document_title: The Silence of the Lambs (film)

question_text: who played hannibal lecter in silence of the lamb

root

text: The Silence of the Lambs (film)

text: Plot

text: FBI trainee and UVA graduate, Clarice Starling, is pulled from her training at the FBI Academy at Quantico, Virginia by Jack Crawford of the Bureau's Behavioral Science Unit. He assigns her to interview Hannibal Lecter, a former psychiatrist and incarcerated cannibalistic serial killer, whose insight might prove useful in the pursuit of a serial killer nicknamed "Buffalo Bill", who skins his female victims' corpses.

tag: p

text: Starling travels to the Baltimore State Hospital for the Criminally Insane, where she is led by Dr. Frederick Chilton to Lecter's solitary quarters. Although initially pleasant and courteous, Lecter grows impatient with Starling's attempts at "dissecting" him and rebuffs her. As she is leaving, one of the prisoners flicks semen at her. Lecter, who considers this act "unspeakably ugly", calls Starling back and tells her to seek out an old patient of his. This leads her to a storage shed, where she discovers a man's severed head with a sphinx moth lodged in its throat. She returns to Lecter, who tells her that the man is linked to Buffalo Bill. He offers to profile Buffalo Bill on the condition that he may be transferred away from Chilton, whom he detests.

text: Buffalo Bill abducts a Senator's daughter, Catherine Martin. Crawford authorizes Starling to offer Lecter a fake deal, promising a prison transfer if he provides information that helps them find Buffalo Bill and rescue Catherine. Instead, Lecter demands a quid pro quo from Starling, offering clues about Buffalo Bill in exchange for personal information. Starling tells Lecter about the murder of her father when she was ten years old. Chilton secretly records the conversation and reveals Starling's deceit before offering Lecter a deal of Chilton's own making. Lecter agrees and is flown to Memphis, Tennessee, where he verbally torments Senator Ruth Martin, and gives her misleading information on Buffalo Bill, including the name "Louis Friend".

text: Starling notices that "Louis Friend" is an anagram of "iron sulfide" — fool's gold. She visits Lecter, who is now being held in a cage-like cell in a Tennessee courthouse, and asks for the truth. Lecter tells her that all the information she needs is contained in the case file. Rather than give her the real name, he insists that they continue their quid pro quo and she recounts a traumatic childhood incident where she was awakened by the sound of spring lambs being slaughtered on a relative's farm in Montana. Starling admits that she still sometimes wakes thinking she can hear lambs screaming, and Lecter speculates that she is motivated to save Catherine in the hope that it will end the nightmares. Lecter gives her back the case files on Buffalo Bill after their conversation is interrupted by Chilton and the police, who escort her from the building. Later that evening, Lecter kills his guards, escapes from his cell, and disappears.

text: Starling analyzes Lecter's annotations to the case files and realizes that Buffalo Bill knew his first victim personally. Starling travels to the victim's hometown and discovers that Buffalo Bill was a tailor, with dresses and dress patterns identical to the patches of skin removed from each of his victims. She telephones Crawford to inform him that Buffalo Bill is trying to form a "woman suit" out of real skin, but Crawford is already en route to make an arrest, having cross-referenced Lecter's notes with hospital archives and finding a transsexual man named Jame Gumb, who once applied unsuccessfully for a sex-change operation. Starling continues interviewing friends of Buffalo Bill's first victim in Ohio, while Crawford leads an FBI HRT team to Gumb's address in Illinois. The house in Illinois is empty, and Starling is led to the house of "Jack Gordon", who she realizes is actually Jame Gumb, again by finding a sphinx moth. She pursues him into his multi-room basement, where she discovers that Catherine is still alive, but trapped in a dry well. After turning off the basement lights, Gumb stalks Starling in the dark with night-vision goggles, but gives his position away when he cocks his revolver. Starling reacts just in time and fires all of her rounds at Gumb, killing him.

text: Sometime later, at the FBI Academy graduation party, Starling receives a phone call from Lecter, who is at an airport in Bimini. He assures her that he does not plan to pursue her and asks her to return the favor, which she says she cannot do. Lecter then hangs up the phone, saying that he is "having an old friend for dinner", and starts following a newly arrived Chilton before disappearing into the crowd.

text: Cast

text:
Jodie Foster as Clarice Starling

Masha Skorobogatov as young Clarice

Anthony Hopkins as Dr. Hannibal Lecter
Scott Glenn as Jack Crawford
Ted Levine as Jame "Buffalo Bill" Gumb
Anthony Heald as Dr. Frederick Chilton
Brooke Smith as Catherine Martin
Diane Baker as U.S. Senator Ruth Martin
Kasi Lemmons as Ardelia Mapp
Frankie Faison as Barney Matthews
Tracey Walter as Lamar
Charles Napier as Lt. Boyle
Danny Darst as Sgt. Tate
Alex Coleman as Sgt. Jim Pembry
Dan Butler as Roden
Paul Lazar as Pilcher
Ron Vawter as Paul Krendler
Roger Corman as FBI Director Hayden Burke
Chris Isaak as SWAT Commander
Harry Northup as Mr. Bimmel
Don Brockett as cellmate and "Pen Pal"
George A. Romero as FBI Agent in Memphis

tag: ul

text: Production

text: Development

text: The Silence of the Lambs is based on Thomas Harris' 1988 novel of the same name and is the second film to feature the character Hannibal Lecter following the 1986 film Manhunter. Prior to the novel's release, Orion Pictures partnered with Gene Hackman to bring the novel to the big screen. With Hackman set to direct and possibly star in the role of Lecter, negotiations were made to split the $500,000 cost of rights between Hackman and the studio.[6] In addition to securing the rights to the novel, producers also had to acquire the rights to the name "Hannibal Lecter", which were owned by Manhunter producer Dino De Laurentiis. Owing to the financial failure of the earlier film, De Laurentiis lent the character rights to Orion Pictures for free.[7]

text: In November 1987, Ted Tally was brought on to write the adaptation;[8] Tally had previously crossed paths with Harris many times, with his interest in adapting The Silence of the Lambs originating from receiving an advance copy of the book from Harris himself.[9] When Tally was about halfway through with the first draft, Hackman withdrew from the project and financing fell through. However, Orion Pictures co-founder Mike Medavoy assured Tally to keep writing as the studio itself took care of financing and searched for a replacement director.[10] As a result, Orion Pictures sought director Jonathan Demme to helm the project. With the screenplay not yet completed, Demme signed on after reading the novel.[11] From there, the project quickly took off, as Tally explained, "[Demme] read my first draft not long after it was finished, and we met, then I was just startled by the speed of things. We met in May 1989 and were shooting in November. I don't remember any big revisions."[12]

text: Casting

text: Jodie Foster was interested in playing the role of Clarice Starling immediately after reading the novel. However, despite Foster's having just won an Academy Award for her performance in the 1988 film The Accused, Demme was not convinced that she was right for the part.[13][14] Having previously collaborated on Married to the Mob, Demme's first choice for the role of Starling was Michelle Pfeiffer, who turned it down, later saying, "It was a difficult decision, but I got nervous about the subject matter".[15] As a result, Foster was awarded the role due to her passion towards the character.[16]

text: For the role of Dr. Hannibal Lecter, Demme originally approached Sean Connery. After the actor turned it down, Anthony Hopkins was then offered the part based on his performance in The Elephant Man.[17] Other actors considered for the role included Al Pacino[18], Robert De Niro[18], Dustin Hoffman[18], Derek Jacobi[19] and Daniel Day-Lewis.[19]

text: Gene Hackman was originally going to play Jack Crawford, the Agent-in-Charge of the Behavioral Science Unit of the FBI in Quantico, Virginia but he found the script "too violent."[18] Scott Glenn was then cast in the role. To prepare for the role, Glenn met with John E. Douglas, after whom the character is modeled. Douglas gave Glenn a tour of the Quantico facility and also played for him an audio tape containing various recordings that serial killers Lawrence Bittaker and Roy Norris had made of themselves raping and torturing a 16-year-old girl.[20][21] According to Douglas, Glenn wept as he experienced the recordings and even changed his liberal stance on the death penalty.[22]

text: Filming

text: Principal photography for The Silence of the Lambs began on November 15, 1989 and concluded on March 1, 1990.[23] Filming primarily took place in and around Pittsburgh, Pennsylvania, with some scenes shot in nearby northern West Virginia.[24] The home of Buffalo Bill used for exterior scenes was in Layton, Pennsylvania.[25][26] The exterior of the Western Center near Canonsburg, Pennsylvania served as the setting for Baltimore State Hospital for the Criminally Insane.[27] In what was a rare act of cooperation at the time, the FBI allowed scenes to be filmed at the FBI Academy in Quantico; some FBI staff members even acted in bit parts.[28][29]

text: Music

text:
The Silence of the Lambs: The Original Motion Picture Score

Film score by Howard Shore

Released
February 5, 1991

Recorded
August, 1990 in Munich

Length
57:09

Label
MCA Records

Producer
Howard Shore

Howard Shore chronology

Big
(1988)Big1988
The Silence of the Lambs
(1991)
Naked Lunch
(1991)Naked Lunch1991

Hannibal Lecter chronology

Manhunter
(1986) Manhunter1986
The Silence of the Lambs
(1991) The Silence of the Lambs1991
Hannibal
(2001) Hannibal2001

tag: table

text:
Professional ratings

Review scores

Source
Rating

Allmusic

Filmtracks.com

text: The musical score for The Silence of the Lambs was composed by Howard Shore, who would also go on to collaborate with Demme on Philadelphia. Recorded in Munich during the latter half of the summer of 1990, the score was performed by the Munich Symphony Orchestra.[30] "I tried to write in a way that goes right into the fabric of the movie," explained Shore on his approach. "I tried to make the music just fit in. When you watch the movie you are not aware of the music. You get your feelings from all elements simultaneously, lighting, cinematography, costumes, acting, music. Jonathan Demme was very specific about the music."[31] A soundtrack album was released by MCA Records on February 5, 1991.[32] Music from the film was later used in the trailers for its sequel, Hannibal.[33]

text: The tune played by the music box which Starling finds in the bedroom of Buffalo Bill's first victim is taken from Mozart's opera The Magic Flute. It is, ironically, the tune played by Papageno's magical bells, which charms his enemies and protects him from danger.

