artist Jack Smith appears in the film Camp.
His most popular and critically successful film was Chelsea Girls (1966). The film was highly innovative in that it consisted of two 16 mm-films being projected simultaneously, with two different stories being shown in tandem. From the projection booth, the sound would be raised for one film to elucidate that "story" while it was lowered for the other. The multiplication of images evoked Warhol's seminal silk-screen works of the early 1960s.
Other important films include Bike Boy, My Hustler, and Lonesome Cowboys, a raunchy pseudo-western. These and other titles document gay underground and camp culture, and continue to feature prominently in scholarship about sexuality and art. Blue Movie – a film in which Warhol superstar Viva makes love and fools around in bed with a man for 33 minutes of the film's playing-time – was Warhol's last film as director. The film was at the time scandalous for its frank approach to a sexual encounter. For many years Viva refused to allow it to be screened. It was publicly screened in New York in 2005 for the first time in over thirty years.
After his June 3, 1968, shooting, a reclusive Warhol relinquished his personal involvement in filmmaking. His acolyte and assistant director, Paul Morrissey, took over the film-making chores for the Factory collective, steering Warhol-branded cinema towards more mainstream, narrative-based, B-movie exploitation fare with Flesh, Trash, and Heat. All of these films, including the later Andy Warhol's Dracula and Andy Warhol's Frankenstein, were far more mainstream than anything Warhol as a director had attempted. These latter "Warhol" films starred Joe Dallesandro – more of a Morrissey star than a true Warhol superstar.
In the early '70s, most of the films directed by Warhol were pulled out of circulation by Warhol and the people around him who ran his business. After Warhol's death, the films were slowly restored by the Whitney Museum and are occasionally projected at museums and film festivals. Few of the Warhol-directed films are available on video or DVD.
Warhol designed many album covers for various artists starting with the photographic cover of John Wallowitch's debut album, This Is John Wallowitch!!! (1964). He designed the cover art for the Rolling Stones albums Sticky Fingers (1971) and Love You Live (1977), and the John Cale albums The Academy In Peril (1972) and Honi Soit in 1981. In 1975, Warhol was commissioned to do several portraits of Mick Jagger, and in 1982 he designed the album cover for the Diana Ross album Silk Electric. One of his last works was a portrait of Aretha Franklin for the cover of her 1986 gold album Aretha, which was done in the style of the Reigning Queens series he had completed the year before.
Warhol strongly influenced the New Wave/punk rock band Devo, as well as David Bowie. Bowie recorded a song called "Andy Warhol" for his 1971 album Hunky Dory. Lou Reed wrote the song "Andy's Chest", about Valerie Solanas, the woman who shot Warhol, in 1968. He recorded it with the Velvet Underground, and this version was released on the VU album in 1985.
The first of several bound self-published books by Warhol was 25 Cats Name Sam and One Blue Pussy, printed in 1954 by Seymour Berlin on Arches brand watermarked paper using his blotted line technique for the lithographs. The original edition was limited to 190 numbered, hand colored copies, using Dr. Martin's ink washes. Most of these were given by Warhol as gifts to clients and friends. Copy #4, inscribed "Jerry" on the front cover and given to Geraldine Stutz, was used for a facsimile printing in 1987 and the original was auctioned in May 2006 for US $35,000 by Doyle New York.
Other self-published books by Warhol include:
After gaining fame, Warhol "wrote" several books that were commercially published: a, A Novel (1968, ISBN 0-8021-3553-6) is a literal transcription– containing spelling errors and phonetically written background noise and mumbling– of audio recordings of Ondine and several of Andy Warhol's friends hanging out at the Factory, talking, going out. The Philosophy of Andy Warhol (From A to B & Back Again) (1975, ISBN 0-15-671720-4)– according to Pat Hackett's introduction to The Andy Warhol Diaries, Pat Hackett did the transcriptions and text for the book based on daily phone conversations, sometimes (when Warhol was traveling) using audio cassettes that Andy Warhol gave her. Said cassettes contained conversations with Brigid Berlin (also known as Brigid Polk) and former Interview magazine editor Bob Colacello.
Warhol created the fashion magazine Interview that is still published today. The loopy title script on the cover is thought to be either his own handwriting or that of his mother, Julia Warhola, who would often do text work for his early commercial pieces.
