document_title: Dome of the Rock

question_text: who built the dome of the rock in jerusalem

text: Dome of the Rock

text: History

text: Pre-Islamic

text: The Dome of the Rock is situated in the center of the Temple Mount, the site of the Temple of Solomon and the Jewish Second Temple, which had been greatly expanded under Herod the Great in the 1st century BCE. Herod's Temple was destroyed in 70 CE by the Romans, and after the Bar Kokhba revolt in 135 CE, a Roman temple to Jupiter Capitolinus was built at the site.[8]

text: Jerusalem was ruled by the Christian Byzantine Empire throughout the 4th to 6th centuries. During this time, Christian pilgrimage to Jerusalem began to develop.[9] The Church of the Holy Sepulchre was built under Constantine in the 320s, but the Temple Mount was left undeveloped after a failed project of restoration of the temple under Julian the Apostate.[10]

text: Original construction

text: The Dome of the Rock is now mostly assumed to have been built by the order of Umayyad Caliph Abd al-Malik and his son and successor Al-Walid I. According to Sibt ibn al-Jawzi, construction started in 687. Construction cost was reportedly seven times the yearly tax income of Egypt.[11] A dedicatory inscription in Kufic script is preserved inside the dome. The date is recorded as AH 72 (691/2 CE), the year historians believe the construction of the original Dome was completed.[12] In this inscription, the name of al-Malik was deleted and replaced by the name of Abbasid caliph Al-Ma'mun. This alteration of the original inscription was first noted by Melchior de Vogüé in 1864.[13] Some scholars have suggested that the dome was added to an existing building, built either by Muawiyah I (r. 661–680),[14] or indeed a Byzantine building dating to before the Muslim conquest, built under Heraclius (r. 610–641).[15]

text: Its architecture and mosaics were patterned after nearby Byzantine churches and palaces.[3] The two engineers in charge of the project were Raja ibn Haywah, a Muslim theologian from Beit She'an and Yazid Ibn Salam, a non-Arab who was Muslim and a native of Jerusalem.[3][16]

text: Shelomo Dov Goitein of the Hebrew University has argued that the Dome of the Rock was intended to compete with the many fine buildings of worship of other religions: "The very form of a rotunda, given to the Qubbat as-Sakhra, although it was foreign to Islam, was destined to rival the many Christian domes."[18] K.A.C. Creswell in his book The Origin of the Plan of the Dome of the Rock notes that those who built the shrine used the measurements of the Church of the Holy Sepulchre. The diameter of the dome of the shrine is 20.20 m (66.3 ft) and its height 20.48 m (67.2 ft), while the diameter of the dome of the Church of the Holy Sepulchre is 20.90 m (68.6 ft) and its height 21.05 m (69.1 ft).

text: The structure was basically octagonal. It comprised a wooden dome, approximately 20 m (66 ft) in diameter, which was mounted on an elevated drum consisting of a circle of 16 piers and columns.[19] Surrounding this circle was an octagonal arcade of 24 piers and columns.

text: Abbasids and Fatimids

text: The original construction was surrounded by open arcades, like the Dome of the Chain.[citation needed][dubious – discuss] Under Abbasid caliph Al-Ma'mun (r. 813–833), an octagonal wall was added.[citation needed][dubious – discuss]

text: The building was severely damaged by earthquakes in 808 and again in 846.[20] The dome collapsed in an earthquake in 1015 and was rebuilt in 1022–23. The mosaics on the drum were repaired in 1027–28.[21]

text: Crusaders

text: For centuries Christian pilgrims were able to come and experience the Temple Mount, but escalating violence against pilgrims to Jerusalem (Al-Hakim bi-Amr Allah, who ordered the destruction of the Holy Sepulchre, was an example) instigated the Crusades.[22] The Crusaders captured Jerusalem in 1099 and the Dome of the Rock was given to the Augustinians, who turned it into a church, while the Al-Aqsa Mosque became a royal palace. The Knights Templar, active from c. 1119, identified the Dome of the Rock as the site of the Temple of Solomon and set up their headquarters in the Al-Aqsa Mosque adjacent to the Dome for much of the 12th century. The Templum Domini, as they called the Dome of the Rock, featured on the official seals of the Order's Grand Masters (such as Everard des Barres and Renaud de Vichiers), and soon became the architectural model for round Templar churches across Europe.

text: Ayyubids and Mamluks

text: Jerusalem was recaptured by Saladin on 2 October 1187, and the Dome of the Rock was reconsecrated as a Muslim shrine. The cross on top of the dome was replaced by a crescent,[citation needed] and a wooden screen was placed around the rock below.[citation needed] Saladin's nephew al-Malik al-Mu'azzam Isa carried out other restorations within the building, and added the porch to the Al-Aqsa Mosque.[citation needed]

text: The Dome of the Rock was the focus of extensive royal patronage by the sultans during the Mamluk period, which lasted from 1250 until 1510.[citation needed]

text: Ottoman Empire (1517–1917)

text: During the reign of Suleiman the Magnificent (1520–1566) the exterior of the Dome of the Rock was covered with tiles. This work took seven years.[citation needed]

text: The interior of the dome is lavishly decorated with mosaic, faience and marble, much of which was added several centuries after its completion. It also contains Qur'anic inscriptions. Surah Ya Sin (the "Heart of the Quran") is inscribed across the top of the tile work and was commissioned in the 16th century by Suleiman the Magnificent. Al-Isra, the Surah 17 which tells the story of the Isra or Night Journey, is inscribed above this.

text: Adjacent to the Dome of the Rock, the Ottomans built the free-standing Dome of the Prophet in 1620. Large-scale renovation was undertaken during the reign of Mahmud II in 1817.

text: In a major restoration project undertaken in 1874–75 during the reign of the Ottoman Sultan Abdülaziz, all the tiles on the west and southwest walls of the octagonal part of the building were removed and replaced by copies that had been made in Turkey.[23][24]

text:
View from the north, Francis Bedford (1862)

West front in 1862. By this date many of the 16th century tiles were missing.

Interior showing mosaic decoration (1914)

Tiled façade (2013)

Interior showing rock (1915)

text: Modern history

text: Haj Amin al-Husseini, appointed Grand Mufti by the British during the 1917 mandate of Palestine, along with Yaqub al-Ghusayn, implemented the restoration of the Dome of the Rock and the Al-Aqsa Mosque in Jerusalem.

text: The Dome of the Rock was badly shaken during the 11 July 1927 Jericho earthquake, damaging many of the repairs that had taken place over previous years.

text: In 1955, an extensive program of renovation was begun by the government of Jordan, with funds supplied by Arab governments and Turkey. The work included replacement of large numbers of tiles dating back to the reign of Suleiman the Magnificent, which had become dislodged by heavy rain. In 1965, as part of this restoration, the dome was covered with a durable aluminium bronze alloy made in Italy that replaced the lead exterior. Before 1959, the dome was covered in blackened lead. In the course of substantial restoration carried out from 1959 to 1962, the lead was replaced by aluminum-bronze plates covered with gold leaf.

text: A few hours after the Israeli flag was hoisted over the Dome of the Rock in 1967 during the Six-Day War, Israelis lowered it on the orders of Moshe Dayan and invested the Muslim waqf (religious trust) with the authority to manage the Temple Mount / Haram al-Sharif, in order to "keep the peace".[25]

text: In 1993, the golden dome covering was refurbished following a donation of USD 8.2 million by King Hussein of Jordan who sold one of his houses in London to fund the 80 kilograms of gold required.[citation needed]

text: The Dome of the Rock is depicted on the reverse of the Iranian 1000 rials banknote.[26]

text: Accessibility

text: The Dome is maintained by the Ministry of Awqaf in Amman, Jordan.[27]

text: Until the mid-twentieth century, non-Muslims were not permitted in the area. Since 1967, non-Muslims have been permitted limited access; however non-Muslims are not permitted to pray on the Temple Mount, bring prayer books, or wear religious apparel. The Israeli police help enforce this.[28] Israel restricted access for a short time during 2012 of Palestinian residents of the West Bank to the Temple Mount. West Bank Palestinian men had to be over 35 to be eligible for a permit.[29] Palestinian residents of Jerusalem, who hold Israeli residency cards, and Palestinians with Israeli citizenship are permitted unrestricted access.

text: Some Orthodox rabbis encourage Jews to visit the site, while most forbid entry to the compound lest there be a violation of Jewish law. Even rabbis who encourage entrance to the Temple Mount prohibit entrance to the actual Dome of the Rock.[30]

text: Religious significance

text: According to some Islamic scholars, the rock is the spot[31] from which the Islamic prophet Muhammad ascended to Heaven accompanied by the angel Gabriel. Further, Muhammad was taken here by Gabriel to pray with Abraham, Moses, and Jesus.[32] Other Islamic scholars believe that the Prophet ascended to Heaven from the Al-Aqsa Mosque.[33][34]

text: Muslims believe the location of the Dome of the Rock to be the site mentioned in Sura 17 of the Qur'an, which tells the story of the Isra and Mi'raj, the miraculous Night Journey of Prophet Muhammad from Mecca to "the farthest mosque", where he leads prayers and rises to heaven to receive instructions from Allah. The Night Journey is mentioned in the Qur'an in a very brief form and is further elaborated by the hadiths. Caliph Umar ibn Al-Khattab (579–644) was advised by Ka'ab al-Ahbar, a Jewish rabbi who converted to Islam,[35] that "the farthest mosque" is identical with the site of the former Jewish Temples in Jerusalem.[citation needed]

text: The Foundation Stone and its surroundings is the holiest site in Judaism. Though Muslims now pray towards the Kaaba at Mecca, they once[year needed] faced the Temple Mount as the Jews do. Muhammad changed the direction of prayer for Muslims after a revelation from Allah. Jews traditionally regarded[year needed] the location of the stone as the holiest spot on Earth, the site of the Holy of Holies during the Temple Period.

text: According to Jewish tradition, the stone is the site where Abraham prepared to sacrifice his son Isaac.

text: On the walls of the Dome of the Rock is an inscription in a mosaic frieze that includes an explicit rejection of the divinity of Christ, from Quran (19:33–35):

text: 33. "So peace is upon me the day I was born, and the day I die, and the day I shall be raised alive!" 34. Such is Jesus, son of Mary. It is a statement of truth, about which they doubt. 35. It is not befitting to (the majesty of) Allah that He should take himself a child. Glory be to Him! when He determines a matter, He only says to it, "Be", and it is.

text: According to Goitein, the inscriptions decorating the interior clearly display a spirit of polemic against Christianity, whilst stressing at the same time the Qur'anic doctrine that Jesus was a true prophet. The formula la sharika lahu ("God has no companion") is repeated five times; the verses from Sura Maryam 19:35–37, which strongly reaffirm Jesus' prophethood to God, are quoted together with the prayer: Allahumma salli ala rasulika wa'abdika 'Isa bin Maryam – "O Lord, send your blessings to your Prophet and Servant Jesus son of Mary." He believes that this shows that rivalry with Christendom, together with the spirit of Muslim mission to the Christians, was at work at the time of construction.[18]

text: Groups such as the Temple Mount and Eretz Yisrael Faithful Movement wish to relocate the Dome to Mecca and replace it with a Third Temple.[citation needed] Many Israelis are ambivalent about the Movement's wishes. Some religious Jews, following rabbinic teaching, believe that the Temple should only be rebuilt in the messianic era, and that it would be presumptuous of people to force God's hand. However, some Evangelical Christians consider rebuilding of the Temple to be a prerequisite to Armageddon and the Second Coming.[36] Jeremy Gimpel, a US-born candidate for Habayit Hayehudi in the 2013 Israeli elections, caused a controversy when he was recorded telling a Fellowship Church evangelical group in Florida in 2011 to imagine the incredible experience that would follow were the Dome to be destroyed. All Christians would be immediately transported to Israel, he opined.[37]

text: Architectural homages

text: The Dome of the Rock has inspired the architecture of a number of buildings. These include the octagonal Church of St. Giacomo in Italy, the Mausoleum of Sultan Suleiman the Magnificent in Istanbul, the octagonal Moorish Revival style Rumbach Street Synagogue in Budapest, and the New Synagogue in Berlin, Germany. It was long believed by Christians that the Dome of the Rock echoed the architecture of the Temple in Jerusalem, as can be seen in Raphael's The Marriage of the Virgin and in Perugino's Marriage of the Virgin.[38]


document_title: A Bug's Life

question_text: who plays flick in a bug's life

question_tokens: who plays flick in a bug 's life

root

text: A Bug's Life

text: Plot[edit]

text: Ant Island is a colony of ants led by the Queen and her daughter, Princess Atta. Every season, they are forced to give food to a gang of marauding grasshoppers led by Hopper. One day, when Flik, an individualist and would-be inventor, inadvertently knocks the offering into a stream with his latest invention, a grain harvesting device, Hopper demands twice as much food as compensation. When Flik suggests in earnest that they seek help from other stronger bugs, the other ants see it as an opportunity to remove him and send him off.

tag: p

text: At the "bug city", which is a heap of trash under a trailer, the naïve Flik mistakes a troupe of Circus Bugs who were recently dismissed by their greedy ringmaster, P.T. Flea, for the warrior bugs he seeks. The bugs, in turn, mistake Flik for a talent agent and accept his offer to travel with him back to Ant Island. During a welcome ceremony upon their arrival, the Circus Bugs and Flik both discover their mutual misunderstandings. The Circus Bugs attempt to leave but are attacked by a bird; while fleeing, they save Dot, Atta's younger sister, gaining the ants' respect in the process. At Flik's request, they continue the ruse of being "warriors" so the troupe can continue to enjoy the hospitality of the ants. Hearing that Hopper fears birds inspires Flik to create a false bird to scare away the grasshoppers. Meanwhile, Hopper tells his gang how greatly the ants outnumber them and worries that they will eventually rebel against them.

text: The ants finish constructing the fake bird, but during a celebration, P.T. Flea arrives searching for his troupe and he inadvertently reveals their secret. Outraged by Flik's deception, the ants exile him and desperately gather food for a new offering to the grasshoppers. However, when Hopper returns to discover the mediocre offering, he takes over the island and demands the ants' winter food supply, planning to assassinate the Queen afterwards. Overhearing the plan, Dot informs Flik and the Circus Bugs and convinces them to return to Ant Island.

text: After rescuing the Queen, Flik deploys the bird; it initially fools the grasshoppers, but P.T. Flea, also mistaking it for a real bird, burns it, exposing it as a decoy. Hopper beats Flik in retaliation and says that the ants are humble and lowly life forms who live to serve the grasshoppers. However, Flik responds that Hopper actually fears the colony, because he has always known what they are capable of, inspiring the ants and the Circus Bugs to fight back against the grasshoppers. The ants attempt to force Hopper out of Ant Island using P.T. Flea’s circus cannon, but it suddenly begins to rain. In the ensuing chaos, Hopper frees himself from the cannon and flies off with Flik. After the Circus Bugs fail to catch them, Atta rescues Flik. As Hopper pursues them, Flik lures him to the nest of the bird he, Dot, and the Circus Bugs encountered earlier. Thinking that the bird is another decoy, Hopper taunts it before discovering it is real, and is captured and fed to its chicks.

text: Sometime later, Flik has improved his inventions and the quality of life for Ant Island, and Atta professes her love for him, and they give Hopper's younger brother Molt, and a few ants to P.T. Flea as new members of his troupe. Atta and Dot respectively become the new queen and princess. The ants congratulate Flik as a hero and bid a fond farewell to the circus troupe, who promise to return in the future.

text: Voice cast[edit]

text:
Dave Foley as Flik, an inventive, but mostly accident-prone, ant
Kevin Spacey as Hopper, the leader of the grasshopper gang
Julia Louis-Dreyfus as Princess Atta, the soon-to-be queen of the colony
Hayden Panettiere as Dot, Princess Atta's younger sister and initially Flik's only friend in the ant colony
Phyllis Diller as the Queen, the leader of the ant colony
Richard Kind as Molt, Hopper's dim-witted younger brother
David Hyde Pierce as Slim, a walking stick and Francis and Heimlich's friend
Joe Ranft as Heimlich, a plump, German-accented caterpillar that longs to be a butterfly
Denis Leary as Francis, a short-tempered ladybug that is constantly mistaken for a female
Jonathan Harris as Manny, a praying mantis and magician in P.T. Flea's circus
Madeline Kahn as Gypsy, a gypsy moth and Manny's beautiful wife and assistant
Bonnie Hunt as Rosie, a black widow spider and Dim's tamer
Michael McShane as Tuck and Roll, twin[5] pillbug brothers from Hungary
John Ratzenberger as P.T. Flea, the owner of the circus
Brad Garrett as Dim, a rhinoceros beetle that plays the "Ferocious Beast" in the circus act
Roddy McDowall as Mr. Soil, the lead thespian
Edie McClurg as Dr. Flora, the doctor of the ant colony
Alex Rocco as Thorny, Princess Atta's assistant
David Ossman as Cornelius, an elderly ant

tag: ul

text: Production[edit]

text: Development[edit]

text: During the summer of 1994, Pixar's story department began turning their thoughts to their next film.[6] The storyline for A Bug's Life originated from a lunchtime conversation between John Lasseter, Andrew Stanton, Pete Docter, and Joe Ranft, the studio's head story team; other films such as Monsters, Inc. and Finding Nemo were also conceived at this lunch.[7] Lasseter and his story team had already been drawn to the idea of insects serving as characters. Like toys, insects were within the reach of computer animation back then, due to their relatively simple surfaces. Stanton and Ranft wondered whether they could find a starting point in Aesop's fable The Ant and the Grasshopper.[7] Walt Disney had produced his own version with a cheerier ending decades earlier in the 1934 short film The Grasshopper and the Ants. In addition, Walt Disney Feature Animation had considered producing a film in the late-1980s entitled Army Ants, that centered around a pacifist ant living in a militaristic colony, but this never fully materialized.[8]

text: As Stanton and Ranft discussed the adaptation, they rattled off scenarios and storylines springing from their premise.[7] Lasseter liked the idea and offered some suggestions. The concept simmered until early 1995, when the story team began work on the second film in earnest.[7] During an early test screening for Toy Story in San Rafael in June 1995, they pitched the film to Disney CEO Michael Eisner. Eisner thought the idea was fine and they submitted a treatment to Disney in early-July under the title Bugs.[7] Disney approved the treatment and gave notice on July 7 that it was exercising the option of a second film under the original 1991 agreement between Disney and Pixar.[9] Lasseter assigned the co-director job to Stanton; both worked well together and had similar sensibilities. Lasseter had realized that working on a computer-animated feature as a sole director was dangerous while the production of Toy Story was in process.[9] In addition, Lasseter believed that it would relieve stress and that the role would groom Stanton for having his own position as a lead director.[10]

text: Writing[edit]

text: In The Ant and the Grasshopper, a grasshopper squanders the spring and summer months on singing while the ants put food away for the winter; when winter comes, the hungry grasshopper begs the ants for food, but the ants turn him away.[7] Andrew Stanton and Joe Ranft hit on the notion that the grasshopper could just take the food.[7][11] After Stanton had completed a draft of the script, he came to doubt one of the story's main pillars – that the Circus Bugs that had come to the colony to cheat the ants would instead stay and fight.[10] He thought the Circus Bugs were unlikable characters as liars and that it was unrealistic for them to undergo a complete personality change. Also, no particularly good reason existed for Circus Bugs to stay with the ant colony during the second act.[12] Although the film was already far along, Stanton concluded that the story needed a different approach.[10]

text: Stanton took one of the early circus bug characters, Red the red ant, and changed him into the character Flik.[12] The Circus Bugs, no longer out to cheat the colony, would be embroiled in a comic misunderstanding as to why Flik was recruiting them. Lasseter agreed with this new approach, and comedy writers Donald McEnery and Bob Shaw spent a few months working on further polishing with Stanton.[13] The characters "Tuck and Roll" were inspired by a drawing that Stanton did of two bugs fighting when he was in the second grade.[11] Lasseter had come to envision the film as an epic in the tradition of David Lean's 1962 film Lawrence of Arabia.[12][14]

text: Casting[edit]

text: The voice cast was heavy with television situation-comedy stars of the time: Flik was voiced by Dave Foley (from NewsRadio), Princess Atta was voiced by Julia Louis-Dreyfus (from Seinfeld), Molt was voiced by Richard Kind (from Spin City), Slim was voiced by David Hyde Pierce (from Frasier) and Dim was voiced by Brad Garrett (from Everybody Loves Raymond). Joe Ranft, member of Pixar's story team, played Heimlich the caterpillar at the suggestion of Lasseter's wife, Nancy, who had heard him playing the character on a scratch vocal track.[15]

text: The casting of Hopper, the film's villain, proved problematic. Lasseter's top choice was Robert De Niro, who repeatedly turned the part down, as did a succession of other actors.[15] Kevin Spacey met John Lasseter at the 1995 Academy Awards and Lasseter asked Spacey if he would be interested in doing the voice of Hopper. Spacey was delighted and signed on immediately.[12]

text: A Bug’s Life was the final film appearance of actor Roddy McDowell, who played Soil the ant, before passing away shortly before the film’s theatrical release.[16]

text: Art design and animation[edit]

text: It was more difficult for animators during the production of A Bug's Life than that of Toy Story, as computers ran sluggishly due to the complexity of the character models. Lasseter and Stanton had two supervising animators to assist with directing and reviewing the animation: Rich Quade and Glenn McQueen. The first sequence to be animated and rendered was the circus sequence that culminated with P.T. Flea's "Flaming Wall of Death". Lasseter placed this scene first in the pipeline because he believed it was "less likely to change".[17] Lasseter thought it would be useful to look at a view of the world from an insect's perspective. Two technicians obliged by creating a miniature video camera on Lego wheels, which they dubbed as the "Bugcam".[10][18] Fastened to the end of a stick, the Bugcam could roll through grass and other terrain and send back an insect's-eye outlook. Lasseter was intrigued by the way grass, leaves, and flower petals formed a translucent canopy, as if the insects were living under a stained-glass ceiling. The team also later sought inspiration from Microcosmos (1996), a French documentary on love and violence in the insect world.[10]

text: The transition from treatment to storyboards took on an extra layer of complexity due to the profusion of storylines. Where Toy Story focused heavily on Woody and Buzz, with the other toys serving mostly as sidekicks, A Bug's Life required in-depth storytelling for several major groups of characters.[13] Character design also presented a new challenge, in that the designers had to make ants appear likable. Although the animators and the art department studied insects more closely, natural realism would give way to the film's larger needs.[14] The team took out mandibles and designed the ants to stand upright, replacing their normal six legs with two arms and two legs. The grasshoppers, in contrast, received a pair of extra appendages to appear less attractive.[14] The story's scale also required software engineers to accommodate new demands. Among these was the need to handle shots with crowds of ants.[14] The film would include more than 400 such shots in the ant colony, some with as many as 800. It was impractical for animators to control them individually, but neither could the ants remain static for even a moment without appearing lifeless, or move identically. Bill Reeves, one of the film's two supervising technical directors, dealt with the quandary by leading the development of software for autonomous ants.[14] The animators would only animate four or five groups of about eight individual "universal ants". Each one of these "universal ants" would later be randomly distributed throughout the digital set. The program also allowed each ant to be automatically modified in subtle ways (e.g. different color of eye or skin, different heights, different weights, etc.). This ensured that no two ants were the same.[18] It was partly based on Reeves's invention of particle systems a decade and a half earlier, which had let animators use masses of self-guided particles to create effects like swirling dust and snow.[15]

text: The animators also employed subsurface scattering—developed by Pixar co-founder Edwin Catmull during his graduate student days at the University of Utah in the 1970s—to render surfaces in a more lifelike way. This would be the first time that subsurface scattering would be used in a Pixar film, and a small team at Pixar worked out the practical problems that kept it from working in animation. Catmull asked for a short film to test and showcase subsurface scattering and the result, Geri's Game (1997), was attached alongside A Bug's Life in its theatrical release.[19]

text: Controversy[edit]

text: During the production of A Bug's Life, a public feud erupted between DreamWorks' Jeffrey Katzenberg, and Pixar's Steve Jobs and John Lasseter. Katzenberg, former chairman of Disney's film division, had left the company in a bitter feud with CEO Michael Eisner. In response, he formed DreamWorks SKG with Steven Spielberg and David Geffen and planned to rival Disney in animation.[20] After DreamWorks' acquisition of Pacific Data Images (PDI)—long Pixar's contemporary in computer animation—Lasseter and others at Pixar were dismayed to learn from the trade papers that PDI's first project at DreamWorks would be another ant film, to be called Antz.[21] By this time, Pixar's project was well-known within the animation community.[22] Both Antz and A Bug's Life center on a young male, a drone with oddball tendencies that struggles to win a princess's hand by saving their society. Whereas A Bug's Life relied chiefly on visual gags, Antz was more verbal and revolved more around satire. The script of Antz was also heavy with adult references, whereas Pixar's film was more accessible to children.[23]

text: It was clear that Lasseter and Jobs believed that the idea was stolen by Katzenberg.[8][20] Katzenberg had stayed in touch with Lasseter after the acrimonious Disney split, often calling to check up. In October 1995, when Lasseter was overseeing postproduction work on Toy Story at the Universal lot's Technicolor facility in Universal City, where DreamWorks was also located, he called Katzenberg and dropped by with Stanton.[20][24] When Katzenberg asked what they were doing next, Lasseter described what would become A Bug's Life in detail. Lasseter respected Katzenberg's judgment and felt comfortable using him as a sounding board for creative ideas.[24] Lasseter had high hopes for Toy Story, and he was telling friends throughout the tight-knit computer-animation business to get cracking on their own films. "If this hits, it's going to be like space movies after Star Wars" for computer animation companies, he told various friends.[8] "I should have been wary," Lasseter later recalled. "Jeffrey kept asking questions about when it would be released."[20]

text: When the trades indicated production on Antz, Lasseter, feeling betrayed, called Katzenberg and asked him bluntly if it were true, who in turn asked him where he had heard the rumor. Lasseter asked again, and Katzenberg admitted it was true. Lasseter raised his voice and would not believe Katzenberg's story that a development director had pitched him the idea long ago. Katzenberg claimed Antz came from a 1991 story pitch by Tim Johnson that was related to Katzenberg in October 1994.[8] Another source gives Nina Jacobson, one of Katzenberg's executives, as the person responsible for the Antz pitch.[22] Lasseter, who normally did not use profane language, cursed at Katzenberg and hung up the phone.[25] Lasseter recalled that Katzenberg began explaining that Disney was "out to get him" and that he realized that he was just cannon fodder in Katzenberg's fight with Disney.[8][22] In truth, Katzenberg was the victim of a conspiracy: Eisner had decided not to pay him his contract-required bonus, convincing Disney's board not to give him anything.[22] Katzenberg was further angered by the fact that Eisner scheduled Bugs to open the same week as The Prince of Egypt, which was then intended to be DreamWorks' first animated release.[22][25] Lasseter grimly relayed the news to Pixar employees but kept morale high. Privately, Lasseter told other Pixar executives that he and Stanton felt terribly let down by Katzenberg.[22]

text: Katzenberg moved the opening of Antz from spring 1999 to October 1998 to compete with Pixar's release.[22][26] David Price writes in his 2008 book The Pixar Touch that a rumor, "never confirmed", was that Katzenberg had given PDI "rich financial incentives to induce them to whatever it would take to have Antz ready first, despite Pixar's head start".[22][25] Jobs was furious and called Katzenberg and began yelling. Katzenberg made an offer: He would delay production of Antz if Jobs and Disney would move A Bug’s Life so that it did not compete with The Prince of Egypt. Jobs believed it "a blatant extortion attempt" and would not go for it, explaining that there was nothing he could do to convince Disney to change the date.[8][25] Katzenberg casually responded that Jobs himself had taught him how to conduct similar business long ago, explaining that Jobs had come to Pixar's rescue by making the deal for Toy Story, as Pixar was near bankruptcy at that time.[15] "I was the one guy there for you back then, and now you're allowing them to use you to screw me," Katzenberg said.[25] He suggested that if Jobs wanted to, he could simply slow down production on A Bug's Life without telling Disney. If he did, Katzenberg said, he would put Antz on hold.[8] Lasseter also claimed Katzenberg had phoned him with the proposition, but Katzenberg denied these charges later.[17]

text: As the release dates for both films approached, Disney executives concluded that Pixar should keep silent on the DreamWorks battle. Regardless, Lasseter publicly dismissed Antz as a "schlock version" of A Bug's Life.[19] Lasseter, who claimed to have never seen Antz, told others that if DreamWorks and PDI had made the film about anything other than insects, he would have closed Pixar for the day so the entire company could go see it.[8][23] Jobs and Katzenberg would not back down and the rivaling ant films provoked a press frenzy. "The bad guys rarely win," Jobs told the Los Angeles Times. In response, DreamWorks' head of marketing Terry Press suggested, "Steve Jobs should take a pill."[25] Despite the successful box office performance of both Antz and A Bug's Life, tensions would remain high between Jobs and Katzenberg for many years. According to Jobs, Katzenberg came to Jobs after the success of Shrek (2001) and insisted he had never heard the pitch for A Bug's Life, reasoning that his settlement with Disney would have given him a share of the profits if that were so.[27] Although the contention left all parties estranged, Pixar and PDI employees kept up the old friendships that had arisen from spending a long time together in computer animation.[17]

text: Music[edit]

text:
A Bug's Life: An Original Walt Disney Records Soundtrack

Soundtrack album by Randy Newman

Released
October 27, 1998

Recorded
1998

Genre
Score

Length
47:32

Label
Walt Disney

Randy Newman chronology

Michael
(1996)Michael1996
A Bug's Life
(1998)
Pleasantville
(1998)Pleasantville1998

Pixar soundtrack chronology

Toy Story
(1995) Toy Story1995
A Bug's Life
(1998) A Bug's Life1998
Toy Story 2
(1999) Toy Story 21999

tag: table

text: The film's score was composed and conducted by Randy Newman. The soundtrack album was produced and released on October 27, 1998, by Walt Disney Records. The album's first track is a song called "The Time of Your Life" written and performed by Newman, while all the other 19 tracks are orchestral cues. The album is no longer manufactured into physical media, but is available for purchase on iTunes. The time duration is 47 minutes and 32 seconds.[28] Out of five stars, Allmusic,[29] Empire Online,[30] and Film Tracks rated the album three stars.[31] Movie Wave rated it four and a half.[32] The score won the Grammy Award for Best Instrumental Composition.[28]

text: Reception[edit]

text: Critical reception[edit]

text: On review aggregator Rotten Tomatoes the film has a rating of 92%, based on 85 reviews, with an average rating of 7.9/10. The site's critical consensus reads, "A Bug's Life is a rousing adventure that blends animated thrills with witty dialogue and memorable characters – and another smashing early success for Pixar."[33] Another review aggregator, Metacritic, gave the film a score of 77 out of 100, based on 23 critics, indicating "generally favorable reviews".[34]

text: Todd McCarthy of Variety gave the film a positive review, saying "Lasseter and Pixar broke new technical and aesthetic ground in the animation field with Toy Story, and here they surpass it in both scope and complexity of movement while telling a story that overlaps Antz in numerous ways."[35] James Berardinelli of ReelViews gave the film three and a half stars out of four, saying "A Bug's Life, like Toy Story, develops protagonists we can root for, and places them in the midst of a fast-moving, energetic adventure."[36] Roger Ebert of the Chicago Sun-Times gave the film three and a half stars out of four, saying "Will A Bug's Life suffer by coming out so soon after Antz? Not any more than one thriller hurts the chances for the next one. Antz may even help business for A Bug's Life by demonstrating how many dramatic and comedic possibilities can be found in an anthill."[37] Kenneth Turan of the Los Angeles Times gave the film four out of five stars, saying "What A Bug's Life demonstrates is that when it comes to bugs, the most fun ones to hang out with hang exclusively with the gang at Pixar."[38] Peter Stack of the San Francisco Chronicle gave the film four out of four stars, saying "A Bug's Life is one of the great movies – a triumph of storytelling and character development, and a whole new ballgame for computer animation. Pixar Animation Studios has raised the genre to an astonishing new level".[39]

text: Richard Corliss of Time gave the film a positive review, saying "The plot matures handsomely; the characters neatly converge and combust; the gags pay off with emotional resonance."[40] Owen Gleiberman of Entertainment Weekly gave the film a B, saying "A Bug's Life may be the single most amazing film I've ever seen that I couldn't fall in love with."[41] Paul Clinton of CNN gave the film a positive review, saying "A Bug's Life is a perfect movie for the holidays. It contains a great upbeat message ... it's wonderful to look at ... it's wildly inventive ... and it's entertaining for both adults and kids."[42] Michael Wilmington of the Chicago Tribune gave the film three and a half stars out of four, and compared the movie to "Akira Kurosawa's Seven Samurai (with a little of another art-film legend, Federico Fellini, tossed in)." where "As in Samurai, the colony here is plagued every year by the arrival of bandits."[43] On the contrary, Stephen Hunter of The Washington Post gave the film a negative review, saying "Clever as it is, the film lacks charm. One problem: too many bugs. Second, bigger world for two purposes: to feed birds and to irk humans."[44]

text: Box office[edit]

text: A Bug's Life grossed approximately $33,258,052 on its opening weekend, ranking number 1 for that weekend.[45] It managed to retain its number 1 spot for two weeks.[46][47] The film grossed $162.8 million in its United States theatrical run, covering its estimated production costs of $120 million. The film made $200,460,294 in foreign countries, pushing its worldwide gross to $363.3 million, surpassing the competition from DreamWorks Animation's Antz.[2]

text: Awards and honors[edit]

text: A Bug's Life won a number of awards and numerous nominations. The film won the Broadcast Film Critics Association Awards for Best Animated Film (tied with The Prince of Egypt) and Best Family Film, the Satellite Award for Best Animated Film and the Grammy Award for Best Instrumental Composition by Randy Newman. It was also nominated for the Academy Award for Best Original Musical or Comedy Score, the Golden Globe Award for Best Original Score and the BAFTA Award for Best Achievement in Special Visual Effects.[48] In 2008, the American Film Institute nominated this film for its Top 10 Animation Films list.[49]

text: Home media[edit]

text: A Bug's Life was the first ever home video release to be entirely created using a digital transfer, with every single frame of animation being readded from the film’s computer data as opposed to the standard analog film-to-videotape transfer process. This allowed for the film’s DVD release to retain its original 2:35:1 anamorphic widescreen format which it was presented with in movie theaters.[50] The DVD was released on DVD on April 20, 1999 alongside a VHS release which was presented in a standard 1:33:1 “fullscreen” format. The movie’s fullscreen transfer was performed by entirely “reframing” the film shot by shot; more than half of the film’s footage was modified by Pixar animators in order for them to fit within the film’s aspect ratio, with several characters and objects being moved closer together in order to avoid being cut out of frame.[50] The film’s VHS release was the best-selling VHS in the United Kingdom, with 1.76 million units sold by the end of the year.[51]

text: On August 1, 2000, the film was rereleased on VHS and DVD under the Walt Disney Gold Classic Collection banner.[52] On May 20, 2003, another DVD was released as a 2-disc Collector's Edition. This DVD was fully remastered and has substantial bonus features.[53][54]On May 19, 2009, the film was released on Blu-ray.[55]

text: Media and merchandise[edit]

text: Attached short film[edit]

text: The film's theatrical and video releases include Geri's Game, an Academy Award winning Pixar short made in 1997, a year before this film was released.[56]

text: Video game[edit]

text: A game, based on the film, was developed by Traveller's Tales and Tiertex Design Studios and released by Sony Computer Entertainment, Disney Interactive, THQ and Activision for various systems. The game's storyline was similar to the film's, with a few changes. However, unlike the film, the game received mixed to negative reviews.[57] Aggregating review website GameRankings gave the Nintendo 64 version 54.40%,[58] the PlayStation version 51.90%[59] and the Game Boy Color version 36.63%.[60] GameSpot gave the PlayStation version a 2.7/10, concluding that it was "obvious that Disney was more interested in producing a $40 advertisement for its movie than in developing a playable game."[61] IGN gave the Nintendo 64 version a 6.8/10, praising the presentation and sound by stating "It was upbeat, cheery look and feel very much like the movie of the same name with cheery, happy tunes and strong sound effects but again criticised the gameplay by saying the controls were sluggish with stuttering framerate and tired gameplay mechanics".[62] while they gave the PlayStation version a 4/10, criticizing the gameplay as slow and awkward but praising the presentation as cinematic.[63]

text: Theme park attractions[edit]

text: A Bug's Land is a section of Disney California Adventure that is inspired by A Bug's Life. One of the main attractions is the 3D show It's Tough to Be a Bug! which is also in Disney's Animal Kingdom. The Disney California Adventure nighttime show World of Color features a segment that includes Heimlich, the caterpillar from the film.[64]


document_title: Grateful Dead

question_text: where did grateful dead live in san francisco

text: Grateful Dead

text: Formation (1965–1966)[edit]

text: The Grateful Dead began their career as the Warlocks, a group formed in early 1965 from the remnants of a Palo Alto, California jug band called Mother McCree's Uptown Jug Champions.[20] The band's first show was at Magoo's Pizza located at 639 Santa Cruz Avenue in suburban Menlo Park, California, on May 5, 1965. They were initially known as the Warlocks; coincidentally, the Velvet Underground (similarly influenced by avant-garde music) was also using that name on the East Coast.[21][22] The show was not recorded but the set list has been preserved. Gigging as a bar band,[23] the group quickly changed its name after finding out that another band of the same name (not the Velvet Underground, who by then had also changed their name) had signed a recording contract. The first show under the new name Grateful Dead was in San Jose, California on December 4, 1965, at one of Ken Kesey's Acid Tests.[24][25][26] Earlier demo tapes have survived, but the first of over 2,000 concerts known to have been recorded by the band's fans was a show at the Fillmore Auditorium in San Francisco on January 8, 1966.[27] Later that month, the Grateful Dead played at the Trips Festival, an early psychedelic rock concert.[28]

text: The name "Grateful Dead" was chosen from a dictionary. According to Phil Lesh, in his autobiography (pp. 62), "... [Jerry Garcia] picked up an old Britannica World Language Dictionary ... [and] ... In that silvery elf-voice he said to me, 'Hey, man, how about the Grateful Dead?'" The definition there was "the soul of a dead person, or his angel, showing gratitude to someone who, as an act of charity, arranged their burial." According to Alan Trist, director of the Grateful Dead's music publisher company Ice Nine, Garcia found the name in the Funk & Wagnalls Folklore Dictionary, when his finger landed on that phrase while playing a game of Fictionary.[29] In the Garcia biography, Captain Trips, author Sandy Troy states that the band was smoking the psychedelic DMT at the time.[30] The term "grateful dead" appears in folktales of a variety of cultures. In mid-1969, Phil Lesh told another version of the story to Carol Maw, a young Texan visiting with the band in Marin County who also ended up going on the road with them to the Fillmore East and Woodstock. In this version, Phil said, "Jerry found the name spontaneously when he picked up a dictionary and the pages fell open. The words 'grateful' and 'dead' appeared straight opposite each other across the crack between the pages in unrelated text."

text: Other supporting personnel who signed on early included Rock Scully, who heard of the band from Kesey and signed on as manager after meeting them at the Big Beat Acid Test; Stewart Brand, "with his side show of taped music and slides of Indian life, a multimedia presentation" at the Big Beat and then, expanded, at the Trips Festival; and Owsley Stanley, the "Acid King" whose LSD supplied the tests and who, in early 1966, became the band's financial backer, renting them a house on the fringes of Watts and buying them sound equipment. "We were living solely off of Owsley's good graces at that time. ... [His] trip was he wanted to design equipment for us, and we were going to have to be in sort of a lab situation for him to do it," said Garcia.[30]

text: Main career (1967–1995)[edit]

text: One of the group's earliest major performances in 1967 was the Mantra-Rock Dance—a musical event held on January 29, 1967, at the Avalon Ballroom by the San Francisco Hare Krishna temple. The Grateful Dead performed at the event along with the Hare Krishna founder Bhaktivedanta Swami, poet Allen Ginsberg, bands Moby Grape and Big Brother and the Holding Company with Janis Joplin, donating proceeds to the Krishna temple.[31][32] The band's first LP, The Grateful Dead, was released on Warner Brothers in 1967.

text: Classically trained trumpeter Phil Lesh performed on bass guitar. Bob Weir, the youngest original member of the group, played rhythm guitar. Ron "Pigpen" McKernan played keyboards and harmonica until shortly before his death in 1973 at the age of 27. Garcia, Weir, and McKernan shared the lead vocal duties more or less equally; Lesh only sang a few leads but his tenor was a key part of the band's three-part vocal harmonies. Bill Kreutzmann played drums, and in September 1967 was joined by a second drummer, New York native Mickey Hart, who also played a wide variety of other percussion instruments.

text: 1970 included tour dates in New Orleans, Louisiana, where the band performed at The Warehouse for two nights. On January 31, 1970, the local police raided their hotel on Bourbon Street, and arrested and charged a total of 19 people with possession of various drugs.[33] The second night's concert was performed as scheduled after bail was posted. Eventually the charges were dismissed, with the exception of those against sound engineer Owsley Stanley, who was already facing charges in California for manufacturing LSD. This event was later memorialized in the lyrics of the song "Truckin'", a single from American Beauty which reached number 64 on the charts.

text: Mickey Hart took time off from the Grateful Dead beginning in February 1971,[34] leaving Kreutzmann once again as the sole percussionist. Hart rejoined the Grateful Dead for good in October 1974. Tom "TC" Constanten was added as a second keyboardist from 1968 to 1970, while Pigpen also played various percussion instruments and sang.

text: After Constanten's departure, Pigpen reclaimed his position as sole keyboardist. Less than two years later, in late 1971, Pigpen was joined by another keyboardist, Keith Godchaux, who played grand piano alongside Pigpen's Hammond B-3 organ. In early 1972, Keith's wife, Donna Jean Godchaux, joined the Grateful Dead as a backing vocalist.

text: Following the Grateful Dead's "Europe '72" tour, Pigpen's health had deteriorated to the point that he could no longer tour with the band. His final concert appearance was June 17, 1972, at the Hollywood Bowl, in Los Angeles;[35] he died in March 1973 of complications from liver damage.[36]

text: The death of Pigpen did not slow the band down, and they continued with their new members. They soon formed their own record group, Grateful Dead Records.[37] Later that year, they released their next studio album, the jazz-influenced Wake of the Flood. It became their biggest commercial success thus far.[38] Meanwhile, capitalizing on Flood’s success, the band soon went back to the studio, and the next year, 1974, released another album, From the Mars Hotel. Not long after that album’s release however, the Dead decided to take a hiatus from live touring.

text: In September 1975, the Dead released their eighth studio album, Blues for Allah. Their hiatus was short-lived, though, as they resumed touring in June 1976.[37] That same year, they signed with Arista Records. Their new contract soon produced Terrapin Station in 1977. The band's tour in the spring of that year is held in high regard by their fans, and their May 8 concert at Cornell University in Ithaca, New York is often considered to be one of the best performances of their career.[39][40][41]

text: Although things appeared to be going well for the band, problems were arising with their two newest members, Keith and Donna Jean Godchaux. The pair were frequently fighting, and Keith's heroin addiction was affecting his playing. Both of these issues were causing complications with touring, and they agreed to leave the band in February 1979.

text: Following the departure of the Godchauxs, Brent Mydland joined as keyboardist and vocalist and was considered "the perfect fit". The Godchauxs then formed the Heart of Gold Band before Keith died in a car accident in 1980. Mydland was the keyboardist for the Grateful Dead for 11 years until his death by narcotics overdose in July 1990,[42] becoming the third keyboardist to die.

text: During the 1980s the band transformed as the talents of Mydland helped power the group. Shortly after Mydland found his place in the early 1980s, Garcia's health began to decline. His drug habits caused him to lose his liveliness on stage. After beginning to gradually curtail his opiate usage in 1985, Garcia slipped into a diabetic coma for several days in July 1986. After he recovered, the band released In the Dark in July 1987, which resulted as their best selling studio album release, and also produced their only top-10 chart single, "Touch of Grey". Also that year, the group toured with Bob Dylan, as documented on the album Dylan & the Dead.

text: Inspired by Garcia's improved health and a successful album, the band's energy and chemistry peaked in the late 1980s and 1990. Performances were vigorous and as a result, every show exceeded its maximum audience capacity. The band's "high time" came to a sudden halt when Mydland died after the summer tour in 1990. They now had to rebuild; Vince Welnick, former keyboardist for the Tubes, joined as a band member, while Bruce Hornsby, who had a successful career with his own band the Range, joined as a touring member. Both performed on keyboards and vocals - Welnick until the band's end, and Hornsby mainly from 1990 to 1992.

text: Aftermath (1995 to present)[edit]

text: Jerry Garcia died in August 1995 and the remaining band members decided to disband.[43] Since that time, there have been a number of reunions by the surviving members involving various combinations of musicians. Additionally, the former members have also begun or continued their individual projects.

text: In 1998, Bob Weir, Phil Lesh, and Mickey Hart, along with several other musicians, formed a band called the Other Ones, and performed a number of concerts that year, releasing a live album, The Strange Remain, the following year. In 2000, the Other Ones toured again, this time with Kreutzmann but without Lesh. After taking another year off, the band toured again in 2002 with Lesh. That year, the Other Ones then included all four living former Grateful Dead members who had been in the band for most or all of its history. At different times the shifting lineup of the Other Ones also included guitarists Mark Karan, Steve Kimock, and Jimmy Herring, keyboardists Bruce Hornsby, Jeff Chimenti, and Rob Barraco, saxophonist Dave Ellis, drummer John Molo, bassist Alphonso Johnson, and vocalist Susan Tedeschi.[44]

text: In 2003, the Other Ones, still including Weir, Lesh, Hart, and Kreutzmann, changed their name to the Dead.[45] The Dead toured the United States in 2003, 2004 and 2009. The band's lineups included Jimmy Herring and Warren Haynes on guitar, Jeff Chimenti and Rob Barraco on keyboards, and Joan Osborne on vocals.[46] In 2008, members of the Dead played two concerts, called "Deadheads for Obama" and "Change Rocks".

text: Following the 2009 Dead tour, Lesh and Weir formed the band Furthur, which debuted in September 2009.[47] Joining Lesh and Weir in Furthur were John Kadlecik (guitar), Jeff Chimenti (keyboards), Joe Russo (drums), Jay Lane (drums), Sunshine Becker (vocals), and Zoe Ellis (vocals). Lane and Ellis left the band in 2010, and vocalist Jeff Pehrson joined later that year. Furthur disbanded in 2014.[48]

text: In 2010, Hart and Kreutzmann re-formed the Rhythm Devils, and played a summer concert tour.[49]

text: Since 1995, the former members of the Grateful Dead have also pursued solo music careers. Both Bob Weir & RatDog[50][51] and Phil Lesh and Friends[52][53] have performed many concerts and released several albums. Mickey Hart and Bill Kreutzmann have also each released a few albums. Hart has toured with his world music percussion ensemble Planet Drum[54] as well as the Mickey Hart Band.[55] Kreutzmann has led several different bands, including BK3,[56] 7 Walkers (with Papa Mali),[57] and Billy & the Kids.[58] Donna Godchaux has returned to the music scene, with the Donna Jean Godchaux Band,[59] and Tom Constanten also continues to write and perform music.[60] All of these groups continue to play Grateful Dead music.

