Standard Chinese
普通話 / 普通话 Pǔtōnghuà 國語 / 国语 Guóyǔ 華語 / 华语 Huá​yǔ
Spoken in	People's Republic of China, Republic of China (Taiwan), Singapore
Language family	Sino-Tibetan Chinese Mandarin Beijing dialect Standard Chinese
Official status
Official language in	People's Republic of China  Republic of China (Taiwan)  Singapore
Regulated by	In the PRC: National Language Regulating Committee[1] In the ROC: National Languages Committee In Singapore: Promote Mandarin Council/Speak Mandarin Campaign[2]
Language codes
ISO 639-3	–
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Map of eastern China and Taiwan, showing the historic distribution of all the varieties of Mandarin Chinese in light brown. Standard Chinese is based on the particular dialect of Mandarin spoken in Beijing.

Standard Chinese or Modern Standard Chinese, also known as Mandarin, Putonghua and Modern Standard Mandarin, is a standardized variety of Chinese and the official language of the People's Republic of China^[3] and the Republic of China (Taiwan), and is one of the four official languages of Singapore.

The phonology of Standard Chinese or Standard Mandarin is based on the Beijing dialect, but its vocabulary is drawn from the large and diverse group of Chinese dialects spoken across northern, central and southwestern China, a linguistic area whose varieties are collectively known as Mandarin Chinese. The grammar is standardized to the body of modern literary works that define written vernacular Chinese (originally Baihua), the colloquial alternative to Classical Chinese developed around the turn of the 20th century in China. The name "Mandarin" originally referred to the language used by the imperial court in Beijing and sometimes by imperial officials elsewhere (simplified Chinese: 官话; traditional Chinese: 官話; pinyin: Guānhuà; literally "speech of officials"), and as such was adopted as a synonym for Modern Standard Chinese in the 20th century, but the term has became ambiguous as its use was extended in the field of linguistics to the various Northern dialects of Chinese (simplified Chinese: 北方话; traditional Chinese: 北方話; pinyin: Běifānghuà).^[4] This article will use the phrase "Mandarin dialects" for this broader usage.

Names[link]

Standard Chinese is officially known,

• in the People's Republic of China (including the SARs of Hong Kong^[5] and Macau) as Putonghua (simplified Chinese: 普通话; traditional Chinese: 普通話; pinyin: Pǔtōnghuà; literally "common speech").
• in Taiwan as Guoyu (Chinese: 國語; pinyin: Guóyǔ; literally "national language").
• in Malaysia, Philippines and Singapore as Huayu (simplified Chinese: 华语; traditional Chinese: 華語; pinyin: Huáyǔ; literally "Chinese (in a cultural sense) language"). In other parts of the world, the three names are used interchangeably to varying degrees.

The name Guoyu received official recognition in 1909, when the Qing Dynasty proclaimed Mandarin as the "national language". The name Putonghua also has a long, albeit unofficial, pedigree. It was used as early as 1906 in writings by Zhu Wenxiong (朱文熊) to differentiate a modern standard language from classical Chinese and other varieties of Chinese.

For some linguists of the early 20th century, the Putonghua, or "common tongue", was conceptually different from the Guoyu, or "national language". The former was a national prestige dialect or language, while the latter was the legal standard. Based on common understandings of the time, the two were, in fact, different. Guoyu was understood as formal vernacular Chinese, which is close to classical Chinese. By contrast, Putonghua was called "the common speech of the modern man", which is the spoken language adopted as a national lingua franca by conventional usage. The use of the term Putonghua by left-leaning intellectuals such as Qu Qiubai and Lu Xun influenced the People's Republic of China government to adopt that term to describe Mandarin in 1956. Prior to this, the government used both terms interchangeably.^[6]

Huayu, or "language of the Chinese nation", originally simply meant "Chinese language", and was used in overseas communities to contrast Chinese dialects against foreign languages. Over time, the desire to standardise the variety of Chinese spoken in these communities led to the adoption of the name "Huayu" to refer to Mandarin. This name also avoids choosing a side between the alternative names of Putonghua and Guoyu, which came to have political significance after their usages diverged along political lines between the PRC and the ROC. It also incorporates the notion that Mandarin is usually not the national or common language of the areas in which overseas Chinese live.

In English, (Modern) Standard Chinese tends to be used when contrasting with non-Chinese languages,^{[citation needed]} while Mandarin tends to be used for both this standard and for Northern Chinese when there is a contrast with other varieties of Chinese. However, in both English and Chinese, Mandarin (官话, Guānhuà) has largely taken over the latter meaning,^{[citation needed]} so phrases like Standard Mandarin (Chinese) have become more common.

History[link]

The Chinese have different languages in different provinces, to such an extent that they cannot understand each other.... [They] also have another language which is like a universal and common language; this is the official language of the mandarins and of the court; it is among them like Latin among ourselves.... Two of our fathers [Michele Ruggieri and Matteo Ricci] have been learning this mandarin language...

— Alessandro Valignano, Historia del Principio y Progresso de la Compaia de Jesus en las Indias Orientales (1542–1564)^[7]

Chinese languages have always had dialects; hence prestige dialects have always existed, and linguae francae have always been needed. Confucius, for example, used yǎyán (雅 言), or "elegant speech", rather than colloquial regional dialects; text during the Han Dynasty also referred to tōngyǔ (通 语), or "common language". Rime books, which were written since the Southern and Northern Dynasties, may also have reflected one or more systems of standard pronunciation during those times. However, all of these standard dialects were probably unknown outside the educated elite; even among the elite, pronunciations may have been very different, as the unifying factor of all Chinese dialects, Classical Chinese, was a written standard, not a spoken one.

Zhongguo Guanhua (中国官话/中國官話), or Medii Regni Communis Loquela ("Middle Kingdom's Common Speech"), used on the frontispiece of an early Chinese grammar published by Étienne Fourmont (with Arcadio Huang) in 1742^[8]

The Ming Dynasty (1368–1644) and the Qing Dynasty (1644–1912) began to use the term guānhuà (官话/官話), or "official speech", to refer to the speech used at the courts. The term "Mandarin" is borrowed directly from Portuguese. The Portuguese word mandarim, derived from the Sanskrit word mantrin "counselor or minister", was first used to refer to the Chinese bureaucratic officials. The Portuguese then translated guānhuà as "the language of the mandarins" or "the mandarin language".

It seems that during the early part of this period, the standard was based on the Nanjing dialect, but later the Beijing dialect became increasingly influential, despite the mix of officials and commoners speaking various dialects in the capital, Beijing. In the 17th century, the Empire had set up Orthoepy Academies (正音书院/正音書院 Zhèngyīn Shūyuàn) in an attempt to make pronunciation conform to the standard. But these attempts had little success, since as late as the 19th century the emperor had difficulty understanding some of his own ministers in court, who did not always try to follow any standard pronunciation. By some accounts, as late as the early 20th century, the position of Nanjing Mandarin was considered to be higher than that of Beijing by some and the Chinese Postal Map Romanization standards set in 1906 included spellings with elements of Nanjing pronunciation.^[9] Nevertheless, by 1909, the dying Qing Dynasty had established the Beijing dialect as guóyǔ (国语/國語), or the "national language".

After the Republic of China was established in 1912, there was more success in promoting a common national language. A Commission on the Unification of Pronunciation was convened with delegates from the entire country, who were chosen as often due to political considerations as they were for their linguistic expertise. A Dictionary of National Pronunciation (国音字典/國音字典) was published, which was based on the Beijing dialect. Meanwhile colloquial literature continued to develop apace written vernacular Chinese, despite the lack of a standardized pronunciation. Gradually, the members of the National Language Commission came to settle upon the Beijing dialect, which became the major source of standard national pronunciation due to the prestigious status of that dialect. In 1932, the commission published the Vocabulary of National Pronunciation for Everyday Use (国音常用. 字汇/國音常用. 字彙), with little fanfare or official pronunciation. This dictionary was similar to the previous published one except that it normalized the pronunciations for all characters into the pronunciation of the Beijing dialect. Elements from other dialects continue to exist in the standard language, but as exceptions rather than the rule.^[10]

After the Chinese Civil War, the People's Republic of China continued the effort. In 1955, the name guóyǔ was replaced by pǔtōnghuà (普通话/普通話), or "common speech". By contrast, the name guóyǔ continued to be used by the Republic of China which, after the 1949 loss in the Chinese Civil War, had a territory consisting of Taiwan and some smaller islands. Since then, the standards used in the PRC and Taiwan have diverged somewhat, especially in newer vocabulary terms, and a little in pronunciation.

The advent of the 20th century has seen many profound changes in Mandarin. Many formal, polite and humble words that were in use in imperial China have not been used in daily conversation in modern-day Mandarin, such as jiàn (贱/賤 "my humble") and guì (贵/貴 "your honorable").

The word 'Putonghua' was defined in October 1955 by the Minister of Education Department in mainland China as follows: "Putonghua is the common spoken language of the modern Han group, the lingua franca of all ethnic groups in the country. The standard pronunciation of Putonghua is based on the Beijing dialect, Putonghua is based on the Northern dialects [i.e. the Mandarin dialects], and the grammar policy is modeled after the vernacular used in modern Chinese literary classics."^[11]

In both mainland China and Taiwan, the use of Mandarin as the medium of instruction in the educational system and in the media has contributed to the spread of Mandarin. As a result, Mandarin is now spoken fluently by most people in mainland China and Taiwan.

In Hong Kong and Macau, which are now special administrative regions of the People's Republic of China, Cantonese has been the primary language spoken by the majority of the population, for historical and linguistic reasons. Cantonese remains the official government language of Hong Kong and Macau. After Hong Kong's handover from Britain and Macau's handover from Portugal, Putonghua is the language used by the governments of the two territories to communicate with the Central People's Government of the PRC. There have been widespread efforts to promote usage of Putonghua in Hong Kong since the handover,^[12] with specific efforts to train police^[13] and teachers.^[14]

Mandarin is now spreading overseas beyond East Asia and Southeast Asia as well. In New York City, USA, the Cantonese dialect that dominated the Manhattan Chinatown for decades is being rapidly swept aside by Mandarin, the lingua franca of most of the latest Chinese immigrants.^[15]

Phonology[link]

The phoneme inventory of Standard Chinese consists of about two dozen consonants, of which only /n/, /ŋ/, and under certain circumstances /ɻ / can occur in the syllable coda; about half a dozen vowels, some of which form diphthongs; and four tones. Statistically, vowels and tones are of similar importance in the language.^[16]

Syntax[link]

Chinese is similar to English in many of its syntactic characteristics. It frequently forms sentences by stating a subject and following it by a predicate. The predicate can be an intransitive verb, a transitive verb followed by a direct object, a linking verb followed by a predicate nominative, etc.