He founded the gossip magazine Interview, a stage for celebrities he "endorsed" and a business staffed by his friends. He collaborated with others on all of his books (some of which were written with Pat Hackett.) He adopted the young painter Jean-Michel Basquiat, and the band The Velvet Underground, presenting them to the public as his latest interest, and collaborating with them. One might even say that he produced people (as in the Warholian "Superstar" and the Warholian portrait). He endorsed products, appeared in commercials, and made frequent celebrity guest appearances on television shows and in films (he appeared in everything from Love Boat to Saturday Night Live and the Richard Pryor movie, Dynamite Chicken).
In this respect Warhol was a fan of "Art Business" and "Business Art"– he, in fact, wrote about his interest in thinking about art as business in The Philosophy of Andy Warhol from A to B and Back Again.
on the set of 1979's Cocaine Cowboys, in which Warhol appeared as himself]]
In 1979, Warhol appeared as himself in the film Cocaine Cowboys.
After his passing, Warhol was portrayed by Crispin Glover in Oliver Stone's film The Doors (1991), by David Bowie in Basquiat, a film by Julian Schnabel, and by Jared Harris in the film I Shot Andy Warhol directed by Mary Harron (1996). Warhol appears as a character in Michael Daugherty's 1997 opera Jackie O. Actor Mark Bringleson makes a brief cameo as Warhol in (1997). Many films by avant-garde cineast Jonas Mekas have caught the moments of Andy's life. Sean Gregory Sullivan depicted Warhol in the 1998 film 54. Guy Pearce portrayed Warhol in the 2007 film, Factory Girl, about Edie Sedgwick's life. Actor Greg Travis portrays Warhol in a brief scene from the 2009 film Watchmen.
Gus Van Sant was planning a version of Warhol's life with River Phoenix in the lead role just before Phoenix's death in 1993.
;Documentaries The 2001 documentary, Absolut Warhola was produced by Polish director Stanislaw Mucha, featuring Warhol's parents' family and hometown in Slovakia. is a reverential four-hour 2006 movie by Ric Burns. Andy Warhol: Double Denied is a 52 minute movie by lan Yentob about the difficulties in authenticating Warhol's work.
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| Name | Allen Ginsberg |
|---|---|
| Caption | Allen Ginsberg at the Miami Book Fair International of 1985 |
| Birthname | Irwin Allen Ginsberg |
| Birthdate | June 03, 1926 |
| Birthplace | Newark, New Jersey, United States of America |
| Deathdate | April 05, 1997 |
| Deathplace | New York City, New York, United States of America |
| Occupation | Writer, poet |
| Movement | Beat, New American Poets, Hippies, Postmodernism |
| Influences | Neal Cassady, Jack Kerouac, Wavy Gravy, Gregory Corso, William S. Burroughs, William Blake, Walt Whitman, William Carlos Williams, Percy Shelley, John Keats, Ezra Pound, Christopher Smart, Arthur Rimbaud, Antonin Artaud, James Joyce, Jean Genet, Franz Kafka, Herman Melville, Fyodor Dostoevsky, Hart Crane, William Shakespeare, Louis-Ferdinand Céline, Lynd Ward, Fritz Lang |
| Influenced | Bob Dylan, Wavy Gravy, LeRoi Jones, Robert Lowell, John Lennon, Paul McCartney, Andrei Codrescu, Saul Williams, Hunter S. Thompson, Rage Against the Machine, Beau Sia, Jim Morrison, Patti Smith, John S. Hall |
Irwin Allen Ginsberg (; June 3, 1926 – April 5, 1997) was an American poet who vigorously opposed militarism, materialism and sexual repression. In the 1950s, Ginsberg was a leading figure of the Beat Generation, an anarchic group of young men and women who joined poetry, song, sex, wine and illicit drugs with passionate political ideas that championed personal freedoms. Ginsberg's epic poem "Howl", in which he celebrates his fellow "angel-headed hipsters" and excoriates what he saw as the destructive forces of capitalism and conformity in the United States, is one of the classic poems of the Beat Generation The poem, dedicated to writer Carl Solomon, has the opening:
I saw the best minds of my generation destroyed by madness, starving hysterical naked, dragging themselves through the negro streets at dawn looking for an angry fix...
In October 1955, Ginsberg and five other unknown poets gave a free reading at an experimental art gallery in San Francisco. Ginsberg's "Howl" electrified the audience. According to fellow poet Michael McClure, it was clear "that a barrier had been broken, that a human voice and body had been hurled against the harsh wall of America and its supporting armies and navies and academies and institutions and ownership systems and power support bases." In 1957, "Howl" attracted widespread publicity when it became the subject of an obscenity trial in which a San Francisco prosecutor argued it contained "filthy, vulgar, obscene, and disgusting language." The poem seemed especially outrageous in 1950s America because it depicted both heterosexual and homosexual sex at a time when sodomy laws made homosexual acts a crime in every U.S. state. "Howl" reflected Ginsberg's own homosexuality and his relationships with a number of men, including Peter Orlovsky, his lifelong partner. Judge Clayton W. Horn ruled that "Howl" was not obscene, adding, "Would there be any freedom of press or speech if one must reduce his vocabulary to vapid innocuous euphemisms?"
