Coordinates	34°03′″N118°15′″N
name	Mike Patton
background	solo_singer
birth name	Michael Allan Patton
born	January 27, 1968Eureka, California, U.S.
instrument	Vocals, various electronic instrumentation/programming, sampler, drums, percussions, bass, guitar, keyboards
genre	Various
occupation	Musician, songwriter, actor, producer
years active	1985–present
label	Ipecac, Tzadik, Warner Bros. Records, Slash
associated acts	Faith No More, Mr. Bungle, Fantômas, Tomahawk, Peeping Tom, Lovage, John Zorn, Kaada/Patton, Dillinger Escape Plan, Hemophiliac, Maldoror, General Patton vs. The X-Ecutioners, Rahzel, Zu
notable instruments	}}

Michael Allan "Mike" Patton (born January 27, 1968) is an American singer-songwriter, multi-instrumentalist, producer, and actor, best known as the lead singer of the rock band Faith No More. He has also sung for Mr. Bungle, Tomahawk, Lovage, Fantômas, The Dillinger Escape Plan and Peeping Tom.

Known for his eclectic influences and experimental projects, Patton has earned critical praise for his vocals; which touch on crooning, falsetto, opera, death growls, rapping, screaming, mouth music, beatboxing, and scatting, among other techniques. Critic Greg Prato writes, "Patton could very well be one of the most versatile and talented singers in rock music." While commenting on Patton's extended and diverse music groups, Allmusic called him "a complete and utter musical visionary and a mind-blowing and standard-warping genius."

He has many producer or co-producer credits with artists such as John Zorn, Sepultura, Melvins, Melt-Banana and Kool Keith. He co-founded Ipecac Recordings with Greg Werckman in 1999, and has run the label since.

Biography

Early years

Patton was born and raised in Eureka, California, where he and his friends (including fellow long-time members Trey Spruance and Trevor Dunn) formed Mr. Bungle circa 1984. During the late 80s they recorded the cassette-only demos ''The Raging Wrath of the Easter Bunny'', ''Goddammit I Love America'', ''Bowel of Chiley'' and ''OU818'' (featuring tracks that would appear on their first Warner Brothers album).

Joining Faith No More

Patton joined Faith No More in January 1989 and filled the vocal void left by the recently-fired Chuck Mosley, who moved on to the band Cement.

Faith No More's ''The Real Thing'' was released later the same year. The album reached the top ten on the charts thanks largely to MTV's heavy rotation of the "Epic" music video (which featured Patton in a T-shirt promoting his own band Mr. Bungle).

In the United States, Faith No More would not again match the commercial success of ''The Real Thing''. After three more studio albums (''Angel Dust'', ''King for a Day... Fool for a Lifetime'', and ''Album of the Year'') Faith No More officially disbanded in 1998.

When interviewed about his lyrical content with Faith No More, Patton responded, "I think that too many people think too much about my lyrics. I am more a person who works more with the sound of a word than with its meaning. Often I just choose the words because of the rhythm not because of the meaning".

Mr. Bungle and Beyond

During his time in Faith No More, Patton continued to work with Mr. Bungle. His success in mainstream rock and metal ultimately helped secure Mr. Bungle a record deal with Warner Bros. The band released a self-titled album (produced by John Zorn) in 1991, and the experimental ''Disco Volante'' in 1995. Their final album, ''California'', was released in 1999.

Patton's other projects included two solo albums in the Composer Series on John Zorn's Tzadik label (''Adult Themes for Voice'' in 1996 and ''Pranzo Oltranzista'' in 1997). He is a member of Hemophiliac, in which he performs vocal effects along with John Zorn on saxophone and Ikue Mori on laptop electronics. This group is billed as "improvisational music from the outer reaches of madness". He has also guested on Painkiller and Naked City recordings. He has appeared many times on other Tzadik releases with Zorn and others.

There have been several projects over the years featuring Patton that have not been officially released, although some live bootlegs do circulate. These projects include House of Discipline (with Bob Ostertag and Otomo Yoshihide), Moonraker (with Agata Ichirou of Melt-Banana, Buckethead and DJ Eddie Def), Christian Fennesz and Mike Patton, and Patton & Rahzel. Patton contributed vocals to the Team Sleep song ''Kool-Aid Party'', but the song did not make it onto the final album.

In 2004, Patton worked with Björk and the beat boxer Rahzel on her album, ''Medúlla''.

In 2005, Patton signed on to compose the soundtrack for the independent movie ''Pinion'', marking his debut scoring an American feature-length film. However, this had been held up in production and may be on the shelf permanently. His other film work includes portraying two major characters in the Steve Balderson film ''Firecracker''. He has also expressed his desire to compose for film director David Lynch.

In February 2006, Mike Patton performed an operatic piece, composed by Eyvind Kang, at Teatro di Modena in Italy. Patton sang alongside vocalist Jessika Kinney, and was accompanied by the Modern Brass Ensemble, Bologna Chamber Choir, and Alberto Capelli and Walter Zanetti on electric and acoustic guitars. Patton remarked that it was extremely challenging to project the voice without a microphone.

Patton's ''Peeping Tom'' album was released on May 30, 2006 on his own Ipecac label. The set was pieced together by swapping song files through the mail with collaborators like Norah Jones, Kool Keith and Massive Attack, Odd Nosdam, Jel, Doseone, Bebel Gilberto, Kid Koala, and Dub Trio.

In May 2007 he performed with an orchestra a few concerts in Italy, by the name of Mondo Cane, singing Italian oldies from the 50s and the 60s.

Mike also provided the voices of the monsters in the 2007 film ''I Am Legend'' starring Will Smith.

He is regarded as very hard-working. Faith No More keyboardist Roddy Bottum remarked about Patton "caffeine is the only drug he does", in reference to the Faith No More song "Caffeine" from the album ''Angel Dust'', which Patton wrote while in the middle of a sleep-deprivation experiment. He also worked on the Derrick Scocchera short film "A Perfect Place" for the score/soundtrack, which is longer than the film itself.

In December 2008 along with Melvins, Patton co-curated an edition of the All Tomorrow's Parties Nightmare Before Christmas festival. Patton chose half of the lineup and performed the album ''The Director's Cut'' in its entirety with Fantômas. Patton also appeared as Rikki Kixx in the Adult Swim show ''Metalocalypse'' in a special 2 part episode on August 24.

In 2009 Patton created the soundtrack to the movie ''Crank: High Voltage''. He also performed vocals on the track "Lost Weekend" by The Qemists.

On May 4, 2010 ''Mondo Cane'', where Patton worked live with a 30-piece orchestra, was released by Ipecac Recordings. The album was co-produced and arranged by Daniele Luppi.

"Recorded at a series of European performances including an outdoor concert in a Northern Italian piazza, the CD features traditional Italian pop songs as well as a rendition of Ennio Morricone's 'Deep Down'."

Video game involvement

Patton is known to be an avid video game player. In 2007, he provided the voice of the eponymous force in the video game ''The Darkness'', working alongside Kirk Acevedo, Lauren Ambrose and Dwight Schultz. Record label Ipecac Recordings have confirmed he will reprise the role in The Darkness II in 2011.

He also had a minor role in Valve Corporation's 2007 release ''Portal'' as the voice of the Anger Sphere in the final confrontation with the insane supercomputer, GLaDOS. He has another role in the Valve title ''Left 4 Dead'', voicing the majority of the infected zombies. He also voiced Nathan "Rad" Spencer, the main character in Capcom's 2009 video game ''Bionic Commando'', a sequel of their classic NES title.

Faith No More reunion

In February 2009, Faith No More announced that they were reforming for a tour and possibly new material, first as a footnote on a blurb for Patton's score for ''Crank: High Voltage'' and later as an official announcement on fnm.com. Their first gig on the road again was at the Brixton O2 Academy in London, where 1990's ''Live at the Brixton Academy'' was recorded, on June 10, 2009. They have played as one of three headliners at The Download Festival 2009, in Castle Donington, which was Faith No More's first time at the festival. At the festival they covered "Poker Face" by Lady Gaga with Patton mimicking her vocal style. Bassist Billy Gould has also stated that an American tour is "not out of the question". In June 2009 Faith No More announced that they will be headlining the NME stage at Reading & Leeds festival. On July 4, Faith No More performed a concert together at the Open'er festival in Kosakowo Airport near Gdynia, Poland.

Faith No More also played the large Roskilde Festival near the city of Roskilde, Denmark. Faith No More also performed in Portugal in Optimus Alive'10, where Mike Patton sang one song, "Evidence", completely in Portuguese. They had already played the same song completely in Italian on June 14, 2009, at the Rock in Idro Festival in Milan. 12 August 2009 was the date for FNM's first Turkish live appreance in Istanbul. Faith No More headlined the Australian Soundwave Festival in 2010. On the 27th of August 2009, Faith No More played in the Olympia Theatre in Dublin, Ireland and were supported by local band Adebisi Shank.

On September 1, 2009 Faith No More played at Israel Trade Fairs & Convention Center in Tel Aviv, Israel, supported by Monotonix and Dinosaur Jr. August 2009 Faith No More headlined the Radio 1/NME Stage at both Leeds & Reading Festival where they played the theme tune to popular UK Soap Eastenders as part of their setlist.

Most of the summer shows started with a cover of the song "Reunited" by Peaches & Herb.

Faith No More is still together as of July 2011.

Reactions to fame

Patton has garnered critical praise and has been made a heavy metal icon; however, Patton's reaction to this fame has been unconventional. He has acted irreverently towards the music industry, and expressed his distaste for the infamous lifestyles of rock stars. In a 1995 interview with the San Francisco Chronicle, he stated: "It's hard to see as much as you'd like to with our schedule on the road, but it's harder to do coke and fuck whores every night. Now that's a full time job." His attitude towards popular music is also evident in his songwriting, as Allmusic critic Cammila Albertson writes: "When Patton sings 'Roll it up and smoke it again/Bottoms up and drink it again/ Fix it up and shoot it again/ I can't believe I did it again,' (Mojo by Peeping Tom) he is keenly aware of the way it sounds for such an avant-garde composer as himself to recite perfect rock & roll cliches. His lyrics mock the self-important coolness of the music industry and self parody his own place in it." His contempt for the over-the-top antics of figures in popular music is often cited as the main reason that Patton has always been so guarded about his privacy and personal life. On the other hand, Mike Patton has stated that he enjoyed his time in Faith No More:

Personal life

Patton married Italian artist Titi Zuccatosta in 1994. They separated in 2001. During an appearance on the radio show, LOVELINE (Listen), Patton said that it was a case of two people wanting different things and hinted that his excessive work habits may have been a factor. "It's very hard. It's a daily struggle", he commented in regards to the rigors of juggling a busy music career and a marriage. "It had to happen... Even though we knew each other really well when we got married, it doesn't get easier." He later added, "We're trying this. See what happens. There's still hope." Patton used to own a home in Bologna, Italy (which he sold around the time of the break-up), and speaks fluent Italian. He was interviewed by music journalist Lucas H. Gordon and the answers were given by Patton in Italian.

Patton's right hand is permanently numb from an on-stage incident during his third concert with Faith No More, where he accidentally cut himself on a broken bottle and severed the tendons and nerves in his hand. He can use his hand, but he has no feeling in it (despite his doctor telling him the opposite would happen).

Discography

Filmography

1990 - ''Live at the Brixton Academy, London: You Fat Bastards'' by Faith No More (VHS)

1993 - Video Croissant by Faith No More (VHS)

1993 - Video Macumba - Short film compiled by Mike Patton containing abstract and extreme footage

1998 - Who Cares a Lot: Greatest Videos by Faith No More (VHS)

2002 - ''A Bookshelf on Top of the Sky: 12 Stories About John Zorn''

2004 - The Inner or Deep Part of an Animal or Plant Structure by Björk

2004 - ''Wamego: Making Movies Anywhere'' - Documentary on the making of ''Firecracker''

2005 - ''Firecracker'' - Frank/David

2006 - Live at the Brixton Academy, London: You Fat Bastards/Who Cares a Lot?: The Greatest Videos by Faith No More (double disc DVD compilation of previously released VHS titles)

2007 - ''Kaada/Patton Live'' - Live performance DVD

2007 - ''I Am Legend'' - Creature Vocals (voice) (credited as Michael A. Patton)

2008 - ''A Perfect Place'' - Short film soundtrack by Patton (Released with film as CD/DVD special edition)

2008 - ''Live From London 2006'' - Live DVD release of a performance by the Fantomas Melvins Big Band in London on May 1, 2006

2008 - Metalocalypse'' - Patton voices the character of reformed rocker Rikki Kixx on episodes "Snakes N Barrels II" part one and part two. This special 2 part, half hour presentation aired on The Cartoon Network August 24, 2008.

2009 - ''Crank: High Voltage'' - Film Score

2010 - ''Bunraku'' - Narrator

Video games

2007 - ''The Darkness'' - Voice of The Darkness (Starbreeze Studios)

2007 - ''Portal'' - Voice of the Anger Sphere (Valve Software)

2008 - ''Left 4 Dead'' - Infected voices (Valve Software)

2009 - ''Bionic Commando'' - Voice of Nathan Spencer - the Bionic Commando (Capcom)

2009 - ''Left 4 Dead 2'' - Infected voices (Valve Software)

2011 - ''The Darkness 2'' - Voice of The Darkness (Digital Extremes)

References

Zorn, John, ed. (2000). ''Arcana: Musicians on Music''. New York: Granary Books/Hips Road. ISBN 1-887123-27-X.

Gta Sanandreas - Midlife crisis Tony Hawk - Midlife crisis Thug2 - Midlife crisis

External links

Ipecac Recordings

Music Videos

Category:1968 births Category:Living people Category:American composers Category:American keyboardists Category:American male singers Category:American rock singers Category:American voice actors Category:Beatboxers Category:American experimental musicians Category:Experimental composers Category:Musicians from California Category:Melodica players Category:Faith No More members Category:Mr. Bungle members Category:Scat singers Category:People from Eureka, California Category:Tzadik Records artists

als:Mike Patton bg:Майк Патън ca:Mike Patton cs:Mike Patton da:Mike Patton de:Mike Patton es:Mike Patton fa:مایک پاتن fr:Mike Patton id:Mike Patton it:Mike Patton he:מייק פאטון hu:Mike Patton nl:Mike Patton ja:マイク・パットン no:Mike Patton pl:Mike Patton pt:Mike Patton ru:Паттон, Майк fi:Mike Patton sv:Mike Patton tr:Mike Patton

Coordinates	34°03′″N118°15′″N
Name	George Smith Patton, Jr.
Birth place	San Gabriel Township, California
Death place	Heidelberg, Germany
Placeofburial	American Cemetery and MemorialLuxembourg City, Luxembourg
Placeofburial label	Place of burial
Placeofburial coordinates
Nickname	Bandito, Old Blood and Guts, The Old Man
Allegiance	United States of America
Branch
Serviceyears	1909 – 1945
Rank
Commands	Machinegun Platoon/3/15th Cavalry RegimentK/3/15th Cavalry RegimentA/1/7th Cavalry RegimentHQs Troop/American Expeditionary Force302nd Tank Center1st Light Tank Battalion1st Light Tank Regiment1st Tank Brigade304th Tank Brigade3/3rd Cavalry Regiment5th Cavalry Regiment3rd Cavalry Regiment2/2nd Armored Division2nd Armored DivisionUS 1st Armored CorpsDesert Training CenterUS 1st Armored CorpsU.S. II CorpsUS 1st Armored CorpsU.S. Seventh ArmyU.S. Third ArmyU.S. Fifteenth Army
Battles	Mexican Revolution Battle of San Miguelito World War I Saint Mihiel Campaign Meuse-Argonne Campaign World War II North Africa Campaign Sicily Campaign Normandy Campaign Lorraine Campaign Ardennes Campaign
Awards	Distinguished Service Cross (2)Distinguished Service Medal (3)Silver Star (2)Legion of MeritBronze StarPurple HeartOrder of the BathOrder of the British Empire
Relations	Major General George Patton IV (son) General John K. Waters (Son in law)
Laterwork	}}

George Smith Patton, Jr. (November 11, 1885 – December 21, 1945) was a United States Army officer best known for his leadership while commanding corps and armies as a general during World War II. He was also well known for his eccentricity and controversial outspokenness.

Patton was commissioned in the U.S. Army after his graduation from the U.S. Military Academy at West Point in 1909. In 1916–17, he participated in the unsuccessful Pancho Villa Expedition, a U.S. operation that attempted to capture the Mexican revolutionary. In World War I, he was the first officer assigned to the new United States Tank Corps and saw action in France. In World War II, he commanded corps and armies in North Africa, Sicily, and the European Theater of Operations. In 1944, Patton assumed command of the U.S. Third Army, which under his leadership advanced farther, captured more enemy prisoners, and liberated more territory in less time than any other army in military history.

Early life and family

George Smith Patton Jr. was born in San Gabriel Township, California in 1885 (in what is now the city of San Marino), to George Smith Patton Sr. (1856–1927) and his wife Ruth Wilson (1861–1928). Although he was actually the third George Smith Patton, he was called Junior. The Pattons were an affluent family of Irish, Scottish, Scots-Irish and French ancestry.

As a boy, Patton read widely in the classics and military history. His father was a friend of John Singleton Mosby, the noted cavalry leader of the Confederate Army in the American Civil War who served first under J.E.B. Stuart and then as a guerrilla fighter. Patton grew up hearing Mosby's stories of his adventures, and longed to become a general himself.

Patton came from a military family, his ancestors including General Hugh Mercer of the American Revolution. His great uncle, Waller T. Patton, died of wounds received in Pickett's Charge during the Battle of Gettysburg. John M. Patton and Isaac Patton, also his great uncles, were colonels in the Confederate States Army. His great uncle William T. Glassell was a Confederate States Navy officer. Hugh Weedon Mercer, a Confederate general, was his close relative. John M. Patton, a great-grandfather, was a lawyer and politician who had served as acting governor of Virginia.

Patton's paternal grandparents were Colonel George Smith Patton and Susan Thornton Glassell. His grandfather, born in Fredericksburg, Virginia, graduated from Virginia Military Institute (VMI), Class of 1852, second in a class of 24. After graduation, George Smith Patton studied law and practiced in Charleston, Virginia (now West Virginia). When the American Civil War broke out, he served in the 22nd Virginia Infantry of the Confederate States of America. Colonel George S. Patton, his grandfather, was killed during the Battle of Opequon. The Confederate Congress had promoted Colonel Patton to brigadier general; however, at the time, he had already died of battle wounds, so that promotion was never official.

Patton's grandfather left behind a namesake son, born in Charleston, Virginia (now West Virginia). The second George Smith Patton (born George William Patton in 1856, changing his name to honor his late father in 1868) was one of four children. Graduating from the Virginia Military Institute in 1877, Patton's father served as Los Angeles County, California, District Attorney and the first City Attorney for the city of Pasadena, California and the first mayor of San Marino, California. He was a Wilsonian Democrat.

His maternal grandparents were Benjamin Davis Wilson, (December 1, 1811 to March 11, 1878), mayor of Los Angeles in 1851–1852 and the namesake of Southern California's Mount Wilson, and his second wife, Margaret Hereford. Wilson was a self-made man who was orphaned in Nashville, Tennessee, came to Alta California as a fur trapper and adventurer during the American Indian Wars before marrying Ramona Yorba, the daughter of a California land baron, Bernardo Yorba, and made his fortune through the wedding dowry, receiving Rancho Jurupa, settling what would become California's San Gabriel Valley, after the Mexican American War.

Patton married Beatrice Banning Ayer (January 12, 1886 – September 30, 1953), the daughter of wealthy textile baron Frederick Ayer, on May 26, 1910. They had three children, Beatrice Smith (March 19, 1911 – October 24, 1952), Ruth Ellen Patton Totten (February 28, 1915 – November 25, 1993), who wrote ''The Button Box: A Loving Daughter's Memoir of Mrs. George S. Patton'', and George Patton III (December 24, 1923 – June 27, 2004), who followed in his father's footsteps, attending West Point and eventually rising to the rank of Major General as an armor officer in the United States Army.

Education and early military service

Patton attended Virginia Military Institute for one year, where he rushed VMI's chapter of the Kappa Alpha Order. He then left VMI and enrolled in the United States Military Academy. The Academy required him to repeat his first "plebe" year because of his poor performance in mathematics. However, he did so with honors and was appointed Cadet Adjutant (the second highest position for a cadet), graduating in 1909 instead of 1908 and receiving his commission as a cavalry officer.

1912 Summer Olympics

Patton participated in the first-ever modern pentathlon at the 1912 Summer Olympics in Stockholm. He finished fifth overall. He placed seventh out of 37 contestants in the 300 meter freestyle swimming. He was fourth out of 29 fencers. In the equestrian cross-country steeplechase, he was among the riders who turned in perfect performances, but he placed sixth because of his time. Patton "hit the wall" from the finish line of the four kilometer cross-country footrace, then fainted after crossing the line at a walk; he finished third out of 15 contestants. He made the U.S. Modern Pentathlon team for the 1916 Summer Olympics, scheduled for Berlin, Germany, but the Games were canceled because of World War I.

Pistol shooting controversy

In pistol shooting, Patton placed 20th out of 32 contestants. He used a .38 caliber pistol, while most of the other competitors chose .22 caliber firearms. He claimed that the holes in the paper from his early shots were so large that some of his later bullets passed through them, but the judges decided he missed the target completely once. Modern competitions on this level frequently now employ a moving background to specifically track multiple shots through the same hole. There was much controversy, but the judges' ruling was upheld. Patton neither complained, nor made excuses. Patton's only comment was

Master of the Sword and the Patton Saber

Following the 1912 Olympics, Patton traveled with his family to Dresden, Berlin, and Nuremberg. Seeking the greatest swordsman in Europe to study with, Patton was told the "beau sabreur" of the French Army would be the one. Adjutant M. Clèry was a French "master of arms" and instructor of fencing at the Cavalry School at Saumur. Patton went to Saumur for intense study with the master. Upon his return, Patton wrote a report that was revised for the ''Army and Navy Journal''. Patton's first article for the ''Cavalry Journal'' appeared in the March 1913 issue. In the summer of 1913, after he advised the Ordnance Department on sword redesign, Patton was allowed to return to Saumur to study once again under Clèry.

Patton was made the Army's youngest-ever "Master of the Sword" at the Mounted Service School at Fort Riley, Kansas. While Master of the Sword, Patton became an instructor at Fort Riley and improved and modernized the Army's cavalry saber fencing techniques.

Earlier in the year, he assisted in the design of the Model 1913 Cavalry Saber. It had a large, basket-shaped hilt mounting a straight, double-edged, thrusting blade designed for use by light cavalry. Patton's 1914 manual "Saber Exercise" outlined a system of training for both mounted and on foot use of the saber. The weapon came to be known as the "Patton Saber." There is no one sword that this saber was modeled after. Patton suggested the revision from a curved sword and edge and cutting technique to a thrusting style of attack, following his extensive training in France. Patton's thoughts were expressed in his 1913 report "The Form and Use of the Saber":

The weapon was never used as intended. At the beginning of U.S. involvement in World War I, several American cavalry units armed with sabers were sent to the front, but they were held back. The nature of war had changed, making horse-mounted troops easy prey for enemy troops equipped with Gewehr 98 rifles and MG08 machine guns. Those cavalrymen who saw combat did so dismounted, using their horses only to travel. Patton instead adapted his style of move forward and attack technique to his use of tanks in battle. This became his trademark combat style in World War II.

