question_text: who created the declaration of rights of man

text: History[edit]

text: The content of the document emerged largely from the ideals of the Enlightenment.[5] The key drafts were prepared by Lafayette, working at times with his close friend Thomas Jefferson.[6][7] In August 1789, Honoré Mirabeau played a central role in conceptualizing and drafting the Declaration of the Rights of Man and of the Citizen.[8]

text: The last article of the Declaration of the Rights of Man and the Citizen was adopted on 27 August 1789 by the National Constituent Assembly, during the period of the French Revolution, as the first step toward writing a constitution for France. Inspired by the Enlightenment, the original version of the Declaration was discussed by the representatives on the basis of a 24 article draft proposed by the sixth bureau[clarify],[9][10] led by Jérôme Champion de Cicé. The draft was later modified during the debates. A second and lengthier declaration, known as the Declaration of the Rights of Man and Citizen of 1793, was written in 1793 but never formally adopted.[11]

text: Philosophical and theoretical context[edit]

text: The concepts in the Declaration come from the philosophical and political duties of the Enlightenment, such as individualism, the social contract as theorized by the Genevan philosopher Rousseau, and the separation of powers espoused by the Baron de Montesquieu. As can be seen in the texts, the French declaration was heavily influenced by the political philosophy of the Enlightenment and principles of human rights as was the U.S. Declaration of Independence which preceded it (4 July 1776).

text: The declaration is in the spirit of "secular natural law", which does not base itself on religious doctrine or authority, in contrast with traditional natural law theory, which does.[12]

text: The declaration defines a single set of individual and collective rights for all men. Influenced by the doctrine of natural rights, these rights are held to be universal and valid in all times and places. For example, "Men are born and remain free and equal in rights. Social distinctions may be founded only upon the general good."[13] They have certain natural rights to property, to liberty, and to life. According to this theory, the role of government is to recognize and secure these rights. Furthermore, government should be carried on by elected representatives.[12]

text: At the time of writing, the rights contained in the declaration were only awarded to men. Furthermore, the declaration was a statement of vision rather than reality. The declaration was not deeply rooted in either the practice of the West or even France at the time. The declaration emerged in the late 18th century out of war and revolution. It encountered opposition as democracy and individual rights were frequently regarded as synonymous with anarchy and subversion. The declaration embodies ideals and aspirations towards which France pledged to struggle in the future.[14]

text: Substance[edit]

text: The Declaration is introduced by a preamble describing the fundamental characteristics of the rights which are qualified as being "natural, unalienable and sacred" and consisting of "simple and incontestable principles" on which citizens could base their demands. In the second article, "the natural and imprescriptible rights of man" are defined as "liberty, property, security and resistance to oppression". It called for the destruction of aristocratic privileges by proclaiming an end to feudalism and to exemptions from taxation, freedom and equal rights for all "Men", and access to public office based on talent. The monarchy was restricted, and all citizens were to have the right to take part in the legislative process. Freedom of speech and press were declared, and arbitrary arrests outlawed.[15]

text: The Declaration also asserted the principles of popular sovereignty, in contrast to the divine right of kings that characterized the French monarchy, and social equality among citizens, "All the citizens, being equal in the eyes of the law, are equally admissible to all public dignities, places, and employments, according to their capacity and without distinction other than that of their virtues and of their talents," eliminating the special rights of the nobility and clergy.[16]

text: Articles[edit]

text: Man/men referred specifically to male citizens only.

text: Article I – Men are born and remain free and equal in rights. Social distinctions can be founded only on the common good.

text: Article II – The goal of any political association is the conservation of the natural and imprescriptible rights of man. These rights are liberty, property, safety and resistance against oppression.

text: Article III – The principle of any sovereignty resides essentially in the Nation. No body, no individual can exert authority which does not emanate expressly from it.

text: Article IV – Liberty consists of doing anything which does not harm others: thus, the exercise of the natural rights of each man has only those borders which assure other members of the society the fruition of these same rights. These borders can be determined only by the law.

text: Article V – The law has the right to forbid only actions harmful to society. Anything which is not forbidden by the law cannot be impeded, and no one can be constrained to do what it does not order.

text: Article VI – The law is the expression of the general will. All the citizens have the right of contributing personally or through their representatives to its formation. It must be the same for all, either that it protects, or that it punishes. All the citizens, being equal in its eyes, are equally admissible to all public dignities, places, and employments, according to their capacity and without distinction other than that of their virtues and of their talents.

text: Article VII – No man can be accused, arrested nor detained but in the cases determined by the law, and according to the forms which it has prescribed. Those who solicit, dispatch, carry out or cause to be carried out arbitrary orders, must be punished; but any citizen called or seized under the terms of the law must obey at once; he renders himself culpable by resistance.

text: Article VIII – The law should establish only penalties that are strictly and evidently necessary, and no one can be punished but under a law established and promulgated before the offense and legally applied.

text: Article IX – Any man being presumed innocent until he is declared culpable if it is judged indispensable to arrest him, any rigor which would not be necessary for the securing of his person must be severely reprimanded by the law.

text: Article X – No one may be disturbed for his opinions, even religious ones, provided that their manifestation does not trouble the public order established by the law.

text: Article XI – The free communication of thoughts and of opinions is one of the most precious rights of man: any citizen thus may speak, write, print freely, except to respond to the abuse of this liberty, in the cases determined by the law.

text: Article XII – The guarantee of the rights of man and of the citizen necessitates a public force: this force is thus instituted for the advantage of all and not for the particular utility of those in whom it is trusted.

text: Article XIII – For the maintenance of the public force and for the expenditures of administration, a common contribution is indispensable; it must be equally distributed to all the citizens, according to their ability to pay.

text: Article XIV – Each citizen has the right to ascertain, by himself or through his representatives, the need for a public tax, to consent to it freely, to know the uses to which it is put, and of determining the proportion, basis, collection, and duration.

text: Article XV – The society has the right of requesting an account from any public agent of its administration.

text: Article XVI – Any society in which the guarantee of rights is not assured, nor the separation of powers determined, has no Constitution.

text: Article XVII – Property being an inviolable and sacred right, no one can be deprived of private usage, if it is not when the public necessity, legally noted, evidently requires it, and under the condition of a just and prior indemnity.

text: Active and passive citizenship[edit]

text: While the French Revolution provided rights to a larger portion of the population, there remained a distinction between those who obtained the political rights in the Declaration of the Rights of Man and Citizen and those who did not. Those who were deemed to hold these political rights were called active citizens. Active citizenship was granted to men who were French, at least 25 years old, paid taxes equal to three days work, and could not be defined as servants (Thouret).[17] This meant that at the time of the Declaration only male property owners held these rights.[18] The deputies in the National Assembly believed that only those who held tangible interests in the nation could make informed political decisions.[19] This distinction directly affects articles 6, 12, 14, and 15 of the Declaration of the Rights of Man and Citizen as each of these rights is related to the right to vote and to participate actively in the government. With the decree of 29 October 1789, the term active citizen became embedded in French politics.[20]

text: The concept of passive citizens was created to encompass those populations that had been excluded from political rights in the Declaration of the Rights of Man and Citizen. Because of the requirements set down for active citizens, the vote was granted to approximately 4.3 million Frenchmen[20] out of a population of around 29 million.[21] These omitted groups included women, slaves, children, and foreigners. As these measures were voted upon by the General Assembly, they limited the rights of certain groups of citizens while implementing the democratic process of the new French Republic (1792–1804).[19] This legislation, passed in 1789, was amended by the creators of the Constitution of the Year III in order to eliminate the label of active citizen.[22] The power to vote was then, however, to be granted solely to substantial property owners.[22]

text: Tensions arose between active and passive citizens throughout the Revolution. This happened when passive citizens started to call for more rights, or when they openly refused to listen to the ideals set forth by active citizens. This cartoon clearly demonstrates the difference that existed between the active and passive citizens along with the tensions associated with such differences.[23] In the cartoon, a passive citizen is holding a spade and a wealthy landowning active citizen is ordering the passive citizens to go to work. The act appears condescending to the passive citizen and it revisits the reasons why the French Revolution began in the first place.

text: Women, in particular, were strong passive citizens who played a significant role in the Revolution. Olympe de Gouges penned her Declaration of the Rights of Woman and the Female Citizen in 1791 and drew attention to the need for gender equality.[24] By supporting the ideals of the French Revolution and wishing to expand them to women, she represented herself as a revolutionary citizen. Madame Roland also established herself as an influential figure throughout the Revolution. She saw women of the French Revolution as holding three roles; "inciting revolutionary action, formulating policy, and informing others of revolutionary events."[25] By working with men, as opposed to working separate from men, she may have been able to further the fight of revolutionary women. As players in the French Revolution, women occupied a significant role in the civic sphere by forming social movements and participating in popular clubs, allowing them societal influence, despite their lack of direct political influence.[26]

text: Women's rights[edit]

text: The Declaration recognized many rights as belonging to citizens (who could only be male). This was despite the fact that after The March on Versailles on 5 October 1789, women presented the Women's Petition to the National Assembly in which they proposed a decree giving women equal rights.[27] In 1790, Nicolas de Condorcet and Etta Palm d'Aelders unsuccessfully called on the National Assembly to extend civil and political rights to women.[28] Condorcet declared that "he who votes against the right of another, whatever the religion, color, or sex of that other, has henceforth abjured his own".[29] The French Revolution did not lead to a recognition of women's rights and this prompted Olympe de Gouges to publish the Declaration of the Rights of Woman and the Female Citizen in September 1791.[30]

text: The Declaration of the Rights of Woman and the Female Citizen is modeled on the Declaration of the Rights of Man and of the Citizen and is ironic in formulation and exposes the failure of the French Revolution, which had been devoted to equality. It states that:

text: “This revolution will only take effect when all women become fully aware of their deplorable condition, and of the rights, they have lost in society”.

text: The Declaration of the Rights of Woman and the Female Citizen follows the seventeen articles of the Declaration of the Rights of Man and of the Citizen point for point and has been described by Camille Naish as "almost a parody... of the original document". The first article of the Declaration of the Rights of Man and of the Citizen proclaims that "Men are born and remain free and equal in rights. Social distinctions may be based only on common utility." The first article of Declaration of the Rights of Woman and the Female Citizen replied: "Woman is born free and remains equal to man in rights. Social distinctions may only be based on common utility".

text: De Gouges also draws attention to the fact that under French law women were fully punishable, yet denied equal rights, declaring "Women have the right to mount the scaffold, they must also have the right to mount the speaker's rostrum".[31]

text: Slavery[edit]

text: The declaration did not revoke the institution of slavery, as lobbied for by Jacques-Pierre Brissot's Les Amis des Noirs and defended by the group of colonial planters called the Club Massiac because they met at the Hôtel Massiac.[32] Despite the lack of explicit mention of slavery in the Declaration, slave uprisings in Saint-Domingue in the Haitian Revolution were inspired by it, as discussed in C. L. R. James' history of the Haitian Revolution, The Black Jacobins.[33]

text: Deplorable conditions for the thousands of slaves in Saint-Domingue, the most profitable slave colony in the world, led to the uprisings which would be known as the first successful slave revolt in the New World. Free persons of color were part of the first wave of revolt, but later former slaves took control. In 1794 the Convention dominated by the Jacobins abolished slavery, including in the colonies of Saint-Domingue and Guadeloupe. However, Napoleon reinstated it in 1802 and attempted to regain control of Saint-Domingue by sending in thousands of troops. After suffering the losses of two-thirds of the men, many to yellow fever, the French withdrew from Saint-Domingue in 1803. Napoleon gave up on North America and agreed to the Louisiana Purchase by the United States. In 1804, the leaders of Saint-Domingue declared it as an independent state, the Republic of Haiti, the second republic of the New World.

