Space TV is a public television channel in Azerbaijan. It was founded on October 12, 1997.^[2]

Notes[link]

External links[link]

• Official website (Azerbaijani)
• Official website (Russian)

This article about a television station is a stub. You can help Wikipedia by expanding it. v t e

Space is the boundless, three-dimensional extent in which objects and events occur and have relative position and direction.^[1] Physical space is often conceived in three linear dimensions, although modern physicists usually consider it, with time, to be part of a boundless four-dimensional continuum known as spacetime. In mathematics,"spaces" are examined with different numbers of dimensions and with different underlying structures. The concept of space is considered to be of fundamental importance to an understanding of the physical universe. However, disagreement continues between philosophers over whether it is itself an entity, a relationship between entities, or part of a conceptual framework.

Debates concerning the nature, essence and the mode of existence of space date back to antiquity; namely, to treatises like the Timaeus of Plato, or Socrates in his reflections on what the Greeks called khora (i.e. "space"), or in the Physics of Aristotle (Book IV, Delta) in the definition of topos (i.e. place), or even in the later "geometrical conception of place" as "space qua extension" in the Discourse on Place (Qawl fi al-Makan) of the 11th century Arab polymath Alhazen.^[2] Many of these classical philosophical questions were discussed in the Renaissance and then reformulated in the 17th century, particularly during the early development of classical mechanics. In Isaac Newton's view, space was absolute - in the sense that it existed permanently and independently of whether there were any matter in the space.^[3] Other natural philosophers, notably Gottfried Leibniz, thought instead that space was a collection of relations between objects, given by their distance and direction from one another. In the 18th century, the philosopher and theologian George Berkeley attempted to refute the "visibility of spatial depth" in his Essay Towards a New Theory of Vision. Later, the metaphysician Immanuel Kant said neither space nor time can be empirically perceived, they are elements of a systematic framework that humans use to structure all experiences. Kant referred to "space" in his Critique of Pure Reason as being: a subjective "pure a priori form of intuition", hence it is an unavoidable contribution of our human faculties.

In the 19th and 20th centuries mathematicians began to examine non-Euclidean geometries, in which space can be said to be curved, rather than flat. According to Albert Einstein's theory of general relativity, space around gravitational fields deviates from Euclidean space.^[4] Experimental tests of general relativity have confirmed that non-Euclidean space provides a better model for the shape of space.

Philosophy of space[link]

Leibniz and Newton[link]

Gottfried Leibniz

In the seventeenth century, the philosophy of space and time emerged as a central issue in epistemology and metaphysics. At its heart, Gottfried Leibniz, the German philosopher-mathematician, and Isaac Newton, the English physicist-mathematician, set out two opposing theories of what space is. Rather than being an entity that independently exists over and above other matter, Leibniz held that space is no more than the collection of spatial relations between objects in the world: "space is that which results from places taken together".^[5] Unoccupied regions are those that could have objects in them, and thus spatial relations with other places. For Leibniz, then, space was an idealised abstraction from the relations between individual entities or their possible locations and therefore could not be continuous but must be discrete.^[6] Space could be thought of in a similar way to the relations between family members. Although people in the family are related to one another, the relations do not exist independently of the people.^[7] Leibniz argued that space could not exist independently of objects in the world because that implies a difference between two universes exactly alike except for the location of the material world in each universe. But since there would be no observational way of telling these universes apart then, according to the identity of indiscernibles, there would be no real difference between them. According to the principle of sufficient reason, any theory of space that implied that there could be these two possible universes, must therefore be wrong.^[8]

Isaac Newton

Newton took space to be more than relations between material objects and based his position on observation and experimentation. For a relationist there can be no real difference between inertial motion, in which the object travels with constant velocity, and non-inertial motion, in which the velocity changes with time, since all spatial measurements are relative to other objects and their motions. But Newton argued that since non-inertial motion generates forces, it must be absolute.^[9] He used the example of water in a spinning bucket to demonstrate his argument. Water in a bucket is hung from a rope and set to spin, starts with a flat surface. After a while, as the bucket continues to spin, the surface of the water becomes concave. If the bucket's spinning is stopped then the surface of the water remains concave as it continues to spin. The concave surface is therefore apparently not the result of relative motion between the bucket and the water.^[10] Instead, Newton argued, it must be a result of non-inertial motion relative to space itself. For several centuries the bucket argument was decisive in showing that space must exist independently of matter.

Kant[link]

Immanuel Kant

In the eighteenth century the German philosopher Immanuel Kant developed a theory of knowledge in which knowledge about space can be both a priori and synthetic.^[11] According to Kant, knowledge about space is synthetic, in that statements about space are not simply true by virtue of the meaning of the words in the statement. In his work, Kant rejected the view that space must be either a substance or relation. Instead he came to the conclusion that space and time are not discovered by humans to be objective features of the world, but are part of an unavoidable systematic framework for organizing our experiences.^[12]

Non-Euclidean geometry[link]

Spherical geometry is similar to elliptical geometry. On the surface of a sphere there are no parallel lines.

Euclid's Elements contained five postulates that form the basis for Euclidean geometry. One of these, the parallel postulate has been the subject of debate among mathematicians for many centuries. It states that on any plane on which there is a straight line L₁ and a point P not on L₁, there is only one straight line L₂ on the plane that passes through the point P and is parallel to the straight line L₁. Until the 19th century, few doubted the truth of the postulate; instead debate centered over whether it was necessary as an axiom, or whether it was a theory that could be derived from the other axioms.^[13] Around 1830 though, the Hungarian János Bolyai and the Russian Nikolai Ivanovich Lobachevsky separately published treatises on a type of geometry that does not include the parallel postulate, called hyperbolic geometry. In this geometry, an infinite number of parallel lines pass through the point P. Consequently the sum of angles in a triangle is less than 180° and the ratio of a circle's circumference to its diameter is greater than pi. In the 1850s, Bernhard Riemann developed an equivalent theory of elliptical geometry, in which no parallel lines pass through P. In this geometry, triangles have more than 180° and circles have a ratio of circumference-to-diameter that is less than pi.

Gauss and Poincaré[link]

Carl Friedrich Gauss

Henri Poincaré

Although there was a prevailing Kantian consensus at the time, once non-Euclidean geometries had been formalised, some began to wonder whether or not physical space is curved. Carl Friedrich Gauss, a German mathematician, was the first to consider an empirical investigation of the geometrical structure of space. He thought of making a test of the sum of the angles of an enormous stellar triangle and there are reports he actually carried out a test, on a small scale, by triangulating mountain tops in Germany.^[14]

Henri Poincaré, a French mathematician and physicist of the late 19th century introduced an important insight in which he attempted to demonstrate the futility of any attempt to discover which geometry applies to space by experiment.^[15] He considered the predicament that would face scientists if they were confined to the surface of an imaginary large sphere with particular properties, known as a sphere-world. In this world, the temperature is taken to vary in such a way that all objects expand and contract in similar proportions in different places on the sphere. With a suitable falloff in temperature, if the scientists try to use measuring rods to determine the sum of the angles in a triangle, they can be deceived into thinking that they inhabit a plane, rather than a spherical surface.^[16] In fact, the scientists cannot in principle determine whether they inhabit a plane or sphere and, Poincaré argued, the same is true for the debate over whether real space is Euclidean or not. For him, which geometry was used to describe space, was a matter of convention.^[17] Since Euclidean geometry is simpler than non-Euclidean geometry, he assumed the former would always be used to describe the 'true' geometry of the world.^[18]

Einstein[link]

Albert Einstein

In 1905, Albert Einstein published a paper on a special theory of relativity, in which he proposed that space and time be combined into a single construct known as spacetime. In this theory, the speed of light in a vacuum is the same for all observers—which has the result that two events that appear simultaneous to one particular observer will not be simultaneous to another observer if the observers are moving with respect to one another. Moreover, an observer will measure a moving clock to tick more slowly than one that is stationary with respect to them; and objects are measured to be shortened in the direction that they are moving with respect to the observer.

Over the following ten years Einstein worked on a general theory of relativity, which is a theory of how gravity interacts with spacetime. Instead of viewing gravity as a force field acting in spacetime, Einstein suggested that it modifies the geometric structure of spacetime itself.^[19] According to the general theory, time goes more slowly at places with lower gravitational potentials and rays of light bend in the presence of a gravitational field. Scientists have studied the behaviour of binary pulsars, confirming the predictions of Einstein's theories and non-Euclidean geometry is usually used to describe spacetime.

Mathematics[link]

In modern mathematics spaces are defined as sets with some added structure. They are frequently described as different types of manifolds, which are spaces that locally approximate to Euclidean space, and where the properties are defined largely on local connectedness of points that lie on the manifold. There are however, many diverse mathematical objects that are called spaces. For example, vector spaces such as function spaces may have infinite numbers of independent dimensions and a notion of distance very different to Euclidean space, and topological spaces replace the concept of distance with a more abstract idea of nearness.

Physics[link]

Classical mechanics[link]

Space is one of the few fundamental quantities in physics, meaning that it cannot be defined via other quantities because nothing more fundamental is known at the present. On the other hand, it can be related to other fundamental quantities. Thus, similar to other fundamental quantities (like time and mass), space can be explored via measurement and experiment.

Relativity[link]

Before Einstein's work on relativistic physics, time and space were viewed as independent dimensions. Einstein's discoveries showed that due to relativity of motion our space and time can be mathematically combined into one object — spacetime. It turns out that distances in space or in time separately are not invariant with respect to Lorentz coordinate transformations, but distances in Minkowski space-time along space-time intervals are—which justifies the name.

In addition, time and space dimensions should not be viewed as exactly equivalent in Minkowski space-time. One can freely move in space but not in time. Thus, time and space coordinates are treated differently both in special relativity (where time is sometimes considered an imaginary coordinate) and in general relativity (where different signs are assigned to time and space components of spacetime metric).

Furthermore, in Einstein's general theory of relativity, it is postulated that space-time is geometrically distorted- curved -near to gravitationally significant masses.^[20]

Experiments are ongoing to attempt to directly measure gravitational waves. This is essentially solutions to the equations of general relativity, which describe moving ripples of spacetime. Indirect evidence for this has been found in the motions of the Hulse-Taylor binary system.

Cosmology[link]

Relativity theory leads to the cosmological question of what shape the universe is, and where space came from. It appears that space was created in the Big Bang, 13.7 billion years ago and has been expanding ever since. The overall shape of space is not known, but space is known to be expanding very rapidly due to the Cosmic Inflation.

Spatial measurement[link]

The measurement of physical space has long been important. Although earlier societies had developed measuring systems, the International System of Units, (SI), is now the most common system of units used in the measuring of space, and is almost universally used.

