Track arrangement of a street railway Grand Union.

A grand union is a rail track junction where two double-track railway lines cross at grade, often in a street intersection or crossroads. A total of sixteen railroad switches (sets of points) allow streetcars (or in more rare installations, trains) coming from any direction to take any of the three other directions. The same effect maybe achieved with two consequent wyes if the location allows for space.

Complexity[link]

These types of complex junction are expensive to build and expensive to maintain. Special parts, sometimes made of manganese steel, are needed for each location where one rail crossed another (a "frog"); these parts often need to be custom-made and fitted for each single location, depending on the specific angle of crossing of the intersecting streets.

A full grand union junction consists of 88 frogs (where one rail crosses another rail), and 32 switchpoints (point blades) if single-point switches are not used. A tram or train crossing the junction will encounter between four and twenty frogs within the space of crossing the junction.

For all of the possible tracks of a grand union to be used during normal operation, at least six different tram routes have to cross the union. In an intersection with lines oriented towards cardinal directions, these could be: north-south, north-east, north-west, south-east, south-west, and east-west.

Three-Quarter, Half, and Butterfly Unions[link]

Chicago Transit Authority control tower 18 at this three-quarter union guides elevated Chicago 'L' north and southbound Purple and Brown lines intersecting with east and westbound Pink and Green lines and the looping Orange line above the Wells and Lake street intersection in the loop.

Three-quarter unions are similar to grand unions in that they are also rail track junctions where two double-track railway lines cross at grade, often in a street intersection or crossroads; the primary difference being that one corner of the crossing does not have curved junction tracks, with the union having a total of twelve railroad switches (sets of points).

Half unions are similar, but only have curved junction tracks on two adjoining corners of the intersection, with a total of eight switches/points.

Butterfly unions share the total of eight switches/points, but the curved junction tracks are on opposing corners.

Examples[link]

A grand union at Spadina Avenue and Queen Street West in Toronto, Ontario.

• Melbourne, Australia: The only surviving grand union in the Southern Hemisphere is Balaclava Junction on the Melbourne tram system, in Australia. It is located at 37°52'21.56"S 145° 1'29.01"E.^[1][2]
• Granz, Austria has a grand union at Jakominiplatz, 47° 4'1.45"N 15°26'30.92"E
• Edmonton, Canada: The Edmonton Radial Railway had a single grand union at the intersection of 109th Street and Jasper Avenue, although one side of the junction remained as a stub and was removed by the late 1930s.^[3][4]
• Montreal, Canada: The system operated by Montreal Tramways Company (Montreal street railway system) had several^{[citation needed]} grand unions, with one known to be at the intersection of Ste. Catherine and St. Lawrence Streets.^[5]
• Toronto, Canada: The most extensive street railway system in North America is the Toronto streetcar system of the Toronto Transit Commission in southern Ontario, which has 19 four-way streetcar intersections, including four grand unions, five three-quarter unions, four half unions, and four butterfly unions (Some of which have additional connections that do not fit typical classifications); as well as a number of other (nonstandard) union types. The "traditional" grand unions are located at Bathurst and King (43°38'38.14"N 79°24'9.50"W); Spadina and King (43°38'43.73"N 79°23'42.09"W) and Spadina and Queen (43°38'55.43"N 79°23'46.91"W)^[6]
• Brno, Czech Republic, has a 3/4 union located at 49°12'16.24"N 16°37'25.54"E.^[7]
• Olomouc, Czech Republic, has one 3/4 union located at 49°35'44.42"N 17°14'50.27"E.^[8]
• Prague, Czech Republic, Has two grand unions, first at 50°6'12.65"N, 14°28'23.89"E^[9] and second at 50°5'55.94"N, 14°25'59.76"E.^[10]
• Cottbus, Germany has at least one grand union at 51°45'39.86"N 14°19'51.39"E. There appears to be a 3/4 grand union at 51°44'57.54"N 14°19'42.50"E however the Google Earth image lacks the resolution to confirm all routes.
• Dresden, Germany has a grand union at 51° 3'49.55"N 51° 3'49.55"N; a 5/8 grand union at 51° 3'47.55"N 13°44'13.53"E there is only a single connection on the north route, and a butterfly union at 51° 2'58.09"N 13°44'39.27"E
• Duisburg, Germany has a butterfly union at 51°30'7.44"N 6°45'25.78"E
• Leipzig, Germany has a grand union at 51°20'39.35"N 12°22'15.99"E it is unique in interfacing with four tracks at Goerdelerring tram stop. There is a 3/4 grand union at 51°19'56.49"N 12°20'19.68"E, a half union at 51°20'31.31"N 12°21'31.15"E and butterfly unions at 51°19'12.95"N 12°19'48.80"E, 51°20'20.36"N 12°21'44.96"E and 51°21'44.93"N 12°21'55.79".
• Karlsruhe, Germany: The Karlsruhe system has a single grand union located at 49° 0'8.96"N 8°23'39.77"E.^[11]
• Kassel, Germany: The Kassel system has a single grand union located at 51°19'4.87"N 9°30'1.02"E.^[12]
• Munich, Germany: While not a traditional grand union, the Munich tram system has a "Grand Circle" which has the same route function as a grand union and also provides a loop for all lines, it is located a Maximilian Square, 48° 8'15.27"N, 11°35'17.02"E.^[13]
• Milan, Italy: the Milan tram network has two grand unions. The first is a nonstandard design located at piazza 24 Maggio,^[14] and the second located nearby at piazzale Porta Lodovica.^[15]
• Amsterdam, Netherlands: As of 2009^[update], the Amsterdam tram system continues to have four grand unions. However, none of them has tram routes running in all directions under normal operation. They are located at 52°21'17.39"N 4°54'4.49"E;^[16] 52°21'9.99"N 4°53'28.04"E;^[17] 52°21'45.91"N 4°52'31.04"E^[18] and 52°22'12.13"N 4°51'0.94"E.^[19][20]
• Auckland, New Zealand: The Auckland system formerly had two grand unions, located at Queen Street's intersections with both Customs Street and Wellesley Street.^[21]
• Kraków, Poland, has three grand unions, one at 50° 3'27.42"N 19°57'32.40"E one at 50° 3'23.40"N 19°56'43.63"E and one at 50° 4'46.65"N 20° 1'38.49"E. There is a "Grand Circle" at Centralny Square, 50° 4'19.56"N 20° 2'14.46"E, the "Grand Circle" which has the same route function as a grand union and also provides a loop for all lines. There is a 3/4 union at 50° 3'6.26"N 19°56'30.22"E and a 5/8 union at 50° 4'24.31"N 20° 1'2.89"E.
• Poznań, Poland: The Poznań Tram system has 6 grand unions, which may be the most extant in any city. They are located at: 52°24'37.94"N, 16°54'48.53"E;^[22] 52°24'28.02"N, 16°54'44.97"E;^[23] 52°24'9.54"N, 16°53'20.65"E;^[24] 52°23'24.39"N, 16°53'39.07"E;^[25] 52°22'48.68"N, 16°56'35.21"E^[26] and 52°23'57.53"N, 16°57'8.97"E.^[27] All can be seen in detail on Google Earth.
• Warsaw, Poland: The Warsaw system has two grand unions, first at 52°14'30.79"N 20°59'37.00"E^[28] and second at 52°14'13.30"N 20°58'48.62"E.^[29] There is a 3/4 union at 52°15'17.24"N 20°58'57.11"E.^[30]
• Kazan, Russia: Kazan Tram system has one grand union. It is located at 55.780459 N, 49.112853 E.^[31]
• Moscow, Russia: Moscow Tram system has one 3/4 union on Preobrazhenskaya Ploshad ^[32]
• Košice, Slovakia, has one grand union at 48° 42' 18"N 21° 14' 35"E
• Basle, Switzerland The Basle system has a single (nonstandard) grand union located at 47°33'4.83"N 7°35'41.89"E.^[33]
• United Kingdom: The UK had at least four grand unions, at Salford, South Shields, Liverpool, and Walthamstow. The components of the Salford union are presently stored at the National Tramway Museum at Crich.^{[citation needed]}
• Chicago, USA: The Chicago Transit Authority has a three-quarter union at Tower 18, located on the northwest corner of The Loop (CTA). This union has the notable distinctions of not only being built entirely on elevated bridgework over the streets below, but also being fully equipped with third rails for power distribution.^[34]
• Philadelphia, USA: SEPTA has a surviving example of a half union located at the intersection of Chester Avenue and 49th Street;^[35][36] and PTC previously had two butterfly unions, the first at Erie Ave and Old York Road^[37] and the second at Lancaster Avenue and 33rd Street;^[38] as well as a second half union at Allegheny and 22nd Street.^[39]
• Rochester, USA: Rochester's surface streetcar system had three full grand unions, all of which were located on Main Street, as well as two three-quarter unions, and three half unions.^[40][41]