text: Legacy[edit]

text: This section does not cite any sources. Please help improve this section by adding citations to reliable sources. Unsourced material may be challenged and removed. (August 2017) (Learn how and when to remove this template message)

text: The Declaration has also influenced and inspired rights-based liberal democracy throughout the world. It was translated as soon as 1793–1794 by Colombian Antonio Nariño, who published it despite the Inquisition. He was sentenced to 10 years in prison for doing so. In 2003, the document was listed on UNESCO's Memory of the World register.

text: Constitution of the French Fifth Republic[edit]

text: According to the preamble of the Constitution of the French Fifth Republic (adopted on 4 October 1958, and the current constitution), the principles set forth in the Declaration have constitutional value. Many laws and regulations have been canceled because they did not comply with those principles as interpreted by the Conseil Constitutionnel ("Constitutional Council of France") or by the Conseil d'État ("Council of State").

text:
Taxation legislation or practices that seem to make some unwarranted difference between citizens are struck down as unconstitutional.
Suggestions of positive discrimination on ethnic grounds are rejected because they infringe on the principle of equality, since they would establish categories of people that would, by birth, enjoy greater rights.


document_title: Chicago (band)

question_text: who is currently the lead singer of chicago

question_tokens: who is currently the lead singer of chicago

root

text: Chicago (band)

text: Group history[edit]

text: Chicago Transit Authority and early success[edit]

text: The group now known as Chicago began on February 15, 1967, at a meeting involving saxophonist Walter Parazaider, guitarist Terry Kath, drummer Danny Seraphine, trombonist James Pankow, trumpet player Lee Loughnane, and keyboardist/singer Robert Lamm. The first five musicians met while students at DePaul University. Lamm was recruited from Roosevelt University. The group was initially named the Big Thing, and like most other groups playing in Chicago nightclubs, this group of six played Top 40 hits. Realizing the need for both a tenor to complement baritones Lamm and Kath, and a bass player because Lamm's use of organ bass pedals did not provide "adequate bass sound", local tenor and bassist Peter Cetera was invited to join the Big Thing in late 1967.[16]

tag: p

text: While gaining some success as a cover band, the group began working on original songs. In June 1968, at manager James William Guercio's request, the Big Thing moved to Los Angeles, California, and signed with Columbia Records. The band changed its name to Chicago Transit Authority.[5] It was while performing on a regular basis at the Whisky a Go Go nightclub in West Hollywood that the band got exposure to more famous musical artists of the time. Subsequently, they were the opening act for Janis Joplin and Jimi Hendrix.[17]:77–78,106–107[18] As related to group biographer, William James Ruhlmann, by Walt Parazaider, Jimi Hendrix once told Parazaider, "'Jeez, your horn players are like one set of lungs and your guitar player is better than me.'"[18]

text: Their first record (April 1969), Chicago Transit Authority, is a double album, which is rare for a band's first release. The album made it to No. 17 on the Billboard 200 album chart,[11] sold over one million copies by 1970, and was awarded a platinum disc.[19] The album included a number of pop-rock songs – "Does Anybody Really Know What Time It Is?", "Beginnings", "Questions 67 and 68", and "I'm a Man" – which were later released as singles. For this inaugural recording effort the group was nominated for a Grammy Award for 1969 Best New Artist of the Year.[20]

text: According to Cetera, the band was booked to perform at Woodstock in 1969, but promoter Bill Graham, with whom they had a contract, exercised his right to reschedule them to play at the Fillmore West on a date of his choosing, and he scheduled them for the Woodstock dates. Santana, which Graham also managed, took Chicago's place at Woodstock,[21] and that performance is considered to be Santana's "breakthrough" gig.[22] A year later, in 1970, when he needed to replace headliner Joe Cocker, and then Cocker's intended replacement, Jimi Hendrix, Graham booked Chicago to perform at Tanglewood which is considered by some to be a "pinnacle" performance.[23]

text: After the release of their first album, the band's name was shortened to Chicago to avoid legal action being threatened by the actual mass-transit company of the same name.[18]

text: 1970s: Chicago[edit]

text: The band released a second album, titled Chicago (retroactively known as Chicago II), which is another double-LP. The album's centerpiece track is a seven-part, 13-minute suite composed by Pankow called "Ballet for a Girl in Buchannon". The suite yielded two top ten hits: "Make Me Smile" (No. 9 U.S.) and "Colour My World",[12] both sung by Kath. Among the other tracks on the album: Lamm's dynamic but cryptic "25 or 6 to 4" (Chicago's first Top 5 hit),[12] which is a reference to a songwriter trying to write at 25 or 26 minutes before 4 o'clock in the morning,[24][17]:109[25] and was sung by Cetera with Terry Kath on guitar; the lengthy war-protest song "It Better End Soon"; and, at the end, Cetera's 1969 moon landing-inspired "Where Do We Go from Here?"[26] The double-LP album's inner cover includes the playlist, the entire lyrics to "It Better End Soon", and two declarations: "This endeavor should be experienced sequentially", and, "With this album, we dedicate ourselves, our futures and our energies to the people of the revolution. And the revolution in all of its forms."[27] The album was a commercial success, rising to number four on the Billboard 200,[11] and was certified gold by the Recording Industry Association of America (RIAA) in 1970, and platinum in 1991.[28] The band was nominated for two Grammy Awards as a result of this album, Album of the Year, and Best Contemporary Vocal Performance by a Duo, Group or Chorus.[20]

text: Chicago III, another double LP, was released in 1971 and charted at No. 2 on the Billboard 200.[11] Two singles were released from it: "Free" from Lamm's "Travel Suite", which charted at No. 20 on the Billboard Hot 100;[12] and "Lowdown", written by Cetera and Seraphine, which made it to No. 40.[12] The album was certified gold by the RIAA in February, 1971, and platinum in November, 1986.[28]

text: The band released LPs at a rate of at least one album per year from their third album in 1971 on through the 1970s. During this period, the group's album titles primarily consisted of the band's name followed by a Roman numeral, indicating the album's sequence in their canon. The exceptions to this scheme were the band's fourth album, a live boxed set entitled Chicago at Carnegie Hall, their twelfth album Hot Streets, and the Arabic-numbered Chicago 13. While the live album itself did not bear a number, the four discs within the set were numbered Volumes I through IV.

text: In 1971, the band released Chicago at Carnegie Hall Volumes I, II, III, and IV, a quadruple LP, consisting of live performances, mostly of music from their first three albums, from a week-long run at Carnegie Hall. Chicago was the first rock act to sell out a week at Carnegie Hall and the live recording was made to chronicle that milestone.[7] Along with the four vinyl discs, the packaging contained some strident political messaging about how "We [youth] can change The System", including wall posters and voter registration information.[29][30] The album went gold "out of the box" and on to multi-platinum status.[7] William James Ruhlmann says Chicago at Carnegie Hall was "perhaps" the best-selling box set by a rock act and held that record for 15 years.[7] In recognition of setting Carnegie Hall records and the ensuing four LP live recordings, the group was awarded a Billboard 1972 Trendsetter Award.[31] Drummer Danny Seraphine attributes the fact that none of Chicago's first four albums were issued on single LPs to the productive creativity of this period and the length of the jazz-rock pieces.[32]

text: In 1972 the band released its first single-disc release, Chicago V, which reached No. 1 on both the Billboard pop[11] and jazz album charts.[citation needed] It features "Saturday in the Park", written by Robert Lamm, which mixes everyday life and political yearning in a more subtle way. It peaked at No. 3 on the Billboard Hot 100 in early 1972.[33][34] The second single released from the album was the Lamm-composed "Dialogue (Part I & II)", which featured a musical "debate" between a political activist (sung by Kath) and a blasé college student (sung by Cetera). It peaked at No. 24 on the Hot 100 chart.[12]

text: Other albums and singles followed in each of the succeeding years. 1973's Chicago VI was the first of several albums to include Brazilian jazz percussionist Laudir de Oliveira[35] and saw Cetera emerge as the main lead singer. According to William James Ruhlmann, de Oliveira was a "sideman" on Chicago VI, and became an official member of the group in 1974.[35] Chicago VI featured two top ten singles,[12] "Just You 'n' Me", written by Pankow, and "Feelin' Stronger Every Day", written by Pankow and Cetera. Chicago VII was the band's double-disc 1974 release. Three singles were released from this album: "(I've Been) Searchin' So Long", written by Pankow, and "Call On Me", written by Loughnane, which both made it into the top ten;[12] and the Beach Boys-infused "Wishing You Were Here", written by Cetera, which peaked at number eleven.[12] Their 1975 release, Chicago VIII, featured the political allegory "Harry Truman" (No. 13, Top 100 chart) and the nostalgic Pankow-composed "Old Days" (No. 5, Top 100 chart).[36][37] That summer also saw a joint tour across America with the Beach Boys,[35] with the two acts performing separately, then coming together for a finale.[38] Chicago VI, VII and VIII all made it to No. 1 on the Billboard 200,[11] all were certified gold the years they were released, and all have since been certified platinum. Chicago VI was certified two times multi-platinum in 1986.[39] Chicago IX: Chicago's Greatest Hits was released in 1975 and became the band's fifth consecutive No. 1 album on the Billboard 200.[11]

text: 1976's Chicago X features Cetera's ballad "If You Leave Me Now", which held the top spot in the U.S. charts for two weeks[40] and the UK charts for three weeks.[41] It was the group's first No. 1 single,[35] and won Chicago their only Grammy Award to date,[42] the 1976 Best Pop Vocal Performance by a Duo, Group or Chorus, at the 19th Annual Grammy Awards held on February 19, 1977.[43] The single was certified gold by the RIAA the same year of its release.[44] The song almost did not make the cut for the album.[35] "If You Leave Me Now" was recorded at the very last minute. The success of the song, according to William James Ruhlmann, foreshadowed a later reliance on ballads.[35] The album was commercially successful. It reached No. 3 on the Billboard 200,[11] was certified both gold and platinum by the RIAA the same year of its release and two times multi-platinum since,[45] and was also nominated for the Grammy Award for Album of the Year.[20] 1976 was the first year that albums were certified platinum by the RIAA.[46] Chicago X was the first platinum album for Columbia Records, which awarded the group a 25-pound bar of pure platinum, made by Cartier, to mark the event.[47] (Billboard magazine reported it as a 30-pound bar.)[48] At the 4th Annual American Music Awards, a fan-voted awards show,[49] held January 31, 1977, Chicago won the award for Favorite Pop/Rock Band/Duo/Group, the group's first of two American Music Awards they have received.[50]

text: The group's 1977 release, Chicago XI, includes Cetera's ballad "Baby, What a Big Surprise", a No. 4 U.S. hit which became the group's last top 10 hit of the decade.[12] Chicago XI performed well commercially, peaking at No. 6 on the Billboard 200,[11] and reaching platinum status during the year of its release.[39]

