Gustav Holst

The Planets, Op. 32, is a seven-movement orchestral suite by the English composer Gustav Holst, written between 1914 and 1916. Each movement of the suite is named after a planet of the Solar System and its corresponding astrological character as defined by Holst. With the exception of Earth (the centre of all yet influentially inert astrologically^[1]), all the astrological planets known during the work's composition^[2] are represented.

From its premiere to the present day, the suite has been enduringly popular, influential, widely performed and frequently recorded. The work was not heard in a complete public performance, however, until some years after it was completed. Although there were four performances between September 1918 and October 1920, they were all either private (the first performance, in London) or incomplete (two others in London and one in Birmingham). The premiere was at the Queen's Hall on 29 September 1918, conducted by Holst's friend Adrian Boult before an invited audience of about 250 people. The first complete public performance was finally given in London by Albert Coates conducting the London Symphony Orchestra on 15 November 1920.

Background[link]

The Queen's Hall, where The Planets premiered in 1918

The concept of the work is astrological^[3] rather than astronomical (which is why Earth is not included): each movement is intended to convey ideas and emotions associated with the influence of the planets on the psyche, not the Roman deities. The idea of the work was suggested to Holst by Clifford Bax, who introduced him to astrology when the two were part of a small group of English artists holidaying in Majorca in the spring of 1913; Holst became quite a devotee of the subject, and liked to cast his friends' horoscopes for fun.^[3][4] Holst also used Alan Leo's^[3] book What is a Horoscope? as a springboard for his own ideas, as well as for the subtitles (i.e., "The Bringer of...") for the movements.

The Planets as a work in progress was originally scored for a piano duet, except for "Neptune", which was scored for a single organ, as Holst believed that the sound of the piano was too percussive for a world as mysterious and distant as Neptune. Holst then scored the suite for a large orchestra, and it was in this incarnation that it became enormously popular. Holst's use of orchestration was very imaginative and colourful, showing the influence of Arnold Schoenberg^[3] and other continental composers of the day rather than his English predecessors. The influence of the late Russian romantics such as Nikolai Rimsky-Korsakov and Alexander Glazunov is also notable, as it is in Igor Stravinsky's great early ballets. Its novel sonorities helped make the work an immediate success with audiences at home and abroad. Although The Planets remains Holst's most popular work, the composer himself did not count it among his best creations and later in life complained that its popularity had completely surpassed his other works. He was, however, partial to his own favourite movement, "Saturn".^[5]

Premieres[link]

The orchestral premiere of The Planets suite, conducted at Holst's request by Adrian Boult, was held at short notice on 29 September 1918, during the last weeks of World War I, in the Queen's Hall with the financial support of Holst's friend and fellow composer H. Balfour Gardiner It was hastily rehearsed; the musicians of the Queen's Hall Orchestra first saw the complicated music only two hours before the performance, and the choir for "Neptune" was recruited from pupils from St Paul's Girls' School (where Holst taught). It was a comparatively intimate affair, attended by around 250 invited associates,^[4][7][8] but Holst regarded it as the public premiere, inscribing Boult's copy of the score, "This copy is the property of Adrian Boult who first caused the Planets to shine in public and thereby earned the gratitude of Gustav Holst."^[6]

A public concert was given in London under the auspices of the Royal Philharmonic Society on 27 February 1919, conducted by Boult. Five of the seven movements were played in the order Mars, Mercury, Saturn, Uranus, and Jupiter.^[9][10] It was Boult's decision not to play all seven movements at this concert. He felt that when the public were being given a totally new language like that, "half an hour of it was as much as they could take in".^[11] The anonymous critic in Hazell's Annual called it "an extraordinarily complex and clever suite".^[12] At a Queen's Hall symphony concert on 22 November of that year, Holst conducted Venus, Mercury and Jupiter (this was the first public performance of Venus).^[10][13] There was another incomplete public performance, in Birmingham, on 10 October 1920, with five movements (Mars, Venus, Mercury, Saturn and Jupiter). It is not clear whether this performance was conducted by Appleby Matthews^[14] or the composer.^[15]

His daughter Imogen recalled, "He hated incomplete performances of The Planets, though on several occasions he had to agree to conduct three or four movements at Queen's Hall concerts. He particularly disliked having to finish with Jupiter, to make a 'happy ending', for, as he himself said, 'in the real work the end is not happy at all'".^[16]

The first complete performance of the suite at a public concert did not occur until 15 November 1920; the London Symphony Orchestra (LSO) was conducted by Albert Coates. This was the first time the movement "Neptune" had been heard in a public performance, all the other movements having been given earlier public airings.^[17]

The composer conducted a complete performance for the first time on 13 October 1923, with the Queen's Hall Orchestra at a Promenade Concert. Holst conducted the LSO in two recorded performances of The Planets: the first was an acoustic recording made in sessions between 1922 and 1924 (now available on Pavilion Records' Pearl label); the second was made in 1926, and utilised the then-new electrical recording process (in 2003, this was released on compact disc by IMP and later on Naxos outside the United States).^[18] Because of the time constraints of the 78rpm format, the tempi are often much faster than is usually the case today.^[19]

Instrumentation[link]

The work is scored for an extremely large orchestra:

• Woodwind: 4 flutes (3rd doubling 1st piccolo; 4th doubling 2nd piccolo and a "bass flute in G", actually an alto flute), 3 oboes (3rd doubling bass oboe), an English horn, 3 clarinets in B-flat, a bass clarinet in B-flat, 3 bassoons and a contrabassoon

• Brass: 6 horns in F, 4 trumpets in C, 3 trombones (2 tenor and 1 bass), a "tenor tuba" (euphonium in B-flat) and a bass tuba

• Keyboards: a celesta, and an organ

• Percussion: 6 timpani (2 players, 3 drums each except in "Uranus" having 4 drums for 1st and 2 drums for 2nd), a bass drum, a snare drum, cymbals, a triangle, a tam-tam, a tambourine, a glockenspiel, a xylophone, and tubular bells

• Strings: 2 harps, 1st and 2nd violins, violas, violoncellos, and double basses

• Voices: ("Neptune" only), 2 three-part women's choruses (SSA) located in an adjoining room which is to be screened from the audience

Structure[link]

Mars, the Bringer of War A concert band arrangement of Mars, from The Planets, performed by the United States Air Force Heritage of America Band Venus, the Bringer of Peace A concert band arrangement of Venus, from The Planets, performed by the United States Air Force Heritage of America Band Mercury, the Winged Messenger Mercury, from The Planets, performed by the United States Air Force Heritage of America Band Jupiter, the Bringer of Jollity Jupiter, from The Planets, performed by the United States Air Force Heritage of America Band Uranus, the Magician A concert band arrangement of Uranus, from The Planets, performed by the United States Air Force Heritage of America Band

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The suite has seven movements, each named after a planet and its corresponding astrological character (see Planets in astrology):

1. Mars, the Bringer of War
2. Venus, the Bringer of Peace
3. Mercury, the Winged Messenger
4. Jupiter, the Bringer of Jollity
5. Saturn, the Bringer of Old Age
6. Uranus, the Magician
7. Neptune, the Mystic

Holst's original title (clearly seen on the handwritten full score) was "Seven Pieces for Large Orchestra". The composer's name was given as 'Gustav von Holst' — by the time he wrote "Mercury" in 1916 he had dropped the 'von', for he signed the score of that movement separately as 'Gustav Holst'. The movements were called only by the second part of each title (I "The Bringer of War", II "The Bringer of Peace" and so on). The present titles were added in time for the first (incomplete) public performance in September 1919, though they were never added to the original score.^[20] It is perhaps instructive to realise Holst attended an early performance of Schoenberg's Five Pieces for Orchestra in 1914 (the year he wrote "Mars", "Venus" and "Jupiter") and owned a score of it.^[20][21]