Punitive Expedition into Mexico

During the Punitive Expedition of 1916, Patton was assigned to the 8th Cavalry Regiment at Fort Bliss, Texas. He served as aide to then-Brigadier General John J. Pershing in his pursuit of Pancho Villa, after Villa's forces had crossed into New Mexico, raided and looted the town of Columbus, and killed several Americans. Patton, accompanied by ten soldiers of the 6th Infantry Regiment, and using three armored cars, conducted the United States' first armored vehicle attack, and in the process killed two Mexican leaders, including "General" Julio Cardenas, commander of Villa's personal bodyguard who was shot by Patton himself. The bodies were brought back from San Miguelito to Pershing's headquarters strapped to the hoods of the vehicles in a manner similar to game animals brought back by hunters. For this action, as well as Patton's affinity for the Colt Peacemaker, Pershing titled Patton his "Bandido." Patton's success in this regard gained him a level of fame in the United States, and he was featured in newspapers across the nation.

World War I

At the outset of the U.S. entry into World War I, then-Major General John J. Pershing promoted Patton to the rank of captain. While in France, Patton requested a combat command. Pershing asked him to undertake the establishment of a Light Tank Training School for U.S. troops, to which he agreed. In November 1917, Patton left Paris and reported to General Garrard of the French Army. At Champlieu, Patton drove a Renault ''char d'assaut'' tank, testing its trench-crossing ability, and visited a Renault factory to observe the tanks being manufactured. Shortly after his arrival at Champlieu, the British launched what was then the largest armoured attack of the war at the Battle of Cambrai, and at the conclusion of his tour, on December 1, Patton went to Albert, from Cambrai, to be briefed on the recent attack by the chief of staff of the British Tank Corps, Colonel J. F. C. Fuller. Patton received his first ten tanks on March 23, 1918 at the Tank School and Centre, which he commanded, at Langres, Haute-Marne département. The only one with tank driving experience, Patton himself backed seven of the light, two-man Renault FT tanks off the train.

For his successes and his organization of the training school, Patton was promoted to major, lieutenant colonel and then colonel, U.S. National Army. In August 1918, he was placed in charge of the 1st Provisional Tank Brigade, re-designated the 304th Tank Brigade on November 6, 1918. Patton's Light Tank Brigade was part of Colonel Samuel Rockenbach's Tank Corps, which was in turn part of the American Expeditionary Force. (Patton was not in charge of the Tank Corps as has often been misreported.) The 304th Tank Brigade fought as part of the First United States Army.

Patton commanded American-crewed French Renault tanks at the Battle of Saint-Mihiel and in the Meuse-Argonne Offensive. On September 26, 1918, Patton was wounded in the left leg while leading six men and a tank in an attack on German machine guns near the town of Cheppy during the Meuse-Argonne Offensive. The only survivors were the tank crew, Patton and his orderly Private First Class Joe Angelo, who saved Patton and was awarded the Distinguished Service Cross. While Patton was recuperating from his wounds, hostilities ended with the armistice of November 11, 1918 (which happened to be Patton's 33rd birthday).

For his service in the Meuse-Argonne Operations, Patton received the Distinguished Service Cross and the Distinguished Service Medal, and was brevetted full colonel. For his combat wounds, he was presented the Purple Heart.

Inter-war years

While on duty in Washington, D.C., in 1919, Patton met Dwight D. Eisenhower, who would play an enormous role in Patton's future career. During their assignment at Fort Riley, Kansas, Patton and Eisenhower developed the armored doctrine which would be used by the US Army in World War II. In the early 1920s, Patton petitioned the U.S. Congress to appropriate funding for an armored force, but had little luck. Patton also wrote professional articles on tank and armored car tactics, suggesting new methods for their use. He also continued working on improvements to tanks, coming up with innovations in radio communication and tank mounts. However, the lack of interest in armor created a poor atmosphere for promotion and career advancement, so Patton transferred back to the horse cavalry.

Patton served in Hawaii before returning to Washington once again to ask Congress for funding for armored units. During his time in Hawaii, Patton was part of the military units responsible for the defense of the islands, and specifically wrote a defense plan anticipating an air raid against Pearl Harbor — 10 years before the attack by the Imperial Japanese Navy on December 7, 1941.

At the wedding of Patton's daughter Ruth Ellen (1940), a couple who knew Patton from Hawaii (Restarick and Eleanor Jones Withington) crashed the wedding, and explained they were in the area when they saw the wedding announcement and hoped Patton didn't mind them showing up uninvited. To this Patton unsheathed his sword and replied, "Restarick, if I'd found out you were within a hundred miles and not come, I'd have shoved this sword up your behind." The remark was typical of Patton.

In July 1932, Patton served under Army Chief of Staff General Douglas MacArthur as a major commanding 600 troops, including the 3rd Armored Cavalry Regiment. On July 28, MacArthur ordered these troops to advance on protesting veterans known as the "Bonus Army" in Washington, D.C. with tear gas and bayonets. One of the veterans dispersed by the cavalry was Joe Angelo, who had saved Patton's life in World War I. Patton was dissatisfied with MacArthur's conduct as he recognized the legitimacy of the veteran's complaints and had himself earlier refused to issue the order to employ armed force to disperse the veterans.

In the late 1930s, Patton was assigned command of Fort Myer, Virginia. Shortly after Germany's ''blitzkrieg'' attacks in Europe, Major General Adna Chaffee, the first Chief of the U.S. Army's newly-created Armored Force was finally able to convince Congress of the need for armored divisions. This led to the activation of the 1st and 2nd Armored Divisions in 1940. Colonel Patton was given command of the 2nd Armored Brigade, US 2nd Armored Division in July 1940. He became the assistant division commander the following October, and was promoted to brigadier general on the second day of that month. Patton served as the acting division commander from November 1940 until April 1941. He was promoted to major general on April 4 and made commanding general of the 2nd Armored Division seven days later.

World War II

During the buildup of the United States Army prior to its entry into World War II, Patton commanded the 2nd Armored Division, which performed with mixed results in 1941 in both the Louisiana Maneuvers and Carolina Maneuvers. The 2nd Armored was stationed at Fort Benning, Georgia, until the unit, along with its commander was ordered to the newly established Desert Training Center in Indio, California, by the Chief of the Armored Force, Major General Jacob L. Devers. Patton was subsequently appointed commander of the newly activated I Armored Corps by Devers, and he was in this position when the corps was assigned to Operation Torch, the invasion of North Africa. In preparation, Patton trained his troops in the Imperial Valley. He commenced these exercises in late 1941 and continued them well into the summer of 1942. Patton chose a expanse of unforgiving desert, known for its blistering temperatures, sandy arroyos and absolute desolation. It was a close match for the terrain Patton and his men would encounter during the campaigns in North Africa. Tank tracks, foxholes and spent shell casings can still be found in an area about southeast of Palm Springs.

From his first days as an armored division commander, Patton strongly emphasized the need for armored forces to stay in constant contact with the enemy, concluding that aggressive, fast-moving mechanized and armored forces disrupted enemy defensive preparations while presenting less of a target to enemy gunners. His instinctive preference for relentless offensive movement was typified by an answer Patton gave to war correspondents in a 1944 press conference. In response to a question on whether the Third Army's rapid offensive across France should be slowed to reduce the number of U.S. casualties, Patton replied "Whenever you slow anything down, you waste human lives."

North African campaign

In November 1942, Major General Patton commanded the Western Task Force of the U.S. Army, which landed on the coast of Vichy French-held Morocco in Operation Torch for the North African Campaign. Patton and his staff arrived in Morocco aboard the heavy cruiser USS ''Augusta'', which came under fire from the Vichy French battleship ''Jean Bart'' while entering the harbor of Casablanca. Casablanca fell after two days of fighting. So impressed was the Sultan of Morocco that he presented Patton with the special Order of Ouissam Alaouite, with the citation: "Les Lions dans leurs tanières tremblent en le voyant approcher" (The lions in their dens tremble at his approach).

Patton was one of the first American commanders in World War II to make full use of light Army observation aircraft to visit friendly troop forces as well as independently reconnoiter enemy positions. Flying with an Army pilot in a Taylorcraft L-2 or a Stinson L-5, Patton was able to inspect many more troop positions and headquarters in a day than could be accomplished by using a motor vehicle.

In 1943, following the defeat of the U.S. II Corps (then part of British 1st Army) by the German Afrika Korps, first at the Battle of Sidi Bou Zid and again at the Battle of the Kasserine Pass, General Dwight D. Eisenhower sent Major General Ernest Harmon to assess the II Corps.

On March 6, 1943, as a result of Harmon's report, Patton replaced Major General Lloyd Fredendall as commander of the II Corps. Patton was also promoted to lieutenant general. Soon thereafter, Patton had Omar Bradley reassigned to his corps as deputy commander. Thus began a long wartime association between the two different personalities.

It is said that his troops preferred to serve with him rather than his predecessor since they thought their chances of survival were higher under Patton. For instance, Patton required all personnel to wear steel helmets (even physicians in the operating wards) and required his troops to wear the unpopular lace-up canvas leggings and neckties since the leggings prevented injury from scorpions, spiders and rats which would climb up under soldiers' trousers. A system of fines was introduced to ensure all personnel shaved daily and observed other uniform requirements. While these measures may not have made Patton popular, they did tend to restore a sense of discipline and unit pride that may have been missing when Fredendall was still in command. In a play on his nickname, "Old Blood and Guts," troops joked that it was "our blood and his guts." This nickname however derives not from his casualty figures which were consistently lower than Bradley's, but from his days as Master of Sword when his colorful language about 'blood and guts' made an impression on junior officers.

The discipline Patton instilled paid off quickly. Patton found victory at the Battle of El Guettar. By mid-March 1943, the counter-offensive of the U.S. II Corps, along with the rest of the British 1st Army, pushed the Germans and Italians eastwards. Meanwhile the British Eighth Army, commanded by General Sir Bernard Law Montgomery, simultaneously pushed them westwards, effectively squeezing the Germans and Italians into a smaller and smaller portion of Tunisia and out of North Africa altogether by mid-May.

Sicily campaign

As a result of his performance in North Africa, Patton received command of the Seventh Army in preparation for the 1943 invasion of Sicily. The Seventh Army's mission was to protect the left (western) flank of the British Eighth Army as both advanced northwards towards Messina.

Officers quoted Patton's speech to them before the invasion of Sicily, referring to Italians and Germans:

The Seventh Army repulsed several German counterattacks in the beachhead area before beginning its push north. Meanwhile, the Eighth Army stalled south of Mount Etna in the face of strong German defenses. The Army Group commander, Harold Alexander, exercised only the loosest control over his two commanders. Montgomery therefore took the initiative to meet with Patton in an attempt to work out a coordinated campaign.

Patton formed a provisional corps under his Chief of Staff, and quickly pushed through western Sicily, liberating the capital, Palermo, and then swiftly turned east towards Messina. American forces liberated the port city in accordance with the plan jointly devised by Montgomery and Patton. However, the Italians and Germans evacuated all of their soldiers and much of their heavy equipment across the Strait of Messina to the Italian mainland under the cover of anti-aircraft artillery.

Slapping incident

The "slapping incident" of Private Charles H. Kuhl of August 3, 1943, nearly ended Patton's career.

On August 3, Patton was visiting wounded patients from the recent Sicilian campaign at the 15th Evacuation Hospital near Nicosia when he encountered 27-year-old Private Charles H. Kuhl of the 26th Infantry Regiment, 1st Infantry Division, sitting slouched on a stool midway through a tent ward filled with injured soldiers. Years later, Kuhl would affirm this version of his initial meeting with Patton, recalling that when Patton entered the hospital tent, "all the soldiers jumped to attention except me. I was suffering from battle fatigue and just didn't know what to do." When Patton asked Kuhl where he was hurt, Kuhl shrugged and replied that he was "nervous" rather than wounded, adding "I guess I can't take it." In response, Patton slapped Kuhl across the chin with his gloves, then grabbed him by the collar and dragged him to the tent entrance, shoving him out of the tent with a final kick to Kuhl's backside.

Although the Kuhl incident received the most publicity, Patton slapped and berated a second soldier, Private Paul G. Bennett of C Battery, 17th Field Artillery, 1st Infantry Division, under similar circumstances on August 10, 1943 at the 93rd Evacuation Hospital.

Patton's actions at the evacuation hospitals may have been motivated in part by an encounter with Gen. Clarence R. Huebner, the newly-appointed commander of the 1st Infantry Division in which Kuhl and Bennett both served. Patton had asked Huebner how things were going at the front. Huebner replied "The front lines seem to be thinning out. There seems to be a very large number of 'malingerers' at the hospitals, feigning illness in order to avoid combat duty."

A group of news reporters filed a report on the Kuhl slapping incident with Bedell Smith, Eisenhower's chief of staff. When General Eisenhower learned of the matter, he ordered Patton to make amends, after which, it was reported, "Patton's conduct then became as generous as it had been furious," and he apologized to the soldier "and to all those present at the time," The news reporters who had sent their report to Bedell Smith demanded that Patton be fired in exchange for killing the story, a demand which Eisenhower refused. Contrary to popular impression, Eisenhower never seriously considered removing Patton from duty in the ETO: "If this thing ever gets out, they'll be howling for Patton's scalp, and that will be the end of Georgie's service in this war. I simply cannot let that happen. Patton is indispensable to the war effort – one of the guarantors of our victory." Eventually the story of Kuhl's slapping was broken in the U.S. after newspaper columnist Drew Pearson revealed it on his November 21 radio program. Pearson's version not only conflated details of both slapping incidents but falsely reported that the private in question was visibly "out of his head", telling Patton to "duck down or the shells would hit him" and that in response "Patton struck the soldier, knocking him down." Pearson further stated that Patton had been "severely reprimanded" as a result of his actions. Pearson punctuated his broadcast by twice repeating the statement that Patton would never again be used in combat, despite the fact that Pearson had no factual basis for making such a prediction. In response, Allied Headquarters denied that Patton had received an official reprimand, but confirmed that Patton had slapped at least one soldier. Demands for Patton to be relieved and sent home were made in Congress and in news articles and editorials across the country. However, public reaction was largely sympathetic to Patton, and Herman F. Kuhl, Private Kuhl's father, even wrote his own congressman, stating that he forgave Patton for the incident and requesting that he not be disciplined.

After the film ''Patton'' was released in 1970, Charles H. Kuhl recounted the incident, stating that Patton had slapped him across the face and then kicked him as he walked away. "After he left, they took me in and admitted me in the hospital, and found out I had malaria," Kuhl noted, adding that when Patton apologized personally (at Patton's headquarters) "He said he didn't know that I was as sick as I was." Kuhl, who later worked as a sweeper for Bendix Corporation in Mishawaka, Indiana, added that Patton was "a great general" and added that "I think at the time it happened, he was pretty well worn out himself." Kuhl died on January 24, 1971.

After consulting Army Chief of Staff General George Marshall, Secretary of War Henry L. Stimson, and Assistant Secretary of War John J. McCloy, Eisenhower retained Patton in the European theater, though without a major command. Marshall and Stimson not only supported Eisenhower's decision, but defended it. In a letter to the Senate, Stimson stated that Patton must be retained because of the need for his "aggressive, winning leadership in the bitter battles which are to come before final victory."

Instead, General Omar Bradley was promoted to lieutenant general. In late 1943, Bradley moved to London as commander in chief of the American ground forces preparing to invade France in 1944. Bradley was later chosen to command the US 1st Army after D-Day. This decision was not based on the slapping incident alone, but also on confirmed intelligence that the Germans believed Patton would be leading the Allied assault into Nazi-held territory. Eisenhower used Patton's "furlough" as a trick to mislead the Germans as to where the next attack would be, since Patton was the general that the German High Command believed would lead the attack. During the ten months Patton was relieved of duty, his prolonged stay in Sicily was interpreted by the Germans as an indication of an upcoming invasion of southern France. Later, a stay in Cairo was viewed as heralding an invasion through the Balkans. German intelligence duly misinterpreted Patton's movements, shifting forces in response to those of Patton.

In the months before the June 1944 Normandy invasion, Patton gave public talks as commander of the fictional First U.S. Army Group (FUSAG), which was supposedly intending to invade France by way of Calais. This was part of a sophisticated Allied campaign of military disinformation, Operation Fortitude. The Germans mis-allocated their forces as a result, and were slow to respond to the actual landings at Normandy.

In a story recounted by Professor Richard Holmes, just three days before D-Day, during a reception in the London Ritz Hotel, Patton shouted across a crowded reception in the direction of paratroop commander General Jim Gavin, "I'll see you in the Pas De Calais, Gavin!" The ploy appears to have worked, as reports of overnight troop movements north from Normandy were detected by Bletchley Park code decrypts.

Normandy

Following the Normandy invasion, Patton was placed in command of the U.S. Third Army, which was on the extreme right (west) of the Allied land forces. His good friend Gilbert R. Cook was Deputy Commander whom Patton had later to relieve because of an illness, a decision which "shook him to the core." Patton's Third Army became operational at noon on August 1, 1944. Patton would lead the Third during the late stages of Operation Cobra, the campaign to break out from the Normandy hedgerows. The Third Army simultaneously attacked west (into Brittany), south, east towards the Seine, and north, assisting in trapping several hundred thousand German soldiers in the Chambois pocket, between Falaise and Argentan, Orne.

The Third Army typically employed forward scout units to determine enemy strength and positions. Each column was protected by a standing patrol of three to four P-47 fighter-bombers as a combat air patrol (CAP). Self-propelled artillery moved with the spearhead units and was sited well forward, ready to engage protected German positions with indirect fire. Light aircraft such as the L-4 Piper Cub served as artillery spotters and provided airborne reconnaissance. Once located, the armored infantry would attack using tanks as infantry support. Each vehicle would alternate its machine guns and/or cannon to the left or right respectively, firing continuously to cover the flanks on both sides of the column and suppress enemy counterfire. The U.S. .50 caliber M2 Browning heavy machine gun proved most effective in this role, often flushing out and killing German panzerfaust teams waiting in ambush as well as breaking up German infantry assaults against the armored infantry. In its advance from Avranches to Argentan the Third Army advanced unopposed over vast distances, covering in just two weeks. The speed of the advance forced Patton's units to rely largely on air reconnaissance and tactical air support. Flexibility, improvisation, and adaption were cardinal requirements for Third Army supply echelons of an armored division seeking to exploit a breakthrough. The Signal Section identified required radio nets, mapped circuits and obtained applicable supplies. The Combat Engineers conducted analyses of bridge requirements, road engineering studies, traffic circulation plans, supply requirements, and survey and map coverage for the proposed advance. Patton even read ''The Norman Conquest'' by Edward A. Freeman, "paying particular attention to the roads William the Conqueror used in his operations in Normandy and Brittany."

Patton's forces were part of the Allied forces that freed northern France, bypassing Paris. The city itself was liberated by the French 2nd Armored Division under French General Leclerc, insurgents who were fighting in the city, and the US 4th Infantry Division. The French 2nd Armored Division had recently been transferred from the 3rd Army, and many of the unit's soldiers believed they were still part of the latter.

Lorraine

General Patton's offensive, however, came to a screeching halt on August 31, 1944, as the Third Army literally ran out of fuel near the Moselle River, just outside of Metz, France. One explanation for this was that Patton's ambition was to conquer Germany and he refused to recognize that he was engaged in a secondary line of attack. Others suggest that General John C.H. Lee, commander of the Zone of Communication, chose that time to move his headquarters to the more comfortable environs of Paris. Some 30 truck companies were diverted to that end, rather than providing support to the fighting armies.

Patton expected that the Theater Commander would keep fuel and supplies flowing to support successful advances. However, Eisenhower favored a "broad front" approach to the ground-war effort, believing that a single thrust would have to drop off flank protection, and would quickly lose its punch. Still, within the constraints of a very large effort overall, Eisenhower gave Montgomery and his 21st Army Group a strong priority for supplies for Operation Market Garden. The combination of Montgomery being given priority for supplies, and diversion of resources to moving the Communications Zone, resulted in the Third Army running out of gas in Alsace-Lorraine while exploiting German weakness. In late September, a large German panzer counter attack sent expressly to stop the advance of Patton's Third Army was defeated by the 4th Armored Division at the Battle of Arracourt. Despite the victory, the Third Army stayed in place as a result of Eisenhower's order. Ironically, the Germans believed this was because their counterattack had been successful.

Patton's rapid drive through the Lorraine demonstrated his keen appreciation for the technological advantages of the U.S. Army. The major US and Allied advantages were in mobility and air superiority. The U.S. Army had a greater number of trucks, more reliable tanks, and better radio communications, which all contributed to a superior ability to operate at a high tempo. However, probably the key to Patton's success compared to all of the other U.S. and British forces, which had similar advantages, was his intensive use of close air support; the Third Army had by far more G-2 officers at headquarters specifically designated to coordinate air strikes than any other army. Third Army's attached close air support group was XIX Tactical Air Command, commanded by Gen. Otto P. Weyland. Developed originally by Gen. Elwood Quesada of IX TAC for the First Army at Operation Cobra the technique of "armored column cover" whereby close air support was directed by an air traffic controller in one of the attacking tanks was used extensively by the Third Army. In addition, because Patton's rapid drive resulted in a salient that was vulnerable to flanking attacks and getting trapped by the Germans, Weyland and Patton developed the concept of using intensive aerial armed reconnaissance to protect the flanks of this salient. Microwave Early Warning (MEW) radar, another technique pioneered by Quesada, was also used by XIX TAC to both cover against Luftwaffe attacks and to vector flights already in the air to new sites as an air traffic control radar. As a result of the close cooperation between Patton and Weyland, XIX TAC would end up providing far more air sorties for ground support for the Third Army than the other attached Tactical Air Commands would for the First and Ninth Armies. Despite their success, however, Eisenhower had faith only in the traditional method of advancing across a broad front to avoid the problem of flanking attacks, which most account for the decision to halt the Third Army.

The halt of the Third Army during the month of September was enough to allow the Germans to further fortify the fortress of Metz. In October and November, the Third Army was mired in a near-stalemate with the Germans, with heavy casualties on both sides. By November 23, however, Metz had finally fallen to the Americans, the first time the city had been taken since the Franco-Prussian War.

Battle of the Bulge

In late 1944, the German army launched a last-ditch offensive across Belgium, Luxembourg, and northeastern France, popularly known as the Battle of the Bulge, nominally led by German Field Marshal Gerd von Rundstedt. On December 16, 1944, the German army massed 29 divisions (totaling some 250,000 men) at a weak point in the Allied lines and made massive headway towards the Meuse River during one of the worst winters Europe had seen in years. General Eisenhower called a meeting of all senior Allied commanders on the Western Front to a headquarters near Verdun, France, on the morning of December 19 to plan strategy and a response to the German assault.