text: Besides recording and touring, during the busy 1970s Chicago also made time for a movie appearance and several television appearances of note. In 1972, Guercio produced and directed Electra Glide in Blue, a film about an Arizona motorcycle policeman. Released in 1973, the film stars Robert Blake and features Cetera, Kath, Loughnane, and Parazaider in supporting roles.[51] The group also appears prominently on the film's soundtrack. Chicago made its "television variety debut" in February 1973 when they were the only rock musicians invited to appear on a television special honoring Duke Ellington, "Duke Ellington ... We Love You Madly," which aired on CBS. They performed the Ellington composition, "Jump for Joy."[52][53][54] In July 1973 the group starred in a half-hour television special produced by Dick Clark, Chicago in the Rockies, which aired in prime time on ABC. The show was filmed on location at Caribou Ranch, the 3,000 acre ranch-turned-recording studio located outside of Boulder, Colorado, owned by Chicago's producer, James William Guercio. The only musical guest on the show was Al Green, who was rated the number-one male vocalist of 1972, and whom Rolling Stone magazine named "Rock and Roll Star of the Year."[55] That special was followed by a second hour-long special the next year, Chicago ... Meanwhile Back at the Ranch, which aired in prime time on ABC in August 1974. Chicago ... Meanwhile Back at the Ranch was again shot on location at Caribou Ranch and was again produced by Dick Clark. Singer Anne Murray and country music star Charlie Rich were guests on the show.[56] Clark produced a third television special starring Chicago, Chicago's New Year's Rockin' Eve 1975, which aired on ABC on December 31, 1974. Musical guests on the 1 1⁄2-hour-long show included the Beach Boys, the Doobie Brothers, Olivia Newton-John, and Herbie Hancock. It was the third "Rockin' Eve" Clark had produced, and it competed with Guy Lombardo's traditional New Year's Eve television show which aired on a different network and was in its 45th consecutive year of broadcast. Clark hoped the "Rockin' Eve" format would become an "annual TV custom".[57]

text: Death of Terry Kath and transition[edit]

text: The year 1978 began with a split with Guercio.[35] Chicago had recorded its last five studio albums Chicago VI, VII, VIII, X, and XI,[58] and had made two television specials at Guercio's Caribou Ranch. In later years, band members would cite Guercio's purchase of Caribou Ranch, more particularly their realization that Guercio had enough money to purchase Caribou Ranch, as a contributing factor to their disillusionment with him as a producer. They felt he had taken advantage of them financially.[17]:131[59] Then on January 23 of that same year, Kath died of an accidental, self-inflicted gunshot wound from a gun he thought was unloaded.[60][61] Doc Severinsen, who was the bandleader for The Tonight Show Starring Johnny Carson at the time and a friend of the group, visited them after Kath's funeral and encouraged them to continue. According to writer Jim Jerome, the visit "snapped them back" and helped them make the decision to carry on.[62]

text: After auditioning over 30 potential replacements for Kath, Chicago decided upon guitarist and singer-songwriter Donnie Dacus.[62][60] While filming for the musical Hair, he joined the band in April 1978 just in time for the Hot Streets album.[62] Its energetic lead-off single, "Alive Again", brought Chicago back to the Top 15;[12] Pankow wrote it "originally as a love song but ultimately as recognition of Kath's guiding spirit shining down from above."[63]

text: The 1978 album Hot Streets was produced by Phil Ramone.[62][60] It was Chicago's first album with a title rather than a number; and was the band's first LP to have a picture of the band (shot by photographer Norman Seeff)[64] featured prominently on the cover (with the ubiquitous logo downsized).[62][60] These two moves were seen by many as indications that the band had changed following Kath's death.[62] To a degree, the band returned to the old naming scheme on its subsequent releases, although most titles would now bear Arabic numerals rather than Roman numerals. Hot Streets, the band's 12th album, peaked at No. 12 on the Billboard charts;[11] it was Chicago's first release since their debut to fail to make the Top 10. The release also marked a move somewhat away from the jazz-rock direction favored by Kath and towards more pop songs and ballads. Dacus stayed with the band through the 1979 album Chicago 13,[60] and is also featured in a promotional video on the DVD included in the Rhino Records Chicago box set from 2003. Again produced by Ramone, it was the group's first studio album not to contain a Top 40 hit. Dacus departed from the band shortly after the album's release.

text: 1980s: changing sound[edit]

text: Chicago XIV (1980), produced by Tom Dowd, relegated the horn section to the background on a number of tracks, and the album's two singles failed to make the Top 40. Chris Pinnick joined the band to play guitar and remained through 1985,[60] and the band were also augmented by saxophone player Marty Grebb on the subsequent tour.[65] Marty Grebb had formerly been with the Buckinghams, and before that had been Cetera's bandmate in a local Chicago area cover band called the Exceptions.[66] The album peaked at No. 71 on the Billboard 200,[11] and failed to reach gold certification by the RIAA.[39] Believing the band to no longer be commercially viable, Columbia Records dropped them from its roster in 1981 and released a second "Greatest Hits" volume (also known as Chicago XV) later that year to fulfill its contractual obligation.[60]

text: In late 1981, the band had a new producer (David Foster),[60] a new label (Warner Bros. Records),[60] and the addition of keyboardist, guitarist, and singer Bill Champlin (Sons of Champlin).[67] Percussionist Laudir de Oliveira and Marty Grebb departed from the band. During Foster's stewardship, less of an emphasis was placed on the band's horn-based sound, being replaced by lush power ballads, which became Chicago's style during the 1980s. The new sound brought more singles success to the band.

text: For the 1982 album Chicago 16, the band worked with composers from outside the group for the first time, and Foster brought in studio musicians for some tracks (including the core members of Toto),[67] and used new technology (such as synthesizers) to "update" and streamline the sound, further pushing back the horn section, and in some cases not even using them at all. The band did return to the charts with the Cetera-sung ballad "Hard to Say I'm Sorry/Get Away", which is featured in the soundtrack of the Daryl Hannah film Summer Lovers.[68] Co-written by Cetera and David Foster, "Hard to Say I'm Sorry" was the group's second single to reach No. 1 on the Hot 100 chart[12] and brought them a nomination for the Grammy Award for Best Pop Performance by a Duo or Group with Vocal.[20] Chicago 16 reached both gold and platinum status during the year of its release,[39] and went to No. 9 on the Billboard 200 album chart.[11]

text: 1984's Chicago 17 became the biggest selling album in the band's history, certified by the RIAA in 1997 as six times multi-platinum.[69] The album produced two more Top Ten (both No. 3) singles,[70] "You're the Inspiration", written by Cetera and David Foster, and "Hard Habit to Break", written by Steve Kipner and John Lewis Parker. The single, "Hard Habit to Break", brought two more Grammy Award nominations for the band, for Record of the Year and Best Pop Performance by a Duo or Group with Vocals.[20] The album included two other singles: "Stay the Night" (No. 16),[12] another composition by Cetera and Foster; and "Along Comes a Woman" (No. 14),[12] written by Cetera and Mark Goldenberg. Peter's brother, Kenny Cetera, who had provided background vocals on the Chicago 17 album,[71] was brought into the group for the 17 tour to add percussion and high harmony vocals.[72]

text: By 1985, the band was embracing the newest medium, the music video channel MTV, by releasing music videos for four songs. They featured a track titled "Good for Nothing" on the 1985 global activist album, We Are the World.[73] As contributors to the album, along with all other artists who were on the album, the band received its last nomination for a Grammy Award, for Album of the Year.[20]

text: At the 13th Annual American Music Awards, held January 27, 1986, Chicago won the award for Favorite Pop/Rock Band/Duo/Group for the second time.[50] It is the last American Music Award the band has received.

text: Peter Cetera departure[edit]

text: Concurrently with Chicago's existing career, lead vocalist Peter Cetera had begun a solo career. He proposed an arrangement with the band where they would take hiatuses after tours to let him focus on solo work (mirroring that of Phil Collins and Genesis), but the band declined. Cetera ultimately left Chicago in the summer of 1985. He soon topped the charts with "Glory of Love" (the theme song of the film The Karate Kid Part II), and with "The Next Time I Fall" (a duet with Amy Grant). Two more songs reached the Top Ten: a 1988 solo hit called "One Good Woman" (No. 4 U.S.), and a 1989 duet with Cher called "After All" (No. 6 U.S.). In 1992, Cetera released his fourth studio album, World Falling Down, which earned him three hits on the Adult Contemporary charts, including the single "Restless Heart". Cetera's former position was filled by bassist and singer-songwriter Jason Scheff, son of Elvis Presley's bassist Jerry Scheff.[74] Guitarist Chris Pinnick also left the group prior to the recording of the band's next album.

text: For the final Foster-produced album, Chicago 18, the band filled Pinnick's spot with several session guitarists, none of whom became band members. The album was released on September 29, 1986,[75] and included the No. 3 single "Will You Still Love Me?", and Top 20 Pop song "If She Would Have Been Faithful...", in addition to an updated version of "25 or 6 to 4" with a video that got airplay on MTV. Soon after the album was recorded, the band hired guitarist Dawayne Bailey,[76][77] formerly of Bob Seger's Silver Bullet Band.[78] Bailey and Scheff had previously played in bands together, so Scheff introduced Bailey to the band in time for the Chicago 18 tour.

text: For the 1988 release, Chicago 19, the band had replaced producer Foster with co-producers Ron Nevison, who had recently produced two albums for Heart, and Chas Sanford, who had worked with Rod Stewart and Stevie Nicks.[79] They topped the charts again with the Diane Warren-composed single "Look Away". It was the third and last Chicago single to reach No. 1 on the Hot 100 chart.[12] The song ultimately was named as the "Billboard Hot 100 No. 1 Song of the Year" for 1989.[80] The album also yielded two more Top 10 hits, "I Don't Wanna Live Without Your Love" and "You're Not Alone",[12] both with Champlin singing solo lead for the first time, and the Scheff-sung No. 55 single, "We Can Last Forever," in addition to including the original version of a Top 5 single titled "What Kind Of Man Would I Be?". The latter, also sung by Scheff, was remixed for inclusion on the band's forthcoming greatest hits record (and 20th album), Greatest Hits 1982–1989, and it was this version that became a hit.

text: 1990s: more changes and Stone of Sisyphus[edit]

text: The beginning of the 1990s brought yet another departure. Original drummer Danny Seraphine left Chicago in May 1990.[81] Seraphine was succeeded by Tris Imboden,[81] a longtime drummer with Kenny Loggins[82] and former session drummer with Peter Cetera.[83] Imboden made his first appearance on the 1991 album Twenty 1 with a fragment of band's logo, which yielded an eleven-week stretch on the Billboard 200, a peak at No. 66,[84] and the song "Chasin' the Wind" which peaked at No. 39. Twenty 1 would be their last released album of original music for fifteen years.