text:
The Silence of the Lambs: The Original Motion Picture Score

No.
Title
Length

1.
"Main Title"
5:04

2.
"The Asylum"
3:53

3.
"Clarice"
3:03

4.
"Return to the Asylum"
2:35

5.
"The Abduction"
3:01

6.
"Quid Pro Quo"
4:41

7.
"Lecter in Memphis"
5:41

8.
"Lambs Screaming"
5:34

9.
"Lecter Escapes"
5:06

10.
"Belvedere, Ohio"
3:32

11.
"The Moth"
2:20

12.
"The Cellar"
7:02

13.
"Finale"
4:50

Total length:
57:09

text: Release

text: The Silence of the Lambs was released on February 14, 1991, grossing $14 million during its opening weekend. At the time it closed on October 10, 1991, the film had grossed $131 million domestically with a total worldwide gross of $273 million.[34] It was the fourth highest-grossing film of 1991.[35]

text: Critical reception

text: The Silence of the Lambs was a sleeper hit that gradually gained widespread success and critical acclaim.[36] Hopkins, Foster, and Levine garnered much acclaim for their performances. Review aggregator Rotten Tomatoes reports that 95% of 73 film critics have given the film a positive review, with an average rating of 8.5 out of 10. The site's consensus reads: "Director Jonathan Demme's smart, taut thriller teeters on the edge between psychological study and all-out horror, and benefits greatly from stellar performances by Anthony Hopkins and Jodie Foster."[37] Metacritic, another review aggregator, assigned the film a weighted average score of 84 out of 100, based on 17 reviews from mainstream critics, indicating "universal acclaim".[38] Audiences polled by CinemaScore gave the film an average grade of "A-" on an A+ to F scale.[39]

text: Roger Ebert, of the Chicago Sun-Times, specifically mentioned the "terrifying qualities" of Hannibal Lecter.[40] Ebert later added the film to his list of The Great Movies, recognizing the film as a "horror masterpiece" alongside such classics as Nosferatu, Psycho, and Halloween.[41] However, the film is also notable for being one of two multi-Academy Award winners (the other being Unforgiven) disapproved of by Ebert's colleague, Gene Siskel. Writing for the Chicago Tribune, Siskel said, "Foster's character, who is appealing, is dwarfed by the monsters she is after. I'd rather see her work on another case."[42]

text: Accolades

text:
Academy Awards record

Best Picture, Edward Saxon, Kenneth Utt, Ronald M. Bozman

Best Director, Jonathan Demme

Best Actor, Anthony Hopkins

Best Actress, Jodie Foster

Best Adapted Screenplay, Ted Tally

Golden Globe Awards record

Best Actress, Jodie Foster

British Academy Film Awards record

Best Actor, Anthony Hopkins

Best Actress, Jodie Foster

text: The film won the Big Five Academy Awards: Best Picture, Best Director (Demme), Best Actor (Hopkins), Best Actress (Foster), and Best Adapted Screenplay (Ted Tally), making it only the third film in history to accomplish that feat.[43] It was also nominated for Best Sound Mixing (Tom Fleischman and Christopher Newman) and Best Film Editing, but lost to Terminator 2: Judgment Day and JFK, respectively.[44]

text: Other awards include being named Best Film by the National Board of Review of Motion Pictures, CHI Awards and PEO Awards. Demme won the Silver Bear for Best Director at the 41st Berlin International Film Festival[45] and was nominated for the Golden Globe Award for Best Director. The film was nominated for the Grand Prix of the Belgian Film Critics Association. It was also nominated for the British Academy Film Award for Best Film. Screenwriter Ted Tally received an Edgar Award for Best Motion Picture Screenplay. The film was awarded Best Horror Film of the Year during the 2nd Horror Hall of Fame telecast, with Vincent Price presenting the award to the film's executive producer Gary Goetzman.[46]

text: In 1998, the film was listed as one of the 100 greatest films in the past 100 years by the American Film Institute.[47] In 2006, at the Key Art Awards, the original poster for The Silence of the Lambs was named best film poster "of the past 35 years".[48] The Silence of the Lambs placed seventh on Bravo's The 100 Scariest Movie Moments for Lecter's escape scene. The American Film Institute named Hannibal Lecter (as portrayed by Hopkins) the number one film villain of all time[49] and Clarice Starling (as portrayed by Foster) the sixth-greatest film hero of all time.[49] In 2011, ABC aired a prime-time special, Best in Film: The Greatest Movies of Our Time, that counted down the best films chosen by fans based on results of a poll conducted by ABC and People magazine. The Silence of the Lambs was selected as the No. 1 Best Suspense/Thriller and Dr. Hannibal Lecter was selected as the No. 4 Greatest Film Character.

text: The film and its characters have appeared in the following AFI "100 Years" lists:

text:
AFI's 100 Years...100 Movies—#65
AFI's 100 Years...100 Thrills—#5
AFI's 100 Years...100 Heroes and Villains:

Hannibal Lecter—#1 Villain
Clarice Starling—#6 Hero
"Buffalo Bill" (Jame Gumb)—Nominated Villain

AFI's 100 Years...100 Movie Quotes:

"A census taker once tried to test me. I ate his liver with some fava beans and a nice Chianti."—#21
"I do wish we could chat longer, but I'm having an old friend for dinner."—Nominated

AFI's 100 Years of Film Scores—Nominated
AFI's 100 Years...100 Movies (10th Anniversary Edition)—#74

text: In 2015, Entertainment Weekly's 25th anniversary year, it included The Silence of the Lambs in its list of the 25 best movies made since the magazine's beginning.[50]

text:
Organization/Association
Award
Actor/Crew
Outcome
Remarks

64th Academy Awards
Best Actor
Anthony Hopkins
Won

Best Actress
Jodie Foster
Won

Best Adapted Screenplay
Ted Tally
Won
Adapted from The Silence of the Lambs by Thomas Harris

Best Director
Jonathan Demme
Won

Best Picture
Edward Saxon, Kenneth Utt, Ron Bozman
Won

Best Film Editing
Craig McKay
Nominated

Best Sound Mixing
Tom Fleischman, Christopher Newman
Nominated

49th Golden Globe Awards
Best Actress in a Motion Picture – Drama
Jodie Foster
Won

Best Actor – Motion Picture Drama
Anthony Hopkins
Nominated

Best Director
Jonathan Demme
Nominated

Best Motion Picture – Drama
Kenneth Utt
Nominated

Best Screenplay
Ted Tally
Nominated

45th British Academy Film Awards
Best Actor in a Leading Role
Anthony Hopkins
Won

Best Actress in a Leading Role
Jodie Foster
Won

Best Adapted Screenplay
Ted Tally
Nominated

Best Cinematography
Tak Fujimoto
Nominated

Best Direction
Jonathan Demme
Nominated

Best Editing
Craig McKay
Nominated

Best Film
Ron Bozman, Edward Saxon, Kenneth Utt
Nominated

Best Film Music
Howard Shore
Nominated

Best Sound
Skip Lievsay, Christopher Newman, Tom Fleischman
Nominated

text: Accusations of homophobia, transphobia and sexism

text: Upon its release, The Silence of the Lambs was criticized by members of the LGBT community for its portrayal of Buffalo Bill as bisexual and transsexual. In response to the critiques, Demme replied that Buffalo Bill "wasn't a gay character. He was a tormented man who hated himself and wished he was a woman because that would have made him as far away from himself as he possibly could be." Demme added that he "came to realize that there is a tremendous absence of positive gay characters in movies".[51]

text: In a 1992 interview with Playboy magazine, notable feminist and women's rights advocate Betty Friedan stated, "I thought it was absolutely outrageous that The Silence of the Lambs won four  [sic] Oscars. […] I'm not saying that the movie shouldn't have been shown. I'm not denying the movie was an artistic triumph, but it was about the evisceration, the skinning alive of women. That is what I find offensive. Not the Playboy centerfold."[52]


document_title: Stanza

question_text: what is the meaning of stanza in poetry

question_tokens: what is the meaning of stanza in poetry

text: Stanza

text: Look up stanza in Wiktionary, the free dictionary.

text: In poetry, a stanza (/ˈstænzə/; from Italian stanza [ˈstantsa], "room") is a grouped set of lines within a poem, usually set off from other stanzas by a blank line or indentation.[1] Stanzas can have regular rhyme and metrical schemes, though stanzas are not strictly required to have either. Even though the term "stanza" is taken from Italian, in the Italian language the word "strofa" is more commonly used. There are many unique forms of stanzas. Some stanzaic forms are simple, such as four-line quatrains. Other forms are more complex, such as the Spenserian stanza. Fixed verse poems, such as sestinas, can be defined by the number and form of their stanzas. The term stanza is similar to strophe, though strophe sometimes refers to irregular set of lines, as opposed to regular, rhymed stanzas.[2]

text: The stanza in poetry is analogous with the paragraph that is seen in prose; related thoughts are grouped into units.[3] In music, groups of lines are typically referred to as verses. The stanza has also been known by terms such as batch, fit, and stave.[4]

text: Example[edit]

text: This short poem by Emily Dickinson has two stanzas of four lines each.

text:
I had no time to hate, because
The grave would hinder me,
And life was not so ample I
Could finish enmity.

Nor had I time to love; but since
Some industry must be,
The little toil of love, I thought,
Was large enough for me.[5]

text: Example[edit]

text: This poem by Andrew John Young has three stanzas of six lines each

text:
Frost called to the water Halt
And crusted the moist snow with sparkling salt;
Brooks, their one bridges, stop,
And icicles in long stalactites drop.
And tench in water-holes
Lurk under gluey glass like fish in bowls.

In the hard-rutted lane
At every footstep breaks a brittle pane,
And tinkling trees ice-bound,
Changed into weeping willows, sweep the ground;
Dead boughs take root in ponds
And ferns on windows shoot their ghostly fronds.

But vainly the fierce frost
Interns poor fish, ranks trees in an armed host,
Hangs daggers from house-eaves
And on the windows ferny ambush weaves;
In the long war grown warmer
The sun will strike him dead and strip his armour.[6]


document_title: List of Mexican states by population

question_text: what is the most populous state in mexico

text: List of Mexican states by population

text: The following table is a list of the 31 federal states and the Federal District of Mexico, ranked in order of their total population based on data from a 2015 Intercensal Survey, as well as the censuses of 2010 and 2000. All numbers are from the National Institute of Statistics, Geography, and Data Processing.[1]

text:
Rank
State
Population (2015)[2]
Population (2010)[3]
Population (2000)[4]

1
 México
16,187,608
15,175,862
13,096,686

2
 Ciudad de México
8,918,653
8,851,080
8,605,239

3
 Veracruz
8,112,505
7,643,194
6,908,975

4
 Jalisco
7,844,830
7,350,682
6,322,002

5
 Puebla
6,168,883
5,779,829
5,076,686

6
 Guanajuato
5,853,677
5,486,372
4,663,032

7
 Chiapas
5,217,908
4,796,580
3,920,892

8
 Nuevo León
5,119,504
4,653,458
3,834,141

9
 Michoacán
4,584,471
4,351,037
4,384,471

10
 Oaxaca
3,967,889
3,801,962
3,438,765

11
 Chihuahua
3,556,574
3,406,465
3,052,907

12
 Guerrero
3,533,251
3,388,768
3,079,649

13
 Tamaulipas
3,441,698
3,268,554
2,753,222

14
 Baja California
3,315,766
3,155,070
2,487,367

15
 Sinaloa
2,966,321
2,767,761
2,536,844

16
 Coahuila de Zaragoza
2,954,915
2,748,391
2,298,070

17
 Hidalgo
2,858,359
2,665,018
2,235,591

18
 Sonora
2,850,330
2,662,480
2,216,969

19
 San Luis Potosí
2,717,820
2,585,518
2,299,360

20
 Tabasco
2,395,272
2,238,603
1,891,829

21
 Yucatán
2,097,175
1,955,577
1,658,210

22
 Querétaro de Arteaga
2,038,372
1,827,937
1,404,306

23
 Morelos
1,903,811
1,777,227
1,555,296

24
 Durango
1,754,754
1,632,934
1,448,661

25
 Zacatecas
1,579,209
1,490,668
1,353,610

26
 Quintana Roo
1,501,562
1,325,578
874,963

27
 Aguascalientes
1,312,544
1,184,996
944,285

28
 Tlaxcala
1,272,847
1,169,936
962,646

29
 Nayarit
1,181,050
1,084,979
920,185

30
 Campeche
899,931
822,441
690,689

31
 Baja California Sur
712,029
637,026
424,041

32
 Colima
711,235
650,555
542,627

Total
119,530,753
112,336,538
97,483,412


document_title: Legal drinking age

question_text: what's the drinking age in puerto rico 2017

question_tokens: what 's the drinking age in puerto rico 2017

text: Legal drinking age

text: Africa[edit]

text:
Country/region
De jure
Notes

Drinking Age
Purchase age

 Algeria
18[2]