Chinese differs from English in distinguishing between names of things, which can stand as predicate nominatives, and names of characteristics. Names of characteristics (e.g., green) cannot follow linking verbs. There is not an equivalent to the English predicate adjective. Instead, abstract characterizations such as "green," "angry," "hot," etc., stand as complete predicates in their own right. For example, 我不累. Wǒ bù lèi. The word-for-word version in English would be, "I not tired."

Chinese additionally differs from English in that it forms another kind of sentence by stating a topic and following it by a comment. To do this in English, speakers generally flag the topic of a sentence by prefacing it with "as for." For instance, one might say, "As for the money that Mama gave us, I have already bought candy with it." Note that the comment in this case is itself a complete sentence with subject, verb, and object. The Chinese version is simply, 妈妈给我们的钱,我已经买了糖了. Māma gěi wǒmen de qián, wǒ yǐjīng mǎile táng le. This is translated somewhat directly as, "The money Mom gave us, I already bought candy," lacking a preface as in English.

Chinese does not have tense. Instead it uses a combination of aspect markers and markers of modality. In other words, it employs single syllables that indicate such things as (1) that the subject of the sentence did something that was expected or anticipated, (2) that the subject of the sentence has gone through some experience within a stated or implicit time period, (3) that a statement that was formerly not the case has now become true, i.e., that there has been a change of status, (4) that there still has not been a change in a condition previously noted, etc.

The time that something happened can be given by an explicit term such as "yesterday," by relative terms such as "formerly," etc.

Another major difference between the syntax of Chinese and languages like English lies in the stacking order of modifying clauses. 昨天发脾气的外交警察取消了沒有交钱的那些人的入境证. Zuótiān fāpíqì de wàijiāo jǐngchá qǔxiāole méiyǒu jiāoqián de nàxiē rén de rùjìngzhèng. Using the Chinese order in English, that sentence would be:

"[Yesterday got angry] → foreign affairs policeman canceled [did not pay] → [those people]'s visas."

In more ordinary English order, that would be:

"The foreign affairs policeman who got angry yesterday canceled the visas of those people who did not pay."

There are a few other features of Chinese that would be unfamiliar to speakers of English, but the features mentioned above are generally the most noticeable.

Writing system[link]

The writing system for almost all the varieties of Chinese is based on a set of written logograms that has been passed down with little change for more than two thousand years. Each of these varieties of Chinese has developed some new words during this time, words for which there are no matching characters in the original set. While it is possible to invent new characters (as was done to represent many elements in the periodic table), a more common course of development has been to borrow old characters that have fallen into disuse on the basis of their pronunciations. Chinese Characters were traditionally read from top to bottom, right to left, but in modern usage it is more common to read from left to right.

In Classical Chinese, the demonstrative pronouns were 此 cǐ "this" and 彼 bǐ "that". These terms were rare in spoken Mandarin, where zhè and nà (or regional variants of them) were used instead. None of the original characters had those meanings associated with those pronunciations, so the character 这／這 for zhè "to meet" was borrowed to write "this", and the character 那 for nà, the name of a country and later a rare surname, was borrowed to write "that".

The government of the PRC (as well as some other governments and institutions) has promulgated a set of simplified forms. Under this system, the forms of the words zhèlǐ ("here") and nàlǐ ("there") changed from 這裏/這裡 and 那裏/那裡 to 这里 and 那里.

Standard Chinese and Beijing dialect[link]

Due to evolution and standardization, Mandarin, although based on the Beijing dialect, is no longer synonymous with it. Part of this was due to the standardization to reflect a greater vocabulary scheme and a more archaic and "proper-sounding" pronunciation and vocabulary. The areas near Beijing, especially the cities of Chengde and Shijiazhuang in neighbouring Hebei province, speak a dialect closest to the standardized pronunciation; this form is generally heard on national and local television and radio.

By the official definition of the People's Republic of China, Standard Chinese uses:

• The phonology or sound system of Beijing. A distinction should be made between the sound system of a dialect or language and the actual pronunciation of words in it. The pronunciations of words chosen for the standardized language do not necessarily reproduce all of those of the Beijing dialect. The pronunciation of words is a standardization choice and occasional standardization differences (not accents) do exist, between Putonghua and Guoyu, for example.
• The vocabulary of Mandarin dialects in general. This means that all slang and other elements deemed "regionalisms" are excluded. On the one hand, the vocabulary of all Chinese dialects, especially in more technical fields like science, law, and government, are very similar. (This is similar to the profusion of Latin and Greek words in European languages.) This means that much of the vocabulary of Standard Chinese is shared with all varieties of Chinese. On the other hand, much of the colloquial vocabulary and slang found in Beijing dialect is not found in Standard Chinese, and may not be understood by people outside Beijing.
• The grammar and idiom of exemplary modern Chinese literature, such as the work of Lu Xun, collectively known as "vernacular" (baihua). Modern written vernacular Chinese is in turn based loosely upon a mixture of northern (predominant), southern, and classical grammar and usage. This gives formal Standard Chinese structure a slightly different feel from that of street Beijing dialect.

In theory the Republic of China in Taiwan defines Standard Chinese differently, though in reality the differences are minor and are concentrated mostly in the tones of a small number of words.

In fluent speech, Chinese speakers can easily tell the difference between a speaker of the Beijing dialect and a speaker of Standard Chinese. Beijingers speak Standard Chinese with elements of their own dialect just as speakers of other dialects do. Speakers of Standard Chinese generally have little difficulty understanding the Beijing accent. Natives of Beijing commonly add a final "er" (/ɻ/) (兒音/儿音; pinyin: éryīn) — commonly used as a diminutive — to vocabulary items, as well as use more neutral tones in their speech. An example of standard versus Beijing dialect would be: standard men (door), Beijing menr. These give the Beijing dialect a somewhat distinctive lilt compared to Standard Chinese spoken elsewhere.

Although Chinese speakers make a clear distinction between Standard Chinese and the Beijing dialect, there are aspects of Beijing dialect that have made it into the official standard. Standard Chinese has a T-V distinction between the polite and informal versions of you that comes from Beijing dialect, but its use is quite diminished in daily speech. In addition, it also distinguishes between "zánmen" (we including the listener) and "wǒmen" (we not including the listener). In practice, neither distinction is commonly used by most Chinese, at least outside the Beijing area.

The following samples are some phrases from Beijing dialect which are not yet^{[citation needed]} accepted into Standard Chinese:

• 倍儿 bèir means 'very much'; 拌蒜 bànsuàn means 'stagger'; 不吝 bù lìn means 'do not worry about'; 撮 cuō means 'eat'; 出溜 chūliū means 'slip'; (大)老爷儿们儿 dà lǎoyermenr means 'man, male'.

The following samples are some phrases from Beijing dialect which have been already accepted as Standard Chinese:

• 二把刀 èr bǎ dāo means 'not very skillful'; 哥们儿 gēménr means 'good male friend(s)', 'buddy(ies)'; 抠门儿 kōu ménr means 'parsimonious' or 'stingy'.

Standard Chinese and other varieties of Chinese[link]

Although Standard Chinese is now firmly established as the lingua franca of China, it differs from other dialects even in the vast Mandarin dialect group, to the point of being to some extent unintelligible. For example, the word for "sky", 天 tiān, is pronounced with a high level tone in the Beijing dialect and in Standard Chinese, but with a low falling tone in the Tianjin dialect and a high rising tone in the Chengdu dialect.

Although both mainland China and Taiwan use Standard Chinese in the official context and are keen to promote its use as a national lingua franca, there is no explicit official intent to have Standard Chinese replace the regional dialects and languages. Practically some elderly or rural Chinese-language speakers do not speak Standard Chinese fluently, if at all, but most are able to understand it. But the younger generations are almost all fluent in Standard Chinese, some to the extent of being unable to speak their local dialect.

It is common for Standard Chinese to be spoken with the speaker's regional accent, depending on factors as age, level of education, and the need and frequency to speak in official or formal situations. This appears to be changing, though, in large urban centers, as social changes, migrations, and urbanization take place.

In the predominantly Han areas in mainland China, while the use of Standard Chinese is encouraged as the common working language, the PRC has been sensitive to the status of minority languages and has not discouraged their use. Standard Chinese is commonly used for logistical reasons,^{[citation needed]} as in many parts of southern China the linguistic diversity is so large that neighboring city dwellers may have difficulties communicating with each other without a lingua franca.

In Taiwan, the relationship between Standard Chinese and other varieties, particularly Taiwanese Hokkien, has been more politically heated. During the martial law period under the Kuomintang (KMT) between 1949 and 1987, the KMT government revived the Mandarin Promotion Council and discouraged or, in some cases, forbade the use of Hokkien and other dialects. This produced a political backlash in the 1990s. Under the administration of Chen Shui-Bian, other Taiwanese varieties were taught in schools. The former President, Chen Shui-Bian, often spoke in Hokkien during speeches, while after late 1990s, former President Lee Teng-hui, also speaks Hokkien openly.

In Singapore, the government has heavily promoted a "Speak Mandarin Campaign" since the late 1970s. The use of other Chinese languages in broadcast media is prohibited and their use in any context is officially discouraged. This has led to some resentment amongst the older generations, as Singapore's migrant Chinese community is made up almost entirely of south Chinese descent. Lee Kuan Yew, the initiator of the campaign, admitted that to most Chinese Singaporeans, Mandarin was a "stepmother tongue" rather than a true mother language. Nevertheless, he saw the need for a unified language among the Chinese community not biased in favor of any existing group.^[17]

Accents[link]

Most Chinese (Beijingers included) speak Standard Chinese with elements of their own dialects (i.e. their "accents") mixed in.