text: The band was recognized with a star on the Hollywood Walk of Fame on July 23, 1992.[85]

text: In 1993, Chicago wrote and recorded their 22nd album Stone of Sisyphus.[86] This album was to have marked their return to their traditional composition of the 1970s, emphasizing major horn accompaniment.[87] However, following a reorganization of the record company, the new executives at Reprise Records (now part of the newly formed Warner Music Group) rejected the completed album. It remained unpublished for fifteen years, aside from bootleg tapes and Internet files.[86] This contributed to the parting of the band from the record label. The band was dismayed by the failure of the label. Upset with the shelving of the album, Dawayne Bailey left the group in late 1994, leading to many years of debates and conjecture about the events surrounding the recordings. It was also suggested some years later that the band's management was negotiating with the label regarding a licensing of the extensive Chicago back catalog, and when those talks stalled, the label apparently retaliated by scrapping the project.[87] The album eventually saw an expanded release on Rhino Records in June 2008 to favorable reviews from both fans and critics and made it to No. 122 on the album charts.[11]

text: After finishing their 1994 tour, and after signing with the Warner Bros. Records' imprint label Giant Records, they released their 1995 album Night & Day: Big Band,[88] consisting of covers of songs originally recorded by Sarah Vaughan, Glenn Miller, and Duke Ellington. Guitarist Bruce Gaitsch stepped in and joined the band to handle the album's guitar work.[89][90][91] The album featured guest appearances by Paul Shaffer of David Letterman fame, Aerosmith guitarist Joe Perry, and The Gipsy Kings.[92] Walter Parazaider cited the group's participation in the 1973 television special honoring Duke Ellington, "Duke Ellington ... We Love You Madly", as key in their decision to record this album.[93] In early 1995 Keith Howland, who had been a studio musician and stage hand based in Los Angeles, was recruited as Chicago's new permanent guitarist.[94]

text: In 1998, Chicago released Chicago XXV: The Christmas Album and a live album in 1999, Chicago XXVI.

text: In 2000, the band licensed their entire recorded output to Rhino Records, after having recorded it at Columbia Records and Warner Bros. Records. In 2002, Rhino released a two-disc compilation, The Very Best of Chicago: Only The Beginning, which spanned the band's career. The compilation made the Top 40 and sold over 2 million copies in the U.S. Rhino also began releasing remastered versions of all of the band's Columbia-era albums.

text: The American cable music channel VH1 featured the band in an episode of its Behind the Music series, "Chicago: Behind the Music," season 1, episode 133. The episode first aired on October 15, 2000.[95]

text: On March 21, 2006, their first all-new studio album since Twenty 1 arrived with Chicago XXX. It was produced by Jay DeMarcus, bassist/vocalist with the country trio Rascal Flatts,[96] who was a long-time fan of Chicago and had cited the group as an influence on him as a musician in a previous fan letter to Jason Scheff.[97] It also marked the first time the band's music was available as a digital download. The album peaked at No. 41 in the U.S.,[11] spawning two minor adult contemporary hits: "Feel" and "Love Will Come Back". Two songs from this album, "Feel" and "Caroline", were performed live during Chicago's fall 2005 tour.

text: Chicago made multi-week appearances at the MGM Grand Las Vegas in March, May and October 2006.[96][98] In July 2006, the band made a series of U.S. appearances with Huey Lewis and the News.[99]

text: On October 2, 2007, Rhino Records released the two-disc The Best of Chicago: 40th Anniversary Edition (Chicago XXXI), a new greatest hits compilation spanning their entire forty years, similar to The Very Best of: Only the Beginning, released four years earlier.

text: In 2008, Stone of Sisyphus – once known as the aborted Chicago XXII, now listed officially as Chicago XXXII – was released with an expanded format.[86][87]

text: In 2009, Chicago again toured with Earth, Wind & Fire.[100]

text: Drew Hester, who was the percussionist and drummer for the Foo Fighters, joined the band in January 2009 to temporarily fill in for an ill Imboden,[101] and continued with the band as a percussionist upon Imboden's return later in the year.[102] In August 2009, Champlin was fired from the band.[103] He was replaced by Grammy-nominated keyboardist Lou Pardini, who had worked with Stevie Wonder and Santana.[104]

text: In 2010 Chicago toured with the Doobie Brothers.[105] A 2011 performance in Chicago became a video for the HDNet cable channel that featured the Doobie Brothers joining Chicago for three encore tunes.[106] The band also appeared on the season nine finale of American Idol.[107] On July 24, 2011, the band performed at Red Rocks in Colorado, accompanied by the Colorado Symphony Orchestra.[108]

text: With Chicago XXXIII: O Christmas Three, the band re-teamed with producer Ramone (he had previously released the new tracks for the expanded Christmas re-release What's It Gonna Be, Santa?) to record a new Christmas album.[109] Dolly Parton was a guest artist on the album,[109] which was released in October 2011. In the meantime, Rhino released Chicago XXXIV: Live in '75, a two-disc set containing two hours of previously unreleased performances recorded June 24–26, 1975 at the Capital Centre in Largo, Maryland, featuring the original members of Chicago performing some of their greatest hits up to that point. In 2012, Chicago and the Doobie Brothers held another joint tour.[110] That same year, Hester left the group shortly before the tour,[102] and was succeeded, first by percussionist Daniel de los Reyes,[111][112] then by Daniel's brother and former long-term Santana member, Walfredo Reyes Jr.[111][113][114]

text: In 2013 Robert Lamm, Lee Loughnane, James Pankow, and Walter Parazaider appeared in the HBO movie Clear History as the band Chicago.[115] In late 2013, the band began releasing singles for a new album, starting with "Somethin' Comin', I Know" in August, "America" in September, "Crazy Happy" in December 2013, and "Naked in the Garden of Allah" in January 2014. The album, titled Chicago XXXVI: Now, was released on July 4, 2014.[116]

text: In 2015, Chicago was listed among the nominees for induction into the Rock and Roll Hall of Fame.[117] The original lineup was inducted at the 31st annual Rock and Roll Hall of Fame induction ceremony on April 8, 2016 along with N.W.A., Deep Purple, Steve Miller, and Cheap Trick.[118] In February 2016, it was announced that original drummer Danny Seraphine would join the current lineup of Chicago for the first time in over 25 years for the Hall of Fame Induction Ceremony.[119] Peter Cetera chose not to attend.[120] Terry Kath's daughter Michelle accepted her father's award.[120] In July 2016, Chicago performed on ABC's Greatest Hits.[121][122]

text: After taking a temporary leave in May 2016, citing "family health reasons",[123][124] it was announced on October 25, 2016 that Jason Scheff had left Chicago after 31 years.[123][125] Bassist/vocalist Jeff Coffey, who had been filling in for Scheff during his absence, was promoted to a full-time member.[126] Touring saxophonist Ray Herrmann also became an official member at that time.

text: In January 2017, CNN Films aired a 2-hour biographical documentary film on the group titled Now More Than Ever: The History of Chicago.[127] The film was directed and edited by Peter Pardini, nephew of band member Lou Pardini, and produced by the band, Chicago.[128] The film was the highest rated program in its premiere in the 25-54 demographic and has a 7.1 rating on IMDB.[129] The film won the 2016 "Best of the Fest" Audience Choice Award at the Sedona International Film Festival.[130] At the 10th Annual Fort Myers Beach Film Festival in 2016, it won the "People's Choice" award and Peter Pardini won the "Rising Star Award" as director and filmmaker.[131]

text: On February 22, 2017 it was announced that Peter Cetera, Robert Lamm, and James Pankow are among the 2017 Songwriters Hall of Fame inductees for their songwriting efforts as members of the music group, Chicago.[14][15] The induction event was held Thursday, June 15 at the Marriott Marquis Hotel in New York City.[14]

text: Chicago's website stated that in 2017, the band was working on a new album, Chicago XXXVII.[132] No other information has yet to be provided on a new album including whether the April 2018 release of Chicago: VI Decades Live, a 4 CD/1 DVD Box Set, is to be considered Chicago XXXVII.

text: On September 17, 2017, former percussionist Laudir de Oliveira died of a heart attack while performing onstage in his native Rio de Janeiro.[133][134]

text: Chicago began their 2018 touring schedule on Saturday, January 13 by performing the grand opening concert at the new Xcite Center in Bensalem, Pennsylvania.[135]

text: On Wednesday, January 17, 2018, drummer Tris Imboden announced he was leaving the band to spend more time with his family.[136] On Friday, January 19, 2018, bassist and vocalist Jeff Coffey announced on his Facebook page that he was also departing from the band due to its heavy touring schedule.[136] Chicago announced that percussionist Walfredo Reyes, Jr. was moving over to drums, replacing Imboden.[137] Vocalist Neil Donell, of Chicago tribute band Brass Transit, was chosen as the band's new lead singer and session musician Brett Simons also joined the band as their new bassist.[138][139] Daniel de los Reyes' return to the percussion position was announced, filling the vacancy left by his brother's move to the drumset.[140][141]

text: In May 2018, it was revealed that percussionist Daniel de los Reyes was departing Chicago to go back to his other group, the Zac Brown Band.[142] On Thursday, May 17, 2018, Chicago announced on their official Facebook page and on their Twitter account that "Ray" Ramon Yslas had joined the band on percussion.

text: Graphics[edit]

text: Upon being renamed from Chicago Transit Authority to Chicago, the band sported a new logo. Its inspiration was found in the design of the Coca-Cola logo,[143][144][145] in the attitude of the city of Chicago itself,[146] and in the desire to visually transcend the individual identities of the band's members.[143] It was designed[146] by the Art Director of Columbia/CBS Records, John Berg,[143][144][145] with each album's graphic art work being done by Nick Fasciano.[147][148] Berg said, "The Chicago logo...was fashioned for me by Nick Fasciano from my sketch."[143]

text: The logo would serve as the band's chief visual icon from Chicago II, onward. In various artistic forms and visual similes, it has been the subject of every subsequent album cover, except the fifteenth album, Greatest Hits, Volume II. For example, it appeared as an American flag on III, a piece of wood on V, a U.S. dollar bill on VI, a leather relief on VII, an embroidered patch on VIII, a chocolate bar on X, a map on XI, a building on 13, a fingerprint on XIV, a computer silicon chip on 16, a parcel on 17, a mosaic on 18, and an aquarelle on 19. Chicago IX's incarnation was a caricature of the band itself, in the shape of the logo.

text: The album cover series has endured as a cataloged work of art in its own right, described by Paul Nini of the American Institute of Graphic Arts as a "real landmark in record cover design".[143] In 2013, the iconic status of Chicago's album art was featured in a New York art museum exhibit, which centered upon ninety-five album covers completely selected from John Berg's career portfolio of hundreds. Having overseen the design of approximately fourteen Chicago album covers across more than twenty years, Berg stated that this artistic success resulted from the combination of Chicago's "unique situation" and his position in "the best possible job at the best possible time to have that job, at the center of the graphic universe".[144] Berg won the 1976 Grammy Award for Best Album Package for Chicago X, one of four Grammy Awards he won in his lifetime.[149]

text: The book titled Type and Image: The Language of Graphic Design described the logo as "a warm vernacular form, executed in thick script letters with Victorian swashes in the tradition of sports teams and orange crate labels." The book mentions the cultural and material background of the city of Chicago as inspiration for the logo; for example, describing the leather embossing of Chicago VII as representative of the great fire and the stockades. The author connects the album art to the atmosphere of the band's namesake city, quoting the band's original manager, James William Guercio: "The printed word can never aspire to document a truly musical experience, so if you must call them something, speak of the city where all save one were born; where all of them were schooled and bred, and where all of this incredible music went down barely noticed; call them CHICAGO."[146]

text: Personnel[edit]

text: The four remaining original members of Chicago are Robert Lamm, Lee Loughnane, James Pankow and Walter Parazaider. According to reports published in 2017, Parazaider has retired from touring but is still a member.[150][151][152]

text: Lineups[edit]

text:
1967–1974
1974–1978
1978–1980
1980–1981

Peter Cetera – bass, vocals
Terry Kath – guitar, vocals
Robert Lamm – keyboards, vocals
Lee Loughnane – trumpet, flugelhorn
James Pankow – trombone
Walter Parazaider – saxophones, flute
Danny Seraphine – drums