Currently, the standard space interval, called a standard meter or simply meter, is defined as the distance traveled by light in a vacuum during a time interval of exactly 1/299,792,458 of a second. This definition coupled with present definition of the second is based on the special theory of relativity in which the speed of light plays the role of a fundamental constant of nature.

Geographical space[link]

Geography is the branch of science concerned with identifying and describing the Earth, utilizing spatial awareness to try to understand why things exist in specific locations. Cartography is the mapping of spaces to allow better navigation, for visualization purposes and to act as a locational device. Geostatistics apply statistical concepts to collected spatial data to create an estimate for unobserved phenomena.

Geographical space is often considered as land, and can have a relation to ownership usage (in which space is seen as property or territory). While some cultures assert the rights of the individual in terms of ownership, other cultures will identify with a communal approach to land ownership, while still other cultures such as Australian Aboriginals, rather than asserting ownership rights to land, invert the relationship and consider that they are in fact owned by the land. Spatial planning is a method of regulating the use of space at land-level, with decisions made at regional, national and international levels. Space can also impact on human and cultural behavior, being an important factor in architecture, where it will impact on the design of buildings and structures, and on farming.

Ownership of space is not restricted to land. Ownership of airspace and of waters is decided internationally. Other forms of ownership have been recently asserted to other spaces—for example to the radio bands of the electromagnetic spectrum or to cyberspace.

Public space is a term used to define areas of land as collectively owned by the community, and managed in their name by delegated bodies; such spaces are open to all, while private property is the land culturally owned by an individual or company, for their own use and pleasure.

Abstract space is a term used in geography to refer to a hypothetical space characterized by complete homogeneity. When modeling activity or behavior, it is a conceptual tool used to limit extraneous variables such as terrain.

In psychology[link]

Psychologists first began to study the way space is perceived in the middle of the 19th century. Those now concerned with such studies regard it as a distinct branch of psychology. Psychologists analyzing the perception of space are concerned with how recognition of an object's physical appearance or its interactions are perceived, see, for example, visual space.

Other, more specialized topics studied include amodal perception and object permanence. The perception of surroundings is important due to its necessary relevance to survival, especially with regards to hunting and self preservation as well as simply one's idea of personal space.

Several space-related phobias have been identified, including agoraphobia (the fear of open spaces), astrophobia (the fear of celestial space) and claustrophobia (the fear of enclosed spaces).

See also[link]

	Book: Space
Wikipedia books are collections of articles that can be downloaded or ordered in print.

Wikiquote has a collection of quotations related to: Space

Look up space in Wiktionary, the free dictionary.

• Absolute space and time
• Aether theories
• Cosmology
• Effect of spaceflight on the human body
• General relativity
• Personal space
• Shape of the universe
• Space exploration
• Spatial-temporal reasoning
• Spatial analysis
• Visual space

References[link]

Monty Python (sometimes known as The Pythons)^[2][3] was a British surreal comedy group who created Monty Python's Flying Circus, a British television comedy sketch show that first aired on the BBC on 5 October 1969. Forty-five episodes were made over four series. The Python phenomenon developed from the television series into something larger in scope and impact, spawning touring stage shows, films, numerous albums, several books and a stage musical as well as launching the members to individual stardom. The group's influence on comedy has been compared to The Beatles' influence on music.^[4][5]

The television series, broadcast by the BBC from 1969 to 1974, was conceived, written and performed by members Graham Chapman, John Cleese, Terry Gilliam, Eric Idle, Terry Jones, and Michael Palin. Loosely structured as a sketch show, but with an innovative stream-of-consciousness approach (aided by Gilliam's animation), it pushed the boundaries of what was acceptable in style and content.^[6][7] A self-contained comedy team responsible for both writing and performing their work, the Pythons' creative control allowed them to experiment with form and content, discarding rules of television comedy. Their influence on British comedy has been apparent for years, while in North America it has coloured the work of cult performers from the early editions of Saturday Night Live through to more recent absurdist trends in television comedy. "Pythonesque" has entered the English lexicon as a result.

In a 2005 UK poll to find The Comedian's Comedian, three of the six Pythons members were voted by fellow comedians and comedy insiders to be among the top 50 greatest comedians ever: Cleese at #2, Idle at #21, and Palin at #30.^[8]

[edit] Before Flying Circus

Palin and Jones met at Oxford University, where they performed together with the Oxford Revue. Cleese and Chapman met at Cambridge. Idle was also at Cambridge, but started a year after Cleese and Chapman. Cleese met Gilliam in New York while on tour with the Cambridge University Footlights revue Cambridge Circus (originally entitled A Clump of Plinths). Chapman, Cleese and Idle were members of the Footlights, which at that time also included the future Goodies (Tim Brooke-Taylor, Bill Oddie and Graeme Garden), and Jonathan Lynn (co-writer of Yes Minister and Yes, Prime Minister). During Idle's presidency of the Club, feminist writer Germaine Greer and broadcaster Clive James were members. Recordings of Footlights revues (called "Smokers") at Pembroke College include sketches and performances by Idle and Cleese. They are kept in the archives of the Pembroke Players, along with tapes of Idle's performances in some of the college drama society's theatrical productions.

Python members appeared in and/or wrote the following shows before Monty Python's Flying Circus. The Frost Report is credited as first uniting the British Pythons and providing an environment in which they could develop their particular styles:

• I'm Sorry, I'll Read That Again (radio) (1964–1973) [Cleese: cast member & writer] – [Idle and Chapman: writers]
• The Frost Report (1966–1967) [Cleese: cast member and writer] – [Idle: writer of Frost's monologues] – [Chapman, Palin and Jones: writers]
• At Last the 1948 Show (1967) [Chapman and Cleese: writers and cast members] – [Idle: writer]
• Twice a Fortnight (1967) [Palin and Jones: cast members and writers]
• Do Not Adjust Your Set (1967–1969) [Idle, Jones, and Palin: cast members & writers] – [Gilliam: animation]
  — Bonzo Dog Band: musical interludes]
• We Have Ways of Making You Laugh (1968) [Idle: cast member & writer] – [Gilliam: animation]
• How to Irritate People (1968) [Cleese and Chapman: cast members & writers] – [Palin: cast member]
• The Complete and Utter History of Britain (1969) [Palin and Jones: cast members & writers]
• Doctor in the House (1969) [Cleese & Chapman: writers]

Several featured other important British comedy writers or performers of the future, including Marty Feldman, Jonathan Lynn, David Jason and David Frost, as well as members of other future comedy teams, Ronnie Corbett and Ronnie Barker (the Two Ronnies), and Tim Brooke-Taylor, Graeme Garden and Bill Oddie (the Goodies).

Following the success of Do Not Adjust Your Set, originally intended to be a children's programme, with adults, ITV offered Palin, Jones, Idle and Gilliam their own series together. At the same time Cleese and Chapman were offered a show by the BBC, which had been impressed by their work on The Frost Report and At Last The 1948 Show. Cleese was reluctant to do a two-man show for various reasons, including Chapman's supposedly difficult personality. Cleese had fond memories of working with Palin and invited him to join the team. With the ITV series still in pre-production, Palin agreed and suggested the involvement of his writing partner Jones and colleague Idle—who in turn suggested that Gilliam could provide animations for the projected series. Much has been made of the fact that the Monty Python troupe is the result of Cleese's desire to work with Palin and the chance circumstances that brought the other four members into the fold.^[9]

[edit] Monty Python's Flying Circus

Development of the series[link]

The Pythons had a definite idea about what they wanted to do with the series. They were admirers of the work of Peter Cook, Alan Bennett, Jonathan Miller and Dudley Moore on Beyond the Fringe, and had worked on Frost, which was similar in style. They enjoyed Cook and Moore's sketch show Not Only... But Also. One problem the Pythons perceived with these programmes was that though the body of the sketch would be strong, the writers would often struggle to then find a punchline funny enough to end on, and this would detract from the overall sketch quality. They decided that they would simply not bother to "cap" their sketches in the traditional manner, and early episodes of the Flying Circus series make great play of this abandonment of the punchline (one scene has Cleese turn to Idle, as the sketch descends into chaos, and remark that "This is the silliest sketch I've ever been in"—they all resolve not to carry on and simply walk off the set). However, as they began assembling material for the show, the Pythons watched one of their collective heroes, Spike Milligan, recording his groundbreaking series Q5 (1969). Not only was the programme more irreverent and anarchic than any previous television comedy, Milligan would often "give up" on sketches halfway through and wander off set (often muttering "Did I write this?"). It was clear that their new series would now seem less original, and Jones in particular became determined the Pythons should innovate.

After much debate, Jones remembered an animation Gilliam had created for Do Not Adjust Your Set called Beware of the Elephants, which had intrigued him with its stream-of-consciousness style. Jones felt it would be a good concept to apply to the series: allowing sketches to blend into one another. Palin had been equally fascinated by another of Gilliam's efforts, entitled Christmas Cards, and agreed that it represented "a way of doing things differently". Since Cleese, Chapman and Idle were less concerned with the overall flow of the programme, it was Jones, Palin and Gilliam who became largely responsible for the presentation style of the Flying Circus series, in which disparate sketches are linked to give each episode the appearance of a single stream-of-consciousness (often using a Gilliam animation to move from the closing image of one sketch to the opening scene of another).

Writing started at 9 am and finished at 5 pm. Typically, Cleese and Chapman worked as one pair isolated from the others, as did Jones and Palin, while Idle wrote alone. After a few days, they would join together with Gilliam, critique their scripts, and exchange ideas. Their approach to writing was democratic. If the majority found an idea humorous, it was included in the show. The casting of roles for the sketches was a similarly unselfish process, since each member viewed himself primarily as a 'writer', rather than an actor desperate for screen time. When the themes for sketches were chosen, Gilliam had carte blanche to decide how to bridge them with animations, using a camera, scissors, and airbrush.

While the show was a collaborative process, different factions within Python were responsible for elements of the team's humour. In general, the work of the Oxford-educated members (Jones and Palin) was more visual, and more fanciful conceptually (e.g., the arrival of the Spanish Inquisition in a suburban front room), while the Cambridge graduates' sketches tended to be more verbal and more aggressive (for example, Cleese and Chapman's many "confrontation" sketches, where one character intimidates or hurls abuse, or Idle's characters with bizarre verbal quirks, such as The Man Who Speaks In Anagrams). Cleese confirmed that "most of the sketches with heavy abuse were Graham's and mine, anything that started with a slow pan across countryside and impressive music was Mike and Terry's, and anything that got utterly involved with words and disappeared up any personal orifice was Eric's".^[10] Gilliam's animations, meanwhile, ranged from the whimsical to the savage (the cartoon format allowing him to create some astonishingly violent scenes without fear of censorship).