For example, natives of Beijing, add a final "er" (/ɻ /) — commonly used as a diminutive — sound to vocabulary items that other speakers would leave unadorned (兒音/儿音 éryīn).

On the other hand, speakers from northeastern^{[citation needed]} and southern China as well as Taiwan often mix up zh and z, ch and c, and sh and s because their own home dialects often do not include retroflex initial consonants. Speakers of various Chinese dialects do not distinguish initial n and l, or final n and ng. As a result, it can be difficult for people who do not have the standard pronunciation to use pinyin for dictionary look-up or typing on a computer, because they do not distinguish these sounds.

Role of Standard Chinese[link]

From an official point of view, Standard Chinese serves the purpose of a lingua franca — a way for speakers of the several mutually unintelligible varieties of Chinese, as well as the Chinese minorities, to communicate with each other. The very name Putonghua, or "common speech," reinforces this idea. In practice, however, due to Standard Chinese being a "public" lingua franca, other languages or dialects, both Han and non-Han, have shown signs of losing ground to the standard, to the chagrin of certain local culture proponents.

On Taiwan, Guoyu (national language) continues to be the official term for Standard Chinese. The term Guoyu is relatively rarely used in the PRC, because declaring a Beijing-dialect-based standard to be the national language would be deemed unfair to other Chinese dialects and ethnic minorities.^{[citation needed]} The term Putonghua (common speech), on the contrary, implies nothing more than the notion of a lingua franca. During the government of a pro-Taiwan independence coalition in the ROC (2000–2008), officials promoted a different reading of Guoyu as all of the "national languages", meaning Hokkien, Hakka and Formosan as well as Standard Chinese.^[18]

A poster outside of high school in Yangzhou urges people to speak Putonghua

In December 2004, the first survey of language use in the People's Republic of China revealed that only 53% of its population, about 700 million people, could communicate in Standard Chinese. (China Daily) A survey by South China Morning Post released in September 2006 gave the same result.^{[citation needed]} This 53% is defined as a passing grade above 3-B (i.e. error rate lower than 40%) of the Evaluation Exam. Another survey in 2003 by the China National Language And Character Working Committee (国家语言文字工作委员会) shows, if mastery of Mandarin is defined as Grade 1-A (an error rate lower than 3%), the percentages were as follows: Beijing 90%, Shanghai 3%, Tianjin 25%, Guangzhou 0.5%, Dalian 10%, Xi'an 12%, Chengdu 1%, Nanjing 2%.^{[citation needed]}

With the fast development of China, more Chinese people leaving rural areas for cities for job or study opportunities, and the Putonghua Evaluation Exam (普通话水平测试) has quickly become popular. Many university graduates take this exam before looking for a job. Employers often require varying proficiency in Standard Chinese from applicants depending on the nature of the positions. Applicants of some positions, e.g. telephone operators, may be required to obtain a certificate. People raised in Beijing are sometimes considered inherently 1-A (一级甲等)(Error rate: lower than 3%) and exempted from this requirement.^{[citation needed]} As for the rest, the score of 1-A is rare. According to the official definition of proficiency levels, people who get 1-B (Error rate: lower than 8%) are considered qualified to work as television correspondents or in broadcasting stations.^{[citation needed]} 2-A (Error rate: lower than 13%) can work as Chinese Literature Course teachers in public schools.^{[citation needed]} Other levels include: 2-B (Error rate: lower than 20%), 3-A (Error rate: lower than 30%) and 3-B (Error rate: lower than 40%). In China, a proficiency of level 3-B usually cannot be achieved unless special training is received. Even if many Chinese do not speak with standard pronunciation, spoken Standard Chinese is widely understood to some degree.

The China National Language And Character Working Committee was founded in 1985. One of its important responsibilities is to promote Standard Chinese proficiency for Chinese native speakers.

Standard Chinese and the educational system[link]

In both the PRC and Taiwan, Standard Chinese is taught by immersion starting in elementary school. After the second grade, the entire educational system is in Standard Chinese, except for local language classes that have been taught for a few hours each week in Taiwan starting in the mid-1990s.

Common Phrases[link]

See also[link]

Wikibooks has a book on the topic of Chinese (Mandarin)

• Chinese speech synthesis
• Filipino-Mandarin
• Malaysian Mandarin
• Mandarin slang
• Regional differences in the Chinese language
• Singaporean Mandarin
• Taiwanese Mandarin

Notes[link]

•  This article incorporates text from L. Richard's ... Comprehensive geography of the Chinese empire and dependencies ... translated into English, revised and enlarged, by Louis Richard, a publication from 1908 now in the public domain in the United States.
•  This article incorporates text from De Christiana expeditione apud sinas suscepta ab Societate Jesu. Ex P. Matthaei Riccii eiusdem Societatis commentariis Libri V: Ad S.D.N. Paulum V. In Quibus Sinensis Regni mores, leges, atque instituta, & novae illius Ecclesiae difficillima primordia accurate & summa fide describuntur, by Nicolas Trigault, Matteo Ricci, a publication from 1617 now in the public domain in the United States.

References[link]

Les Paul
Les Paul playing a Gibson Les Paul in a live show at Iridium Jazz Club in New York City, 2008.
Background information
Birth name	Lester William Polsfuss[1]
Born	(1915-06-09)June 9, 1915 Waukesha, Wisconsin, United States
Died	August 13, 2009(2009-08-13) (aged 94) White Plains, New York, United States[2]
Genres	Jazz, country, blues, rock and roll
Occupations	Innovator, Inventor, Musician, Songwriter
Instruments	Guitar, Banjo, Harmonica
Years active	1928–2009
Website	lespaulfoundation.org
Notable instruments
Gibson Les Paul

Lester William Polsfuss (June 9, 1915 – August 13, 2009)^[3][4][5]—known as Les Paul—was an American jazz and country guitarist, songwriter and inventor. He was the inventor of the solid-body electric guitar which made the sound of rock and roll possible.^[6] He is credited with many recording innovations. Although he was not the first to use the technique, his early experiments with overdubbing (also known as sound on sound),^[7] delay effects such as tape delay, phasing effects and multitrack recording were among the first to attract widespread attention.^[8]

His innovative talents extended into his playing style, including licks, trills, chording sequences, fretting techniques and timing, which set him apart from his contemporaries and inspired many guitarists of the present day.^{[9][10][11][12]} He recorded with his wife Mary Ford in the 1950s, and they sold millions of records.

Among his many honors, Paul is one of a handful of artists with a permanent, stand-alone exhibit in the Rock and Roll Hall of Fame.^[13] He is prominently named by the music museum on its website as an "architect" and a "key inductee" along with Sam Phillips and Alan Freed.^[14]

Biography[link]

Early life[link]

Les Paul was born Lester William Polsfuss outside Milwaukee, in Waukesha, Wisconsin, to George and Evelyn (1888–1989) (née Stutz) Polsfus. His family was of German ancestry.^[15] Paul's mother was related to the founders of Milwaukee's Valentin Blatz Brewing Company and the makers of the Stutz automobile.^[16] His parents divorced when he was a child.^[17] The Prussian family name was first simplified by his mother to Polfuss before he took his stage name of Les Paul. He also used the nicknames Red Hot Red^[18] and Rhubarb Red.^[19]

While living in Wisconsin, he first became interested in music at age eight when he began playing the harmonica. After an attempt at learning the banjo, he began to play the guitar. It was during this time that he invented a neck-worn harmonica holder, which allowed him to play the harmonica hands-free while accompanying himself on the guitar. Paul's device is still manufactured using his basic design.^[20] By age thirteen, Paul was performing semi-professionally as a country-music singer, guitarist and harmonica player. While playing at the Waukesha area drive-ins and roadhouses, Paul began his first experiment with sound. Wanting to make himself heard by more people at the local venues, he wired a phonograph needle to a radio speaker, using that to amplify his acoustic guitar.^[21] At age seventeen, Paul played with Rube Tronson's Texas Cowboys, and soon after he dropped out of high school to join Wolverton's Radio Band in St. Louis, Missouri, on KMOX.

Early career[link]

Paul migrated to Chicago in 1934, where he continued to perform on radio, and met pianist Art Tatum, whose playing influenced him to a career devoted to guitar rather than original plans of taking on the piano. ^[22] His first two records were released in 1936. One was credited to "Rhubarb Red", Paul's hillbilly alter ego, and the other was as an accompanist for blues-artist Georgia White. It was during this time that he began playing jazz and adopted his stage name.^[23]

Paul's jazz-guitar style was strongly influenced by the music of Django Reinhardt, whom he greatly admired. Following World War II, Paul sought out and befriended Reinhardt. After Reinhardt's death in 1953, Paul furnished his headstone.^{[citation needed]} One of Paul's prize possessions was a Selmer Maccaferri acoustic guitar given to him by Reinhardt's widow.^[18]

Paul formed a trio in 1937 with singer/rhythm guitarist Jim Atkins^[24] (older half-brother of guitarist Chet Atkins) and bassist/percussionist Ernie "Darius" Newton. They left Chicago for New York in 1939, landing a featured spot with Fred Waring's Pennsylvanians radio show. Chet Atkins later wrote that his brother, home on a family visit, presented the younger Atkins with an expensive Gibson archtop guitar that had been given to Jim Atkins by Les Paul. Chet recalled that it was the first professional-quality instrument he ever owned.^[25]

Paul was dissatisfied with acoustic-electric guitars and began experimenting at his apartment in Queens, NY with a few designs of his own. Famously, he created several versions of "The Log", which was nothing more than a length of common 4x4 lumber with a bridge, guitar neck and pickup attached. For the sake of appearance, he attached the body of an Epiphone hollow-body guitar, sawn lengthwise with The Log in the middle. This solved his two main problems: feedback, as the acoustic body no longer resonated with the amplified sound, and sustain, as the energy of the strings was not dissipated in generating sound through the guitar body. These instruments were constantly being improved and modified over the years, and Paul continued to use them in his recordings long after the development of his eponymous Gibson model. In 1945, Richard D. Bourgerie made an electric guitar pickup and amplifier for professional guitar player George Barnes. Bourgerie worked through World War II at Howard Radio Company making electronic equipment for the American military. Barnes showed the result to Les Paul, who then arranged for Bourgerie to have one made for him.