Peter Cetera – bass, vocals
Terry Kath – guitar, vocals
Robert Lamm – keyboards, vocals
Lee Loughnane – trumpet, flugelhorn
James Pankow – trombone
Walter Parazaider – saxophones, flute
Danny Seraphine – drums
Laudir de Oliveira – percussion[35]

Peter Cetera – bass, vocals
Robert Lamm – keyboards, vocals
Lee Loughnane – trumpet, flugelhorn
James Pankow – trombone
Walter Parazaider – saxophones, flute
Danny Seraphine – drums
Laudir de Oliveira – percussion
Donnie Dacus – guitar, vocals[62][60]

Peter Cetera – bass, vocals
Robert Lamm – keyboards, vocals
Lee Loughnane – trumpet, flugelhorn
James Pankow – trombone
Walter Parazaider – saxophones, flute
Danny Seraphine – drums
Laudir de Oliveira – percussion
Chris Pinnick – guitar[60]

Touring musicians

Marty Grebb – saxophone, guitar, keyboards, backing vocals (1980–1981)[65]

1981–1985
1985–1986
1986–1990
1990–1995

Peter Cetera – bass, vocals
Robert Lamm – keyboards, vocals
Lee Loughnane – trumpet, flugelhorn
James Pankow – trombone
Walter Parazaider – saxophones, flute
Danny Seraphine – drums
Chris Pinnick – guitar
Bill Champlin – keyboards, vocals[67]

Touring musicians

Kenny Cetera – percussion, backing vocals (1984–1985)[72][153]

Robert Lamm – keyboards, vocals
Lee Loughnane – trumpet, flugelhorn
James Pankow – trombone
Walter Parazaider – saxophones, flute
Danny Seraphine – drums
Bill Champlin – keyboards, vocals
Jason Scheff – bass, vocals[74]

Robert Lamm – keyboards, vocals
Lee Loughnane – trumpet, flugelhorn
James Pankow – trombone
Walter Parazaider – saxophones, flute
Danny Seraphine – drums
Bill Champlin – keyboards, vocals
Jason Scheff – bass, vocals
Dawayne Bailey – guitar, vocals[76]

Robert Lamm – keyboards, vocals
Lee Loughnane – trumpet, flugelhorn
James Pankow – trombone
Walter Parazaider – saxophones, flute
Bill Champlin – keyboards, vocals
Jason Scheff – bass, vocals
Dawayne Bailey – guitar, vocals
Tris Imboden – drums, harmonica[81]

Touring musicians

Steve Jankowski – trumpet (sub for Lee 1992)[154]
Lee Thornburg – trumpet (sub for Lee 1992)[155]

1995
1995–2009
2009
2009–2012

Robert Lamm – keyboards, vocals
Lee Loughnane – trumpet, flugelhorn
James Pankow – trombone
Walter Parazaider – saxophones, flute
Bill Champlin – keyboards, vocals
Jason Scheff – bass, vocals
Tris Imboden – drums, harmonica
Bruce Gaitsch – guitar[156]

Robert Lamm – keyboards, vocals
Lee Loughnane – trumpet, flugelhorn
James Pankow – trombone
Walter Parazaider – saxophones, flute
Bill Champlin – keyboards, vocals
Jason Scheff – bass, vocals
Tris Imboden – drums, harmonica
Keith Howland – guitar, vocals[94]

Touring musicians

Nick Lane – trombone (sub for James 1999–2009)[157]
Lou Pardini – guitar, vocals (sub for Bill for a few shows 1999, 2007)
Larry Klimas – saxophones, flute (sub for Walt 2003–2009)[158][99]
Ray Herrmann – saxophones, flute (sub for Walt 2005–2009)[159]
Tom Timko – saxophones, flute (sub for Walt 2005)
Steve Jankowski – trumpet (sub for Lee 2006, 2007)[154]
Lee Thornburg – trumpet (sub for Lee 2008, 2009)
Drew Hester – drums (sub for Tris 2009)[101]

Robert Lamm – keyboards, vocals
Lee Loughnane – trumpet, flugelhorn
James Pankow – trombone
Walter Parazaider – saxophones, flute
Jason Scheff – bass, vocals
Tris Imboden – drums, harmonica
Keith Howland – guitar, vocals
Lou Pardini – keyboards, vocals[104]

Touring musicians

Nick Lane – trombone (sub for James 2009)
Larry Klimas – saxophones, flute (sub for Walt 2009)
Ray Herrmann – saxophones, flute (sub for Walt 2009)
Drew Hester – drums (sub for Tris 2009)[102]

Robert Lamm – keyboards, vocals
Lee Loughnane – trumpet, flugelhorn
James Pankow – trombone
Walter Parazaider – saxophones, flute
Jason Scheff – bass, vocals
Tris Imboden – drums, harmonica
Keith Howland – guitar, vocals
Lou Pardini – keyboards, vocals
Drew Hester – percussion (2009–2012)[102]

Touring musicians

Nick Lane – trombone (sub for James 2009–2012)[160]
Larry Klimas – saxophones, flute (sub for Walt 2009–2012)
Ray Herrmann – saxophones, flute (sub for Walt 2009–2012)[161]
Art Velasco – trombone (sub for James 2011)

2012
2012–2016
2016–2018
January 2018–May 2018

Robert Lamm – keyboards, vocals
Lee Loughnane – trumpet, flugelhorn
James Pankow – trombone
Walter Parazaider – saxophones, flute
Jason Scheff – bass, vocals
Tris Imboden – drums, harmonica
Keith Howland – guitar, vocals
Lou Pardini – keyboards, vocals
Daniel de los Reyes – percussion[111]

Touring personnel

Nick Lane – trombone (sub for James 2012)
Larry Klimas – saxophones, flute (sub for Walt 2012)
Ray Herrmann – saxophones, flute (sub for Walt 2012)

Robert Lamm – keyboards, vocals
Lee Loughnane – trumpet, flugelhorn
James Pankow – trombone
Walter Parazaider – saxophones, flute
Jason Scheff – bass, vocals
Tris Imboden – drums, harmonica
Keith Howland – guitar, vocals
Lou Pardini – keyboards, vocals
Walfredo Reyes Jr. – percussion[102]

Touring musicians

Nick Lane – trombone (sub for James 2012-2016)[162]
Larry Klimas – saxophones, flute (sub for Walt 2012)[162]
Ray Herrmann – saxophones, flute (sub for Walt 2012–2016)[163]
Lee Thornburg – trumpet (sub for Lee 2012)[164]
Jeff Coffey - bass, vocals (sub for Jason 2016)[123]

Robert Lamm – keyboards, vocals
Lee Loughnane – trumpet, flugelhorn
James Pankow – trombone
Walt Parazaider – saxophones, flute (no longer touring)[150][151][152]
Tris Imboden – drums, harmonica
Keith Howland – guitar, vocals
Lou Pardini – keyboards, vocals
Walfredo Reyes Jr. – percussion
Jeff Coffey – bass, vocals, occasional guitar[123]
Ray Herrmann – saxophones, flute[150]

Touring musicians

Nick Lane – trombone (sub for James 2016)[165]
Larry Klimas – saxophones, flute (sub for Ray 2016)

Robert Lamm – keyboards, vocals
Lee Loughnane – trumpet, flugelhorn
James Pankow – trombone
Walt Parazaider – saxophones, flute (no longer touring)
Keith Howland – guitar, vocals
Lou Pardini – keyboards, vocals
Walfredo Reyes Jr. – drums[138][139]
Ray Herrmann – saxophones, flute
Neil Donell – vocals, acoustic guitar[138][139][166]
Brett Simons – bass, vocals[138][139][166]
Daniel de los Reyes – percussion[140][167]

May 2018-present

Robert Lamm – keyboards, vocals
Lee Loughnane – trumpet, flugelhorn
James Pankow – trombone
Walt Parazaider – saxophones, flute (no longer touring)
Keith Howland – guitar, vocals
Lou Pardini – keyboards, vocals
Walfredo Reyes Jr. – drums
Ray Herrmann – saxophones, flute
Neil Donell – vocals, acoustic guitar
Brett Simons – bass, vocals
Ramon "Ray" Yslas – percussion

tag: table

text: Timeline[edit]

text: Discography[edit]

text: Studio albums[edit]

text:
Chicago Transit Authority (1969)
Chicago (1970)
Chicago III (1971)
Chicago V (1972)
Chicago VI (1973)
Chicago VII (1974)
Chicago VIII (1975)
Chicago X (1976)
Chicago XI (1977)
Hot Streets (1978)
Chicago 13 (1979)
Chicago XIV (1980)
Chicago 16 (1982)
Chicago 17 (1984)
Chicago 18 (1986)
Chicago 19 (1988)
Twenty 1 (1991)
Night & Day Big Band (1995)
Chicago XXV: The Christmas Album (1998)
Chicago XXX (2006)
Chicago XXXII: Stone of Sisyphus (2008)
Chicago XXXIII: O Christmas Three (2011)
Chicago XXXV: The Nashville Sessions (2013)
Chicago XXXVI: Now (2014)

tag: ul

text: Live albums[edit]

text:
Chicago at Carnegie Hall (a.k.a. Chicago IV; 4-volume set) (1971)
Live in Japan (1972)
Chicago Transit Authority Live in Toronto (1978)
Chicago XXVI: Live in Concert (1999)
Chicago XXXIV: Live in '75 (2011)
Chicago at Symphony Hall (2015)
Chicago: VI Decades Live (4 CD/1 DVD Box Set)

text: Videography[edit]

text:
Chicago: And the Band Played On (1992, Warner Reprise Video)[168]
Chicago: In Concert at the Greek Theater (1993, Warner Reprise Video)[169][170]
Soundstage Presents Chicago - Live In Concert (2004, Koch Vision)[171]
Chicago and Earth, Wind & Fire Live at the Greek Theater (2004, Image Entertainment)[172]

text: Television and film[edit]

text: As major subject[edit]

text:
Chicago in the Rockies (1973, ABC television special)[55]
Chicago ... Meanwhile Back at the Ranch (1974, ABC television special)[56]
Chicago's New Year's Rockin' Eve 1975 (December 31, 1974, ABC television special)[57]
ABC In Concert (1992, two-part television special)[173][174][175]
"Chicago: Behind the Music #133" (2000, VH1 documentary television episode)[95]
Now More Than Ever: The History of Chicago. (2016, documentary film)[127][128]

text: Other television and film appearances[edit]

text:
Duke Ellington ... We Love You Madly (1973, CBS television special)[52][54]
Electra Glide in Blue (1973, film)[51]
Clear History (2013, HBO movie)[115]
The Terry Kath Experience (2015 documentary film)[176][177]

text: Awards and honors[edit]

text:
American Music Awards

Year
Category
Result
Ref.

1977
Favorite Pop/Rock Band/Duo/Group
Won
[50]

1986
Favorite Pop/Rock Band/Duo/Group
Won
[50]

text:
Grammy Awards

Award Show Year
Category
Work
Awardee(s)/Nominee(s)
Result
Ref.

1970
Best New Artist of the Year (1969)

Chicago
Nominated
[20]

1971
Album of the Year
Chicago
Chicago
Nominated
[20][178]

Contemporary Vocal Group
Chicago
Chicago
Nominated
[20][178]

Best Album Cover
Chicago
John Berg & Nick Fasciano
Nominated
[178]

1974
Best Album Package
Chicago VI
John Berg
Nominated
[179]

1977
Album of the Year
Chicago X
Chicago
Nominated
[20][180]

Record of the Year
"If You Leave Me Now"
Chicago
Nominated
[20][180]

Best Album Package
Chicago X
John Berg
Won
[180]

Best Arrangement, Instrumental and Vocals
"If You Leave Me Now"
James William Guercio & Jimmie Haskell
Won
[42]

Best Pop Vocal Performance By a Duo, Group or Chorus
"If You Leave Me Now"
Chicago
Won
[20][180]

1980
Best Album Package
Chicago 13
Tony Lane
Nominated
[181]

1981
Best Album Package
Chicago XIV
John Berg
Nominated
[182]

1983
Pop Vocal Group
"Hard To Say I'm Sorry"
Chicago
Nominated
[20][183]

1985
Record of the Year
"Hard Habit To Break"(Single)
Chicago
Nominated
[20][184]

Best Pop Vocal Performance By a Duo, Group or Chorus
"Hard Habit To Break"(Single)
Chicago
Nominated
[20]

Best Engineered Album, Non-Classical
Chicago 17
Humberto Gatica
Won
[42]

Best Instrumental Arrangement Accompanying Vocal(s)
"Hard Habit To Break"(Single)
David Foster & Jeremy Lubbock
Won
[42]

Best Vocal Arrangement for Two or More Voices
"Hard Habit To Break"(Track)
David Foster & Peter Cetera
Nominated
[185][186][187]

1986
Album of the Year
We Are The World-USA For Africa/The Album (Album)
Chicago & all other album artists
Nominated
[20]

2014
Grammy Hall of Fame
The Chicago Transit Authority

Inductee
[188]

text: Billboard awards

text:
1971: Top Album Artist[189]
1971: Top Album Group[190]
1971: Trendsetter Award (for setting concert records at Carnegie Hall)[31]

text: Playboy awards

text:
1971: All-Star Readers' Poll: Best Instrumental Combo, Playboy Jazz & Pop Poll[191][192][193][194]
1971: Best Small-Combo LP: Chicago, Playboy Jazz & Pop Poll[191]
1972: All-Star Readers' Poll: Best Instrumental Combo, Playboy Jazz & Pop Poll[195][196][194]
1973: All-Star Musicians' Poll: Best Instrumental Combo, Playboy Jazz & Pop Poll[197]
1973: All-Star Readers' Poll: Best Instrumental Combo, Playboy Jazz & Pop Poll[197][194]
1973: Best Small-Combo LP: Chicago V, Playboy Jazz & Pop Poll[197][194]

text: Other honors

text:
1976: City of Chicago Medal of Merit (city's highest civilian award)[18][198][199]
1976: Columbia Records first platinum album, awarded a Cartier 25-pound bar of pure platinum[47][48]
1987: American Video Award, Best Cinematography, "25 or 6 to 4" (Bobby Byrne)[200]
1992: Hollywood Walk of Fame star for music contributions, located at 6400 Hollywood Boulevard[85][201]
2016: Rock and Roll Hall of Fame induction[202][203]
2017: Songwriters Hall of Fame: James Pankow and Robert Lamm (inducted), Peter Cetera (elected, not inducted)[204]


document_title: Beauty YouTubers

question_text: who is the biggest beauty guru on youtube

text: Beauty YouTubers

text: Background and trend[edit]

text: In the YouTube beauty community, there are more than 45,000 YouTube channels specializing in fashion and beauty-related content, videos include makeup tutorials, cosmetic/skincare hauls, recommendations etc.[2] Each month, over 50 million people watch over 1.6 billion minutes of consumer-created fashion and beauty videos on YouTube.

text: Since 2006, there have been over 14.6 billion views on beauty-related videos, with an average of 700 million views per month in 2013.[3] In 2015, 45.3 billion views on these Youtube videos were recorded and more than 10 million total beauty subscriber-ships.[4] And the biggest audiences of YouTube beauty community are teenage girls who act as "prosumers" by creating and consuming content themselves. In the United Kingdom, beauty vlogging is a rapidly-growing industry that attracts 700 million hits per month also noting that two-fifths of British women are viewing online beauty tutorials.[5]

text: Professional and amateur YouTubers[edit]

text: Some beauty vloggers expand their career in the online beauty industry and earn an income by utilizing their channels as a way to branch out and utilize it for business purposes, also executed through collaborating with cosmetic and/or clothing brands to launch new products, while other youtubers choose to abide to the simple uploading of videos as a hobby. Generally, whether these youtubers choose to use their channel as a gateway into creating a name for themselves or as a personal hobby, beauty-related videos generally fall into the following categories: product reviews, makeup tutorials, hauls and personality clips.[6]

text: Within these categories, beauty YouTubers provide viewers with life advice while disclosing stories about personal experiences, share their positive and negative encounters with certain beauty products through trial-and-error, and demonstrate how to perform particular techniques in order to achieve specific makeup looks. While issuing this large amount of information, these channels also provide a forum for feedback.[7] According to the article journal of University of Calgary, one of the most “popular” category of video is “Get Ready With Me"'s. These videos showcase how beauty YouTubers get ready for certain occasions going on in their day-to-day life and their daily rituals, whether it be a trip to the mall, special event, or even to just to go to bed.[8]

text: Besides creating videos, beauty YouTubers typically take part in media events such as "BeautyCon Festivals, an annual beauty festival for brands and Internet celebrities, [9][10] and Vidcon, a conference featuring YouTube stars, brands and media companies.[11][12]

text: Video styles and equipment[edit]

text: Through these vloggers' YouTube channels, various playlists can be found where all beauty-related content is divided into specific subcategories in respect to its distinct features. These subcategories include but are not limited to:[13][14]

text:
Makeup Tutorials and Looks
Routines and Get Ready With Me's
Favorites and Hauls
How To's
Hair Tutorials
Q&As and Chit Chats
Vlogs
Fashion Videos
Holiday Tutorials
Halloween Tutorials
Makeup and product reviews
Fall/Winter looks
Spring/Summer looks

text: Beauty YouTubers adopt a casual, friendly tone as they implement a face-to-face approach in their videos, featuring the vlogger seated in front of and speaking to the camera, creating the impression their viewers are sitting across from them. This method is communicative by enacting a realistic interaction with viewers.[15]

text: The medium does not require much in the way of expensive equipment or technological proficiency compared to traditional media. The most basic videos require only a computer with a webcam, an Internet connection, and basic editing software such as iMovie. The accessibility of the means to produce a vlog has contributed to the popularity and widespread production of videos in this format .[16]

text: Well-known beauty YouTubers[edit]

text: Four of the top one hundred most subscribed-to channels on YouTube are beauty-related. Popular, nationally-recognized beauty channels include those of United Kingdom's Zoe Sugg or “Zoella” at 11,801,645 subscribers, Mexico's Mariand Castrejon or ”Yuya” at 18,157,348 subscribers and Netherlands's Nikkie de Jager or “NikkieTutorials” at 7,300,712 subscribers. [17]

text: According to The Telegraph in 2014, the top Beauty YouTubers from the UK are Zoella, "Tanya Burr," with 3,682,513 subscribers, "Sprinkle of Glitter" with 2,573,247 subscribers, Beauty Crush with 1,826,666 subscribers, Fleur De Force with 1,420,334 subscribers, and Essie Button with 1,192,145 subscribers.[18]

text: The United States also has its own group of big name beauty YouTubers including: Michelle Phan, “Michelle Phan,” at 8,833,779 subscribers; Bethany Mota with 10,339,824 subscribers; Jaclyn Hill with 4,403,142 subscribers; Carli Bybel with 5,502,748 subscribers; Desi Perkins with 2,526,227 subscibers; Katy DeGroot or "LustreLux" with 1,757,206 subscribers; Laura Lee with 3,377,249 subscribers; Manny MUA with 3,338,656 subscribes; Tati Westbrook with 3,066,921 subscribers; Casey Holmes with 1,493,131 subscribers; Nicole Guerriero with 2,830,921 subscribers; Patrick Starrr with 2,666,904 subscribers; Christen Dominique with 2,772,743 subscribers; and Kathleen Fuentes aka KathleenLights, with 3,299,999 subscribers.[19][20] In 2017, according to Forbes Magazine, the top 10 beauty influencers were: Zoe Sugg, Michelle Phan, Huda Kattan, Nikkie de Jager, Shannon Harris, Jeffree Star, Kandee Johnson, Manny MUA, Christen Dominique and Wayne Goss. [21]

text: In August 2017, Mariand Castrejon Castañeda, whose YouTube Channel is entitled Yuya, held the highest number of subscribers within the beauty YouTuber realm.[22]

text:
Jump up ^ “YouTube most subscribed beauty channels 2017 | Statistic.” Statista, Statista, 2017, www.statista.com/statistics/627448/most-popular-youtube-beauty-channels-ranked-by-subscribers/. Accessed 15 Sept. 2017.
Jump up ^ "The Leading Role of Influencers in the YouTube Beauty Community" (PDF).
Jump up ^ "Making Sense of Beauty Vlogging".
Jump up ^ "Beauty on YouTube 2015".
Jump up ^ "Lights camera Lipstick: With millions of viewers - and millions of pounds changing hands - online beauty tutorials are one of Britain's fastest-growing businesses. But for the young people involved it is about far more than just make-up. Eva Wiseman meets the vloggers. The Observer, 12.".
Jump up ^ "Making Sense of Beauty Vlogging".
Jump up ^ "The Revolution Will Be Soooo Cute: YouTube "Hauls"and the Voice of Young Female Consumers" (PDF).
Jump up ^ "Makeup, YouTube, and Amateur Media in the TwentyFirst Century. Crash Cut" (PDF).
Jump up ^ "How Beautycon is using subscriptions to reach beauty fans year-round".
Jump up ^ "Beautycon Dallas".
Jump up ^ "What Is VidCon, And Why Am I Here?".
Jump up ^ "At VidCon, Small-Screen Stars and Big-Time Fame".
Jump up ^ "Carli Bybel". YouTube. Retrieved 2017-04-25.
Jump up ^ "Jaclyn Hill". YouTube. Retrieved 2017-04-25.
Jump up ^ "Making Sense of Beauty Vlogging".
Jump up ^ "Makeup, YouTube, and Amateur Media in the TwentyFirst Century" (PDF). Crash Cut.
Jump up ^ "Makeup, YouTube, and Amateur Media in the TwentyFirst Century" (PDF). Crash Cut.
Jump up ^ "Social media sensations: Top UK Beauty YouTubers". The Telegraph.
Jump up ^ "My Top 6 Beauty YouTubers - Champagne Laced". Champagne Laced. 2015-04-23. Retrieved 2017-03-31.
Jump up ^ "The 21 Most Influential Beauty Vloggers Of 2016". Fashionista. Retrieved 2017-03-31.
Jump up ^ "Top Influencers 2017: Beauty". Forbes. Retrieved 2017-08-04.
Jump up ^ “YouTube most subscribed beauty channels 2017 | Statistic.” Statista, Statista, 2017, www.statista.com/statistics/627448/most-popular-youtube-beauty-channels-ranked-by-subscribers/. Accessed 15 Sept. 2017.