A typical performance of all seven movements lasts for about fifty minutes though Holst's own electric recording from 1926 lasted just over forty-two and a half minutes. Some commentators have suggested that the ordering is structural, with the anomaly of Mars, Venus, Mercury, instead of the reverse, being a device to make the first four movements match the form of a symphony.^{[citation needed]} An alternative explanation may be the ruling of astrological signs of the zodiac by the planets: if the signs are listed along with their ruling planets in the traditional order starting with Aries, ignoring duplication, Pluto (then undiscovered) and the luminaries (the Sun and Moon), the order of the movements corresponds. Another possibility, this time from an astronomical perspective, is that the first three movements, representing the inner terrestrial planets, are ordered by decreasing distance from the Sun; the remaining movements, representing the gas giants, are ordered by increasing distance from the Sun. Critic David Hurwitz offers an alternative explanation for the piece's structure: that "Jupiter" is the centrepoint of the suite and that the movements on either side are in mirror images. Thus "Mars" involves motion and "Neptune" is static; "Venus" is sublime while "Uranus" is vulgar, and "Mercury" is light and scherzando while "Saturn" is heavy and plodding. This hypothesis is lent credence by the fact that the two outer movements, "Mars" and "Neptune", are both written in rather unusual quintuple metre.

A more prosaic explanation may simply be that Holst wrote the movements in the order they stand, with one exception, and that the only structural change was to place "Mercury" third. "Mars", "Venus" and "Jupiter" were from 1914, "Saturn", "Uranus" and "Neptune" from 1915 and "Mercury" from 1916. It has been speculated that "Mars" was a response to the outbreak of World War I, but Holst denied this, saying that "Mars" was completed before war was expected, and in August 1914 he was half-way through "Venus". Nevertheless, "Mars" is seen as prescient of mechanical warfare, something that was not a reality until after the entire suite was complete. Contrary to what is also sometimes said, Holst was not a pacifist but wanted to enlist as his friend Vaughan Williams did, but he was rejected as unfit: he suffered neuritis in his right arm—something that caused him to seek help from several amanuenses in scoring The Planets. This is clear from the number of different hands apparent in the full score.^[20]

"Neptune" was one of the first pieces of orchestral music to have a fade-out ending, although several composers (including Joseph Haydn in the finale of his Farewell Symphony) had achieved a similar effect by different means. Holst stipulates that the women's choruses are "to be placed in an adjoining room, the door of which is to be left open until the last bar of the piece, when it is to be slowly and silently closed", and that the final bar (scored for choruses alone) is "to be repeated until the sound is lost in the distance".^[22] Although commonplace today, the effect bewitched audiences in the era before widespread recorded sound—after the initial 1918 run-through, Holst's daughter Imogen (in addition to watching the charwomen dancing in the aisles during "Jupiter") remarked that the ending was "unforgettable, with its hidden chorus of women's voices growing fainter and fainter... until the imagination knew no difference between sound and silence".^[4]

Pluto[link]

Pluto was discovered in 1930, four years before Holst's death, and was hailed by astronomers as the ninth planet. Holst, however, expressed no interest in writing a movement for the new planet. He had become disillusioned by the popularity of the suite, believing that it took too much attention away from his other works.^[23]

In 2000, the Hallé Orchestra commissioned the English composer Colin Matthews, an authority on Holst, to write a new eighth movement, which he called "Pluto, the Renewer". Dedicated to the late Imogen Holst, Gustav Holst's daughter, it was first performed in Manchester on 11 May 2000, with Kent Nagano conducting the Hallé Orchestra. Matthews also changed the ending of "Neptune" slightly so that movement would lead directly into "Pluto".^[24]

Six years later, in August 2006, the International Astronomical Union promulgated for the very first time a definition of the term "planet", which resulted in Pluto's status being demoted from planet to dwarf planet.^[25] Consequently, Holst's original work is once again a complete representation of all of the extraterrestrial planets in the Solar System.

Recordings[link]

[edit] Adaptations of The Planets

Non-orchestral arrangements[link]

• Piano duet (four hands) – An engraved copy of Holst's own piano duet arrangement was found by John York.^[26]
• Two pianos (duo) – Holst also created a version for two pianos. When he was composing the duo, he had two friends play the four-hands version to aid in the transcription.^[27] The two-piano arrangement was published in 1949. Holst's original manuscripts for it are now in the holdings of the Royal College of Music ("Mars", "Venus", "Saturn", "Uranus", "Neptune"), Royal Academy of Music ("Mercury") and British Library ("Jupiter", "Saturn", "Uranus").^[28]
• Organ – Peter Sykes transcribed The Planets for organ.^[29]
• Moog – Isao Tomita adapted The Planets for a Moog and other synthesizers and electronic devices.^[30]
• Brass band – Stephen Roberts, associate conductor of the English Symphony Orchestra, transcribed the entire suite for brass band.^[31]
• Marching band – The movements "Mars", "Venus", and "Jupiter" have all been arranged for marching band by Jay Bocook.^[32] Paul Murtha also arranged the chorale section of "Jupiter" for marching band.^[33]
• Percussion ensemble – James Ancona arranged Mercury for a percussion ensemble. It consisted of 2 glockenspiels, 2 xylophones, 2 vibraphones, 2 marimbas, 5 timpani, a small suspended cymbal, and 2 triangles.^[34]
• Rock bands – Jeff Wayne and Rick Wakeman with Kevin Peek did a Progressive Rock version of the entire suite with added incidental music on an album called "Beyond The Planets" which also contained occasional narration by Patrick Allen.
  An arrangement of "Mars" by progressive-rock trio Emerson, Lake & Powell appeared on their eponymous album (1985) and was played in their 1985–86 live shows.
  King Crimson, Greg Lake's first successful band performed a rock arrangement of "Mars" live in 1969. This arrangement was issued on their second LP, In the Wake of Poseidon, although for copyright reasons it was renamed "The Devil's Triangle" and Robert Fripp claimed authorship, with Holst receiving no composer credit.
  A third progressive-rock band, Manfred Mann's Earth Band, performed an arrangement of "Jupiter" with lyrics which they entitled "Joybringer".
  Black Metal/Viking Metal band Bathory arranged a section of "Jupiter" as the melody of the song "Hammerheart", from the album Twilight of the Gods. The rock group Sands recorded an abridged version of "Mars" that would dominate the latter half of their 1967 single "Listen to the Sky". Dave Edmunds' band Love Sculpture included the Mars movement on their 1970 album "Forms and Feelings," though this was only included in the U.S. version of the album due to Holst's family preventing worldwide release of the track. Progressive rock band Yes quoted a few sections of "Jupiter" in the song "The Prophet" from their 1970 album "Time and a Word". Death metal band Nile's track "Ramses Bringer Of War" makes sonic and titular reference to "Mars". Led Zeppelin's guitarist Jimmy Page would incorporate a loose, improvised section based on "Mars" during live improvised versions of Dazed and Confused from its first incorporation in the song in October 1969 to the song's last performance in May 1975. The introduction to Diamond Head's Am I Evil? was loosely based on "Mars."^[35]
• Japanese singer Ayaka Hirahara released a pop version of "Jupiter" in December 2003. It went to #2 on the Oricon charts and sold nearly a million copies, making it the third-best-selling single in the Japanese popular music market for 2004. It remained on the charts for over three years.^[36]
• Frank Zappa quoted Jupiter in his song Invocation & Ritual Dance of the Young Pumpkin.^[37]

Hymns[link]

Holst himself adapted the melody of the central section of Jupiter in 1921 to fit the metre of a poem beginning "I vow to thee, my country". As a hymn tune it has the title Thaxted, after the town in Essex where Holst lived for many years, and it has also been used for other hymns, such as "O God beyond all praising".^[38]

"I Vow to Thee, My Country" was written between 1908 and 1918 by Sir Cecil Spring-Rice and became known as a response to the human cost of World War I. The hymn was first performed in 1925 and quickly became a patriotic anthem. Although Holst had no such patriotic intentions when he originally composed the music, these adaptations have encouraged others^[who?] to draw upon the score in similar ways throughout the 20th Century.^{[citation needed]}

Notes[link]

References[link]

• Boult, Adrian (1973). My Own Trumpet. London: Hamish Hamilton. ISBN 0-241-02445-5. 
• Greene, Richard (1995). Holst: The Planets. Cambridge: Cambridge University Press. ISBN 0-521-45633-9. 
• Kennedy, Michael (1987). Adrian Boult. London: Hamish Hamilton. ISBN 0-333-48752-4. 