At the time, Patton's Third Army was engaged in heavy fighting near Saarbrücken. Guessing the intent of the Allied command meeting, Patton ordered his staff to make three separate operational contingency orders to disengage elements of the Third Army from its present position and begin offensive operations towards several objectives in the area of the Bulge occupied by German forces. At the Supreme Command conference, General Eisenhower led the meeting, which was attended by General Patton, General Bradley, General Jacob Devers, Major General Sir Kenneth Strong, Deputy Supreme Commander Arthur Tedder, and a large number of staff officers. Eisenhower commenced the meeting by announcing that the German offensive was to be viewed as an opportunity, not as a disaster, and that he wanted to see only "cheerful faces."

When Eisenhower asked Patton how long it would take him to disengage six divisions of his Third Army and commence a counterattack north to relieve the 101st Airborne, Patton replied, "As soon as you're through with me." Patton then clarified that he had already worked up an operational order for a counterattack by three full divisions on December 21, then only 48 hours away. Eisenhower was incredulous: "Don't be fatuous, George. If you try to go that early you won't have all three divisions ready and you'll go piecemeal." Patton replied that his staff already had a contingency operations order ready to go. Still unconvinced, Eisenhower ordered Patton to attack the morning of December 22, using at least three divisions. Patton strode from the conference room, located a field telephone, and upon reaching his command, uttered two words: "Play ball". This code phrase initiated a prearranged operational order with Patton's staff, mobilizing three divisions–the U.S. 4th Armored Division, the U.S. 80th Infantry Division, and the U.S. 26th Infantry Division–from the Third Army and moving them north towards Bastogne. The operations order included order of battle, road deployment order, fuel, resupply, security, and clearance of the road net. Within a few days, more than 133,000 Third Army vehicles were re-routed into an offensive that covered a combined distance of 1.5 million miles, followed by supply echelons carrying some 62,000 tons of supplies.

On December 21 Patton met with General Bradley to go over the impending advance: "Brad, this time the Kraut's stuck his head in the meatgrinder, and I've got hold of the handle."

Desiring good weather for his advance, which would permit close ground support by USAAF tactical aircraft, Patton ordered the Third Army chaplain, Colonel James O'Neill, to compose a suitable prayer: "Almighty and most merciful Father, we humbly beseech Thee, of Thy great goodness, to restrain these immoderate rains with which we have had to contend. Grant us fair weather for Battle. Graciously hearken to us as soldiers who call upon Thee that, armed with Thy power, we may advance from victory to victory and crush the oppression and wickedness of our enemies, and establish Thy justice among men and nations. Amen." When the weather cleared soon after, Patton awarded O'Neill a Bronze Star on the spot.

During the advance, Patton led his divisions from the front, frequently leapfrogging ahead in his command car, then stopping to urge the men on. As one tank destroyer sergeant related: "On the way to Bastogne, we would see Patton along the side of the road waving us on. I don't know how he got ahead of us all the time, but he did. Patton was right there breaking it up and getting things moving again. He was a relentless man...and a great general. Patton had a theory that the Germans didn't shoot as well on the run. That's why he never wanted to stop. The only time he stopped in the field was when he ran out of gas."

On December 26, 1944, the first spearhead units of the Third Army's U.S. 4th Armored Division reached Bastogne, opening a corridor for relief and resupply of the besieged forces. Patton's ability to disengage six divisions from frontline combat during the middle of winter, then wheel north to relieve besieged Bastogne was one of his most remarkable achievements during the war. Author John MacDonald cites it as one of the greatest extant examples of the mastery of military logistics, stating, "probably his greatest military achievement, unsurpassed at the time, was the logistic repositioning, within twenty-four hours, of a whole army corps at the Battle of the Bulge." Patton certainly thought so, claiming that the relief of Bastogne was "the most brilliant operation we have thus far performed, and it is in my opinion the outstanding achievement of the war. ''This is my biggest battle.''"

Crossing of the Rhine

By February, the Germans were in full retreat and Patton had pushed units into the Saarland. Once again, however, Patton found other commands given priority on gasoline and supplies. Field Marshal Montgomery suggested deprecatingly that Patton's forces be limited to holding a defensive line at the Rhine River. However, Patton had no intention of being left behind, and promptly began initiating several "reconnaissances in force". The 5th Mechanized Infantry Division of the Third Army crossed the Rhine at Oppenheim on the night of March 22, 1945, thirty-six hours ahead of Montgomery's Rhine crossing, Operation Varsity. To obtain gasoline and supplies, Third Army Ordnance units passed themselves off as First Army personnel, in one incident securing thousands of gallons of gasoline from a First Army gasoline dump. Within a day, Patton's forces had established a six-mile (10 km) deep bridgehead, after capturing 19,000 demoralized German troops.

Task Force Baum

On March 26, 1945, Patton sent Task Force Baum, consisting of 314 men, 16 tanks, and assorted other vehicles, 50 miles (80 km) behind enemy lines to liberate an Allied POW camp, OFLAG XIII-B near Hammelburg, some 80 km (50 miles) behind the German lines. One of the inmates was Patton's son-in-law, Lieutenant Colonel John K. Waters. The raid was an utter fiasco. Only 35 men made it back; the rest were either killed or captured, and all 57 vehicles were lost. Waters himself was hit by friendly aircraft fire and had to be left at the camp. When Eisenhower learned of the secret mission, he was furious.

Patton later reported it was the only mistake he made during World War II. He felt the correct decision was to have sent a Combat Command, about three times larger.

Final offensive operations

On April 14, 1945 Patton was promoted to a full General with a four-star rank, a promotion long advocated by Secretary of War Stimson in recognition of Patton's battle accomplishments during 1944. Patton's operations staff was drafting plans to take Prague, when Eisenhower, under pressure from the Soviets, ordered American forces in Czechoslovakia to stop short of the city limits. Patton's troops liberated Pilsen, on May 6, 1945, and most of western Bohemia.

In its advance from the Rhine to the Elbe, Patton's Third Army captured of enemy territory. Its losses were by far the lightest of any Third Army operation: 2,102 killed, 7,954 wounded, and 1,591 missing. Enemy losses in the campaign totaled 20,100 killed, 47,700 wounded, and 653,140 captured. By comparison, the Third Army suffered 16,596 killed, 96,241 wounded, and 26,809 missing in action for a total of 139,646 men, a ratio of enemy to U.S. losses of nearly thirteen to one.

June 1945 visit to California

Largely overlooked in history is the warm reception that Patton received on June 9, 1945, when he and Army Air Forces Lieutenant General Jimmy Doolittle were honored with a parade through Los Angeles and a reception at the Los Angeles Memorial Coliseum before a crowd of over 100,000 people. The next day, Patton and Doolittle toured the metropolitan Los Angeles area. Patton spoke in front of the Burbank City Hall and at the Rose Bowl in Pasadena. He wore his helmet with a straight line of stars, chest full of medals, and two ivory-handled (not pearl, as is often incorrectly asserted) pistols. He punctuated his speech with some of the same profanity that he had used with the troops. He spoke about conditions in Europe and the Russian allies to the adoring crowds. This may be the only time in America when civilians, en masse, heard and saw the famous warrior on the podium.

During this visit, Patton quietly donated an original copy of the 1935 Nuremberg Laws, which he had smuggled out of Germany in violation of JCS 1067, to the Huntington Library, a repository of historical original papers, books, and maps, in San Marino. Patton instructed physicist Robert Millikan, then the chairman of the board of trustees of the Huntington Library, to make no official record of the transaction, and to keep their possession of the materials secret during Patton's lifetime. The Huntington Library retained the Nuremberg Laws in a basement vault in spite of a legal instruction in 1969 by the general's family to turn over all of his papers to the Library of Congress. On June 26, 1999, Robert Skotheim, then the president of the Huntington Library, announced that the Library was to permanently lend the Nuremberg Laws to the Skirball Cultural Center in Los Angeles. On August 25, 2010, the National Archives announced that the Nuremberg Laws would be transferred from the Huntington Library to their collection.

Road accident and death

On December 9, 1945, Patton was severely injured in a road accident. He and his chief of staff, Major General Hobart R. "Hap" Gay, were on a day trip to hunt pheasants in the country outside Mannheim, Germany. Their 1938 Cadillac Model 75 (a full size Cadillac Series 70 V-8 car) was driven by Private First Class Horace L. Woodring (1926–2003), Patton sat in the back seat on the right side, with Gay on his left, as per custom. At 11:45 near Neckarstadt (Mannheim-Käfertal), a 2½ ton GMC truck driven by Technical Sergeant Robert L. Thompson made a left turn in front of Patton's Cadillac. Patton's car hit the front of the truck, at a low speed.

At first the crash seemed minor, the vehicles were hardly damaged, no one in the truck was hurt, and Gay and Woodring were uninjured. However, Patton was leaning back with trouble breathing; he had been thrown forward, causing his head to strike a metal part of the partition between the front and back seats. This impact inflicted a severe cervical spinal cord injury. Paralyzed from the neck down, he was rushed to the military hospital in Heidelberg. Patton died of a pulmonary embolism on December 21, 1945. The funeral service was held at the Christ Church (Christuskirche) in Heidelberg-Südstadt.

This incident was dramatized in the made for TV movie ''The Last Days of Patton'' in 1986 with George C. Scott reprising his role as Patton.

Patton was buried at the Luxembourg American Cemetery and Memorial in Hamm, Luxembourg along with other members of the Third Army, as per Patton's request to "be buried with my men." On March 19, 1947, his body was moved from the original grave site in the cemetery to its current prominent location at the head of his former troops. A cenotaph was placed at the Wilson-Patton family plot at the San Gabriel Cemetery in San Gabriel, California, adjacent to the Church of Our Saviour (Episcopal), where Patton was baptized and confirmed. In the narthex of the sanctuary of the church is a stained glass window honor which features, among other highlights of Patton's career, a picture of him riding in a tank. A statue of Patton was placed on the grounds of the church. Patton's car was repaired and used by other officers. The car is now on display with other Patton artifacts at the General George Patton Museum at Fort Knox, Kentucky.

Criticism and controversies

Patton's problems with humor, his image, and the press

Unlike Dwight D. Eisenhower, who was popular with troops partly for his self-effacing humor, Patton disliked jokes aimed at himself, feeling that accepting such jokes would decrease the respect which he felt that troops should have toward their commanders.

Patton reportedly had the utmost respect for the men serving in his command, particularly the wounded. However, he tended to classify cases of psychological battlefield breakdown as malingering. Many of Patton's directives on caring for the enlisted men under his command, such as ordering that captured supplies of enemy food and liquor be delivered to frontline units were overlooked in the media in favor of more popular news items, such as his system of fines for officers and men who failed to shave daily and wear helmets and leggings at all times. The fighting elements of Patton's Third Army had guaranteed mail deliveries, priority on hot chow and showers, regular uniform issues, plus liberal distribution of passes and unit rotations out of the line. The ''Stars and Stripes'' cartoonist, Sergeant Bill Mauldin, who habitually portrayed front line infantry as exhausted, begrimed footsloggers ''Willie and Joe'' came in for special criticism, even prompting Patton to summon Sergeant Mauldin to his headquarters, where Patton unsuccessfully attempted to convince Mauldin into drawing a cleaned-up version of the popular comic strip.

Patton was capable of the occasional blunt witticism: "The two most dangerous weapons the Germans have are our own armored halftrack and jeep. The halftrack because the boys in it go all heroic, thinking they are in a tank. The jeep because we have so many God-awful drivers." During the Battle of the Bulge, he famously remarked that the Allies should "let the sons-of-bitches [Germans] go all the way to Paris, then we'll cut 'em off and round 'em up!" He also suggested facetiously that his Third Army could "drive the British [his allies] back into the sea for another Dunkirk."

While Patton has a reputation today as a senior general who was both impatient and impulsive, with little tolerance for officers who had failed to succeed on the battlefield, the truth is somewhat different. Compared to Omar Bradley, Patton actually fired only one general during the entire war, Orlando Ward, and only after two warnings, whereas Bradley sacked numerous generals during the war.

Patton deliberately cultivated a flashy, distinctive image in the belief that this would motivate his troops. He was usually seen wearing a highly polished helmet, riding pants, and high cavalry boots. He carried flashy ivory-handled, nickel-plated revolvers as his most famous sidearms (a Colt Single Action Army .45 "Peacemaker" and later also a S&W; Model 27 .357). His vehicles carried over-sized rank insignia and sirens. His speech was riddled with profanities. While Patton had many detractors in the press, he also received praise from others, including a tribute from a UPI writer who wrote, "Gen. George S. Patton believed he was the greatest soldier who ever lived. He made himself believe he would never falter through doubt. This absolute faith in himself as a strategist and master of daring infected his entire army, until the men of the second American corps in Africa, and later the third army in France, believed they could not be defeated under his leadership."

After the German surrender

After the surrender of May 8, 1945, eliminated the threat of Nazi Germany, Patton was quick to assert the Soviet Union would cease to be an ally of the United States. He was concerned that some 25,000 American POWs had been liberated from POW camps by the Soviets, but never returned to the US. In fact, he urged his superiors to evict the Soviets from central and eastern Europe. Patton thought that the Red Army was weak, under-supplied, and vulnerable, and the United States should act on these weaknesses before the Soviets could consolidate their position. In this regard, he told Undersecretary of War Robert P. Patterson that the "point system" being used to demobilize Third Army troops was destroying it and creating a vacuum that the Soviets would exploit. "Mr. Secretary, for God's sake, when you go home, stop this point system; stop breaking up these armies," Patton pleaded. "Let's keep our boots polished, bayonets sharpened, and present a picture of force and strength to these people, the Soviets. This is the only language they understand." Asked by Patterson — who became Secretary of War a few months later — what he would do, Patton replied: "I would have you tell the Red Army where their border is, and give them a limited time to get back across. Warn them that if they fail to do so, we will push them back across it."

On a personal level, Patton was disappointed by the Army's refusal to give him a combat command in the Pacific Theater of Operations. Unhappy with his role as the military governor of Bavaria and depressed by his belief that he would never fight in another war, Patton's behavior and statements became increasingly erratic. Various explanations beyond his disappointments have been proposed for Patton's behavior at this point. Carlo D'Este, in ''Patton: A Genius for War'', writes that "it seems virtually inevitable  ... that Patton experienced some type of brain damage from too many head injuries" from a lifetime of numerous auto- and horse-related accidents, especially one suffered while playing polo in 1936.

Many of the controversial opinions he expressed were common (if not exactly popular) at the time and his outspoken opposition to post-surrender denazification is still widely debated today. Many still laud his generous treatment of his former German enemies and his early recognition of the Soviet threat, while detractors say his protests reflect the views of a bigoted elitist. Whatever the cause, Patton found himself once again in trouble with his superiors and the American people. While speaking to a group of reporters, he compared the Nazis to losers in American political elections, and that being a Nazi in Germany was, "like being a Democrat in the States." Patton was soon relieved of command of Third Army and transferred to the Fifteenth Army, a paper command preparing a history of the war.

Attitudes on race and nationality

Patton's attitude toward minorities varied depending on time and circumstance, with military necessity being of particular importance.

Patton stated that performance was more important than race or religious affiliation: "I don't give a damn who the man is. He can be a nigger or a Jew, but if he has the stuff and does his duty, he can have anything I've got. By God! I love him."

Later, Patton addressed a group of African-American tankers, saying:

Patton also insisted on the assignment of some black officers as judges in military tribunals involving black defendants, and he spent more time with his African-American aide, Sergeant Meeks, than with nearly anyone else while in Europe, developing a relationship of mutual respect that transcended that of a general with his valet. Patton disliked the British, but appreciated Montgomery's organizational abilities more than either Eisenhower or Bradley did.

Patton was horrified at what he found when his Third Army liberated Buchenwald concentration camp. Local German citizens claimed that they didn't know what was going on, though at least a few admitted to knowing of the atrocities but insisted they had been powerless to stop it. He ordered American troops to round up the approximately 2,000 local Germans and march them through the camps so they could see the atrocities firsthand.

Though many of his attitudes were common in his day, as with all of his opinions, he was often exceptionally blunt in his expression of them. He once wrote:

After reading the Koran and observing North Africans, he wrote to his wife, "Just finished reading the Koran — a good book and interesting." Patton had a keen eye for native customs and methods, wrote knowingly of local architecture, even rated the progress of word-of-mouth rumor in Arab country at 40–60 miles a day. In spite of his regard for the Koran, he concluded, "To me it seems certain that the fatalistic teachings of Mohammad and the utter degradation of women is the outstanding cause for the arrested development of the Arab. . . . Here, I think, is a text for some eloquent sermon on the virtues of Christianity."

Relations with Eisenhower

The relationship between George S. Patton and Dwight Eisenhower has long been of interest to historians in that the onset of World War II completely reversed the roles of the two men in the space of just under two years. When Patton and Eisenhower met in the mid 1920s, Patton was six years Eisenhower's senior in the Army and Eisenhower saw Patton as a leading mind in tank warfare, as both men had strong interest in tank warfare. During the inter-war period, budget cuts to the U.S. Army caused by the Great Depression resulted in a significant decline of available funding for tank development.

Between 1935 and 1940, Patton and Eisenhower developed a very close friendship to the level where the Patton and Eisenhower families were spending summer vacations together. In 1938, Patton was promoted to full colonel and Eisenhower, then still a lieutenant colonel, openly admitted that he saw Patton as a friend, superior officer, and mentor.

Upon the outbreak of World War II, Patton's expertise in mechanized warfare was recognized by the Army, and he was quickly made a brigadier general and, less than a year later, a major general. In 1940, Lt. Col. Eisenhower petitioned Brigadier General Patton, offering to serve under the tank corps commander. Patton accepted readily, stating that he would like nothing better than for Eisenhower to be placed under his command.

George Marshall, recognizing that the coming conflict would require all available military talent, had other plans for Eisenhower. In 1941, after five years as a relatively unknown lieutenant colonel, Eisenhower was promoted to colonel and then again to brigadier general in just 6 months time. Patton was still senior to Eisenhower in the Regular Army, but this was soon not the case in the growing conscript army (known as the Army of the United States). In 1942, Eisenhower was promoted to major general and, just a few months later, to lieutenant general—outranking Patton for the first time. When the Allies announced the invasion of North Africa, Major General Patton suddenly found himself under the command of his former subordinate, now one star his superior.

In 1943, Patton became a lieutenant general one month after Eisenhower was promoted to full (four-star) general. Patton was unusually reserved in never publicly commenting on Eisenhower's rapid rise. Patton also reassured Eisenhower that the two men's professional relationship was unaffected. Privately however, Patton was often quick to remind Eisenhower that his permanent rank in the Regular Army—both men were still colonels there throughout 1943—predated Eisenhower's.

When Patton came under criticism for the "Sicily slapping incident" (see above), Eisenhower met privately with Patton and reprimanded him.

Eisenhower is also credited with giving Patton a command in France, after other powers in the Army had relegated Patton to various unimportant duties in England. It was in France that Patton found himself in the company of another former subordinate, Omar Bradley, who had also become his superior. As with Eisenhower, Patton behaved with professionalism and served under Bradley with distinction.

After the close of World War II, Patton (now a full general) became the occupation commander of Bavaria, and made arrangements for saving the world-famous Lipizzaner stallions of Vienna, fearing that the Red Army would slaughter the horses for food. Patton was relieved of duty after openly revolting against the punitive occupation directive JCS 1067. His view of the war was that with Hitler gone, the German army could be rebuilt into an ally in a potential war against the Russians, whom Patton notoriously despised and considered a greater menace than the Germans. During this period, he wrote that the Allied victory would be in vain if it led to a tyrant worse than Hitler and an army of "Mongolian savages" controlling half of Europe. Eisenhower had at last had enough, relieving Patton of all duties and ordering his return to the United States. When Patton openly accused Eisenhower of caring more about a political career than his military duties, their friendship effectively came to an end.

In addition, Patton was highly critical of the victorious Allies use of German forced labor. He commented in his diary "I'm also opposed to sending PW's to work as slaves in foreign lands (in particular, to France) where many will be starved to death." He also noted "It is amusing to recall that we fought the revolution in defense of the rights of man and the civil war to abolish slavery and have now gone back on both principles." (See also ''Rheinwiesenlager'').

Patton as viewed by his contemporaries

On February 1, 1945 Eisenhower wrote a memo ranking the military capabilities of his subordinate American generals in the ETO. Army General Omar Bradley and Army Air Force General Carl Spaatz shared the number one position, while Walter Bedell Smith, (a staff officer with no field command experience during the war), was ranked number 2. Eisenhower ranked Patton at a distant number 3. Eisenhower revealed his reasoning in a 1946 review of the book ''Patton and his Third Army'': "George Patton was the most brilliant commander of an army in the open field that our or any other service produced. But his army was part of a whole organization and his operations part of a great campaign." Eisenhower believed that other generals such as Bradley should be given the credit for planning the successful Allied campaigns across Europe in which Patton was merely "a brilliant executor". Eisenhower once remarked, "George, you are a great leader, but a poor planner." Patton shot back, "Except for Operation Torch, which I planned and which was a great success, I have never been given the chance to plan."

Notwithstanding Eisenhower's estimation of Patton's abilities as a strategic planner, his overall view of Patton's military value in achieving Allied victory in Europe can best be seen in Eisenhower's refusal to even consider sending Patton home after the 'slapping incident' of 1943. As Assistant Secretary of War John J. McCloy told Eisenhower: "Lincoln's remark after they got after Grant comes to mind when I think of Patton – 'I can't spare this man, he fights'." After Patton's death, Eisenhower would write his own tribute: "He was one of those men born to be a soldier, an ideal combat leader...It is no exaggeration to say that Patton's name struck terror at the hearts of the enemy." It was well known that the two men were polar opposites in personality, and there is considerable evidence that Bradley disliked Patton both personally and professionally. Patton in turn resented Bradley's frequent "borrowing" of Patton's own ideas and operational concepts to convert into war plans for which Bradley got the credit. Patton's diary reports, "I do not want any more of my ideas used without credit to me, as happens when I give them orally."

President Franklin D. Roosevelt appeared to greatly esteem Patton and his abilities, stating "he is our greatest fighting general, and sheer joy." On the other hand, Roosevelt's successor, Harry S. Truman, appears to have taken an instant dislike to Patton, at one point comparing him to George Armstrong Custer.

For the most part, British commanders did not hold Patton in high regard. Field Marshal Alan Brooke noted in January 1943 that "I had heard of him, but I must confess that his swashbuckling personality exceeded my expectation. I did not form any high opinion of him, nor had I any reason to alter this view at any later date. A dashing, courageous, wild and unbalanced leader, good for operations requiring thrust and push but at a loss in any operation requiring skill and judgment." One possible exception was none other than Field Marshal Bernard Montgomery. Although the latter's rivalry with Patton was well known, Montgomery appears to have actually admired Patton's ability to command troops in the field, if not his strategic judgment.

Other Allied commanders were more impressed, the Free French in particular. General Henri Giraud was incredulous when he heard of Patton's dismissal by Eisenhower in late 1945, and invited him to Paris to be decorated by President Charles de Gaulle at a state banquet. At the banquet, President de Gaulle gave a speech placing Patton's achievements alongside those of Napoleon. Soviet leader Joseph Stalin was apparently an admirer, stating that the Red Army could neither have planned nor executed Patton's rapid armored advance across France.