See also[link]

Wikimedia Commons has media related to: Grand unions

• Diamond crossing

References[link]

Yvonne Rainer (born November 24, 1934, San Francisco) is an American dancer, choreographer and filmmaker, whose work in these disciplines is frequently challenging and experimental. Her work is sometimes classified as minimalist art.

Early life[link]

Rainer was born in the Richmond district of San Francisco to parents, Joseph and Jeanette, who considered themselves radicals. As a child, she was sent to live at Sunnyside, a boarding institution in Palo Alto, with her older brother Ivan for several years. Her parents visited them each Sunday in their 1938 Pontiac Sedan. By 1941, she moved back with her parents at the age of seven to a new house in the Sunset that she describes as "an unfamiliar neighborhood of white protestant working class families." From the age of twelve, she had been "exposed to the heady commingling of poets, painters, writers, and Italian anarchists." She went to Lowell High, and after graduation, she attended San Francisco Junior College for a year, then Berkeley for a week. She dropped out of college by the end of September 1952.

At a very young age^[vague], her father introduced her to films, while her mother introduced her to ballet. While she was still at Sunnyside, her mother enrolled her in dance classes. Rainer writes,

I am five or six when my mother enrolls me in a dance school a few blocks from Sunnyside. After being taken to the school several times, I am expected to walk there by myself once a week...All the little girls are able to touch the backs of their heads with their toes. It seems to me that I am the only one who can't.

Rainer found herself hanging out at the Cellar around 1955, where she would listen to poets accompanied by cool jazz. It was here that she met Al Held, a painter. He introduced her to various artists whom were natives of New York. It was in August 1956, that she followed Al to New York at the age of twenty-two.

I remember walking down 5th Avenue past Madison Square Park, overwhelmed by an ineffable sense of infinite possibility. Someone else might have described it as a 'conquer-the-world' kind of feeling. For me it was simply pure open-minded excitement. Though I had no idea what the future held, it was already signaling with open arms.

^{[citation needed]}

It was Dolly Casella, a close friend, who introduced Rainer to the dance classes of Edith Stephen, a modern dancer. She went to her first adult dance class with Stephen who told her that she was not very "turned out." Rainer admits, "What she didn't say was something that I would gradually recognize in the next couple of years, that my lack of turn-out and limberness coupled with a long back and short legs would reduce my chances of performing with any established dance company." In 1959, she began studying at the Martha Graham School and later with James Waring and Merce Cunningham.^[1]

Dance and choreographic work[link]

Rainer was one of the organizers of the Judson Dance Theater, a focal point for vanguard activity in the postmodern dance world throughout the 1960s, and she formed her own company after the Judson performances ended. Rainer is noted for an approach to dance that treats the body more as the source of an infinite variety of movements than as the purveyor of emotion or drama. Many of the elements she employed—such as repetition, patterning, tasks, and games—later became standard features of modern dance.

In her early dances, Rainer focused on sounds and movements, and often juxtaposed the two in arbitrary combinations. Somewhat inspired by the chance tactics favored by Cunningham, Rainer’s choreography was a combination of classical dance steps contrasted with everyday, ordinary, pedestrian movement. She used a great deal of repetition, and employed narrative and verbal noises (including wails, grunts, mumbles, squeaks, and shrieks, etc.) within the body of her dances.

Repetition and sound were employed in her first choreographed piece, Three Satie Spoons (1961), a solo performed by Rainer. She made squeaking noises throughout the piece and said, “The grass is greener when the sun is yellow^[3].” Over time her work shifted to use more narrative and cohesive spoken word. Ordinary Dance (1962) was a combination of movement and narrative, and featured the repetition of simple movements while Rainer recited a poetic autobiography. One characteristic of Rainer’s early choreography was her fascination with using non-dancer performers. We Shall Run (1963) had seven performers, both dancers and non-dancers clad in street clothes who ran around the stage for twelve minutes creating various floor patterns to music by Berlioz^[4].