Several names for the show were considered before Monty Python's Flying Circus was settled upon. Some were Owl Stretching Time, Toad Elevating Moment, A Bucket, a Horse and a Spoon, Vaseline Review and Bun, Wackett, Buzzard, Stubble and Boot. Flying Circus stuck when the BBC explained it had printed that name in its schedules and was not prepared to amend it. Many variations on the name in front of this title then came and went (popular legend holds that the BBC considered Monty Python's Flying Circus to be a ridiculous name, at which point the group threatened to change their name every week until the BBC relented). "Gwen Dibley's Flying Circus" was named after a woman Palin had read about in the newspaper, thinking it would be amusing if she were to discover she had her own TV show. "Baron Von Took's Flying Circus" was considered as an affectionate tribute to Barry Took, the man who had brought them together. Arthur Megapode's Flying Circus was suggested, then discarded.

There are differing, somewhat confusing accounts of the origins of the Python name although the members agree that its only "significance" was that they thought it sounded funny. In the 1998 documentary Live At Aspen during the US Comedy Arts Festival, where the troupe was awarded the AFI Star Award by the American Film Institute, the group implied that "Monty" was selected (Eric Idle's idea) as a gently-mocking tribute to Field Marshal Lord Montgomery, a legendary British general of World War II; requiring a "slippery-sounding" surname, they settled on "Python". On other occasions Idle has claimed that the name "Monty" was that of a popular and rotund fellow who drank in his local pub; people would often walk in and ask the barman, "Has Monty been in yet?", forcing the name to become stuck in his mind. The name Monty Python was later described by the BBC as being "envisaged by the team as the perfect name for a sleazy entertainment agent".^[11]

Style of the show[link]

Flying Circus popularised innovative formal techniques, such as the cold open, in which an episode began without the traditional opening titles or announcements.^[12] An example of this is the "It's" man: Palin, outfitted in Robinson Crusoe garb, making a tortuous journey across various terrains, before finally approaching the camera to state, "It's...", only to be then cut off by the title sequence and theme music. On several occasions the cold open lasted until mid show, after which the regular opening titles ran. Occasionally the Pythons tricked viewers by rolling the closing credits halfway through the show, usually continuing the joke by fading to the familiar globe logo used for BBC continuity, over which Cleese would parody the clipped tones of a BBC announcer. On one occasion the credits ran directly after the opening titles. Because of their dislike of finishing with punchlines, they experimented with ending the sketches by cutting abruptly to another scene or animation, walking offstage, addressing the camera (breaking the fourth wall), or introducing a totally unrelated event or character. A classic example of this approach was the use of Chapman's "Colonel" character, who walked into several sketches and ordered them to be stopped because things were becoming "far too silly." Another favourite way of ending sketches was to drop a cartoonish "16-ton weight" prop on one of the characters when the sketch seemed to be losing momentum, or a knight in full armour (played by Terry Gilliam) would wander on-set and hit characters over the head with a rubber chicken,^[13] before cutting to the next scene. Yet another way of changing scenes was when John Cleese, usually outfitted in a dinner suit, would come in as a radio commentator and make the formal and determined announcement, "And now for something completely different."

The Python theme music is The Liberty Bell, a march by John Philip Sousa, which was chosen, among other reasons, because the recording was in the public domain.^[12]

The use of Gilliam's surreal, collage stop motion animations was another innovative intertextual element of the Python style. Many of the images Gilliam used were lifted from famous works of art, and from Victorian illustrations and engravings. The giant foot which crushes the show's title at the end of the opening credits is in fact the foot of Cupid, cut from a reproduction of the Renaissance masterpiece Venus, Cupid, Folly, and Time by Bronzino. This foot, and Gilliam's style in general, are visual trademarks of the series.

The Pythons used the British tradition of cross-dressing comedy by donning frocks and makeup and playing female roles themselves while speaking in falsetto. Generally speaking, female roles were played by a woman (usually Carol Cleveland) only when the scene specifically required that the character be sexually attractive (although sometimes they used Idle for this). In some episodes and later in Monty Python's Life of Brian they took the idea one step further by playing women who impersonated men (in the stoning scene).

Many sketches are well-known and widely quoted. "Dead Parrot", "The Lumberjack Song", "Spam", "Nudge Nudge", "The Spanish Inquisition", "Upper Class Twit of the Year", "Cheese Shop" and "The Ministry of Silly Walks" are just a few examples.

Introduction to North America[link]

The Canadian Broadcasting Corporation (CBC) added Monty Python’s Flying Circus to its national September 1970 fall lineup.^[14] They aired the 13 episodes of Series 1, which had first run on the BBC the previous fall (October 1969 to January 1970), as well as the first 6 episodes of Series 2 only a few weeks after they first appeared on the BBC (September to November 1970).^[14] The CBC dropped the show when it returned to regular programming after the Christmas 1970 break, choosing to not place the remaining 7 episodes of series 2 on the January 1971 CBC schedule.^[14] Within a week the CBC received hundreds of calls complaining of the cancellation, and more than 100 people staged a demonstration at the CBC’s Montreal studios.^[14]

Time-Life Films had the right to distribute all BBC-TV programs in the United States, however they had decided that British comedy simply would not work in America. Therefore, it was not worth the investment to convert the Python episodes from the European PAL standard to the American NTSC standard.

Sketches from Monty Python’s Flying Circus were introduced to American audiences in August 1972, with the release of the Python movie And Now for Something Completely Different, featuring sketches from series 1 and 2 of the television show. This 1972 release met limited box office success.

In the summer of 1974 Ron Devillier, the program director for non-profit PBS television station KERA in Dallas, Texas, started airing episodes of Monty Python’s Flying Circus. Ratings shot through the roof, providing an encouraging sign to the other 100 PBS stations that had signed up to begin airing the show in October 1974—exactly 5 years after their BBC debut. There was also cross-promotion from FM radio stations across the country, whose airing of tracks from the Python LPs had already introduced American audiences to this bizarre brand of comedy. The popularity on PBS resulted in the 1974 re-release of the 1972 "...Completely Different" movie, with much greater box office success.

The ability to show Monty Python’s Flying Circus under the American NTSC standard had been made possible by the commercial actions of American television producer Greg Garrison. Garrison produced the NBC series The Dean Martin Comedy World, which ran during the summer of 1974. The concept was to show clips from comedy shows produced in other countries, including tape of the Python sketches "Bicycle Repairman" and "The Dull Life of a Stockbroker". Payment for use of these two sketches was enough to allow Time-Life Films to convert the entire Python library to NTSC standard, allowing for the sale to the PBS network stations who then brought the entire show to US audiences.

With the popularity of Python throughout the rest of the 1970s and through most of the 1980s, PBS stations looked at other British comedies, leading to UK shows such as Are You Being Served? gaining a US audience, and leading, over time, to many PBS stations having a "British Comedy Night" which airs many popular UK comedies.^[15]

[edit] End of Flying Circus

Having considered the possibility at the end of the second series, Cleese left the Flying Circus at the end of the third. He later explained that he felt he no longer had anything fresh to offer the show, and claimed that only two Cleese-and-Chapman-penned sketches in the third series ("Dennis Moore" and the "Cheese Shop") were truly original, and that the others were bits and pieces from previous work cobbled together in slightly different contexts.^[9] He was also finding Chapman, who was at that point in the full throes of alcoholism, difficult to work with. According to an interview with Idle, "It was on an Air Canada flight on the way to Toronto, when John (Cleese) turned to all of us and said 'I want out.' Why? I don't know. He gets bored more easily than the rest of us. He's a difficult man, not easy to be friendly with. He's so funny because he never wanted to be liked. That gives him a certain fascinating, arrogant freedom."^[16]

The rest of the group carried on for one more "half" series before calling a halt to the programme in 1974. The name Monty Python's Flying Circus appears in the opening animation for series four, but in the end credits the show is listed as simply "Monty Python". Despite his official departure from the group, Cleese supposedly made a (non-speaking) cameo appearance in the fourth series, but never appeared in the credits as a performer. Several episodes credit him as a co-writer since some sketches were recycled from scenes cut from the Holy Grail script. While the first three series contained 13 episodes each, the fourth ended after six.

[edit] Life after the Flying Circus

Filmography[link]

[edit] And Now for Something Completely Different (1971)

The Pythons' first feature film (directed by Ian MacNaughton, reprising his role from the television series). It was composed of sketches from the first two seasons of the Flying Circus, reshot on a low budget (and often slightly edited) for cinema release. Material selected for the film includes: "Dead Parrot", "The Lumberjack Song", "Upper Class Twit of the Year", "Hell's Grannies", "Self-Defence Class", "How Not To Be Seen" and "Nudge Nudge". Financed by Playboy's UK executive Victor Lownes, it was intended as a way of breaking Monty Python into America, and although it was ultimately unsuccessful in this, the film did good business in the UK (this still being in the era before home video would make it much more accessible to view the material again). The group did not consider the film a success.

[edit] Monty Python and the Holy Grail (1974)

In 1974, between production on the third and fourth seasons, the group decided to embark on their first "proper" feature film, containing entirely new material. Monty Python and the Holy Grail was based on Arthurian Legend and was directed by Jones and Gilliam. Again, the latter also contributed linking animations (and put together the opening credits). Along with the rest of the Pythons, Jones and Gilliam performed several roles in the film, but it was Chapman who took the lead as King Arthur. Cleese returned to the group for the film, feeling that the group were once again breaking new ground. Holy Grail was filmed on location, in picturesque rural areas of Scotland, with a budget of only £229,000; the money was raised in part with investments from rock groups such as Pink Floyd, Jethro Tull and Led Zeppelin—and UK music industry entrepreneur Tony Stratton-Smith (founder and owner of the Charisma Records label, for which the Pythons recorded their comedy albums).

The backers of the film wanted to cut the famous Black Knight scene (in which the Black Knight loses his limbs in a duel) but it was eventually kept in the movie.^[17]

[edit] Monty Python's Life of Brian (1979)

Following the success of Holy Grail, reporters asked for the title of the next Python film, despite the fact that the team had not even begun to consider a third one. Eventually, Idle flippantly replied "Jesus Christ – Lust for Glory", which became the group's stock answer once they realised that it shut reporters up. However, they soon began to seriously consider a film lampooning the New Testament era in the same way Holy Grail had lampooned Arthurian legend. Despite them all sharing a distrust of organised religion, they agreed not to mock Jesus nor his teachings directly. Instead, they decided to write a satire on credulity and hypocrisy among the followers of someone who had been mistaken for the "Messiah," but who had no desire to be followed as such. Chapman was cast in the lead role of Brian.