 Angola
18[citation needed]

 Botswana
18[2]

 Burundi
16[2]
No limit if accompanied by parents[citation needed]

 Cameroon
18
21
18 on the premises, 21 off the premises[citation needed]

 Cape Verde
18[citation needed]

 Central African Republic
18[citation needed]

 Comoros
None[citation needed]

 Egypt
21[2]

 Equatorial Guinea
18[citation needed]

 Eritrea
18[2]

 Ethiopia
18[2]

 Gabon
18[2]

 Gambia
18[2]

 Ghana
18[3]

 Guinea-Bissau
None[2]

 Kenya
18[2]

 Lesotho
18[2]

 Libya
Illegal[2]

 Malawi
18[2]

 Mauritius
18[2]

 Morocco
18[citation needed]
Forbidden for Muslims[2]

 Mozambique
18[2]

 Namibia
18[2]

 Niger
18[2]

 Nigeria
18[citation needed]

 Republic of the Congo
18[citation needed]

 Rwanda
18[2]

 Senegal
18[citation needed]

 Seychelles
18[2]

 Somalia
Illegal[4]

 South Africa
18
The parent, adult guardian of a minor or a person responsible for administering a religious sacrament, may on occasion supply to that minor a moderate quantity of liquor to be consumed by the minor in the presence and under the supervision of that parent, guardian or other person.[5]

 South Sudan
18[6]

 Sudan
Illegal[7]

 Swaziland
18[2]

 Tanzania
18[8]

 Togo
None[2]

 Tunisia
18[citation needed]

 Uganda
18[2]

 Western Sahara
16[citation needed]

 Zambia
18[2]

 Zimbabwe
18[2]

text: Americas[edit]

text:
Country/region
De jure
Notes

Drinking age
Purchase age

 Anguilla
16[citation needed]

 Antigua and Barbuda
16[9]
The sale and distribution of alcohol to a person under 16 years of age is illegal.

 Argentina
18[10]

 Bahamas
18[2]

 Barbados
18[11]
Those aged 10–17 are allowed to consume alcohol provided they are with a parent or guardian.

 Belize
18[12]
Drinking age is rarely enforced. IDs are almost never requested.

 Bermuda
18[13]

 Bolivia
18[2]

 Brazil
18[2]

 British Virgin Islands
16[12]
It is illegal to sell or to supply alcohol to anyone under the age of 16.

 Canada
18[14][15][16]
In Alberta, Manitoba and Quebec, the legal drinking age is 18.

19[14][15][16]
In Ontario, Saskatchewan, British Columbia, Newfoundland and Labrador, Nova Scotia, New Brunswick, Prince Edward Island, Northwest Territories, Yukon, and Nunavut, the legal drinking age is 19.

 Cayman Islands
18[17]

 Chile
18[2]
The minimum age is 18 to enter an enclosure that sells alcoholic beverages. Selling alcohol to a minor may incur a fine. One must provide identification upon request. Residents of Chile over the age of 18 must carry their Chilean identification card issued by the Civil Registry and Identification Service at all times.[18]

 Colombia
18[2]

 Costa Rica
18[2]

 Cuba
16[2]

 Dominican Republic
18[19]

 Ecuador
18[2]

 El Salvador
18[2]

 Falkland Islands
18[citation needed]

 Grenada
16[citation needed]

 Guatemala
18[2]

 Guyana
18[2]
Except 16 for wine or malt liquor to be consumed with a meal

 Haiti
None[2]

 Honduras
18[2]

 Jamaica
None[citation needed]
18[citation needed]
Minors can drink if accompanied by parent or legal guardian as well as someone with permission from their parent or legal guardian.[citation needed]

 Mexico
18[2]
A person must be eighteen years or over to legally purchase and consume alcoholic beverages in Mexico. The drinking age however isn't strictly enforced, and IDs are barely requested.[citation needed]

 Nicaragua
18[2]

 Panama
18[2]

 Paraguay
20[20]

According to Art. 1° of the law to "ban on the sale of alcoholic beverages to minors", it is illegal to serve or sell alcohol or to allow the consumption by minors under 20 years of age.
Furthermore, under Art 2° all public establishments selling alcohol must display a clearly legible notice in the sales area with the following text: "ESTA PROHIBIDA LA VENTA DE BEBIDAS ALCOHÓLICAS A MENORES DE VEINTE AÑOS DE EDAD" (It is illegal (prohibited) to sell alcoholic beverages to minors under 20 years of age)

 Peru
18[2]

 Puerto Rico
18
The minimum age for the selling of any alcohol beverage is 18. Although a valid Puerto Rico license ID or passport is required as proof of age to buyers who look under the age of 18, it is generally not a common practice to ask for ID to enter a venue that sells alcohol or to sell you alcohol at other establishments. This law can be more enforced in some tourist areas and on foreigners visiting the island by some more exclusive hotels, bars, and upscale clubs. A few of the more exclusive venues in the tourist areas may have their own entrance rules regarding age including not allowing anyone under the age of 25 or 23 to enter and consume alcohol or change this depending on specific nights/events and restricted by gender/sex (i.e. women over 18 allowed to enter but only men over 21 on that same night).[citation needed]

 Trinidad and Tobago
18[2]

 Turks and Caicos Islands
18[citation needed]

 United States
(50 states and integral territories)
Varies by jurisdiction[2]
21[2]
The National Minimum Drinking Age Act of 1984 withholds revenue from states that allow the purchase of alcohol by anyone under the age of twenty-one. Prior to the effective date of that Act, the drinking age varied from state to state. Some states do not allow those under the legal drinking age to be present in liquor stores or in bars (usually, the difference between a bar and a restaurant is that food is served only in the latter). Contrary to popular belief, since the act went into law, only a few states prohibit minors and young adults from consuming alcohol in private settings. As of January 1, 2010, fifteen states and the District of Columbia ban underage consumption outright, seventeen states do not ban underage consumption, and the remaining eighteen states have family member or location exceptions to their underage consumption laws.
Federal law explicitly provides for religious exceptions. As of 2005, thirty-one states have family member or location exceptions to their underage possession laws. However, non-alcoholic beer in many (but not all) states, such as Idaho, Texas, and Maryland, is considered legal for those under the age of twenty-one.[21]
By a judge's ruling, South Carolina appears to allow the possession and consumption of alcohol by adults eighteen to twenty years of age, but a circuit court judge has said otherwise.[22]
The states of Washington and Wisconsin allows the consumption of alcohol in the presence of parents.
Some U.S. states have legislation that make providing to and possession of alcohol by persons under twenty-one a gross misdemeanor with a potential penalty of a $5,000 fine or up to year in jail.[23]
See also: Minor in Possession and List of alcohol laws of the United States

 United States Virgin Islands
18[24]

 Uruguay
18[2]

 Venezuela
18[2]

text: Asia[edit]

text:
Country/region
De jure
Notes

Drinking age
Purchase age

 Afghanistan
Illegal[25]

 Bangladesh
Illegal for Muslims [26]
Alcohol will be sold to foreigners in certain locations, albeit clandestinely.

 Bhutan
18[27]

 Brunei
17 with restrictions, unless Muslim[2]
Non-Muslims over 17 years of age are allowed to import alcohol not to exceed maximum total volume 2 liters of liquor and 12 cans of beer at 330 ml for personal use, once in 48 hours. This alcohol must be “stored and consumed at the place of residence of the importer” and is “not to be given, transferred or sold to another person.”.[2]

 Cambodia
None[28]

 China
18[2]
Introduced in January 2006.[29] Weakly enforced to not enforced.

 Hong Kong
18[30]
The regulation is only applicable to restaurants, bars and clubs, where a liquor license is required. Private drinking is also not regulated.

 India
18–25 (varies between states)[2]

Main article: Alcohol laws of India
Consumption of alcohol is prohibited in the states of Bihar, Gujarat and Nagaland.[31]

 Indonesia
21[32]

 Iran
Illegal [2]
There is a ban on alcohol, but religious minorities may purchase small amounts from shops owned by the same religious minority.[33]

 Iraq
18[34]

 Israel
None
18[2]
Israel law prohibits selling or serving alcohol to minors, but it does not prohibit minors to drink.

 Japan
20[2]

 Jordan
18[35]

 Kazakhstan
21[36]

 Kuwait
Illegal[37]

 Kyrgyzstan
18[2]

 Lebanon
18[2]
Often unenforced and according to a global school health study, 40% of minors over 13 drink alcohol and up to 25% buy it from stores.[38]

 Macau
None[citation needed]

 Malaysia
18
Will be increased to 21 on 1 December 2017[39]

 Maldives
Illegal except for tourists, 18[citation needed]
Sale of alcohol is limited to tourist resorts. It is illegal to sell alcohol to local Maldivians[40]

 Mongolia
18[41]

 Myanmar
None
18[42]

   Nepal
18
The legal age for consumption of alcohol in Nepal is 18. However, there are exceptions to underage consumption for purposes of religious ceremonies.[citation needed]

 North Korea
18[43]

 Oman
21
Residents need personal liquor licenses to consume alcohol in their private residences.[44]

 Pakistan
Illegal [2]
Non-Muslim citizens may possess alcohol to be used in accordance with religious ceremonies[2]

 Palestinian Authority
16[citation needed]
Legal in most cities

 Philippines
18[45]

 Qatar
19[citation needed]
Muslims are allowed to purchase alcohol, but generally not allowed to consume. Non Muslims are allowed to purchase, and consume alcohol. The only legal distributor of alcohol in the country is the Qatar Distribution Company located in Doha.[citation needed]

 Saudi Arabia
Illegal
Drinking or possessing alcohol is illegal in the Kingdom of Saudi Arabia. Persons who drink or possess alcohol are subject to arrest and trial. Punishments range from heavy fines, lengthy prison terms and whippings.[citation needed]

 Singapore
None (Private places, sometimes with permission from parents/guardian)
18 (Public places e.g. bars and restaurants)
18[2]