While experimenting in his apartment in 1940, Paul nearly succumbed to electrocution. During two years of recuperation, he relocated to Hollywood, supporting himself by producing radio music and forming a new trio. He was drafted into the US Army shortly after the beginning of World War II, where he served in the Armed Forces Network, backing such artists as Bing Crosby, the Andrews Sisters, and performing in his own right.^[26]

Les Paul, ca. January 1947 (Photograph by William P. Gottlieb)

As a last-minute replacement for Oscar Moore, Paul played with Nat King Cole and other artists in the inaugural Jazz at the Philharmonic concert in Los Angeles, California, on July 2, 1944. The recording, still available as Jazz at the Philharmonic- the first concert- shows Paul at the top of his game, both in his solid four to the bar comping in the style of Freddie Green and for the originality of his solo lines. Paul's solo on 'Blues' is an astonishing tour de force and represents a memorable contest between himself and Nat 'King' Cole. Much later in his career, Paul declared that he had been the victor and that this had been conceded by Cole.^{[citation needed]} His solo on Body and Soul is a fine demonstration both of his admiration for and emulation of the playing of Django Reinhardt, as well as his development of some very original lines.

Also that year, Paul's trio appeared on Bing Crosby's radio show. Crosby went on to sponsor Paul's recording experiments. The two also recorded together several times, including a 1945 number-one hit, "It's Been a Long, Long Time." In addition to backing Crosby, The Andrews Sisters and other artists, Paul's trio also recorded a few albums of their own on the Decca label in the late 1940s. Paul was particularly enamored by the famous Andrews Sisters, who hired The Les Paul Trio as their opening act while they toured in 1946. Lou Levy, the sisters' manager and a music publishing giant of the big band era and beyond, once said, "Watching his fingers work was like watching a locomotive go."^[27] The trio's longtime conductor, Vic Schoen, said of Les, "You could always count on him to come up with something no one else had thought of,"^[28] while Maxene Andrews once remembered, "It was wonderful having him perform with us. He'd tune into the passages we were singing and lightly play the melody, sometimes in harmony. We'd sing these fancy licks and he'd keep up with us note for note in exactly the same rhythm...almost contributing a fourth voice. But he never once took the attention away from what we were doing. He did everything he could to make us sound better."^[29] Two Decca recordings from 1946 pairing Paul with The Andrews Sisters ("Rumors Are Flying" and "It's a Pity to Say Goodnight") exist today to well affirm such comments. Paul's many hits with wife Mary Ford recording her vocals in triplicate in the 1950s produced a sound eerily similar to the harmonious blend of The Andrews Sisters.^[30] As Les Paul biographer Mary Alice Shaughnessy noted of Paul's association with The Andrews Sisters, "Les welcomed the opportunity to study them in full flight."^[31]

In January 1948, Paul shattered his right arm and elbow in a near-fatal automobile accident on an icy Route 66 just west of Davenport, Oklahoma. Mary Ford was driving the Buick convertible, which rolled several times down a creekbed; they were on their way back from Wisconsin to Los Angeles after performing at the opening of a restaurant owned by Paul's father. Doctors at Oklahoma City's Wesley Presbyterian Hospital told him that they could not rebuild his elbow so that he would regain movement; his arm would remain permanently in whatever position they placed it in. Their other option was amputation. Paul instructed surgeons, brought in from Los Angeles, to set his arm at an angle—just under 90 degrees—that would allow him to cradle and pick the guitar. It took him nearly a year and a half to recover.^[32]

Guitar builder[link]

The Gibson Les Paul, one of the world's most popular electric guitars, was named after the man who invented it.

Paul's innovative guitar, "The Log", built after-hours in the Epiphone guitar factory in 1940, a 4" × 4" chunk of pine with strings and a pickup, was one of the first solid-body electric guitars.^[33][34] Paul Tutmarc of Audiovox Manufacturing Co. built a solid body electric bass in 1935 and Adolph Rickenbacker had marketed a solid-body guitar in the 1930s and Paul A. Bigsby had built one for Merle Travis in 1948 and Leo Fender also independently created his own (the Fender "Broadcaster" later changed to "Esquire" for copyright reasons, a single pickup model) in 1948. Although Paul approached the Gibson Guitar Corporation with his idea of a solid body electric guitar, they showed no interest until Fender began marketing its Esquire which later had a second pick-up added and became known as the Telecaster.

The arrangement persisted until 1961, when declining sales prompted Gibson to change the design without Paul's knowledge, creating a much thinner, lighter and more aggressive-looking instrument with two cutaway "horns" instead of one. Paul said he first saw the "new" Gibson Les Paul in a music-store window, and disliked it. Although his contract required him to pose with the guitar, he said it was not "his" instrument and asked Gibson to remove his name from the headstock. Others claimed that Paul ended his endorsement contract with Gibson during his divorce to avoid having his wife get his endorsement money.^[35] Gibson renamed the guitar "Gibson SG", which stands for "Solid Guitar", and it also became one of the company's best sellers.

The original Gibson Les Paul-guitar design regained popularity when Eric Clapton began playing the instrument a few years later, although he also played an SG and an ES-335. Paul resumed his relationship with Gibson and endorsed the original Gibson Les Paul guitar from that point onwards^{[citation needed]}. His personal Gibson Les Pauls were much modified by him—Paul always used his own self-wound pickups and customized methods of switching between pickups on his guitars^{[citation needed]}. To this day, various models of Gibson Les Paul guitars are used all over the world by both novice and professional guitarists. A less-expensive version of the Gibson Les Paul guitar is also manufactured for Gibson's lower-priced Epiphone brand.^[36]

On January 30, 1962, the US Patent and Trademark Office issued Paul a patent, Patent No. 3,018,680, for an "Electrical Music Instrument."^[37]

Multitrack-recording innovations[link]

Paul had never been happy with the way his records sounded. During a post-recording session talk with Bing Crosby, the crooner suggested Paul try building his own recording studio so he might be able to get the sound he wanted. At first Paul discounted the idea only to give it a few more minutes thought before deciding Crosby was right. Paul started his own studio in the garage of his home on Hollywood's North Curson Street. The studio drew many other famous vocalists and musicians who wanted the benefit of Paul's expertise. The home and studio are still standing, but both had been moved to Pasadena at some point after Paul no longer owned the home.^[38]

In 1948, Les Paul was given one of the first Ampex Model 200A reel-to-reel audio tape recording decks by Crosby and went on to use Ampex's eight track "Sel-Sync" machines for Multitrack recording. Capitol Records released a recording that had begun as an experiment in Paul's garage, entitled "Lover (When You're Near Me)", which featured Paul playing eight different parts on electric guitar, some of them recorded at half-speed, hence "double-fast" when played back at normal speed for the master. ("Brazil", similarly recorded, was the B-side.) This was the first time that Les Paul used multitracking in a recording (Paul had been shopping his multitracking technique, unsuccessfully, since the '30s. Much to his dismay, Sidney Bechet used it in 1941 to play half a dozen instruments on "Sheik of Araby"). These recordings were made not with magnetic tape, but with acetate discs. Paul would record a track onto a disk, then record himself playing another part with the first. He built the multitrack recording with overlaid tracks, rather than parallel ones as he did later. By the time he had a result he was satisfied with, he had discarded some five hundred recording disks.

Paul even built his own disc-cutter assembly, based on automobile parts. He favored the flywheel from a Cadillac for its weight and flatness. Even in these early days, he used the acetate-disk setup to record parts at different speeds and with delay, resulting in his signature sound with echoes and birdsong-like guitar riffs. When he later began using magnetic tape, the major change was that he could take his recording rig on tour with him, even making episodes for his fifteen-minute radio show in his hotel room. He later worked with Ross Snyder in the design of the first eight-track recording deck (built for him by Ampex for his home studio.)^[38][39]

Electronics engineer Jack Mullin had been assigned to a U.S. Army Signal Corps unit stationed in France during World War II. On a mission in Germany near the end of the war, he acquired and later shipped home a German Magnetophon (tape recorder) and fifty reels of I.G. Farben plastic recording tape. Back in the U.S., Mullin rebuilt and developed the machine with the intention of selling it to the film industry, and held a series of demonstrations which quickly became the talk of the American audio industry.

Within a short time, Crosby had hired Mullin to record and produce his radio shows and master his studio recordings on tape, and he invested US$50,000 in a Northern California electronics firm, Ampex. With Crosby's backing, Mullin and Ampex created the Ampex Model 200, the world's first commercially produced reel-to-reel audio tape recorder. Crosby gave Les Paul the second Model 200 to be produced. Using this machine, Paul placed an additional playback head, located before the conventional erase/record/playback heads. This allowed Paul to play along with a previously recorded track, both of which were mixed together on to a new track. This was a mono tape recorder with just one track across the entire width of quarter-inch tape; thus, the recording was "destructive" in the sense that the original recording was permanently replaced with the new, mixed recording.

Paul's re-invention of the Ampex 200 inspired Ampex to develop two-track and three-track recorders, which allowed him to record multiple tracks on one tape without erasing previous takes. These machines were the backbone of professional recording, radio and television studios in the 1950s and early 1960s. In 1954, Paul continued to develop this technology by commissioning Ampex to build the first 8-track (multitrack) tape recorder, at his own expense. His design became known as "Sel-Sync" (Selective Synchronization), in which specially modified electronics could either record or play back from the record head, which was not optimized for playback but which had acceptable sound quality for musicians to listen to for the purposes of recording an "overdub" (OD) in sync with the original recording. This is the core technology behind multitrack recording.^[40]

Les Paul & Mary Ford[link]

Paul met country-western singer Colleen Summers in 1945. They began working together in 1948, at which time she adopted the stage name Mary Ford. They were married in 1949. The couple's hits included "How High the Moon", "Bye Bye Blues", "Song in Blue", "Don'cha Hear Them Bells", "The World Is Waiting for the Sunrise", and "Vaya con Dios". These songs featured Ford harmonizing with herself.

Like Crosby, Paul and Ford used the now-ubiquitous recording technique known as close miking,^[38] where the microphone is less than 6 inches (15 cm) from the singer's mouth. This produces a more-intimate, less-reverberant sound than is heard when a singer is 1 foot (30 cm) or more from the microphone. When implemented using a cardioid-patterned microphone, it emphasizes low-frequency sounds in the voice due to a cardioid microphone's proximity effect and can give a more relaxed feel because the performer isn't working so hard. The result is a singing style which diverged strongly from unamplified theater-style singing, as might be heard in musical comedies of the 1930s and 1940s.

Radio and television programs[link]

Paul had hosted a fifteen-minute radio program, The Les Paul Show, on NBC radio in 1950, featuring his trio (himself, Ford and rhythm player Eddie Stapleton) and his electronics, recorded from their home and with gentle humor between Paul and Ford bridging musical selections, some of which had already been successful on records, some of which anticipated the couple's recordings, and many of which presented re-interpretations of such jazz and pop selections as "In the Mood", "Little Rock Getaway", "Brazil" and "Tiger Rag". Over ten of these shows survive among old-time radio collectors today.^[41]

The show also appeared on television a few years later with the same format, but excluding the trio and retitled The Les Paul & Mary Ford Show (also known as Les Paul & Mary Ford at Home) with "Vaya Con Dios" as a theme song. Sponsored by Warner Lambert's Listerine mouthwash, it was widely syndicated during 1954–1955, and was only five minutes (one or two songs) long on film, therefore used as a brief interlude or fill-in in programming schedules. Since Paul created the entire show himself, including audio and video, he maintained the original recordings and was in the process of restoring them to current quality standards until his death.^[42]

During his radio shows, Paul introduced the fictional "Les Paulverizer" device, which multiplies anything fed into it, like a guitar sound or a voice. Paul has stated that the idea was to explain to the audience how his single guitar could be multiplied to become a group of guitars. The device even became the subject of comedy, with Ford multiplying herself and her vacuum cleaner with it so she could finish the housework faster.

Later career[link]

Les Paul, May 2004

In 1965, Paul went into semi-retirement, although he did return to the studio occasionally. He and Ford had divorced in December 1962, as she could no longer cope with the traveling lifestyle their act required of them.^{[citation needed]} Paul's most-recognizable recordings from then through the mid-1970s were an album for London Records/Phase 4 Stereo, Les Paul Now (1968), on which he updated some of his earlier hits; and, backed by some of Nashville's celebrated studio musicians, a meld of jazz and country improvisation with fellow guitar virtuoso Chet Atkins, Chester and Lester (1976), for RCA Victor.

In 1987, Paul underwent heart surgery. He then returned to active live performance, continuing into his 80s even though he often found it painful to play the guitar because of arthritis in his hands. In 2006, at age 90, he won two Grammys at the 48th Annual Grammy Awards for his album Les Paul & Friends: American Made World Played. He also performed every Monday night, accompanied by a trio which included guitarist Lou Pallo, bassist Paul Nowinksi (and later, Nicki Parrott) and pianist John Colaianni, originally at Fat Tuesdays, and later at the Iridium Jazz Club on Broadway in the Times Square area of New York City.^[43][44][45]

Composer Richard Stein (1909–1992) sued Paul for plagiarism, charging that Paul's "Johnny (Is the Boy for Me)" was taken from Stein's 1937 song "Sanie cu zurgălăi" (Romanian for "Sleigh with Bells"). A 2000 cover version of "Johnny" by Belgian musical group Vaya Con Dios that credited Paul prompted another action by the Romanian Musical Performing and Mechanical Rights Society.^[46]

For many years Les Paul would sometimes surprise radio hosts Steve King and Johnnie Putman with a call to the "Life After Dark Show" on WGN (AM) in Chicago. These calls would take place in the wee hours of Tuesday Morning following his show at the Iridium Jazz Club. Until they ended their show on WGN, Steve and Johnnie continued to honor Les on Tuesday Mornings at 2:35 AM with their segment "A Little More Les" drawing from around 30 hours of recorded conversations with Les.

Death[link]

On August 13, 2009,^[4][5] Paul died of complications from pneumonia at White Plains Hospital in White Plains, New York.^[47] His family and friends were by his side.^[48] Paul is survived by his four children and his companion Arlene Palmer.^[49] His attorney told the media that he had made several hospital stays over the previous few months.^[50] His last concert took place a few weeks before his death.

Upon learning of his death many artists and popular musicians paid tribute by publicly expressing their sorrow. After learning of Paul's death, former Guns N' Roses guitarist Slash called him "vibrant and full of positive energy.", while Richie Sambora, lead guitarist of Bon Jovi, referred to him as "revolutionary in the music business". U2 guitarist The Edge said, "His legacy as a musician and inventor will live on and his influence on rock and roll will never be forgotten." ^[51][52][53]

On August 21, 2009, he was buried near Milwaukee in Waukesha, Wisconsin at Prairie Home Cemetery which indicated that his plot would be in an area where visitors can easily view it.^[54][55] Like his funeral in New York on August 19, the burial was private, but earlier in the day a public memorial viewing of the closed casket was held in Milwaukee at Discovery World with 1,500 attendees who were offered free admission to the Les Paul House of Sound exhibit for the day.^[56]

Awards and honors[link]

Paul was initiated into the Gamma Delta chapter of the Tau Kappa Epsilon fraternity at the University of Miami in 1952.^[57] He has earned the Presidential award from the Tau Kappa Epsilon fraternity.^{[58][dead link]}

In 1979, Paul and Ford's 1951 recording of "How High the Moon" was inducted into the Grammy Hall of Fame.^[59] Paul received a Grammy Trustees Award for his lifetime achievements in 1983, and in 2001 the Special Merit/Technical Grammy Award.^[60]

In 1988, Paul was inducted into the Rock and Roll Hall of Fame by Jeff Beck, who said, "I've copied more licks from Les Paul than I'd like to admit." In 1991, the Mix Foundation established an annual award in his name; the Les Paul Award which honors "individuals or institutions that have set the highest standards of excellence in the creative application of audio technology".^[61] In 2005, he was inducted into the National Inventors Hall of Fame for his development of the solid-body electric guitar.^[62] In 2006, Paul was inducted into the National Association of Broadcasters Hall of Fame. He was named an honorary member of the Audio Engineering Society.^[63] In 2007, he was awarded the National Medal of Arts.^[64]

A one-hour biographical documentary film The Wizard of Waukesha was shown at the Los Angeles International Film Exposition (FILMEX) March 4–21, 1980, and later on PBS television. A biographical, feature-length documentary titled Chasing Sound: Les Paul at 90 made its world première on May 9, 2007, at the Downer Theater in Milwaukee, Wisconsin. Paul appeared at the event and spoke briefly to the enthusiastic crowd. The film is distributed by Koch Entertainment and was broadcast on PBS on July 11, 2007, as part of its American Masters series^[65][66] and was broadcast on October 17, 2008, on BBC Four as part of its Guitar Night. The première coincided with the final part of a three-part documentary by the BBC broadcast on BBC ONE The Story of the Guitar.

In June 2008, an exhibit showcasing his legacy and featuring items from his personal collection opened at Discovery World in Milwaukee.^[67] The exhibit was facilitated by a group of local musicians under the name Partnership for the Arts and Creative Excellence (PACE).^[68] Paul played a concert in Milwaukee to coincide with the opening of the exhibit.^[69]

Paul's hometown of Waukesha is planning a permanent exhibit to be called "The Les Paul experience."^[70]

In July 2005, a 90th-birthday tribute concert was held at Carnegie Hall in New York City. After performances by Steve Miller, Peter Frampton, Jose Feliciano and a number of other contemporary guitarists and vocalists, Paul was presented with a commemorative guitar from the Gibson Guitar Corporation.^[71]

On November 15, 2008, he received the American Music Masters award through the Rock and Roll Hall of Fame at a tribute concert at the State Theater in Cleveland, Ohio. Among the many guest performers were Duane Eddy, Eric Carmen, Lonnie Mack, Jennifer Batten, Jeff "Skunk" Baxter, Dennis Coffey, James Burton, Billy Gibbons, Lenny Kaye, Steve Lukather, Barbara Lynn, Katy Moffatt, Alannah Myles, Richie Sambora, The Ventures and Slash.

In February 2009, only months prior to his death, Les Paul sat down with Scott Vollweiler of Broken Records Magazine, in which would be one of Les Paul's final interviews. His candid answers were direct and emotional. Broken Records Magazine had planned to run that cover feature the following month but due to delays was held until the summer. 3 days before the release, Les Paul died. The issue would be his final cover feature of his storied career.^[72]

In August, 2009, Paul was named one of the ten best electric guitar players of all-time by Time magazine.^[73]

On June 9, 2010, which would have been Les Paul's 95th birthday, a tribute concert featuring Jeff Beck, Imelda May, Gary U.S. Bonds and Brian Setzer among others, was held at the Iridium Jazz Club where Les Paul played nearly every week almost to the end of his life. The concert was released on the live album Rock 'n' Roll Party (Honoring Les Paul) in 2011.

On June 9–10, 2011 Google celebrated what would have been Paul's 96th birthday with a Google doodle of an interactive guitar.^[74]

On November 23, 2011, Paul was ranked at #18 on Rolling Stone's "100 Greatest Guitarists of All Time".^[75]

In 2010, Paul was inducted into the New Jersey Hall of Fame.^[76]

Personal life[link]

Les Paul with pianist John Colianni.

Paul married Virginia Webb in 1938. They had two children, Gene (Lester Jr.), born in 1941 and named after actor-songwriter Gene Lockhart, and Russell (Rusty), born 1944, before divorcing in 1949. Later that year, Paul and Mary Ford (born Iris Colleen Summers) were married. They adopted a girl, Colleen, in 1958 and their son Robert (Bobby) was born the following year. They had also lost a child, who was born prematurely and died only four days old. Les Paul and Mary Ford divorced in 1963.^[77]

Paul was the instructor of rock guitarist Steve Miller of the Steve Miller Band, to whom Paul gave his first guitar lesson.^[78] Miller's father was best man at Paul's 1949 wedding to Mary Ford.

Paul resided for many years in Mahwah, New Jersey.

Discography[link]

Hit singles[link]

Albums[link]

Feedback (1944)—compilation Les Paul Trio (1946)—compilation Hawaiian Paradise (1949) The New Sound (1950) Les Paul's New Sound, Volume 2 (1951) Bye Bye Blues! (1952) Gallopin' Guitars (1952)—compilation The Hit Makers! (1953) Les and Mary (1955) Time to Dream (1957) Lover's Luau (1959) The Hits of Les and Mary (1960)—compilation Bouquet of Roses (1962) Warm and Wonderful (1962) Swingin' South (1963) Fabulous Les Paul and Mary Ford (1965) Les Paul Now! (1968) Guitar Tapestry Lover The Guitar Artistry of Les Paul (1971) The World is Still Waiting for the Sunrise (1974)—compilation

The Best of Les Paul with Mary Ford (1974)—compilation Chester and Lester (1976)—with Chet Atkins Guitar Monsters (1977)—with Chet Atkins Les Paul and Mary Ford (1978)—compilation Multi Trackin' (1979) All-Time Greatest Hits (1983)—compilation The Very Best of Les Paul with Mary Ford' Famille Nombreuse (1992)—compilation The World Is Waiting (1992)—compilation The Best of the Capitol Masters: Selections From "The Legend and the Legacy" Box Set (1992)—compilation All-Time Greatest Hits (1992)—compilation Their All-Time Greatest Hits (1995)—compilation Les Paul: The Legend and the Legacy (1996; a four-CD box set chronicling his years with Capitol Records) 16 Most Requested Songs (1996)—compilation The Complete Decca Trios—Plus (1936–1947) (1997)—compilation California Melodies (2003) Les Paul – The Legendary Fred Waring Broadcasts (2004) Les Paul & Friends: American Made World Played (2005) Les Paul And Friends: A Tribute To A Legend (2008)

Singles[link]

"It's Been a Long, Long Time"—Bing Crosby & The Les Paul Trio (1945), #1 on Billboard Pop singles chart, 1 week, December 8 "Rumors Are Flying"—Andrews Sisters & Les Paul (1946) "Guitar Boogie" (1947) "Lover (When You're Near Me)" (1948) "Brazil" (1948) "What Is This Thing Called Love?" (1948) "Nola" (1950) "Goofus" (1950) "Little Rock 69 Getaway" (1950/1951) "Tennessee Waltz"—Les Paul & Mary Ford (1950/1951), #1, Cashbox "Mockingbird Hill"—Les Paul & Mary Ford (1951), #1, Cashbox "How High The Moon"—Les Paul & Mary Ford (1951), #1, Billboard Pop singles chart, 9 weeks, April 21 – June 16; #1, Cashbox, 2 weeks; #2, R&B chart "I Wish I Had Never Seen Sunshine"—Les Paul & Mary Ford (1951) "The World Is Waiting for the Sunrise"—Les Paul & Mary Ford (1951), #2, Billboard; #3, Cashbox "Just One More Chance"—Les Paul & Mary Ford (1951) "Jazz Me Blues" (1951) "Josephine" (1951) "Whispering" (1951) "Jingle Bells" (1951) "Tiger Rag"—Les Paul & Mary Ford (1952), #2, Billboard; #8, Cashbox "I'm Confessin' (That I Love You)"—Les Paul & Mary Ford (1952) "Carioca" (1952) "In the Good Old Summertime"—Les Paul & Mary Ford (1952) "Smoke Rings"—Les Paul & Mary Ford (1952) "Meet Mister Callaghan" (1952), #5, Billboard

"Take Me In Your Arms And Hold Me"—Les Paul & Mary Ford (1952) "Lady of Spain" (1952) "My Baby's Coming Home"—Les Paul & Mary Ford (1952) "Bye Bye Blues"—Les Paul & Mary Ford (1953) "I'm Sitting On Top Of The World"—Les Paul & Mary Ford (1953) "Sleep" (Fred Waring's theme song) (1953) "Vaya Con Dios"—Les Paul & Mary Ford (1953), #1, Billboard Pop singles chart, 11 weeks, August 8 – October 3, November 7–14; #1, Cashbox, 5 weeks "Johnny (Is The Boy For Me)"—Les Paul & Mary Ford (1953), #15, Billboard; #25, Cashbox "Don'cha Hear Them Bells"—Les Paul & Mary Ford (1953), #13, Billboard; #32, Cashbox "The Kangaroo" (1953), #25, Billboard; #23, Cashbox "I Really Don't Want To Know"—Les Paul & Mary Ford (1954) "I'm A Fool To Care"—Les Paul & Mary Ford (1954) "Whither Thou Goest"—Les Paul & Mary Ford (1954) "Mandolino"—Les Paul & Mary Ford (1954), #19, Billboard "Song in Blue"—Les Paul & Mary Ford (1954), #17, Cashbox "Hummingbird"—Les Paul & Mary Ford (1955) "Amukiriki (The Lord Willing)"—Les Paul & Mary Ford (1955) "Magic Melody"—Les Paul & Mary Ford (1955) "Texas Lady"—Les Paul & Mary Ford (1956) "Moritat" (Theme from "Three Penny Opera") (1956) "Nuevo Laredo"—Les Paul & Mary Ford (1956) "Cinco Robles (Five Oaks)"—Les Paul & Mary Ford (1957) "Put A Ring On My Finger"—Les Paul & Mary Ford (1958) "Jura (I Swear I Love You)"—Les Paul & Mary Ford (1961) "Love Sneakin' Up On You"-Les Paul, Joss Stone & Sting (2005)

Compositions[link]

Paul was also a prolific composer. Some of the songs he wrote were "Song in Blue", "Cryin'", "Hip-billy Boogie", "Suspicion", "Mandolino", "Magic Melody", "Don'cha Hear Them Bells", "The Kangaroo", "Big-Eyed Gal", "All I Need is You", "Mammy's Boogie", “Pacific Breeze”, “Mountain Railroad”, “Move Along, Baby (Don’t Waste My Time)”, "Five Alarm Fire", and "Walkin' and Whistlin' Blues".

See also[link]

Biography portal

• Ampex
• Discovery World
• Gibson Les Paul
• Gibson SG
• List of Rock and Roll Hall of Fame inductees
• Mary Ford

References[link]

1. ^ Farber, Jim (August 13, 2009). "Electric Guitar Hero Les Paul Dead at 94: Hit-Maker, Musical Designer, Pioneer". Daily News). Accessed August 24, 2009.
2. ^ http://www.nytimes.com/2009/08/14/arts/music/14paul.html?_r=1&pagewanted=1 Les Paul Obituary New York Times accessed 9/29/09
3. ^ "Guitar legend Les Paul dies at 94 - Entertainment - Music - TODAY.com". Today.msnbc.msn.com. 2009-08-13. http://today.msnbc.msn.com/id/32403755/ns/today-entertainment/t/guitar-legend-les-paul-dies/#.Tx9MCG_OXQg. Retrieved 2012-03-26. 
4. ^ ^{a b} "the site of LES PAUL – The Wizard of Waukesha". Lespaulonline.com. http://www.lespaulonline.com/indexo.html. Retrieved March 27, 2011. ^{[dead link]}
5. ^ ^{a b} "In Pictures: 'Les Paul Memorial Service'". Monsters and Critics. August 21, 2009. http://www.monstersandcritics.com/people/features/article_1496730.php/In-Pictures-Les-Paul-Memorial-Service?page=4. Retrieved March 27, 2011. 
6. ^ Voices from the Smithsonian Associates. Les Paul, Musician and Inventor. Archived at www.archive.org.
7. ^ Guitarist and recording pioneer Les Paul dies, aged 94. The List. August 12, 2009.
8. ^ The Wizard Of Waukesha. PBS.
9. ^ Houston, Frank (July 8, 1999). "Father of invention". Salon.com. http://archive.salon.com/people/feature/1999/07/08/paul/print.html. Retrieved August 14, 2009. 
10. ^ Staff writer (October 12, 2005). "Les Paul, 90, Releases Tribute Album"^{[dead link]}. CBC. Accessed August 24, 2009.
11. ^ Swing Licks for C6th Lap Steel. The Steel Guitar Forum.
12. ^ Benson, John (November 12, 2008). Rock hall to honor Les Paul. Vindy.com.
13. ^ "Exhibits | The Rock and Roll Hall of Fame and Museum". Rockhall.com. http://rockhall.com/exhibits. Retrieved March 27, 2011. 
14. ^ "The Architects of Rock and Roll featuring Les Paul, Alan Freed and Sam Phillips | The Rock and Roll Hall of Fame and Museum". Rockhall.com. http://rockhall.com/exhibits/the-architects/. Retrieved 2011-08-19. 
15. ^ "Book Excerpt: The Early Years of the Les Paul Legacy 1915–1963". Gibson.com. http://www.gibson.com/en-us/Lifestyle/Features/the-les-paul-legacy/. Retrieved March 27, 2011. 
16. ^ Masino, Susan; Paul, Les (2003). Famous Wisconsin Musicians. Oregon, Wisconsin: Badger Books. pp. 9–11. ISBN 1-878569-88-0. 
17. ^ Henry, David (August 12, 2009). "Les Paul, Pioneer of Electric Guitar, Inventor, Dies at 94". Bloomberg. Accessed August 24, 2009.
18. ^ ^{a b} American Masters (2007 Season)—"Les Paul: Chasing Sound"—thirteen WNET New York
19. ^ "Articles". Classic Jazz Guitar. http://classicjazzguitar.com/articles/article.jsp?article=25. Retrieved March 27, 2011. 
20. ^ (August 14, 2009). [1] The New York Times (website registration required).
21. ^ Ladd, Patty (22 October 2009). "Cinemax to honor 'Edison' of music". The Vindicator. http://news.google.com/newspapers?id=CfNYAAAAIBAJ&sjid=doUMAAAAIBAJ&pg=1140,3217614&dq=grammy+hall+of+fame+jo+stafford&hl=en. Retrieved 4 May 2011. 
22. ^ ClassicJazzGuitar.com
23. ^ Gil Kaufman "MTV News" http://www.mtv.com/news/articles/1618673/20090813/paul_les.jhtml
24. ^ liner notes from Chet Atkins/Jim Atkins 1963 RCA Camden LP #CAL-753, "The Guitar Genius"
25. ^ Atkins, Chet; Neely, Bill (1974). Country Gentleman. Chicago: H. Regnery. ISBN 978-0-8092-9051-2
26. ^ Tianen, Dave "The Wizard of Waukesha" Milwaukee Journal Sentinel 08/26/09 http://www.pbs.org/wnet/americanmasters/episodes/les-paul/chasing-sound/100/
27. ^ Sforza, John: "Swing It! The Andrews Sisters Story;" University Press of Kentucky, 2000; 289 pages.
28. ^ Sforza, John: "Swing It! The Andrews Sisters Story;" University Press of Kentucky, 2000; 289 pages.
29. ^ Sforza, John: "Swing It! The Andrews Sisters Story;" Univeristy Press of Kentucky, 2000; 289 pages.
30. ^ Sforza, John: "Swing It! The Andrews Sisters Story;" Univeristy Press of Kentucky, 2000; 289 pages.
31. ^ Sforza, John: "Swing It! The Andrews Sisters Story;" Univeristy Press of Kentucky, 2000; 289 pages.
32. ^ Fresh Air from WHYY. "Guitar Hero: Les Paul, 1915–2009". Npr.org. http://www.npr.org/templates/story/story.php?storyId=111888401. Retrieved March 27, 2011. 
33. ^ "The Log". DK Images. http://www.dkimages.com/discover/Home/Performing-Arts/Music/Instruments/String/Guitars/Electric-Guitar/Les-Paul/Les-Paul-01.html. Retrieved March 27, 2011. 
34. ^ "Epiphone: A History". Epiphone.com. http://www.epiphone.com/History.aspx. Retrieved 23 February 2012. 
35. ^ "Interview | July 19, 1999, at the Iridium jazz club, New York City". Jinx Magazine. July 19, 1999. http://www.jinxmagazine.com/les_paul.html. Retrieved March 27, 2011. 
36. ^ "Epiphone Les Paul Standard". Epiphone.com. http://www.epiphone.com/Products/Les-Paul/Les-Paul-Standard.aspx. Retrieved 23 February 2012. 
37. ^ "Patents". Google. http://www.google.com/patents/about?id=Ce9TAAAAEBAJ&dq=3,018,680. Retrieved March 27, 2011. 
38. ^ ^{a b c} Lawrence, Robb, ed. (2008). The Early Years of the Les Paul Legacy: 1915–1963. Hal Leonard Corporation. pp. 20–21. ISBN 978-0-634-04861-6. http://books.google.com/?id=NqIgLrXaA6QC&pg=PA19&lpg=PA19&dq=les+paul+recorded+andrews+sisters#v=onepage&q=les%20paul%20recorded%20andrews%20sisters&f=false. Retrieved 10 May 2011. 
39. ^ "Sel-sync and the "Ocotpus": How Came to be the First Recorder to Minimize Successive Copying in Overdubs" (PDF). ARSC Journal. http://www.aes.org/aeshc/docs/sel-sync/snyder_sel-sync.pdf. Retrieved March 27, 2011. 
40. ^ "Sel-sync and the "Octopus": How Came to be the First Recorder to Minimize Successive Copying in Overdubs" (PDF). ARSC Journal. http://www.aes.org/aeshc/docs/sel-sync/snyder_sel-sync.pdf. Retrieved March 27, 2011. 
41. ^ "The Les Paul Show". Archive.org. http://www.archive.org/details/TheLesPaulShow. Retrieved March 27, 2011. 
42. ^ Cellini, Joe (undated). "Les Paul: Invented Here". Apple Inc.. http://www.apple.com/pro/profiles/lespaul/index.html. Retrieved August 24, 2009. 
43. ^ "Iridium Jazz Club". Iridium Jazz Club. http://www.iridiumjazzclub.com/. Retrieved March 27, 2011. 
44. ^ Milicia, Joe, "Guitar hero Les Paul ready for Rock Hall tribute," The Associated Press via Times Union, p. C8, November 10, 2008, see^{[dead link]}AP Google website^{[dead link]}. Retrieved November 10, 2008.
45. ^ Foster, D.R. (June 1, 2009). "Les is more: 93 years old and cooler than you—A Night with the Longstanding Guitar Great"^{[dead link]}. The A.V. Club. Accessed August 15, 2009
46. ^ Nicoleanu, Anca (February 2, 2007). "Zici că n-ai plagiat şi, gata, ai scăpat". http://www.cotidianul.ro/zici_ca_n_ai_plagiat_si_gata_ai_scapat-22511.html. Retrieved June 19, 2009.  (non-English language)
47. ^ Newels, Eric (August 17, 2009). "Music Great Les Paul Dies at 94". idiomag. http://www.idiomag.com/peek/97288/les_paul. Retrieved August 21, 2009. 
48. ^ Caine, Paul (August 13, 2009). "R.I.P. Les Paul: pioneering guitarist, inventor, New York character". The A.V. Club. http://newyork.decider.com/articles/rip-les-paul-pioneering-guitarist-inventor-new-yor,31640/. Retrieved August 14, 2009. ^{[dead link]}
49. ^ Russell, Tony (August 13, 2009). "Les Paul Guitarist and inventor with huge influence on pop and jazz". The Guardian. Accessed August 24, 2009.
50. ^ Tourtellotte, Bob (August 13, 2009). "Legendary guitarist, inventor Les Paul dies, age 94". Reuters. http://www.reuters.com/article/topNews/idUSTRE57C3TI20090813. Retrieved August 13, 2009. 
51. ^ Staff writer (August 13, 2009). "Les Paul Remembered: Guitar Greats on Their True Hero". Rolling Stone. http://www.rollingstone.com/rockdaily/index.php/2009/08/13/les-paul-remembered-guitar-greats-on-their-true-hero/. Retrieved August 13, 2009. 
52. ^ Jack Malvern (August 13, 2009). "Musicians pay tribute to the 'original guitar hero' Les Paul". London: The Times. http://entertainment.timesonline.co.uk/tol/arts_and_entertainment/music/article6795384.ece. Retrieved August 13, 2009. 
53. ^ Sheridan, Luke (August 14, 2009). "Les Paul, 94: Guitar legend". The Associated Press via Toronto Star. http://www.thestar.com/news/obituary/article/681159. Retrieved August 15, 2009. 
54. ^ Itzkoff, Dave (August 18, 2009). "Funeral Plans Announced for Les Paul". The New York Times. http://artsbeat.blogs.nytimes.com/2009/08/18/funeral-plans-announced-for-les-paul/. Retrieved May 7, 2010. 
55. ^ "Les Paul comes home to his mother". JSOnline. http://www.jsonline.com/news/waukesha/54027427.html. Retrieved March 27, 2011. 
56. ^ "Saying goodbye to Les Paul". JSOnline. August 21, 2009. http://www.jsonline.com/news/milwaukee/53940442.html. Retrieved March 27, 2011. 
57. ^ "University of Miami TKE". Tke-miami.com. http://www.tke-miami.com/lespaul.php. Retrieved March 27, 2011. 
58. ^ "TKE News 105". Tke.org. http://www.tke.org/news/105. Retrieved 2011-08-19. 
59. ^ "Grammy Hall of Fame Award Past Recipients". grammy.com. http://www.grammy.org/recording-academy/awards/hall-of-fame#h. Retrieved August 19, 2009. 
60. ^ "Technical GRAMMY Award". grammy.com. http://www.grammy.org/recording-academy/producers-and-engineers/awards. Retrieved January 29, 2012. 
61. ^ Mix Foundation. Les Paul Award Winners.
62. ^ "Inventor Profile, National Inventors Hall of Fame". Invent.org. http://www.invent.org/hall_of_fame/225.html. Retrieved March 27, 2011. 
63. ^ List of Awardees of the AES.
64. ^ "Lifetime Honors – National Medal of Arts". Nea.gov. http://www.nea.gov/honors/medals/medalists_year.html#07. Retrieved March 27, 2011. 
65. ^ Les Paul: Chasing Sound.
66. ^ American Masters—Les Paul.
67. ^ Williams, Scott (April 30, 2008). "Discovery World Lands Les Paul Exhibit—Guitar Wiz Sees No Effect on Waukesha Museum" Milwaukee Journal Sentinel. Accessed August 24, 2009.
68. ^ Williams, Scott (May 5, 2008). "Their Role is Instrumental—Musicians' Connections Help bring Les Paul Exhibit to Milwaukee". Milwaukee Journal Sentinel. http://www.jsonline.com/news/waukesha/29512884.html. Retrieved August 24, 2009. 
69. ^ Tianen, Dave (June 23, 2008). "Paul Brings Bit of Manhattan to the Pabst". Milwaukee Journal Sentinel. Accessed August 24, 2009.
70. ^ Farabaugh, Kane (December 27, 2007). "At 92, Music Pioneer Les Paul Still Performing". Voice of America. http://voanews.com/english/archive/2007-12/2007-12-26-voa47.cfm. Retrieved August 24, 2009. 
71. ^ Landers, Rick (July 3, 2005). "Les Paul Tribute Concert at Carnegie Hall". Modern Guitars Magazine. http://www.modernguitars.com/archives/000877.html. Retrieved August 14, 2009. ^{[dead link]}
72. ^ "Broken Records Magazine, Les Paul Issue". Brokenrecordsonline.com. http://brokenrecordsonline.com/lespaul_issue_digital.pdf/. Retrieved March 27, 2011. ^{[dead link]}
73. ^ by Dave on August 24, 2009 (August 24, 2009). "Fretbase, Time Magazine Picks the 10 Best Electric Guitar Players". Fretbase.com. http://www.fretbase.com/blog/2009/08/time-magazine-picks-the-10-best-electric-guitar-players-including-yngwie/. Retrieved March 27, 2011. 
74. ^ Jemima Kiss (June 9, 2011). "Les Paul: Google's best doodle yet?". The Guardian. http://www.guardian.co.uk/technology/pda/2011/jun/09/google-doodle-les-paul. Retrieved June 9, 2011. 
75. ^ "100 Greatest Guitarists: Les Paul". Rolling Stone. November 23, 2011. http://www.rollingstone.com/music/lists/100-greatest-guitarists-20111123/les-paul-19691231. 
76. ^ The Newark Star Ledger. 
77. ^ "Les Paul and Mary Ford Marriage Profile". Marriage.about.com. http://marriage.about.com/od/entertainmen1/p/lespaulmaryford.htm. Retrieved March 27, 2011. 
78. ^ Steve Miller at Allmusic
79. ^ Roberts, David (2006). British Hit Singles & Albums (19th ed.). London: Guinness World Records Limited. p. 420. ISBN 1-904994-10-5. 

External links[link]

Wikimedia Commons has media related to: Lester William Polfuss

• Official website
• History of Les Paul
• Les Paul at the Internet Movie Database
• Les Paul: Chasing Sound (may require subscription) PBS Documentary on the life of Les Paul, including extended interviews with Paul.
• Remembering Les Paul Photos and extended interviews with Les on WGN Chicago's Steve & Johnnie early morning show
• Staff writer (August 13, 2009). "Les Paul", obituary at The Daily Telegraph (Accessed August 24, 2009)
• "Les Paul, 'The Wizard of Waukesha'", a biography (undated) at the Wisconsin Historical Society's official website
• Les Paul – Discovery World 2005 video (requires Adobe Flash) at Discovery World's (museum) official website
• The Les Paul Show, archive of Paul's NBC radio show at the Internet Archive's official website (includes MP3 files (free) of eleven of their radio shows including their audition show)
• "Les Paul: Legacy of a Guitar Hero" at LIFE
• The Wizard of Waukesha (1980) at Allmovie's official website
• Les Paul – 'Miles of Music', two video interviews of and performances by Paul (5–6 minutes each; requires Adobe Flash) with Bob Miles on Miles of Music (milesofmusic.tv), a Public-access television cable TV program
• CLASSIC TRACKS: Les Paul & Mary Ford 'How High The Moon'
• Photo Library from performances at Iridium
• Les Paul's final interview
• Les Paul at Find a Grave

Persondata
Name	Polfuss, Lester William
Alternative names	Paul, Les
Short description	American jazz guitarist, country guitarist, songwriter and inventor
Date of birth	June 9, 1915
Place of birth	Waukesha, Wisconsin
Date of death	August 12, 2009
Place of death	White Plains, New York

This article may require copy editing for grammar, style, cohesion, tone, or spelling. You can assist by editing it. (February 2012)

Max Keiser
Max Keiser in a London taxi
Born	Timothy Maxwell Keiser (1960-01-23) January 23, 1960 (age 52) New Rochelle, New York
Education	NYU
Occupation	Journalist
Notable credit(s)	Hollywood Stock Exchange, People & Power, The Oracle with Max Keiser, Karmabanque
Relatives	German and Scottish Ancestry, Hugh Maxwell, V 1777-1860
Website
http://maxkeiser.com

Timothy Maxwell "Max" Keiser (born January 23, 1960) is an American broadcaster and film-maker. He hosts Keiser Report, a financial program broadcast on RT (formerly Russia Today).^[1] Keiser also anchors On the Edge, a program of news and analysis hosted by Iran's Press TV.^[2] He hosted the New Year's Eve special, The Keiser's Business Guide to 2010 for BBC Radio 5 Live.^[3] Keiser presented a season of The Oracle with Max Keiser on BBC World News. Previously he produced and appeared regularly in the TV series People & Power on the Al-Jazeera English network. He also presents a weekly show about finance and markets on London's Resonance FM, as well as writing for The Huffington Post.^[4]

In addition to his broadcasting work Keiser is known for his invention of "Virtual Specialist Technology", a software system used by the Hollywood Stock Exchange.

Early career[link]

Keiser has been involved with markets and finance for 25 years. He started his career as a stock broker on Wall Street after graduating from New York University.

Hollywood Stock Exchange[link]

Keiser is the creator, co-founder and former CEO of HSX Holdings/Hollywood Stock Exchange, later sold to Cantor Fitzgerald.^[5] Alongside Michael R. Burns, he co-created the Hollywood Stock Exchange, ^[6] which allows traders to exchange virtual securities, such as "MovieStocks" and "StarBonds", with convertible virtual currency, the Hollywood Dollar.

Keiser is also the co-founder of HSX films, which went on to make almost a dozen films including Mixed Signals, Six-String Samurai, Dancer, Texas Pop. 81 and Girl. The company was bought by Ignite Entertainment/Lionsgate.

Broadcasting career[link]

Keiser presented Rumble at the Box Office^[7] for NBC's Access Hollywood. He also produced and hosted the weekly talk show Buy, Sell, Hold for CBS radio's KLSX in Los Angeles. Currently, he presents The Truth About Markets on Resonance 104.4 FM in London and on RDU 98.5 in Christchurch, New Zealand.

[edit] People & Power

Keiser produced ten short documentary films covering aspects of financial markets for Al Jazeera's series People & Power.^[8] The films include Rigged Markets,^[9] Money Geyser,^[10] Death of the Dollar,^[11] Peaked,^[12] Extraordinary Antics,^[13] Savers vs Speculators,^[14] Banking On It,^[15] Private Finance or Public Swindle?^[16] and Focus on Locusts.^[17]

[edit] The Oracle with Max Keiser

A pilot episode was produced for Al-Jazeera English titled The Oracle. This was developed into a series for BBC World News.^[18] The series first aired on 9 January 2009 and ran for ten episodes. It explored financial current affairs from the perspective of prediction markets. It was intended to be a humorous take on financial news before it happens.

[edit] On The Edge

A weekly financial commentary show which started in 2009 and is broadcast on Press TV, featuring interviews with well known alternative economists.^[19]

[edit] The Keiser Report

Since September 2009, Keiser has hosted The Keiser Report with financial news and analysis, on the RT network. The 30-minute program is produced three times a week. Stacy Herbert is the co-host and banters with Max on headlines and commentary.^[20]

An episode broadcast in September 2011 featured an interview with comedienne Rosanne Barr who stated that her solution to the financial crisis was to "bring back the guillotine".^[21]

Financial punditry[link]

Keiser has appeared as a financial pundit on a number of news networks. Keiser called for a "fatwā" against Hank Paulson^[22] on Al Jazeera in response to the Troubled Asset Relief Program (TARP). In a later broadcast Keiser said "Paulson stinks".^[23] Keiser has advised investors to buy silver bullion and physical silver, promoting the metal as a store of value.

Activism[link]

Karmabanque[link]

Keiser founded the hedge fund Karmabanque, which sought to profit from any decline in equity-value of companies that are susceptible to boycott from environmental groups.^[24] The hedge fund's progress was followed monthly in The Ecologist magazine.^[25] Its targets included Coca-Cola^[26] and McDonald's.

The Karmabanque hedge fund project was designed to simultaneously short-sell companies while funnelling profits into environmental and ethical-business pressure groups which further act to drive down the price. Describing the project Keiser stated, "The Internet allows people, activists, from all over the world to gather, or swarm, and hit a company where it hurts most - in their stock price".^[27]

Extraordinary Antics[link]

In the Al-Jazeera short film Extraordinary Antics,^[28] Keiser travelled to Milan and Venice to find out how CIA station chief Robert Seldon Lady and his fellow CIA agents spent $500,000 on a procedure known as extraordinary rendition - a practice which is illegal and caused an Egyptian citizen, who had been granted asylum in Italy, to be abducted in order to face torture in Cairo.

The CIA was prosecuted for the case and Mr. Lady was found guilty in a Milan court. He was sentenced on 9 November 2009 to nine years in prison according to the Guardian.^{[citation needed]} This verdict was upheld on appeal. The US refuses to extradite Mr. Lady to Italy.^[29]

Crash JP Morgan - buy silver[link]

Max Keiser has labeled JPMorgan "the biggest financial terrorist on Wall St" in relation to their alleged manipulation of the price of silver.^[30] Keiser started a campaign called "Crash JP Morgan - buy silver",^[31][32][33] whereby people buy silver, thus raising its price and leaving JPMorgan with a huge short position to cover, the margin of which are collateralized by JPMorgan's own stock price, bankrupting itself. Based on the collateralization of silver by the price of its shares and his allegation that JPMorgan's position is an overwhelmingly large naked short position, Keiser predicted that the a per-ounce silver price exceeding JPMorgan's stock price will not only crash JPMorgan but unsettle the underpinnings of the dollar, which he claims are essentially confetti.

Adweek magazine described Keiser as "the most visible character in an underground movement that has spurred hundreds of blog posts and videos, and played some small part in driving up the price of precious metals".^[34] However, Keiser's prediction that JPMorgan would go bust if silver hit 47 dollars has failed to materialise, drawing criticism from the financial community.

Criticism[link]

• The Guardian newspaper, in an item titled "Mad Max", described Keiser's Karmabanque hedge fund as a "fantastical scheme" and accused him of trying to exist "beyond the normal forces and controls of society".^[35]

• Keiser drew criticism at the 2000 ShowBiz Expo in Las Vegas when he said of media content that "Everything is inescapably going to a price point called free". In response Kevin Tsujihara, executive V.P. of New Media at Warner Bros., commented that "Piracy.com" will be the victor if superior content is available on sites supported by advertisements.^[36]

• In 2005 Steven Milloy, the "Junk Science" commentator, demanded that Keiser be removed from the panel of the Triple Bottom Line Investing conference, where he was scheduled to appear. Milloy accused Keiser of making threats against his organization^[37] and petitioned sponsors Calvert Investments and KLD Research & Analytics to withdraw from the project.^[38] Robert Rubenstein, founder of conference organiser Brooklyn Bridge, stated that Keiser's comments "do not constitute a threat to person or property and are not related to the conference or the content that will be presented there".

• Referring to Keiser's Karmabanque project, a spokeswoman for Ryanair said, "Since they put Ryanair on their list our share price has gone up by 10%. We are always delighted to be part of a list which includes Coca-Cola, Starbucks and Wal-Mart".^[39] However, on the same day The Hindu published an article in which Howard Millar, Ryanair deputy chief executive, admitted that his company may be vulnerable to environmental pressure groups, stating, "I am concerned that there is a continuing media campaign and the concern is that people might say 'maybe I will not fly on holiday and maybe I will make a different choice'".^[40]

See also[link]

Biography portal

• Error account - a term often mentioned by Max Keiser
• Central bank or Reserve bank
• Gold standard - where paper currency is backed up by the value of gold
• Hollywood Accounting

References[link]

External links[link]

• MaxKeiser.com Max Keiser's website
• chaostheorien.de Interview with Max Keiser at chaostheorien.de