A turning point in Rainer’s choreography came in 1964, when, in an effort to strip movements of their expressive qualities, she turned to game structures to create works. All movement aimed to be direct, functional, and to avoid stylization. In so doing, she aimed to remove the drama from the dance movement, and to question the role of entertainment in dance. Throughout this stage of her choreography she worked towards movement becoming something of an object, to be examined without any psychological, social or formal motives. She opted for neutrality in her dances, presenting the objective presence of the human body and its movements, and refused to project a persona or create a narrative within her dances. In 1965, as a reaction to many of the previously stated feelings, Rainer created her "No Manifesto," which was a strategy formulated to demystify dance:

This exploration in reducing dance to the essentials climaxed with one of Rainer’s most famous pieces, Trio A (1966), initially part of a larger work entitled The Mind Is a Muscle. Something of a paradigmatic statement that questioned the aesthetic goals of postmodern dance, Trio A was a short dance that consisted of one long phrase. In Trio A, Rainer attempted to remove objects from the dance while simultaneously retaining a workmanlike approach of task-based performance. Not simple but certainly not fancy, it was a demanding piece of work, both to watch and to perform. She explored such dynamics as repetition, the distribution of energy, and phrasing. The movement consisted of task-oriented actions, emphasizing neutral performance and featuring no interaction with the audience. The dancer was to never make eye contact with her observers, and in the case that the movement required the dancer to face the audience, the eyes were to be averted from the audience or the head was to be involved in movement. As the Museum of Modern Art describes it: "It freed the dancer's body from the rigid fragmentation and artificiality of choreographed movement."^[6] The first time the piece was performed it was entitled The Mind is a Muscle, Part 1, and was performed by a set of three simultaneous solos by Rainer, Steve Paxton, and David Gordon. Trio A has been widely adapted and interpreted by other choreographers.

Rainer has choreographed more than 40 concert works.

A few of her other works include:

• Three Seascapes (1961) a solo of Rainer’s considered to be radical because the finale featured Rainer screaming wildly and thrashing around the space.^[7]
• Terrain (1962) was Rainer’s first evening length work. It had several sections, including two “Talking Solos,” which were autobiographical stories recited to an unrelated movement phrase.^[8]
• Continuous Project-Altered Daily (1969) was installed at the Castelli Warehouse in Harlem. It produced "spontaneous behavior within a formal setting."
• War an antiwar dance performed by thirty people at Douglass College protesting Vietnam in 1970.
• Street Action a performance to protest the Cambodian invasion in 1970. Visually, there were three columns of people wearing black armbands while walking with their heads down.^[9]
• This is the story of a woman who… (1973) was one of Rainer’s many works that used objects invested with strong meanings and attempted to strip them of that meaning. In this work she used a gun but instructed the dancers to never point or fire it at anyone.^[10]

Cinematic work[link]

Rainer sometimes included filmed sequences in her dances, and in the mid-1970s she began to turn her attention to film directing. Her early films do not follow narrative conventions, instead combining reality and fiction, sound and visuals, to address social and political issues. Rainer directed several experimental films about dance and performance, including Lives of Performers (1972), Film About a Woman Who (1974), and Kristina Talking Pictures (1976). Her later films include The Man Who Envied Women (1985), Privilege (1990), and MURDER and murder (1996). MURDER and murder, more conventional in its narrative structure, is a lesbian love story as well as a reflection on urban life and on breast cancer, and it features Rainer. Her film work^[12] has received several awards, and in 1990 she was a recipient of a MacArthur Foundation fellowship.

Short synopses:^[13]

• Journeys From Berlin/1971 explores the ramifications of terrorism
• Kristina Talking Pictures looks at the contradictions between the private and public persona
• Lives of Performers is about a man who cannot decide between two women
• The Man Who Envied Women is a film about the breakup of a marriage
• MURDER and murder (see paragraph above)
• A Film About a Woman Who... is considered Rainer's landmark film, about a woman with sexual dissatisfaction
• Privilege a film about menopause.

Feminism[link]

Reading feminist writing and theory allowed Rainer to examine her own experience as a woman, and she was able to think of herself as a participant in culture and society. Little did Rainer realize that her prior choreography was a direct challenge of the "traditional" dance and ultimately feminist in nature. Throughout the 1980s, Rainer was celibate, and she was determined "not to enter into any more ill-fated heterosexual adventures..." She began attending Gay Pride Parades and considered herself a "political lesbian." Rainer participated in a demonstration in New York and Washington D.C. to protest the challenges to Roe v. Wade during this same time period. At the age of 56, she overcame her fears of identifying as a lesbian by becoming intimate with Martha Gever. She says it was "euphoric." They are still together today.

Feminist Audre Lorde's famous statement posed, "You can't dismantle the master's house using the master's tools." Rainer rebutted her theory by stating, "You can, if you expose the tools."^[14]

References[link]

Notes

Bibliography

• Atlas, Charles. Philadelphia, PA: University of the arts. 
• Green, Shelley (1994). Radical Juxtaposition. The films of Yvonne Rainer. New York: Scarecrow Press Inc.. ISBN 0-8108-2863-4. 
• Rainer, Yvonne (1999). A Woman Who... Essays, Interviews, Scripts. Baltimore, Maryland: The Johns Hopkins University Press. ISBN 0-8018-6078-4. 
• Rainer, Yvonne (2006). Feelings Are Facts: A Life. Cambridge, Massachusetts & London: The MIT Press. ISBN 0-262-18251-3. 

Archival Collections

• The Fales Library at NYU houses the Yvonne Rainer Grand Union performance videotape collection. This collection contains seven videotapes that document a series of Grand Union performances. The performances took place on May 28, 1972 at the Joe LoGiudice Gallery at 59 Wooster Street in SoHo.
• Yvonne Rainer papers, Getty Research Institute. Los Angeles, California Her papers document her life as an artist from the late 1950s through 2006, and include photographic material dated as early as 1933. Materials include dance scores; programs and posters; photographic and audiovisual documentation of performances, rehearsals, and films; correspondence; writings, including Rainer's feature-length film scripts; and critical response to her work.