The focus therefore shifted to a separate individual born at the same time, in a neighbouring stable. When Jesus appears in the film (first, as a baby in the stable, and then later on the Mount, speaking the Beatitudes), he is played straight (by actor Kenneth Colley) and portrayed with respect. The comedy begins when members of the crowd mishear his statements of peace, love and tolerance. ("I think he said, 'Blessed are the cheesemakers.'")

Directing duties were handled solely by Jones, having amicably agreed with Gilliam that Jones' approach to film-making was better suited for Python's general performing style. Holy Grail's production had often been stilted by their differences behind the camera. Gilliam again contributed two animated sequences (one being the opening credits) and took charge of set design. The film was shot on location in Tunisia, the finances being provided this time by former Beatle George Harrison, who together with Denis O'Brien formed the production company Hand-Made Films for the movie. He had a cameo role as the 'owner of the Mount.'

Despite its subject matter attracting controversy, particularly upon its initial release, it has (together with its predecessor) been ranked among the greatest comedy films. A Channel 4 poll in 2005 ranked Holy Grail in sixth place, with Life of Brian at the top.^[18]

[edit] Monty Python Live at the Hollywood Bowl (1982)

Filmed at the Hollywood Bowl in Los Angeles during preparations for The Meaning of Life, this was a concert film (directed by Terry Hughes) in which the Pythons performed sketches from the television series in front of an audience. The released film also incorporated footage from the German television specials (the inclusion of which gives Ian MacNaughton his first on-screen credit for Python since the end of Flying Circus) and live performances of several songs from the troupe's then-current Monty Python's Contractual Obligation Album.

[edit] Monty Python's The Meaning of Life (1983)

Python's final film returned to something structurally closer to the style of Flying Circus. A series of sketches loosely follows the ages of man from birth to death. Directed again by Jones solo, The Meaning of Life is embellished with some of Python's most bizarre and disturbing moments, as well as various elaborate musical numbers. The film is by far their darkest work, containing a great deal of black humour, garnished by some spectacular violence (including an operation to remove a liver from a living patient without anaesthetic and the morbidly obese Mr. Creosote exploding over several restaurant patrons). At the time of its release, the Pythons confessed their aim was to offend "absolutely everyone."

Besides the opening credits and the fish sequence, Gilliam, by now an established live action director, no longer wanted to produce any linking cartoons, offering instead to direct one sketch—The Crimson Permanent Assurance. Under his helm, though, the segment grew so ambitious and tangential that it was cut from the movie and used as a supporting feature in its own right. (Television screenings also use it as a prologue.) Crucially, this was the last project that all six Pythons would collaborate on, except for the 1989 compilation Parrot Sketch Not Included, where they are all seen sitting in a closet for four seconds. This would be the last time Chapman appeared on-screen with the Pythons.

[edit] Secret Policeman's Ball benefit shows

Members of Python contributed their services to charitable endeavours and causes—sometimes as an ensemble, at other times as individuals. The cause that has been the most frequent and consistent beneficiary has been the human rights work of Amnesty International. Between 1976 and 1981, the troupe or its members appeared in four major fund-raisers for Amnesty—known collectively as the Secret Policeman's Ball shows—which were turned into multiple films, TV shows, videos, record albums and books. These benefit shows and their many spin-offs raised considerable sums of money for Amnesty, raised public and media awareness of the human rights cause and influenced many other members of the entertainment community (especially rock musicians) to become involved in political and social issues.^[19] Among the many musicians who have publicly attributed their activism—and the organisation of their own benefit events—to the inspiration of the work in this field of Monty Python are U2, Bob Geldof, Pete Townshend and Sting.^[19] The shows are credited by Amnesty with helping the organisation develop public awareness in the US where one of the spin-off films was a major success.

Cleese and Jones had an involvement (as performer, writer or director) in all four Amnesty benefit shows, Palin in three, Chapman in two and Gilliam in one. Idle did not participate in the Amnesty shows. Notwithstanding Idle's lack of participation, the other five members (together with "Associate Pythons" Carol Cleveland and Neil Innes) all appeared together in the first Secret Policeman's Ball benefit—the 1976 A Poke In The Eye (With A Sharp Stick)—where they performed several Python sketches. In this first show they were collectively billed as Monty Python. (Peter Cook deputised for the errant Idle in one major sketch The Courtroom.) In the next three shows, the participating Python members performed many Python sketches, but were billed under their individual names rather than under the collective Python banner. After a six-year break, Amnesty resumed producing Secret Policeman's Ball benefit shows in 1987 (sometimes with, and sometimes without variants of the iconic title) and by 2006 had presented a total of twelve such shows. The shows since 1987 have featured newer generations of British comedic performers, including many who have attributed their participation in the show to their desire to emulate the Python's pioneering work for Amnesty. (Cleese and Palin made a brief cameo appearance in the 1989 Amnesty show; apart from that the Pythons have not appeared in shows after the first four.)

Going solo[link]

Each member has pursued various film, television and stage projects since the break-up of the group, but often continued to work with one another. Many of these collaborations were very successful, most notably A Fish Called Wanda (1988), written by Cleese, in which he starred along with Palin. The pair also appeared in Time Bandits (1981), a film directed by Gilliam, who wrote it together with Palin. Gilliam directed Jabberwocky (1977), and also directed and co-wrote Brazil (1985) and The Adventures of Baron Munchausen (1988), which featured Palin and Idle respectively. Yellowbeard (1983) was co-written by Chapman and featured Chapman, Cleese and Palin alongside many of their English contemporaries, including Peter Cook, Spike Milligan and Marty Feldman.

Palin and Jones wrote the comedic TV series Ripping Yarns (1976–79), starring Palin. Jones also appeared in the pilot episode and Cleese appeared in a non-speaking part in the episode "Golden Gordon". Jones' film Erik the Viking, also has Cleese playing a small part.

In 1996, Terry Jones wrote and directed an adaption of Kenneth Grahame's novel The Wind in the Willows. It featured four members of Monty Python: Jones as Mr. Toad, Idle as Ratty, Cleese as Mr. Toad's lawyer, and Palin as the Sun. Gilliam was considered for the voice of the river.

In terms of numbers of productions, Cleese has the most prolific solo career, having appeared in 59 theatrical films, 22 TV shows or series (including Cheers, 3rd Rock from the Sun, Q's assistant in the James Bond movies, and Will & Grace), 23 direct-to-video productions, six video games, and a number of commercials.^[20] His BBC sitcom Fawlty Towers (written by and starring Cleese together with his then-wife Connie Booth), is considered the greatest solo work by a Python since the sketch show finished. It is the only comedy series to rank higher than the Flying Circus on the BFI TV 100's list, topping the whole poll.

Idle enjoyed critical success with Rutland Weekend Television in the mid-1970s, out of which came the Beatles parody The Rutles (responsible for the cult mockumentary All You Need Is Cash), and as an actor in Nuns on the Run (1990) with Robbie Coltrane. Idle has had success with Python songs: "Always Look on the Bright Side of Life" went to no. 3 in the UK singles chart in 1991. The song had been revived by Simon Mayo on BBC Radio 1, and was consequently released as a single that year. The theatrical phenomenon of the Python musical Spamalot has made Idle the most financially successful of the troupe post-Python. Written by Idle, it has proved an enormous hit on Broadway, London's West End and also Las Vegas.^[21] This was followed by Not the Messiah (He's a Very Naughty Boy), which repurposes The Life of Brian as an oratorio. For the work's 2007 premiere at the Luminato festival in Toronto (which commissioned the work), Idle himself sang the "baritone-ish" part.

Post-Python reunions[link]

Since The Meaning of Life, their last project as a team, the Pythons have often been the subject of reunion rumours.^[21] The final reunion of all six members occurred during the Parrot Sketch Not Included – 20 Years of Monty Python special. The death of Chapman in 1989 (on the eve of their 20th anniversary) put an end to the speculation of any further reunions. There have been several occasions since 1989 when the surviving five members have gathered together for appearances—albeit not formal reunions.

In 1996, Jones, Idle, Cleese and Palin were featured in a film adaptation of The Wind in the Willows, which was later renamed Mr. Toad's Wild Ride.

In 1998 during the US Comedy Arts Festival, where the troupe was awarded the AFI Star Award by the American Film Institute, the five remaining members along with what was purported to be Chapman's ashes, were reunited on stage for the first time in 18 years.^[22] The occasion was in the form of an interview called Monty Python Live At Aspen, (hosted by Robert Klein, with an appearance by Eddie Izzard) in which the team looked back at some of their work and performed a few new sketches.

On 9 October 1999, to commemorate 30 years since the first Flying Circus television broadcast, BBC2 devoted an evening to Python programmes, including a documentary charting the history of the team, interspersed with new sketches by the Monty Python team filmed especially for the event. The program appears, though omitting a few things, on the DVD The Life of Python. Though Idle's involvement in the special is limited, the final sketch marks the only time since 1989 that all surviving members of the troupe appear in one sketch, albeit not in the same room.

In 2002, four of the surviving members, bar Cleese, performed "The Lumberjack Song" and "Sit on My Face" for George Harrison's memorial concert. The reunion also included regular supporting contributors Neil Innes and Carol Cleveland, with a special appearance from Tom Hanks.

In an interview to publicise the DVD release of The Meaning of Life, Cleese said a further reunion was unlikely. "It is absolutely impossible to get even a majority of us together in a room, and I'm not joking," Cleese said. He said that the problem was one of business rather than one of bad feelings.^[23] A sketch appears on the same DVD spoofing the impossibility of a full reunion, bringing the members “together” in a deliberately unconvincing fashion with modern bluescreen/greenscreen techniques.

Idle has responded to queries about a Python reunion by adapting a line used by George Harrison in response to queries about a possible Beatles reunion. When asked in November 1989 about such a possibility, Harrison responded: "As far as I'm concerned, there won't be a Beatles reunion as long as John Lennon remains dead." Idle's version of this was that he expected to see a proper Python reunion, "just as soon as Graham Chapman comes back from the dead", but added, "we're talking to his agent about terms."^[24]

2003's The Pythons Autobiography By The Pythons, compiled from interviews with the surviving members, reveals that a series of disputes in 1998, over a possible sequel to Holy Grail that had been conceived by Idle, may have resulted in the group's permanent fission. Cleese's feeling was that The Meaning of Life had been personally difficult and ultimately mediocre, and did not wish to be involved in another Python project for a variety of reasons (not least amongst them was the absence of Chapman, whose straight man-like central roles in the original Grail and Brian films had been considered to be essential performance anchorage). Apparently Idle was angry with Cleese for refusing to do the film, which most of the remaining Pythons thought reasonably promising (the basic plot would have taken on a self-referential tone, featuring them in their main 'knight' guises from Holy Grail, mulling over the possibilities of reforming their posse). The book also reveals that a secondary option around this point was the possibility of revitalising the Python brand with a new stage tour, perhaps with the promise of new material. This idea had also hit the buffers at Cleese's refusal, this time with the backing of other members.

March 2005 saw a full, if non-performing, reunion of the surviving cast members at the premiere of Idle's musical Spamalot, based on Monty Python and the Holy Grail. It opened in Chicago and has since played in New York on Broadway, London and numerous other major cities across the world. In 2004, it was nominated for 14 Tony Awards and won three: Best Musical, Best Direction of a Musical for Mike Nichols and Best Performance by a Featured Actress in a Musical for Sara Ramirez, who played the Lady of the Lake, a character specially added for the musical. Cleese played the voice of God, played in the film by Chapman.

Owing in part to the success of Spamalot, PBS announced on 13 July 2005, that it would begin to re-air the entire run of Monty Python's Flying Circus and new one-hour specials focusing on each member of the group, called Monty Python's Personal Best.^[25] Each episode was written and produced by the individual being honoured, with the five remaining Pythons collaborating on Chapman's programme, the only one of the editions to take on a serious tone with its new material.

Eric Idle and John Cleese appeared on stage together singing "Always Look on the Bright Side of Life" with the rest of the performers for the climax of Prince Charles 60th Birthday Show.

In 2009, to commemorate the fortieth anniversary of the first episode of Monty Python's Flying Circus, a six part documentary entitled Monty Python: Almost the Truth (The Lawyer's Cut) was released, featuring interviews with the surviving members of the team as well as archive interviews with Graham Chapman and numerous excerpts from the television series and films.

Also in commemoration of the 40th anniversary Idle, Palin, Jones and Gilliam appeared in a production of Not the Messiah (He's a Very Naughty Boy) at the Royal Albert Hall. The European premiere was held on 23 October 2009.^[26] An official 40th anniversary Monty Python reunion event took place in New York City on 15 October 2009 where the Team received a Special Award from the British Academy of Film and Television Arts.^[27]

In June 2011, it was announced that Monty Python have begun production on their first film project since the Meaning of Life in 1983. Their next film, A Liar's Autobiography, is an animated 3D movie based on the memoir of the late Python member, Graham Chapman, who died in 1989 at the age of 48. A Liar’s Autobiography was published in 1980 and details Chapman's journey through medical school, alcoholism, acknowledgement of his gay identity and the toils of surreal comedy.

Asked what was true in a deliberately fanciful account by Chapman of his life, Terry Jones joked: "Nothing . . . it’s all a downright, absolute, blackguardly lie."

The film will use Chapman's own voice - from a reading of his autobiography shortly before he died of cancer - and entertainment channel EPIX announced that the film will be released in early 2012 in both 2D and 3D formats. Produced and directed by London-based Bill Jones, Ben Timlett and Jeff Simpson, the new film has 15 animation companies working on chapters that will range from three to 12 minutes in length, each in a different style.

John Cleese has recorded new dialogue which will be matched with Chapman’s voice and Michael Palin will voice Chapman’s mother and father. Terry Gilliam plays various roles. Among the original Python group, only Eric Idle has not become involved, though Timlett said the filmmakers are “working on” him.^[28]

Python members[link]

Graham Chapman was originally a medical student, joining the Footlights at Cambridge. He completed his medical training and was legally entitled to practice as a doctor. Chapman is best remembered for the lead roles in Holy Grail, as King Arthur, and Life of Brian, as Brian Cohen. He died of spinal and throat cancer on 4 October 1989. At Chapman's memorial service, Cleese delivered an irreverent eulogy that included all the euphemisms for being dead from the Dead Parrot sketch, which they had written.

John Cleese is the oldest Python. He met his future Python writing partner, Graham Chapman, in Cambridge.

Terry Gilliam, an American, was the only member of the troupe of non-British origin.^[29] He started off as an animator and strip cartoonist for Harvey Kurtzman's Help! magazine, one issue of which featured Cleese. Moving from the USA to England, he animated features for Do Not Adjust Your Set and was then asked by its makers to join them on their next project: Monty Python's Flying Circus. He co-directed Monty Python and the Holy Grail and directed short segments of other Python films (for instance "The Crimson Permanent Assurance", the short film that appears before The Meaning of Life).

When Monty Python was first formed, two writing partnerships were already in place: Cleese and Chapman, Jones and Palin. That left two in their own corners: Gilliam, operating solo due to the nature of his work, and Eric Idle. Regular themes in his contributions were elaborate wordplay and musical numbers. After Flying Circus, he hosted Saturday Night Live four times in the first five seasons. Idle's initially successful solo career faltered in the 1990s with the failures of his 1993 film Splitting Heirs (written, produced by and starring him) and 1998's An Alan Smithee Film: Burn Hollywood Burn (in which he starred), which was awarded five Razzies, including 'Worst Picture of the Year'. He revived his career by returning to the source of his worldwide fame, adapting Monty Python material for other media. He also wrote the Broadway musical Spamalot, based on the Holy Grail movie. He also wrote Not the Messiah (He's a Very Naughty Boy), an oratorio derived from the Life of Brian.

Terry Jones has been described by other members of the team as the “heart” of the operation. Jones had a lead role in maintaining the group's unity and creative independence. Python biographer George Perry has commented that should you "speak to him on subjects as diverse as fossil fuels, or Rupert Bear, or mercenaries in the Middle Ages or Modern China... in a moment you will find yourself hopelessly out of your depth, floored by his knowledge." Many others agree that Jones is characterised by his irrepressible, good-natured enthusiasm. However, Jones' passion often led to prolonged arguments with other group members—in particular Cleese—with Jones often unwilling to back down. Since his major contributions were largely behind the scenes (direction, writing), and he often deferred to the other members of the group as an actor, Jones' importance to Python was often underrated. However, he does have the legacy of delivering possibly the most famous line in all of Python, as Brian's mother Mandy in Life of Brian, "He's not the Messiah, he's a very naughty boy!", a line voted the funniest in film history on two occasions.^[30][31]

Michael Palin attended Oxford, where he met his Python writing partner Jones. The two also wrote the series Ripping Yarns together. Palin and Jones originally wrote face-to-face, but soon found it was more productive to write apart and then come together to review what the other had written. Therefore, Jones and Palin's sketches tended to be more focused than that of the others, taking one bizarre situation, sticking to it, and building on it. After Flying Circus, he hosted Saturday Night Live four times in the first ten seasons. His comedy output began to decrease in amount following the increasing success of his travel documentaries for the BBC. Palin released a book of diaries from the Python years entitled Michael Palin Diaries 1969–1979, published in 2007.

Associate Pythons[link]

Several people have been accorded unofficial "Associate Python" status over the years. Occasionally such people have been referred to as the 7th Python, in a style reminiscent of George Martin (or other associates of The Beatles) being dubbed "the Fifth Beatle." The two collaborators with the most meaningful and plentiful contributions have been Neil Innes and Carol Cleveland. Both were present and presented as Associate Pythons at the official Monty Python 25th anniversary celebrations held in Los Angeles in July 1994.

Neil Innes is the only non-Python besides Douglas Adams to be credited with writing material for the Flying Circus. He appeared in sketches and the Python films, as well as performing some of his songs in Monty Python Live at the Hollywood Bowl. He was also a regular stand-in for absent team members on the rare occasions when they re-created sketches. For example, he took the place of Cleese at the Concert for George. Gilliam once noted that if anyone qualified for the title of the "Seventh Python," it would certainly be Innes. He was one of the creative talents in the off-beat Bonzo Dog Band. He would later portray Ron Nasty of the Rutles and write all of the Rutles' compositions for All You Need is Cash (1978). By 2005, a falling out had occurred between Idle and Innes over additional Rutles projects, the results being Innes' critically acclaimed Rutles "reunion" album The Rutles: Archaeology and Idle's straight-to-DVD The Rutles 2: Can't Buy Me Lunch, each undertaken without the other's participation. According to an interview with Idle in the Chicago Tribune in May 2005, his attitude is that he and Innes go back "too far. And no further." Innes has remained silent on the dispute.

Carol Cleveland was the most important female performer in the Monty Python ensemble, commonly referred to as the "Python Girl." Originally hired by producer/director John Howard Davies for just the first five episodes of the Flying Circus, she went on to appear in approximately two-thirds of the episodes as well as in all of the Python films, and in most of their stage shows as well. Her common portrayal as the stereotypical "blonde bimbo" eventually earned her the sobriquet "Carol Cleavage" from the other Pythons, but she felt that the variety of her roles should not be described in such a pejorative way.

Other contributors[link]

Cleese's first wife Connie Booth appeared in, amongst others "The Lumberjack Song" and as the "witch" in Monty Python and the Holy Grail. Cleese and Booth later co-wrote and co-starred in Fawlty Towers.

Douglas Adams was "discovered" by Chapman when a version of the Footlights Revue (a 1974 BBC2 television show featuring some of Adams' early work) was performed live in London's West End. In Cleese's absence from the final TV series, the two formed a brief writing partnership, with Adams earning a writing credit in one episode for a sketch called "Patient Abuse". In the sketch, a man who had been stabbed by a nurse arrives at his doctor's office bleeding profusely from the stomach, when the doctor makes him fill out numerous senseless forms before he can administer treatment. He also had two cameo appearances in this season. Firstly, in the episode The Light Entertainment War, Adams shows up in a surgeon's mask (as Dr. Emile Koning, according to the on-screen captions), pulling on gloves, while Palin narrates a sketch that introduces one person after another, and never actually gets started. Secondly, at the beginning of Mr. Neutron, Adams is dressed in a "pepperpot" outfit and loads a missile onto a cart being driven by Terry Jones, who is calling out for scrap metal ("Any old iron..."). Adams and Chapman also subsequently attempted a few non-Python projects, including Out of the Trees. He also contributed to a sketch on the soundtrack album for Monty Python and the Holy Grail.

Stand-up comedian Eddie Izzard, a devoted fan of the group, has occasionally stood in for absent members. When the BBC held a "Python Night" in 1999 to celebrate 30 years of the first broadcast of Flying Circus, the Pythons recorded some new material with Izzard standing in for Idle, who had declined to partake in person (he taped a solo contribution from the US). Izzard hosted a history of the group entitled The Life of Python (1999) that was part of the Python Night and appeared with them at a festival/tribute in Aspen, Colorado, in 1998 (released on DVD as Live at Aspen).