tag: ol


document_title: Piers Plowman

question_text: in langlands piers the plowman piers appears finally as

text: Piers Plowman

text: Summary[edit]

text: The poem, a mix of theological allegory and social satire, concerns the narrator/dreamer's quest for the true Christian life in the context of medieval Catholicism. This journey takes place within a series of dream-visions; the dreamer seeks, among other things, the allegorical characters Dowel ("Do-Well"), Dobet ("Do-Better"), and Dobest ("Do-Best"). The poem is divided into passus ('steps'), the divisions between which vary by version.

text: The following summary is based on the B-version of the poem—the most widely edited and translated.

text: Vision 1[edit]

text:
Prologue:
The poem begins in the Malvern Hills between Worcestershire and Herefordshire. A man named Will (which can be understood either simply as a personal name or as an allegory for a person's will, in the sense of 'desire, intention') falls asleep and has a vision of a tower set upon a hill and a fortress (donjon) in a deep valley; between these symbols of heaven and hell is a 'fair field full of folk', representing the world of mankind. A satirical account of different sections of society follows, along with a dream-like fable representing the King as a cat and his people as rodents.

text:
Passus 1:
Holy Church visits Will and explains the tower of Truth, and discusses Truth more generally.

text:
Passus 2:
Will sees Lady Mede ('payment') and finds out about her planned marriage to False.

text:
Passus 3:
Lady Mede travels to the royal court; the King proposes she marry Conscience; but Conscience denounces her.

text:
Passus 4:
Conscience and Reason convince the King not to marry Mede to False. Will wakes up.

text: Vision 2[edit]

text:
Passus 5:
Will falls back to sleep. Reason gives a sermon to the Field of Folk and the people decide to repent. The Seven Deadly Sins make confession and in penance attempt to go on pilgrimage to St Truth. They get lost, and Piers Plowman makes his first appearance: he will help the penitents if they help him plough his half-acre.

text:
Passus 6:
Piers and the penitents plough the half-acre. Some people refuse to work, and Hunger punishes them until they work. But once Hunger has been sated, the people return to idleness.

text:
Passus 7:
Eventually, Truth sends Piers a pardon for the penitents' sins; its main content is 'Do well and have well and God shall have your soul' and 'Do evil and have evil, and expect nothing other than that after your death, the Devil shall have your soul'. When challenged on the pardon's validity by a priest, Piers angrily tears it in two. Will is awakened by their arguing and, musing on his dreams, decides to seek ‘Do-wel’.

text: The A-version of Piers Plowman stops at this point.

text: Vision 3[edit]

text:
Passus 8:
Will's search for Dowel begins. He enters into a disputation with Friars. He then falls asleep once more and meets Thought. Thought instructs Will in 'Do well, do better, do best'. Practical interpretation of what these concepts mean is to be provided by Wit.

text:
Passus 9:
There is an extended allegory featuring Dowel and the Castle of Flesh, exposing the need for people to be governed by their ‘Inwit’. The text discusses poverty and marriage. Wit makes further inroads to understanding Dowel, as active virtue.

text:
Passus 10:
Will meets Wit’s wife, Dame Study. She complains to Will about his ignorance. Will then proceeds to Clergy and Scripture to learn more about Dowel. He considers what use scholarship might have in helping him achieve salvation.

text:
Passus 11:
Scripture complains about Will's lack of self-knowledge. Angered, Will (who is already dreaming) goes to sleep and has a dream-within-a-dream in which he meets Fortune. He serves her into old age, but she abandons him. Will learns about the salvation of the Emperor Trajan and power of love. Kynde ('character, natural disposition, nature', here understood as an aspect of God) shows Will the world. Will has an argument with Reason: Reason, Will concludes, does not do enough to keep people from sin; but Reason disagrees. Will awakes from the dream-within-a-dream. He now meets Imaginatif, who advises Will to be patient.

text:
Passus 12:
Imaginatif teaches Will, bringing together and improving his understanding of earlier discussions in the poem. Imaginatif emphasises the need for humility and the importance of Grace.

text: Vision 4[edit]

text:
Passus 13:
Will awakens and then falls back to sleep; he dreams of sharing a feast with Conscience, Scripture, Clergy and Patience; he encounters a greedy Doctor of Divinity (who later shows disdain for love) and as well as eating actual food also dines on spiritual food. Piers the Plowman offers a definition of Do Well, Do Better and Do Best. Then Conscience and Patience meet Haukyn the Active Man, who wears a coat of Christian faith which is, however, soiled with the Seven Deadly Sins.

text:
Passus 14:
Conscience teaches Haukyn to seek forgiveness and do penance; Patience teaches Haukyn about the merits of embracing poverty. Haukyn cries out for God's mercy, which awakens Will.

text: Vision 5[edit]

text:
Passus 15:
Will finds himself alienated from the waking world, but Reason helps him to go back to sleep, whereupon Will meets Anima ('spirit'). Anima tells Will off for his pride in wanting to know too much, but goes on to talk about charity, in particular how the Church should care for its flock, but how its priests and monks (among whom Langland counts the Prophet Mohammed) do not always fulfil this duty. Talking to Anima, Will starts to conclude that Piers the Plowman is Christ. Will realises that he needs to switch from searching for Dowel to searching for Charity.

text:
Passus 16:
Will falls into another dream-within-a-dream, this time about the Tree of Charity, whose gardener is Piers the Plowman. Will participates in a re-enactment of the Fall of Man and then has a vision of the life of Christ; when this reaches the point where the Devil is defeated, Will wakes up from the dream-within-a-dream. Will goes looking for Piers and meeting Faith/Abraham, who is himself searching for Christ.

text:
Passus 17:
Next, Will meets Hope/Moses, characterised by the tablets of law, who is also in search of Christ. Will learns about the Good Samaritan, the prospect of salvation, and the importance of Love. He wakes up.

text: Vision 6[edit]

text:
Passus 18:
Will sleeps again, and experiences the climactic section of Piers Plowman. He experiences Love and the intersection of human and divine time. Will witnesses Christ/the Good Samaritan/Piers Plowman riding into Jerusalem and Christ's crucifixion. He then witnesses the Four Daughters of God (Truth, Justice, Mercy, Peace) in debate; the Harrowing of Hell; and Redemption.

text: Will wakes again, and now exhorts his family to attend mass.

text: Vision 7[edit]

text:
Passus 19:
During the mass, Will falls back to sleep and meets Conscience once more. Conscience recounts the life and Passion of Christ and how Piers/Peter was given his power by Grace/Christ. Will finds out about Pentecost; once more sees Piers as a ploughman; and witnesses Pride attacking Unity/Holy Church. He wakes up and records his dream.

text: Vision 8[edit]

text:
Passus 20:
While awake, Will meets Need. He falls asleep again and now dreams of the Antichrist. Kynde sends Old Age, Death, and Pestilence, to chastise people: Will is attacked by Old Age. He witnesses Holy Church undermined by a hypocritical Friar. Conscience goes on pilgrimage to seek Piers the Plowman, and calls on Grace for help—whereupon Will wakes up.

text: Title and authorship[edit]

text: It is now commonly accepted that Piers Plowman was written by William Langland, about whom little is known. This attribution rests principally on the evidence of an early-fifteenth-century manuscript of the C-text (see below) of Piers held at Trinity College, Dublin (MS 212), which ascribes the work to one man, called 'Willielmus de Langlond':

text: Memorandum quod Stacy de Rokayle pater willielmi de Langlond qui stacius fuit generosus & morabatur in Schiptoun vnder whicwode tenens domini le Spenser in comitatu Oxoniensi qui predictus willielmus fecit librum qui vocatur Perys ploughman.

text: It should be noted that Stacy de Rokayle was the father of William de Langlond; this Stacy was of noble birth and dwelt in Shipton-under-Wychwood, a tenant of the Lord Spenser in the county of Oxfordshire. The aforesaid William made the book which is called Piers Plowman.

text: Other manuscripts also name the author as "Robert or William Langland", or "Wilhelmus W." (which could be shorthand for "William of Wychwood").

text: The attribution to William Langland is also based on internal evidence, primarily a seemingly autobiographical section in Passus 5 of the C-text of the poem. The main narrator of the poem in all the versions is named Will, with allegorical resonances clearly intended, and Langland (or Longland) is thought to be indicated as a surname through apparent puns; e.g., at one point the narrator remarks: "I have lyved in londe... my name is longe wille" (B.XV.152). This could be a coded reference to the poet's name, in the style of much late-medieval literature. New evidence suggests that this reverse cryptogram was read as "Will Long Will" by contemporary scribes and that the rebels of 1381 used this name as pseudonym alongside the name "Piers Plowman".[1] Langland's authorship, however, is not entirely beyond dispute, as recent work by Stella Pates and C. David Benson has demonstrated. in their work,"The Langland Myth", they claim there is not enough evidence to suggest that Langland is, in fact, the author, but instead that it is the work of a man by the name of William de la Rokele.[2]

text: In the sixteenth century, when Piers was first printed, authorship was attributed by various antiquarians (such as John Bale) and poets to John Wycliffe and Geoffrey Chaucer, amongst others. Some sixteenth- and seventeenth-century persons regarded the poem as anonymous, and/or associated it with texts in the plowman tradition of social complaint, particularly the Chaucerian pseudepigrapha The Ploughman's Tale and Pierce the Ploughman's Crede. (The latter was appended to Owen Rogers' 1560 edition of Piers Plowman, a degraded version of Robert Crowley's 1550 editions.) The character of Piers himself had come to be considered by many readers to be in some sense the author.

text: The first printed editions by Crowley named the author as "Robert Langland" in a prefatory note. Langland is described as a probable protégé of Wycliffe. With Crowley's editions, the poem followed an existing and subsequently repeated convention of titling the poem The Vision of Piers [or Pierce] Plowman, which is in fact the conventional name of just one section of the poem.

text: Some medievalists and text critics, beginning with John Matthews Manly, have posited multiple authorship theories for Piers, an idea which continues to have a periodic resurgence in the scholarly literature. One scholar[who?] now disputes the single-author hypothesis, supposing that the poem may be the work of between two and five authors, depending upon how authorship is defined. In keeping with contemporary scholarly trends in textual criticism, critical theory, and the history of the book, Charlotte Brewer, among others, suggests that scribes and their supervisors be regarded as editors with semi-authorial roles in the production of Piers Plowman and other early modern texts, but this has nothing to do with Manly's argument.

text: The text[edit]

text: Piers Plowman is considered to be one of the most analytically challenging texts in Middle English textual criticism. There are 50–56 surviving manuscripts, some of which are fragmentary. None of the texts are known to be in the author's own hand, and none of them derive directly from any of the others.

text: All modern discussion of the text revolves around the classifications of W. W. Skeat. Skeat argued that there are as many as ten forms of the poem, but only three are to be considered authoritative—the A, B, and C-texts—although the definition of "authoritative" in this context is problematic. According to the three-versions hypothesis, each version represents different manuscript traditions deriving from three distinct and successive stages of authorial revision. Although precise dating is debated, the A, B, and C texts are now commonly thought of as the progressive (20–25 years) work of a single author.

text: According to the three-versions hypothesis, the A-text was written c. 1367–70 and is the earliest. It breaks off, apparently unfinished, at Book 11, and Book 12 is written by another author or interpolator. The poem runs to about 2,500 lines. The B-text (Warner's ur-B text) was written c. 1377–79; it revises A, adds new material, and is three times the length of A. It runs to about 7,300 lines. The C-text was written in the 1380s as a major revision of B except for the final sections. There is some debate over whether the poem can be regarded as finished or not. It entails additions, omissions, and transpositions; it is not significantly different in size from B. Some scholars see it as a conservative revision of B that aims at disassociating the poem from Lollardy and the religious and political radicalism of John Ball during the Great Rising of 1381. (Ball appropriated Piers and other characters in the poem for his own verses, speeches, and letters during the Rising.) There is little actual evidence for this proposal, and much against it.[citation needed]

text: Skeat believed that the A-text was incomplete and based his editions on a B-text manuscript (Oxford, MS. Laud Misc. 581) that he wrongly thought was probably a holograph. Modern editors following Skeat, such as George Kane and E. Talbot Donaldson, have maintained the basic tenets of Skeat's work: there were three final authorial texts, now lost, that can be reconstructed, albeit imperfectly and without certainty, by rooting out the "corruption" and "damage" done by scribes.

text: The Kane, Kane-Donaldson, and Russell-Kane editions of the three versions, published by the Athlone Press, have been controversial, but are considered among the most important accomplishments in modern editorial work and theory in Middle English. A. V. C. Schmidt has also published a parallel edition of A, B, C and Z; the second volume containing a full critical apparatus indicating his editorial decisions was finally published in 2008, long after the first volume fell out of print.

text: A. G. Rigg and Charlotte Brewer hypothesized the existence of a Z-text predecessor to A which contains elements of both A and C. The Z-text is based on Oxford MS. Bodley 851, which Rigg and Brewer edited and published. It is the shortest version, and its authenticity is disputed. Ralph Hanna III has disputed the Rigg/Brewer approach based on codicological evidence and internal literary evidence; consequently the Z-text is now more commonly viewed as a scribal corruption of A with C elements. More recently, Lawrence Warner has shown that what was thought of as B in fact incorporates matter produced as part of the C-revision: if B circulated before C, it looked nothing like what previous editors had assumed.

text: Editorial, publication and reception history[edit]

text: 14th–15th centuries[edit]

text: John Ball, a priest involved as a leader in the Great Rising of 1381 (also known as the Peasants' Revolt), included Piers and other characters in his writings. If Piers Plowman already had perceived associations with Lollardy, Ball's appropriations from it (assuming he was not referring to a folk character also appropriated by Langland) enhanced his and its association with the Lollards as well. The real beliefs and sympathies at work in Langland's poem and the revolt remain, for this reason, mysterious and debatable. New evidence suggests that in Norfolk the rebels of 1381 had access to the B version of the text and that they used the author-persona's name - Will Long Will - as a pseudonym.[1]

text: No doubt because of Ball's writings, the Dieulacres Abbey Chronicle account of the revolt refers to Piers, seemingly as a real person who was a leader with Ball in the revolt. Similarly, early in the history of the poem's dissemination in manuscript form, Piers is often treated as the author of the poem. Since it is hard to see how this is credible to those who read the poem, perhaps the idea was that Piers was a mask for the author. Or, as the ideal character of the poem, Piers might be seen as a kind of alter-ego for the poet that was more important to his early readers than the obviously authorial narrator and his apparent self-disclosures as Will. Ironically, Will's name and identity were substantially lost.

text: In some contemporary chronicles of the Rising, Ball and the Lollards were blamed for the revolt, and Piers began to be associated with heresy and rebellion. The earliest literary works comprising the Piers Plowman tradition follow in the wake of these events, although they and their sixteenth-century successors are not anti-monarchical or supportive of rebellion. Like William Langland, who may have written the C-text version of Piers Plowman to disassociate himself from the Rising, they look for the reform of the English church and society by the removal of abuses in what the authors deem a restorative rather than an innovative project.

text: The first recorded owner of a copy of Piers Plowman was the  Irish judge Walter de Brugge, who died in 1396.

text: 16th–18th centuries[edit]

text: The most conspicuous omissions from William Caxton's press were the Bible and Piers Plowman. Robert Crowley's 1550 editions of Piers Plowman present the poem as a proto-Protestant goad to the reformation of religion and society. In the passus summaries in the second and third editions, Crowley emphasizes material in the poem warning of political instability and widespread corruption when the king is a child (as was then the case). Crowley may have made small attempts to remove or soften single references to transubstantiation, the Mass, purgatory, and the Virgin Mary as a mediator and object of devotion (although almost a dozen references to purgatory remain, as well as three significant references to Mary). He actually added a line to his second and third editions that clearly refers to Marian intercession (F1r). After 1550, it was not printed again until 1813 except for Owen Rogers' 1561 edition -- a cheap knock-off of Crowley's text. The few people who mention Piers Plowman before 1700 usually attribute it to someone other than Langland, and often it is unclear whether they are referring to Langland's poem or one of the many other texts circulating in print as part of the Piers Plowman tradition, particularly The Ploughman's Tale. Since Piers was conflated with the author and dreamer-narrator of the poem at an early date, "Piers Plowman" or a Latin equivalent is often given as the name of the author, which indicates unfamiliarity with, or disbelief of, Crowley's preface.

text: When Langland's poem is mentioned, it is often disparaged for its barbarous language. Similar charges were made against Chaucer, but he had more defenders and was already well established as a historical figure and "authority." Despite the work of Bale and Crowley, Langland's name appears to have remained unknown or unaccepted since other authors were suggested after Crowley's editions. Sometimes "Piers Plowman" was referred to as the author of the poem, and when writers refer to a list of medieval authors, they will often mention "Piers Plowman" as an author's name or a substitute for one. One gets the overall impression that Langland and Piers Plowman had less existence as author and text than did the fictional figure of Piers, whose relationship to a definite authorial and textual origin had been obscured much earlier.

text: Samuel Pepys owned a copy of Piers Plowman. Milton cites "Chaucer's Ploughman" in "Of Reformation" (1641) when he is discussing poems that have described Constantine as a major contributor to the corruption of the church. The end of Piers Plowman, Passus 15, makes this point at length—but it is also made briefly in one stanza in The Ploughman's Tale (ll. 693-700). In "An Apology for a Pamphlet ..." Milton refers to The Vision and Crede of Pierce Ploughman, which might mean one or both of these texts. Perhaps it refers to Rogers' 1561 edition which put them together. Henry Selden (1622) appears to have read the poem closely enough to admire it for its criticism of the church as well as its judgment and invention. John Weever (1631) also names Robert Langland, as does David Buchanan (1652). Buchanan, however, makes Langland a Scot and attributes other works to him aside from Piers Plowman. Thomas Fuller (1662) bases his remarks about Langland on Selden and Bale, emphasizing Langland's putative proto-Protestant status. Fuller also notes that The Praier and Complaynte of the Ploweman unto Christe was "first set forth by Tindal, since, exemplified by Mr. Fox." Since the language of this text is similar to that of Piers Plowman, Fuller attributes it to Langland as well. Thomas Dudley, father of Anne Dudley Bradstreet (1612–72), brought a copy of Crowley's Piers Plowman to America. Alexander Pope (1688–1744) owned a copy of Rogers' reprint of Crowley's edition of Piers Plowman with the Crede appended, and Isaac D'Israeli (1766–1848) wrote in his Amenities of Literature that Pope had "very carefully analyzed the whole" of the latter text. D'Israeli also mentions Lord Byron's (1788–1824) praise for Piers Plowman.

text: 19th–20th-21st centuries[edit]

text: With its old language and alien worldview, Piers Plowman fell into obscurity until the nineteenth century. Barring Rogers, after Crowley, the poem was not published in its entirety until Thomas Whitaker's 1813 edition. It emerged at a time when amateur philologists began the groundwork of what would later become a recognized scholarly discipline. Whitaker's edition was based on a C-text, whereas Crowley used a B-text for his base.

text: With Whitaker a modern editorial tradition began, with each new editor striving to present the "authentic" Piers Plowman and challenging the accuracy and authenticity of preceding editors and editions. Then, as before in the English Reformation, this project was driven by a need for a national identity and history that addressed present concerns, hence analysis and commentary typically reflected the critic's political views.[citation needed] In the hands of Frederick Furnivall and W. W. Skeat, Piers Plowman could be, respectively, a consciousness-raising text in the Working Man's College or a patriotic text for grammar school pupils. Piers Plowman has often been read primarily as a political document. In an 1894 study, J. J. Jusserand was primarily concerned with what he saw as the poem's psychological and sociopolitical content—as distinct from the aesthetic or literary—in a dichotomy common to all modern humanistic studies.

text: In "Le temps des laboureurs. Travail, ordre social et croissance en Europe (XIe-XIVe siècle)" (Albin Michel 2012) historian of medieval labour Mathieu Arnoux devotes particular attention to "Piers Plowman" in a breakthrough attempt to identify theological causes for the growth of agricultural production from the 11th century to the 14th century.

text: Related texts[edit]

text: Many subsequent texts – at least 14 – use characters from Piers Plowman, most often Piers himself. Many more texts were written with similar themes and characters, though not directly borrowing from Piers Plowman, until around the end of the 16th century. Conversely, Piers Plowman was preceded by and contemporary with a number of similar works in the 14th and 15th centuries. Together, these are referred to as the "Piers Plowman tradition".

text: Editions[edit]

text:
Kane, George, gen. ed. Piers Plowman: The A Version (Kane, ed.; rev. ed. London: Athlone, 1988); Piers Plowman: The B Version (Kane and Donaldson, eds.; rev. ed. London: Athlone, 1988); Piers Plowman: The C Version (George Russell and Kane, eds.; London: Athlone, 1997).
Pearsall, Derek, ed. William Langland. Piers Plowman: A New Annotated Edition of the C-Text (Exeter, UK: University of Exeter Press, 2008) (Exeter Medieval Texts and Studies).
Schmidt, A. V. C., Piers Plowman: A Parallel-Text Edition of the A, B, C, and Z Versions (3 vols.; Kalamazoo: Medieval Institute, 2011).
Vaughan, Míċeál F., Piers Plowman: The A Version (Baltimore: Johns Hopkins University Press, 2011).

text: Modernizations[edit]

text:
Donaldson, E. Talbot, Piers Plowman: the Donaldson translation (Norton Critical Editions, new ed. 2006).
Economou, George, William Langland's Piers Plowman: The C version (Philadelphia: University of Pennsylvania Press, 1996).
Peter Sutton, Piers Plowman: A Modern Verse Translation (Jefferson, NC: Marland, 2014)

text: Adaptations[edit]

text: In 2017, a UK theatre production of the poem was developed by Tom Chivers, under the moniker 'Fair Field'.[3][4] It included an exhibition at the National Poetry Library and a series of podcasts published by the Guardian.[5]