External links[link]

• Yvonne Rainer speaks to Robert Storr about her life as choreographer and film-maker at the Boston University College of Fine Arts School of Visual Arts.
• The Fales Library Guide to the Yvonne Rainer Grand Union performance videotape collection
• Biography on sensesofcinema.com.
• Review of Feelings Are Facts, by Daniel Ross.
• Yvonne Rainer in the Video Data Bank
• Films by Yvonne Rainer and Writings by and about Yvonne Rainer at Ubuweb
• Conceptual Paradise
• "Step-by-step guide to dance: Yvonne Rainer"
• Yvonne Rainer, "Letters to Judith Mayne"
• Yvonne Rainer at the Internet Movie Database
• "Yvonne Rainer, Trio A at perform feminism"

Martha Graham
Martha Graham by Yousuf Karsh (1948)
Born	(1894-05-11)May 11, 1894 Pittsburgh, Pennsylvania, U.S.
Died	April 1, 1991(1991-04-01) (aged 96) New York City, New York, U.S.
Nationality	American
Field	Dance and choreography
Movement	Modern dance
Influenced by	Eleonora Duse
Influenced	Paul Taylor
Awards	Kennedy Center Honors (1979) Presidential Medal of Freedom (1976) National Medal of Arts (1985)

Martha Graham (May 11, 1894 – April 1, 1991) was an American modern dancer and choreographer whose influence on dance has been compared with the influence Picasso had on modern visual arts,^[1][2] Stravinsky had on music, or Frank Lloyd Wright had on architecture.^[3]

She danced and choreographed for over seventy years. Graham was the first dancer ever to perform at the White House, travel abroad as a cultural ambassador, and receive the highest civilian award of the USA: the Presidential Medal of Freedom. In her lifetime she received honors ranging from the Key to the City of Paris to Japan's Imperial Order of the Precious Crown. She said, "I have spent all my life with dance and being a dancer. It's permitting life to use you in a very intense way. Sometimes it is not pleasant. Sometimes it is fearful. But nevertheless it is inevitable."^{[citation needed]}

Biography[link]

Early life[link]

Graham was born in Allegheny City, which today is part of Pittsburgh, Pennsylvania, in 1894. Her father George Graham was what in the Victorian era was known as an "alienist", a practitioner of an early form of psychiatry. The Grahams were strict Presbyterians. Dr. Graham was a third generation American of Irish descent and her mother Jane Beers was a tenth generation descendant of Puritan Miles Standish.

In the mid 1910s, she began her studies at the newly created Denishawn School of Dancing and Related Arts, founded by Ruth St. Denis and Ted Shawn,^[4] at which she would stay till 1923.

New era in dance[link]

In 1925, Graham was employed at the Eastman School of Music where Rouben Mamoulian was head of the School of Drama. Among other performances, together they produced a short two-color film called The Flute of Krishna, featuring Eastman students. Mamoulian left Eastman shortly thereafter and Graham chose to leave also, even though she was asked to stay on.

In 1926, the Martha Graham Center of Contemporary Dance was established. On April 18 of the same year,^[4] at the 48th Street Theatre, Graham debuted with her first independent concert, consisting of eighteen short solos and trios that she had choreographed. She would later say of the concert "Everything I did was influenced by Denishawn."^[5][6]

One of Graham's students was heiress Bethsabée de Rothschild with whom she became close friends. When Rothschild moved to Israel and established the Batsheva Dance Company in 1965, Graham became the company's first director.

In 1936, Graham made her defining work, "Chronicle", which signaled the beginning of a new era in modern dance.^{[citation needed]} The dance brought serious issues to the stage for the general public in a dramatic manner. Influenced by the Wall Street Crash, the Great Depression and the Spanish Civil War, it focused on depression and isolation, reflected in the dark nature of both the set and costumes.

In 1938 Erick Hawkins was the first man to dance with her company. The following year, he officially joined her troupe, dancing male lead in a number of Graham's works. They were married in 1948. He left her troupe in 1951 and they divorced in 1954.

Her largest-scale work, the evening-length Clytemnestra, was created in 1958, with a score by Egyptian-born composer Halim El-Dabh. She also collaborated with composers including Aaron Copland on Appalachian Spring, Louis Horst, Samuel Barber, William Schuman, Carlos Surinach, Norman Dello Joio, and Gian Carlo Menotti.^[7] Graham's mother died in Santa Barbara in 1958. Her oldest friend and musical collaborator Louis Horst died in 1964. She said of Horst "His sympathy and understanding, but primarily his faith, gave me a landscape to move in. Without it, I should certainly have been lost."

There were a few notable exceptions to her dances being taped. For example, she worked on a limited basis with still photographers Imogen Cunningham in the 1930s, and Barbara Morgan in the 1940s. Graham considered Philippe Halsman's photographs of "Dark Meadows" the most complete photographic record of any of her dances. Halsman also photographed in the 1940s: "Letter to the World", "Cave of the Heart", "Night Journey" and "Every Soul is a Circus". In later years her thinking on the matter evolved and others convinced her to let them recreate some of what was lost.

Martha Graham with Bertram Ross (1961)

Graham started her career at an age that was considered late for a dancer. She was still dancing by the late 1960s and her works from this era included roles for herself which were more acted than danced and relied on the movement of the company dancing around her. In her biography Martha Agnes de Mille cites Graham's last performance as the evening of May 25, 1968, in a 'Time of Snow'. But in A Dancer's Life biographer Russell Freedman lists the year of Graham's final performance as 1969. In her 1991 autobiography Blood Memory Graham herself lists her final performance as her 1970 appearance in "Cortege of Eagles" when she was 76 years old.

In the years that followed her departure from the stage Graham sank into a deep depression fueled by views from the wings of young dancers performing many of the dances she had choreographed for herself and her former husband. Graham's health declined precipitously as she abused alcohol to numb her pain. In Blood Memory she wrote:

It wasn't until years after I had relinquished a ballet that I could bear to watch someone else dance it. I believe in never looking back, never indulging in nostalgia, or reminiscing. Yet how can you avoid it when you look on stage and see a dancer made up to look as you did thirty years ago, dancing a ballet you created with someone you were then deeply in love with, your husband? I think that is a circle of hell Dante omitted.

[When I stopped dancing] I had lost my will to live. I stayed home alone, ate very little, and drank too much and brooded. My face was ruined, and people say I looked odd, which I agreed with. Finally my system just gave in. I was in the hospital for a long time, much of it in a coma.^{[Full citation needed]}

After a failed suicide attempt she was hospitalized. Graham not only survived her hospital stay but she rallied. In 1972 she quit drinking, returned to her studio, reorganized her company and went on to choreograph ten new ballets and many revivals. Her last completed ballet was 1990's Maple Leaf Rag.