text: In October 2014, it was announced that Martin Scorsese will produce a documentary film about the Grateful Dead, to be directed by Amir Bar-Lev. David Lemieux will supervise the musical selection, and Weir, Hart, Kreutzmann and Lesh have agreed to new interviews for the film.[61] Bar-Lev's four-hour documentary, titled Long Strange Trip, was released in 2017.[62][63]

text: "Fare Thee Well"[edit]

text: In 2015, Weir, Lesh, Kreutzmann, and Hart reunited for five concerts called "Fare Thee Well: Celebrating 50 Years of the Grateful Dead".[64] The shows were performed on June 27 and 28 at Levi's Stadium in Santa Clara, California, and on July 3, 4, and 5 at Soldier Field in Chicago, Illinois.[64][65] The band stated that this would be the final time that Weir, Lesh, Hart, and Kreutzmann would perform together.[66] They were joined by Trey Anastasio of Phish on guitar, Jeff Chimenti on keyboards, and Bruce Hornsby on piano.[67][68] Demand for tickets was very high.[69][70] The concerts were simulcast via various media.[71][72] The Chicago shows have been released as a box set of CDs and DVDs.[73]

text: Dead & Company[edit]

text: In the fall of 2015, Mickey Hart, Bill Kreutzmann and Bob Weir joined with guitarist John Mayer, keyboardist Jeff Chimenti, and bassist Oteil Burbridge to tour in a band called Dead & Company. Mayer recounts that in 2011 he was listening to Pandora and happened upon the Grateful Dead song "Althea", and that soon Grateful Dead music was all he would listen to.[74] The band has played three tours: October–December 2015, June–July 2016, and May–July 2017.[75][76]

text: Musical style[edit]

text: The Grateful Dead formed during the era when bands such as the Beatles, the Beach Boys and the Rolling Stones were dominating the airwaves. "The Beatles were why we turned from a jug band into a rock 'n' roll band," said Bob Weir. "What we saw them doing was impossibly attractive. I couldn't think of anything else more worth doing."[77] Former folk-scene star Bob Dylan had recently put out a couple of records featuring electric instrumentation. Grateful Dead members have said that it was after attending a concert by the touring New York City band the Lovin' Spoonful that they decided to "go electric" and look for a dirtier sound. Gradually, many of the East-Coast American folk musicians, formerly luminaries of the coffee-house scene, were moving in the electric direction.[citation needed] It was natural for Jerry Garcia and Bob Weir, each of whom had been immersed in the American folk music revival of the late 1950s and early 1960s, to be open-minded toward electric guitars.

text: The Grateful Dead's early music (in the mid-1960s) was part of the process of establishing what "psychedelic music" was, but theirs was essentially a "street party" form of it. They developed their "psychedelic" playing as a result of meeting Ken Kesey in Palo Alto, California, and subsequently becoming the house band for the Acid Tests he staged.[78] The Dead were not inclined to fit their music to an established category such as pop rock, blues, folk rock, or country & western. Individual tunes within their repertoire could be identified under one of these stylistic labels, but overall their music drew on all of these genres and, more frequently, melding several of them. It was doubtless with this in mind that Bill Graham said of the Grateful Dead, "They're not the best at what they do, they're the only ones that do what they do."[79] Often (both in performance and on recording) the Dead left room for exploratory, spacey soundscapes.

text: Their live shows, fed by their improvisational approach to music, made the Grateful Dead different from most other touring bands. While most rock and roll bands rehearse a standard show for their tours that is replayed night after night, city after city, the Grateful Dead never did. As Garcia stated in a 1966 interview, "We don't make up our sets beforehand. We'd rather work off the tops of our heads than off a piece of paper."[80] They maintained this operating ethic throughout their existence. For each performance, the band drew material from an active list of a hundred or so songs.[80]

text: The 1969 live album Live/Dead did capture more of their essence, but commercial success did not come until Workingman's Dead and American Beauty, both released in 1970. These records largely featured the band's laid-back acoustic musicianship and more traditional song structures. With their rootsy, eclectic stylings, particularly evident on the latter two albums, the band pioneered the hybrid Americana genre.[81][82][83]

text: As the band and its sound matured over thirty years of touring, playing, and recording, each member's stylistic contribution became more defined, consistent, and identifiable. Lesh, who was originally a classically trained trumpet player with an extensive background in music theory, did not tend to play traditional blues-based bass forms, but opted for more melodic, symphonic and complex lines, often sounding like a second lead guitar. Weir, too, was not a traditional rhythm guitarist, but tended to play jazz-influenced, unique inversions at the upper end of the Dead's sound. The two drummers, Mickey Hart and Kreutzmann, developed a unique, complex interplay, balancing Kreutzmann's steady beat with Hart's interest in percussion styles outside the rock tradition. Hart incorporated an 11-count measure to his drumming, bringing a new dimension to the band's sound that became an important part of its emerging style.[84] Garcia's lead lines were fluid, supple and spare, owing a great deal of their character to his training in fingerpicking and banjo.

text: The band's primary lyricists, Robert Hunter and John Perry Barlow, commonly used themes involving love and loss, life and death, gambling and murder, beauty and horror, chaos and order, God and other religious themes, travelling and touring.[citation needed] In a retrospective, The New Yorker described Hunter's verses as "elliptical, by turns vivid and gnomic", which were often "hippie poetry about roses and bells and dew,"[85] and critic Robert Christgau described them as "American myths" that later gave way to "the old karma-go-round".[86]

text: Merchandising and representation[edit]

text: Hal Kant was an entertainment industry attorney who specialized in representing musical groups. He spent 35 years as principal lawyer and general counsel for the Grateful Dead, a position in the group that was so strong that his business cards with the band identified his role as "Czar".[87]

text: Kant brought the band millions of dollars in revenue through his management of the band's intellectual property and merchandising rights. At Kant's recommendation, the group was one of the few rock 'n roll pioneers to retain ownership of their music masters and publishing rights.

text: In 2006, the Grateful Dead signed a ten-year licensing agreement with Rhino Entertainment to manage the band's business interests including the release of musical recordings, merchandising, and marketing. The band retained creative control and kept ownership of its music catalog.[88][89]

text: A Grateful Dead video game titled Grateful Dead Game – The Epic Tour[90] was released in April 2012 and was created by Curious Sense.[91]

text: Live performances[edit]

text: The Grateful Dead toured constantly throughout their career, playing more than 2,300 concerts.[92] They promoted a sense of community among their fans, who became known as "Deadheads", many of whom followed their tours for months or years on end. In their early career, the band also dedicated their time and talents to their community, the Haight-Ashbury area of San Francisco, making available free food, lodging, music, and health care to all. It has been said that the band performed "more free concerts than any band in the history of music".[93]

text: With the exception of 1975, when the band was on hiatus and played only four concerts together, the Grateful Dead performed many concerts every year, from their formation in April 1965, until July 9, 1995.[94] Initially all their shows were in California, principally in the San Francisco Bay Area and in or near Los Angeles. They also performed, in 1965 and 1966, with Ken Kesey and the Merry Pranksters, as the house band for the Acid Tests. They toured nationally starting in June 1967 (their first foray to New York), with a few detours to Canada, Europe and three nights at the Great Pyramid of Giza in Egypt in 1978. They appeared at the Monterey Pop Festival in 1967, the Woodstock Festival in 1969 and the Festival Express train tour across Canada in 1970. They were scheduled to appear as the final act at the infamous Altamont Free Concert on December 6, 1969 after the Rolling Stones but withdrew after security concerns. "That's the way things went at Altamont—so badly that the Grateful Dead, prime organizers and movers of the festival, didn't even get to play," staff at Rolling Stone magazine wrote in a detailed narrative on the event"[95]

text: Their first UK performance was at the Hollywood Music Festival in 1970. Their largest concert audience came in 1973 when they played, along with the Allman Brothers Band and the Band, before an estimated 600,000 people at the Summer Jam at Watkins Glen.[96] The 1998 edition of the Guinness Book of World Records recognized them with a listing under the heading, "most rock concerts performed" (2,318 concerts).[97] They played to an estimated total of 25 million people, more than any other band, with audiences of up to 80,000 attending a single show. Many of these concerts were preserved in the band's tape vault, and several dozen have since been released on CD and as downloads. The Dead were known for the tremendous variation in their setlists from night to night—the list of songs documented to have been played by the band exceeds 500.[98] The band has released four concert videos under the name View from the Vault.