Cultural influence[link]

By the time of the twenty-fifth anniversary of Monty Python in 1994, the point was already being made that "the five surviving members had with the passing years begun to occupy an institutional position in the edifice of British social culture that they had once had so much fun trying to demolish".^[32] A similar point is made in a 2006 book on the relationship between Monty and philosophy: "It is remarkable, after all, not only that the utterly bizarre Monty Python's Flying Circus was sponsored by the BBC in the first place, but that Monty Python itself grew into an institution of enormous cultural influence"^[33] Matt Groening, creator and co-developer of the animated sitcom The Simpsons, names Monty Python as an influence and pays tribute through a couch gag used in seasons five and six.^[34]

Space[link]

In 2010 the commercial space company SpaceX, launched a wheel of cheese into low earth orbit and returned it safely to the earth. Elon Musk, CEO and CTO of SpaceX, claimed this was done as a tribute to Monty Python.

World records[link]

On St George's Day, 23 April 2007, the cast and creators of Spamalot gathered in Trafalgar Square under the tutelage of the two Terrys (Jones and Gilliam) to set a new record for the world's largest coconut orchestra. They led 5,567 people "clip-clopping" in time to the Python classic "Always Look On The Bright Side of Life" for the Guinness World Records attempt.^[35]

'Pythonesque'[link]

Amongst the more visible cultural influences of Monty Python is the inclusion of terms either directly from, or derived from, Monty Python, into the lexicon of the English language. The most obvious of these is the term 'pythonesque', which has become a byword in surreal humour, and is included in standard dictionaries.^[36] Terry Jones commented on his disappointment at the existence of such a term, claiming the initial aim of Monty Python was to create something new and impossible to categorize and that "the fact that Pythonesque is now a word in the Oxford English Dictionary shows the extent to which we failed".^[37]

The term has been applied to animations similar to those constructed by Gilliam (e.g. the cut-out style of South Park, whose creators have often acknowledged a debt to Python, including contributing material to the aforementioned 30th anniversary theme night).^[38]

Good Eats creator Alton Brown cited Python as one of the influences that shaped how he created the series, as well as how he authors the script for each episode.^[39] Recent episodes even include Gilliam-style animations to illustrate key points.

Things named after Monty Python[link]

Beyond a dictionary definition, Python terms have entered the lexicon in other ways.

• The Python programming language by Guido van Rossum is named after the troupe, and Monty Python references are often found in sample code created for that language. Additionally, a 2001 April Fool's Day joke by van Rossum and Larry Wall involving the merger of Python with Perl was dubbed "Parrot" after the Dead Parrot Sketch. The name "Parrot" was later used for a project to develop a virtual machine for running bytecode for interpreted languages such as Perl and Python. Also, the Jet Propulsion Laboratory wrote some spacecraft navigation software in Python, which they dubbed "Monty". There is also a python refactoring tool called bicyclerepair ( [1] ), named after Bicycle Repair Man sketch.
• In 1985, a fossil of a previously unknown species of gigantic prehistoric snake from the Miocene was discovered in Riversleigh, Queensland, Australia. The Australian palaeontologist who discovered the fossil snake was a Monty Python fan, and he gave the snake the taxonomic name of Montypythonoides riversleighensis in honour of the Monty Python team.^[40] (Transliterated from Greek Μοντυπυθωνοειδής back to English, Montypythonoides means "like Monty Python".)
• In 2006, Ben & Jerry's, known for their "celebrity flavours", introduced to the lineup "Vermonty Python", a coffee liqueur ice cream with a chocolate cookie crumb swirl and fudge cows. The name "Minty Python" had been suggested before in 1996 in a contest to select the quintessential British ice cream flavor.^[41][42]
• In 1999, Black Sheep Brewery released an ale named "Monty Python's Holy Grail Ale."^[43]
• The band Toad the Wet Sprocket drew its name from the Eric Idle monologue "Rock Notes" on Monty Python's Contractual Obligation Album from 1980.
• The band Boxhamsters, which is the German translation of Brook-Hamster, the winner of the Upper Class Twit of the Year.^[44]
• A philosophy lecture series entitled Themes in Contemporary Analytic Philosophy as Reflected in the Work of Monty Python.^[45][46]
• The term "spam" in reference to bulk, unsolicited email is derived from the programme's 1970 "Spam" sketch.^[47]
• In the book The Reptile Room by "Lemony Snicket", the character Uncle Monty was named after Monty Python, in a joke referring to his obsession with snakes.
• Seven asteroids are named after Monty Python: 9617 Grahamchapman, 9618 Johncleese, 9619 Terrygilliam, 9620 Ericidle, 9621 Michaelpalin, 9622 Terryjones, and 13681 Monty Python .
• The endangered Bemaraha woolly lemur (Avahi cleesei) is named after John Cleese.

• Dead Parrot Society is the title of a comedy CD released in 1993 featuring sketches from Monty Python's Flying Circus as well as Graham Chapman, Peter Cook, John Cleese, Dudley Moore, and The Portsmouth Sinfonia The title is also a play on the 1989 film Dead Poets Society.

Media[link]

Television[link]

• Monty Python's Flying Circus (1969–74)

The show that started the Python phenomenon. See also List of Monty Python's Flying Circus episodes

• Monty Python's Fliegender Zirkus (1972)

Two 45-minute specials made by WDR for West German television. The first was recorded in German, while the second was in English with German dubbing.

• Monty Python's Personal Best (2006)

Six one-hour specials, each episode presenting the best of one member's work.

Films[link]

There were five Monty Python productions released as theatrical films:

• And Now for Something Completely Different (1971)

A collection of sketches from the first and second TV series of Monty Python's Flying Circus purposely re-enacted and shot for film.

• Monty Python and the Holy Grail (1974)

King Arthur and his knights embark on a low-budget search for the Holy Grail, encountering humorous obstacles along the way. Some of these turned into standalone sketches.

• Monty Python's Life of Brian (1979)

Brian is born on the first Christmas, in the stable next to Jesus'. He spends his life being mistaken for a messiah.

• Monty Python Live at the Hollywood Bowl (1982)

A videotape recording directed by Ian MacNaughton of a live performance of sketches. Originally intended for a TV/video special. Transferred to 35mm and given a limited theatrical release in the US.

• Monty Python's The Meaning of Life (1983)

An examination of the meaning of life in a series of sketches from conception to death and beyond.

• Monty Python: Almost the Truth (The Lawyer's Cut) (2009)

This film features interviews with all the surviving Python members, along with archive representation for the late Graham Chapman.

• A Liar's Autobiography: Volume IV (2012)

This is an animated film which is based on the memoir of the late Monty Python member, Graham Chapman.

Albums[link]

• Monty Python's Flying Circus (1970)
• Another Monty Python Record (1971)
• Monty Python's Previous Record (1972)
• The Monty Python Matching Tie and Handkerchief (1973)
• Monty Python Live at Drury Lane (1974)
• The Album of the Soundtrack of the Trailer of the Film of Monty Python and the Holy Grail (1975)
• Monty Python Live at City Center (1976)
• The Monty Python Instant Record Collection (1977)
• Monty Python's Life of Brian (1979)
• Monty Python's Contractual Obligation Album (1980)
• Monty Python's The Meaning of Life (1983)
• The Final Rip Off (1988)
• Monty Python Sings (1989)
• The Monty Python Instant Record Collection, Volume 2 (1991)
• The Ultimate Monty Python Rip Off (1994)
• The Instant Monty Python CD Collection (1994)
• Spamalot (Broadway version of Monty Python and the Holy Grail with Tim Curry as King Arthur) (2005)
• The Hastily Cobbled Together for a Fast Buck Album (unreleased)

Theatre[link]

• Monty Python's Flying Circus – Between 1974 and 1980 (Live at the Hollywood Bowl was released in 1982, but was performed in 1980) the Pythons made three sketch-based stage shows, comprising mainly material from the original television series.
• Monty Python's Spamalot – Written by Idle directed by Mike Nichols, with music and lyrics by John Du Prez and Idle, and starring Hank Azaria, Tim Curry, and David Hyde Pierce, Spamalot is a musical adaptation of the film Monty Python and the Holy Grail. It ran in Chicago from 21 December 2004 to 23 January 2005, and began performances on Broadway on 17 March 2005. It won three Tonys.
• Not the Messiah (He's a Very Naughty Boy) – The Toronto Symphony Orchestra commissioned Idle and John Du Prez to write the music and lyrics of an oratorio based on Monty Python's Life of Brian. Entitled Not the Messiah, it had its world premiere as part of Luminato, a "festival of arts and creativity" taking place 1–10 June 2007 in Toronto. Not the Messiah was conducted by Peter Oundjian, Music Director of the Toronto Symphony Orchestra, who is Idle’s cousin. It was performed by a narrator, the Toronto Symphony Orchestra, with guest soloists and choir. According to Idle, "It will be funnier than Handel, though not as good".

Books[link]

• Monty Python's Big Red Book (1971) ISBN 0-413-29520-6.
• The Brand New Monty Python Bok (1973) ISBN 0-7493-1170-3.
• Monty Python and The Holy Grail (book) – Mønti Pythøn ik den Hølie Gräilen (Bøk) (1977) ISBN 0-413-38520-5.
• MONTYPYTHONSCRAPBOOK/ The Life of Brian (1979) ISBN 0-413-46550-0.
• Monty Python's Flying Circus – Just The Words Volume 1 (1989) ISBN 0-413-62540-0.
• Monty Python's Flying Circus – Just The Words Volume 2 (1989) ISBN 0-413-62550-8.
• The Complete Monty Python's Flying Circus Volumes 1 & 2
• The Fairly Incomplete & Rather Badly Illustrated Monty Python Song Book (1994) ISBN 0-413-69000-8
• Michael Palin Diaries 1969–1979
• The Pythons: Autobiography by the Pythons
• The Life of Brian/Jesus (2011) ISBN 978-1-84876-628-0.