Patton as viewed by the enemy

From 1943 on, it was clear that a consensus existed in the German Army officer corps that of all Allied ground force commanders, the enemy general they feared the most was Patton. Adolf Hitler himself was impressed by Patton, reportedly calling him "that crazy cowboy general", and "the most dangerous man [the Allies] have." Generaloberst Alfred Jodl, chief of staff of the German Army, stated that Patton "was the American Guderian. He was very bold and preferred large movements. He took big risks and won big successes.” Generalfeldmarschall Albert Kesselring noted that “Patton had developed tank warfare into an art, and understood how to handle tanks brilliantly in the field. I feel compelled, therefore, to compare him with Generalfeldmarschall Rommel, who likewise had mastered the art of tank warfare. Both of them had a kind of second sight in regard to this type of warfare." Referring to the escape of the ''Afrika Korps Panzerarmee'' after the battle of El Alamein, General Fritz Bayerlein opined that "I do not think that General Patton would let us get away so easily." Oberstleutnant Horst Freiherr von Wangenheim, operations officer of the 277th Volksgrenadier Division, stated that "General Patton is the most feared general on all fronts. [His] tactics are daring and unpredictable...He is the most modern general and the best commander of [combined] armored and infantry forces." After the war, General der Infanterie Günther Blumentritt revealed that "We regarded Patton extremely highly, as the most aggressive Panzer-General of the Allies. A man of incredible initiative and lightning-like action." General der Panzertruppen Hasso von Manteuffel, who had fought both Soviet and Anglo-American tank commanders, agreed: "Patton! No doubt about this. He was a brilliant panzer army commander."

In an interview conducted for ''Stars and Stripes'' just after his capture, Field Marshal Gerd von Rundstedt summed up the predominant German view of the American general: "Patton," Rundstedt concluded simply, "he is your best."

''Patton'', the film

Patton was the focus of the epic 1970 Academy Award-winning film ''Patton'', with the title role played by George C. Scott in an iconic, Academy Award winning performance. The film was a huge commercial success, and spawned fierce critical debates over the accuracy of its portrayal of General Patton.

Screenwriters Francis Ford Coppola and Edmund H. North wrote most of the film based on two biographies, General Bradley's ''A Soldier's Story'' and Ladislas Farago's ''Patton: Ordeal and Triumph''. General Bradley also served as a military advisor and consultant to the film's producers. As the film was made without access to General Patton's diaries or any information from his family, it largely relied upon observations by Bradley and other military contemporaries when attempting to reconstruct Patton's thoughts and motives. In a review of the film ''Patton'', S.L.A. Marshall, who knew both Patton and Bradley, stated that "The Bradley name gets heavy billing on a picture of [a] comrade that, while not caricature, is the likeness of a victorious, glory-seeking buffoon...Patton in the flesh was an enigma. He so stays in the film...Napoleon once said that the art of the general is not strategy but knowing how to mold human nature...Maybe that is all producer Frank McCarthy and Gen. Bradley, his chief advisor, are trying to say." yet unrivalled in his ability to inspire and lead large forces of men in a desperate and ultimately victorious struggle against a determined enemy. |bgcolor = cornsilk |border = 2px |fontsize = 100% |salign = right |quoted = 1 |align = right |qalign = center }} ;Museums General George Patton Museum at Fort Knox, Kentucky. Also known as the Patton Museum of Cavalry and Armor and the General George Patton Museum of Leadership. General George S. Patton Memorial Museum, is located at the site of the Desert Training Center in Chiriaco Summit, California. A statue of Patton can be seen from nearby Interstate 10. Patton Memorial Pilsen museum in Plzeň, Czech Republic. General Patton Memorial Museum Ettelbruck, Luxembourg

;Schools General George S. Patton School District, Riverdale, Illinois George S. Patton Elementary School, Garden Grove, California General Patton Elementary School Dýšina, Czech Republic General George S. Patton School (K-8), Riverdale, Illinois Patton Junior High School at Fort Leavenworth, Kansas George S. Patton High School, Harbor City, California

;Buildings

General George S. Patton Memorial Center, Detroit, Michigan

Patton Army Air Field, Camp Arifjan, Kuwait

Patton Barracks, Heidelberg, Germany, headquarters of the United States Army Garrison Heidelberg

Patton Hall, Fort Riley, Kansas, headquarters of the installation Judge Advocate General

Patton Hall, Officers’ Club at Fort Myer, Virginia Patton Hall, Shaw AFB, South Carolina, headquarters of the 3rd United States Army Patton Hall, military hangar at the Saumur Armour Museum on loan from the French Armoured Corps and Cavalry School, Saumur, France, formerly used as a tank-restoration hall. Patton Reserve Center, Bell, California

1220 Patton Court, San Marino, California, former residence of the Patton family. The house is a private residence and is not open to the public.

;Statues

Patton Monument, designed by sculptor James Earle Fraser and dedicated in 1950

Patton Monument, Lacy Park, San Marino, CA General Patton Memorial, Avranches, France. A statue of General Patton was unveiled in Dýšina, Czech Republic to commemorate the 60th anniversary of the liberation of Czechoslovakia Boston, Massachusetts, The standing portrait statue of Patton, designed by sculptor James Earle Fraser, was installed at the Charles River Esplanade along the Hatch Shell Circle in 1953. The tall bronze statue depicts a uniformed Patton raising a pair of binoculars up to his eyes, atop a pink granite base.

;Streets

General Patton Avenue, Shreveport, Louisiana; Murfreesboro, Tennessee

General Patton Boulevard, Mandeville, Louisiana

Patton Court, San Marino, California

General George Patton Drive, Franklin, Tennessee; Brentwood, Tennessee

George Patton Drive, San Antonio, Texas

George Patton Lane, El Paso, Texas

General George Patton Road, Nashville, Tennessee

General Patton Street, Hammond, Louisiana; Lake Charles, Louisiana; Morgan City, Louisiana; Jackson, Mississippi; Pascagoula, Mississippi; Fort Drum, New York

George Patton Street, Orangeburg, South Carolina

Patton Way, San Marino, California

Place du Général Patton, Paris, France (next to Avenue de la Grande Armée). Some 10 other French towns and cities, including Avranches, Thionville, Troyes and Le Mans, have a "Place du Général Patton" in his honor.

Avenue du Général Patton, Melun, France

Rue Du Général Patton, Arlon in the province of Luxembourg, Belgium; Ixelles, Brussels; Châteaubriant, France; and Lorraine, France.

Général-George-S.-Patton (avenue), Rennes, France (formerly Chemin vicinal n°25)

;Other The Patton series of tanks is named for him. Patton Range, a rifle and machine gun firing range at Fort Benning, Georgia A chapter of the Sons of the American Revolution is named for Patton. General George S Patton Polish Legion of American Veterans (P.L.A.V.) Post #11, Detroit, Michigan

Patton was named the class exemplar for the United States Air Force Academy's class of 2005, the only non-aviator to receive this honor.

At the Episcopal Church of Our Savior in San Gabriel, California, there is a stained glass window depicting Patton as a version of Saint George. He is shown in a tank fighting a dragon festooned with swastikas. The lettering in the window reads "I fought a good fight." The Wilson-Patton family members are buried in the San Gabriel Cemetery about 120 yards to the west of the Church, including the patriarch, Benjamin (Don Benito) Wilson. The exception is General Patton, buried in Luxembourg.

Hamilton, Massachusetts, where Patton's summer home was located, dedicated its central park to Patton, boasting a World War II–era tank in the center of town, and the town's school sports teams play under the name "Generals." In addition, the French government gave two statues to the town commemorating Patton's service to their nation. They were improved in 2003 and sit at the entrance to Patton Park.

Patton wrote much material, including speeches, lectures, and poetry. Incorporating the biblical phrase "Through a Glass, Darkly" he composed a poem imbued with his personal interpretations of reincarnation.

Awards and decorations

United States awards

{| |- | |Distinguished Service Cross with one oak leaf cluster |- | |Distinguished Service Medal with two oak leaf clusters |- | |Silver Star with one oak leaf cluster |- | |Legion of Merit |- | |Bronze Star |- | |Purple Heart |- | |Silver Lifesaving Medal |- | |Mexican Service Medal |- | |World War I Victory Medal with five battle clasps |} {| |- | |American Defense Service Medal |- | |American Campaign Medal |- | |European-African-Middle Eastern Campaign Medal with one silver and two bronze service stars |- | |World War II Victory Medal |- | |In 1955, the U.S. Army posthumously presented General Patton with the Army of Occupation Medal for service as the first occupation commander of Bavaria. |}

Foreign and international awards

{| |- | |- |80px Honorary Companion of the Order of the Bath |- | |- |80px Belgian Croix de Guerre with palm |- | |- | |- | |- | |- | |- | |- | |}

Dates of rank

No pin insignia for 2nd Lts. in 1909	US Second Lieutenant
	[[US First Lieutenant
	[[Captain (U.S. Army)
	[[Major (United States)
	[[Colonel, National Army: October 17, 1918
	Reverted to permanent rank of Captain (U.S. Army)
	[[Major (United States)
	[[Lieutenant colonel (United States)
	[[Brigadier general (United States)
	[[Major general (United States)
	[[Lieutenant general (United States)

See also

Notes

References

Bibliography

Primary sources

George S. Patton, Jr., ''War As I Knew It''; Houghton MifflinISBN 0-395-73529-7;(1947/1975); (Soft Cover)ISBN 0-395-08704-6 (1947/1975); (Hard Cover)

George S. Patton, Jr., ''The poems of General George S. Patton, Jr.: Lines of fire'', edited by Carmine A. Prioli. Edwin Mellen Press, 1991.

''Patton's photographs: War as he saw it'', edited by Kevin Hymel. Potomac Books,ISBN 1-57488-871-4 (2006) (Hard Cover);ISBN 1-57488-872-2 (2006) (Soft Cover; Alkali Paper). Blumenson, Martin, ''The Patton Papers. Vol. 1, 1885–1940'',ISBN 0-395-12706-8 (Hard Cover) Houghton Mifflin Co., 1972. 996 pp.ISBN 0-306-80717-3 (Soft Cover; Alkali Paper) Da Capo Press; 1998; 996 pp. Blumenson, Martin, ''The Patton Papers: Vol. 2, 1940–1945'',ISBN 0-395-18498-3 (Hard Cover); Houghton Mifflin, 1974. 889 pp.ISBN 0-306-80717-3 (Soft Cover; Alkali Paper); Da Capo Press, 1996. 889 pp. Patton, Robert H., ''The Pattons: A Personal History of An American Family'',ISBN 1-57488-127-2 (Soft Cover); Crown Publishers (1994); Brassey's (1996) 320 pp. Platt, Anthony M. with O'Leary, Cecilia E., ''Bloodlines: Recovering Hitler's Nuremberg Laws, From Patton's Trophy To Public Memorial'',ISBN 1-59451-140-3 (paperback); Paradigm Publishers, 2006. 268 pp.

Secondary sources

Axelrod, Alan, ''Patton: A Biography'', Palgrave Macmillan, 2006.

[[Martin Blumenson, ''Patton: The Man Behind the Legend, 1885–1945'' ISBN 0-688-06082-X; 1985

Blumenson, Martin, ''The Battle of the Generals: The Untold Story of the Falaise Pocket—the Campaign That Should Have Won World War II''; 1993.

Brighton, Terry, ''Patton, Montgomery, Rommel: Masters of War'', Crown, (2009). ISBN 978-0-307-46154-4

Carlo D'Este, ''Patton: A Genius for War'', HarperCollins, (1995). ISBN 0-06-016455-7

Carlo D'Este, ''Eisenhower: A Soldier's Life'', New York: Henry Holt & Co., ISBN 0805056874 (2002)

Dietrich, Steve E., "The Professional Reading of General George S. Patton, Jr.", ''Journal of Military History'' 1989 53(4): 387–418. Issn: 0899-3718 Fulltext in Jstor

Eisenhower, John S.D., ''The Bitter Woods'', Cambridge MA: Da Capo Press, ISBN 9780306806520, 9780306806520 (1995)

Essame, H., ''Patton: A Study in Command'', New York: Scribner & Sons, ISBN 9780684136714, 9780684136714, 1st ed. (1974)

Farago, Ladislas, ''Patton: Ordeal and Triumph'' ISBN 1-59416-011-2

Gooderson, Ian, ''Air Power at the Battlefront'', 1998, Frank Cass Publishers, 0714642118.

Hirshson, Stanley P., ''General Patton: A Soldier's Life'' (2002) ISBN 0-06-000982-9

}}

McNeese, Tim, ''Battle of the Bulge'', Chelsea House Publications, ISBN 0791074358, 9780791074350 (2003)

Nye, Roger H., ''The Patton Mind: The Professional Development of an Extraordinary Leader'', Avery; 1993.

Pullen, John J. "'You Will Be Afraid.'", ''American Heritage'' 2005 56(3): 26–29. Issn: 0002-8738 Fulltext in Ebsco. Patton's March 1945 was made famous by the movie, which sanitized it. Patton used harsh and foul language and castigated cowards, or "psychoneurotics", and those who used self-inflicted wounds to get out of combat. The basic message was "shoot and keep shooting."

Reit, Seymour, ''Masquerade: The Amazing Camouflage Deceptions of World War II'', Hawthorn Press, 1978. ISBN 0-8015-4931-0.

Rickard, John Nelson, ''Patton at Bay: The Lorraine Campaign, September to December 1944'', Praeger, 1999.

Dennis Showalter, ''Patton and Rommel: Men of War in the Twentieth Century'' (2005). ISBN 978-0-425-20663-8.

Smith, David Andrew, ''George S. Patton: A Biography'', Greenwood, 2003.

Sobel, Brian, ''The Fighting Pattons'', ISBN 0-440-23572-2 (Soft Cover) Dell Publishing, 1997; Praeger Publishers Reprint, July, 2000.

Spires, David N., ''Patton's Air Force: Forging a Legendary Air-Ground Team'', Smithsonian Inst. Pr., 2002.

von Mellenthin, F.W., ''Panzer Battles'', Ballantine, 1971, first published by the University of Oklahoma Press, 1956 ISBN 0-345-32158-8

Brenton G. Wallace, ''Patton & His Third Army'' ISBN 0-8117-2896-X

Russell F. Weigley, ''Eisenhower's Lieutenants: The Campaign of France and Germany 1944–1945'', (1990)

Wilson, Dale Eldred, '''Treat 'Em Rough'! The United States Army Tank Corps in the First World War''; Temple U. Press (1990).

Zaloga, Steven, ''Armored Thunderbolt'', Stackpole, 2008, ISBN 978-0-8117-0424-3

External links

The Patton Society Homepage

Cadet Patton at VMI Virginia Military Institute Archives

On Spartacus Schoolnet

General George Patton Museum

Patton: Ordeal and Triumph by Ladislas Farago

archived version of Patton Uncovered

Lost Victory – Strasbourg, November 1944

National Museum of Military History

General Patton: Rare and Unseen – slideshow by ''Life magazine''

Letter by Eisenhower where he comments on Patton's "unpredictable" behavior.

Cenotaph at San Gabriel Cemetery Retrieved 2010-05-16

The General George S. Patton Story, United States Army, from The Big Picture, narrated by Ronald Reagan

{{S-ttl|title=Cover of Time Magazine |years=April 12, 1943July 26, 1943April 09, 1945}}

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Coordinates	34°03′″N118°15′″N
name	John Zorn
background	non_vocal_instrumentalist
alias	Dekoboko Hajime, Rav Tzizit
birth date	September 02, 1953
origin	New York City, United States
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occupation	Composer, producer
years active	1973–present
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associated acts	Naked City, Masada, Painkiller, Hemophiliac, Weird Little Boy, Lou Reed, Laurie Anderson
website	www.tzadik.com
notable instruments	Clarinet, Piano, Theremin, Wind machine }}

John Zorn (born September 2, 1953 in New York City) is an American avant-garde composer, arranger, record producer, saxophonist and multi-instrumentalist. Zorn is a prolific artist: he has hundreds of album credits as performer, composer, or producer. He's had experience with a variety of genres including jazz, rock, hardcore punk, classical, klezmer, film, cartoon, popular, and improvised music. Zorn brings these styles to his work, which he refers to with the label avant-garde/experimental.

Zorn has stated that, "All the various styles are organically connected to one another. I'm an additive person - the entire storehouse of my knowledge informs everything I do. People are so obsessed with the surface that they can't see the connections, but they are there."

Zorn has led the punk jazz band Naked City, led the klezmer-influenced quartet Masada and composed 'Masada Songbooks' (written concert music for classical ensembles), and has produced music for film and documentary.

Zorn established himself within the New York City downtown music movement in the mid 1970s and has since composed and performed with a wide range of musicians working in diverse musical areas. By the early 1990s Zorn was working extensively in Japan, attracted by that culture's openness about borrowing and remixing ingredients from elsewhere, where he performed and recorded under the name Dekoboko Hajime, before returning to New York as a permanent base in the mid-1990s. Zorn has undertaken many tours of Europe, Asia, and the Middle East, often performing at festivals with varying ensembles to display his diverse output.

After releasing albums on several independent US and European labels, Zorn signed with Elektra Nonesuch and attracted wide acclaim in 1985 when he released ''The Big Gundown'', a cover of music composed by Ennio Morricone. He attracted further attention when worldwide by following this with the release of ''Spillane'' in 1987, and Naked City by Naked City in 1989. Zorn then recorded on the Japanese DIW label and curated the Avant subsidiary label before forming Tzadik in 1995, where he was then prolific in issuing several new recordings each year as well as releasing the work of many other musicians.

Biography

Early life

John Zorn was born in New York City and learned piano, guitar and flute as a child. He grew up in a household full of a broad spectrum of sound: his mother listened to classical and world music, his father to jazz, French chansons, and country music, and his older brother to doo-wop, and 1950s rock and roll. Zorn recalled an episode of his life, after buying a record by Mauricio Kagel in 1968 at the age of fifteen, that influenced his subsequent taste for experimental and avant-garde music:

Here we are: Kagel, "Improvisation Ajoutée." I bought this when I was about 15. Still marked: got it at Sam Goody in September, for 98 cents. And it's a really crazy piece, with the guys screaming and hooting, something that attracted me. I was over at my friend's house, and he really liked the Rolling Stones. And I just got this record, and I put it on and he looked at me like... ''who the hell are you?'' Are you out of your ''mind?'' And his mother was there, and she was like [puts palm on cheek] my God, take this off... and right then and there, I decided: ''this was the music.''

Zorn spent time in his teenage years listening to classical music, film music, and, "listening to the Doors and playing bass in a surf band." He taught himself about orchestration and counterpoint, by transcribing scores and using in his own compositions, a procedure of "plagiarizing, stealing, quoting, or whatever you can call it", of collage and transposition into his own world, that he has been using throughout his career. He also studied music under Leonardo Balada.

Zorn picked up the saxophone after discovering Anthony Braxton's album ''For Alto'' (1969) while studying composition at Webster College (now Webster University) in St. Louis, Missouri, where he attended classes taught by Oliver Lake. While still at Webster, Zorn incorporated elements of free jazz, avant-garde and experimental music, film scores, performance art and the cartoon scores of Carl Stalling into his first recordings which were later released as ''First Recordings 1973'' (1995).

Zorn dropped out of college. Following a stint on the West Coast, Zorn moved to Manhattan. There he gave concerts in his apartment and other small NY venues, playing saxophone and a variety of reeds, duck calls, tapes, and other instruments. He founded a performance art project called Theatre of Musical Optics, in 1975 and became a major participant in the fertile, avant-garde, downtown music scene as a composer, performer and producer of music that challenged the confines of any single musical genre. Zorn later used the term 'Theatre of Musical Optics' for the publishing company of his compositions.

Early composition

Zorn's early major compositions included several "game pieces" or "game theories", which he's described as "complex systems harnessing improvisers in flexible compositional formats," and which "involved strict rules, role playing, prompters with flashcards, all in the name of melding structure and improvisation in a seamless fashion." Game pieces were often named after sports, and include ''Baseball'' (1976), ''Lacrosse'' (1976), ''Dominoes'' (1977), ''Curling'' (1977), ''Golf'' (1977), ''Hockey'' (1978), ''Cricket'' (1978), ''Fencing'' (1978), ''Pool'' (1979), and ''Archery'' (1979) which was recorded at Martin Bisi's studio. His most enduring "game piece" is ''Cobra'' (1984) which he first released on album in 1987 and in subsequent versions in 1992, 1994 and 2002, and has revisited in performance many times. Zorn addresses both his own history and the musical philosophy behind his early works in the book ''Talking Music'' by William Duckworth.

In 1981, Zorn was "blowing duck calls in buckets of water at fringe venues," which included 8BC, Roulette, Chandelier, and Zorn's own clubhouse, the Saint. Zorn's first solo saxophone (and duck call) recordings were originally released in two volumes as ''The Classic Guide to Strategy'' in 1983 and 1986 on the Lumina label. Zorn's early small group improvisations are documented on ''Locus Solus'' (1983) which featured Zorn with various combinations of other improvisers including Christian Marclay, Arto Lindsay, Wayne Horvitz, Ikue Mori, and Anton Fier. ''Ganryu Island'' featured a series of duets by Zorn with Satoh Michihiro on shamisen, which received limited release on the Yukon label in 1984. Zorn has subsequently released these recordings as CDs on Tzadik making them more widely available than the original vinyl pressings.

Breakthrough recordings

Zorn's breakthrough recording was 1985's ''The Big Gundown: John Zorn Plays the Music of Ennio Morricone'', where Zorn offered radical arrangements of the Roman composer's themes from movies including ''The Big Gundown'' (1966), ''Once Upon a Time in the West'' (1968), ''A Fistful of Dynamite'' (1971), and ''Once Upon a Time in America'' (1984). ''The Big Gundown'' was endorsed by Morricone who is quoted as saying "This is a record that has fresh, good and intelligent ideas. It is realization on a high level, a work done by a maestro with great science-fantasy and creativity... Many people have done versions of my pieces, but no one has done them like this". Zorn's versions of Morricone's compositions incorporated elements of traditional Japanese music, soul jazz, and other diverse musical genres. Zorn's 15th Anniversary re-release of the album featured additional explorations of Morricone's work.

He first released the composition 'Godard', a tribute to French film-maker Jean-Luc Godard whose jump-cut technique inspired Zorn's compositional approach, on the French tribute album ''The Godard Fans: Godard Ca Vous Chante?'' in 1986. Zorn followed this with his second major-label release ''Spillane'' in 1987 composed of three different tribute compositions. The title track featured text by Arto Lindsay set to an array of sonic film noir references, 'Two-Lane Highway' a blues-based form to highlight the guitar of Albert Collins and 'Forbidden Fruit', Zorn's tribute to a Japanese film star, performed by the Kronos Quartet. Further exploration of film noir themes were recorded for radio plays and released by Zorn as ''The Bribe: variations and extensions on Spillane'' (1998). 'Godard' and 'Spillane' were re-released as a single CD, Godard/Spillane, on Tzadik in 1999.

These pieces are described by Zorn as "file-card compositions", a method of combining composition and improvisation in which Zorn would write down a description of what he wanted on file-cards and arrange them to form the piece. Zorn described the process in 2003. "I write in moments, in disparate sound blocks, so I find it convenient to store these events on filing cards so they can be sorted and ordered with minimum effort. Pacing is essential. If you move too fast, people tend to stop hearing the individual moments as complete in themselves and more as elements of a sort of cloud effect... I worked 10 to 12 hours a day for a week, just orchestrating these file cards. It was an intense process - one I don't want to go through again."

Zorn's "file-card" method of organizing sound blocks into an overall structure largely depended on the musicians he chose, the way they interpreted what was written on the file cards, and their relationship with Zorn. "I'm not going to sit in some ivory tower and pass my scores down to the players." said Zorn, "I have to be there with them, and that's why I started playing saxophone, so that I could meet musicians. I still feel that I have to earn a player's trust before they can play my music. At the end of the day, I want players to say: this was fun - it was a lot of fucking work, and it's one of the hardest things I've ever done, but it was worth the effort."

Jazz interpreter

Beginning in 1986 Zorn participated in several projects focused on modern jazz composers which highlighted his saxophone style. These included ''Voodoo'' (1986) by The Sonny Clark Memorial Quartet, with Wayne Horvitz, Ray Drummond and Bobby Previte and ''Spy vs Spy'' (1989) featuring hardcore punk-informed interpretations of Ornette Coleman's music performed by Zorn and Tim Berne on saxophones, Mark Dresser on bass and Joey Baron and Michael Vatcher on drums. ''News for Lulu'' (1988) and ''More News for Lulu'' (1992) featured Zorn, Bill Frisell and George Lewis performing compositions by Kenny Dorham, Sonny Clark, Freddie Redd, and Hank Mobley. He performed on two recordings by organist Big John Patton - ''Blue Planet Man'' (1993) and ''Minor Swing'' (1995) and contributed to the ''Sax Legends'' series (later re-released as ''The Colossal Saxophone Sessions'') in 1993 with a version of Wayne Shorter's composition "Devil's Island" alongside Lee Konitz, who Zorn has described as "one of my all-time heroes".

While Zorn is often considered a jazz musician his schema is considerably broader. He stated "The term 'jazz', per se, is meaningless to me in a certain way. Musicians don’t think in terms of boxes. I know what jazz music is. I studied it. I love it. But when I sit down and make music, a lot of things come together. And sometimes it falls a little bit toward the classical side, sometimes it falls a little bit towards the jazz, sometimes it falls toward rock, sometimes it doesn’t fall anywhere, it's just floating in limbo. But no matter which way it falls, it's always a little bit of a freak. It doesn’t really belong anywhere. It's something unique, it's something different, it's something out of my heart. It's not connected with those traditions." "But the music is not jazz music, it’s not classical music, it’s not rock music. It’s a new kind of music... So I feel like that created a deep misunderstanding in what this music is. People started judging this new music with the standards of jazz, with the definitions of what jazz is and isn’t, because stories about it appeared in jazz magazines. And now I’ll do a gig at the Marciac Jazz Festival and I’ll get offstage and Wynton Marsalis will say, “That’s not jazz.” And I’ll say, “You’re right! But this is the only gig I’ve got, man. Give me another festival and I’ll play there.”"

Film music

Zorn has written music for documentaries, underground films, television advertisements and cartoons which are documented in the ''Filmworks'' albums on the Tzadik label. Some of these film scores are jazz-influenced, others classical, and most feature ensembles consisting of rotating combinations of downtown musicians. Zorn has often used his cinematic and television commissions to experiment with line-ups and forms that would become more established parts of his musical canon.

Zorn stated that "After my record ''The Big Gundown'' came out I was convinced that a lot of soundtrack work was going to be coming my way". While Hollywood acclaim was not forthcoming he attracted the attention of many independent filmmakers. The first director to commission him was Rob Schwebber for the 1986 short ''White and Lazy'' followed by his work for Sheila McLaughlin's film, ''She Must Be Seeing Things'' (1986). In 1990, he composed the soundtrack for the Raul Ruiz film ''The Golden Boat''. All these soundtracks appeared on ''Filmworks 1986-1990'' along with a sixty-four second interpretation of the theme from ''The Good, the Bad and the Ugly'' which featured future members of Naked City.

Zorn's second Filmworks release documented his ''Music for an Untitled Film by Walter Hill'' (1996) which was composed for the film ''Trespass'' (1992) but replaced by a score by Ry Cooder. ''Filmworks III: 1990-1995'' (1997) featured the first recordings by the Masada lineup for Joe Chappelle's ''Thieves Quartet'' (1993) along with early drafts for the Cynical Hysterie Hour project, duets with Marc Ribot which featured in Mei-Juin Chen's ''Hollywood Hotel'' (1994), and a series of commercial soundtracks for the advertising firm Weiden and Kennedy, including one directed by Jean-Luc Godard - a long-term Zorn inspiration. ''Filmworks IV: S&M; + More'' (1997) and ''Filmworks V: Tears of Ecstasy'' (1996) both included music written for films dealing with BDSM. ''Filmworks VI: 1996'' contains the soundtracks to three underground films produced in 1996; Dina Waxman's ''Anton, Mailman'', Henry Hills' ''Mechanics of the Brain'', and Maria Beatty's ''The Black Glove''.

''Filmworks VII: Cynical Hysterie Hour'' re-released the themes that Zorn produced for a Japanese cartoon which had only been previously available in limited release in Japan. Zorn regained the rights to these recordings by trading a booking at The Knitting Factory to Sony executives. ''Filmworks VIII: 1997'' features music for the documentary ''Port Of Last Resort'' (1998), which detailed the experiences of Jewish refugees who fled to Shanghai during the years preceding World War II, and the soundtrack to the underground film ''Latin Boys Go to Hell'' (1997).

Zorn's next soundtrack work did not appear until 2000 with ''Filmworks IX: Trembling Before G-d'' featuring music for an award winning documentary about gay and lesbian Orthodox Jews trying to reconcile their sexuality with their faith directed by Sandi Simcha DuBowski. The following year ''Filmworks X: In the Mirror of Maya Deren'' (2001) featured music for a documentary on the life and work of underground filmaker Maya Deren.

The year 2002 was a very productive one for Zorn's cinematic scores. ''Filmworks XI: Secret Lives'' (2002) featured the Masada String Trio performing music for Aviva Slesin's documentary film on Jewish children hidden from the Nazis. ''Filmworks XII'' (2002) features music for three documentaries; ''Homecoming: Celebrating Twenty Years of Dance at PS 122'', ''Shaolin Ulysses'', a film about Shaolin Monks in America, and variations on the theme for ''Family Found'', a documentary on outsider artist Morton Bartlett. Zorn released his third soundtrack collection of 2002 with ''Filmworks XIII: Invitation to a Suicide'', written for a black comedy about a man selling tickets to his own suicide to save his father's life.

Zorns next two Filmworks releases featured in documentaries examining Jewish identity and antisemitism. ''Filmworks XIV: Hiding and Seeking'' (2003) provided the soundtrack a documentary about an Orthodox Jewish father attempting to alert his sons of the dangers of creating barriers between themselves and those outside their faith. ''Filmworks XV: Protocols of Zion'' (2005) featured music for a documentary about a resurgence of antisemitism in the United States in the wake of the September 11 attacks.

''Filmworks XVI: Workingman's Death'' (2005) presented themes for a documentary portraying hazardous employment undertaken in the Ukraine, Indonesia, Nigeria, Pakistan, and China.

''Filmworks XVII'' (2006) featured music for Martina Kudlacek's documentary ''Notes on Marie Menken'' intertwined with Zorn's percussive score for Beth Cataldo's portrait ''Ray Bandar: A Life with Skulls''. ''Filmworks XVIII: The Treatment'' (2006) featured music for Oren Rudavsky's romantic comedy based on the tango music of Astor Piazolla.

''Filmworks XIX: The Rain Horse'' (2008) was written for an animated children's short film by Russian director Dimitri Gellar. Also released in 2008 were ''Filmworks XX: Sholem Aleichem'' containing music for a documentary on the Jewish writer Sholem Aleichem, ''Filmworks XXI: Belle de Nature/The New Rijksmuseum'' featuring soundtracks for another of Maria Beatty's films and a documentary on the restoration of the Rijksmuseum Amsterdam, and ''Filmworks XXII: The Last Supper''.

Hardcore

Zorn established Naked City in 1988 as a 'compositional workshop' to test the limitations of a rock band format. Featuring Zorn on saxophone, Bill Frisell (guitars), Fred Frith (bass), Wayne Horvitz (keyboards), Joey Baron (drums), and occasional vocals from Yamatsuka Eye, Bob Dorough, and later Mike Patton, Naked City incorporated Zorn's appreciation of hardcore bands like Agnostic Front and grindcore bands like Napalm Death with his other influences and experimented with compositional form and cover versions.

Named after a 1945 book of graphic black and white photographs by Weegee the band performed an aggressive mix of "soundtrack themes, bluesy hard bop, speedy hardcore rock, squealing free jazz [and] metallic funk". Zorn has stated that "Naked City started with rhythm and blues/''Spillane'' type things then went into this hard-core thing... because I was living in Japan and experiencing a lot of alienation and rejection... My interest in hard-core also spurred the urge to write shorter and shorter pieces."

Naked City followed the release of their self-titled album with ''Torture Garden'' a collection of 42 'hardcore miniatures'; intense brief compositions often lasting less than a minute, in 1989. Some of these tracks had featured on ''Naked City'' and others would resurface on the bands next full-length release, ''Grand Guignol'' (1992), which also included performances of works by Claude Debussy, Alexander Scriabin, Orlande de Lassus, Charles Ives, and Olivier Messiaen. The band's third album, ''Heretic'' (1992), featured more of these short improvisations produced for the soundtrack of an underground S/M film ''Jeux des Dames Cruelles''. The band released a second EP, ''Leng Tch'e'', in 1992 featuring a single composition which lasted just over half an hour. ''Radio'', released in 1993, was the first Naked City album composed solely by Zorn, and featured tracks drawing on a wide range of musical influences including Charles Mingus, Little Feat, Ruins, Booker T. and the M.G.'s, Colin Wilson, Albert King, Chuck Brown, Orchestra Baobab, the Accüsed, the Meters, Tony Williams' Lifetime, Anton Webern, Sammy Cahn, Frank Sinatra, Morton Feldman, Igor Stravinsky, the Melvins, Beatmasters, Septic Death, Abe Schwartz, Ivo Papasov, Naftule Brandwein, Repulsion, Led Zeppelin, Bernard Herrmann, Santana, Extreme Noise Terror, Conway Twitty, Siege, Ornette Coleman, Corrosion of Conformity, Massacre, Quincy Jones, Sam Fuller, Funkadelic, Carcass, Liberace, Jan Hammer, Eddie Blackwell, Charlie Haden, Mick Harris, Carole King, Red Garland, Boredoms, Jerry Reed, SPK and Roger Williams in addition to Zorn's previously identified touchstones. The final recording from the band ''Absinthe'' (1993) featured a blend of ambient noise styled compositions with tracks titled after the works of Paul Verlaine, Charles Baudelaire and other figures in the fin de siècle Decadent movement, and a dedication to Olivier Messiaen. Zorn disbanded Naked City after this release but briefly reformed the band for a European tour in 2003.

Zorn also formed Painkiller with Bill Laswell on bass and Mick Harris on drums in 1991. Painkiller's first two releases ''Guts of a Virgin'' (1991) and ''Buried Secrets'' (1992) also featured short grindcore and free jazz inspired compositions. They released their first live album, ''Rituals: Live in Japan'' on the Japanese Toys Factory label in 1993 followed by the double CD ''Execution Ground'' (1994) which featured longer dub and ambient styled pieces. A second live album ''Talisman: Live in Nagoya'' was released in 2002 and the band was featured on Zorn's ''50th Birthday Celebration Volume 12'' (2005) with Hamid Drake replacing Harris on drums and guest vocalist Mike Patton.

Both bands attracted worldwide interest, particularly in Japan, where Zorn had relocated following a three-month residency in Tokyo. Zorn collaborated with, and produced, numerous Japanese 'noise' artists including Merzbow, Otomo Yoshihide, Melt Banana and frequent collaborator Yamatsuka Eye. Many of these artists have now released albums on Tzadik and some regularly travel to New York to perform.

Releases from both bands were criticized for their graphic album covers. The cover of the eponymous album by Naked City used the Weegee photograph 'Corpse with Revolver C.A. 1940' which shows a gangland killing as did their later live album. Zorn left Electra Nonesuch after the company's response to the artwork for Naked City's Grand Guignol, releasing the remaining Naked City albums on a Japanese-based label, Avant. The Committee Against Anti-Asian Violence protested against Zorn because they believed that the images used in the graphic design of Naked City's ''Torture Garden'' and ''Leng Tch'e'' portrayed degrading images of Asian people. To avoid problems, Zorn removed the original albums from retail sale and later replaced the artwork with new packaging titled ''Black Box''. Painkiller's ''Guts of a Virgin'' EP was banned in the UK after customs seized and destroyed the first shipment for violating the Obscene Publications Act. ''Execution Ground'' was also released with the original cover photograph of a lynching removed. Zorn later re-released the Naked City and Painkiller albums as box sets with restored artwork after forming his own record label.

Zorn recorded ''Hemophiliac'' in 2002 with Mike Patton and Ikue Mori which continued his interest in hardcore improvisations. The first release from this trio was a double CD set which was signed by the performers. Limited to 2,500 copies this album soon became a highly sought after collectors item. The trio also released a live recording as part of Zorn's 50th Birthday Celebration Series.

In 2006 Zorn formed the hardcore voice/bass/drums trio of Mike Patton, Trevor Dunn, and Joey Baron which became known as the ''Moonchild Trio''. That year two albums of Zorn's compositions performed by the trio were released: ''Moonchild: Songs Without Words'' and ''Astronome''. A third album with the trio, but also featuring Zorn, Ikue Mori, Jamie Saft and chorus, ''Six Litanies for Heliogabalus'', was released in 2007. Their fourth release ''The Crucible'' appeared in 2008.

Concert music

John Zorn has established a diverse repertoire of music written for chamber musicians and orchestras. As Zorn's interest in Naked City waned he "started hearing classical music in [his] head again." Zorn began composing the suites ''Elegy'' (1992) (dedicated to Jean Genet) and ''Kristallnacht'' (1993) both of which drew on chamber music arrangements of strings, percussion and electronic instruments.

Zorn was quoted in 1998 as saying "Sometimes I get the feeling that people just don't see me as a composer, but it's what I've always been since I was eight years old... I've always thought of myself as a composer, but the world has had a hard time looking at me as a composer because a lot of what I compose is controversial." The establishment of Tzadik allowed Zorn to release many compositions which he had written, over the previous two decades, for classical ensembles. Zorn's earliest released 'classical' composition (for five flutes), 'Christabel' was written in 1972 and first appeared on ''Angelus Novus'' in 1998. ''Redbird'' (containing new compositions for bass drums and a harp/viola/cello/percussion quartet inspired by Agnes Martin) and ''The Book of Heads'' (35 etudes for solo guitar written in 1978 for Eugene Chadbourne and realised by Marc Ribot) were released in 1995 as part of Tzadik's Composer Series. Zorn credits the composition of his 1988 piece for string quartet "Cat O' Nine Tails", commissioned and originally released by the Kronos Quartet, to awakening him to the possibilities of writing for classical musicians. This composition was featured on ''The String Quartets'' (1999) and ''Cartoon S/M'' (2000) along with variations on "Kol Nidre", inspired by the Jewish prayer of atonement which was written at the same time as (but not part of) the first Masada book. ''Duras: Duchamp'' (1997) consists of two 'tribute' compositions, the first dedicated to Marguerite Duras has four movements lasting roughly thirty-four minutes influenced by the composition of Oliver Messiaen, the second "69 Paroxyms for Marcel Duchamp" lasts just over thirteen minutes. ''Aporias: Requia for Piano and Orchestra'' (1998) was Zorn's first full-scale orchestral release featuring pianist Stephen Drury, the Hungarian Radio Children's Choir and the American Composers Orchestra conducted by Dennis Russell Davies.

''Songs from the Hermetic Theatre'' (2001) featured four experimental compositions; "American Magus", was Zorn's first piece of electronic music dedicated to Harry Smith; "BeuysBlock", a meditation on the work of Joseph Beuys; "In the Very Eye of Night", a tribute to Maya Deren; and "The Nerve Key", Zorn's first piece of computer music. ''Madness, Love and Mysticism'' (2001) featured "Le Mômo", inspired by Antonin Artaud, performed by Stephen Drury (piano) and Jennifer Choi (violin); "Untitled", dedicated to Joseph Cornell, a cello solo for Erik Friedlander; and "Amour Fou" featuring the trio. ''Chimeras'' (2001) was inspired by Arnold Schoenberg's atonal composition "Pierrot Lunaire".

Several of Zorn's later concert works drew inspiration from mysticism and the works of Aleister Crowley in particular. ''Magick'' (2004) featured the Crowley Quartet on "Necronomicon: for string quartet" and "Sortilège" written for two bass clarinets. A 2009 performance of "Necronomicon" was described as "...frenetic vortexes of violent, abrasive motion, separated by eerily becalmed, suspenseful sections with moody, even prayerful melodies. The music is sensational and evocative, but never arbitrary; you always sense a guiding hand behind the mayhem". ''Mysterium'' released in 2005 featured "Orphée" performed by a sextet of flute, viola, harp, harpsichord and electronics; "Frammenti Del Sappho" for female chorus; and "Wulpurgisnacht" for string trio. ''Rituals'' (2005) featured Zorn's five movement opera for mezzo soprano and ten instruments composed for the Bayreuth Opera Festival in 1998. ''From Silence to Sorcery'' (2007) features three compositions; "Goetia" consists of eight variations for solo violin performed by Jennifer Choi; "Gris-Gris" is composition for thirteen tuned drums performed by William Winant; and "Shibboleth" is a tribute to Paul Celan scored for clavichord, strings and percussion.

Zorn's concert works have been performed all over the world and he has received commissions from the New York Philharmonic and Brooklyn Philharmonic. When the piece for the Brooklyn Philharmonic was played at ''New Music America'' festival, he wrote in the pamphlet with the music:

Less than an actual music festival, New Music America is a one-sided overview that's more about politics, marketing, and sales than about the music it pretends to support... it's no more than a convention for the people in the music business who try to "out-hip" each other in the manipulation of artists. This postmodern yuppie tendency of business people dictating creative policy to artists is a very real danger that I intend to avoid at all costs.

Masada Books

John Zorn recorded ''Kristallnacht'' in November 1992, his premiere work of radical Jewish culture, featuring a suite of seven compositions reflecting the infamous Night of Broken Glass in late 1938 where Jews were targets of violence and destruction in Germany and Austria. The experience prompted Zorn to further explore his Jewish heritage and composing using Jewish musical styles. Zorn then set himself the task of writing 100 compositions within a year incorporating klezmer styles with his already broad musical palette. Within three years, the number of compositions had grown to 200 and became known as the first Masada book. Zorn has stated:

The initial releases featuring this compositional approach were ten albums by Masada appearing on the Japanese DIW label from 1994. Masada (later referred to as 'acoustic' Masada) was an Ornette Coleman-inspired quartet with Zorn (alto saxophone), Joey Baron (drums), Dave Douglas (trumpet), and Greg Cohen (bass) that performed jazz-styled compositions based on Sephardic scales and rhythms. The original Masada albums were titled after the first ten letters of the Hebrew Alphabet – Alef, Beit, Gimel, Dalet, Hei, Vav, Zayin, Het, Tet and Yod – and contained compositions with Hebrew titles. Further releases by Masada consisted of live performances of the band recorded in Jerusalem, Taipei, Middleheim, Seville and in New York at the Knitting Factory and at Tonic and as a DVD, and a double CD of unreleased studio recordings, ''Sanhedrin 1994-1997'' (2005).

The Masada quartet performed at the Lincoln Center for the Performing Arts in March 2007 for what were billed as their final concerts. Zorn reformed the band as a sextet with Uri Caine and Cyro Baptista in 2009 stating:

The Masada Book has been performed by many different ensembles and musicians. The Masada String Trio composed of Greg Cohen (bass), Mark Feldman (violin), and Erik Friedlander (cello) regularly performs and records Zorn's Masada pieces. This group, with the addition of Marc Ribot (guitar), Cyro Baptista (percussion), and Joey Baron (drums) also perform as the Bar Kohkba Sextet. Electric Masada, the most recent regular Masada ensemble usually features Zorn, Baptista, Baron, and Ribot, along with Trevor Dunn (bass), Ikue Mori (electronics), Jamie Saft (keyboards) and Kenny Wollesen (drums). A Tenth Anniversary Series of Masada recordings was released by Zorn beginning in 2003. The series featured five albums of Masada themes including ''Masada Guitars'' by Marc Ribot/Bill Frisell/Tim Sparks, ''Masada Recital'' by Mark Feldman & Sylvie Courvoisier, ''Masada Rock'' by Rashanim and two albums featuring various artists - ''Voices in the Wilderness'' and ''The Unknown Masada''.

In 2004, Zorn began composing the second Masada Book, 'The Book of Angels', resulting in an additional 300 compositions. Zorn has stated:

He has released several albums of Masada Book Two compositions performed by other artists. Recordings by the Jamie Saft Trio, Masada String Trio, Mark Feldman & Sylvie Courvoisier, Koby Israelite, The Cracow Klezmer Band, Uri Caine, Marc Ribot, Erik Friedlander, Secret Chiefs 3, Bar Kokhba Sextet, Medeski, Martin and Wood, and the Masada Quintet have been released in this series. The titles of many Masada Book Two compositions are derived from demonology and Judeo-Christian mythology.

Tzadik record label

In 1992 John Zorn collaborated with the Japanese Disc Union label to curate the Avant imprint, a subsidiary of the DIW jazz label which released the first Masada albums. Several Naked City recordings were released through the Avant label as well as many others on which Zorn featured downtown musicians including Derek Bailey, Buckethead, Eugene Chadbourne, Dave Douglas, Erik Friedlander, Wayne Horvitz, Ikue Mori, Bobby Previte, Zeena Parkins and Marc Ribot.

In 1995, in co-operation with jazz producer Kazunori Sugiyama, Zorn established the Tzadik label to ensure availability of his catalogue and promote experimental musicians. Zorn said that the label is a way to shield from the power of the music industry, with "giant corporations acting like slave masters, like the return of the pharaohs," merging together to get even more powerful like in the Polygram-Universal acquisition; and to shield from distribution companies like Tower, HMV, and Virgin Megastores, that are destroying "the small mom and pop stores—people that love the music and that’s why they have their store," and from the insidious pollution of the tastes of the masses, "with brainwashing and brain-control. These marketing guys who are at the head of all these companies, they’re really the ones that are spoon-feeding everybody shit."

Zorn is inspired by other artists and different musical styles, particularly those working in improvised music. He has a special attraction to underground artists and musical styles that are extremely loud, wild, or creative. Tzadik has established a diverse catalogue reflecting Zorn's range of musical influences and influence. The Tzadik website describes the label as "...dedicated to releasing the best in avant garde and experimental music, presenting a worldwide community of musician-composers who find it difficult or impossible to release their music through conventional channels".

The label's releases are divided into series:

The ''Archival Series'' features Zorn's recordings exclusively, including re-releases of several albums that appeared on other labels, Zorn's film work, and recordings from 1973 onwards;

The ''50th Birthday Celebration Series'' is 11 live albums recorded in September 2003 at Tonic as part of the month-long concert retrospective of Zorn's work;

The ''Composer Series'' features Zorn's music for 'classical' ensembles along with work by many other contemporary composers;

The ''Radical Jewish Culture Series'' features contemporary Jewish musicians;

The ''New Japan Series'' covers Japanese underground music;

The ''Film Music Series'' features soundtracks by other musicians (Zorn's ''Filmworks'' recordings are feartured in the ''Archival Series'');

The ''Oracle Series'' promotes women in experimental music;

The ''Key Series'' presents notable avant-garde musicians and projects; and

The ''Lunatic Fringe Series'' releases music and musicians operating outside of the broad categories offered by other series. Tzadik also releases special edition CDs, DVDs, books and T-shirts. Since 1998 the designs of Tzadik releases have been created by graphic artist Heung-Heung "Chippy" Chin.

Music romance

Zorn released ''Music for Children'' in 1998. The album, identified as "Music Romance Volume One" portrayed the broad spectrum of Zorn's compositions. ''Music for Children'' opened with a polyrhythmic etude for percussion and celeste, featured three short Naked City compositions, written at the time of ''Torture Garden'', performed by Zorn with the Boston-based band Prelapse, a composition for wind machines and feedback dedicated to Edgard Varèse, a classical chamber piece for violin, percussion and piano, and ended with a music box-styled lullaby. The second "Music Romance" album, ''Taboo & Exile'', was released in 1999 and featured a similar spectrum of broad styles. One of Zorn's most popular albums was the third in the series, ''The Gift'' (2001), which surprised many with its relaxed blend of surf, exotica and world music. Zorn released ''The Dreamers'' in 2008 which is considered to be a sequel to ''The Gift'' although not identified as a volume of "Music Romance". 2009 also saw the release of the album O'o, featuring the same style of music and set of players as the 2008 album.

50th birthday celebration

In September 2003 Zorn celebrated his 50th birthday with a month-long series of performances at Tonic in New York, repeating an event he had begun a decade earlier at the Knitting Factory. He conceptualized the month into several different aspects of his musical output. Zorn's bands performed on the weekends, classical ensembles were featured on Sundays, Zorn performed improvisations with other musicians on Mondays, featured his extended compositions on Tuesdays and a retrospective of game pieces on Wednesdays. Twelve live albums were released on his 50th Birthday Celebration Series which featured performances by the Masada String Trio, Milford Graves & John Zorn, Locus Solus, Electric Masada, Fred Frith & John Zorn, Hemophiliac, Masada, Susie Ibrarra, Wadada Leo Smith & John Zorn, John Zorn solo, Yamataka Eye & John Zorn, Bar Kokhba Sextet and Painkiller.

Recent projects

Zorn was the principal force in establishing The Stone in 2005, an avant-garde performance space in New York's Alphabet City which supports itself solely on donations and the sale of limited edition CDs, giving all door revenues directly to the performers. Zorn holds the title of artistic director and regularly performs 'Improvisation Nights'. On Friday April 13, 2007, Zorn played the final night at Tonic, the Lower East Side venue where he played regularly for the previous decade, which closed due to financial pressures. On January 10, 2008, Zorn performed with Lou Reed and Laurie Anderson at a special benefit night at The Stone which was also released on ''The Stone: Issue Three'' on CD.

On February 4, 2008, Zorn premiered his work for three cellists "777" performed by Fred Sherry, Erik Friedlander, and Michael Nicolas at the Guggenheim Museum. Zorn premiered ''The Dreamers'' with members of Electric Masada on February 29, 2008 at St Anne's Warehouse in Brooklyn. On March 27, 2008, Miller Theater at Columbia University in New York City, which has been the venue for several premieres of Zorn's concert works, hosted the first performance of a new composition by John Zorn, "The Prophetic Mysteries of Angels, Witches & Demons". Zorn curated the music for the ''Aleph-Bet Sound Project'', a sound installation featuring new music by Lou Reed, Laurie Anderson, Erik Friedlander, David Greenberger, Chris Brown, Z’EV, Terry Riley, Alvin Curran, Christina Kubisch, Marina Rosenfeld, Raz Mesinai, and Jewlia, at the Contemporary Jewish Museum from June 4, 2008 to January 8, 2009. Zorn's "Shir Ha-Shirim" premiered in February 2008. The piece is inspired by the Song of Songs from the old testament and is performed by an amplified quintet of female singers with female and male narrators performing the "Song of Solomon". Lou Reed and Laurie Anderson read the texts in English for the February performances. The group returned to New York for performances at the Guggenheim on November 23 and 24, at which Ayelet Rose Gottlieb and Jeremy Fogel recited in Hebrew. These performances at the Guggenheim Museum in November 2008 featured choreography for paired dancers from the Khmer Arts Ensemble by Sophiline Cheam Shapiro. The ensemble includes Marc Ribot on guitar, Carol Emanuel on harp, Trevor Dunn bass and the five extraordinary female vocalists. The Daughters of Jerusalem, as they are known for this project are, Lisa Bielawa, Martha Cluver, Abby Fischer, Kathryn Mulvihill and Kirsten Sollek. Photos of February rehearsals. Shir Ha-Shirim was also performed in Milano, Italy on September 24, 2008 and in Paris, France for the Jazz à la Villette event, on Saturday September 5, 2009.

In 2009, American playwright and avant-garde theatre pioneer Richard Foreman directed ''Astronome: A Night at The Opera'' based on Zorn's ''Astronome'' (2006).

Publications

In 2000 Zorn edited the book ''Arcana: Musicians on Music'' featuring interviews, essays, and commentaries by musicians including Anthony Coleman, Peter Garland, David Mahler, Bill Frisell, Gerry Hemingway, George Lewis, Fred Frith, Eyvind Kang, Mike Patton and Elliott Sharp, on the compositional process. Zorn released the second volume of ''Arcana: Musicians on Music'' in the Summer of 2007. According to the preface by Zorn, "This second installment of what will be a continuing series of books presenting radical, cutting-edge ideas about music is made, like the initial volume, out of necessity." The second volume contains essays by more than 30 musicians including Annie Gosfield, Trey Spruance, Zeena Parkins, Steve Coleman, Marina Rosenfeld, Carla Kihlstedt, David Douglas, Bill Laswell, Trevor Dunn, and Jewlia Eisenberg. In October 2008, a third volume of the Arcana series was released containing essays by Wadada Leo Smith, Frank London, Greg Cohen, Sean Lennon and Jamie Saft. In Septermber 2009 Volume IV was released, and Volume V is scheduled to be released on July 2010 with subtitle ''Musicians on Music, Magic & Mysticism''.

Awards and critical reception

In 2001 John Zorn received the Jewish Cultural Award in Performing Arts from the National Foundation for Jewish Culture. In 2006 Zorn was named a MacArthur Fellow. In 2007, he was the recipient of Columbia University's School of the Arts William Schuman Award, an honor given "to recognize the lifetime achievement of an American composer whose works have been widely performed and generally acknowledged to be of lasting significance." In 2011 Zorn was awarded the Magister Artium Gandensis, an honorary degree from the University of Ghent.

Zorn has attracted mixed receptions by critics throughout his career stating that "The press has never done anything but ignore and ridicule and marginalize my music—downtown music, because they don't know what to call it." A 1999 ''NY Times'' article by Adam Shatz accused Zorn of "attempt[ing] to recast Jewishness as a defiantly marginalized identity -- to claim victim status -- [which] has an air of calculation about it that overpowers his music." Several letters to the Editor from critics and musicians appeared in the following weeks in support of Zorn's artistic merit. In the opinion of Howard Mandel, who has interviewed Zorn numerous times, Zorn has often expressed a reluctance to grant interviews and has requested that journalists not review his performances.

The character of Stephen Colbert from the TV show ''The Colbert Report'' mocked the MacArthur Foundation's award of the Genius Grant to Zorn on the September 20, 2006 episode in his segment titled "Who's Not Honoring Me Now". Colbert used a 10-second dissonant excerpt from the 50th Birthday Celebration Series and compared it to his blowing into a saxophone, pleading, "Genius Grant please!" Zorn's comments on the Colbert segment were "It was a hilarious spot."

Discography

Filmography

''Put More Blood Into the Music (New York avant garde music)'', episode 292 of ''The South Bank Show, aired Sunday March 12, 1989, released on DVD

''Step Across the Border'' (1990)

''A Bookshelf on Top of the Sky: 12 Stories About John Zorn'' (2004)

''Masada Live at Tonic 1999'' (2004)

''Celestial Subway Lines / Salvaging Noise'' (2005)

''Sabbath in Paradise'' (2007)

''Astronome: A Night At The Opera'' (2010)

Bibliography

Zorn. J. (editor) (2000) ''Arcana: Musicians on Music'', Hips Road: New York (ISBN 188712327X)

Zorn. J. (editor) (2007) ''Arcana II: Musicians on Music'', Hips Road: New York (ISBN 0978833767)

Zorn. J. (editor) (2008) ''Arcana III: Musicians on Music'', Hips Road: New York (ISBN 0978833775)

Zorn. J. (editor) (2009) ''Arcana IV: Musicians on Music'', Hips Road: New York (ISBN 0978833783)

Zorn. J. (editor) (2010) ''Arcana V: Musicians on Music, Magic & Mysticism'', Hips Road: New York (ISBN 0978833791)

Notes

References

Duckworth, William (1999) ''Talking Music'', Da Capo Press (ISBN 0-306-80893-5) pp. 444–476

Gann, Kyle (2006) ''Music Downtown: Writing from the Village Voice'' p. 232

Gordon, Ted (2008) ''John Zorn: Autonomy and The Avant-Garde.''

Mandel, Howard (1986) ''Howard Mandel interview John Zorn'', ''EAR Magazine'' Vol. II no. 2, oct., 1986. LOGOS.

Mandel, Howard (1988) ''Ich habe viele kleine Tricks''. John Zorn interview. MusikTexte 23, Febr., 1988.

Mandel, Howard (1997) ''Guerilla Strategist: John Zorn interviewed by Howard Mandel'', Resonance vol. 6 nr. 1, 1997.

Mandel, Howard (2005) ''Jazz: Who What Where Why'' ''New York Press'', September 7, 2005.

Mandel, Howard (2008) ''Musicians Dread Words,'' ''Jazz Beyond Jazz'', March 2, 2008.

Milkowski, Bill (1998) John Zorn interview in ''Rockers, Jazzbos & Visionaries'' New York: Watson-Guptill Publications

Milkowski, Bill (1999) ''John Zorn; His Own Scene'', ''NY Times'', October 17, 1999

Milkowski, Bill (2000) ''John Zorn: One Future, Two Views'' (interview) in ''Jazz Times'', March 2000, pp. 28–35,118-121 (accessed 24 July 2010)

Milkowski, Bill (2009) ''John Zorn: The Working Man'' in ''Jazz Times'', May 2009 (accessed 24 July 2010)

External links

Tzadik.com

The Stone website

Hips Road Edition: Concert music of John Zorn, including score and mp3 samples

Art of the States: John Zorn

The John Zorn Web Site fansite

Discography of John Zorn by Patrice Roussel (to June 2008)

John Zorn Primer ''The Wire'' Issue 156 Feb 1997

John Zorn's biography and discography by Scott Maykrantz

John Zorn interview (Hungarian)

Brackett, John. John Zorn: Tradition and Transgression. Bloomington: Indiana University Press, 2008. ISBN 978-0-253-22025-7.

John Zorn Q&A; Session

Category:Article Feedback Pilot Category:20th-century classical composers Category:21st-century classical composers Category:American jazz composers Category:American jazz saxophonists Category:Avant-garde jazz musicians Category:Jazz fusion musicians Category:Jewish American composers and songwriters Category:Free improvisation saxophonists Category:MacArthur Fellows Category:Musicians from New York City Category:People from Queens Category:Postmodern composers Category:American experimental musicians Category:Noise musicians Category:Elektra Records artists Category:Nonesuch Records artists Category:Tzadik Records artists Category:1953 births Category:Living people Category:The Golden Palominos members

bg:Джон Зорн ca:John Zorn cs:John Zorn de:John Zorn et:John Zorn es:John Zorn fr:John Zorn gl:John Zorn it:John Zorn he:ג'ון זורן la:Ioannes Zorn lv:Džons Zorns nl:John Zorn ja:ジョン・ゾーン pl:John Zorn pt:John Zorn ru:Зорн, Джон simple:John Zorn fi:John Zorn sv:John Zorn tr:John Zorn uk:Джон Зорн

Coordinates	34°03′″N118°15′″N
name	The Christmas Song (Merry Christmas to You)
type	Christmas song
artist	The King Cole Trio
b-side	"In the Cool of Evening" (Capitol 311)"Laguna Mood" (Capitol 15201)"(All I Want for Christmas Is) My Two Front Teeth" (Capitol F90036; Capitol F2955)"The Little Boy that Santa Claus Forgot" (Capitol 3561)
published	1944
released
recorded
format	10-inch, 7-inch
genre	Christmas, Jazz, Pop
length	(1946 recording) (1953 recording)
label	Capitol 311 (1946)Capitol 15201 (1948)Capitol F90036 (1953)Capitol F2955 (1954)Capitol 3561 (1956)
writer	Mel Tormé,Bob Wells
misc	}}

"The Christmas Song" (commonly subtitled "Chestnuts Roasting on an Open Fire" or, as it was originally subtitled, "Merry Christmas to You") is a classic Christmas song written in 1944 by musician, composer, and vocalist Mel Tormé (aka The Velvet Fog), and Bob Wells. According to Tormé, the song was written during a blistering hot summer. In an effort to "stay cool by thinking cool", the most-performed (according to BMI) Christmas song was born.

"I saw a spiral pad on his piano with four lines written in pencil", Tormé recalled. "They started, "Chestnuts roasting..., Jack Frost nipping..., Yuletide carols..., Folks dressed up like Eskimos.' Bob (Wells, co-writer) didn't think he was writing a song lyric. He said he thought if he could immerse himself in winter he could cool off. Forty minutes later that song was written. I wrote all the music and some of the lyrics."

The Nat King Cole Trio first recorded the song early in 1946. At Cole's behest and over the objections of his label, Capitol Records a second recording was made the same year utilizing a small string section, this version becoming a massive hit on both the pop and R&B; charts. Cole again recorded the song in 1953, using the same arrangement with a full orchestra arranged and conducted by Nelson Riddle, and once more in 1961, in a stereophonic version with orchestra conducted by Ralph Carmichael. Nat King Cole's 1961 version is generally regarded as definitive, and in 2004 was the most loved seasonal song with women aged 30–49, while Cole's original 1946 recording was inducted into the Grammy Hall of Fame in 1974. Mel Tormé recorded the song himself in 1954, and again in 1961, 1966 and 1992.

The Nat King Cole recordings

First recording: Recorded at WMCA Radio Studios, New York City, June 14, 1946. Label credit: The King Cole Trio (Nat King Cole, vocal-pianist; Oscar Moore, guitarist; Johnny Miller, bassist). Not issued until 1989, when it was (accidentally) included on the various-artists compilation ''Billboard Greatest Christmas Hits (1935–1954)'' Rhino R1 70637(LP) / R2 70637(CD).

Second recording: Recorded at WMCA Radio Studios, New York City, August 19, 1946. First record issue. Label credit: The King Cole Trio with String Choir (Nat King Cole, vocal-pianist, Oscar Moore, guitarist; Johnny Miller, bassist; Charlie Grean, conductor of 4 string players, a harpist and a drummer) Lacquer disc master #981. Issued November 1946 as Capitol 311 (78rpm). This is featured on a CD called ''The Holiday Album'', which has 1940s Christmas songs recorded by Cole and Bing Crosby. In 2005 Capitol restored and re-released it for the 25 bit re-mastered Cole album "The Christmas Song", which also contains tracks from his 1960 and 1963 holiday albums.

Third recording: Recorded at Capitol Studios, Hollywood, August 24, 1953. This was the song,s first magnetic tape recording. Label credit: The King Cole Trio with String Choir (Actual artists: Nat King Cole, vocal; Nelson Riddle, orchestra conductor) Master #11726, take 11. Issued November 1953 as the "new" Capitol 90036(78rpm) / F90036(45rpm) (Capitol first issued 90036 in 1950 with the second recording). Correct label credit issued on October 18, 1954 as Capitol 2955(78rpm) / F2955(45rpm). Label credit: Nat "King" Cole with Orchestra Conducted by Nelson Riddle. This recording is available on the 1990 CD ''Cole, Christmas and Kids,'' as well as the various-artists compilation ''Casey Kasem Presents All Time Christmas Favorites''. It was also included, along with both 1946 recordings, on the 1991 Mosaic Records box set ''The Complete Capitol Recordings of the Nat King Cole Trio''.

Fourth recording: Recorded at Capitol Studios, New York City, March 30, 1961. This rendition, the first recorded in stereo, is widely played on radio stations during the Christmas season, and is probably the most famous version of this song. Label credit: Nat King Cole (Nat King Cole, vocal; Charles Grean and Pete Rugolo, orchestration; Ralph Carmichael, orchestra conductor). The instrumental arrangement is nearly identical with the 1953 version, but the vocals are much deeper and more focused. Originally done for ''The Nat King Cole Story'' (a 1961 LP devoted to stereo re-recordings of Cole's earlier hits), this recording was later appended to a reissue of Cole's 1960 holiday album ''The Magic of Christmas''. Retitled ''The Christmas Song'', the album was issued in 1963 as Capitol W-1967(mono) / SW-1967(stereo) and today is in print on compact disc. This recording of "The Christmas Song" is also available on numerous compilation albums. Some are Capitol pop standards Christmas compilations while others are broader-based. It's available on WCBS-FM's ''Ultimate Christmas Album Volume 3'', for example.

There were several covers of Nat Cole's original record in the 1940s. The first of these was said to be by Dick Haymes on the Decca label, but his was released first not recorded first. The first cover of "The Christmas Song" was performed by pop tenor and bandleader Eddy Howard on Majestic. Howard was a big Cole fan, and also covered Nat's versions of "I Want to Thank Your Folks" and "I Love You for Sentimental Reasons", among others.

Selective list of notable recordings

"The Christmas Song" has been covered by numerous artists from a wide variety of genres, including:

Trace Adkins

Christina Aguilera

Clay Aiken

Herb Alpert

Thomas Anders

India.Arie and Stevie Wonder (winner of the Grammy Award for Best Pop Collaboration with Vocals in 2003)

Aska

Babyface

Tony Bennett

Polly Bergen (who sang the song on the December 14, 1957 airing of her NBC variety show, ''The Polly Bergen Show'')

Justin Bieber and Usher (#58 in US, #59 in Canada)

Michael Bolton

Toni Braxton

Garth Brooks

James Brown

Les Brown and his Orchestra (with Doris Day on lead vocal)

Michael Bublé (his version, bearing close similarities to Celine Dion's recording of the song, reached #6 on the ''Billboard'' Adult Contemporary chart in December 2003.)

Kenny Burrell

The Canadian Brass (from their 1985 Christmas album ''A Canadian Brass Christmas'')

The Carpenters (from their 1978 Christmas album ''Christmas Portrait'')

Celtic Woman

Charice

Chicago

Christmas Who? (a SpongeBob Christmas special. SpongeBob and Patrick in a Christmas song sing as a lyric "...chestnuts roasting and burns in the third degree" before the ending of their song.)

Charlotte Church

Rosemary Clooney

Natalie Cole

Bing Crosby

Danny Davis and the Nashville Brass (1970)

Sammy Davis, Jr.

Doris Day (from her 1964 Christmas album ''The Doris Day Christmas Album'')

Gavin DeGraw

Celine Dion

Vanessa Doofenshmirtz (voiced by Olivia Olson on the album ''Phineas and Ferb Holiday Favorites'')

Bob Dylan

Gloria Estefan

Connie Francis

Aretha Franklin

Judy Garland, who sang the song in a duet with its composer, Mel Torme, on a Christmas-themed episode of her television show in December 1963.

Amy Grant (from her 1983 Christmas album ''A Christmas Album'')

Josh Groban (from his 2007 holiday album, ''Noël'')

Robert Goulet

Hampton String Quartet

Eddie Higgins

Hootie and the Blowfish

Whitney Houston

Ramon "RJ" Jacinto (from his 1988 Christmas album ''Pasko Na Naman'')

The Jackson 5

Alan Jackson (from his 2007 Christmas album ''Let It Be Christmas'')

Joni James (from her 1956 ''Merry Christmas from Joni''). Joni's version alters the lyric: "I'm offering this simple phrase, for kids from one to ninety-two" to "... kids from one to ninety-one".

Al Jarreau

Joe

Wynonna Judd

Peggy Lee

Damien Leith (from a special limited Christmas edition of his 2007 album ''Where We Land'')

The Lettermen

Lovedrug

Aimee Mann (from her 2006 album ''One More Drifter in the Snow'')

Johnny Mathis

Martina McBride

Reba McEntire

Brian McKnight

*NSYNC

Ricky Nelson (on the episode of TV's ''The Adventures of Ozzie and Harriet'' titled "A Busy Christmas")

Aaron Neville

New Kids on the Block

Des O'Connor (from a Tesco Christmas advert)

Alexander O'Neal

Olivia Olson (from a 2010 Christmas album ''Phineas and Ferb: Holiday Favourites'')

The Partridge Family (from their 1971 Christmas album ''A Partridge Family Christmas Card'')

Les Paul

CeCe Peniston (from the 1996 Christmas album ''Merry Arizona II: Desert Stars Shine at Christmas'')

LeAnn Rimes (on her first holiday album ''What a Wonderful World'')

Raven-Symoné

Smokey Robinson and The Miracles (from their 1963 Christmas album ''Christmas with The Miracles)

Linda Ronstadt (from her 2000 Christmas album ''A Merry Little Christmas'')

SWV

Diane Schuur (nominated for a Grammy Award for Best Jazz Vocal Performance, Female in 1990)

Neil Sedaka (from his 2008 first-ever holiday album, ''The Miracle of Christmas'')

Jessica Simpson

Frank Sinatra (including two recordings: a virtual duet with Nat King Cole, and an actual duet with Bing Crosby)

Tom Smith (of the Editors) and Agnes Obel (on the 2011 Smith and Burrows album, ''Funny Looking Angels'')

George Strait

Donna Summer

Demi Lovato

The Supremes (remained unreleased until their 1965 Christmas album, ''Merry Christmas'', was re-released in 1999 with additional tracks)

Kim Taeyeon (of the South Korean pop group Girls' Generation)

Take 6

James Taylor

Team Rocket (voiced by Rachael Lillis, Eric Stewart and Maddie Blaustein on the album ''Pokémon Christmas Bash'')

The Temptations

Mel Tormé recorded by the writer four times (1954, 1961, 1966 and finally in 1992 as part of his album "Christmas Songs")

Frankie Valli and the Four Seasons

Luther Vandross

Andy Williams

Stevie Wonder (from his 1967 Christmas album ''Someday at Christmas'')

Dwight Yoakam

Ascap entry for song showing numerous other covers

Parodies

The title of ''The Simpsons'' episode "Simpsons Roasting on an Open Fire" is a parody of the song.

Bob Rivers parodied the song with his 2000 album, and the title track from said album, "Chipmunks Roasting On an Open Fire".

Stan Freberg's "Green Chri$tma$" includes several snippets of holiday songs. One segment begins with a sincere-sounding "Chestnuts roasting..." and quickly segués into a mock 1950s radio or TV ad, for a brand of chestnuts, being described as if they were toothpaste or cigarettes.

Twisted Sister parodied the song in his 2006 album ''A Twisted Christmas''.

Footnotes

External links

Mark Evanier on Tormé and "The Christmas Song"

Category:Christmas songs Category:1946 songs Category:1961 singles Category:1999 singles Category:2009 singles Category:Nat King Cole songs Category:Amy Grant songs Category:Christina Aguilera songs Category:Toby Keith songs Category:Martina McBride songs Category:Joe Nichols songs Category:George Strait songs Category:Kenny Loggins songs Category:Trisha Yearwood songs Category:Vocal duets Category:Grammy Hall of Fame Award recipients Category:Barbra Streisand songs Category:Bob Dylan songs Category:Sheryl Crow songs Category:CeCe Peniston songs Category:The Partridge Family songs

es:The Christmas Song fr:The Christmas Song id:The Christmas Song it:The Christmas Song no:The Christmas Song pl:The Christmas Song pt:The Christmas Song simple:The Christmas Song sv:The Christmas Song tr:The Christmas Song vi:The Christmas Song

Coordinates	34°03′″N118°15′″N
Name	Lady Gaga
Alt	Portrait of Lady Gaga
Background	solo_singer
Birth name	Stefani Joanne Angelina Germanotta
Birth date	March 28, 1986
Birth place	New York, New York, U.S.
Instrument	Vocals, piano, keyboards
Genre	Pop, dance
Occupation	Singer-songwriter, performance artist, record producer, dancer, businesswoman, activist
Years active	2005–present
Label	Def Jam, Cherrytree, Streamline, Kon Live, Interscope
Website	}}

Stefani Joanne Angelina Germanotta (; born March 28, 1986), better known by her stage name Lady Gaga, is an American singer and songwriter. Born and raised in New York City, she primarily studied at the Convent of the Sacred Heart and briefly attended New York University's Tisch School of the Arts before withdrawing to focus on her musical career. She began performing in the rock music scene of Manhattan's Lower East Side, and was signed with Streamline Records by the end of 2007. During her employment as a songwriter for the record company, her vocal abilities captured the attention of recording artist Akon, who signed her to his label Kon Live Distribution.

Lady Gaga came to prominence as a recording artist following the release of her debut album ''The Fame'' (2008), which was a critical and commercial success that topped charts around the world and included the international number-one singles "Just Dance" and "Poker Face". After embarking on the The Fame Ball Tour, she followed the album with ''The Fame Monster'' (2009), which spawned the worldwide hit singles "Bad Romance", "Telephone" and "Alejandro". The album's success allowed her to embark on the eighteen-month long Monster Ball Tour, which later became one of the highest-grossing concert tours of all time. Her 2011 album ''Born This Way'' topped the charts of most major markets and generated more international chart-topping singles, including "Born This Way", "Judas" and "The Edge of Glory". Beside her musical career, she involves herself with humanitarian causes and LGBT activism.

Influenced by such acts as David Bowie, Michael Jackson, Madonna and Queen, Lady Gaga is recognized for her flamboyant, diverse and outré contributions to the music industry through fashion, performance and music videos. She has sold an estimated 23 million albums and 64 million singles worldwide, making her one of the best-selling music artists of all time and her singles some of the best selling worldwide. Her achievements include five Grammy Awards and 13 MTV Video Music Awards. Lady Gaga has consecutively appeared on ''Billboard'' magazine's Artists of the Year (scoring the definitive title in 2010), ranked fourth in VH1's list of 100 Greatest Women in Music, is regularly placed on lists composed by ''Forbes'' magazine and was named one of the most influential people in the world by ''Time'' magazine.

Biography

1986–2004: Early life

Lady Gaga was born Stefani Joanne Angelina Germanotta on March 28, 1986 in New York, NY to parents Cynthia (née Bissett) and Joseph Germanotta, an internet entrepreneur. Descending from Italian and more distant French-Canadian roots, Gaga is the elder of two children. Her sister, Natali, a fashion student, was born in 1992. Despite her seemingly affluent upbringing in the family home in Manhattan's Upper West Side, Gaga has stressed that she did not come from a wealthy background, stating that her parents "both came from lower-class families, so we've worked for everything—my mother worked eight to eight out of the house, in telecommunications, and so did my father."

From the age of 11, Gaga – who was raised Roman Catholic – attended the Convent of the Sacred Heart, a private all-girls Roman Catholic school on Manhattan's Upper East Side. She described her academic life in high school as "very dedicated, very studious, very disciplined" but also "a bit insecure": "I used to get made fun of for being either too provocative or too eccentric, so I started to tone it down. I didn't fit in, and I felt like a freak." Acquaintances dispute that she did not fit in at school. "She had a core group of friends; she was a good student. She liked boys a lot, but singing was No. 1," recalled a former high school classmate. Gaga began playing the piano at the age of 4, went on to write her first piano ballad at 13, and started to perform at open mike nights by the age of 14. Her passion for musical theatre brought her lead roles in high school productions, including Adelaide in ''Guys and Dolls'' and Philia in ''A Funny Thing Happened on the Way to the Forum''. She also appeared in a very small role as a mischievous classmate in the television drama series ''The Sopranos'' in a 2001 episode titled "The Telltale Moozadell" in addition to unsuccessfully auditioning for parts in New York shows.

When her time at the Convent of the Sacred Heart came to an end, her mother encouraged her to apply for the Collaborative Arts Project 21 (CAP21), a musical theatre training conservatory at New York University's Tisch School of the Arts. After becoming one of twenty students to gain early admission, she eventually lived in an NYU dorm on 11th Street by the age of 17. CAP21 prepared her for her future career focus in "music, art, sex and celebrity" where, in addition to sharpening her songwriting skills, she composed essays and analytical papers on art, religion, social issues and politics, including a thesis on pop artists Spencer Tunick and Damien Hirst. With CAP21, she also tried out for and won auditions, including the part of an unsuspecting diner customer for MTV's ''Boiling Points'', a prank reality television show. But Gaga felt more creative than some of her classmates. "Once you learn how to think about art, you can teach yourself," she said.

2005–07: Career beginnings

Gaga withdrew from CAP21 at 19, in the second semester of her sophomore year, deciding to focus on her musical career. Her father agreed to pay her rent for a year, on the condition that she re-enroll at Tisch if unsuccessful. "I left my entire family, got the cheapest apartment I could find, and ate shit until somebody would listen," she remembers. Settled in a small apartment on Rivington Street towards the summer of 2005, Gaga recorded a couple of songs with hip-hop singer Grandmaster Melle Mel, for an audio book accompanying the children's book ''The Portal in the Park'', by Cricket Casey. She also began a band called the Stefani Germanotta Band (SGBand) with some friends from NYU – guitarist Calvin Pia, bassist Eli Silverman, drummer Alex Beckham and booking manager Frank Fredericks – in September of that year. The band played a mixture of songs: some self-penned alongside classic rock numbers like Led Zeppelin's "D'yer Mak'er". Playing in bars like the Greenwich Village's The Bitter End and the Lower East Side's the Mercury Lounge, the band developed a small fan base and caught the eye of music producer Joe Vulpis. Soon after arranging time in Vulpis' studio in the months that followed, SGBand were selling their extended plays ''Words'' and ''Red and Blue'' (both 2005) at gigs around New York while becoming a local fixture of the downtown Lower East Side club scene.

SGBand reached their career peak at the 2006 Songwriters Hall of Fame New Songwriters Showcase at The Cutting Room in June where Wendy Starland, a musician, appeared as a talent scout for music producer Rob Fusari. Starland informed Fusari – who was searching for a female singer to front a new band – of Gaga's ability and contacted her. With SGBand disbanded, Gaga traveled daily to New Jersey to work on songs she had written and compose new material with the music producer. While in collaboration, Fusari compared some of her vocal harmonies to those of Freddie Mercury, lead singer of Queen. It was Fusari who helped create the moniker Gaga after the Queen song "Radio Ga Ga". Gaga was in the process of trying to come up with a stage name when she received a text message from Fusari that read "Lady Gaga." He explained, "Every day, when Stef came to the studio, instead of saying hello, I would start singing 'Radio Ga Ga'. That was her entrance song" and that the text message was the result of a predictive text glitch that changed "radio" to "lady". She texted back, "That's it," and declared, "Don't ever call me Stefani again." ''The New York Post'', however, has reported that this story is incorrect, and that the name resulted from a marketing meeting.

Although the musical relationship between Fusari and Gaga was unsuccessful at first, the pair soon set up a company titled Team Lovechild in which they recorded and produced electropop tracks and sent them to music industry bosses. Joshua Sarubin, the head of A&R; at Def Jam Recordings, responded positively and vied for the record company to take a chance on her "unusual and provocative" performance. After having his boss Antonio "L.A." Reid in agreement, Gaga was signed to Def Jam in September 2006 with the intention of having an album ready in nine months. However, she was dropped by the label after only three months – an unfortunate period of her life that would later inspire her treatment for the music video for her 2011 single "Marry the Night". Devastated, Gaga returned to the solace of the family home for Christmas and the nightlife culture of the Lower East Side.

She became increasingly experimental: fascinating herself with emerging neo-burlesque shows, go-go dancing at bars dressed in little more than a bikini in addition to experimenting with drugs. Her father, however, did not understand the reason behind her drug intake and could not look at her for several months. "I was onstage in a thong, with a fringe hanging over my ass thinking that had covered it, lighting hairsprays on fire, go-go dancing to Black Sabbath and singing songs about oral sex. The kids would scream and cheer and then we'd all go grab a beer. It represented freedom to me. I went to a Catholic school but it was on the New York underground that I found myself." It was then when she became romantically involved with a heavy metal drummer in a relationship and break-up she likened to the musical film ''Grease'': "I was his Sandy, and he was my Danny, and I just broke." He later became an inspiration behind some of her later songs.

During this time, she met performance artist Lady Starlight, who helped mold her on-stage persona. Starlight explained that, upon their first meeting, Gaga wanted to perform with her to songs she had recorded with Fusari. Like SGBand, the pair soon began performing at many of the downtown club venues like the Mercury Lounge, The Bitter End, and the Rockwood Music Hall. Their live performance art piece was known as "Lady Gaga and the Starlight Revue" and, billed as "The Ultimate Pop Burlesque Rockshow", was a low-fi tribute to 1970s variety acts. Soon after, the two were invited to play at the 2007 Lollapalooza music festival in August that year. The show was critically acclaimed, and their performance received positive reviews. Having initially focused on avant-garde electronic dance music, Gaga had found her musical niche when she began to incorporate pop melodies and the glam rock of David Bowie and Queen into her music.

While Gaga and Starlight were busy performing, producer Rob Fusari continued to work on the songs he had created with Gaga. Fusari sent these songs to his friend, producer and record executive Vincent Herbert. Herbert was quick to sign her to his label Streamline Records, an imprint of Interscope Records, upon its establishment in 2007. Gaga later credited Herbert as the man who discovered her, adding "I really feel like we made pop history, and we're gonna keep going." Having served as an apprentice songwriter under an internship at Famous Music Publishing, which was later acquired by Sony/ATV Music Publishing, Gaga subsequently struck a music publishing deal with Sony/ATV. As a result, she was hired to write songs for Britney Spears and labelmates New Kids on the Block, Fergie, and the Pussycat Dolls. At Interscope, singer-songwriter Akon recognized her vocal abilities when she sang a reference vocal for one of his tracks in studio. He then convinced Interscope-Geffen-A&M; Chairman and CEO Jimmy Iovine to form a joint deal by having her also sign with his own label Kon Live Distribution, making her his "franchise player."

As 2007 came to a close, her former management company introduced her to songwriter and producer RedOne, whom they also managed. The first song she produced with RedOne was "Boys Boys Boys", a mash-up inspired by Mötley Crüe's "Girls, Girls, Girls" and AC/DC's "T.N.T.". Gaga continued her collaboration with RedOne in the recording studio for a week on her debut album and also joined the roster of Cherrytree Records, an Interscope imprint established by producer and songwriter Martin Kierszenbaum, after co-writing four songs with Kierszenbaum including the singles "Christmas Tree" and "Eh, Eh (Nothing Else I Can Say)". Despite her secure record deal, she admitted that there was fear about her being too "racy", "dance-orientated" and "underground" for the mainstream market. Her response: "My name is Lady Gaga, I've been on the music scene for years, and I'm telling you, this is what's next."

2008–10: ''The Fame'' and ''The Fame Monster''

By 2008, Gaga had relocated to Los Angeles in order to work extensively with her record label to complete her debut album and set up her own creative team Haus of Gaga, modeled on Andy Warhol's Factory. ''The Fame'' was first released on August 19, 2008 to slow radio play. Gaga supported it by performing around Europe and in small gay clubs around the US in addition to being billed as a supporting artist on the North American leg of New Kids on the Block's reunion concert tour. A sleeper hit, lead single "Just Dance" had preceded the album's release by four months but only hit the summit of the international charts in January 2009, provoking the instant success of the album, earning her first Grammy Award nomination (for Best Dance Recording) and becoming one of the best-selling singles worldwide. Gaga achieved a greater unexpected success when "Poker Face", another sleeper hit, reached number one in most major music markets worldwide in early 2009. The follow-up single won the award for Best Dance Recording at the 52nd Grammy Awards over nominations for Song of the Year and Record of the Year.

''The Fame'' itself was nominated for Album of the Year while winning Best Dance/Electronica Album at the same ceremony. Contemporary critics lauded the album, describing it as an exploration of her obsession with fame and the intricacies of a rich and famous lifestyle, noting its combination of genres "from Def Leppard drums and hand claps to metal drums on urban tracks", the inspiration drawn from 1980s synthpop and incorporation of dance music with clear hooks. ''The Fame'' went to number one in Austria, Canada, Germany, Ireland, Switzerland and the UK and appeared in the top five in Australia, the US and 15 other countries. It also stayed atop the Dance/Electronic Albums chart for 106 non-consecutive weeks and, since its release, has sold over 12 million copies worldwide. The album's success spawned many 2009 honors including ''Billboard'' magazine's Rising Star award and the accumulation of 3 of 9 MTV Video Music Awards nominations, winning Best New Artist with the video for her single "Paparazzi" gaining Best Art Direction and Best Special Effects. In addition to being an opening act on the Pussycat Dolls' Doll Domination Tour during the first half of 2009 in Europe and Oceania, she also embarked on her own six-month critically appreciated worldwide concert tour The Fame Ball Tour which ran from March to September 2009.

While she traveled the globe, she wrote ''The Fame Monster'', an EP of eight songs released in November 2009. Each song, dealing with the darker side of fame from personal experience, is expressed through a monster metaphor. Making Gaga the first artist in digital history to have three singles (alongside "Just Dance" and "Poker Face") to pass the four million mark in digital sales, its lead single "Bad Romance" topped the charts in eighteen countries and reached the top two in the US, Australia and New Zealand while accruing the Grammy Awards for Best Female Pop Vocal Performance and Best Short Form Music Video. The second single "Telephone", which features singer Beyoncé, was nominated for the Grammy Award for Best Pop Collaboration with Vocals and became Gaga's fourth UK number one single; its accompanying music video, although controversial, receiving positive reception from contemporary critics who praised her for "the musicality and showmanship of Michael Jackson and the powerful sexuality and provocative instincts of Madonna." Her following single "Alejandro" paired Gaga with fashion photographer Steven Klein for a music video similarly as controversial – critics complimented its ideas and dark nature but the Catholic League attacked Gaga for her alleged use of blasphemy. Despite the controversy surrounding her music videos, they made Gaga the first artist to gain over one billion viral views on video-sharing website YouTube. At the 2010 MTV Video Music Awards, Gaga won 8 of her 13 nominations, including Video of the Year for "Bad Romance" (with "Telephone" also nominated), which made her the first female artist to be nominated twice for the award. In addition, ''The Fame Monster'' garnered a total of six nominations at the 53rd Grammy Awards – equating to the amount of Grammy nominations her debut received – winning Best Pop Vocal Album and earning her a second-consecutive nomination for Album of the Year.

The success of the album allowed Gaga to start her second worldwide concert tour, The Monster Ball Tour, just weeks after the release of ''The Fame Monster'' and months after having finished The Fame Ball Tour. Upon finishing in May 2011, the critically acclaimed and commercially accomplished tour ran for over one and a half years and grossed $227.4 million, making it one of the highest-grossing concert tours of all time and the highest-grossing for a debut headlining artist. Concerts performed at Madison Square Garden in New York City were filmed for a HBO television special titled ''Lady Gaga Presents the Monster Ball Tour: At Madison Square Garden''. The special accrued one of its five Emmy Award nominations and has since been released on DVD and Blu-ray. Gaga also performed songs from the album at international events such as the 2009 Royal Variety Performance where she sang "Speechless", a power ballad, in the presence of Queen Elizabeth II; the 52nd Grammy Awards where her opening performance consisted of the song "Poker Face" and a piano duet of "Speechless" in a medley of "Your Song" with Elton John; and the 2010 BRIT Awards where a performance of an acoustic rendition of "Telephone" followed by "Dance in the Dark" dedicated to the late fashion designer and close friend, Alexander McQueen, supplemented her hat-trick win at the awards ceremony. Other performances may have included her participation in Michael Jackson's This Is It concert series at London's O2 Arena. "I was actually asked to open for Michael on his tour," she stated. "We were going to open for him at the O2 and we were working on making it happen. I believe there was some talk about us, lots of the openers, doing duets with Michael on stage."

Nevertheless, she realized a collaboration with consumer electronic company Beats by Dr. Dre to create a pair of in-ear jewel-encrusted headphones titled Heartbeats. "They are designed to be the first ever fashion accessories that double as the absolute best sonically sounding headphones in the world," she commented. Gaga also partnered with Polaroid in January 2010 as their Creative Director. Excited about "blending the iconic history of Polaroid and instant film with the digital era," Gaga unveiled the first trio of new products called Grey Label: a pair of picture-taking sunglasses, a paperback-sized mobile printing unit and an updated version of the traditional Polaroid camera at the the 2011 Consumer Electronics Show. But her collaboration with past producer Rob Fusari led to her production team, Mermaid Music LLC, being sued in March 2010 when he claimed that he was entitled to a 20% share of the company's earnings. Gaga's lawyer, Charles Ortner, described the agreement with Fusari as "unlawful" and declined to comment, but five months later, the New York Supreme Court dismissed both the lawsuit and a countersuit by Gaga. In addition to such strife, Gaga was tested borderline positive for lupus, but claimed not to be affected by the symptoms. The revelations caused considerable dismay among fans, leading to Gaga addressing the matter in an interview with Larry King, saying she hopes to avoid symptoms by maintaining a healthy lifestyle.

2011–present: ''Born This Way''

Gaga released her second studio album and third major release, ''Born This Way'', on May 23, 2011. Described as a marriage of electronic music with metal, rock 'n' roll, pop and anthemic style melodies with sledge-hammering dance beats and referred to as an album "about what what keeps us up at night and what makes us afraid," Gaga characterized it as "something so much deeper than a wig or lipstick or a fucking meat dress" and, upon hearing it, Akon remarked that she is taking music to the "next level." Upon release, the album received generally positive reviews from music critics, who praised its range of different styles and her vocals. ''Born This Way'' sold 1.108 million copies in its first week in the US, debuted atop the ''Billboard'' 200, and topped the charts in more than 20 other countries. In addition to exceeding 8 million copies in worldwide sales, ''Born This Way'' received 3 Grammy Award nominations, including her third consecutive for Album of the Year.

In the months prior to its unveiling, Gaga released the singles "Born This Way", "Judas" and "The Edge of Glory" alongside promotional single "Hair". The eponymous lead single, first sung live at the 53rd Grammy Awards in a performance that saw Gaga emerge from an egg-like vessel, deals with self-acceptance regardless of race or sexual orientation. The single debuted atop the ''Billboard'' Hot 100, becoming the 19th number-one debut and the 1,000th number-one single in the history of the charts. It sold more than 3 million digital copies in the US by October 2011, becoming her eighth consecutive single to exceed sales of 2 million and, with worldwide sales of 8.2 million copies by November 2011, one of her five best-selling singles worldwide. Critics noted artistic and cultural references and praised the concept of the song's accompanying music video, in which Gaga gives birth to a new race amidst surrealistic images. The video for "Judas", in which Gaga portrays Mary Magdalene, and Biblical figures such as Jesus Christ and Judas Iscariot are also featured, was criticized for its religious references but received acclaim for its overall delivery and praise from others who claimed that there was nothing offensive about it. "Judas" also peaked within the top ten in several major musical markets while "The Edge of Glory", first a commercial success in digital outlets, was later released as a single to critical appreciation accompanied by a video which notably stripped down from her usually "extravagant" efforts. She released "You and I" and "Marry the Night" as the following singles from ''Born This Way''. Although their "crazy and ambitious" videos were praised for their audacity, both songs failed to match the similar international success that its predececors achieved.

Gaga continued her musical endeavors by pairing with veteran artists like Tony Bennett to record a jazz version of "The Lady Is a Tramp". She also recorded a duet with Cher on a "massive" and "beautiful" track, which Gaga "wrote a long time ago, and I've never put it on one of my own albums for, really, no particular reason." Gaga also lent her vocals to an original duet with Elton John for the animated feature film ''Gnomeo & Juliet''. The song, "Hello, Hello", was released without Gaga's vocals but the duet version features in the film. She also continued her live appearances throughout 2011, performing a one-of-a-kind concert at the Sydney Town Hall on July 13 in promotion of ''Born This Way'' and at the celebration of former US president Bill Clinton's 65th birthday, wearing a blond wig as a nod to the famous performance of Marilyn Monroe for John F. Kennedy and changing the lyrics to "You and I" specifically for the performance. Televised appearances comprised her own Thanksgiving Day television special entitled ''A Very Gaga Thanksgiving'' which was critically lauded, attained 5.749 million American viewers, and spawned the release of her fourth extended play ''A Very Gaga Holiday''. Her second performance on ''Saturday Night Live'' saw her singing a selection of ''Born This Way'' songs alongside appearing in number of sketches with Justin Timberlake and Andy Samberg.

In early 2012, Gaga stated that songs for a new album were "beginning to flourish" as she worked with producer Fernando Garibay, while the accompanying tour for ''Born This Way'' was materializing. The Born This Way Ball Tour is set to begin on April 27, 2012, at the Olympic Stadium in Seoul, South Korea.

Artistry

Influences

Gaga's parents, who exposed her to artists like The Beatles, Stevie Wonder, Bruce Springsteen, Pink Floyd, Led Zeppelin and Elton John, had significant influence on her childhood and, presently, still do. "I am a real family girl. When it comes to love and loyalty, I am very old-fashioned. And I am quite down-to-earth for such an eccentric person," she insists. "I'm quite traditional in the family sense. I've always been that way." According to Gaga, Joanne Germanotta – her aunt who died of lupus aged 19 – lives on through her and inspires all of her music and art. Joanne's date of death is tattooed on Gaga's body and, despite dying 12 years before her birth, Gaga commented, "I really believe I have two hearts. I think I actually carry two souls in my body, and that I'm living out the rest of her life and her goodness – she died a virgin, she died never having experienced all these things that we all get to love and experience in our lives." Another spiritual influence on Gaga has been the Indian physician, public speaker and writer Deepak Chopra. Labeling him a "true inspiration", she stated that "he's always reminded me to work in a life of service to my fans and to fulfill my vision and my destiny" in addition to thinking about Chopra when it comes to her work as a musician: "I want so much for it to go beyond the music for my fans."

Musically, Gaga takes influence from numerous musicians from dance-pop singers like Madonna and Michael Jackson to glam rock artists like David Bowie and Queen whilst employing the theatrics of artists like Andy Warhol and of her musical theatre roots in performance. The Queen song "Radio Ga Ga" inspired her stage name: "I adored Freddie Mercury and Queen had a hit called 'Radio Gaga'. That's why I love the name [...] Freddie was unique—one of the biggest personalities in the whole of pop music," she commented. Gaga receives regular comparisons to recording artist Madonna who admits that she sees herself reflected in Gaga. In response to the comparisons, Gaga stated, "I don't want to sound presumptuous, but I've made it my goal to revolutionize pop music. The last revolution was launched by Madonna 25 years ago" in addition to commenting that "there is really no one that is a more adoring and loving Madonna fan than me. I am the hugest fan personally and professionally." Like Madonna, Gaga has continued to reinvent herself and, over the years of her career, has drawn musical inspiration from a diverse mix of artists including Whitney Houston, Britney Spears, Grace Jones, Cyndi Lauper, Blondie singer Debbie Harry, Scissor Sisters, Prince, Marilyn Manson and Yoko Ono.

Gaga has identified fashion as a major influence and has been stylistically compared to English eccentrics Leigh Bowery and Isabella Blow and to American recording artist Cher. She commented that "as a child, she somehow absorbed Cher's out-there fashion sense and made it her own." She has considered Donatella Versace her muse and the late British fashion designer and close friend Alexander McQueen as an inspiration, admitting that "I miss Lee every time I get dressed" while channeling him in some of her work. Modeled on Andy Warhol's Factory, Gaga has her own creative production team, which she handles personally, called the Haus of Gaga, who create many of her clothes, stage props, and hairdos. Her adoration of fashion came from her mother, who she stated was "always very well kept and beautiful." "When I'm writing music, I'm thinking about the clothes I want to wear on stage. It's all about everything altogether—performance art, pop performance art, fashion. For me, it's everything coming together and being a real story that will bring back the super-fan. I want to bring that back. I want the imagery to be so strong that fans will want to eat and taste and lick every part of us." The Global Language Monitor named "Lady Gaga" as the Top Fashion Buzzword with her trademark "no pants" a close third. ''Entertainment Weekly'' put her outfits on its end of the decade "best-of" list, saying, "Whether it's a dress made of Muppets or strategically placed bubbles, Gaga's outré ensembles brought performance art into the mainstream." Gaga made her runway debut at Thierry Mugler's Paris fashion show in March 2011 where she wore items from Nicola Formichetti's debut women's wear collection. In June of the same year, she won the Council of Fashion Designers of America Award for Fashion Icon. She has since devoted her time as a fashion columnist for ''V'' magazine, where she has written about her creative process, her studying of the world of pop culture, and her ability to tune into the evolution of pop-culture meme.

Musical style

Continually experimenting with new musical ideas and images, Gaga's musical and performance style is the subject of much analysis and scrutiny from critics. She professes that she is "liberating" herself by constantly reinventing her sound and image, insisting that she has been drawn to such a practice since her childhood. Vocally, Gaga possesses the range of a contralto and exhibits "overwhelming expression, instinctive vocal phrasing, '80s rock reminiscent chest belts and animalistic vocal ticks" while being able to move through 2.4 octaves. Refusing to lip sync, Gaga – whose range is frequently compared to those of Madonna and Gwen Stefani – has manipulated her vocal style over the course of her career yet considers ''Born This Way'' (2011) "much more vocally up to par with what I've always been capable of." In summation of her voice, ''Entertainment Weekly'' wrote, "There's an immense emotional intelligence behind the way she uses her voice. Almost never does she overwhelm a song with her vocal ability, recognizing instead that artistry is to be found in nuance rather than lung power."

Although her early lyrics have been criticized for lacking intellectual stimulation, "[Gaga] does manage to get you moving and grooving at an almost effortless pace." She admits that her songwriting has been misinterpreted; her friend and blogger Perez Hilton articulated her message in a clearer way: "you write really deep intelligent lyrics with shallow concepts." Gaga opined, "Perez is very intelligent and clearly listened to my record from beginning to end, and he is correct." "I love songwriting. It's so funny – I will just jam around in my underwear or I could be washing my dishes. I wrote several songs just at the piano," she confesses. Gaga believes that "all good music can be played at a piano and still sound like a hit." She has covered a wide variety of topics in her songs: while ''The Fame'' (2008) meditates on the lust for stardom, ''The Fame Monster'' (2009) expresses fame's dark side through monster metaphors. ''Born This Way'' (2011) is sung in English, French, German and Spanish and includes common themes in Gaga's controversial songwriting like love, sex, religion, money, drugs, identity, liberation, sexuality, freedom and individualism.

The structure of her music is said to echo classic 1980s pop and 1990s Europop. Her debut album ''The Fame'' (2008) provoked ''The Sunday Times'' to assert "in combining music, fashion, art and technology, [Gaga] evokes Madonna, Gwen Stefani circa 'Hollaback Girl', Kylie Minogue 2001 or Grace Jones right now" and a critic from ''The Boston Globe'' to comment that she draws "obvious inspirations from Madonna to Gwen Stefani... in [her] girlish but sturdy pipes and bubbly beats." Music critic Simon Reynolds wrote that "Everything about Gaga came from electroclash, except the music, which wasn't particularly 1980s, just ruthlessly catchy naughties pop glazed with Auto-Tune and undergirded with R&B;-ish beats." The follow-up ''The Fame Monster'' (2009), saw Gaga's taste for pastiche, drawing on "Seventies arena glam, perky ABBA disco and sugary throwbacks like Stacey Q" while ''Born This Way'' (2011) also draws on the records of her childhood and still has the "electro-sleaze beats and Eurodisco chorus chants" of its predecessor but includes genres as diverse as opera, heavy metal, disco, and rock and roll. "There isn't a subtle moment on the album, but even at its nuttiest, the music is full of wide-awake emotional details," wrote ''Rolling Stone'', who concluded: "The more excessive Gaga gets, the more honest she sounds."

Music videos and performances

With constant costume changes, backup dancers, and provoctative visuals, Gaga's music videos are often described as short films. "Being provocative is not just about getting people's attention. It's about saying something that really affects people in a real way, in a positive way," she professes. Exploring bondage and sadomasochism in addition to highlighting prevalent feminist themes, "the three central themes that shape Lady Gaga's music videos are sex, violence, and power." "Vaudevillian and carnal, Lady Gaga has got the knack of sending rape-like fantasies—in songs and videos that double as catch club hits—to the top of the charts," wrote one critic. "Whether it is physical violence or sexual exploitation, these videos offer vivid depictions of male power over women's bodies," wrote another. While she labels herself "a little bit of a feminist" (she rejects man-hating feminism) and asserts that she is "sexually empowering women," Gaga strives to empower young women to stand up for what they believe in. She also attempts to liberate her fans so they can feel "less alone." "She not only reiterates her assertion of total originality," professed pop critic Ann Powers, "but also finesses it until it's both a philosophical stance about how constructing a persona from pop-cultural sources can be an expression of a person's truth—a la those drag queens Gaga sincerely admires—and a bit of a feminist act." In summation of her videos, ''Rolling Stone'' used the rhetoric: "does anyone look to a Lady Gaga video for restraint?"

Her performances are described as "highly entertaining and innovative"; the blood-spurting performance of "Paparazzi" at the 2009 MTV Video Music Awards was described as "eye-popping" by MTV. She continued the "blood soaked" theme during The Monster Ball Tour, in which she wore a revealing leather corset and was "attacked" by a performer dressed in black who gnaws on her throat, causing "blood" to spurt down her chest, after which she lies "dying" in a pool of blood. Her performances of that scene in England triggered protests from family groups and fans in the aftermath of a local tragedy, in which a taxi driver had murdered 12 people. "What happened in Bradford is very fresh in people's minds and given all the violence which happened in Cumbria just hours earlier, it was insensitive," said Lynn Costello of Mothers Against Violence. Her unconventionality continued at the 2011 MTV Video Music Awards: performing in drag as her male alter ego, Jo Calderone, and delivering a lovesick monologue before a performance of her song "You and I". Some have defended her flamboyant and provocative behavior. "Well, she's Lady Gaga," Chris Rock said. "She's not 'Lady Behave Yourself.' Do you want great behavior from a person named Gaga? Is this what you were expecting?" As Gaga's choreographer and creative director, Laurieann Gibson provided material for her shows and videos for four years. However, the pair parted in November 2011; Gaga replacing her with Gibson's assistant Richard Jackson. Gaga admits to being a perfectionist when it comes to her elaborate shows. "I'm very bossy. I can scream my head off if I see one light fixture out. I'm very detailed – every minute of the show has got to be perfect."

Public image

While ''Rolling Stone'' named Gaga the "Queen of Pop" in 2011, public reception of Gaga's music, fashion sense and persona are mixed. Her status as a role model, self-esteem booster for her fans, trailblazer and fashion icon who breathes new life into the industry is by turns affirmed and denied. Gaga's albums have received mostly positive reviews and critics have pointed out her unique place in pop music, the need for new movements in popular culture, the attention Gaga brings to modern social issues, and the inherently subjective nature of her art. In view of her influence on modern culture and her rise to global fame, sociologist Mathieu Deflem of the University of South Carolina has organized a course titled "Lady Gaga and the Sociology of Fame" since spring 2011 with the objective of unravelling "some of the sociologically relevant dimensions of the fame of Lady Gaga." When Gaga briefly met with US president Barack Obama at a Human Rights Campaign fundraiser, he described the interaction as "intimidating" as she was dressed in 16-inch heels making her undoubtedly the tallest woman in the room.

Contrary to her outré style, the ''New York Post'' described her early look as like "a refugee from ''Jersey Shore''" with "big black hair, heavy eye makeup and tight, revealing clothes." Gaga is a natural brunette; she bleached her hair blonde because she was often mistaken for Amy Winehouse. She has nine tattoos on the left side of her body (her father has banned etchings on her right): a unicorn head with a ribbon wrapped around its horn that says "Born This Way"; a small heart with "dad" written inside it; several white roses; a treble clef; three daises; "Tokyo Love" with a little heart; "Little Monsters" written in cursive; a peace symbol, which was inspired by John Lennon, whom she stated was her hero; and a curling German script on her left arm quoting the poet Rainer Maria Rilke, her favorite writer, commenting that his "philosophy of solitude" spoke to her. In a question posed about the necessary procedure to attach the prosthetics to give the unconventional appearance of recent horn-like ridges on her cheekbones, temples, and shoulders, Gaga responded, "They're not prosthetics, they're my bones." She also clarified that they were not the result of plastic surgery, believing such surgery to only be the modern byproduct of fame-induced insecurity to which she does not subscribe. The interviewer's further probing brought Gaga to the conclusion that they are an artistic representation of her inner inspirational light and part of the "performance piece" that is her musical persona: an inevitability of her becoming who she now is.

Towards the end of 2008, comparisons were made between the fashions of Gaga and recording artist Christina Aguilera that noted similarities in their styling, hair, and make-up. Aguilera stated that she was "completely unaware of [Gaga]" and "didn't know if it [was] a man or a woman." Gaga released a statement in which she welcomed the comparisons due to the attention providing useful publicity, saying, "She's such a huge star and if anything I should send her flowers, because a lot of people in America didn't know who I was until that whole thing happened. It really put me on the map in a way." When interviewed by Barbara Walters for her annual ABC News special ''10 Most Fascinating People'' in 2009, Gaga dismissed the claim that she is intersex as an urban legend. Responding to a question on this issue, she stated, "At first it was very strange and everyone sorta said, 'That's really quite a story!' But in a sense, I portray myself in a very androgynous way, and I love androgyny." In addition to Aguilera's statement, comparisons continued into 2010, when Aguilera released the music video of her single "Not Myself Tonight". Critics noted similarities between the song and its accompanying music video with Gaga's video for "Bad Romance". There have also been similar comparisons made between Gaga's style and that of fashion icon Dale Bozzio from the band Missing Persons. Some have considered their respective images to be strikingly parallel although fans of Missing Persons note that Bozzio had pioneered the look more than thirty years earlier.

While devout followers call Gaga "Mother Monster", Gaga often refers to her fans as "Little Monsters" which has been tattooed on "the arm that holds my mic" in dedication. Her treatment of her "Little Monsters" has inspired criticism, due to the highly commercial nature of her music and image. To some, this dichotomy contravenes the concept of outsider culture. Camille Paglia in her 2010 cover story "Lady Gaga and the death of sex" in ''The Sunday Times'' asserts that Gaga "is more an identity thief than an erotic taboo breaker, a mainstream manufactured product who claims to be singing for the freaks, the rebellious and the dispossessed when she is none of those." Writing for ''The Guardian'', Kitty Empire opined that the dichotomy "...allows the viewer to have a 'transgressive' experience without being required to think. At [her performance's] core, though, is the idea that Gaga is at one with the freaks and outcasts. The Monster Ball is where we can all be free. This is arrant nonsense, as the scads of people buying Gaga's cunningly commercial music are not limited to the niche worlds of drag queens and hip night creatures from which she draws her inspiration. But Gaga seems sincere."

Philanthropy

Besides her career in music, Gaga has also contributed to various charities. For natural disasters, Gaga has helped various relief efforts. Although declining an invitation to appear on the single "We Are the World 25" to benefit victims of the 2010 Haiti earthquake, she donated the proceeds of her January 24, 2010 concert at New York's Radio City Music Hall to the country's reconstruction relief fund. All profits from her official online store on that day were also donated. Gaga announced that an estimated total of US$500,000 was collected for the fund. Hours after the 2011 Tōhoku earthquake and tsunami hit Japan on March 11, 2011, Gaga tweeted a message and a link to Japan Prayer Bracelets. All revenue from a bracelet she designed in conjunction with the company was donated to relief efforts. As of March 29, 2011, the bracelets raised $1.5 million. However, attorney Alyson Oliver filed a lawsuit against Gaga in Detroit in June 2011, noting that the bracelet was subject to a sales tax and an extra $3.99 shipping charge was added to the price. She also believed that not all proceeds from the bracelets would go to the relief efforts, demanding a public accounting of the campaign and refunds for people who had bought the bracelet. Lady Gaga's spokesperson called the lawsuit "meritless" and "misleading". On June 25, 2011, Gaga performed at MTV Japan's charity show in Makuhari Messe, which benefited the Japanese Red Cross.

Gaga also contributes in the fight against HIV and AIDS, focusing on educating young women about the risks of the disease. In collaboration with Cyndi Lauper, Gaga joined forces with MAC Cosmetics to launch a line of lipstick under their supplementary cosmetic line, Viva Glam. Titled Viva Glam Gaga and Viva Glam Cyndi for each contributor respectively, all net proceeds of the lipstick line were donated to the cosmetic company's campaign to prevent HIV and AIDS worldwide. In a press release, Gaga declared, "I don't want Viva Glam to be just a lipstick you buy to help a cause. I want it to be a reminder when you go out at night to put a condom in your purse right next to your lipstick." The sales of Gaga-endorsed Viva Glam lipstick and lipgloss have raised more than $202 million to fight HIV and AIDS.

As a humanitarian, she has launched her own non-profit organization, the Born This Way Foundation, which focuses on youth empowerment and issues like self-confidence, well-being, anti-bullying, mentoring, and career development. "My mother and I have initiated a passion project. We call it the Born This Way Foundation," Gaga said in a statement about the foundation, which takes its name from the 2011 single and album. "Together we hope to establish a standard of Bravery and Kindness, as well as a community worldwide that protects and nurtures others in the face of bullying and abandonment." The foundation will work with a number of partners, including the John D. and Catherine T. MacArthur Foundation, The California Endowment and the Berkman Center for Internet & Society at Harvard University. She also jumped into the debate surrounding SB 1070, Arizona's recently-enacted anti-immigration law, after premiering her ''Born This Way'' song "Americano" on the Guadalajara stop of The Monster Ball Tour in Mexico, telling the local press that she could not "stand by many of the unjust immigration laws" in the US. A devoted advocate for the LGBT community, Gaga is also an outspoken activist for LGBT rights worldwide.

LGBT advocacy

Gaga attributes much of her early success as a mainstream artist to her gay fans and is considered to be a gay icon. Early in her career she had difficulty getting radio airplay, and stated, "The turning point for me was the gay community. I've got so many gay fans and they're so loyal to me and they really lifted me up. They'll always stand by me and I'll always stand by them. It's not an easy thing to create a fanbase." She thanked FlyLife, a Manhattan-based LGBT marketing company with whom her label Interscope works, in the liner notes of ''The Fame'', saying, "I love you so much. You were the first heartbeat in this project, and your support and brilliance means the world to me. I will always fight for the gay community hand in hand with this incredible team." One of her first televised performances was in May 2008 at the NewNowNext Awards, an awards show aired by the LGBT television network Logo, where she sang her song "Just Dance". In June of the same year, she performed the song again at the San Francisco Pride event.

After ''The Fame'' was released, she revealed that the song "Poker Face" was about her bisexuality. In an interview with ''Rolling Stone'', she spoke about how her boyfriends tended to react to her bisexuality, saying "The fact that I'm into women, they're all intimidated by it. It makes them uncomfortable. They're like, 'I don't need to have a threesome. I'm happy with just you'." When she appeared as a guest on ''The Ellen DeGeneres Show'' in May 2009, she praised DeGeneres for being "an inspiration for women and for the gay community". She proclaimed that the October 11, 2009 National Equality March rally on the National Mall was "the single most important event of her career." As she exited, she left with an exultant "Bless God and bless the gays," similar to her 2009 MTV Video Music Awards acceptance speech for Best New Artist a month earlier. At the Human Rights Campaign Dinner, held the same weekend as the rally, she performed a cover of John Lennon's "Imagine" declaring that "I'm not going to [play] one of my songs tonight because tonight is not about me, it's about you." She changed the original lyrics of the song to reflect the death of Matthew Shepard, a college student murdered because of his sexuality.

Gaga attended the 2010 MTV Video Music Awards accompanied by four service members of the United States Armed Forces (Mike Almy, David Hall, Katie Miller and Stacy Vasquez), all of whom, under the United States military's "Don't ask, don't tell" (DADT) policy, had been prohibited from serving openly because of their sexuality. In addition, Gaga wore a meat dress to the ceremony which was supplemented by boots, a purse and a hat that were all fabricated from the flesh of a dead animal. Partly awarded in recognition of the dress, Vogue.com UK named her one of the Best Dressed people of 2010 while ''Time'' magazine's named the dress the Fashion Statement of 2010, it received divided opinions – evoking the attention of worldwide media but invoking the fury of animal rights organization PETA. She denied any intention of causing disrespect to any person or organization and wished for the dress to be interpreted as a statement of human rights with focus upon those in the LGBT community, adding that "If we don't stand up for what we believe in and if we don't fight for our rights, pretty soon we're going to have as much rights as the meat on our own bones."

She later released three videos on YouTube videos urging her fans to contact their Senators in an effort to overturn the policy. In late September 2010 she spoke at the Servicemembers Legal Defense Network's "4the14K" Rally in Deering Oaks Park in Portland, Maine. The name of the rally signified the number – an estimated 14,000 – of service members discharged under the DADT policy at the time. During her remarks, she urged members of the U.S. Senate (and in particular, moderate Republican Senators from Maine, Olympia Snowe and Susan Collins) to vote in favor of legislation that would repeal the DADT policy. Following this event, editors of ''The Advocate'' commented that she had become "the real fierce advocate" for gays and lesbians, one that Barack Obama had promised to be.

Gaga appeared at Europride, a pan-European international event dedicated to LGBT pride, held in Rome in June 2011. In a nearly twenty-minute speech, she criticized the intolerant state of gay rights in many European countries and described homosexuals as "revolutionaries of love" before performing acoustic renderings of "Born This Way" and "The Edge of Glory" in front of thousands at the Circus Maximus. She stated that "Today and every day we fight for freedom. We fight for justice. We beckon for compassion, understanding and above all we want full equality now". Gaga revealed that she is often questioned why she dedicates herself to "gayspeak" and "how gay" she is, to which, she told the audience: "Why is this question, why is this issue so important? My answer is: I am a child of diversity, I am one with my generation, I feel a moral obligation as a woman, or a man, to exercise my revolutionary potential and make the world a better place." She then joked: "On a gay scale from 1 to 10, I'm a Judy Garland fucking 42."

Discography

''The Fame'' (2008)

''The Fame Monster'' (2009)

''Born This Way'' (2011)

Filmography

''Lady Gaga Presents the Monster Ball Tour: At Madison Square Garden'' (2011)

''A Very Gaga Thanksgiving'' (2011)

Concert tours

The Fame Ball Tour (2009)

Fame Kills: Starring Kanye West and Lady Gaga (2009–10) (canceled)

The Monster Ball Tour (2009–11)

The Born This Way Ball Tour (2012–13)

See also

List of awards and nominations received by Lady Gaga

Honorific nicknames in popular music

List of best-selling music artists

References

Further reading

Monster Anthems (2011) by Robert Christgau

External links

Slide show ''Vanity Fair''

Category:1986 births Category:American contraltos Category:American dance musicians Category:American electronic musicians Category:American female pop singers Category:American musicians of Italian descent Category:American performance artists Category:American pop singer-songwriters Category:American Roman Catholics Category:Androgyny Category:Bisexual musicians Category:Brit Award winners Category:Echo winners Category:English-language singers Category:Feminist musicians Category:Grammy Award winners Category:Interscope Records artists Category:Keytarists Category:LGBT Christians Category:LGBT musicians from the United States Category:LGBT rights activists from the United States Category:LGBT rights activists Category:Living people Category:NME Awards winners Category:People from Manhattan Category:Pseudonymous musicians Category:Singers from New York City Category:Sony/ATV Music Publishing artists Category:Synthpop musicians Category:Tisch School of the Arts alumni Category:Wonky Pop acts

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