In "Howl" and in his other poetry, Ginsberg drew inspiration from the epic, free verse style of the 19th century American poet Walt Whitman. Both wrote passionately about the promise (and betrayal) of American democracy; the central importance of erotic experience; and the spiritual quest for the truth of everyday existence. J. D. McClatchy, editor of the Yale Review called Ginsberg "the best-known American poet of his generation, as much a social force as a literary phenomenon." McClatchy added that Ginsberg, like Whitman, "was a bard in the old manner – outsized, darkly prophetic, part exuberance, part prayer, part rant. His work is finally a history of our era's psyche, with all its contradictory urges."
Ginsberg was a practicing Buddhist who studied Eastern religious disciplines extensively. One of his most influential teachers was the Tibetan Buddhist, the Venerable Chögyam Trungpa, founder of the Naropa Institute, now Naropa University at Boulder, Colorado. At Trungpa's urging, Ginsberg and poet Anne Waldman started a poetry school there in 1974 which they called the "Jack Kerouac School of Disembodied Poetics". In spite of his attraction to Eastern religions, the journalist Jane Kramer argues that Ginsberg, like Whitman, adhered to an "American brand of mysticism" that was, in her words, "rooted in humanism and in a romantic and visionary ideal of harmony among men." Ginsberg's political activism was consistent with his religious beliefs. He took part in decades of non-violent political protest against everything from the Vietnam War to the War on Drugs. The literary critic, Helen Vendler, described Ginsberg as "tirelessly persistent in protesting censorship, imperial politics, and persecution of the powerless." His achievements as a writer as well as his notoriety as an activist gained him honors from established institutions. Ginsberg's book of poems, The Fall of America, won the National Book Award for poetry in 1974. Other honors included the National Arts Club gold medal and his induction into the American Academy and Institute of Arts and Letters, both in 1979. In 1995, Ginsberg won a Pulitzer Prize for his book, Cosmopolitan Greetings: Poems 1986–1992.
As a young teenager, Ginsberg began to write letters to The New York Times about political issues, such as World War II and workers' rights.
In 1943, Ginsberg graduated from Eastside High School and briefly attended Montclair State College before entering Columbia University on a scholarship from the Young Men's Hebrew Association of Paterson. While at Columbia, Ginsberg contributed to the Columbia Review literary journal, the Jester humor magazine, won the Woodberry Poetry Prize and served as president of the Philolexian Society, the campus literary and debate group. Ginsberg's mother, Naomi Livergant Ginsberg, was affected by a rare psychological illness that was never properly diagnosed. She was also an active member of the Communist Party and took Ginsberg and his brother Eugene to party meetings. Ginsberg later said that his mother "made up bedtime stories that all went something like: 'The good king rode forth from his castle, saw the suffering workers and healed them.'" Naomi's mental illness often manifested as paranoid delusions. She would claim, for example, that the president had implanted listening devices in their home and that Louis' mother was trying to kill her. Her suspicion of those around her caused Naomi to draw closer to young Allen, "her little pet," as Bill Morgan says in his biography of Ginsberg, entitled, I Celebrate Myself: The Somewhat Private Life of Allen Ginsberg. She also tried to kill herself by slitting her wrists and was soon taken to Greystone, a mental hospital; she would spend much of Ginsberg's youth in mental hospitals. His experiences with his mother and her mental illness were a major inspiration for his two major works, "Howl" and his long autobiographical poem "Kaddish for Naomi Ginsberg (1894–1956)".
When he was in junior high school, he accompanied his mother by bus to her therapist. The trip deeply disturbed Ginsberg — he mentioned it and other moments from his childhood in "Kaddish". This is followed soon by the line "with mother finally ******." Ginsberg later admitted the deletion was the expletive "fucked." He also says of Solomon in section three, "I'm with you in Rockland where you imitate the shade of my mother," once again showing the association between Solomon and his mother.
Naomi died in 1956, and she did not have a kaddish at her funeral because there were not ten Jewish men present. Ginsberg tried to have one performed for her, but was unable to since the two companions with him, Jack Kerouac and Peter Orlovsky, were not Jewish. Ginsberg received a letter from his mother, responding to a copy of "Howl" he had sent her, after Naomi had died. It admonished Ginsberg to be good and stay away from drugs; she says, "The key is in the window, the key is in the sunlight at the window -- I have the key -- Get married Allen don't take trugs -- the key is in the bars, in the sunlight in the window". In a letter she wrote to Ginsberg's brother Eugene, she said, "God's informers come to my bed, and God himself I saw in the sky. The sunshine showed too, a key on the side of the window for me to get out. The yellow of the sunshine, also showed the key on the side of the window." These letters and the inability to perform the kaddish ceremony inspired Ginsberg to write "Kaddish" which makes references to many details from Naomi's life, Ginsberg's experiences with her, and the letter, including the lines "the key is in the light" and "the key is in the window".
Ginsberg's principal work, "Howl", is well-known for its opening line: "I saw the best minds of my generation destroyed by madness, starving hysterical naked...." "Howl" was considered scandalous at the time of its publication, because of the rawness of its language. Shortly after its 1956 publication by San Francisco's City Lights Bookstore, it was banned for obscenity. The ban became a cause célèbre among defenders of the First Amendment, and was later lifted, after Judge Clayton W. Horn declared the poem to possess redeeming artistic value. Shortly after his arrival, he gave a reading at Better Books, which was described by Jeff Nuttall as "the first healing wind on a very parched collective mind".
Soon after the bookshop reading, plans were hatched for the International Poetry Incarnation,
Ginsberg was also involved with Krishnaism. He befriended A.C. Bhaktivedanta Swami Prabhupada, the founder of the Hare Krishna movement in the Western world, a relationship that is documented by Satsvarupa Das Goswami in his biographical account Srila Prabhupada Lilamrta. Ginsberg donated money, materials, and his reputation to help the Swami establish the first temple, and toured with him to promote his cause.
at the San Francisco Airport. January 17, 1967]]Despite disagreeing with many of Bhaktivedanta Swami's required prohibitions, Ginsburg often sang the Hare Krishna mantra publicly as part of his philosophy and declared that it brought a state of ecstacy. He was glad that Bhaktivedanta Swami, an authentic swami from India, was now trying to spread the chanting in America. Along with other counterculture ideologists like Timothy Leary, Gary Snyder, and Alan Watts, Ginsberg hoped to incorporate Bhaktivedanta Swami and his chanting into the hippie movement, and agreed to take part in the Mantra-Rock Dance concert and to introduce the swami to the Haight-Ashbury hippie community.
On January 17, 1967 Allen Ginsberg helped plan and organize a reception for Bhaktivedanta Swami at the San Francisco Airport, where fifty to a hundred hippies greeted the Swami chanting Hare Krishna in the airport lounge with flowers in hands. To further support and promote Bhaktivendata Swami's message and chanting in San Francisco, Allen Ginsberg agreed to attend the Mantra-Rock Dance—a musical event held at the Avalon Ballroom by the San Francisco Hare Krishna temple. It featured some leading rock bands of the time: Big Brother and the Holding Company with Janis Joplin, The Grateful Dead, and Moby Grape, who performed there along with the Hare Krishna founder Bhaktivedanta Swami and donated proceeds to the Krishna temple. Ginsberg introduced Bhaktivedanta Swami to some three thousand hippies in the audience and led the chanting of the Hare Krishna mantra.
promotional poster featuring Allen Ginsberg along with leading rock bands.]]Music and chanting were both important parts of Ginsberg's live delivery during poetry readings. He often accompanied himself on a harmonium, and was often accompanied by a guitarist. When Ginsberg asked if he could sing a song in praise of Lord Krishna on William F. Buckley, Jr.'s TV show Firing Line on September 3, 1968, Buckley acceded and the poet chanted slowly as he played dolefully on a harmonium. According to Richard Brookhiser, an associate of Buckley's, the host commented that it was "the most unharried Krishna I've ever heard."
Attendance to his poetry readings was generally standing room only for most of his career, no matter where in the world he appeared. Ginsberg came in touch with the Hungryalist poets of Bengal, especially Malay Roy Choudhury, who introduced Ginsberg to the three fishes with one head of Indian emperor Jalaluddin Mohammad Akbar. The three fishes symbolised coexistence of all thought, philosophy and religion.
With the exception of a special guest appearance at the NYU Poetry Slam on February 20, 1997, Ginsberg gave what is thought to be his last reading at The Booksmith in San Francisco on December 16, 1996. He died April 5, 1997, surrounded by family and friends in his East Village loft in New York City, succumbing to liver cancer via complications of hepatitis. He was 70 years old.
Ginsberg is buried in his family plot in Gomel Chesed Cemetery.
Ginsberg travelled to Barger's home in Oakland to talk the situation through. It is rumored that he offered Barger and other members of the Hell's Angels LSD as a gesture of friendship and goodwill. In the end, Barger and the other Hell's Angels that were present came away deeply impressed by the courage of Ginsberg and his companion Ken Kesey. They vowed not to attack the next day's protest march, and, furthermore, deemed Ginsberg a man who was worth helping out.
He was present the night of the massive Tompkins Square Park Police Riot in 1988 and provided an eyewitness account to The New York Times. It was shortly after the Tompkins Square Park riots in New York that Ginsberg was involved in a fracas with the Mentofreeist group and was assaulted by its leader, Vargus Pike. Pike was arrested, and was later released when Ginsberg, sporting a black eye, refused to press charges.
Ginsberg travelled to several Communist countries to promote free speech. He claimed that Communist countries, such as China, welcomed him because they thought he was an enemy of Capitalism, but often turned against him when they saw him as a trouble maker. For example, in 1965 Ginsberg was deported from Cuba for publicly protesting persecution of homosexuals. The Cubans sent him to Czechoslovakia, where one week after being named the Král majálesu ("King of Majáles" – students' festivity, celebration of the spring and student life), Ginsberg was labelled an "immoral menace" by the Czechoslovak government because of his free expression of radical ideas, and was then deported on May 7, 1965. Václav Havel points to Ginsberg as an important inspiration in striving for freedom.
Ginsberg claimed throughout his life that his biggest inspiration was Kerouac's concept of "spontaneous prose". He believed literature should come from the soul without conscious restrictions. Ginsberg was much more prone to revise than Kerouac. For example, when Kerouac saw the first draft of "Howl" he disliked the fact that Ginsberg had made editorial changes in pencil (transposing "negro" and "angry" in the first line, for example). Kerouac only wrote out his concepts of Spontaneous Prose at Ginsberg's insistence because Ginsberg wanted to learn how to apply the technique to his poetry. Moloch has subsequently been interpreted as any system of control, including the conformist society of post-World War II America, focused on material gain, which Ginsberg frequently blamed for the destruction of all those outside of societal norms.
He studied poetry under William Carlos Williams, who was then in the middle of writing his epic poem Paterson about the industrial city near his home. Ginsberg, after attending a reading by Williams, sent the older poet several of his poems and wrote an introductory letter. Most of these early poems were rhymed and metered and included archaic pronouns like "thee." Williams hated the poems. He told Ginsberg later, "In this mode perfection is basic, and these poems are not perfect." opiates, alcohol, and psychedelics, as a Dexedrine Clown. The phrases "eyeball kick" and "hydrogen jukebox" both show up in "Howl", as well as a direct quote from Cézanne: "Pater Omnipotens Aeterna Deus".
Many of Ginsberg's early long line experiments contain some sort of anaphora, repetition of a "fixed base" (for example "who" in "Howl", "America" in America) and this has become a recognizable feature of Ginsberg's style. He said later this was a crutch because he lacked confidence; he didn't yet trust "free flight". In the 60s, after employing it in some sections of "Kaddish" ("caw" for example) he, for the most part, abandoned the anaphoric experiment.
Several of his earlier experiments with methods for formatting poems as a whole become regular aspects of his style in later poems. In the original draft of "Howl", each line is in a "stepped triadic" format reminiscent of Williams (see Ivy Leaves for example). He abandoned the "stepped triadic" when he developed his long line, but the stepped lines showed up later, most significantly in the travelogues of The Fall of America. "Howl" and "Kaddish", arguably his two most important poems, are both organized as an inverted pyramid, with larger sections leading to smaller sections. In America, he experimented with a mix of longer and shorter lines.
''"Lightning's blue glare fills Oklahoma plains, ''the train rolls east ''casting yellow shadow on grass ''Twenty years ago ''approaching Texas, ''I saw ''sheet lightning ''cover Heaven's corners... ''An old man catching fireflies on the porch at night ''watched the Herd Boy cross the Milky Way ''to meet the Weaving Girl... How can we war against that?" (From Iron Horse, composed July 22–23, 1966, while riding a train from the West Coast to Chicago. The poem was dictated to a tape recorder, and later transcribed. The second part of the poem takes place on a Greyhound bus.)
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