Games[link]

• Monty Python's Flying Circus (1990) a computer game released by Virgin Games for 8-bit systems such as the Commodore 64, Amstrad CPC and the Sinclair ZX Spectrum^[48]
• Monty Python's Complete Waste of Time (1994) released by 7th Level for PC / DOS
• Monty Python & the Quest for the Holy Grail (1996), official game released by 7th Level. It used footage and imagery from the film, as well as audio clips (some new) and featured an animated version of a scene never filmed entitled "King Brian The Wild".
• Monty Python's The Meaning of Life (1997), also released by 7th Level. According to the jewel case description, it's based on the film by the same name, but it's really something completely similar yet entirely different.
• Python-opoly (2007), a Monty Python-themed property game released by Toy Vault Inc.^[49]
• Monty Python Fluxx (2008), a card game released by Looney Labs^[50]
• Blazing Dragons

See also[link]

• Beyond the Fringe
• List of Monty Python's Flying Circus episodes
• List of recurring characters in Monty Python's Flying Circus
• Monty Python's Complete Waste of Time
• Python (Monty) Pictures
• Spamalot
• The Goodies
• The Goon Show

References[link]

Further reading[link]

• Graham Chapman; Jim Yoakum (1997). Graham Crackers: Fuzzy Memories, Silly Bits, and Outright Lies. Career Press. ISBN 978-1-56414-334-1. http://books.google.com/books?id=8xGcAAAACAAJ. Retrieved 1 October 2010. 
• Marcia Landy (2005). Monty Python's flying circus. Wayne State University Press. ISBN 978-0-8143-3103-3. http://books.google.com/books?id=J1CxIuG-_NkC. Retrieved 1 October 2010. 
• Darl Larsen (2003). Monty Python, Shakespeare, and English Renaissance drama. McFarland. ISBN 978-0-7864-1504-5. http://books.google.com/books?id=qVa1Hfh11V0C. Retrieved 1 October 2010. 
• David Morgan (1999). Monty Python speaks!. Fourth Estate. ISBN 978-1-84115-168-7. http://books.google.com/books?id=aTYcAQAAIAAJ. Retrieved 1 October 2010. 
• Alan Parker; Mick O'Shea (2006). And Now For Something Completely Digital: The Complete Illustrated Guide to Monty Python CDs and DVDs. The Disinformation Company. ISBN 978-1-932857-31-3. http://books.google.com/books?id=G49bRxbeH1kC. Retrieved 1 October 2010. 
• George Perry (2007). The Life of Python. Pavilion. ISBN 978-1-86205-762-3. http://books.google.com/books?id=J_Zg-9u4yLAC. Retrieved 1 October 2010. 
• Roger Wilmut (1980). From fringe to flying circus: celebrating a unique generation of comedy, 1960–1980. Eyre Methuen. ISBN 978-0-413-46950-2. http://books.google.com/books?id=PzxaAAAAMAAJ. Retrieved 1 October 2010. 
• The Secret Policeman's Balls, 3-DVD set (2009)
  • "The Secret Policeman's Balls DVD Release". Music For Human Rights. 27 January 2009. http://www.musicforhumanrights.org/news/secret-policemans-balls-dvd-release. Retrieved 19 August 2009. 
• Monty Python: 40 Years of Insanity
  • "Monty Python: 40 Years of Insanity". Life.com. 5 October 2009. http://www.life.com/image/first/in-gallery/34232/monty-python-40-years-of-insanity. Retrieved 6 October 2009. 
• The Life of Python – 20 Greatest Monty Python Sketches (40th Anniversary)
  • "The Life of Python – 20 Greatest Monty Python Sketches". Gnews.com. 5 October 2009. http://gnews.com/entertainment/The-Life-of-Python-20-Greatest-Monty-Python-Sketches-110424014489.html. Retrieved 6 October 2009. 

External links[link]

Wikiquote has a collection of quotations related to: Monty Python

Wikimedia Commons has media related to: Monty Python

• Pythonline.com – Monty Python's sort-of official site, actively maintained by Eric Idle
• Monty Python – Official YouTube page
• Monty Python Videos – Monty Python's best videos and movies
• 2012 interview with Carol Cleveland, covering Flying Circus and Holy Grail
• Python at ifilm.com
• Pythonisms: Python quotes as figures of speech
• Release of the 3-DVD Secret Policeman's Balls
• 40 Years of Monty Python – photo essay by TIME magazine
• Monty Python Reunion event, New York, 15 October 2009

Tom DeLonge
DeLonge in 2009 with blink-182
Background information
Birth name	Thomas Matthew Delonge Jr.
Born	(1975-12-13) December 13, 1975 (age 36)
Origin	Poway, California, United States
Genres	Punk rock, pop punk, skate punk, alternative rock, space rock, neo-progressive rock
Occupations	Musician, songwriter, record producer, fashion designer, film producer, armchair philosopher
Instruments	Guitar, vocals, bass, trumpet, piano
Years active	1992–present
Labels	To the Stars, DGC, Interscope, Geffen, Suretone, MCA, Grilled Cheese, Cargo Music, Kung Fu
Associated acts	blink-182, Angels & Airwaves, Box Car Racer
Website	www.modlife.com
Notable instruments
Gibson Tom DeLonge Signature ES-333 Fender Tom DeLonge Stratocaster Gibson Les Paul,[1] Gibson ES-335

Thomas Matthew "Tom" DeLonge, Jr. (born December 13, 1975) is an American rock musician. He is the guitarist and one of the two lead vocalists for the American pop punk band blink-182 as well as the guitarist and lead vocalist for the alternative band Angels & Airwaves. He was also the guitarist and lead vocalist for the alternative band Box Car Racer.

Raised in Poway, California, DeLonge developed an interest in punk rock during his teens. Tom was voted Homecoming King at the Poway High School dance when he didn't attend the school anymore, after being expelled from Poway High School for drinking at a basketball game. He then attended Rancho Bernardo High School where he met Anne Hoppus. Anne Hoppus introduced him to her brother, Mark Hoppus, who also shared an interest in music. Tom also introduced Mark to Scott Raynor. The three formed blink-182 which became one of the most popular rock groups of the 1990s–2000s. Travis Barker replaced Scott in later years. The group underwent an indefinite hiatus in 2005, with DeLonge focusing more on his Angels & Airwaves project. blink-182 reformed in 2009, and released a new album in September 2011.

DeLonge has also pursued non-musical endeavors; he created a social networking website called Modlife, as well as two clothing companies. In 2001, he started Atticus Clothing and Macbeth Footwear with Mark Hoppus. DeLonge sold his shares in Atticus Clothing, and is currently the sole owner of Macbeth Footwear.

Early life[link]

He was raised by his mother, Connie, and his father, Thomas Sr., in Poway, California. He has an older brother, Shon, and a younger sister, Kari. His first musical instrument was the trumpet, which his parents gave to him for Christmas when he was eleven.^[2] DeLonge was an average student in school, saying that "I knew exactly how hard I had to work in school. As long as I got that C, I wouldn't try one minute extra to get a B. I just cared about skateboarding and music."^[2] He played the guitar for the first time at his friend's house one afternoon, and received his first guitar during his freshman year of high school as a 15th birthday present.^[3] DeLonge spent much time trying to learn songs by Descendents.^[4] One of DeLonge's first musical endeavors was Big Oily Men, a band of which he was the only constant member.^[4]

Despite his early interest in music, becoming a musician was not his first calling. DeLonge originally planned to become a firefighter, and participated in the San Diego Cadet Program.^[5] His parents divorced when he was eighteen, which would later become the inspiration for the blink-182 song "Stay Together for the Kids".^[6] DeLonge was kicked out of Poway High School during his junior year (1991) after being caught drunk at a school basketball game. He then attended Rancho Bernardo High School for the remainder of his high school year. The song "Dick Lips" was based on him getting kicked out of school, and was also referenced in the Angels and Airwaves song Rite of Spring. When he returned to Poway High School during his senior year, the students voted him Homecoming King despite the fact that he was not even on the ballot.^[4] DeLonge graduated from high school in 1993.^{[citation needed]}

Music career[link]

Blink-182 (1992–2005; 2009–present)[link]

When he began attending Rancho Bernardo High School in early 1992, he became friends with fellow student Anne Hoppus, who was also interested in punk rock. They became friends over the summer of 1992, when DeLonge expressed desire to be in a band with her. So, Anne introduced her brother Mark Hoppus to DeLonge in August 1992. To impress DeLonge, Hoppus climbed to the top of a streetlight outside of DeLonge's home – however, he broke both ankles on the way down, resulting in being in crutches for the next few weeks. DeLonge recruited old friend Scott Raynor from his days at Poway to become the drummer for the new band, initially named Duck Tape until DeLonge renamed the band as blink.^[4]

blink released various demos throughout 1993 and caught the attention of local San Diego record label Cargo Music, where they signed and recorded their debut album Cheshire Cat in February 1994. The band quietly gained success in Southern California, touring throughout 1995 and 1996 in their own van.^[7] The band was threatened with legal action by an Irish pop band of the same name in 1994, and, to avoid a legal dispute, the band appended "182" to the end of their name.

Blink-182. DeLonge (front) with Mark Hoppus and Travis Barker in 2003

The band moved to Encinitas, California in 1996, where they would record their second album Dude Ranch with producer Mark Trombino. blink-182 recorded the album under Cargo Records, but signed with MCA in 1998 in order to handle increased distribution. The album was released in 1997 and was relatively commercially successful, selling 1.5 million copies worldwide. The single "Dammit" did well on U.S. modern rock charts, and the band received a small degree of mainstream success.^[8]

Hoppus and DeLonge fired Raynor midway through a U.S. tour in 1998 after a drinking problem became far too prevalent.^[9] Hoppus and DeLonge asked drummer Travis Barker of blink-182's support band The Aquabats to fill in for Raynor for the remainder of the tour, and, after being impressed with Barker, asked him to join the band.^{[citation needed]}

DeLonge (left) with Travis Barker and Mark Hoppus in Blink-182 Summer Tour, 2009.

The band released their breakthrough album Enema of the State in June 1999 to commercial success, fueled by successful singles "What's My Age Again", "All the Small Things", and "Adam's Song".^[8] After releasing live album The Mark, Tom, and Travis Show (The Enema Strikes Back!) in November 2000, the band entered the studio and recorded their fourth studio album Take Off Your Pants and Jacket, released in June 2001. The album continued the band's commercial success and popularity.^[8]

After performing with Box Car Racer for much of 2002, DeLonge and Barker rejoined the band to record their eponymous fifth studio album, released in November 2003. The album continued the commercial success that previous albums had endured, as well as being critically acclaimed: blink-182 represented a more "mature" band than seen in the past,^[10] with the band infusing experimentalist elements into their usual punk rock sound, inspired by lifestyle changes (the band members all became fathers before the album was released) and side-projects (Box Car Racer and Transplants).^[11]

Tensions arose between the band members as DeLonge expressed his desire to cancel the tour and enter a half-year respite from touring in late 2004, and the band officially announced an "indefinite hiatus" in February 2005. DeLonge formed Angels & Airwaves while Hoppus and Barker continued playing music together in +44. In August 2008, the band's frequent producer Jerry Finn died of a cerebral hemorrhage,^[13] and Barker barely survived a plane crash in September, sustaining second and third degree burns on his lower body and torso. Both events would be catalysts for the band reuniting; in 2010, DeLonge reflected, "If that accident hadn't happened, we wouldn't be a band. Plain and simple. That was fate."^[14]

The band announced their reunion in February 2009 at the 51st Grammy Awards ceremony.^[15] A well-received reunion tour took place in mid-2009, with a European leg performed in summer 2010. The band's sixth studio album Neighborhoods was released on September 27, 2011 and was promoted on the 2011 Honda Civic Tour.^[16]

Blink-182 is recognized as a key pioneer of contemporary pop punk music, influencing various acts over their career.^[8] They released their sixth album, Neighborhoods, in September 2011.