Main Legislation

Drinking alcohol is strictly forbidden in public places in reaction to 2013 Little India riot, after the Committee of Inquiry accepts the recommendations on 7 July 2014.
For convenience stores, those who pretend to be 18 years and above in a "Challenge 18" scheme will be downgraded to "Challenge 21" scheme, and after which the licences will be revoked once they pretend to be 18 years and above if it is on "Challenge 21".
It is illegal to purchase alcohol in Singapore or consume in a nightclub/allow entry to the nightclub under 18. Home and private drinking of alcohol is allowed, although the safest age could be 6. Parents can try a sip of alcohol at any age.[citation needed]

 South Korea
None
19[citation needed]
The age limit for alcohol is after January 1 of the year one's age turns to 19.[citation needed]

 Sri Lanka
21[2]

 Syria
18[citation needed]

 Taiwan
18[46]

It is illegal for anyone under the age of 18 to consume alcohol.[47]
Parents, guardians, and others taking care of people under 18 shall prohibit underage drinking,[48] or risk administrative fines of 10000 to 50000 new Taiwan dollars when the situations are serious.[49]
One shall not supply alcohol to anyone under the age of 18.[50] A violator shall be administratively fined 3000 to 15000 New Taiwan Dollars.[51]

 Tajikistan
18[2]

 Thailand
20[52]
The Alcoholic Beverage Control Act of 2008 increased the drinking age in Thailand from 18 to 20, private drinking is not regulated in private locations.[52][53]

 Turkmenistan
18[2]

 United Arab Emirates
18–21 (varies between states).[54]
Expatriate non-Muslim residents may request a liquor permit to purchase alcoholic beverages, but it is illegal for such holders to provide drinks to others.[55]
The legal age for drinking alcohol is 18 in Abu Dhabi (although a Ministry of Tourism by-law allows hotels to serve alcohol only to those over 21), and 21 in Dubai and the Northern Emirates (except Sharjah, where drinking alcohol is illegal).[54]
It is a punishable offence to drink, or to be under the influence of alcohol, in public.[54]

 Uzbekistan
None
20[2]

 Vietnam
None[citation needed]

 Yemen
Illegal[citation needed]
Exception is in Aden Region where it's legal for 21 and up[citation needed]

text: Europe[edit]

text:
Country/region
De jure
Notes

Drinking age
Purchase age

 Albania
18[2]

 Armenia
None
18
There are no laws mandating alcohol vendors to ID potential underage drinkers. ID checks are very rarely, if ever, carried out.[citation needed]

 Austria
16
 Burgenland,  Lower Austria and  Vienna[56]

16 for beer and wine
18 for distilled beverages
 Carinthia,  Upper Austria,  Salzburg,  Styria,  Tyrol and  Vorarlberg[56]
Carinthia also requires adolescents to maintain a blood alcohol level below 0.05%.

 Azerbaijan
18[2]

 Belarus
18[2]

 Belgium
None
16 for beer and wine
18 for spirits[57]
Since 10 January 2010, it is illegal to "sell, serve, or offer" any form of distilled alcohol to those under the age of 18 or any alcoholic drink to those under 16. So fermented drinks like beer or wine are permitted above 16.[57] Previously, it was illegal to sell alcoholic drinks to under-16s, but accompanying adults could buy drinks for them.

 Bosnia and Herzegovina
None
18[58]

 Bulgaria
18[2]

 Croatia
18[2]

 Cyprus
17[59]

 Czech Republic
None
18[60]
It is illegal to provide alcohol to minors[61] (punishable by fine or up to 1[62] or 2[63] year(s) imprisonment). Consumption itself is not prohibited by law.[64]

 Denmark
None
16 to buy alcohol <16.5% ABV
18 to buy alcohol ≥16.5% ABV
18 to be served in restaurants, bars, discos etc.[2]
While there is no age requirement for drinking alcohol in Denmark, there are laws that prevent minors from buying alcohol:

In order to buy alcohol above 1.2% and below 16.5% ABV in stores, one must be 16 years of age.
In order to buy alcohol above 16.5% ABV in stores, one must be 18 years of age.[65]
To be served alcoholic drinks in bars, discos, clubs, restaurants and any establishment serving alcoholic beverages one must be 18 years of age.

By tradition, youths are privately allowed to drink alcohol after their confirmation.[66] If a shop or bar fails to ask for an ID card and is identified having sold alcohol to an underage, it is subject to fine. A national ID card, obtained in the local town hall, can serve as age verification.[67] This card is rarely used though since a passport or drivers license is more commonly used.[68]
Both the legal drinking and purchasing age in the Faroe Islands is 18.[citation needed]

 Estonia
18[69]

 Finland
18 for possession and purchase of 1.2–22% ABV
20 for possession and purchase of 23–80% ABV
18 for all in bars, clubs and restaurants[70]
All major grocery chains have implemented a policy to ask for ID if the customer looks under 30.[71] Stores may refuse to sell alcohol if the customer is accompanied by a minor, or if proxy purchasing is suspected. Purchasing alcohol on behalf of a minor is a criminal offence.[70][72]
Police may search minors in public places and confiscate or destroy any alcoholic beverages in their possession. Incidents are reported to the legal guardian and social authorities, who may intervene with child welfare procedures. In addition, those aged 15 or above are subject to a fine.[73]
In private, offering alcohol to a minor is considered a criminal offence if it results in drunkenness and the act can be deemed reprehensible as a whole, considering the minor's age, degree of maturity and other circumstances.[70]

 France
None
18
France has no explicitly stated consumption age,[74] but selling alcohol to a minor (under 18) is illegal[75] and can be fined 7500 euros.[74] This age was raised from 16 to 18 in 2009.[76][77]

 Georgia
None
16[citation needed]

 Germany
None (on private residence)
16 (in public) (14 when accompanied by a custodial person) for beer and wine
18 for spirits and aliments containing spirits above negligible amount[78]

16 for beer and wine
18 for spirits and aliments containing spirits above negligible amounts[78]

See also: Alcohol laws in Germany

 Gibraltar
None[79]
16/18
It is illegal to sell alcoholic drinks to anyone under the age of 18.
The minimum age to be served in licensed premises is 16 if:[79]

The alcoholic beverage is beer, wine or cider below 15% ABV, or
The alcoholic beverage is served in a bottle, or a pre-packaged container below 5.5% ABV.

 Greece
None
18[80]
In 2008, the consumption of alcoholic beverages was prohibited for minors in public. However, the law does not apply to private events or private premises.

 Hungary
18[2]

 Iceland
None
20[81]
Possession or consumption of alcohol by minors is not an offence, but supplying them with alcohol is. However, law allows alcohol possessed by a minor to be confiscated.

 Ireland
None (on private residence with permission from parents or guardians) [82]
18[82]
It is illegal for minors to buy alcohol or for a third party to attempt to buy it for minors. It is illegal to purchase alcohol for anybody under the age of consent without permission from their guardians.[83]

 Italy
None
18[84]
In 2012 the then Health Minister Renato Balduzzi proposed to raise the age to 18.[85] Selling alcohol to those under the age of 18 in shops carries a fine between €250 and €1000. Serving alcoholic beverages to those under the age of 16 is a criminal offense and is punished with prison up to one year, if the individual is 16 or 17 it will be treated as an offense that is fined between €250 and €1000 (Legge n. 189/2013).

 Kosovo
None

 Latvia
None
18[86]

 Liechtenstein
16 for wine, beer and cider
18 for spirits and spirit-based beverages. e.g. alcopops
Wine, beer and ciders as well as some other party drinks sometimes without spirits may be purchased by the age of 16. Spirits as well as alcopops may be sold only to people at least 18.[87]

 Lithuania
18[88]
Minors under the age of 18 are prohibited from consuming alcoholic beverages or from having them. After 2018, January 1st, a new law will be put into place, changing the legal drinking age from 18 to 20.[89]

 Luxembourg
None
16[90]

 Macedonia
18[91][unreliable source?]
Must show an ID card upon request. In certain smaller places, such as family-owned convenience stores and street kiosks, there is little to no enforcement on how old or young somebody purchases alcohol. There is little to no enforcement for drinking privately, but drinking in bars may require an ID.

 Malta
17[92]
Must provide identification upon request.

 Moldova
None
16[93]
It is illegal to sell alcohol to anyone under the age of 16. There is no consumption age.

 Montenegro
None
18[citation needed]

 Netherlands
18
The legal age for purchasing and consumption of alcoholic beverages was raised from 16 to 18 on 1 January 2014. Alcohol is commonly available upon parental permission. Selling alcoholic beverages to people under 18 is illegal, although giving it away in private is not.[citation needed]

 Norway
None[94]
18 (<22%)
20 (≥22% ABV)[2]
Selling alcohol to or buying alcohol for minors is illegal. Minors are defined as under 18 for beer and wine, under 20 for drinks that contain 22% ABV or more. Minors who buy alcohol are not held criminally responsible; instead, the crime lies with those who sold it or obtained it for them.
Alcohol with more than 60% ABV is generally not sold in Norway, although exceptions may be made by the government for specific products.[95]
Alcohol possessed by minors may be confiscated as evidence. Drinking in public is prohibited, though this is rarely enforced in recreational areas.[96]

 Poland
None
18[97]
Article 15 of The Act on Upbringing in Sobriety and Counteracting Alcoholism[98] clearly states that buyers or persons being served must be at least 18 and prove it with ID if they look like they may not be at least that age. There is no mention of consumption age in this or any other act in Poland. Drinking on streets, town squares, and in parks is illegal regardless of age.

 Portugal
None[citation needed]
18[99]

 Romania
None
18[100]
According to law 61/1991 updated in 2008, paragraphs 21-25, it is illegal to serve or sell alcohol to minors.

 Russia
None
18[101]
There is no law or regulation in Russia that prohibits minors from consuming alcohol, but selling alcohol to minors is prohibited by federal and additional regional laws.

 Serbia
18[102]

 Slovakia
18[103]

 Slovenia
None
18[104]
There is no law regulating the possession and consumption, but it is illegal to sell or offer alcohol of any kind to minors.

 Spain
18
Asturias was the last autonomous community in Spain where the drinking age was increased to 18 (previously 16) on 1 May 2015.[105]

 Sweden

None

None (less than 2.25% ABV)
18 (bars and restaurants),
18 (2.25%–3.5% ABV in food shops),
20 (Systembolaget shops[106]),

See also: Alcohol in Sweden
Many clubs choose to have higher age limits than 18, commonly 20 or 23. It is legal to drink below 18, but it is illegal to sell, lend or give alcohol to someone under that age and the police can seize alcohol from them, apart from being served alcohol supervised in private "in moderation". It is legal to serve an underage person alcohol in a private place.[107] The reason for lower limit in bars than in Systembolaget shops is that bartenders have a legal responsibility for how drunk a guest gets.