text: In the 1990s, the Grateful Dead earned a total of $285 million in revenue from their concert tours, the second-highest during the 1990s, with the Rolling Stones earning the most.[99] This figure is representative of tour revenue through 1995, as touring stopped after the death of Jerry Garcia.[99]

text: Their numerous studio albums were generally collections of new songs that they had first played in concert. The band was also famous for its extended musical jams, which featured both individual improvisations as well as distinctive "group-mind" improvisations during which each of the band members improvised individually while simultaneously blending together as a cohesive musical unit. Musically, this may be illustrated in that the band not only improvised within the form of songs, but also with the form. The Grateful Dead have often been described as having never played the same song the same way twice. The cohesive listening abilities of each band member made for a transcendence of what might be called "free form" and improvisation. Their concert sets often blended songs, one into the next (a segue).

text: Concert sound systems[edit]

text: The Wall of Sound was a large sound system designed specifically for the Grateful Dead.[100][101] The band was never satisfied with the house system anywhere they played. After the Monterey Pop Festival, the band's crew 'borrowed' some of the other performers' sound equipment and used it to host some free shows in San Francisco.[102] In their early days, soundman Owsley "Bear" Stanley designed a public address (PA) and monitor system for them. Bear was the Grateful Dead's soundman for many years; he was also one of the largest suppliers of LSD.[103] Stanley's sound systems were delicate and finicky, and frequently brought shows to a halt with technical breakdowns. After Stanley went to jail for manufacturing LSD in 1970, the group briefly used house PAs, but found them to be even less reliable than those built by their former soundman. On February 2, 1970 the group contacted Bob Heil to use his system.[104] In 1971, the band purchased their first solid-state sound system from Alembic Inc Studios. Because of this, Alembic would play an integral role in the research, development, and production of the Wall of Sound. The band also welcomed Dan Healy into the fold on a permanent basis that year. Healy would mix the Grateful Dead's live sound until 1993.

text: Tapes[edit]

text: Like several other bands during this time, the Grateful Dead allowed their fans to record their shows. For many years the tapers set up their microphones wherever they could, and the eventual forest of microphones became a problem for the official sound crew. Eventually, this was solved by having a dedicated taping section located behind the sound board, which required a special "tapers" ticket. The band allowed sharing of tapes of their shows, as long as no profits were made on the sale of their show tapes.[105] Sometimes the sound crew would allow the tapers to connect directly to the sound board, which created exceptional concert recordings.[106]

text: Recently, there have been some disputes over which recordings archive.org could host on their site. Although all the recordings are hosted at present, the sound board recordings can only be streamed and not downloaded.[106]

text: Of the approximately 2,350 shows the Grateful Dead played, almost 2,200 were taped, and most of these are available online.[107] The Band began collecting and cataloging tapes early on and Dick Latvala was their keeper. "Dick's Picks" is named after Latvala. After his death in 1999, David Lemieux gradually took the post. Concert set lists from a subset of 1,590 Grateful Dead shows were used to perform a comparative analysis between how songs were played in concert and how they are listened online by Last.fm members.[108] In their book Marketing Lessons from the Grateful Dead: What Every Business Can Learn From the Most Iconic Band in History,[109] David Meerman Scott and Brian Halligan identify the taper section as a crucial contributor to increasing the Grateful Dead's fan base.

text: Artwork[edit]

text: Over the years, a number of iconic images have come to be associated with the Grateful Dead. Many of these images originated as artwork for concert posters or album covers.

text: Deadheads[edit]

text: Fans and enthusiasts of the band are commonly referred to as Deadheads. While the origin of the term may be unclear, Dead Heads were made canon by the notice placed inside the Skull and Roses (1971) album by manager Jon McIntire:

text:
“
DEAD FREAKS UNITE: Who are you? Where are you? How are you?
Send us your name and address and we'll keep you informed.
Dead Heads, P.O. Box 1065, San Rafael, California 94901.
”

text: Many of the Dead Heads would go on tour with the band. As a group, the Dead Heads were considered very mellow. "I'd rather work nine Grateful Dead concerts than one Oregon football game", Police Det. Rick Raynor said. "They don't get belligerent like they do at the games".[119]

text: Donation of archives[edit]

text: On April 24, 2008, members Bob Weir and Mickey Hart, along with Nion McEvoy, CEO of Chronicle Books, UC Santa Cruz chancellor George Blumenthal, and UC Santa Cruz librarian Virginia Steel, held a press conference announcing that UCSC's McHenry Library would be the permanent home of the Grateful Dead's complete archival history from 1965 to the present. The archive includes correspondence, photographs, fliers, posters, and several other forms of memorabilia and records of the band. Also included are unreleased videos of interviews and TV appearances that will be installed for visitors to view, as well as stage backdrops and other props from the band's concerts.

text: Blumenthal stated at the event, "The Grateful Dead Archive represents one of the most significant popular cultural collections of the 20th century; UC Santa Cruz is honored to receive this invaluable gift. The Grateful Dead and UC Santa Cruz are both highly innovative institutions—born the same year—that continue to make a major, positive impact on the world." Guitarist Bob Weir stated, "We looked around, and UC Santa Cruz seems the best possible home. If you ever wrote the Grateful Dead a letter, you'll probably find it there!"[120]

text: Professor of music Fredric Lieberman was the key contact between the band and the university, who let the university know about the search for a home for the archive, and who had collaborated with Mickey Hart on three books in the past, Planet Drum (1990), Drumming at the Edge of Magic (1991), and Spirit into Sound (2006).[121][122][123]

text: The first large-scale exhibition of materials from the Grateful Dead Archive was mounted at the New-York Historical Society in 2010.[124]

text: Awards[edit]

text: In 2004, Rolling Stone ranked the Grateful Dead No. 57 on their list of the 100 Greatest Artists of All Time.[125]

text: On February 10, 2007, the Grateful Dead received a Grammy Lifetime Achievement Award. The award was accepted on behalf of the band by Mickey Hart and Bill Kreutzmann.[126]

text: In 2011, a recording of the Grateful Dead's May 8, 1977, concert at Cornell University's Barton Hall was selected for induction into the National Recording Registry of the Library of Congress.[127]

text: Twelve members of the Grateful Dead (the eleven official performing members plus Robert Hunter) were inducted into the Rock and Roll Hall of Fame in 1994, and Bruce Hornsby was their presenter.[6]

text: Membership[edit]

text: Lead guitarist Jerry Garcia was often viewed both by the public and the media as the leader or primary spokesperson for the Grateful Dead, but was reluctant to be perceived that way, especially since he and the other group members saw themselves as equal participants and contributors to their collective musical and creative output.[128][129] Garcia, a native of San Francisco, grew up in the Excelsior District. One of his main influences was bluegrass music, and he also performed—on banjo, one of his other great instrumental loves, along with the pedal steel guitar—in bluegrass bands, notably Old and in the Way with mandolinist David Grisman.

text: Bruce Hornsby never officially joined the band full-time, because of his other commitments, but he did play keyboards at most Dead shows between September 1990 and March 1992, and sat in with the band over one hundred times in all between 1988 and 1995. Jerry Garcia referred to him as a "floating member" who could come and go as he pleased.[130][131][132]

text: Robert Hunter and John Perry Barlow were the band's primary lyricists, starting in 1967 and 1971 respectively and continuing until the band's dissolution.[133][134][134] Hunter collaborated mostly with Garcia and Barlow mostly with Weir, though each wrote with other band members as well. Both are listed as official members at Dead.net, the band's website, alongside the performing members.[18] Barlow was the only member not inducted into the Rock and Roll Hall of Fame.

text: Discography[edit]

text:
The Grateful Dead (1967)
Anthem of the Sun (1968)
Aoxomoxoa (1969)
Live/Dead (1969)
Workingman's Dead (1970)
American Beauty (1970)
Grateful Dead (Skull & Roses) (1971)
Europe '72 (1972)
History of the Grateful Dead, Volume One (Bear's Choice) (1973)
Wake of the Flood (1973)
From the Mars Hotel (1974)
Blues for Allah (1975)
Steal Your Face (1976)
Terrapin Station (1977)
Shakedown Street (1978)
Go to Heaven (1980)
Reckoning (1981)
Dead Set (1981)
In the Dark (1987)
Dylan & the Dead (1989)
Built to Last (1989)
Without a Net (1990)