Box Car Racer (2002–2003)[link]

Box Car Racer was a side-project from two members of the band Blink-182, featuring guitarist Tom DeLonge and drummer Travis Barker. DeLonge formed Box Car Racer to experiment with and record ideas he felt were not "Blink-friendly", along with Travis Barker. David Kennedy from Hazen Street completed the group and a self-titled album was recorded, which debuted at number 12 on the Billboard 200. Although Tom handled bass duties, the band hired Kennedy's friend Anthony Celestino for the corresponding tour. Guests on the album included Mark Hoppus from Blink-182 on the song "Elevator", and Tim Armstrong from Rancid. Tim Armstrong did vocals with Tom in the song "Cat Like Thief". Box Car Racer disbanded in 2003 after DeLonge and Barker went back to the studio with Mark Hoppus to start recording their new album Blink-182.^[17]

Angels & Airwaves (2005–present)[link]

Tom DeLonge is the lead vocalist and lead guitarist for Angels & Airwaves, often stylized as AVA (Named after his daughter, Ava). Other members in the band include high school friend, former Hazen Street guitarist, and Box Car Racer guitarist David Kennedy; on drums former Nine Inch Nails drummer and former Lost Prophets drummer Ilan Rubin; and on bass former 30 Seconds to Mars bassist Matt Wachter. AVA is influenced by a number of bands including U2, Pink Floyd, and The Cure. They released their debut album We Don't Need to Whisper on May 20, 2006. On April 23, 2007, it was announced that Ryan Sinn would not be playing at the free Earth Day concert at the M.I.T. campus due to difficulties within the band. He was later replaced with former 30 Seconds to Mars bassist Matt Wachter. The band's second full-length album entitled I-Empire, released November 6, 2007, debuted on the Billboard 200 Chart at No. 9 and sold 66,000 copies in its first week.^{[citation needed]}

Love is the third studio album by Angels & Airwaves, which was officially released for free worldwide on February 14, 2010 after being delayed on Christmas 2009. The album was downloaded over 500,000 times in the first 48 hours of its release.^{[citation needed]}

The band produced a full-length film also entitled Love written and directed by William Eubank. The film premiered on February 2, 2011 at the Santa Barbara International Film Festival, despite previously stating on Modlife that there might be a Fall 2011 release date of the film at The Sundance Film Festival.^{[citation needed]}. DeLonge also revealed that the upcoming fourth studio album and second album in the "Love" Project, titled Love II, would include 48 minutes of extra music.^[18]

The first single and music video from the expected album, "Anxiety", was released on August 11, 2011. The second single, "Surrender", was released on October 31, 2011. The fourth studio album, Love: Part Two was officially released (via the band's own label, To the Stars Records) alongside the film Love on November 1, 2011. The album is the last featuring drummer Adam Willard, who left the band shortly before its release in October 2011. Along with its predecessor, Love: Part Two is a concept album that explores themes such as "love, God, and hope."

Musical equipment[link]

DeLonge performing in 2004 with his standard Gibson Tom DeLonge Signature ES-333 guitar.

Fender Guitars worked with DeLonge to create the Tom DeLonge Stratocaster (signature guitar) which consisted of a solid alder body fitted with a single Seymour Duncan Invader Bridge pickup. It was controlled by a lone volume knob adding to its simple design. At first, the Stratocasters were fitted with an American 2-Point tremolo system and was later replaced by a hardtail bridge. Its neck was made of solid maple with a rosewood fretboard, although there have been some custom Stratocasters that were fitted with maple fretboards. The necks included a large 1970s "CBS" headstock.^{[citation needed]}

In 2002, whilst touring with Box Car Racer, Tom began collaborating with Gibson to create a new Signature Model. He started off by using a standard Gibson ES-335, with all but the bridge volume knob removed, and the bridge pick-up replaced with a Seymour Duncan Invader bridge pick-up. This guitar was eventually covered with many different stickers including band stickers and clothing line stickers from Atticus Clothing, Macbeth Footwear and Famous Stars and Straps. This guitar can be seen in Box Car Racer live photos and in the studio videos for the Untitled Album. In one of the videos, a prototype for his signature is seen that included an orange stripe instead of cream with a matching orange headstock, a metal volume knob, and a wrap-around bridge, instead of the Nashville Tune-O-Matic bridge. In 2003, Gibson released his signature model, the Tom DeLonge Signature ES-333, which has only been available since its release in Brown and Cream, with a Natural neck and headstock. Along with his Gibson signature, Tom also used a baritone Fender Jazzmaster with a Seymour Duncan Invader live, as seen in AOL live sessions with the song "Obvious". The Tom DeLonge Signature starts with Gibson's classic semi-hollow body design and then extends it into punk rock with an overwound 'Dirty Fingers' humbucking pickup. Its thick, distorted tone is the signature sound of DeLonge's band Blink-182.^[19] On Angels & Airwaves albums, We Don't Need to Whisper and I-Empire Tom has used his signature Gibson ES-333 for all of his live shows. However, he has a number of touring guitars, which he has had made in a few different color combinations, including matte black with a black racing stripe, natural with a black racing stripe and white with a black racing stripe. Since the Blink-182 reunion, he has been seen using his original brown and cream guitar (which now has a Blink-182 'smiley logo' spray-painted onto the body), his natural and black guitar (which has now been abused with burns, scrapes, and stickers), and a new black and white guitar (made by Baratto), which is a custom Baritone version of his standard signature guitar, made for playing the song "Obvious" and other down-stepped songs. Epiphone has since come out with a lower cost version of the Tom DeLonge signature guitar, manufactured in China, but fitted with the same Dirty Fingers humbucker.^{[citation needed]}

From very early on in Blink's career, Tom had used a Mesa Boogie Triple Rectifier amp head and a Marshall JCM 900 amp head along with Mesa Boogie and Marshall cabs for live shows. As his career progressed, Tom began using an intricate rack system along with three matching 4x12 and three 2x12 Mesa Boogie cabs. The rack system still made use of the Mesa Boogie Triple Rectifier amp head, but it also included a Mesa Boogie 2:90 power amp and Triaxis preamp, Marshall EL34 power amp and JMP-1 preamp and a Voodoo Labs GCX Audio Switcher, all controlled via a Custom Audio Electronics midi footswitch (The rack discontinued the use of the Marshall JCM 900 amp head). The rack system also included a Furman power conditioner and Shure wireless unit.^{[citation needed]}

For Angels and Airwaves, Tom made use of the same rack system minus the Mesa Boogie Triple Rectifier but also included a TC Electronic G-Force effects unit as well as two Palmer PGA-04 amp simulators (one for the Triaxis preamp and one for the JMP-1 preamp).^{[citation needed]}

For Blink-182, Tom now uses two Fender '65 Twin Reverb Amps for clean and two VOX AC30H2 Amps for distortion.^{[citation needed]}

Tom has started using a synth and oscillator rig for live shows, during the Angels and Airwaves LOVE Tour. His synth rig, along with his guitar effects rig, is now built into a custom tower rack system, which stands by him on stage. Tom also now uses this same system for Blink-182, and plays/samples most of the synths and effects for their songs live.^{[citation needed]}

His vocal setup consists of blue mics – he used the blue kiwi on every album before 'Take Off Your Pants and Jacket'. Now he uses a blue bottle mic running into a Pro Tools set up, where he uses sound toys plugins. His vocals are heavily compressed with a LA-2A compressor, then run through a TC helicon. He runs his sound through Orange amplifiers and records with a snare drum in the room.^{[citation needed]}

Past and present equipment[link]

Personal life[link]

Tom DeLonge in 2008

Tom DeLonge married Jennifer Jenkins on May 26, 2001 at Coronado Island in the San Diego Bay.^[21] The band Jimmy Eat World performed at the reception, and DeLonge gave each of the groomsmen, including Mark Hoppus, silver yo-yos from Tiffany & Co.^[21] The couple have been friends since high school and began dating in 1996.^[22]

He currently lives with his wife Jennifer, daughter Ava Elizabeth (born July 15, 2002) and son Jonas Rocket (born on August 16, 2006), German Shepherd Grey, Labrador Retriever Chloe, and he recently got a new puppy as posted on the Angels And Airwaves Facebook page. He currently resides in Rancho Sante Fe, California. In January 2006, his wife launched a line of high-end children's furniture, whose pieces are available at stores such as Barneys New York, Bellini and F.A.O. Schwarz.^[22][23]

Non-musical endeavors[link]

Tom directed the music video for Taking Back Sunday's song "This Photograph Is Proof (I Know You Know)" in 2004.^[24] Tom made a cameo appearance as the Burger Jungle drive thru clerk in the movie Idle Hands. Blink-182 is featured in the music documentaries: Riding in Vans with Boys, The Urethra Chronicles, The Urethra Chronicles II: Harder Faster Faster Harder, and upcoming film The Blinkumentary. Tom also made a cameo appearance in the blockbuster film American Pie with his bandmates in Blink-182, acting in a scene while one of their songs, "Mutt", played in the background. Tom made a cameo appearance in The Simpsons with bandmates, while "All The Small Things" played in the background.

Since 2004, DeLonge has been active in politics, generally supporting the Democratic Party. In 2004 he campaigned for presidential candidate John Kerry and in 2008 he stated that he supported Barack Obama. Obama also used the song The Adventure while on the campaign trail.

DeLonge has created his own website called Modlife; the site allows bands and their fans to meet up and interact with each other. The artists can also choose whether to have paid subscriptions for certain items. In 2001, DeLonge started Atticus Clothing and Macbeth Footwear with fellow Blink-182 band member Mark Hoppus. However, after Hoppus sold his shares in both companies after the hiatus of Blink-182, Tom sold his shares in Atticus Clothing and is currently the sole owner of Macbeth Footwear. Macbeth Footwear has a separate line with vegan shoes.

In 2011, DeLonge helped launch two new entities. The first was called "Strange Times"—a website dedicated to highlighting reports of UFO activity and the latest news in theories.^[25] Also in 2011, and after being diagnosed and receiving treatment for his own cancer, DeLonge formed a breast cancer awareness foundation called "Boomer Loves Boobies" that helps raise funds for the Keep A Breast Foundation. The title of this foundation was derived from the character he played in Blink-182's "First Date" music video.^[26]

Discography[link]

References[link]