  Switzerland
None
(See notes)
16 for fermented alcoholic drinks (with less than 15% ABV and natural wines with less than 18% ABV);[108]
18 for spirits [109]
Whoever offers or supplies alcoholic beverages to a child under the age of 16 years in an amount which is harmful to one's health is punished with imprisonment up to 3 years or a fine.[110] Whoever sells or supplies spirits to a person under the age of 18 years is punished with a fine up to 10.000 CHF.[111]

18
The canton Ticino prohibits selling and consumption of any type of alcohol by minors under the age of 18. Some shops and supermarkets may not sell alcohol to minors under the age of 18.[112]

 Turkey
18[2]

See also: Alcohol laws of Turkey

 Ukraine
18[2]

 United Kingdom
18 (on licensed premises)[113]
16 (beer, wine or cider with a meal on licensed premises)[113]
5 (not on licensed premises)[114]
None (under medical supervision, or in an emergency)[114]
18[113]
None (liqueur confectionery)[115]
Legislation in  England and  Wales:

It is illegal to sell, serve, offer or consume alcoholic beverages on licensed premises under the age of 18, other than the following two exceptions.[113]
Minors aged 16 or 17 may consume wine, beer or cider on licensed premises when ordered with a meal, and accompanied by an adult.[113]
It is legal to sell liqueur confectionery to someone of any age.[115]
It is illegal to permit minors under the age of 5 to consume alcoholic beverages unless under medical supervision or in an emergency.[114]
Persons over 17 are entitled to their own duty free allowance, which includes alcohol. [116]

18 (in public without a meal or adult supervision)
16 (beer, wine or cider on licensed premises with meal)
5 (on private premises)[117]
18
16 (beer, wine, cider or perry with a meal on licensed premises)
None (liqueur confectionery)[115]
Legislation in  Scotland:

It is illegal to sell, serve, offer or consume alcoholic beverages in public under the age of 18.[118]
Minors aged 16 or 17 may consume wine, beer or cider on licensed premises when ordered with a meal.[118]
It is legal to sell liqueur confectionery to someone of any age.[115]
Persons over 17 are entitled to their own duty free allowance, which includes alcohol. [116]

18
Legislation in Northern Ireland:
It is illegal to sell, serve, offer or consume alcoholic beverages in public under the age of 18.[citation needed]

Challenge 21 and Challenge 25 (applies to all of the  United Kingdom)
Under the BBPA's Challenge 21 and Challenge 25 schemes, customers attempting to buy alcoholic beverages are asked to prove their age if in the retailer's opinion they look under 21[119] (or optionally 25) even though the law states they must be a minimum of 18. Many supermarket and off-licence chains display Challenge 21 (or Challenge 25) notices stating that they will not serve persons who look under 21 (or 25) without ID.

text: Oceania[edit]

text:
Country/region
De jure
Notes

Drinking age
Purchase age

 American Samoa
21[120]

 Australia
18[2][121]

Main article: Alcohol laws of Australia
Varies by state. Some states restrict possession and consumption to over 18, all states restrict purchasing to over 18. In some states, minors may consume alcohol in a private residence with parental permission.[122]

 Fiji
18[123]
The drinking age was 21 from 2006 to 2009 but was lowered to 18 in 2009.[123]

 Guam
21[124]

 Micronesia, Federated States of
21

 New Zealand
None
18[125]
Minimum age applies for beverages with 1.15% ABV or over; no restrictions on beverages less than 1.15% ABV.[126]
Persons under 18 may drink outside private residences or private functions if accompanied by their parent or legal guardian. Alcohol may be supplied to minors only by, or with express consent from, their parent or legal guardian.[127]

 Northern Mariana Islands
21[citation needed]

 Palau
21[2]

 Papua New Guinea
18[2]

 Samoa
21[2]

 Solomon Islands
21[2]

 Tokelau
18[128]

 Tonga
21[2]

 Vanuatu
18[2]


document_title: Black cow

question_text: what kind of drink is a black cow

question_tokens: what kind of drink is a black cow

text: Black cow

text: Black Cow can refer to either:

text:
A root beer float or Coke float
An alcoholic drink (sometimes referred to as a Black Cow #2) featuring Kahlúa, half-and-half, and Coca-Cola
"Black Cow" (song), on Steely Dan's 1977 album Aja
A chocolate-covered caramel confection, Sugar Mama.


document_title: MS Symphony of the Seas

question_text: when did symphony of the seas set sail

question_tokens: when did symphony of the seas set sail

text: MS Symphony of the Seas

text: Construction timeline[edit]

text:
29 October 2015 – keel laid[3]
9 June 2017 – float out[12]
15 to 18 February 2018 – sea trials[13]
23 March 2018 – formally turned over to Royal Caribbean International [7]
24 March 2018 – ship left Saint-Nazaire for Malaga under the command of Rob Hempstead, arriving on 27 March[14][15]
29 March 2018 – ship arrived in first homeport of Barcelona [15]
31 March 2018 – first passenger cruise[5]
7 April 2018 – official maiden voyage[16]

text: Description[edit]

text: Symphony of the Seas measures 1,188 feet (362 m) in length and has a gross tonnage of 228,081 across 18 decks. She is able to accommodate 5,518 passengers at double occupancy up to a maximum capacity of 6,680 passengers, as well as a 2,200-person crew.[6]

text: Facilities include a children's water park, a full-size basketball court, ice-skating rink, and two 43-foot rock-climbing walls.[17][18] There is also a 'central park' which contains over 20,000 tropical plants.[19]

text: Alexa, Carlos and Ocean PenaVega were chosen as the Godfamily of the ship, a first for the cruise industry.[20] The christening ceremony will take place in Miami in November 2018.[21]

text: Route[edit]

text: During her first season Symphony of the Seas will sail from Barcelona, Spain, on seven-night Western Mediterranean cruises. On 28 October 2018, she will reposition to her home port, the Port of Miami in Florida, United States. In November 2018, she will begin Caribbean cruises.[22]

text: When Symphony of the Seas arrives in Miami, she will sail an Eastern Caribbean itinerary from Miami to Philipsburg, Sint Maarten; San Juan, Puerto Rico; and Labadee, Haiti.[23] She will also sail on a Western Caribbean itinerary to Roatán, Honduras; Costa Maya, Mexico; Cozumel, Mexico; and Nassau, Bahamas.[24]

text: Gallery[edit]

text: Symphony of the Seas during construction at Saint-Nazaire


document_title: Free jazz

question_text: who was regarded as the first free jazz musician

text: Free jazz

text: Characteristics[edit]

text: Defining the essence of free jazz is complicated; many musicians draw on free jazz concepts and idioms, and free jazz was never entirely distinct from other genres. Many individual musicians reject efforts at classification, regarding them as useless or unduly limiting. Free jazz uses jazz idioms, and like jazz it places an aesthetic premium on expressing the "voice" or "sound" of the musician, as opposed to the classical tradition in which the performer is seen more as expressing the thoughts of the composer.

text:
Many free jazz musicians, notably Pharoah Sanders and John Coltrane, use harsh overblowing or other extended techniques to elicit unconventional sounds from their instruments.
Earlier jazz styles typically were built on a framework of song forms (e.g.: the twelve-bar blues or the 32-bar AABA popular song form) with a set framework of chord changes. In free jazz, the dependence on a fixed and pre-established form is eliminated, and the role of improvisation is correspondingly increased. As guitarist Marc Ribot has remarked, free jazz musicians like Ornette Coleman and Albert Ayler, "although they were freeing up certain strictures of bebop, were in fact each developing new structures of composition."[2]
Free jazz, especially during its inception, contains themes of both progressive musical language and gathering inspiration from the past. The rejection of the bop aesthetic was combined with an increased fascination with earlier styles of jazz such as Dixieland jazz with its collective improvisation, as well as African music. This interest in older and more culturally authentic forms of music resulted in the incorporation of instruments from a variety of global cultures by many free jazz musicians. This includes Ed Blackwell's use of the West African talking drum, and Leon Thomas's interpretation of pygmy yodeling.[3]
Typically this kind of music is played by small groups of musicians, although some examples use larger numbers. For example, John Coltrane's 1965 album Ascension, uses eleven musicians.
Other forms of jazz use clear regular meters and strongly pulsed rhythms, usually in 4/4 or (less often) 3/4. Free jazz normally retains a general pulsation and often swings but without regular meter, and we encounter frequent accelerando and ritardando, giving an impression of the rhythm moving in waves.[4] Despite all of this, it is still very often possible to tap one's foot to a free jazz performance; meter is more freely variable but has not disappeared entirely.
Previous jazz forms used harmonic structures (usually cycles of diatonic chords), and even when improvisation occurred it was founded on the notes in the chords. Free jazz almost by definition is free of such structures, but also by definition (it is, after all, "jazz" as much as it is "free") it retains much of the language of earlier jazz playing. It is therefore very common to hear diatonic, altered dominant and blues phrases in this music.
The practitioners of free jazz were serious about pursuing this approach, and their music employed concurrent developments in 20th Century art-music theory and practice also used by John Cage, Musica Elettronica Viva, and the Fluxus movement.[5]
Finally, some forms use composed melodies as the basis for group performance and improvisation. Free jazz practitioners sometimes use such material, and sometimes do not. In some music which is called "free jazz" (or avant-garde jazz) other compositional structures are employed, some of them very detailed and complex; recordings of Clifford Thornton and Anthony Braxton furnish many examples.[6]

text: Many critics, particularly at the music's inception, suspected that the abandonment of familiar elements of jazz pointed to a lack of technique on the part of the musicians. Today such views are more marginal, and the music has built up a tradition and a body of accompanying critical writing.[7][8] It remains less commercially popular than most other forms of jazz.

text: This breakdown of form and rhythmic structure has been seen by some critics to coincide with jazz musicians’ exposure to and use of elements from non-Western music, especially African, Arabic, and Indian. The atonality of free jazz is often credited by historians and jazz performers to a return to non-tonal music of the nineteenth century, including field hollers, street cries, and jubilees (part of the “return to the roots” element of free jazz). This suggests that perhaps the movement away from tonality was not a conscious effort to devise a formal atonal system, but rather a reflection of the concepts surrounding free jazz. Eventually, jazz became totally “free” by removing all dependence on chord progressions and instead using polytempic and polyrhythmic structures.[9]

text: History[edit]

text: Many critics have drawn connections between the term "free jazz" and the American social setting during the late 1950s and 1960s, especially the emerging social tensions of racial integration and the civil rights movement. Many argue those recent phenomena such as the landmark Brown v. Board of Education decision in 1954, the emergence of the "Freedom Riders" in 1961, the 1963 Freedom Summer of activist-supported black voter registration, and the free alternative black Freedom Schools demonstrate the political implications of the word "free" in context of free jazz. Thus many consider free jazz to be not only a rejection of certain musical credos and ideas, but a musical reaction to the oppression and experience of black Americans.[10]

text: While free jazz is widely considered to begin in the late 1950s, there are compositions that precede this era that have notable connections to the free jazz aesthetic. Some of the works of Lennie Tristano in the late 1940s, particularly "Intuition", "Digression", and "Descent into the Maelstrom" exhibit the use of techniques associated with free jazz, such as atonal collective improvisation and lack of discrete chord changes. Other notable examples proto-free jazz include City of Glass written in 1948 by Bob Graettinger for the Stan Kenton band and Jimmy Giuffre's 1953 "Fugue". It can be argued, however, that these works are more representative of third stream jazz with its references to contemporary classical music techniques such as serialism.[11]