Graham choreographed until her death in New York City from pneumonia in 1991, aged 96.^[8] She was cremated, and her ashes were spread over the Sangre de Cristo Mountains in northern New Mexico.

Influence and legacy[link]

Graham has been sometimes termed the "Picasso of Dance," in that her importance and influence to modern dance can be considered equivalent to what Pablo Picasso was to modern visual arts.^[1][2] Her impact has been also compared with the influence Stravinsky had on music, or Frank Lloyd Wright had on architecture.^[3]

To celebrate her 117th birthday on May 11, 2011, Google celebrated by turning their logo for one day into a logo dedicating the life and legacy of Graham.^[9]

Martha Graham has been said to be the one that brought dance into the twentieth century. Due to the work of her assistants, Ron Protas and Linda Hodes, much of Graham’s work and technique have been preserved. They taped interviews of Graham describing her entire technique, and videos of her performances.^[10] As Glen Tetley told Agnes de Mille, “The wonderful thing about Martha in her good days was her generosity. So many people stole Martha’s unique personal vocabulary, consciously or unconsciously, and performed it in concerts. I have never once heard Martha say, ‘So-and-so has used my choreography.'"^[11] An entire movement was created by her that revolutionized the dance world and created what is known today as modern dance. Now, dancers all over the world study and perform modern dance. Choreographers and professional dancers look to her for inspiration.^[12]

Martha Graham Dance Company[link]

The Martha Graham Dance Company is the oldest dance company in America,^[13] founded in 1926. It has helped develop many famous dancers and choreographers of the 20th and 21st centuries including Erick Hawkins, Anna Sokolow, Merce Cunningham and Paul Taylor. It continues to perform, including at the Saratoga Performing Arts Center in June 2008, a program consisting of: Ruth St. Denis' The Incense; Graham's reconstruction of Ted Shawn's Serenata Morisca; Graham's Lamentation; Yuriko's reconstruction of Graham's Panorama, performed by dancers from Skidmore College; excerpts from Yuriko's and Graham's reconstruction of the latter's Chronicle from the Julien Bryan film; Graham's Errand into the Maze and Maple Leaf Rag.^{[citation needed]} The company also performed in 2007 at the Museum of Contemporary Art, Chicago, with a program consisting of: Appalachian Spring, Embattled Garden, Errand into the Maze, and American Original.^[14][15]

Quotations[link]

According to Agnes de Mille:

The greatest thing she ever said to me was in 1943 after the opening of Oklahoma!, when I suddenly had unexpected, flamboyant success for a work I thought was only fairly good, after years of neglect for work I thought was fine. I was bewildered and worried that my entire scale of values was untrustworthy. I talked to Martha. I remember the conversation well. It was in a Schrafft's restaurant over a soda. I confessed that I had a burning desire to be excellent, but no faith that I could be. Martha said to me, very quietly: "There is a vitality, a life force, an energy, a quickening that is translated through you into action, and because there is only one of you in all of time, this expression is unique. And if you block it, it will never exist through any other medium and it will be lost. The world will not have it. It is not your business to determine how good it is nor how valuable nor how it compares with other expressions. It is your business to keep it yours clearly and directly, to keep the channel open. You do not even have to believe in yourself or your work. You have to keep yourself open and aware to the urges that motivate you. Keep the channel open. ... No artist is pleased. [There is] no satisfaction whatever at any time. There is only a queer divine dissatisfaction, a blessed unrest that keeps us marching and makes us more alive than the others."^[16]

“Virile gestures are evocative of the only true beauty. Ugliness may be actually beautiful if it cries out with the voice of power” - Martha Graham 1928. ^[17]

Accolades[link]

Graham was awarded the Presidential Medal of Freedom in 1976 by President Gerald Ford (the First Lady Betty Ford had danced with Graham in her youth). Ford declared her "a national treasure".^{[citation needed]}

Graham was inducted into the National Museum of Dance C.V. Whitney Hall of Fame in 1987.^{[citation needed]}

In 1998 Graham was named "Dancer of the Century" by Time Magazine,^[18] and one of the female "Icons of the Century" by People Magazine.^{[citation needed]} The New York Times called her a "brilliant, young dancer".^{[citation needed]}

Choreography[link]

This excerpt from John Martin’s reviews in the New York Times provides insight on Graham’s choreographic style. “Frequently the vividness and intensity of her purpose are so potent that on the rise of the curtain they strike like a blow, and in that moment one must decide whether he is for or against her. She boils down her moods and movements until they are devoid of all extraneous substances and are concentrated to the highest degree.”^[19]

Early dancers[link]

"Graham's original girls were superb – Bessie Schonberg, Evelyn Sabin, Martha Hill, Gertrude Shurr, Anna Sokolow, Nelle Fisher, Dorothy Bird, Bonnie Bird, Sophie Maslow, May O'Donnell, Jane Dudley, Anita Alvarez, Pearl Lang – as were the second group – Yuriko, Ethel Butler, Ethel Winter, Jean Erdman, Patricia Birch, Nina Fonaroff, Matt Turney, Mary Hinkson. And the group of men – Erick Hawkins, and after him Merce Cunningham, David Campbell, John Butler, Robert Cohan, Stuart Hodes, Glen Tetley, Bertram Ross, Paul Taylor, Mark Ryder, William Carter."^[21]

See also[link]

Notes[link]

References[link]

• Bondi, Victor (1995) American Decades 1940–1949
• de Mille, Agnes (1991). Martha: The Life and Work of Martha Graham. NYC: Random House. ISBN 0-394-55643-7. 

Further reading[link]

• Newman, Gerald (1998). Martha Graham: Founder of Modern Dance. Danbury, Connecticut: Franklin Watts. 

External links[link]

Wikimedia Commons has media related to: Martha Graham

• Martha Graham at Find a Grave
• An Athlete of God: The Personal Essay of Martha Graham
• PBS:American Masters biography
• Kennedy Center biography
• Martha Graham at the Internet Movie Database
• MarthaGraham.org – Martha Graham Center of Contemporary Dance
• University of Pittsburgh online text
• MySpace.com/marthagrahamdancecompany – "MySpace site run by dancers of the Martha Graham Dance Company"
• BlackHistoryDaily.com – Martha Graham
• NY Times review by John Martin, June 7, 1959 of Episodes
• Read about the reconstruction of Clytemnestra at The Clytemnestra Project Site
• Batsheva Dance Company: From Graham to Gaga – Batsheva’s transition from a strongly American-influenced company to the more distinctive troupe it is today.
• (German) Martha Graham Dance Company
• Martha Graham's first recital, dancing barefoot on March 9, 1917, at the Peppers Estate ballroom in Santa Barbara.
• Archival footage of Martha Graham Dance Company performing Night Journey in 1994 at Jacob's Pillow

Alison Krauss
Alison Krauss at MerleFest, 2007
Background information
Born	(1971-07-23) July 23, 1971 (age 40) Decatur, Illinois, US
Occupations	Musician, Songwriter, Producer, Bandleader
Instruments	Vocals, Fiddle, Viola
Years active	1984–present
Labels	Rounder
Associated acts	Dan Tyminski, Robert Plant, John Waite, Rhonda Vincent, Dolly Parton, Brad Paisley, Ricky Skaggs, Vince Gill, Jerry Douglas
Website	AlisonKrauss.com

Alison Maria Krauss (born July 23, 1971) is an American bluegrass-country singer, songwriter and fiddler. She entered the music industry at an early age, winning local contests by the age of ten and recording for the first time at fourteen. She signed with Rounder Records in 1985 and released her first solo album in 1987. She was invited to join the band with which she still performs, Alison Krauss and Union Station (AKUS), and later released her first album with them as a group in 1989.

She has released fourteen albums, appeared on numerous soundtracks, and helped renew interest in bluegrass music in the United States. Her soundtrack performances have led to further popularity, including the O Brother, Where Art Thou? soundtrack, an album also credited with raising American interest in bluegrass, and the Cold Mountain soundtrack, which led to her performance at the 2004 Academy Awards. As of 2012, she has won 27 Grammy Awards from 41 nominations, making her the most awarded living recipient, and three back of the most honoured artist, classical conductor Sir Georg Solti.^[1] She is also the most awarded singer and the most awarded female artist in Grammy history.^[2] At the time of her first award, at the 1991 Grammy Awards, she was the second youngest winner ever (currently tied as third youngest).

Biography[link]

Alison Maria Krauss^[3] was born in Decatur, Illinois. Her parents are originally from Columbus, Mississippi. Krauss was raised in Champaign, Illinois. She began studying classical violin at age five but soon switched to bluegrass. Krauss said she first became involved with music because "[my] mother tried to find interesting things for me to do" and "wanted to get me involved in music, in addition to art and sports^[4] At the age eight she started entering local talent contests, and at ten she had her own band. At 13 she won the Walnut Valley Festival Fiddle Championship,^[5] and the Society for the Preservation of Bluegrass in America named her the "Most Promising Fiddler in the Midwest".^{[citation needed]} Krauss first met Dan Tyminski around 1984 at a festival held by the Society. Every current member of her band, Union Station, first met her at these festivals.^[6]

1985–1991: Early career[link]

Krauss made her recording debut in 1985 on the independent album, Different Strokes, featuring her brother Viktor, Swamp Weiss and Jim Hoiles. From the age of 12 she performed with bassist and songwriter John Pennell in a band called "Silver Rail", replacing their previous fiddler Andrea Zonn.^[7] Pennell later changed the band's name to Union Station after another band was discovered with the name Silver Rail.^[8] Pennell remains one of her favorite songwriters^[9] and wrote some of her early work including the popular "Every Time You Say Goodbye".

Later that year she signed to Rounder Records, and in 1987, at 16, she released her debut album Too Late to Cry with Union Station as her backup band.^[10]

Krauss' debut solo album was followed shortly by her first group album with Union Station in 1989 Two Highways.^[11] The album includes the traditional tunes, Wild Bill Jones and Beaumont Rag, along with a bluegrass interpretation of The Allman Brothers' "Midnight Rider". Alison Krauss and Union Station would later perform at the 1989 Newport Folk Festival.^{[citation needed]}

Krauss' contract with Rounder required her to alternate between releasing a solo album and an album with Union Station, and she released the solo album I've Got That Old Feeling in 1990. It was her first album to rise onto the Billboard charts, peaking in the top seventy-five on the country chart. The album also was a notable point in her career as she earned her first Grammy Award, the single "Steel Rails" was her first single tracked by Billboard, and the title single "I've Got That Old Feeling" was the first song for which she recorded a music video.

1992–1999: Rising success[link]

Krauss' second Union Station album Everytime You Say Goodbye was released in 1992, and she went on to win her second Grammy for Best Bluegrass Album of the year. She then joined the Grand Ole Opry in 1993 at the age of 21.^[11] She was the youngest cast member at the time, and the first bluegrass artist to join the Opry in twenty-nine years.^{[citation needed]} She also collaborated on a project with the Cox Family in 1994, a bluegrass album called I Know Who Holds Tomorrow. Mandolin and guitar player Dan Tyminski replaced Tim Stafford in Union Station in 1994. Late in the year, Krauss recorded with the band Shenandoah on its single "Somewhere in the Vicinity of the Heart", which brought her to the country music Top Ten for the first time. Also in 1994, Krauss collaborated with Suzy Bogguss, Kathy Mattea, and Crosby, Stills, and Nash to contribute "Teach Your Children" to the AIDS benefit album Red Hot + Country produced by the Red Hot Organization. In 1997, she recorded vocals and violin for "Half a Mind", on Tommy Shaw's 7 Deadly Zens album.

Now That I've Found You: A Collection, a compilation of older releases and some covers of her favorite works by other artists, was released in 1995. Some of these covers include Bad Company's "Oh Atlanta", The Foundations' & Dan Schafer's "Baby, Now That I've Found You", which was used in the Australian hit comedy movie The Castle, and The Beatles' "I Will."^[12] A cover of Keith Whitley's "When You Say Nothing at All" reached the top five on the Billboard country chart;^{[citation needed]} the album peaked in the top fifteen on the all-genre Billboard 200 chart, and sold two million copies to become Krauss' first double-platinum album.^{[citation needed]} Krauss also was nominated for four Country Music Association Awards and won all of them.^{[citation needed]}

So Long So Wrong, another Union Station album, was released in 1997 and won the Grammy for Best Bluegrass Album. One critic said its sound was "rather untraditional" and "likely [to] change quite a few . . . minds about bluegrass."^[13] Included on the album is the track "It Doesn't Matter", which was featured in the second season premiere episode of Buffy the Vampire Slayer^[14] and was included on the Buffy soundtrack in 1999.