Further reading[link]

• Head, Raymond. Astrology and Modernism in "The Planets", Tempo (Boosey & Hawkes, London, now Cambridge University Press) No 187 December 1993.
• Short, Michael. Gustav Holst: The Man and his Music. Oxford: Oxford University Press, 1990. ISBN 0-19-314154-X
• Reid, James. An Astronomer's Guide to Holst’s The Planets. Sky and Telescope Magazine, January 2011 issue.

External links[link]

• Links to public domain scores of The Planets:
  • The Planets: Suite for Large Orchestra (Score in the Public Domain)
  • The Planets: Free scores at the International Music Score Library Project
  • Thaxted sheet music (PDF)
• Online Recordings:
  • The Planets Suite Op. 32 Live recording by Peabody Concert Orchestra (2002)
  • Free MIDI recordings of "The Planets" (containing some errors, however)
• IMDB entry for the 1983 Ken Russell documentary "The Planets"

Audio clips[link]

• Jupiter performed by the Royal Scottish National Orchestra with Alexander Gibson in the Henry Wood Hall in Glasgow in July 1979
• Jupiter arranged by Stephen Roberts and performed by the Black Dyke Band

Gustav Holst, circa 1921 (photograph by Herbert Lambert)

Gustav Theodore Holst (born Gustavus Theodore von Holst, 21 September 1874 – 25 May 1934) was an English composer. He is most famous for his orchestral suite The Planets.^[1]

His early works show the influence of Grieg, Wagner,^[2] Richard Strauss and fellow student Ralph Vaughan Williams,^[3] and later, through Vaughan Williams, the music of Ravel.^[4] The combined influence of Ravel, Hindu spiritualism and English folk tunes^[4] enabled Holst to free himself of the influence of Wagner and Strauss and to forge his own style. Holst's music is well known for unconventional use of metre and haunting melodies.

Holst composed almost 200 works, including operas, ballets, choral hymns and songs. An enthusiastic educator, Holst became music master at St Paul's Girls' School in 1905 and director of music at Morley College in 1907, continuing in both posts until retirement.^[4] He also taught singing at Wycombe Abbey School from 1912 until 1917.

He was the brother of Hollywood actor Ernest Cossart and father of the composer and conductor Imogen Holst, who wrote a biography of him in 1938.^[3]

Early life[link]

Statue of Gustav Holst at his birthplace, Cheltenham, England.

Holst was born on 21 September 1874, at 4 Pittville Terrace (named today Clarence Road)^[5] Cheltenham, Gloucestershire, England.^[1][6] The house has been opened as a museum devoted to Holst's life and times since 1974, devoted partly to him and partly to illustrating local domestic life of the mid-19th century.^[7]

Holst's great-grandfather, Matthias von Holst, was of Nordic origin, and came to England in 1802 from Riga.^[5] His son Gustavus moved to England with his parents as a child; he became a composer of salon-style harp music and a notable harp teacher.^[6] Holst's father, Adolph von Holst, was organist and choirmaster at All Saints' Church in Pittville.^[1] He also gave both piano lessons and recitals, most regularly at the Assembly Rooms.^[8] Holst's mother, Clara von Holst, who died in 1882, was a singer who bore two sons, Gustav and Emil Gottfried (who later became Ernest Cossart, a film actor in Hollywood).^[9] Following his wife's death, Adolph von Holst moved with his sons to 1 Vittoria Walk, Cheltenham, and eventually married Mary Thorley Stone in 1885: she gave birth to two further sons, Matthias Ralph and Evelyn Thorley.^[10]

Holst was christened Gustavus Theodore von Holst, after his grandfather and his great-uncle Theodor, a painter.^[11] He was a frail child with neuritis in his arm which plagued him for the rest of his life. His early recollections were musical; he was taught to play the piano and violin, and began composing when he was about twelve.^[6] He also started to play the trombone when his father thought this might improve his son's asthma.^[12] He was educated at Cheltenham Grammar School for Boys. He began composition at school, writing piano pieces, organ voluntaries, songs, anthems and a Symphony in C minor (from 1892). He was also organist and choir master at Wyck Rissington in the Cotswolds.^[13]

He attended the Royal College of Music^[1] on a scholarship, where he studied composition with Charles Villiers Stanford and where in 1895^[6] he met fellow student Ralph Vaughan Williams,^[1] who became a lifelong friend. Vaughan Williams's own music was in general quite different from Holst’s,^[6] but he praised Holst's work abundantly and the two men developed a shared interest in exploring and maintaining the English vocal and choral tradition as found primarily in folk song, madrigals and church music.^[4] Holst and Vaughan Williams were able to criticise each other's compositions as they were being written. They never lost this degree of mutual trust.

While at the Royal College of Music, Holst fell in love with the music of Wagner, which he was able to hear at Covent Garden. He also came under the influence of William Morris, joining the Hammersmith Socialist Society and attending lectures by Morris and George Bernard Shaw (with whom he temporarily shared a passion for vegetarianism ). Holst remained a socialist all his life. He was also invited to conduct the Hammersmith Socialist Choir, teaching them Madrigals by Thomas Morley, choruses by Purcell, extracts from Wagner as well as works by Mozart and himself.^[14]

Career[link]

First steps[link]

Holst had hoped to build his career partly as a pianist, but stricken from adolescence with a nerve condition that increasingly affected the movement of his right hand, he eventually gave up the piano for the trombone.^[4] He was good enough to earn employment with the Carl Rosa Opera Company and the Scottish Orchestra (forerunner of the Royal Scottish National Orchestra) although his salary was only just enough to live on.^[15]

Royal College of Music (1894 site), where Holst and Ralph Vaughan Williams studied in 1895.

He also played in a popular orchestra called the "White Viennese Band", conducted by Stanislas Wurm. The music was cheap and repetitive and not to Holst's liking, and he referred to this kind of work as "worming" (a pun on Wurm's name, which means "worm" in German) and regarded it as "criminal". His need to "worm" came to an end as his compositions became more successful, and his income was given stability by his teaching posts.^[1] With his finances secure, Holst married Emily Isobel Harrison, a fair-headed soprano, at Fulham Register Office on 22 June 1901, their union enduring until his death in 1934. Emily Isobel bore him a daughter, Imogen, on 12 April 1907; to be their only child.^[16]

The poetry of Walt Whitman also had a profound effect on Holst, as it did with many of his contemporaries, and he set Whitman's words in "Dirge for Two Veterans" and The Mystic Trumpeter (1904). He also set poetry by Thomas Hardy^[6] and Robert Bridges. Holst also wrote an orchestral Walt Whitman Overture in 1899,^[17] which was given a world premiere recording by the Munich Symphony Orchestra, as well as a recording by the London Philharmonic Orchestra.^[18]

During these years Holst also became interested in Hindu mysticism and spirituality,^[4] and this interest led to the composition of several works set to translations of Sanskrit texts, including: Sita (1899–1906), a three-act opera based on an episode in the Ramayana; Sāvitri (1908),^[4] a chamber opera based on a tale from the Mahabharata; 4 groups of Hymns from the Rig Veda (1908–14); and two texts originally by Kalidasa: Two Eastern Pictures (1909–10) and The Cloud Messenger (1913). The texts of these last three works were translated by Holst himself.^[19] To make these translations from Sanskrit to English, Holst enrolled at University College London (UCL) to study the language as a 'non-matriculated' student. On 14 January 1909 he paid 5 guineas for Sanskrit classes during the spring and summer terms of that year. The UCL records also show that during this time he moved from 23 Grena Road in Richmond, to 10 The Terrace in Barnes. On 19 October 1909 he re-enrolled at UCL for the autumn term and paid 3 guineas "special fee" for his Sanskrit classes of "2 hours a week". The records end at this point, and so it seems he only spent one year as a student at UCL.^[20]

Teaching[link]

In 1904 Holst took his first teaching job as music master at James Allen's Girls' School in West Dulwich, South London.^[21]

In 1905, Holst was appointed Director of Music at St Paul's Girls' School^[4] in Hammersmith, London. In 1907, Holst also became director of music at Morley College.^[4] These were the most important of his teaching posts, and he retained both until the end of his life.^[4]

During the first two decades of the 20th century, musical society as a whole (and Holst's friend Vaughan Williams in particular) became interested in old English folksongs, madrigal singers,^[4] and Tudor composers. Holst shared in his friend’s admiration for the simplicity and economy of these melodies, and their use in his compositions is one of his music’s most recognisable features.

Holst was an avid rambler. He walked extensively in Italy, France and England. He also travelled outside the bounds of Europe, heading to French-controlled Algeria in 1908^[22] on doctor's orders as a treatment for asthma and the depression that crippled him after his submission failed to win the Ricordi Prize, a coveted award for composition. His travels in Arab and Berber lands, including an extensive cycling tour of the Algerian Sahara, inspired the suite Beni Mora, written upon his return.

The house in Barnes where Holst lived between 1908 and 1913. A Blue plaque signifying historical significance is fixed to the front of the building.

After the lukewarm reception of his choral work The Cloud Messenger in 1912, Holst was again off travelling, financing a trip to Spain with fellow composers Balfour Gardiner and brothers Clifford and Arnold Bax with funds from an anonymous donation. Despite being shy, Holst was fascinated by people and society, and had always believed that the best way to learn about a city was to get lost in it. In Girona, Catalonia, he often disappeared, only to be found hours later by his friends having abstract debates with local musicians. It was in Spain that Clifford Bax introduced Holst to astrology, a hobby that was to inspire the later Planets suite. He read astrological fortunes until his death, and called his interest in the stars his "pet vice".

Shortly after his return in 1913, St Paul's Girls School opened a new music wing, and Holst composed the still popular St Paul's Suite for the occasion.^[1] In 1913, Stravinsky premiered The Rite of Spring, sparking riots in Paris and caustic criticism in London. A year later, Holst first heard Schoenberg’s Five Pieces for Orchestra, an "ultra-modern" set of five movements employing "extreme chromaticism" (the consistent use of all 12 musical notes). Although he had earlier lampooned the stranger aspects of modern music, the new music of Stravinsky^[4] and Schoenberg influenced his work on The Planets.

Holst's compositions include works for wind band, and have become standards in the repertoire. His most famous are the First Suite in E-flat for Military Band of 1909 and the Second Suite in F for Military Band of 1911 (see also Hammersmith, below). He also wrote the "Moorside Suite" for brass band in 1928, the first recognised 'classical' composer to treat the medium seriously.^[23]

Holst and wife Isobel bought a cottage in Thaxted, Essex and, surrounded by medieval buildings and ample rambling opportunities, he started work on the suite that became his best known work, the orchestral suite The Planets. Holst himself adapted the theme from "Jupiter" as a hymn tune under the name of "Thaxted", specifically for the words "I Vow to Thee My Country". (According to the documentary by Tony Palmer In the Bleak Midwinter, Holst hated this association because the text was the opposite of what he believed. This is a little surprising, though, since he had made the adaptation himself in 1921.)^[24] His daughter Imogen later recalled of "I Vow to Thee" that "At the time when he was asked to set these words to music, Holst was so over-worked and over-weary that he felt relieved to discover they 'fitted' the tune from Jupiter".^[25]

While living in Thaxted, Holst became friendly with Rev. Conrad Noel, the famous 'Red Vicar', who supported the Independent Labour Party and espoused many unpopular causes. Holst became an occasional organist and choir master at Thaxted Parish Church and began an annual music festival at Whitsuntide in 1916, at which students from Morley College and St Paul's School performed. His best-known partsong, 'This Have I Done For My True Love', was dedicated to Noel and often performed with dancing during religious ceremonies at Thaxted. This was controversial, as the Church of England still retained much of the Puritan ethic in its services. (The singing of non-biblical texts had been allowed only as recently as 1820, and religious dancing harked back to pre-Reformation times.) As late as 1951 at the Leith Hill Festival, singers from the Anglican tradition objected to the words of Holst's partsong, which mention dance and religion together. Vaughan Williams, who was conducting, advised the objectors to vocalise and leave the words to those singers who did not share the inhibition.^[26] Controversy surrounded Holst's friendship with Noel, whose opinions grew progressively uncompromising, leading to his displaying the Red Flag and that of Sinn Fein in the church. Holst's view was that Noel's philosophy was a "gospel of comic hate",^[27] but he ceased to hold the music festival at Thaxted after three seasons, moving it to Dulwich.

Other tunes that also became attached to hymns were Cranham which is the usual tune to Christina Rossetti's poem In the Bleak Midwinter and Sheen which is attached to a versification of the recessional From glory to glory advancing from the Orthodox Christian Liturgy of Saint James.

World War I and after[link]

At the onset of World War I, Holst tried to enlist but was rejected because of his bad eyes, bad lungs and bad digestion. He dropped the "von" from his name in 1916 in response to anti-German sentiment, making it official by deed poll in 1918.^{[1][4][6][28]}

His new music, however, benefited from the growing demand for new English music. This was partly in response to an embargo on contemporary German music that saw very few performances of Richard Strauss and Max Reger throughout the war (although older generations of German composers remained as popular as ever, culminating in a run of Die Walküre, conducted by Thomas Beecham, in 1918).^[29] Towards the end of the war he was offered a post within the YMCA’s educational work programme as musical director and he set off for Salonica (present day Thessaloniki, Greece) and Constantinople (now Istanbul) in 1918. While he was teaching music to troops eager to escape the drudgery of army life, The Planets was being performed to audiences back home. Shortly after his return after the war’s end, Holst composed Ode to Death, based upon a poem by Walt Whitman.

During the years 1920–1923, Holst's popularity grew through the success of The Planets and The Hymn of Jesus (1917)^[1] (based on the Apocryphal gospels), and the publication of a new opera, The Perfect Fool (a satire of a work by Wagner). Holst became something of "an anomaly, a famous English composer", and was busy with conducting, lecturing and teaching obligations. He hated publicity; he often refused to answer questions posed by the press and when asked for his autograph, handed out prepared cards that read, "I do not hand out my autograph". Always frail, after a collapse in 1923 he retired from all teaching (other than at St Paul's School, where he would remain until his death)^[30] to devote the remaining eleven years of his life to composition.^[1]

Later life[link]

Holst's 'retirement' was immediately productive, with the First Choral Symphony to words by Keats (a Second Choral Symphony to words by George Meredith exists only in fragments). A short Shakespearian opera, At the Boar's Head, followed quickly, although neither had the immediate popular appeal of A Moorside Suite for brass band of 1928.^[31]

Holst took advantage of new technology to publicise his work through sound recordings and the BBC’s wireless broadcasts. He began to conduct the London Symphony Orchestra for the Columbia company in 1922, using the acoustic process; his recordings of the period include Beni Mora, the Marching Song and (remarkably) the complete Planets. Although, as his daughter Imogen noted, he couldn't quite achieve the gradual fade-out of women's voices and orchestra he had written (owing to the limitations of early recording), it was a landmark recording of the work. Holst conducted it again, with the same orchestra and for the same company, in an electrical recording of 1926. All performances have been issued on LP and CD format.

In 1927 he was commissioned by the New York Symphony Orchestra to write a symphony. Instead, he wrote an orchestral piece based on Thomas Hardy's Wessex, a work that became Egdon Heath and which was first performed a month after Hardy’s death, in his memory. By this time, Holst was going out of fashion, and the piece was poorly reviewed (although this may have as much to do with the austere nature of the work). However, Holst is said to have considered the short, subdued but powerful tone poem his "best work".^[32] The piece has been much better received in recent years, with several recordings available. Holst did complete a scherzo for the symphony before his death; this music has been recorded.

Memorial in Chichester Cathedral

Towards the end of his life, Holst wrote Choral Fantasia (1930),^[1] and he was commissioned by the BBC to write a piece for military band; the resulting Hammersmith was a tribute to the place where he had spent most of his life, a musical expression of the London borough (of Hammersmith), which begins with an attempt to recreate the haunting sound of the River Thames sleepily flowing its way. He then made an orchestral version of this work for its first performance, sharing the programme with the London premiere of Walton's Belshazzar's Feast. This unlucky coincidence may account for its subsequent obscurity as an orchestral work.

Interested as ever in new mediums, Holst wrote a score for the Associated Sound Film Industries picture 'The Bells' in which Holst believed he appeared as an extra in a crowd scene.^[33] However, he was mortified when he heard the quality of the 1931 soundtrack. The film was the victim of poor marketing and no copy can now be traced.^[34] He also wrote a 'jazz band piece' that his daughter later arranged for orchestra as Capriccio. A late flowering of academic life came when Harvard University offered him a lectureship for the first six months of 1932.

Holst had a lifetime of poor health, which worsened due to a concussion during a backward fall from the conductor's podium in 1923, from which he never fully recovered.^[6] In his final four years, Holst grew ill with stomach problems. One of his last compositions, the Brook Green Suite, named after the land on which St Paul’s Girls’ School was built, was performed for the first time a few months before his death. Holst died on 25 May 1934, of complications following stomach surgery, in London.^[35] His ashes were interred at Chichester Cathedral in West Sussex, with Bishop George Bell giving the memorial oration at the funeral.

Artistic Philosophy[link]

According to his friend Vaughan Williams, Holst once told him two things about art "that ought to be recorded":

1.) About 'Aristocracy in art' - art is not for all but only for the chosen few - but the only way to find those few is to bring art to everyone - then the artists have a sort of masonic signal by which they recognise each other in the crowd - he put it much better than that - but that is the gist.

2.) That the artist is born again & starts afresh with every new work."^[36]

Memorial[link]

On Sunday 27 September 2009, after a weekend of concerts at Chichester Cathedral in memory of Holst, a new memorial was unveiled to the public. On it are inscribed Holst's dates, and an epitaph, taken from the text of The Hymn of Jesus, reading "The heavenly spheres make music for us".

Radio and television biographies[link]

In 2007, BBC Radio 4 produced a radio play by Martyn Wade called The Bringer of Peace, which is an intimate biographical portrait of Holst. The play follows his early dismay at his lack of composing success, to the creation of The Planets suite, with the play's seven tiers following the structure of The Planets. Adrian Scarborough played Holst, and the producer was David Hitchinson.^[37]

Holst: In the Bleak Midwinter, directed by Tony Palmer, was first transmitted on 24 April 2011. The documentary charted his life with special reference to his support for socialism and for working class ventures.^[38]

Media[link]

Extracts from The Planets can be found in the main article for the suite.

Notes[link]

References[link]

• Britannica Concise, "Gustav Holst", 2006, Concise.Britannica.com webpage: ConciseBritannica-GHolst.
• Encyclopædia Britannica Online, "Gustav Holst", 2006, Britannica.com webpage: Britannica2006-GHolst.
• Imogen Holst, The Great Composers: Holst. London: Faber, 1974. ISBN 0-571-09967-X
• Michael Short, Gustav Holst: The Man and his Music. Oxford: Oxford University Press, 1990.
• Kenric Taylor, "Gustav Holst (1874–1934) | Compositions" (list of works), 2006, GustavHolst.info webpage: GHolstInfo-Compositions.
• David Trippett, "A Biography of Gustav Holst: Part 2: 1903-1914", Music Web International, [1]

Further reading[link]

• Holst, Imogen, Gustav Holst: A Biography, Oxford University Press, 1938.
• Holst, Imogen, Gustav Holst and Thaxted (4-page pamphlet)
• Randel, Michael, The Harvard Biographical Dictionary of Music, Harvard University Press, 1996. Cf. p. 390.

External links[link]

Wikiquote has a collection of quotations related to: Gustav Holst

• Free scores by Gustav Holst in the Choral Public Domain Library (ChoralWiki)
• Free scores by Gustav Holst in the Werner Icking Music Archive (WIMA)
• Free scores by Gustav Holst at the International Music Score Library Project
• The Mutopia Project has compositions by Gustav Holst
• www.GustavHolst.info
  • Ian Lace's Biography
  • List of compositions
• Gustav Holst: The Lost Films (Discovered 2009)
• The Planets Suite Op. 32 Live recording by Peabody Concert Orchestra (2002)
• Holst Birthplace Museum, Cheltenham
• Gustav Holst at Pytheas Center for Contemporary Music
• Compositions by Gustav Holst

This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (November 2011)

George Carlin
Carlin in Trenton, New Jersey on April 4, 2008
Birth name	George Denis Patrick Carlin
Born	(1937-05-12)May 12, 1937 New York City, New York, U.S.
Died	June 22, 2008(2008-06-22) (aged 71) Santa Monica, California, U.S.
Medium	Stand-up, television, film, books, radio
Nationality	American
Years active	1956–2008
Genres	Character comedy, observational comedy, wit/word play, satire/political satire, black comedy, surreal humor, sarcasm, blue comedy
Subject(s)	American culture, American English, everyday life, atheism, recreational drug use, death, philosophy, human behavior, American politics, parenting, children, religion, profanity, psychology, anarchism, race relations, old age, pop culture, self-deprecation, childhood, family
Influences	Danny Kaye,[1][2] Jonathan Winters,[2] Lenny Bruce,[3][4] Richard Pryor,[5] Jerry Lewis,[2][5] Marx Brothers,[2][5] Mort Sahl,[4] Spike Jones,[5] Ernie Kovacs,[5] Ritz Brothers[2] Monty Python[5]
Influenced	Chris Rock,[6] Jerry Seinfeld,[7] Bill Hicks, Jim Norton, Sam Kinison, Louis C.K.,[8] Lewis Black,[9] Jon Stewart,[10] Stephen Colbert,[11] Bill Maher,[12] Denis Leary, Patrice O'Neal,[13] Adam Carolla,[14] Colin Quinn,[15] Steven Wright,[16], Mitch Hedberg,[17] Russell Peters,[18] Jay Leno,[19] Ben Stiller,[19] Kevin Smith[20]
Spouse	Brenda Hosbrook (August 5, 1961 – May 11, 1997) (her death) 1 child Sally Wade (June 24, 1998 – June 22, 2008) (his death)[21]
Notable works and roles	Class Clown "Seven Words You Can Never Say on Television" Rufus in Bill & Ted's Excellent Adventure and Bill & Ted's Bogus Journey Narrator for Thomas the Tank Engine & Friends and "Mr. Conductor" on Shining Time Station The George Carlin Show
Signature
Website	www.georgecarlin.com
Grammy Awards Best Comedy Recording 1972 FM & AM 2009 It's Bad For Ya (posthumous) Best Spoken Comedy Album 1993 Jammin' in New York 2001 Brain Droppings 2002 Napalm & Silly Putty American Comedy Awards Funniest Male Performer in a TV Special 1997 George Carlin: Back in Town 1998 George Carlin: 40 Years of Comedy Lifetime Achievement Award in Comedy 2001

George Denis Patrick Carlin (May 12, 1937 – June 22, 2008) was an American stand-up comedian, social critic, satirist, actor and writer/author, who won five Grammy Awards for his comedy albums.^[22]

Carlin was noted for his black humor as well as his thoughts on politics, the English language, psychology, religion, and various taboo subjects. Carlin and his "Seven Dirty Words" comedy routine were central to the 1978 U.S. Supreme Court case F.C.C. v. Pacifica Foundation, in which a narrow 5–4 decision by the justices affirmed the government's power to regulate indecent material on the public airwaves.

The first of his fourteen stand-up comedy specials for HBO was filmed in 1977. In 1988, the 1990s and 2000s, Carlin's routines focused on socio-cultural criticism of modern American society. He often commented on contemporary political issues in the United States and satirized the excesses of American culture. His final HBO special, It's Bad for Ya, was filmed less than four months before his death.

In 2004, Carlin placed second on the Comedy Central list of the 100 greatest stand-up comedians of all time, ahead of Lenny Bruce and behind Richard Pryor.^[23] He was a frequent performer and guest host on The Tonight Show during the three-decade Johnny Carson era, and hosted the first episode of Saturday Night Live. In 2008, he was awarded the Mark Twain Prize for American Humor.

Early life[link]

Carlin was born in Manhattan,^[24][25] the second son of Mary (Beary), a secretary, and Patrick Carlin, a national advertising manager for the New York Sun.^[26] Carlin was of Irish descent and was raised a Roman Catholic.^[27][28][29]

Carlin grew up on West 121st Street, in a neighborhood of Manhattan which he later said, in a stand-up routine, he and his friends called "White Harlem", because that sounded a lot tougher than its real name of Morningside Heights. He was raised by his mother, who left his father when Carlin was two months old.^[30] He attended Corpus Christi School, a Roman Catholic parish school of the Corpus Christi Church, in Morningside Heights.^[31][32] After three semesters, at the age of 15, Carlin involuntarily left Cardinal Hayes High School in the Bronx and briefly attended Bishop Dubois High School in Harlem.^[33] Carlin had a difficult relationship with his mother and often ran away from home.^[2] He later joined the United States Air Force and was trained as a radar technician. He was stationed at Barksdale Air Force Base in Bossier City, Louisiana.

During this time he began working as a disc jockey at radio station KJOE, in the nearby city of Shreveport. He did not complete his Air Force enlistment. Labeled an "unproductive airman" by his superiors, Carlin was discharged on July 29, 1957. During his time in the Air Force he was court martialed three times, and also received many disciplinary punishments.^[34]

Career[link]

In 1959, Carlin and Jack Burns began as a comedy team when both were working for radio station KXOL in Fort Worth, Texas.^[35] After successful performances at Fort Worth's beat coffeehouse, The Cellar, Burns and Carlin headed for California in February 1960 and stayed together for two years as a team before moving on to individual pursuits.

1960s[link]

Within weeks of arriving in California in 1960, Burns and Carlin put together an audition tape and created The Wright Brothers, a morning show on KDAY in Hollywood. The comedy team worked there for three months, honing their material in beatnik coffeehouses at night.^[36] Years later when he was honored with a star on the Hollywood Walk of Fame, Carlin requested that it be placed in front of the KDAY studios near the corner of Sunset Boulevard and Vine Street.^[37] Burns and Carlin recorded their only album, Burns and Carlin at the Playboy Club Tonight, in May 1960 at Cosmo Alley in Hollywood.^[36]

In the 1960s, Carlin began appearing on television variety shows, notably The Ed Sullivan Show and The Tonight Show. His most famous routines were:

• The Indian Sergeant ("You wit' the beads... get outta line")
• Stupid disc jockeys ("Wonderful WINO...")—"The Beatles' latest record, when played backwards at slow speed, says 'Dummy! You're playing it backwards at slow speed!'"
• Al Sleet, the "hippie-dippie weatherman"—"Tonight's forecast: Dark. Continued dark throughout most of the evening, with some widely scattered light towards morning."
• Jon Carson—the "world never known, and never to be known"

Variations on the first three of these routines appear on Carlin's 1967 debut album, Take Offs and Put Ons, recorded live in 1966 at The Roostertail in Detroit, Michigan.^[38]

Carlin with singer Buddy Greco in Away We Go. The summer replacement show also starred drummer Buddy Rich.

During this period, Carlin became more popular as a frequent performer and guest host on The Tonight Show, initially with Jack Paar as host, then with Johnny Carson. Carlin became one of Carson's most frequent substitutes during the host's three-decade reign. Carlin was also cast in Away We Go, a 1967 comedy show that aired on CBS.^[39] His material during his early career and his appearance, which consisted of suits and short-cropped hair, had been seen as "conventional," particularly when contrasted with his later anti-establishment material.^[40]

Carlin was present at Lenny Bruce's arrest for obscenity. As the police began attempting to detain members of the audience for questioning, they asked Carlin for his identification. Telling the police he did not believe in government-issued IDs, he was arrested and taken to jail with Bruce in the same vehicle.^[41]

1970s[link]

Eventually, Carlin changed both his routines and his appearance. He lost some TV bookings by dressing strangely for a comedian of the time, wearing faded jeans and sporting long hair, a beard, and earrings at a time when clean-cut, well-dressed comedians were the norm. Using his own persona as a springboard for his new comedy, he was presented by Ed Sullivan in a performance of "The Hair Piece" and quickly regained his popularity as the public caught on to his sense of style. In this period he also perfected what is perhaps his best-known routine, "Seven Words You Can Never Say on Television", recorded on Class Clown. Carlin was arrested on July 21, 1972, at Milwaukee's Summerfest and charged with violating obscenity laws after performing this routine.^[42] The case, which prompted Carlin to refer to the words for a time as "the Milwaukee Seven," was dismissed in December of that year; the judge declared that the language was indecent but Carlin had the freedom to say it as long as he caused no disturbance. In 1973, a man complained to the Federal Communications Commission after listening with his son to a similar routine, "Filthy Words", from Occupation: Foole, broadcast one afternoon over WBAI, a Pacifica Foundation FM radio station in New York City. Pacifica received a citation from the FCC that sought to fine the company for violating FCC regulations that prohibited broadcasting "obscene" material. The U.S. Supreme Court upheld the FCC action by a vote of 5 to 4, ruling that the routine was "indecent but not obscene" and that the FCC had authority to prohibit such broadcasts during hours when children were likely to be among the audience. (F.C.C. v. Pacifica Foundation, 438 U.S. 726 (1978). The court documents contain a complete transcript of the routine.)^[43]

The controversy only increased Carlin's fame. Carlin eventually expanded the dirty-words theme with a seemingly interminable end to a performance (ending with his voice fading out in one HBO version and accompanying the credits in the Carlin at Carnegie special for the 1982-83 season) and a set of 49 web pages^[44] organized by subject and embracing his "Incomplete List Of Impolite Words."

It was on-stage during a rendition of his "Dirty Words" routine that Carlin learned that his previous comedy album FM & AM had won the Grammy. Midway through the performance on the album Occupation: Foole, he can be heard thanking someone for handing him a piece of paper. He then exclaims "Shit!" and proudly announces his win to the audience.

Carlin hosted the premiere broadcast of NBC's Saturday Night Live, on October 11, 1975, the only episode as of at least 2007 in which the host had no involvement (at his request) in sketches.^[45] The following season, 1976–77, Carlin also appeared regularly on CBS Television's Tony Orlando & Dawn variety series.

Carlin unexpectedly stopped performing regularly in 1976, when his career appeared to be at its height. For the next five years, he rarely performed stand-up, although it was at this time that he began doing specials for HBO as part of its On Location series. He later revealed that he had suffered the first of three heart attacks during this layoff period.^[5] His first two HBO specials aired in 1977 and 1978.

1980s and 1990s[link]

In 1981, Carlin returned to the stage, releasing A Place For My Stuff and returning to HBO and New York City with the Carlin at Carnegie TV special, videotaped at Carnegie Hall and airing during the 1982-83 season. Carlin continued doing HBO specials every year or every other year over the following decade and a half. All of Carlin's albums from this time forward are from the HBO specials.

In concert at Harrisburg, Pennsylvania

He hosted SNL for the second time on November 10, 1984, this time appearing in several sketches. Carlin's acting career was primed with a major supporting role in the 1987 comedy hit Outrageous Fortune, starring Bette Midler and Shelley Long; it was his first notable screen role after a handful of previous guest roles on television series. Playing drifter Frank Madras, the role poked fun at the lingering effect of the 1960s counterculture. In 1989, he gained popularity with a new generation of teens when he was cast as Rufus, the time-traveling mentor of the titular characters in Bill & Ted's Excellent Adventure, and reprised his role in the film sequel Bill and Ted's Bogus Journey as well as the first season of the cartoon series. From 1991 to 1995, he narrated the American version of the children's show Thomas the Tank Engine & Friends, and played "Mr. Conductor" on Shining Time Station from 1991 to 1993. Also in 1991, Carlin had a major supporting role in the movie The Prince of Tides, which starred Nick Nolte and Barbra Streisand.

Carlin began a weekly Fox sitcom, The George Carlin Show, in 1993, playing New York City taxicab driver George O'Grady. The show, created and written by The Simpsons co-creator Sam Simon, ran 27 episodes through December 1995.^[46]

In his final book, the posthumously published Last Words, Carlin said about The George Carlin Show, "I was incredibly happy when the show was canceled. I was frustrated that it had taken me away from my true work."^[47]

In 1997, his first hardcover book, Brain Droppings, was published. The book sold nearly 900,000 copies and spent 40 weeks on the New York Times best-seller list. ^[48] Carlin was honored at the 1997 Aspen Comedy Festival with a retrospective, George Carlin: 40 Years of Comedy, hosted by Jon Stewart.

In 1999, Carlin played a supporting role as a satirical Roman Catholic cardinal in filmmaker Kevin Smith's movie Dogma. He worked with Smith again with a cameo appearance in Jay and Silent Bob Strike Back and later played an atypically serious role in Jersey Girl as the blue-collar father of Ben Affleck's character.

2000s[link]

In 2001, Carlin was given a Lifetime Achievement Award at the 15th Annual American Comedy Awards. In December 2003, California U.S. Representative Doug Ose (Republican), introduced a bill (H.R. 3687) to outlaw the broadcast of Carlin's "seven dirty words,"^[49] including "compound use (including hyphenated compounds) of such words and phrases with each other or with other words or phrases, and other grammatical forms of such words and phrases (including verb, adjective, gerund, participle, and infinitive forms)." (The bill omits "tits," but includes "asshole," which was not part of Carlin's original routine.) This bill was never voted on. The last action on this bill was its referral to the House Judiciary Committee on the Constitution on January 15, 2004.^[49]

For years, Carlin had performed regularly as a headliner in Las Vegas, but in 2005 he was fired from his headlining position at the MGM Grand Hotel in Las Vegas, Nevada, after an altercation with his audience. After a poorly received set filled with dark references to suicide bombings and beheadings, Carlin stated that he could not wait to get out of "this fucking hotel" and Las Vegas, claiming he wanted to go back east, "where the real people are." He continued to insult his audience, stating:

People who go to Las Vegas, you've got to question their fucking intellect to start with. Traveling hundreds and thousands of miles to essentially give your money to a large corporation is kind of fucking moronic. That's what I'm always getting here is these kind of fucking people with very limited intellects.

An audience member shouted back that Carlin should "stop degrading us," at which point Carlin responded, "Thank you very much, whatever that was. I hope it was positive; if not, well, blow me." He was immediately fired by MGM Grand and soon after announced he would enter rehab for alcohol and prescription painkiller addiction.^[50][51]

He began a tour through the first half of 2006 following the airing of his thirteenth HBO Special on November 5, 2005, entitled Life is Worth Losing,^[52] which was shown live from the Beacon Theatre in New York City and in which he stated early on: "I've got 341 days of sobriety," referring to the rehab he entered after being fired from MGM. Topics covered included suicide, natural disasters (and the desire to see them escalate in severity), cannibalism, genocide, human sacrifice, threats to civil liberties in America, and how an argument can be made that humans are inferior to other animals.

On February 1, 2006, during his Life Is Worth Losing set at the Tachi Palace Casino in Lemoore, California, Carlin mentioned to the crowd that he had been discharged from the hospital only six weeks previously for "heart failure" and "pneumonia", citing the appearance as his "first show back."

Carlin provided the voice of Fillmore, a character in the Disney/Pixar animated feature Cars, which opened in theaters on June 9, 2006. The character Fillmore, who is presented as an anti-establishment hippie, is a VW Microbus with a psychedelic paint job whose front license plate reads "51237," Carlin's birthday and also the Zip Code for George, Iowa. In 2007, Carlin provided the voice of the wizard in Happily N'Ever After, along with Sarah Michelle Gellar, Freddie Prinze Jr., Andy Dick, and Wallace Shawn, his last film.

Carlin's last HBO stand-up special, It's Bad for Ya, aired live on March 1, 2008, from the Wells Fargo Center for the Arts in Santa Rosa, California.^[53] The themes that appeared in this HBO special included "American Bullshit," "Rights," "Death," "Old Age," and "Child Rearing." In his routine, he brought to light many of the problems facing America, and he told his audience to cut through the "bullshit" of the world and "enjoy the carnival." Carlin had been working on the new material for this HBO special for several months prior in concerts all over the country.

Personal life[link]

In 1961, Carlin married Brenda Hosbrook (August 5, 1936 - May 11, 1997), whom he had met while touring the previous year. The couple's only child, a daughter named Kelly, was born on June 15, 1963.^[54] In 1971, George and Brenda renewed their wedding vows in Las Vegas. Brenda died of liver cancer a day before Carlin's 60th birthday, in 1997.

Carlin later married Sally Wade on June 24, 1998, and the marriage lasted until his death, two days before their tenth anniversary.^[55]

Carlin often criticized elections as an illusion of choice.^[56] He said the last time he voted was 1972, for George McGovern who ran for President against Richard Nixon.^[57]

Religion[link]

Although raised in the Roman Catholic faith, which he describes anecdotally on the albums FM & AM and Class Clown, religion, God, and particularly religious adherents were frequent subjects of criticism in Carlin's routines. He described his opinion of the flaws of organized religion in interviews and performances, notably with his "Religion" and "There Is No God" routines as heard in You Are All Diseased. His views on religion are also mentioned in his last HBO stand up show It's Bad for Ya where he mocked the traditional swearing on the Bible as "bullshit,"^[58] "make believe," and "kids' stuff." In It's Bad for Ya, Carlin noted differences in the types of hats religions ban or require as part of their practices. He mentions that he would never want to be a part of a group that requires or bans the wearing of hats. Carlin also joked in his second book, Brain Droppings, that he worshipped the Sun, one reason being that he could see it.

Themes[link]

Carlin's material falls under one of three self-described categories: "the little world" (observational humor), "the big world" (social commentary), and the peculiarities of the English language (euphemisms, doublespeak, business jargon), all sharing the overall theme of (in his words) "humanity's bullshit," which might include murder, genocide, war, rape, corruption, religion and other aspects of human civilization. He was known for mixing observational humour with larger social commentary. His delivery frequently treated these subjects in a misanthropic and nihilistic fashion, such as in his statement during the Life is Worth Losing show:

I look at it this way... For centuries now, man has done everything he can to destroy, defile, and interfere with nature: clear-cutting forests, strip-mining mountains, poisoning the atmosphere, over-fishing the oceans, polluting the rivers and lakes, destroying wetlands and aquifers... so when nature strikes back, and smacks him on the head and kicks him in the nuts, I enjoy that. I have absolutely no sympathy for human beings whatsoever. None. And no matter what kind of problem humans are facing, whether it's natural or man-made, I always hope it gets worse.

Language was a frequent focus of Carlin's work. Euphemisms that, in his view, seek to distort and lie and the use of language he felt was pompous, presumptuous, or silly were often the target of Carlin's routines. When asked on Inside the Actors Studio what turned him on, he responded, "Reading about language." When asked what made him most proud about his career, he said the number of his books that have been sold, close to a million copies.

Carlin also gave special attention to prominent topics in American and Western Culture, such as obsession with fame and celebrity, consumerism, conservative Christianity, political alienation, corporate control, hypocrisy, child raising, fast food diet, news stations, self-help publications, blind patriotism, sexual taboos, certain uses of technology and surveillance, and the pro-life position,^[59] among many others.

George Carlin in Trenton, New Jersey April 4, 2008

Carlin openly communicated in his shows and in his interviews that his purpose for existence was entertainment, that he was "here for the show." He professed a hearty schadenfreude in watching the rich spectrum of humanity slowly self-destruct, in his estimation, of its own design, saying, "When you're born, you get a ticket to the freak show. When you're born in America, you get a front-row seat." He acknowledged that this is a very selfish thing, especially since he included large human catastrophes as entertainment. In his You Are All Diseased concert, he elaborated somewhat on this, telling the audience, "I have always been willing to put myself at great personal risk for the sake of entertainment. And I've always been willing to put you at great personal risk, for the same reason!"

In the same interview, he recounted his experience of a California earthquake in the early 1970s, as "[a]n amusement park ride. Really, I mean it's such a wonderful thing to realize that you have absolutely no control, and to see the dresser move across the bedroom floor unassisted is just exciting."

A routine in Carlin's 1999 HBO special You Are All Diseased focusing on airport security leads up to the statement: "Take a fucking chance! Put a little fun in your life! Most Americans are soft and frightened and unimaginative and they don't realize there's such a thing as dangerous fun, and they certainly don't recognize a good show when they see one."

Along with wordplay and sex jokes, Carlin had always included politics as part of his material, but by the mid 1980s he had become a strident social critic in both his HBO specials and the book compilations of his material, bashing both conservatives and liberals alike. His HBO viewers got an especially sharp taste of this in his take on the Ronald Reagan administration during the 1988 special What Am I Doing In New Jersey?, broadcast live from the Park Theatre in Union City, New Jersey.

Death and legacy[link]

Carlin had a history of cardiac problems spanning several decades, including three heart attacks (in 1978 at age 41, 1982 and 1991), an arrhythmia requiring an ablation procedure in 2003, and a significant episode of heart failure in late 2005. He twice underwent angioplasty to reopen narrowed arteries.^[60] In early 2005 he entered a drug rehabilitation facility for treatment of addictions to alcohol and Vicodin.^[61]

On June 22, 2008, Carlin was admitted to Saint John's Health Center in Santa Monica after experiencing chest pain, and he died later that day of heart failure. He was 71 years old.^[62] His death occurred one week after his last performance at The Orleans Hotel and Casino in Las Vegas. There were further shows on his itinerary.^[21][63][64] In accordance with his wishes, he was cremated, his ashes scattered, and no public or religious services of any kind were held.^[65][66]

In tribute, HBO broadcast eleven of his fourteen HBO specials from June 25–28, including a twelve-hour marathon block on their HBO Comedy channel. NBC scheduled a rerun of the premiere episode of Saturday Night Live, which Carlin hosted.^[67][68][69] Both Sirius Satellite Radio's "Raw Dog Comedy" and XM Satellite Radio's "XM Comedy" channels ran a memorial marathon of George Carlin recordings the day following his death. Larry King devoted his entire June 23 show to a tribute to Carlin, featuring interviews with Jerry Seinfeld, Bill Maher, Roseanne Barr and Lewis Black, as well as Carlin's daughter Kelly and his brother, Patrick.

On June 24, The New York Times published an op-ed piece on Carlin by Seinfeld.^[70] Cartoonist Garry Trudeau paid tribute in his Doonesbury comic strip on July 27.^[71]

Four days before his death, the John F. Kennedy Center for the Performing Arts had named Carlin its 2008 Mark Twain Prize for American Humor honoree.^[72] The prize was awarded in Washington, D.C. on November 10, making Carlin the first posthumous recipient.^[73] Comedians honoring him at the ceremony included Jon Stewart, Bill Maher, Lily Tomlin (a past Twain Humor Prize winner), Lewis Black, Denis Leary, Joan Rivers, and Margaret Cho.

Louis C.K. dedicated his stand-up special Chewed Up to Carlin, and Lewis Black dedicated his entire second season of Root of All Evil to him.

For a number of years, Carlin had been compiling and writing his autobiography, to be released in conjunction with a one-man Broadway show tentatively titled New York City Boy. After his death Tony Hendra, his collaborator on both projects, edited the autobiography for release as Last Words (ISBN 1-4391-7295-1). The book, chronicling most of Carlin's life and future plans (including the one-man show) was published in 2009. The audio edition is narrated by Carlin's brother, Patrick.^[74]

The text of the one-man show is scheduled for publication under the title New York Boy.^[75]

The George Carlin Letters: The Permanent Courtship of Sally Wade,^[76] by Carlin's widow, a collection of previously-unpublished writings and artwork by Carlin interwoven with Wade’s chronicle of the last ten years of their life together, was published in March 2011. (The subtitle is the phrase on a handwritten note Wade found next to her computer upon returning home from the hospital after her husband's death.)^[77]

In 2008 Carlin's daughter Kelly Carlin-McCall announced plans to publish an "oral history", a collection of stories from Carlin's friends and family,^[78] but she later indicated that the project had been shelved in favor of completion of her own memoir.^[79]

Works[link]

Discography[link]

Main

• 1963: Burns and Carlin at the Playboy Club Tonight
• 1967: Take-Offs and Put-Ons
• 1972: FM & AM
• 1972: Class Clown
• 1973: Occupation: Foole
• 1974: Toledo Window Box
• 1975: An Evening with Wally Londo Featuring Bill Slaszo
• 1977: On the Road
• 1981: A Place for My Stuff
• 1984: Carlin on Campus
• 1986: Playin' with Your Head
• 1988: What Am I Doing in New Jersey?
• 1990: Doin' It Again / Parental Advisory: Explicit Lyrics
• 1992: Jammin' in New York
• 1996: Back in Town
• 1999: You Are All Diseased
• 2001: Complaints and Grievances
• 2006: Life Is Worth Losing
• 2008: It's Bad for Ya

Compilations

• 1978: Indecent Exposure: Some of the Best of George Carlin
• 1984: The George Carlin Collection
• 1992: Classic Gold
• 1999: The Little David Years (1971-1977)
• 2002: George Carlin on Comedy

Filmography[link]