text: The true beginning of free jazz as it is understood today, however, came with the recordings of Ornette Coleman. Coleman pioneered many techniques typical of free jazz, most notably his rejection of pre-written chord changes, believing instead that freely improvised melodic lines should serve as the basis for harmonic progression in his compositions. His first notable recordings for Contemporary Records included Tomorrow Is the Question! and Something Else in 1958, garnering Coleman national recognition.[12] In terms of free jazz history, these albums revolutionized concepts of musical structure, as many of the compositions on these two early albums do not follow typical 32-bar form and often employ abrupt changes in tempo and mood.[13]

text: The free jazz movement received its biggest impetus when Coleman moved from the West Coast to New York City and was signed to Atlantic Records: albums such as The Shape of Jazz to Come and Change of the Century marked a radical step beyond his more conventional early work. On these albums, Coleman strayed from the tonal basis that formed the lines of his earlier albums and began truly examining the possibilities of atonal improvisation. The most important recording to the free jazz movement from Coleman during this era, however, came with Free Jazz, recorded in A&R Studios in New York in 1960. It marked an abrupt departure from the highly structured compositions of his past. Recorded with a double quartet separated into left and right channels, Free Jazz brought a more aggressive, cacophonous texture to Coleman's work, and the record's title would provide the name for the nascent free jazz movement.[14]

text: In conjunction with Coleman's innovations during the early 1960s, contemporary pianist Cecil Taylor was also exploring the possibilities of avant-garde free jazz. A classically trained pianist, Taylor's main influences included Thelonious Monk and Horace Silver, who prove key to Taylor's later unconventional uses of the piano.[15] Jazz Advance, his first album released in 1956 under the Transition label, still showed ties to the more traditional jazz music albeit with a greatly expanded harmonic vocabulary. The harmonic freedom of these early releases, however, would lead to his transition into free jazz during the early 1960s. Key to this transformation was the introduction of saxophonist Jimmy Lyons and drummer Sunny Murray in 1962, who encouraged the use of more progressive musical language such as tone clusters and abstracted rhythmic figures.[16]

text: Taylor's landmark release in the formation of free jazz in the 1960s came in the form of Unit Structures, released via Blue Note Records in 1966.[17] It was on this recording that Taylor truly marked his transition into free jazz, as his compositions now were almost completely composed without notated scores, devoid of conventional jazz meter and harmonic progression. This new direction was especially influenced by drummer Andrew Cyrille, who manages to provide rhythmic dynamism outside the conventions of bebop and swing.[18] During this time period, Taylor also began exploring some of the techniques of the classical avant-garde, especially evident in his use of prepared pianos as was developed by composer John Cage.[19]

text: Along with Taylor and Coleman, Albert Ayler was one of the essential composers and performers during the beginning period of free jazz. He began his career as a bebop tenor saxophonist in Scandinavia, and had already begun pushing the boundaries of tonal jazz and blues to their harmonic limits. He soon began collaborating with notable free jazz musicians, including Cecil Taylor in 1962. He pushed the jazz idiom to its absolute limits, and many of his compositions bear little resemblance to jazz of the past. Ayler’s musical language focused on the possibilities of microtonal improvisation and extended saxophone technique, creating squawks and honks with his instrument to achieve multiphonic effects. Yet amidst Ayler’s progressive techniques, he shows an attachment for simple, rounded melodies reminiscent of folk music, which he explores via his more avant-garde style.[20] One of the most key of Ayler's free jazz recordings is Spiritual Unity, including his often recorded and most famous composition, Ghosts, in which a simple spiritual-like melody is gradually shifted and distorted through Ayler's unique improvisatory interpretation. Ultimately, Ayler serves as an important example of many ways which free jazz could be interpreted, as he often strays into more tonal areas and melodies while exploring the timbral and textural possibilities within his melodies. In this way, his free jazz is built upon both a progressive attitude towards melody and timbre as well as a desire to examine and recontextualize the music of the past.[21]

text: The work of Coleman, Taylor and Ayler firmly established the legitimacy of the free jazz movement. While much of the American audience was reticent to approach this new style of jazz, it was quickly embraced by forward-thinking jazz artists, most notably John Coltrane. Coltrane was a self-admitted admirer of Ornette Coleman and his innovative approach to improvisation and harmony. In a 1963 interview with Jazz Magazine, Coltrane said of Coleman:

text: Yeah, well, I feel indebted to him [Coleman], myself. Because actually, when he came along, I was so far in this thing [the "harmonic structures"], I didn't know where I was going to go next. And, I didn't know if I would have thought about just abandoning the chord system or not. I probably wouldn't have thought of that at all. And he came along doing it, and I heard it, I said, "Well, that - that must be the answer."[22]

text: While Coltrane's desire to explore the limits of solo improvisation and the possibilities of innovative form and structure was evident in records like A Love Supreme, his work owed more to the tradition of modal jazz and post-bop. But with the recording of Ascension in 1965, Coltrane demonstrated his appreciation for the new wave of free jazz innovators.[23] Ascension saw Coltrane augmenting his classic quartet with six additional horn players, including notable free jazz artists Archie Shepp and Pharoah Sanders.[24] Formally, the composition includes free-form solo improvisation interspersed with sections of collective improvisation reminiscent of Coleman's Free Jazz. The piece sees Coltrane exploring the timbral possibilities of his instrument, using over-blowing to achieve multiphonic tones. Coltrane continued to explore the avant-garde in his following compositions, including such albums as Om, Kulu Se Mama, and Meditations, as well as collaborating with notable free jazz artists such as John Tchicai.[25][26]

text: Much of Sun Ra's music could be classified as free jazz, especially his work from the 1960s, although Sun Ra said repeatedly that his music was written and boasted that what he wrote sounded more free than what "the freedom boys" played.[27] Music by Sun Ra, especially The Heliocentric Worlds of Sun Ra (1965), was, in fact, steeped in what could be referred to as a new black mysticism.[9] But Sun Ra's penchant for nonconformity aside, he was along with Coleman and Taylor an integral voice to the formation of new jazz styles during the 1960s. As evidenced by his compositions on the 1956 record Sounds of Joy, Sun Ra's early work employed a typical bop style. But he soon foreshadowed the free jazz movements with compositions like "A Call for All Demons" off of the 1955-57 record Angels and Demons at Play, which combines atonal improvisation with Latin-inspired mambo percussion. His period of fully realized free jazz experimentation began in 1965, with the release of The Heliocentric Worlds of Sun Ra and The Magic City. These records placed a musical emphasis on timbre and texture over meter and harmony, employing a wide variety of electronic instruments and innovative percussion instruments, including the electric celeste, Hammond B-3, bass marimba, harp, and timpani. As result, Sun Ra proved to be one of the first free jazz artists to explore the possibilities of electronic instrumentation, as well as displaying an interest in timbral possibilities through his use of progressive and unconventional instrumentation in his compositions.[28]

text: Some of bassist Charles Mingus' work was also important in establishing free jazz. Of particular note are his early Atlantic Records albums, such as The Clown, Tijuana Moods, and most notably Pithecanthropus Erectus, the title song of which contained one section that was freely improvised in a style unrelated to the song's melody or chordal structure. His contributions were primarily in his efforts to bring back the importance of collective improvisation in a music scene that had become dominated by solo improvisation (as a result of the development of the big band). His music did reflect the ideas of freedom, but also looked back, drawing upon bop and even swing styles.[9]

text: Since the mid-1950s, saxophonist Jackie McLean had been exploring a concept he called "The Big Room", where the often strict rules of bebop could be loosened or abandoned at will. Similarly, Cecil Taylor, the most prominent free jazz pianist, began stretching the bop boundaries as early as 1956.

text: The Jimmy Giuffre Trio (with Paul Bley and Steve Swallow) received little attention during their original incarnation from 1960 to 1962, but afterwards were regarded as one of the most innovative free jazz ensembles.

text: Eric Dolphy's work with Charles Mingus, John Coltrane, and Chico Hamilton, along with his solo work, helped to set the stage for free jazz in the music community.

text: In Chicago, many of the musicians in AACM and its ensemble the Art Ensemble of Chicago worked seriously in the 'free jazz' forms, including Muhal Richard Abrams, Malachi Favors, and Famoudou Don Moye

text: In Europe, free jazz first flowered through the experiments of expatriate Jamaican alto saxophonist Joe Harriott. Beginning in the late 1950s, he worked on his own distinctive concept of what he termed free form. These explorations were parallel to Coleman's in many respects but Harriott's work was barely known outside England.

text: Beginning in the mid-1960s, players such as guitarist Derek Bailey, saxophonists Peter Brötzmann and Evan Parker and drummer John Stevens developed an idiom that came to be called "free improvisation". It drew sustenance from free jazz while moving much further from jazz tradition (often drawing equally on contemporary composers such as Anton Webern and John Cage for inspiration). Also based in Europe, Steve Lacy worked with free improvisation, but had greater connections to the New York musical scene.

text: Free jazz also strove to incorporate the sounds and intents of music from other cultures. Coltrane experimented with the music of India, while Archie Shepp, Clifford Thornton, and Pharoah Sanders were heavily influenced by musics of North and West Africa. During the 1960s and 1970s, the musicians were heavily influenced by the political ideas of Malcolm X, Bobby Seale, Angela Davis, and other black community leaders.

text: Free jazz has primarily been an instrumental genre. However, Jeanne Lee was a notable free jazz vocalist; others such as Jayne Cortez, Sheila Jordan, Linda Sharrock, and Patty Waters also made notable contributions to the genre.

text: Much of the multi-instrumentalist Anthony Braxton's music could be classified as free jazz. His Ghost Trance Music, which introduces a steady pulse to his music, also allows the simultaneous performance of any piece by the performers. Braxton has recorded with many of the free jazz musicians, including Ornette Coleman and European free improvisers such as Derek Bailey, Evan Parker, and the Globe Unity Orchestra.

text: The 1960s lay the foundation for free jazz, but by the 1970s, the setting for the jazz avant-garde was shifting. There was a large migration of avant-garde and free jazz musicians to New York City, seeking new venues and audiences for their music. These new arrivals, including musicians such as Arthur Blythe, James Newton, and Mark Dresser, marked the beginning of the Loft Era. As the name may imply, musicians during this time would often perform in private homes and other unconventional spaces. During this time, the status of free jazz became more complex, as many musicians sought to bring in various different genres into their works. Free jazz no longer necessarily indicated the rejection of tonal melody, overarching harmonic structure, or metrical divide, as laid out by Coleman, Coltrane, and Taylor. Instead, the free jazz techniques and aesthetic developed in the 1960s became just one of many influences, including popular and world music, in this new strain of loft jazz.[29]

text: By the 1980s the "downtown" scene replaced the previous decades's loft jazz scene as the center of activity for New York City avant-garde and free jazz artists (especially as rents increased in what had been largely low-rent or undesirable neighborhoods), being associated with places such as the Knitting Factory, which opened in 1987. A younger generation of players including David S. Ware, Matthew Shipp, William Parker and Joe Morris continued to play free jazz inspired by the ground-breaking work of the 1960s "New Thing" era. Like other styles of jazz, free jazz also adopted elements of contemporary rock, funk, and pop music: Ornette Coleman was a leader in this vein, embracing electric music with his 1970s band Prime Time, and a number of other players including James Blood Ulmer, Sonny Sharrock, and Ronald Shannon Jackson forged styles combining elements of free jazz and fusion.