Her next solo release in 1999, Forget About It, included one of her two tracks to appear on the Billboard adult contemporary chart, "Stay".^{[citation needed]} The album was certified gold, and charted within the top seventy-five of the Billboard 200 and in the top five of the country chart.^{[citation needed]} In addition, the track "That Kind of Love" was included in another episode of Buffy the Vampire Slayer.^[15]

2000–present: Current career[link]

Adam Steffey left Union Station in 1998, and was replaced with renowned Dobro player Jerry Douglas.^[16] Douglas had provided studio back-up to Krauss's records since 1987's Too Late To Cry. Their next album, New Favorite, was released on August 14, 2001. The album went on to win the Grammy for Best Bluegrass Album, with the single "The Lucky One" winning a Grammy as well. New Favorite was followed up by the double platinum double album Live in 2002 and a release of a DVD of the same live performance in 2003. Both the album and the DVD were recorded during a performance at The Louisville Palace and both the album and DVD have been certified double Platinum. Also in 2002 she played a singing voice for one of the characters in "Eight Crazy Nights"

Lonely Runs Both Ways was released in 2004, and eventually became another Alison Krauss & Union Station gold certified album. Ron Block described Lonely Runs Both Ways as "pretty much... what we've always done" in terms of song selection and the style in which those songs were recorded.^{[citation needed]} Krauss believes the group "was probably the most unprepared we've ever been" for the album and that songs were chosen as needed rather than planned beforehand.^[4] She also performed a duet with Brad Paisley on his album Mud on the Tires in the single "Whiskey Lullaby". The single was quickly ranked in the top fifty of the Billboard Hot 100 and the top five of the Hot Country Songs, and won the Country Music Association Awards for "Best Musical Event" and "Best Music Video" of the year.^{[citation needed]}

Krauss recorded a collaborative album, Raising Sand with Robert Plant in 2007 which would ultimately be RIAA certified platinum. Raising Sand was nominated for and won 5 Grammys at the 51st Grammy Awards including Album of the Year, Best Contemporary Folk/Americana Album, and Record of the Year ("Please Read the Letter"). Krauss and Plant recorded a Crossroads special in October 2007 for the Country Music Television network which first aired on February 12, 2008. The pair are currently working on a new album.^[17] Alison Krauss has announced a new album release called Paper Airplane with Union Station on April 12, 2011, the follow-up album to "Lonely Runs Both Ways" (2004)

Personal life[link]

Alison Krauss was married to Pat Bergeson from 1997-2001. Together they had a son in 1999.

Other work[link]

Alison Krauss on stage with Robert Plant at Birmingham's NIA, 5th May 2008

Krauss has made multiple guest appearances on other records with lead vocals, harmony vocals, or fiddle playing. In 1993 she recorded vocals for the Phish song "If I Could" in Los Angeles.^[18] In 1997 she contributed harmony vocals in both English and Irish to Irish traditional band Altan's Runaway Sunday album. She has contributed to numerous motion picture soundtracks, most notably the soundtrack O Brother, Where Art Thou? in 2000. She and co-vocalist Dan Tyminski contributed multiple tracks to the soundtrack, including "I'll Fly Away" (with Gillian Welch), "Down to the River to Pray", and "I Am a Man of Constant Sorrow".^{[citation needed]} She also makes a guest appearance on Heart's March 2010 concert DVD "Night At Sky Church", providing the lead vocals for the song "These Dreams".^[19]

In the film, Tyminski's vocals on "I Am a Man of Constant Sorrow" were used for George Clooney's character.^[20] The soundtrack sold over seven million copies and won the Grammy for Album of the Year in 2002.^{[citation needed]} The unexpected success of the album has been partially credited, as was Krauss herself,^[21] with bringing a new interest in bluegrass to the United States. She has said, however, that she believes Americans already liked bluegrass and other less-heard musical genres, and that the film merely provided easy exposure to the music.^[22] She did not appear in the movie, at her own request, as she was nine months pregnant during its filming.^[23]

In 2007, Krauss released the anthology A Hundred Miles Or More: A Collection which was a collection of soundtrack work, duets with artists such as John Waite, James Taylor, Brad Paisley and esteemed fiddle player Natalie MacMaster, and newer tracks.^{[citation needed]} The album was very commercially successful, but was received with a lukewarm reception from critics.^{[citation needed]} One of the tracks, "Missing You", a duet with Waite (and a cover of his hit single from 1984), was similarly received as a single.^{[citation needed]} On August 11, television network Great American Country aired a one-hour special, "Alison Krauss: A Hundred Miles or More" based on the album and featured many of the album's duets and solo performances.^{[citation needed]}

Other soundtracks for which Krauss has performed include Twister, The Prince of Egypt, Eight Crazy Nights, Mona Lisa Smile, Divine Secrets of the Ya-Ya Sisterhood, Alias, Bambi II and Cold Mountain. She also contributed the song "Jubilee" to the 2004 documentary Paper Clips. The Cold Mountain songs "The Scarlet Tide" by T-Bone Burnett and Elvis Costello, and "You Will Be My Ain True Love", by her and Sting were nominated for an Academy Award, and she performed both songs at the 76th Academy Awards, the first with Costello and Burnett and the other with Sting.^[24] She also worked as a producer for Nickel Creek on their debut self-titled album in 2000 and the follow-up This Side in 2002, which won Krauss her first Grammy as a music producer.^{[citation needed]}

Reception and influences[link]

Krauss's earliest musical experience was as an instrumentalist, though her style has grown to focus more on her vocals^[11] with a band providing most of the instrumentation. Musicians she enjoys include Lou Gramm of Foreigner and Paul Rodgers of Bad Company.^[25][26][27] Krauss' family listened to "folk records" while she was growing up, but she had friends who exposed her to groups such as AC/DC, Carly Simon, The Rolling Stones, Lynyrd Skynyrd, and ELO.^[28] She cites Dolly Parton, with whom she has since collaborated a number of times, as a major influence. Some credit Krauss and Union Station, at least partially, with a recent revival of interest in bluegrass music in the United States.^[21] Despite being together for nearly two decades and winning numerous awards, she said the group was "just beginning right now" (in 2002) because "in spite of all the great things that have happened for the band, [she] feel[s] musically it's just really beginning."^[22] Although she alternates between solo releases and works with the band, she has said there is no difference in her involvement between the two.^[23]

As a group, AKUS have been called "American favourites," "world-beaters,"^[29] and "the tightest band around."^[30] While they have been successful as a group, many reviews note Krauss still "remains the undisputed star and rock-solid foundation" and have described her as the "band's focus"^[31] with an "angelic"^[30] voice that "flows like honey".^[31] Her work has been compared to that of The Cox Family, Bill Monroe, and Del McCoury,^{[citation needed]} and has in turn been credited with influencing various "Newgrass" artists including Nickel Creek, for which she acted as record producer on two of their albums.^[32] In addition to her work with Nickel Creek, she has acted as producer to the Cox Family, Reba McEntire and Alan Jackson.^[33] Adam Sweeting of The Guardian has said Krauss and Union Station are "superb when they stick to hoedowns and hillbilly music, but much less convincing when they lurch towards the middle of the road,"^[34] and Blender magazine has said the "flavorless repertoire [Krauss] sings... steers her toward Lite FM".^[35] In addition, Q magazine and The Onion AV Club have said their newer releases are "pretty much the usual," and that although Krauss is generally "adventurous," these recent releases contain nothing to "alienate the masses".^[36]

Voice, themes, and musical style[link]

Krauss possesses a soprano^[37] voice which has been described as "angelic".^[30] She has said her musical influences include J. D. Crowe, Ricky Skaggs, and Tony Rice.^[38] Many of her songs are described as sad,^[39] and are often about love, especially lost love. Though she has a close involvement with her group and a long career in music, she rarely performs music she has written herself. She has also described her general approach to constructing an album as starting with a single song and selecting other tracks based on the first, to give the final album a somewhat consistent theme and mood.^[23][40] She most commonly performs in the bluegrass and country genres, though she has had two songs on the adult contemporary charts, has worked with rock artists such as Phish^[11] and Sting,^[24] and is sometimes said to stray into pop music.^[7][41]

Music videos[link]

This section needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (March 2010)

File:AKUS Goodbye is All We Have.jpg

The video for "Goodbye is All We Have" shows the group traveling, meeting at a crossroads, playing the song, and walking away together.  Audio sample (help·info)

Krauss did not think she would make music videos at the beginning of her career, and after recording her first she was convinced it was so bad that she would never do another. Nonetheless, she has gone on to make further videos. Many of the first videos she saw were by bluegrass artists, although Dan Tyminski has noted that the video for Thriller was very popular at the time she was first exposed to music videos. She has made suggestions on the style or theme to some videos, though she tends to leave such decisions up to the director of the particular video. The group chooses directors by seeking out people who have previously directed videos bandmembers have enjoyed. The director for a video to "If I Didn't Know Any Better" from Lonely Runs Both Ways, for example, was selected because Krauss enjoyed work he had done with Def Leppard, and she wondered what he could do with their music. While style decisions are generally left to the various directors of the videos, many —including for "The Lucky One", "Restless", "Goodbye is All We Have", "New Favorite", and "If I Didn't Know Any Better"—follow a pattern. In all of these videos Krauss walks, sometimes interacting with other people, while the rest of the band follows her.^[6][42]

Performances[link]

Krauss has said she used to dislike working in the studio where she had to play the same song repeatedly, but has come to like studio work roughly the same as live stage performances. Her own favorite concert experiences include watching three Foreigner concerts during a single tour, a Dolly Parton concert, and a Larry Sparks concert.^[43] She appeared on Austin City Limits in 1992 and opened the show in 1995 with Union Station.^[44] The New Favorite tour, after AKUS' album of the same name, was planned to start September 12, 2001 in Cincinnati, Ohio, but was delayed until September 28 in Savannah, Georgia following the September 11 terrorist attacks^[45] Krauss also took part in the Down from the Mountain tour in 2002, which featured many artists from the O Brother, Where Art Thou.^[46][47] Down from the Mountain was followed by the Great High Mountain Tour, which was composed of musicians from both O Brother and Cold Mountain, including Krauss.^[42] She has also given several notable smaller performances including at Carnegie Hall (with the Grand Ole Opry),^[48] on Lifetime Television in a concert of female performers, on the radio show A Prairie Home Companion^[49] where she sang two songs not previously recorded on any of her albums, and a performance at the White House attended by then-President Bill Clinton and then-Vice President Al Gore.^[50]

Awards[link]

Alison Krauss has won a record twenty-seven Grammy Awards^[51] over the course of her career as a solo artist, as a group with Union Station, as a duet with Robert Plant, and as a record producer. She's currently tied with Quincy Jones as the second most winner of Grammy Awards. Only the late classical conductor Sir Georg Solti has more overall Grammys (31).^[52] She overtook Aretha Franklin for the most female wins at the 46th Grammy Awards where Krauss won three, bringing her total at the time to seventeen (Franklin won her sixteenth that night).^[53] The Recording Academy (which presents the Grammy Awards) presented her with a special musical achievement honor in 2005.^[54] She has also won 14 International Bluegrass Music Association Awards,^[55] 8 Country Music Association Awards,^[56][57] 2 Gospel Music Association Awards,^{[citation needed]} 2 CMT Music Awards,^[58][59][60] 2 Academy of Country Music Awards,^[61] and 1 Canadian Country Music Award.^[62] Country Music Television ranked Krauss 12th on their "40 Greatest Women of Country Music" list in 2002.^[63]

At the 76th Academy Awards in February 2004, where she performed two nominated songs from the Cold Mountain soundtrack, Alison Krauss was chosen by Hollywood shoe designer Stuart Weitzman to wear a pair of $2 million 'Cinderella' sandals with 4½ inch clear glass stiletto heels and two straps adorned with 565 Kwiat diamonds set in platinum. Feeling like a rather unglamorous choice, Krauss said, "When I first heard, I was like, 'What were they thinking?' I have the worst feet of anybody who will be there that night!" In addition to the fairy-tale-inspired shoes, Weitzman outfitted Krauss with a Palm Trēo 600 smartphone, bejeweled with 3,000 clear-and-topaz-colored Swarovski crystals. The shoes were returned, but Krauss kept the crystal-covered phone. Weitzman chose Krauss to show off his fashions at the urging of his daughters, who are fans of Krauss' music.^[64][65]