text: George Russell, hailed as “the great pathbreaker” for encouraging the use of modes by free jazz composers and performers, was a faculty member at the New England Conservatory. David Baker received two degrees from and later taught at Indiana University in Bloomington, and also performed actively.[9] In many cases, musicians with these appointments were able to bring other artists onto campus as instructors and performers; Thornton secured positions at Wesleyan University for Jimmy Garrison, Sam Rivers, and Ed Blackwell, and brought Marion Brown to perform and - eventually - to study.

text: The 1981 documentary film Imagine the Sound explores free jazz through interviews with and performances by Archie Shepp, Paul Bley, Cecil Taylor and Bill Dixon.

text: Many musicians are keeping the free jazz style alive in the 21st century. Two major scenes are based in New York and Chicago. In New York, players include Charles Gayle, William Parker, Matana Roberts, Chad Taylor, John Zorn, Assif Tsahar, Tom Abbs, Kenny Werner, and Chris Speed. In Chicago, notable performers are Fred Anderson (deceased 2010), Nicole Mitchell, Ernest Dawkins, Ken Vandermark, and Hamid Drake. There are also many free-jazz musicians in Europe.

text: Legacy[edit]

text: Writers Paul Tanner, Maurice Gerow, and David Megill have suggested that

text: the freer aspects of jazz, at least, have reduced the freedom acquired in the sixties. Most successful recording artists today construct their works in this way: beginning with a strain with which listeners can relate, following with an entirely free portion, and then returning to the recognizable strain. The pattern may occur several times in a long selection, giving listeners pivotal points to cling to. At this time, listeners accept this – they can recognize the selection while also appreciating the freedom of the player in other portions. Players, meanwhile, are tending toward retaining a key center for the seemingly free parts. It is as if the musician has learned that entire freedom is not an answer to expression, that the player needs boundaries, bases, from which to explore.[30]

text: Tanner, Gerow and Megill name Miles Davis, Cecil Taylor, John Klemmer, Keith Jarrett, Chick Corea, Pharoah Sanders, McCoy Tyner, Alice Coltrane, Wayne Shorter, Anthony Braxton, Don Cherry, and Sun Ra as musicians who have employed this approach.[30]

text: Keith Johnson of AllMusic describes a "Modern Creative" genre, in which "musicians may incorporate free playing into structured modes -- or play just about anything."[1] Johnson includes John Zorn, Henry Kaiser, Eugene Chadbourne, Tim Berne, Bill Frisell, Steve Lacy, Cecil Taylor, Ornette Coleman, and Ray Anderson in this genre, which continues "the tradition of the '50s to '60s free-jazz mode".[1]

text: Other media[edit]

text: Canadian artist Stan Douglas uses free jazz as a direct response to complex attitudes towards African-American music. Exhibited at documenta 9 in 1992, his video installation Hors-champs (meaning "off-screen") addresses the political context of free jazz in the 1960s, as an extension of black consciousness[31] and is one of his few works to directly address race.[32] Four American musicians, George Lewis (trombone), Douglas Ewart (saxophone), Kent Carter (bass) and Oliver Johnson (drums) who lived in France during the free jazz period in the 1960s, improvise Albert Ayler's 1965 composition "Spirits Rejoice."[33]

text: New York Eye and Ear Control is Canadian artist Michael Snow's 1964 film with a soundtrack of group improvisations recorded by an augmented version of Albert Ayler's group and released as the album New York Eye and Ear Control.[34] Critics have compared the album with the key free jazz recordings: Ornette Coleman's Free Jazz: A Collective Improvisation and John Coltrane's Ascension. John Litweiler regards it favourably in comparison because of its "free motion of tempo (often slow, usually fast); of ensemble density (players enter and depart at will); of linear movement".[35] Ekkehard Jost places it in the same company and comments on "extraordinarily intensive give-and-take by the musicians" and "a breadth of variation and differentiation on all musical levels".[36]

text: French artist Jean-Max Albert, as trumpet player[37][38] of Henri Texier’s first quintet, participated in the 60s in one of the very first expressions of free jazz in France. As a painter, he then experimented plastic transpositions of Ornette Coleman’s approach. Free jazz, painted in 1973, used architectural structures in correspondence to the classical chords of standard harmonies confronted with an unrestrained all over painted improvisation.[39] Jean-Max Albert still explores the free jazz lessons, collaborating with pianist François Tusques in experimental films : Birth of Free Jazz, Don Cherry… these topics considered through a pleasant and poetic way.[40]

text: In the world[edit]

text: Outside of North America, free jazz scenes have become established in Europe and Japan. Alongside the aforementioned Joe Harriott, saxophonists Peter Brötzmann, Evan Parker, trombonist Conny Bauer, guitarist Derek Bailey, pianist Fred Van Hove, drummer Han Bennink, saxophonist and bass clarinetist Willem Breuker, and pianist Misha Mengelberg were among the most well-known early European free jazz performers. European free jazz can generally be seen as approaching free improvisation, with an ever more distant relationship to jazz tradition. Specifically Brötzmann has had a significant impact on the free jazz players of the United States.

text: A relatively active free jazz scene behind the iron curtain produced musicians like Tomasz Stańko, Zbigniew Seifert, Vladimir Chekasin, Vyacheslav Ganelin and Vladimir Tarasov. Japanese guitarist Masayuki Takayanagi and saxophonist Kaoru Abe, among others, took free jazz in another direction, approaching the energy levels of noise. Some international jazz musicians have come to North America and become immersed in free jazz, most notably Ivo Perelman from Brazil and Gato Barbieri of Argentina (this influence is more evident in Barbieri's early work).

text: South African artists, including early Dollar Brand, Zim Ngqawana, Carlo Mombelli, Chris McGregor, Louis Moholo, and Dudu Pukwana experimented with a form of free jazz (and often big-band free jazz) that fused experimental improvisation with African rhythms and melodies. American musicians like Don Cherry, John Coltrane, Milford Graves, and Pharoah Sanders integrated elements of the music of Africa, India, and the Middle East for a sort of World music-influenced free jazz.

text: Notes[edit]

text:
^ Jump up to: a b c d Johnson, Keith. "Modern Creative". AllMusic. Rovi Corporation. Retrieved 14 July 2010.
Jump up ^ "A Fireside Chat with Marc Ribot". All About Jazz. Accessed 2013-01-28.
Jump up ^ Robinson, J. Bradford (2002). 978-1561592845, ed. "Free Jazz" in The New Grove Dictionary of Jazz (2nd ed.). New York: Grove's Dictionaries Inc. pp. 848–849. ISBN 978-1561592845.
Jump up ^ Litweiler (1984) page 158
Jump up ^ The Cambridge Companion to Jazz (2002) ed. David Horne and Mervyn Cooke, page 207
Jump up ^ Litweiler (1984), pages 276-7
Jump up ^ Jost, Ekkehard (1974). Studies in Jazz Research 4: Free Jazz. Universal Edition.
Jump up ^ Litweiler, John (1984). The Freedom Principle: Jazz After 1958. Da Capo. ISBN 0-306-80377-1.
^ Jump up to: a b c d Southern, Eileen (1997). The Music of Black Americans: A History, Third Edition. New York, New York: W.W. Norton & Company, Inc. pp. 494–497. ISBN 0-393-97141-4.
Jump up ^ Gioia, Ted (2011). The History of Jazz. Oxford: Oxford University Press. pp. 309–310.
Jump up ^ Gioia (2011) pp. 310-311
Jump up ^ Anderson, Iain (2007). This is Our Music: Free Jazz, the Sixties, and American Culture. Philadelphia: University of Pennsylvania Press. p. 62.
Jump up ^ Shipton, Alyn (2001). A New History of Jazz. London: Continuum International Publishing Group. p. 780.
Jump up ^ Gioia, (2011), pp. 314-315
Jump up ^ Shipton, (2001), p. 792
Jump up ^ Allen, Jim. "Encyclopedia of Jazz Musicians". Taylor, Cecil. Jazz.com.
Jump up ^ Allen, "Cecil Taylor."
Jump up ^ Gioia, (2011), pp. 319-320.
Jump up ^ Shipton, (2001), p. 794.
Jump up ^ Shipton, (2001), pp. 795-796
Jump up ^ Kernfeld, Barry. "Ayler, Albert". The New Grove Dictionary of Jazz. Oxford University Press. Retrieved 20 April 2014.
Jump up ^ Quersin, Benoit (1998). "La Passe Dangereuse (1963)". In Carl Woideck. The John Coltrane Companion: Five Decades of Commentary. New York: Schirmer Books. p. 123. ISBN 978-0028647906.
Jump up ^ Anderson, (2007), p. 114.
Jump up ^ Gioia, (2011), p. 322
Jump up ^ Gioia, (2011), 322.
Jump up ^ Shipton, (2001), 797.
Jump up ^ Berendt, Joachim-Ernst; Huesmann, Günther (2009). The Jazz Book: From Ragtime to the 21st Century. Lawrence Hill Books, Chicago Review Press. p. 28.
Jump up ^ Kernfield, Barry. "Sun Ra". Grove Music Online. Oxford University Press. Retrieved 21 April 2014.
Jump up ^ DeVeaux, Scott (2009). Jazz. New York: W.W. Norton & Company. pp. 431–432. ISBN 978-0-393-97880-3.
^ Jump up to: a b Tanner, Paul O. W.; Maurice Gerow; David W. Megill (1988) [1964]. "Free Form — Avant Garde". Jazz (6th ed.). Dubuque, IA: William C. Brown, College Division. p. 129. ISBN 0-697-03663-4.
Jump up ^ Krajewsk, "Stan Douglas, 15 September 2007 — 6 January 2008, Staatsgalerie & Wurttembergischer"
Jump up ^ Milroy, "These artists know how to rock", p. R7
Jump up ^ Gale, "Stan Douglas: Evening and others", p. 363
Jump up ^ Review by Scott Yanow, Allmusic.
Jump up ^ Litweiler, John (1984). The Freedom Principle: Jazz After 1958. Da Capo.
Jump up ^ Jost, Ekkehard (1975). Free Jazz (Studies in Jazz Research 4). Universal Edition.
Jump up ^ Dictionnaire du jazz, Sous la direction de Philippe Carles, Jean-Louis Comolli et André Clergeat. Éditions Robert Laffont, coll. "Bouquins", 1994
Jump up ^ Sklower, Jedediah (2006). Free Jazz, la catastrophe féconde.Page 147 Une histoire du monde éclaté du jazz en France (1960-1982). Collection logiques sociales. Paris: Harmattan. ISBN 2-296-01440-2.
Jump up ^ Jean-Max Albert, Peinture, ACAPA, Angoulême, 1982
Jump up ^ Clifford Allen, The New York City Jazz Record p10, June 2011

tag: ol


document_title: Project Runway (season 16)

question_text: who wins project runway season 16 episode 7

text: Project Runway (season 16)

text: Designers

text:
Name
Age
Hometown
Placement

ChaCha
24
Taipei, Taiwan
16th

Sentell McDonald
33
New York City, NY
15th

Kudzanai Karidza
32
Atlanta, GA
14th

Deyonté Weather
36
Lynnwood, WA
13th

Aaron Myers
23
Brooklyn, NY
12th

Samantha Rei
36
Minneapolis, MN
11th

Shawn Buitendorp
27
Grand Ledge, Michigan
10th

Claire Buitendorp
27
Grand Ledge, Michigan
9th (DQ)

Batani-Khalfani
32
Inglewood, CA
8th

Amy Bond
46
Los Angeles, CA
7th

Michael Brambila
25
Oakland, CA
6th

Margarita Alvarez
30
San Juan, Puerto Rico

Kenya Freeman
37
Atlanta, GA

Ayana Ife
27
Salt Lake City, UT

Kentaro Kameyama
38
Los Angeles, CA

Brandon Kee
24
San Francisco, CA

text: Models

text:
Sanita Anderson
Meisha Brooks
Jazzmine Carthon
Liris Crosse
Samantha Gomez
Colleen KM
Katie Kope
Marsha Larose
Sian Osborne
Christina Palavra
Monique Robinson
Yordanos Teshager
Janine Tondu
Lena Vostrikova
Kylie Frink
Liz Anne

text: Designer Progress

text:
Designer Elimination Table

Designers
1
21
3
4
5
6
7 2
8
9
10
11
12
13
14
Eliminated Episode

Ayana
IN
WIN
IN
IN
IN
IN
IN
IN
HIGH
WIN
HIGH

Brandon
HIGH
HIGH
WIN
IN
WIN
IN
HIGH
IN
HIGH
HIGH
WIN

Kentaro
IN
IN
LOW
HIGH
IN
WIN
HIGH
HIGH
IN
LOW
LOW

Kenya
HIGH
HIGH
IN
LOW
HIGH
HIGH
LOW
HIGH
IN
HIGH
HIGH

Margarita
IN
IN
HIGH
IN
IN
LOW
WIN
LOW
HIGH
HIGH
SAFE

Michael
IN
IN
IN
WIN
HIGH
IN
IN
LOW
WIN
OUT

10 - Driving Miss Unconventional

Amy
IN
LOW
IN
IN
IN
IN
LOW
IN
OUT

9 - A "Little" Avant Garde

Batani
LOW
HIGH
HIGH
IN
IN
IN
HIGH
LOW3
OUT

Claire
IN
LOW
IN
IN
LOW
LOW
LOW
DQ3

8 - Client on the Go

Shawn
LOW
LOW
IN
HIGH
IN
HIGH
OUT

7 - The Ultimate Faceoff

Samantha
IN
LOW
IN
IN
LOW
OUT

6 - Models Off Duty

Aaron
IN
HIGH
IN
LOW
OUT

5 - Descending into Good and Evil

Deyonté
WIN
IN
LOW
OUT

4 - We're Sleeping Wear?

Kudzanai
IN
IN
OUT

3 - A Leap of Innovation!

Sentell
IN
OUT

2 - An Unconventional Recycling

ChaCha
OUT

1 - One Size Does Not Fit All

text: Model Assignments

text:
Model Progress Table

Model
1
2
3
4
5
6
7
8 1
9
10
11
12
13
14

Christina
SB
AM
AB
AI
BK
MA
BK
-
KF
MB
AI

Jazzmine
BT
BK
CB
DW
MA
SR
MB
-
AB
BK
KT

Liris
BK
CB
DW
KT
MB
MB
SB
-
AI
KT
KF

Meisha
AB
AI
BT
BK
KT
KT
MA
-
MB
AI
BK

Sanita
MB
SM
AM
AB
BT
KF
CB
-
BK
KF
MA

Janine
KF
MA
MB
SB
AI
SB
KT
-
KT
MA
OUT

Sian
AM
AB
AI
BT
CB
CB
KF
-
MA
OUT

Monique
DW
KF
KD
MB
AM
BT
AI
-
BT
OUT

Colleen
CB
KT
KF
MA
SB
BK
AB
-
OUT

Lena
KT
KD
MA
SR
AB
AI
BT
-
OUT

Marsha
AI
BT
BK
CB
KF
AB
OUT

Yordanos
CC
DW
KT
KF
SR
OUT

Samantha
MA
SR
SB
AM
OUT

Liz
KD
MB
SR
OUT

Kylie
SM
SB
OUT

Katie
SR
OUT

text: Designer Legend

text:
Aaron Myers: AM
Amy Bond: AB
Ayana Ife: AI
Batani-Khalfani: BT
Brandon Kee: BK
ChaCha: CC
Claire Buitendorp: CB
Deyonté Weather: DW
Kentaro Kameyama: KT
Kenya Freeman: KF
Kudzanai Karidza: KD
Margarita Alvarez: MA
Michael Brambila: MB
Samantha Rei: SR
Sentell McDonald: SM
Shawn Buitendorp: SB

text: Episodes

text: Episode 0: Road to the Runway

text: Original airdate: August 10, 2017

text: Episode 1: One Size Does Not Fit All

text: Original airdate: August 17, 2017

text: The designers enter Season 16 in style as they must create a red carpet look that demonstrates their fashion point of view. But the real surprise comes when the designers learn they will be working with models of all sizes!

text:
Challenge: Create a red carpet look with your own signature style.
Guest Judge: Olivia Munn
WINNER: Deyonté
ELIMINATED: ChaCha

text: Episode 2: An Unconventional Recycling

text: Original airdate: August 24, 2017

text: In their first team challenge, the designers struggle to make their voices heard. However, this is an unconventional materials challenge and many of them stumble when forced to create a fashion forward look out of recyclable materials.

text:
Team Name
Team Members

Ballin' on a Budget
Batani, Aaron, Kenya, Brandon, Ayana

Wabi-Sabi
Margarita, Kentaro, Deyonté, Kudzanai, Michael

Tsunami
Sentell, Samantha, Amy, Shawn, Claire

text:
Challenge: Create a high fashion mini collection from recycled materials.
Guest Judge: Maggie Q, Anne Fulenwider
WINNER: Ayana
ELIMINATED: Sentell

text: Episode 3: A Leap of Innovation!

text: Original airdate: August 31, 2017

text: The designers are treated to a private screening of the film Leap! as well as a performance by Hiplet and must draw inspiration for an innovative and edgy design in order to survive another week.

text:
Challenge: Create a look inspired by dance, movement and innovation.
Guest Judge: Maddie Ziegler
WINNER: Brandon
ELIMINATED: Kudzanai

text: Episode 4: We're Sleeping Wear?

text: Original airdate: September 7, 2017

text: It’s the Heidi Klum Sleepwear Challenge and the designers are feeling on top of the world, literally. If a slumber party on the roof of the Empire State Building doesn’t bring them the inspiration they need to impress Heidi, nothing will!

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Challenge: Create a sleepwear look for Heidi Klum Intimates.
Guest Judge: Demi Lovato
WINNER: Michael
ELIMINATED: Deyonté

text: Episode 5: Descending into Good and Evil

text: Original airdate: September 14, 2017

text: Drawing inspiration from the hit film Descendants 2, the designers visit Lyndhurst Castle and are tasked with creating a look that represents “Good” or “Evil.” Most of the results are angelic, but as always, the devil is in the details.

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Inspiration
Assigned Designers

Good
Amy, Brandon, Kentaro, Aaron, Ayana, Claire

Evil
Michael, Kenya, Samantha, Shawn, Margarita, Batani

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Challenge: Create an evening wear look inspired by good or evil.
Guest Judge: Dove Cameron, China Anne McClain
WINNER: Brandon
ELIMINATED: Aaron

text: Episode 6: Models Off Duty

text: Original airdate: September 21, 2017

text: The models become much more than runway eye candy as they serve for inspiration to the designers to create a street style look, to be featured in a photo shoot. But ceding creative control to the models proves to be a difficult chore for some designers.

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Challenge: Create a streetwear look for models on their day off.
Guest Judge: Georgina Chapman, Kelsea Ballerini
WINNER: Kentaro
ELIMINATED: Samantha

text: Episode 7: The Ultimate Faceoff

text: Original airdate: September 28, 2017

text: It’s the JC Penney Challenge and the designers must use men’s fabrics and designs to create a fashion forward look for their female models. Not only that, they must work in teams to do it, leading to a runway elimination that no one saw coming!

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Teams

Kentaro & Brandon

Amy & Kenya

Claire & Shawn

Margarita & Batani

Michael & Ayana

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Challenge: Create a stylish fall outfit inspired by menswear.
Guest Judge: Asia Kate Dillon
WINNER: Margarita
ELIMINATED: Shawn

In a twist, after Claire and Shawn are declared the losing team, they are given one hour to create all-new looks, in competition against each other. Shawn forfeited the challenge and was eliminated.

text: Episode 8: Client on the Go

text: Original airdate: October 5, 2017

text: The designers are tasked with creating an on-the-go look for friends and family of the Project Runway crew, but the good spirited challenge takes an ugly turn when accusations of cheating cloud the results of a contentious runway.

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Challenge: Create a print and head-to-toe look.
Guest Judge: Sophia Stallone, Yolanda Hadid
DISQUALIFIED: Claire

Claire was disqualified for breaking the rules and her win was rescinded. Although Brandon's print was announced to be put into print for Dixie, there was no replacement winner for the challenge and Batani was spared elimination.

text: Episode 9: A "Little" Avant Garde

text: Original airdate: October 12, 2017

text: The dramatic fallout from the cheating scandal rocks the designers and leaves everyone wondering how they’ll move forward in the competition. But the show must go on and the designers rally to create an Avant Garde look inspired by Shopkins characters.

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Challenge: Create an avant garde look inspired by Shopkins Shoppies.
Guest Judge: Kate Upton
WINNER: Michael
ELIMINATED: Batani & Amy

text: Episode 10: Driving Miss Unconventional

text: Original airdate: October 19, 2017

text: It’s the Lexus Challenge, but this one is Unconventional and nobody is safe! The designers must use safety materials to create a look that wows the judges as Fashion Week is right around the corner.

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Challenge: Create a runway look using unconventional materials.
Guest Judge: Carly Chaikin
WINNER: Ayana
ELIMINATED: Michael

text: Episode 11: Warrior Fashion

text: Original airdate: October 26, 2017

text: It’s an emotional Runway as the designers create looks inspired by “Warrior Women” — women who have battled breast cancer.

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Challenge: Create an editorial look inspired by Warrior Women.
Guest Judge: Rachel Brosnahan
WINNER: Brandon
SAVED: Margarita

text: Episode 12: There's Snow Business like Sew Business

text: Original airdate: November 2, 2017

text: The runway is converted into a Winter Wonderland as the designers are tasked with creating a winter-themed look that will decide who goes to NY Fashion Week and who gets left out in the cold.

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Challenge:
Guest Judge: Katie Holmes
WINNER:
ELIMINATED: