document_title: Eric Northman

question_text: what language is eric speaking in true blood

root

text: Eric Northman

text: Human life[edit]

text: In the early books, little was revealed about his past. In the ninth book, Dead and Gone Eric revealed details about his human life as a Viking. He was deemed a man at the age of twelve. At sixteen he married Aude, his brother's widow. The couple had six children, but only three were living at the time of his turning, two boys and a girl. Aude and their sixth child died of a fever shortly after the birth when Eric was in his early twenties. It is revealed in the television series that the vampire king of Mississippi murdered his entire family before stealing his father's Viking crown. In the books, he was ambushed one night by a Roman vampire named Appius Livius Ocella and subsequently turned. In the television series, he was made a vampire by Godric.[1] In the television show, it is also shown that Eric was a Viking prince, in the novels Eric says that his father was a chief. The name "Eric" or "Erik" comes from Old Norse and means "One ruler" or "eternal ruler". The name "Norseman" was the name given to people who could speak the Old Norse Language, especially in Sweden, Norway, Finland and Denmark. The name "Norseman" means "man from the north", hence Eric's last name being "Northman".

tag: p

text: Physical description and personality[edit]

text: In the first novel, Dead Until Dark, Sookie Stackhouse thinks Eric Northman is a "hunk." Sookie describes him as “handsome, in fact, radiant; blond and blue-eyed, tall and broad shouldered. He was wearing boots, jeans, and a vest. Period. Kind of like the guys on the cover of romance books.”[2] He’s approximately six-foot-four. When Sookie sees him naked for the first time in Dead to the World, she thinks, “if there were an international butt competition, Eric would win, hands down – or cheeks up.”[3] In the series 'True Blood' he is tall with long blonde hair. By the end of the first season, and a little bit into the second, Pam (his progeny) cuts his hair shorter than expected because he gets blood in it. Eric is always shown in dark blue jeans with a black singlet and a black leather jacket. When his hair is cut shorter, he parts it and combs it diagonally backwards. His personality in the series is mostly the same, Eric Northman is ruthless and does not care much for human life. His relationship with his progeny, Pam, is where you see the softer side of him come through. When they face difficult challenges and situations, Eric would put her needs above his own. By the middle of season 2 Eric begins to pursue Sookie Stackhouse because of his interest in her abilities, and by the end of season 2 Eric Northman has cunningly tricked her into drinking his blood. Near the beginning of the third season, it is implied that he is beginning to develop feelings for her, even helping her when it is disadvantageous for him to do so.

text: Eric is portrayed in the books as being somewhat arrogant, but having a true joie de vivre.[4] He is confident almost to a fault, once reprimanding a thug in the third book, Club Dead, for threatening Sookie and referring to her as his "future lover" although no potentially romantic relationship between Eric and Sookie yet existed.[5] He can be manipulative to suit his needs. He is not above using deceit though it seems to be a last resort when it comes to Sookie. However, he is typically upfront regarding any action he takes and if he is manipulative he is very frank and open regarding his wishes. Due to his frank nature, Sookie comments to herself how she can always know where she stands with Eric.[6] Indeed, Sookie frequently remarks how conversations with Eric are seldom single layered and how he never says something without reason.[7] He is not sentimental in the least but shows a great deal of concern over Sookie and her happiness and well-being, perhaps making the relationship between Eric and Sookie all the more impressive. Sookie believes that, although Eric has created a modest, but thriving business empire and carved out a position of authority in the delicate vampire hierarchy, at heart he remains a born-Viking warrior, ready to leap into battle at any instant.

text: Work and position within the vampire hierarchy[edit]

text: The vampires in Charlaine Harris' world are organized according to a feudal system with each state divided into "Areas", each of which are governed by a sheriff who then owes allegiance to the queen or king of that particular state. Some states, like California, are so large and so heavily populated with humans (and therefore vampires who prey on humans) they are divided into multiple kingdoms. For example, what humans see as California, vampires see as California Sacramento, California San Jose, and California Los Angeles.[8] Louisiana is not such a state and is ruled by one monarch. However, it is possible for a monarch to control multiple states. At one point in the series Louisiana is controlled by the same vampire who also controlled Arkansas. Later in the series a different ruler controls Louisiana, Arkansas, and Nevada.

text: Eric is the most powerful vampire in Area Five of northern Louisiana: a territory that includes the small town of Bon Temps. Eric serves as Sheriff of area 5, or local boss, of that area and owns a vampire bar in Shreveport called "Fangtasia," that also serves as his headquarters. He runs the bar with the help of his vampire progeny Pam and a few of his underlings, or vampires who owe allegiance to Eric as their sheriff. Eric takes his responsibilities and role within the vampire hierarchy very seriously. In the sixth novel, Definitely Dead, Eric mentions that he has paid a significant fine to the arbitrator for killing a former Fangtasia bartender, Long Shadow. This demonstrates that he did not hide his crime, as killing another vampire is a "serious thing.".[9] Precisely what a Vampire Sheriff does, aside from owe allegiance to their monarch, do their monarch's bidding, and rule their Area, is still somewhat unclear. Sookie makes a conscious effort not to pry too hard into vampire affairs and Eric does nothing to encourage her learning much more than she already knows. Eric surprised Sookie in the tenth book, Dead in the Family, when he explained the vampire hierarchy in more detail, simply so she, as his wife according to vampire law, was better informed for her safety.

text: The state of Louisiana was in disarray after the results of Hurricane Katrina, and after queen of Louisiana, Eric's hierarch, was crippled in an explosion and eventually killed by the vampires of Nevada under Felipe de Castro's order. Eric was spared since he was the most practical of the Sheriffs and had one of the largest money makers, Bill Compton, living in his area and owing fealty to him. As the last surviving sheriff of Louisiana, Eric pledges his allegiance to the new regime in order to protect those under him, a tactical move that highlights his capabilities both as a leader and a political survivor. Had Eric resisted, he and all of the vampires serving under him (possibly with the exception of Bill) would have been killed, including Sookie. After accepting the new King, Felipe de Castro, he is then allowed to maintain control of his area and his followers when the other sheriffs of Louisiana and a number of their minions were all killed. Under the new regime, Eric has spent a significant amount of time acclimating himself to his new overlords. Despite his oath, however, Eric remains ever vigilant for opportunities to either further secure his position or free himself entirely from scrutiny of Felipe's Louisiana representative, Victor.

text: Relationship with Sookie Stackhouse[edit]

text: The author introduces Sookie to Eric in her first novel, Dead Until Dark. Eric then appears in all the subsequent novels and has either saved or attempted to save Sookie's life in every book. From the second book onward, Eric and Sookie share at least one intimate moment together per book. In the second one there are several: when he asks her to suck out a bullet in his chest that he took for her, and when Sookie invites him to an orgy they have to play the part; in the third, they almost have sex before being interrupted by Bubba and also when he gives her blood after she is staked; the fourth, they experience a sexual relationship when he is cursed with amnesia, which he forgets all about promptly after being un-cursed; the fifth, they kiss; the sixth, during battle Eric sneaks a kiss on Sookie after saving her; the seventh, they exchange blood tying them to each other in a blood bond and Eric kisses her; the eighth, they kiss again after Eric smells fairy blood all over Sookie; and in the ninth, they consummate their relationship after being wed by vampire laws and seem to be moving in the direction of an official relationship. In the later books, she has also saved his life several times before.

text: After appearing to develop an affection for Sookie in the third book in the series, Club Dead, Eric has a brief romance with her in Dead to the World, the fourth book, though, due to a curse, he lost his memories of that time until From Dead to Worse, the eighth book. In the eighth book, after sitting in Sookie's room, he reveals that he remembers the days he spent with her when the curse was put on him. He asks her to discuss it, and she refuses. He seemingly likes Bill Compton but feels arrogantly competitive in an emotional battle for Sookie's affections.

text: In the seventh book, All Together Dead, when Sookie is accosted into forming a blood bond with Andre, another powerful vampire, Eric steps in opportunistically as the lesser of two evils and bonds with her himself. A blood bond is formed when a human and vampire exchange blood by drinking it from them. Vampire blood can heal any human wounds within seconds as can human blood do the same for vampires.

text: In Dead and Gone, Eric sends Sookie a velvet parcel that he instructs her to give to him in front of King Felipe de Castro's representative, Victor Madden. Without looking inside the parcel first, Sookie presents Eric the bag which contains a ceremonial knife that is used in marriage ceremonies. The king's representative reveals that the act of giving and receiving the knife means that Eric and Sookie are pledged to one another. Eric claims that he deceived Sookie because the King of Nevada had the power and desire to take her away from her home. Because they are wed, Eric is the only vampire that can have access to Sookie on pain of final death. He also reveals that the curse that had been placed on him made him unconsciously seek out the presence of his heart's desire (Sookie). In "Dead in the Family" Eric and Sookie are in an actual relationship, and Eric admits that he sees Sookie as his wife in the only way that matters to him, which left her puzzled.

text: In the 12th Sookie Stackhouse novel, Deadlocked, Sookie and Eric's relationship takes a turn. Eric was promised by his maker, Appius, to marry the Queen of Oklahoma, and he has spent much of his time figuring out how to get out of the promise. Sookie wants Eric to choose her outright and Eric explains that he just can't ignore a command from his maker even though he is dead. They do not see each other too much in the book; Eric does tell Sookie that she has the power to make him stay, which she finds out near the end of the book that he knows about her cluviel dor which will grant her one wish. She ends up using it at the end of the book to save Sam Merlotte's life and Eric just walks away after he sees this. The book ends with them basically in the same spot, not knowing if Eric is going to marry the Queen of Oklahoma or stay with Sookie.

text: In the 13th Sookie Stackhouse novel, Dead Ever After, Eric and Sookie's relationship has crashed and burned. Eric is set to officially marry Freyda, the Queen of Oklahoma, and he has been banned from ever seeing Sookie again. Also, Sookie has been banned from Fangtasia and Oklahoma. In one of the last conversations Eric and Sookie have, he tells her that he was considering making her a vampire even though she never wanted to become one. By the end of the novel, Eric is in Oklahoma with his new wife and without either of his progeny.

text: Television portrayal[edit]

text: In True Blood, an HBO series based on the earliest books in the series, the character of Eric Northman is played by Swedish actor Alexander Skarsgård. Some details of the character are portrayed somewhat differently on True Blood than in the books. In the series, Eric is created by Godric, with whom he shares a deep bond of loyalty and devotion. In season 2 Godric commits suicide by exposing himself to sunlight, causing Eric to shed bloody vampire tears, however, in the novels he cries for the first time in book 9. In the series, Bill, rather than Eric, saves Sookie from Long Shadow (in the books Eric kills him). Eric has not demonstrated the outward concern for Sookie that he exhibited in the early novels, but he appears to be developing an uneasy, guarded affection for her and the series seems to portray a reluctance on his part to show people, particularly Sookie, his genuine emotions. Often Eric has presented himself to Sookie as violent, arrogant, mischievous and consciously manipulative. Thus far in the series he has usually acted in a manner with little apparent concern for Sookie's feelings or immediate safety, although ultimately he seems to protect her.

text: However, his growing feelings for Sookie are showcased in episode 4 of Season 3 when he daydreams about Sookie. After the daydream he spurns Yvetta and Pam looks on at him concerned. In episode 10, Eric kissed Sookie, after proclaiming that if he were to die a true death without having at least kissed her, that would be his greatest regret. He chained her up in his basement a few minutes later as bait for Russell. He again reveals his guarded affection for her when prompted by Russell to drink her blood, he hesitates and strokes her affectionately on the cheek. Finally, in the season three finale, he tells her that he regrets seeing her in such pain, referring to her heartbreak over ending her relationship with Bill- although he was the one who deliberately gave her the information that caused her to banish Bill from her house.

text: Eric's back story is more deeply explored in Season 3, as his youth and human life as a Viking prince was shown; his family was slaughtered in their castle by a pack of werewolves, under the command of the ancient vampire Russell Edgington. Eric gave his dying father a vow to avenge them all. During World War II, he and Godric were shown tracking Russell's wolfpack across Germany disguised as SS officers, though they never found Russell himself.

text: In Season 3, when Eric defects to Russell Edginton (now the King of Mississippi) instead of Queen Sophie-Anne in an effort to save Pam from torture by the Magister, he notices a crown in Russell's antique collection that he recognizes as his father's, stolen the night of the attack. Realizing Russell is the target he has sought for over 1,000 years, he continues to play up his loyalty to Russell to keep him from becoming suspicious, even displaying callous indifference to Sookie when she is captured and asks for help. However, later on, when Russell is attacking Bill and Sookie with his wolves, Eric murders his progeny and husband Talbot; Russell, sensing Talbot's death, is driven insane by grief and rage. He hunts down Eric and prepares to kill him until Eric reveals that he can show Russell how to daywalk, Russell's oldest obsession. After consuming much of Sookie's blood against her will (which visibly discomforts Eric) they are indeed able to daywalk, but it wears off very quickly; Eric cuffs Russell to himself with silver, intending for both of them to burn. Sookie brings Eric back inside and, at the request of Eric, retrieves the badly-injured Russell as well. Eric only spared Russell because he thought death would be too merciful for him; after knocking out one of his fangs, he buried the crippled vampire in silver chains and wet concrete, intending to let him starve in agony for 100 years but never die.

text: In Season 4, we see the relationship of Sookie and Eric develop after he loses his memory to the witch coven; first, Sookie shelters him in her house from Bill (though the house is technically Eric's). Endeared by the new Eric's innocence and his regret over his previous crimes as a vampire, Sookie eventually enters a sexual relationship with him, though in the Season 4 finale, Sookie is choosing between Eric and Bill, and chooses neither. Sources have said of Season 5 that Sookie's "independent streak" will continue (as Alan Ball, executive producer) claimed in an interview concerning the upcoming season. By the end of the season, Eric has regained his memories, though he retains his memory and part of the gentler personality he had when he was with Sookie.

text: In Season Five, after previously killing Nan Flanagan, Eric and Bill are arrested by the Vampire Authority. However, Nora, Eric's 'sister' (with whom he also has a sexual history) rescues them. Later, all three are caught by the Authority. While Eric steers clear of the Sanguinista movement stirring in the authority and attempts to escape, Bill accepts the Book of Lilith and betrays him. Eric manages to successfully escape with Nora and searches for Sookie to enlist her help; in the process, he manages to kill his archenemy Russell Edgington, fulfilling a vengeance that he began when he was still human. He attempts to save Bill but apparently fails. Later, he returns Sookie's house to her for her protection; while she is grateful to him and considers him a friend, she still banishes him from the house, and Eric tells Nora they will stay away from her now.

text: In Season 6, Eric finds his latest threat to be the humans, especially Governor Truman Burrell, who declares war on vampires. In an effort to challenge the Governor's stance on vampires, Eric turns Willa Burrell, Truman's more open-minded daughter. Regardless, the Governor has them both placed in "Vamp Camp", where Eric is later forced to watch his sister, Nora, receive a lethal injection of "Hep V". Eric uses Willa to escape the camp (promising to get her and Pam out) and takes Nora to the Lilith-enhanced Bill, but they are unable to save her. Devastated by her death, Eric violently slaughters the humans running the concentration camp to seek revenge and free both his progenies, among others. Notably, Eric spares Jason Stackhouse, though he kills the vampire Steve Newlin, stating "Every time I lost someone I loved, you were there." After freeing the imprisoned vampires, Eric flies off to grieve his sister Nora's death in solitude. In the finale, Warlow, the fairy-vampire hybrid whose blood made it possible for Eric and the other vampires to walk in the sun, is killed by Jason to save Sookie. When Warlow dies, the effects of his blood wears off in the vampires who drank it and they are no longer able to walk in the sun. Eric is shown in the sun on a mountain top in Åre, Sweden when Warlow's blood wears off, causing Eric to burn.

text: In Season 7, Pam tracks down Eric, who somehow avoided meeting the true death. However, he has been infected with the Hepatitis V virus. After learning that Sarah Newlin is still alive, he and Pam decide to go after her. Eric and Pam soon learn that Newlin drank the antidote and it permeated her body, making Sarah a living antidote for Hep V. They are forced to work with Yakuza ninjas from the Yakanomo Corporation (the company which originally made True Blood) in order to find her, but neither party trusts the other. Upon capturing Sarah, Eric drinks her blood and rids himself of the Hep V virus. Learning that Bill is dying, Eric secretly reveals the cure (contrary to the Yakuza's wishes) to Sookie and offers to heal Bill, despite their long rivalry; he is stunned when Bill refuses. However, after talking with Bill he understands his motives and tells Sookie to talk with him, making his final peace with both Bill and Sookie. Eric and Pam later kill all of the Yakuza members that want to use Newlin to make a new food source for vampires. By the end of the series, they are running a multibillion-dollar corporation called New Blood, derived from Sarah Newlin's blood, which is both a new vampire food source and a universal cure for Hep V. Eric and Pam tell the world that Sarah got away from them, but they found a drop of her blood to make New Blood with, and thereby save every infected vampire in the world. In actuality, they are keeping Sarah chained in the basement at Fangtasia, and charging vampires small fortunes to feed on her, as she slowly goes insane. All the while, Eric sits on his throne on the Fangtasia stage, relishing his accomplishments.

text: Origin[edit]

text: Eric is frequently referred to as a Viking. In episode 4 of season 3 of True Blood, Eric says he played by the North Sea as a child. In episode 10 of season 3, Pam alludes to Eric being Swedish when she says, "I have no interest in inheriting your farm on Öland. That place is a windy shit-hole". Eric also speaks Swedish with Pam and Godric in some episodes.

text: We have seen a flashback of the time before Pam's turning, which was portrayed differently in True Blood than in the books. In the television series, Pam slits her own wrists after Eric denies her request to be turned, forcing him to do it to save her life. In the books, it is said that Eric offered her immortality.


document_title: Choo Choo Soul

question_text: who is the girl that sings on choo choo soul

text: Choo Choo Soul

text: History and recordings[edit]

text: Choo Choo Soul began as a collaboration between video game developer Greg Johnson, recording engineer and sound designer Burke Trieschmann, and vocalist Genevieve Goings during dialogue recordings for ToeJam & Earl III: Mission to Earth, the first Xbox installment of the ToeJam & Earl video game franchise.[3] Johnson created the concept and recorded melodies and accompaniment tracks onto his cellphone and e-mailed them to Treischmann to develop. Once in the studio, Goings provided vocals.[4]

text: The act debuted in 2004 as a 16-track CD Baby studio album that described itself as "kids' music that won't drive parents crazy." It is now out of print.

text: On October 31, 2006, Walt Disney Records released Choo Choo Soul, a 12-track album available through the iTunes Store and other online music outlets. It features most of the same songs as the 2004 release.

text: In 2007, "Choo Choo Soul with Beautiful Genevieve!" was honored with a Parents' Choice Award for children's television.[5]

text: In May 2008, Disney released featured a two-disc set which consisted of the Choo Choo Soul album on CD, and a DVD featuring ten music videos.[6]

text: Disney Channel series[edit]

text: Beginning in May 2006, a series of Choo Choo Soul interstitial programs began airing in the United States during the Playhouse Disney programming block on the Disney Channel. The music video–style shorts feature Goings and D.C. performing Choo Choo Soul songs with a group of young children in a blend of live action and computer animation.

text: In July 2011, Choo Choo Soul filmed 8 new video shorts, re-making Disney "classic" songs in their urban style for the new network "Disney Junior." Genevieve also sings the network's theme song "I Wanna Go" along with 16 other short songs for the network.

text: Live concerts[edit]

text: Choo Choo Soul tours regularly across the U.S. and Canada.

text: Choo Choo Soul has performed live on several occasions in 2007, including September and October shows at the Disney-MGM Studios theme park at Walt Disney World Resort in Florida, a performance at the Boston Globe Children's Book Festival in Boston, Massachusetts on September 15 and several shows in June 2009 at Sesame Place located near Philadelphia, PA. They have performed at Sea World Orlando in 2012 and 2013 at the "Just for Kids" Event in January.

text: Choo Choo Soul has been touring the U.S. and Canada from 2007, and was the opening act for the Imagination Movers during their Big Warehouse Tour in 2011. They toured 56 cities.[7]

text: Choo Choo Soul also performed at the 2011 California State Fair in Sacramento.[8]

text: Choo Choo Soul read two stories at the 2016 White House Easter Egg Roll.


document_title: List of New Jersey Devils seasons

question_text: when was the last time the new jersey devils made the playoffs

text: List of New Jersey Devils seasons

text: Table key[edit]

text:
Bold

Won the Stanley Cup

Finish

Final position in division or league standings

GA

Goals against (goals scored by the Devils' opponents)

GF

Goals for (goals scored by the Devils)

GP

Number of games played

L

Number of losses

OT

Number of losses in overtime (since the 1999–2000 season)

Pts

Number of points

T

Number of ties

TG

Two-game total goals series

W

Number of wins

tag: table

text: Year by year[edit]

text:
Stanley Cup champions
Conference champions *
Division champions ^
Led league in points #

text:
NHL season
Devils season
Conference
Division
Regular season
Postseason

Finish
GP
W
L
T
OT
Pts
GF
GA
GP
W
L
GF
GA
Result

1982–83
1982–83
Wales
Patrick
5th
80
17
49
14
—
48
230
338
—
—
—
—
—
Did not qualify

1983–84
1983–84
Wales
Patrick
5th
80
17
56
7
—
41
231
350
—
—
—
—
—
Did not qualify

1984–85
1984–85
Wales
Patrick
5th
80
22
48
10
—
54
264
346
—
—
—
—
—
Did not qualify

1985–86
1985–86
Wales
Patrick
6th
80
28
49
3
—
59
300
374
—
—
—
—
—
Did not qualify

1986–87
1986–87
Wales
Patrick
6th
80
29
45
6
—
64
293
368
—
—
—
—
—
Did not qualify

1987–88
1987–88
Wales
Patrick
4th
80
38
36
6
—
82
295
296
20
11
9
67
71
Won in Division Semifinals vs. New York Islanders, 4–2
Won in Division Finals vs. Washington Capitals, 4–3
Lost in Conference Finals vs. Boston Bruins, 3–4[5]

1988–89
1988–89
Wales
Patrick
5th
80
27
41
12
—
66
281
325
—
—
—
—
—
Did not qualify

1989–90
1989–90
Wales
Patrick
2nd
80
37
34
9
—
83
295
288
6
2
4
18
21
Lost in Division Semifinals vs. Washington Capitals, 2–4[6]

1990–91
1990–91
Wales
Patrick
4th
80
32
33
15
—
79
272
264
7
3
4
21
21
Lost in Division Semifinals vs. Pittsburgh Penguins, 3–4[7]

1991–92
1991–92
Wales
Patrick
4th
80
38
31
11
—
87
289
259
7
3
4
25
28
Lost in Division Semifinals vs. New York Rangers, 3–4[8]

1992–93[a]
1992–93
Wales
Patrick
4th
84
40
37
7
—
87
308
299
5
1
4
13
23
Lost in Division Semifinals vs. Pittsburgh Penguins, 1–4[9]

1993–94
1993–94
Eastern[b]
Atlantic
2nd
84
47
25
12
—
106
306
220
20
11
9
52
49
Won in Conference Quarterfinals vs. Buffalo Sabres, 4–3
Won in Conference Semifinals vs. Boston Bruins, 4–2
Lost in Conference Finals vs. New York Rangers, 3–4[10]

1994–95[c]
1994–95
Eastern *
Atlantic
2nd
48
22
18
8
—
52
136
121
20
16
4
67
34
Won in Conference Quarterfinals vs. Boston Bruins, 4–1
Won in Conference Semifinals vs. Pittsburgh Penguins, 4–1
Won in Conference Finals vs. Philadelphia Flyers, 4–2
Won in Stanley Cup Finals vs. Detroit Red Wings, 4–0[11]

1995–96
1995–96
Eastern
Atlantic
6th
82
37
33
12
—
86
215
202
—
—
—
—
—
Did not qualify

1996–97
1996–97
Eastern
Atlantic ^
1st
82
45
23
14
—
104
231
182
10
5
5
27
21
Won in Conference Quarterfinals vs. Montreal Canadiens, 4–1
Lost in Conference Semifinals vs. New York Rangers, 1–4[12]

1997–98
1997–98
Eastern
Atlantic ^
1st
82
48
23
11
—
107
225
166
6
2
4
12
13
Lost in Conference Quarterfinals vs. Ottawa Senators, 2–4[13]

1998–99
1998–99
Eastern
Atlantic ^
1st
82
47
24
11
—
105
248
196
7
3
4
18
21
Lost in Conference Quarterfinals vs. Pittsburgh Penguins, 3–4[14]

1999–2000
1999–2000
Eastern *
Atlantic
2nd
82
45
24
8
5[d]
103
251
203
23
16
7
61
37
Won in Conference Quarterfinals vs. Florida Panthers, 4–0
Won in Conference Semifinals vs. Toronto Maple Leafs, 4–2
Won in Conference Finals vs. Philadelphia Flyers, 4–3
Won in Stanley Cup Finals vs. Dallas Stars, 4–2[15]

2000–01
2000–01
Eastern *
Atlantic ^
1st
82
48
19
12
3
111
295
195
25
15
10
69
52
Won in Conference Quarterfinals vs. Carolina Hurricanes, 4–2
Won in Conference Semifinals vs. Toronto Maple Leafs, 4–3
Won in Conference Finals vs. Pittsburgh Penguins, 4–1
Lost in Stanley Cup Finals vs. Colorado Avalanche, 3–4[16]

2001–02
2001–02
Eastern
Atlantic
3rd
82
41
28
9
4
95
205
187
6
2
4
11
9
Lost in Conference Quarterfinals vs. Carolina Hurricanes, 2–4[17]

2002–03
2002–03
Eastern *
Atlantic ^
1st
82
46
20
10
6
108
216
166
24
16
8
63
38
Won in Conference Quarterfinals vs. Boston Bruins, 4–1
Won in Conference Semifinals vs. Tampa Bay Lightning, 4–1
Won in Conference Finals vs. Ottawa Senators, 4–3
Won in Stanley Cup Finals vs. Mighty Ducks of Anaheim, 4–3[18]

2003–04
2003–04
Eastern
Atlantic
2nd
82
43
25
12
2
100
213
164
5
1
4
9
14
Lost in Conference Quarterfinals vs. Philadelphia Flyers, 1–4[19]

2004–05[e]
2004–05
Eastern
Atlantic
Season not played due to lockout

2005–06
2005–06
Eastern
Atlantic ^
1st
82
46
27
—
9[f]
101
242
229
9
5
4
27
21
Won in Conference Quarterfinals vs. New York Rangers, 4–0
Lost in Conference Semifinals vs. Carolina Hurricanes, 1–4[20]

2006–07
2006–07
Eastern
Atlantic ^
1st
82
49
24
—
9
107
216
201
11
5
6
30
29
Won in Conference Quarterfinals vs. Tampa Bay Lightning, 4–2
Lost in Conference Semifinals vs. Ottawa Senators, 1–4[21]

2007–08
2007–08
Eastern
Atlantic
2nd
82
46
29
—
7
99
206
197
5
1
4
12
19
Lost in Conference Quarterfinals vs. New York Rangers, 1–4[22]

2008–09
2008–09
Eastern
Atlantic ^
1st
82
51
27
—
4
106
244
209
7
3
4
15
17
Lost in Conference Quarterfinals vs. Carolina Hurricanes, 3–4[23]

2009–10
2009–10
Eastern
Atlantic ^
1st
82
48
27
—
7
103
216
186
5
1
4
9
15
Lost in Conference Quarterfinals vs. Philadelphia Flyers, 1–4[24]

2010–11
2010–11
Eastern
Atlantic
4th
82
38
39
—
5
81
174
209
—
—
—
—
—
Did not qualify

2011–12
2011–12
Eastern *
Atlantic
4th
82
48
28
—
6
102
228
202
24
14
10
51
42
Won in Conference Quarterfinals vs. Florida Panthers, 4–3
Won in Conference Semifinals vs. Philadelphia Flyers, 4–1
Won in Conference Finals vs. New York Rangers, 4–2
Lost in Stanley Cup Finals vs. Los Angeles Kings, 2–4[25]

2012–13[c]
2012–13
Eastern
Atlantic
5th
48
19
19
—
10
48
112
129
—
—
—
—
—
Did not qualify

2013–14
2013–14
Eastern
Metropolitan
6th
82
35
29
—
18
86
194
206
—
—
—
—
—
Did not qualify

2014–15
2014–15
Eastern
Metropolitan
7th
82
32
36
—
14
78
181
216
—
—
—
—
—
Did not qualify

2015–16
2015–16
Eastern
Metropolitan
7th
82
38
36
—
8
84
184
208
—
—
—
—
—
Did not qualify

2016–17
2016–17
Eastern
Metropolitan
8th
82
28
40
—
14
70
183
244
—
—
—
—
—
Did not qualify

Totals
2,704
1,272
1,082
219
131
2,894
7,925
7,987
240
132
108
661
580

text: All-time playoff records versus opponents[edit]

text:
Team
SP
SW
SL
Pcnt
GP
W
L
Pcnt
GF
GA
OT
H
AW

Anaheim Ducks
1
1
0
1.000
7
4
3
.571
19
12
0-2
4-0
0-3

Boston Bruins
3
2
1
0.666
18
11
7
.611
54
55
2-1
6-3
5-3

Buffalo Sabres
1
1
0
1.000
7
4
3
.571
14
14
0-1
3-1
1-2

Carolina Hurricanes
4
1
3
0.250
24
10
14
.416
56
48
1-5
7-5
3-10

Colorado Avalanche
1
0
1
0.000
7
3
4
.428
11
22
0-0
2-2
1-2

Dallas Stars
1
1
0
1.000
6
4
2
0.666
15
7
1-1
1-2
3-0

Detroit Red Wings
1
1
0
1.000
4
4
0
1.000
16
7
0-0
2-0
2-0

Florida Panthers
2
2
0
1.000
11
8
3
0.727
31
23
2-0
4-1
4-2

Los Angeles Kings
1
0
1
0.000
6
2
4
0.333
8
16
0-2
1-2
1-2

Montreal Canadiens
1
1
0
1.000
5
4
1
0.800
22
10
0-1
3-0
1-1

New York Islanders
1
1
0
1.000
6
4
2
0.666
23
18
0-2
2-1
2-1

New York Rangers
6
2
4
0.333
34
16
18
0.470
23
18
3-3
8-9
8-9

Ottawa Senators
3
1
2
0.333
18
7
11
.388
40
41
1-4
2-7
5-4

Philadelphia Flyers
5
3
2
0.600
28
15
13
.518
72
69
1-3
8-5
6-9

Pittsburgh Penguins
5
2
3
0.400
29
15
14
.517
71
71
1-2
6-5
5-5

Tampa Bay Lightning
2
2
0
1.000
11
8
3
.727
31
22
3-0
5-1
3-2

Toronto Maple Leafs
2
2
0
1.000
13
8
5
.615
37
27
2-0
6-2
3-3

Washington Capitals
2
1
1
0.500
13
6
7
.461
43
44
0-1
2-4
4-3

Totals
41
23
18
.662
242
129
113
.579
586
541
20-28
64-50
57-61

text: Notes[edit]

text:
a In 1992, the NHL expanded the season to 84 games, and each team played two games at a neutral site. After the 1995 lockout, the neutral site games were eliminated, and the season was reduced to 82 games.[26]
b The NHL realigned into Eastern and Western Conferences prior to the 1993–94 season. New Jersey was placed in the Atlantic Division of the Eastern Conference.[27]
c Both seasons were shortened to 48 games because of lockouts - the 1994–95 NHL lockout, finished on 11 January 1995, and the 2012–13 NHL lockout, finished on 6 January 2013.[28][29]
d Beginning with the 1999–2000 season, teams received one point for losing a regular season game in overtime.[30]
e The season was canceled because of the 2004–05 NHL lockout.[31]
f Beginning with the 2005–06 season, the NHL instituted a penalty shootout for regular season games that remained tied after a five-minute overtime period, which prevented ties.[32]

tag: ul


document_title: List of Billboard Hot 100 number-one singles of 1987

question_text: what was the number one song on july 30 1987

text: These are the Billboard Hot 100 number one hits of 1987. The longest running number-one singles of 1987 are "Livin' on a Prayer" by Bon Jovi and "Faith" by George Michael which each logged four weeks at number one. "Faith" attained three weeks at number-one and one week at the top in 1988, equaling four weeks at the top.

text:
Key

Indicates best-performing single of 1987

text:
Issue Date
Song
Artist(s)
Reference

January 3
"Walk Like an Egyptian"
The Bangles
[1]

January 10
[2]

January 17
"Shake You Down"
Gregory Abbott
[3]

January 24
"At This Moment"
Billy Vera and the Beaters
[4]

January 31
[5]

February 7
"Open Your Heart"
Madonna
[6]

February 14
"Livin' on a Prayer"
Bon Jovi
[7]

February 21
[8]

February 28
[9]

March 7
[10]

March 14
"Jacob's Ladder"
Huey Lewis and the News
[11]

March 21
"Lean on Me"
Club Nouveau
[12]

March 28
[13]

April 4
"Nothing's Gonna Stop Us Now"
Starship
[14]

April 11
[15]

April 18
"I Knew You Were Waiting (For Me)"
Aretha Franklin and George Michael
[16]

April 25

May 2
"(I Just) Died in Your Arms"
Cutting Crew
[17]

May 9
[18]

May 16
"With or Without You"
U2
[19]

May 23
[20]

May 30
[21]

June 6
"You Keep Me Hangin' On"
Kim Wilde
[22]

June 13
"Always"
Atlantic Starr
[23][24]

June 20
"Head to Toe"
Lisa Lisa and Cult Jam
[25][26]

June 27
"I Wanna Dance with Somebody (Who Loves Me)"
Whitney Houston
[27][28]

July 4
[29][30]

July 11
"Alone"
Heart
[31][32]

July 18
[33]

July 25
[34]

August 1
"Shakedown"
Bob Seger
[35]

August 8
"I Still Haven't Found What I'm Looking For"
U2
[36]

August 15
[37]

August 22
"Who's That Girl"
Madonna
[38]

August 29
"La Bamba"
Los Lobos
[39]

September 5
[40]

September 12
[41]

September 19
"I Just Can't Stop Loving You"
Michael Jackson with Siedah Garrett
[42]

September 26
"Didn't We Almost Have It All"
Whitney Houston
[43]

October 3
[44]

October 10
"Here I Go Again"
Whitesnake
[45]

October 17
"Lost in Emotion"
Lisa Lisa and Cult Jam
[46]

October 24
"Bad"
Michael Jackson
[47]

October 31
[48]

November 7
"I Think We're Alone Now"
Tiffany
[49]

November 14
[50]

November 21
"Mony Mony"
Billy Idol
[51]

November 28
"(I've Had) The Time of My Life"
Bill Medley and Jennifer Warnes
[52]

December 5
"Heaven Is a Place on Earth"
Belinda Carlisle
[53]

December 12
"Faith"
George Michael
[54]

December 19
[55]

December 26
[56]


document_title: Abstract expressionism

question_text: when did the center of the western art world shift from europe to the united states

text: Abstract expressionism

text: Style[edit]

text: Technically, an important predecessor is surrealism, with its emphasis on spontaneous, automatic, or subconscious creation. Jackson Pollock's dripping paint onto a canvas laid on the floor is a technique that has its roots in the work of André Masson, Max Ernst, and David Alfaro Siqueiros. The newer research tends to put the exile-surrealist Wolfgang Paalen in the position of the artist and theoretician who fostered the theory of the viewer-dependent possibility space through his paintings and his magazine DYN. Paalen considered ideas of quantum mechanics, as well as idiosyncratic interpretations of the totemic vision and the spatial structure of native-Indian painting from British Columbia and prepared the ground for the new spatial vision of the young American abstracts. His long essay Totem Art (1943) had considerable influence on such artists as Martha Graham, Isamu Noguchi, Jackson Pollock, Mark Rothko and Barnett Newman.[3] Around 1944 Barnett Newman tried to explain America's newest art movement and included a list of "the men in the new movement." Paalen is mentioned twice; other artists mentioned are Gottlieb, Rothko, Pollock, Hofmann, Baziotes, Gorky and others. Motherwell is mentioned with a question mark.[4] Another important early manifestation of what came to be abstract expressionism is the work of American Northwest artist Mark Tobey, especially his "white writing" canvases, which, though generally not large in scale, anticipate the "all-over" look of Pollock's drip paintings.

text: The movement's name is derived from the combination of the emotional intensity and self-denial of the German Expressionists with the anti-figurative aesthetic of the European abstract schools such as Futurism, the Bauhaus, and Synthetic Cubism. Additionally, it has an image of being rebellious, anarchic, highly idiosyncratic and, some feel, nihilistic.[5] In practice, the term is applied to any number of artists working (mostly) in New York who had quite different styles, and even to work that is neither especially abstract nor expressionist. California Abstract Expressionist Jay Meuser, who typically painted in the non-objective style, wrote about his painting Mare Nostrum, "It is far better to capture the glorious spirit of the sea than to paint all of its tiny ripples." Pollock's energetic "action paintings", with their "busy" feel, are different, both technically and aesthetically, from the violent and grotesque Women series of Willem de Kooning's figurative paintings and the rectangles of color in Mark Rothko's Color Field paintings (which are not what would usually be called expressionist, and which Rothko denied were abstract). Yet all four artists are classified as abstract expressionists.

text: Abstract expressionism has many stylistic similarities to the Russian artists of the early 20th century such as Wassily Kandinsky. Although it is true that spontaneity or the impression of spontaneity characterized many of the abstract expressionists' works, most of these paintings involved careful planning, especially since their large size demanded it. With artists such as Paul Klee, Wassily Kandinsky, Emma Kunz, and later on Rothko, Barnett Newman, and Agnes Martin, abstract art clearly implied expression of ideas concerning the spiritual, the unconscious, and the mind.[6]

text: Why this style gained mainstream acceptance in the 1950s is a matter of debate. American social realism had been the mainstream in the 1930s. It had been influenced not only by the Great Depression, but also by the muralists of Mexico such as David Alfaro Siqueiros and Diego Rivera. The political climate after World War II did not long tolerate the social protests of these painters. Abstract expressionism arose during World War II and began to be showcased during the early forties at galleries in New York such as The Art of This Century Gallery. The McCarthy era after World War II was a time of artistic censorship in the United States, but if the subject matter were totally abstract then it would be seen as apolitical, and therefore safe. Or if the art was political, the message was largely for the insiders.[7]

text: While the movement is closely associated with painting, and painters such as Arshile Gorky, Franz Kline, Clyfford Still, Hans Hofmann, Willem de Kooning, Jackson Pollock, and others, collagist Anne Ryan and certain sculptors in particular were also integral to abstract expressionism.[8] David Smith, and his wife Dorothy Dehner, Herbert Ferber, Isamu Noguchi, Ibram Lassaw, Theodore Roszak, Phillip Pavia, Mary Callery, Richard Stankiewicz, Louise Bourgeois, and Louise Nevelson in particular were some of the sculptors considered as being important members of the movement. In addition, the artists David Hare, John Chamberlain, James Rosati, Mark di Suvero, and sculptors Richard Lippold, Raoul Hague, George Rickey, Reuben Nakian, and even Tony Smith, Seymour Lipton, Joseph Cornell, and several others[9] were integral parts of the Abstract expressionist movement. Many of the sculptors listed participated in the Ninth Street Show,[9] a famous exhibition curated by Leo Castelli on East Ninth Street in New York City in 1951. Besides the painters and sculptors of the period the New York School of Abstract expressionism also generated a number of supportive poets, including Frank O'Hara and photographers such as Aaron Siskind and Fred McDarrah, (whose book The Artist's World in Pictures documented the New York School during the 1950s), and filmmakers—notably Robert Frank—as well.

text: Although the abstract expressionist school spread quickly throughout the United States, the major centers of this style were New York City and the San Francisco Bay area of California.

text: Art critics of the post–World War II era[edit]

text: At a certain moment the canvas began to appear to one American painter after another as an arena in which to act. What was to go on the canvas was not a picture but an event.

text: In the 1940s there were not only few galleries (The Art of This Century, Pierre Matisse Gallery, Julien Levy Gallery and a few others) but also few critics who were willing to follow the work of the New York Vanguard. There were also a few artists with a literary background, among them Robert Motherwell and Barnett Newman, who functioned as critics as well.

text: While New York and the world were yet unfamiliar with the New York avant-garde by the late 1940s, most of the artists who have become household names today had their well-established patron critics: Clement Greenberg advocated Jackson Pollock and the color field painters like Clyfford Still, Mark Rothko, Barnett Newman, Adolph Gottlieb and Hans Hofmann; Harold Rosenberg seemed to prefer the action painters such as Willem de Kooning and Franz Kline, as well as the seminal paintings of Arshile Gorky; Thomas B. Hess, the managing editor of ARTnews, championed Willem de Kooning.

text: The new critics elevated their protégés by casting other artists as "followers"[11] or ignoring those who did not serve their promotional goal.

text: In 1958, Mark Tobey became the first American painter since Whistler (1895) to win top prize at the Venice Biennale.[12]

text: Barnett Newman, a late member of the Uptown Group, wrote catalogue forewords and reviews, and by the late 1940s became an exhibiting artist at Betty Parsons Gallery. His first solo show was in 1948. Soon after his first exhibition, Barnett Newman remarked in one of the Artists' Sessions at Studio 35: "We are in the process of making the world, to a certain extent, in our own image."[13] Utilizing his writing skills, Newman fought every step of the way to reinforce his newly established image as an artist and to promote his work. An example is his letter on April 9, 1955, "Letter to Sidney Janis: — it is true that Rothko talks the fighter. He fights, however, to submit to the philistine world. My struggle against bourgeois society has involved the total rejection of it."[14]

text: Strangely the person thought to have had most to do with the promotion of this style was a New York Trotskyist; Clement Greenberg. As long-time art critic for the Partisan Review and The Nation, he became an early and literate proponent of abstract expressionism. The well-heeled artist Robert Motherwell joined Greenberg in promoting a style that fit the political climate and the intellectual rebelliousness of the era.

text: Clement Greenberg proclaimed abstract expressionism and Jackson Pollock in particular as the epitome of aesthetic value. He supported Pollock's work on formalistic grounds as simply the best painting of its day and the culmination of an art tradition going back via Cubism and Cézanne to Monet, in which painting became ever-'purer' and more concentrated in what was 'essential' to it, the making of marks on a flat surface.[15]

text: Jackson Pollock's work has always polarised critics. Harold Rosenberg spoke of the transformation of painting into an existential drama in Pollock's work, in which "what was to go on the canvas was not a picture but an event". "The big moment came when it was decided to paint 'just to paint'. The gesture on the canvas was a gesture of liberation from value—political, aesthetic, moral."[16]

text: One of the most vocal critics of abstract expressionism at the time was New York Times art critic John Canaday. Meyer Schapiro and Leo Steinberg along with Clement Greenberg and Harold Rosenberg were important art historians of the post-war era who voiced support for abstract expressionism. During the early-to-mid-sixties younger art critics Michael Fried, Rosalind Krauss, and Robert Hughes added considerable insights into the critical dialectic that continues to grow around abstract expressionism.

text: History[edit]

text: World War II and the Post-War period[edit]

text: During the period leading up to and during World War II, modernist artists, writers, and poets, as well as important collectors and dealers, fled Europe and the onslaught of the Nazis for safe haven in the United States. Many of those who didn't flee perished. Among the artists and collectors who arrived in New York during the war (some with help from Varian Fry) were Hans Namuth, Yves Tanguy, Kay Sage, Max Ernst, Jimmy Ernst, Peggy Guggenheim, Leo Castelli, Marcel Duchamp, André Masson, Roberto Matta, André Breton, Marc Chagall, Jacques Lipchitz, Fernand Léger, and Piet Mondrian. A few artists, notably Pablo Picasso, Henri Matisse, and Pierre Bonnard remained in France and survived.

text: The post-war period left the capitals of Europe in upheaval, with an urgency to economically and physically rebuild and to politically regroup. In Paris, formerly the center of European culture and capital of the art world, the climate for art was a disaster, and New York replaced Paris as the new center of the art world. In Europe after the war there was the continuation of Surrealism, Cubism, Dada, and the works of Matisse. Also in Europe, Art brut,[17] and Lyrical Abstraction or Tachisme (the European equivalent to Abstract expressionism) took hold of the newest generation. Serge Poliakoff, Nicolas de Staël, Georges Mathieu, Vieira da Silva, Jean Dubuffet, Yves Klein, Pierre Soulages and Jean Messagier, among others are considered important figures in post-war European painting.[18] In the United States, a new generation of American artists began to emerge and to dominate the world stage, and they were called Abstract Expressionists.

text: Gorky, Hofmann, and Graham[edit]

text: The 1940s in New York City heralded the triumph of American Abstract expressionism, a modernist movement that combined lessons learned from Henri Matisse, Pablo Picasso, Surrealism, Joan Miró, Cubism, Fauvism, and early Modernism via great teachers in America such as Hans Hofmann from Germany and John D. Graham from Ukraine. Graham's influence on American art during the early 1940s was particularly visible in the work of Arshile Gorky, Willem de Kooning, Jackson Pollock, and Richard Pousette-Dart among others. Gorky's contributions to American and world art are difficult to overestimate. His work as lyrical abstraction[20][21][22][23][24] was a "new language.[20] He "lit the way for two generations of American artists".[20] The painterly spontaneity of mature works such as "The Liver is the Cock's Comb", "The Betrothal II", and "One Year the Milkweed" immediately prefigured Abstract expressionism, and leaders in the New York School have acknowledged Gorky's considerable influence. The early work of Hyman Bloom was also influential.[25] American artists also benefited from the presence of Piet Mondrian, Fernand Léger, Max Ernst, and the André Breton group, Pierre Matisse's gallery, and Peggy Guggenheim's gallery The Art of This Century, as well as other factors. Hans Hofmann in particular as teacher, mentor, and artist was both important and influential to the development and success of abstract expressionism in the United States. Among Hofmann's protégés was Clement Greenberg, who became an enormously influential voice for American painting, and among his students was Lee Krasner, who introduced her teacher, Hofmann, to her husband, Jackson Pollock.

text: Pollock and Abstract influences[edit]

text: During the late 1940s, Jackson Pollock's radical approach to painting revolutionized the potential for all Contemporary art that followed him. To some extent, Pollock realized that the journey toward making a work of art was as important as the work of art itself. Like Pablo Picasso's innovative reinventions of painting and sculpture near the turn of the century via Cubism and constructed sculpture, with influences as disparate as Navaho sand paintings, surrealism, Jungian analysis, and Mexican mural art,[26] Pollock redefined what it was to produce art. His move away from easel painting and conventionality was a liberating signal to the artists of his era and to all that came after. Artists realized that Jackson Pollock's process—the placing of unstretched raw canvas on the floor where it could be attacked from all four sides using artist materials and industrial materials; linear skeins of paint dripped and thrown; drawing, staining, brushing; imagery and non-imagery—essentially took art-making beyond any prior boundary. Abstract expressionism in general expanded and developed the definitions and possibilities that artists had available for the creation of new works of art.

text: The other Abstract expressionists followed Pollock's breakthrough with new breakthroughs of their own. In a sense the innovations of Jackson Pollock, Willem de Kooning, Franz Kline, Mark Rothko, Philip Guston, Hans Hofmann, Clyfford Still, Barnett Newman, Ad Reinhardt, Richard Pousette-Dart, Robert Motherwell, Peter Voulkos, and others opened the floodgates to the diversity and scope of all the art that followed them. The new art movements of the 1960s essentially followed the lead of abstract expressionism and in particular the innovations of Pollock, De Kooning, Rothko, Hofmann, Reinhardt, and Newman. The radical Anti-Formalist movements of the 1960s and 1970s including Fluxus, Neo-Dada, Conceptual art, and the feminist art movement can be traced to the innovations of abstract expressionism. Rereadings into abstract art, done by art historians such as Linda Nochlin,[27] Griselda Pollock[28] and Catherine de Zegher[29] critically shows, however, that pioneer women artists who have produced major innovations in modern art had been ignored by the official accounts of its history, but finally began to achieve long overdue recognition in the wake of the abstract expressionist movement of the 1940s and 1950s. Abstract expressionism emerged as a major art movement in New York City during the 1950s and thereafter several leading art galleries began to include the abstract expressionists in exhibitions and as regulars in their rosters. Some of those prominent 'uptown' galleries included: the Charles Egan Gallery,[30] the Sidney Janis Gallery,[31] the Betty Parsons Gallery,[32] the Kootz Gallery,[33] the Tibor de Nagy Gallery, the Stable Gallery, the Leo Castelli Gallery as well as others; and several downtown galleries known at the time as the Tenth Street galleries exhibited many emerging younger artists working in the abstract expressionist vein.

text: Action painting[edit]

text: Action painting was a style widespread from the 1940s until the early 1960s, and is closely associated with abstract expressionism (some critics have used the terms action painting and abstract expressionism interchangeably). A comparison is often drawn between the American action painting and the French tachisme.

text: The term was coined by the American critic Harold Rosenberg in 1952[34] and signaled a major shift in the aesthetic perspective of New York School painters and critics. According to Rosenberg the canvas was "an arena in which to act". While abstract expressionists such as Jackson Pollock, Franz Kline and Willem de Kooning had long been outspoken in their view of a painting as an arena within which to come to terms with the act of creation, earlier critics sympathetic to their cause, like Clement Greenberg, focused on their works' "objectness." To Greenberg, it was the physicality of the paintings' clotted and oil-caked surfaces that was the key to understanding them as documents of the artists' existential struggle.

text: Rosenberg's critique shifted the emphasis from the object to the struggle itself, with the finished painting being only the physical manifestation, a kind of residue, of the actual work of art, which was in the act or process of the painting's creation. This spontaneous activity was the "action" of the painter, through arm and wrist movement, painterly gestures, brushstrokes, thrown paint, splashed, stained, scumbled and dripped. The painter would sometimes let the paint drip onto the canvas, while rhythmically dancing, or even standing in the canvas, sometimes letting the paint fall according to the subconscious mind, thus letting the unconscious part of the psyche assert and express itself. All this, however, is difficult to explain or interpret because it is a supposed unconscious manifestation of the act of pure creation.[35]

text: In practice, the term abstract expressionism is applied to any number of artists working (mostly) in New York who had quite different styles, and even applied to work which is not especially abstract nor expressionist. Pollock's energetic action paintings, with their "busy" feel, are different both technically and aesthetically, to the violent and grotesque Women series of Willem de Kooning. (As seen above) Woman V is one of a series of six paintings made by de Kooning between 1950 and 1953 that depict a three-quarter-length female figure. He began the first of these paintings, Woman I, collection: The Museum of Modern Art, New York City, in June 1950, repeatedly changing and painting out the image until January or February 1952, when the painting was abandoned unfinished. The art historian Meyer Schapiro saw the painting in de Kooning's studio soon afterwards and encouraged the artist to persist. De Kooning's response was to begin three other paintings on the same theme; Woman II, collection: The Museum of Modern Art, New York City, Woman III, Tehran Museum of Contemporary Art, Woman IV, Nelson-Atkins Museum of Art, Kansas City, Missouri. During the summer of 1952, spent at East Hampton, de Kooning further explored the theme through drawings and pastels. He may have finished work on Woman I by the end of June, or possibly as late as November 1952, and probably the other three women pictures were concluded at much the same time.[36] The Woman series are decidedly figurative paintings.

text: Another important artist is Franz Kline, as demonstrated by his painting Number 2 (1954) (see above). As with Jackson Pollock and other abstract expressionists, Kline was labelled an "action painter because of his seemingly spontaneous and intense style, focusing less, or not at all, on figures or imagery, but on the actual brush strokes and use of canvas. Automatic writing was an important vehicle for action painters Franz Kline (in his black and white paintings), Jackson Pollock, Mark Tobey and Cy Twombly, who used gesture, surface, and line to create calligraphic, linear symbols and skeins that resemble language, and resonate as powerful manifestations from the collective unconscious.[37] Robert Motherwell in his Elegy to the Spanish Republic series also painted powerful black and white paintings using gesture, surface and symbol evoking powerful emotional charges.

text: Meanwhile, other action painters, notably Willem de Kooning, Arshile Gorky, Norman Bluhm, Joan Mitchell, and James Brooks, (see gallery) used imagery via either abstract landscape or as expressionistic visions of the figure to articulate their highly personal and powerful evocations. James Brooks' paintings were particularly poetic and highly prescient in relationship to Lyrical Abstraction that became prominent in the late 1960s and the 1970s.[38]

text: Color field[edit]

text: Clyfford Still, Barnett Newman, Adolph Gottlieb and the serenely shimmering blocks of color in Mark Rothko's work (which is not what would usually be called expressionist and which Rothko denied was abstract), are classified as abstract expressionists, albeit from what Clement Greenberg termed the Color field direction of abstract expressionism. Both Hans Hofmann (see gallery) and Robert Motherwell (gallery) can be comfortably described as practitioners of action painting and Color field painting. In the 1940s Richard Pousette-Dart's tightly constructed imagery often depended upon themes of mythology and mysticism; as did the paintings of Adolph Gottlieb, and Jackson Pollock in that decade as well.

text: Color Field painting initially referred to a particular type of abstract expressionism, especially the work of Mark Rothko, Clyfford Still, Barnett Newman, Robert Motherwell, Adolph Gottlieb, Ad Reinhardt and several series of paintings by Joan Miró. Art critic Clement Greenberg perceived Color Field painting as related to but different from Action painting. The Color Field painters sought to rid their art of superfluous rhetoric. Artists like Robert Motherwell, Clyfford Still, Mark Rothko, Adolph Gottlieb, Hans Hofmann, Helen Frankenthaler, Sam Francis, Mark Tobey, and especially Ad Reinhardt and Barnett Newman, whose masterpiece Vir heroicus sublimis is in the collection of MoMA, used greatly reduced references to nature, and they painted with a highly articulated and psychological use of color. In general these artists eliminated recognizable imagery, in the case of Rothko and Gottlieb sometimes using symbol and sign as replacement of imagery.[39] Certain artists quoted references to past or present art, but in general color field painting presents abstraction as an end in itself. In pursuing this direction of modern art, artists wanted to present each painting as one unified, cohesive, monolithic image.

text: In distinction to the emotional energy and gestural surface marks of abstract expressionists such as Jackson Pollock and Willem de Kooning, the Color Field painters initially appeared to be cool and austere, effacing the individual mark in favor of large, flat areas of color, which these artists considered to be the essential nature of visual abstraction, along with the actual shape of the canvas, which later in the 1960s Frank Stella in particular achieved in unusual ways with combinations of curved and straight edges. However Color Field painting has proven to be both sensual and deeply expressive albeit in a different way from gestural Abstract expressionism.

text: Although Abstract expressionism spread quickly throughout the United States, the major centers of this style were New York City and California, especially in the New York School, and the San Francisco Bay area. Abstract expressionist paintings share certain characteristics, including the use of large canvases, an "all-over" approach, in which the whole canvas is treated with equal importance (as opposed to the center being of more interest than the edges). The canvas as the arena became a credo of Action painting, while the integrity of the picture plane became a credo of the Color field painters. Younger artists began exhibiting their abstract expressionist related paintings during the 1950s as well including Alfred Leslie, Sam Francis, Joan Mitchell, Helen Frankenthaler, Cy Twombly, Milton Resnick, Michael Goldberg, Norman Bluhm, Grace Hartigan, Friedel Dzubas, and Robert Goodnough among others.

text: Although Pollock is closely associated with Action Painting because of his style, technique, and his painterly touch and his physical application of paint, art critics have likened Pollock to both Action painting and color field painting. Another critical view advanced by Clement Greenberg connects Pollock's allover canvasses to the large-scale Water Lilies of Claude Monet done during the 1920s. Greenberg, art critic Michael Fried, and others have observed that the overall feeling in Pollock's most famous works – his drip paintings – read as vast fields of built-up linear elements often reading as vast complexes of similar valued paint skeins that read as all over fields of color and drawing, and are related to the mural-sized late Monets that are constructed of many passages of close valued brushed and scumbled marks that also read as close valued fields of color and drawing that Monet used in building his picture surfaces. Pollock's use of all-over composition lend a philosophical and a physical connection to the way the color field painters like Newman, Rothko and Still construct their unbroken and in Still's case broken surfaces. In several paintings that Pollock painted after his classic drip painting period of 1947–1950, he used the technique of staining fluid oil paint and house paint into raw canvas. During 1951 he produced a series of semi-figurative black stain paintings, and in 1952 he produced stain paintings using color. In his November 1952 exhibition at the Sidney Janis Gallery in New York City Pollock showed Number 12, 1952, a large, masterful stain painting that resembles a brightly colored stained landscape (with an overlay of broadly dripped dark paint); the painting was acquired from the exhibition by Nelson Rockefeller for his personal collection. In 1960 the painting was severely damaged by fire in the Governors Mansion in Albany that also severely damaged an Arshile Gorky painting and several other works in the Rockefeller collection. However, by 1999 it had been restored and was installed in Albany Mall.[40][41]

text: While Arshile Gorky is considered to be one of the founding fathers of abstract expressionism and a surrealist, he was also one of the first painters of the New York School who used the technique of staining. Gorky created broad fields of vivid, open, unbroken color that he used in many of his paintings as grounds. In Gorky's most effective and accomplished paintings between the years 1941–1948, he consistently used intense stained fields of color, often letting the paint run and drip, under and around his familiar lexicon of organic and biomorphic shapes and delicate lines. Another abstract expressionist whose works in the 1940s call to mind the stain paintings of the 1960s and the 1970s is James Brooks. Brooks regularly used stain as a technique in his paintings from the late 1940s. Brooks began diluting his oil paint in order to have fluid colors with which to pour and drip and stain into the mostly raw canvas that he used. These works often combined calligraphy and abstract shapes. During the final three decades of his career, Sam Francis' style of large-scale bright Abstract expressionism was closely associated with Color field painting. His paintings straddled both camps within the abstract expressionist rubric, Action painting and Color Field painting.

text: Having seen Jackson Pollock's 1951 paintings of thinned black oil paint stained into raw canvas, Helen Frankenthaler began to produce stain paintings in varied oil colors on raw canvas in 1952. Her most famous painting from that period is Mountains and Sea(as seen below). She is one of the originators of the Color Field movement that emerged in the late 1950s.[43] Frankenthaler also studied with Hans Hofmann.

text: Hofmann's paintings are a symphony of color as seen in The Gate, 1959–1960. Hofmann was renowned not only as an artist but also as a teacher of art, both in his native Germany and later in the U.S. Hans Hofmann, who came to the United States from Germany in the early 1930s, brought with him the legacy of Modernism. Hofmann was a young artist working in Paris who painted there before World War I. Hofmann worked in Paris with Robert Delaunay, and he knew firsthand the innovative work of both Pablo Picasso and Henri Matisse. Matisse's work had an enormous influence on him, and on his understanding of the expressive language of color and the potentiality of abstraction. Hofmann was one of the first theorists of color field painting, and his theories were influential to artists and to critics, particularly to Clement Greenberg, as well as to others during the 1930s and 1940s. In 1953 Morris Louis and Kenneth Noland were both profoundly influenced by Helen Frankenthaler's stain paintings after visiting her studio in New York City. Returning to Washington, DC., they began to produce the major works that created the color field movement in the late 1950s.[44]

text: In 1972 then Metropolitan Museum of Art curator Henry Geldzahler said:

text: Clement Greenberg included the work of both Morris Louis and Kenneth Noland in a show that he did at the Kootz Gallery in the early 1950s. Clem was the first to see their potential. He invited them up to New York in 1953, I think it was, to Helen's studio to see a painting that she had just done called Mountains and Sea, a very, very beautiful painting, which was in a sense, out of Pollock and out of Gorky. It also was one of the first stain pictures, one of the first large field pictures in which the stain technique was used, perhaps the first one. Louis and Noland saw the picture unrolled on the floor of her studio and went back to Washington, DC., and worked together for a while, working at the implications of this kind of painting.[45][46]

text: In the 1960s after abstract expressionism[edit]

text: In abstract painting during the 1950s and 1960s, several new directions, like the Hard-edge painting exemplified by John McLaughlin, emerged. Meanwhile, as a reaction against the subjectivism of Abstract expressionism, other forms of Geometric abstraction began to appear in artist studios and in radical avant-garde circles. Clement Greenberg became the voice of Post-painterly abstraction; by curating an influential exhibition of new painting that toured important art museums throughout the United States in 1964. Color field painting, Hard-edge painting and Lyrical Abstraction[47] emerged as radical new directions.

text: Abstract expressionism and the Cold War[edit]

text: Since the mid-1970s it has been argued by revisionist historians that the style attracted the attention, in the early 1950s, of the CIA, who saw it as representative of the USA as a haven of free thought and free markets, as well as a challenge to both the socialist realist styles prevalent in communist nations and the dominance of the European art markets.[48] The book by Frances Stonor Saunders,[49] The Cultural Cold War—The CIA and the World of Arts and Letters,[50] (published in the UK as Who Paid the Piper?: CIA and the Cultural Cold War) details how the CIA financed and organized the promotion of American abstract expressionists as part of cultural imperialism via the Congress for Cultural Freedom from 1950 to 1967. Notably Robert Motherwell's series Elegy to the Spanish Republic addressed some of those political issues. Tom Braden, founding chief of the CIA's International Organizations Division (IOD) and ex-executive secretary of the Museum of Modern Art said in an interview, "I think it was the most important division that the agency had, and I think that it played an enormous role in the Cold War."[51]

text: Against this revisionist tradition, an essay by Michael Kimmelman, chief art critic of The New York Times, called Revisiting the Revisionists: The Modern, Its Critics and the Cold War, argues that much of this information (as well as the revisionists' interpretation of it) concerning what was happening on the American art scene during the 1940s and 50s is flatly false, or at best (contrary to the revisionists' avowed historiographic principles) decontextualized.[52] Other books on the subject include Art in the Cold War by Christine Lindey, which also describes the art of the Soviet Union at the same time; and Pollock and After edited by Francis Frascina, which reprinted the Kimmelman article.

text: Consequences[edit]

text: Canadian painter Jean-Paul Riopelle (1923–2002), a member of the Montreal-based surrealist-inspired group Les Automatistes, helped introduce a related style of abstract impressionism to the Parisian art world from 1949. Michel Tapié's groundbreaking book, Un Art Autre (1952), was also enormously influential in this regard. Tapié was also a curator and exhibition organizer who promoted the works of Pollock and Hans Hofmann in Europe. By the 1960s, the movement's initial affect had been assimilated, yet its methods and proponents remained highly influential in art, affecting profoundly the work of many artists who followed. Abstract expressionism preceded Tachisme, Color Field painting, Lyrical Abstraction, Fluxus, Pop Art, Minimalism, Postminimalism, Neo-expressionism, and the other movements of the sixties and seventies and it influenced all those later movements that evolved. Movements which were direct responses to, and rebellions against abstract expressionism began with Hard-edge painting (Frank Stella, Robert Indiana and others) and Pop artists, notably Andy Warhol, Claes Oldenburg and Roy Lichtenstein who achieved prominence in the US, accompanied by Richard Hamilton in Britain. Robert Rauschenberg and Jasper Johns in the US formed a bridge between abstract expressionism and Pop art. Minimalism was exemplified by artists such as Donald Judd, Robert Mangold and Agnes Martin.

text: However, many painters, such as Jules Olitski, Joan Mitchell and Antoni Tàpies continued to work in the abstract expressionist style for many years, extending and expanding its visual and philosophical implications, as many abstract artists continue to do today, in styles described as Lyrical Abstraction, Neo-expressionist and others.

text: In the years after World War II, a group of New York artists started one of the first true schools of artists in America, bringing about a new era in American artwork: abstract expressionism. This led to the American art boom that brought about styles such as Pop Art. This also helped to make New York into a cultural and artistic hub.[53]

text: Abstract expressionist value expression over perfection, vitality over finish, fluctuation over repose, the unknown over the known, the veiled over the clear, the individual over society and the inner over the outer.

text: Major sculpture[edit]

text:
Richard Stankiewicz, Detail of Figure; 1956; steel, iron, and concrete; in the collection of the Hirshhorn Museum and Sculpture Garden

Alexander Calder, Red Mobile, 1956, Painted sheet metal and metal rods, Montreal Museum of Fine Arts

John Chamberlain, S, 1959, Hirshhorn Museum and Sculpture Garden, Washington, DC.

Isamu Noguchi, The Cry, 1959, Kröller-Müller Museum Sculpture Park, Otterlo, Netherlands

Louise Bourgeois, Maman, 1999, outside Museo Guggenheim

text: List of abstract expressionists[edit]

text: Major artists[edit]

text:
Albert Alcalay
Charles Alston
Ruth Asawa
Alice Baber
William Baziotes
Norman Bluhm
Louise Bourgeois
Ernest Briggs
James Brooks
Fritz Bultman
Hans Burkhardt
Jack Bush
Lawrence Calcagno
Alexander Calder
Nicolas Carone
Giorgio Cavallon
John Chamberlain
Joseph Cornell
Dorothy Dehner
Jean Dubuffet
Elaine de Kooning
Willem de Kooning
Beauford Delaney
Robert De Niro, Sr.
Richard Diebenkorn
Mark di Suvero
James Budd Dixon
Enrico Donati
Edward Dugmore
Friedel Dzubas
Jimmy Ernst
Herbert Ferber
John Ferren
Perle Fine
Sam Francis
Jane Frank
Helen Frankenthaler
Sonia Gechtoff
Michael Goldberg
Robert Goodnough
Arshile Gorky
Joseph Goto
Adolph Gottlieb
Morris Graves
Cleve Gray
Philip Guston
Raoul Hague
David Hare
Grace Hartigan
Hans Hofmann
Paul Horiuchi
John Hultberg
Paul Jenkins
James Kelly
Earl Kerkam
Franz Kline
Albert Kotin
Lee Krasner
Walter Kuhlman
Ibram Lassaw
Alfred Leslie
John Harrison Levee
Norman Lewis
Richard Lippold
Seymour Lipton
Frank Lobdell
Morris Louis
Conrad Marca-Relli
Nicholas Marsicano
Mercedes Matter
Joan Mitchell
Robert Motherwell
Louise Nevelson
Barnett Newman
Isamu Noguchi
Kenzo Okada
John Opper
Stephen Pace
Ray Parker
Phillip Pavia
Jackson Pollock
Fuller Potter
Richard Pousette-Dart
Ad Reinhardt
Milton Resnick
Robert Richenburg
George Rickey
Jean-Paul Riopelle
William Ronald
James Rosati
Theodore Roszak
Mark Rothko
Anne Ryan
Louis Schanker
Jon Schueler
Charles Seliger
Harold Shapinsky
Thomas Sills
David Smith
Theodoros Stamos
Richard Stankiewicz
Joe Stefanelli
Hedda Sterne
Clyfford Still
George Stillman
Reuben Tam
Alma Thomas
Mark Tobey
Bradley Walker Tomlin
Cy Twombly
Jack Tworkov
Esteban Vicente
Peter Voulkos
Corinne Michelle West
John von Wicht
Hale Woodruff
Emerson Woelffer
Taro Yamamoto
Manouchehr Yektai

text: Other artists[edit]

text:
Satoru Abe
Bumpei Akaji
Olga Albizu
Karel Appel
Rosemarie Beck
William Brice
Alexander Bogen
Charles Ragland Bunnell
Gretna Campbell
Mary Callery
Chu Teh-Chun
Edward Clark
Alfred L. Copley (aka L. Alcopley)
Edward Corbett
Sari Dienes
Isami Doi
Lynne Mapp Drexler
Lucio Fontana
Herbert Gentry[54]
Sam Gilliam
Joseph Glasco
John D. Graham
Stephen Greene
Elaine Hamilton
Hans Hartung
Saburo Hasegawa
Al Held
Raymond Hendler
Gino Hollander
John Hoyland
Ralph Iwamoto
William Ivey
Jasper Johns
Karl Kasten
Keichi Kimura
Sueko Kimura
Frances Kornbluth
André Lanskoy
John Levee
Michael Loew
Knox Martin
Georges Mathieu
Herbert Matter
George McNeil
Jean Messagier
Jay Meuser
George Miyasaki
Seong Moy
Jan Müller
Robert Natkin
Tetsuo Ochikubo
Frank Okada
Jerry Okimoto
Jules Olitski
Pat Passlof
Irene Rice-Pereira
Earle M. Pilgrim
Robert Rauschenberg
Larry Rivers
Julio Rosado del Valle
Jack Roth
Tadashi Sato
Jon Schueler
Pablo Serrano
Sarai Sherman
Morita Shiryū
Vieira da Silva
Aaron Siskind
Tony Smith
Pierre Soulages
Nicolas de Staël
Frank Stella
Ary Stillman
Kumi Sugaï (fr)
Stuart Sutcliffe
Augustus Vincent Tack
Toshiko Takaezu
Antoni Tàpies
Harry Tsuchidana
Tony Tuckson
Nína Tryggvadóttir
Bram van Velde
Don Van Vliet
Cora Kelley Ward
Ulfert Wilke
Wols
Tseng Yu-ho
Zao Wou Ki


document_title: List of best Major League Baseball season win-loss records

question_text: who has the most wins in a major league baseball season

text: Season records[edit]

text: The following teams finished the season with a .700 winning percentage or higher.

text: Since the season was expanded to 162 games in 1961, only two teams have managed a winning percentage greater than .700 (which requires 114 wins).  These two are the 1998 New York Yankees and the 2001 Seattle Mariners.

text:
NL = National League
AL = American League
AA = American Association

text:
Season

Franchise

League

Wins

Losses

Pct.

Games Played

Finish

1906
Chicago Cubs
NL
116
36
.763
156
Lost 1906 World Series

1902
Pittsburgh Pirates
NL
103
36
.741
139
National League Champions

1886
Chicago White Stockings
NL
90
34
.726
124
National League Champions

1909
Pittsburgh Pirates
NL
110
42
.724
152
Won 1909 World Series

1954
Cleveland Indians
AL
111
43
.721
154
Lost 1954 World Series

2001
Seattle Mariners
AL
116
46
.716
162
Lost 2001 ALCS

1927
New York Yankees
AL
110
44
.714
154
Won 1927 World Series

1886
Detroit Wolverines
NL
87
36
.707
123
2nd place in National League

1897
Boston Beaneaters
NL
93
39
.705
132
Lost 1897 Temple Cup

1907
Chicago Cubs
NL
107
45
.704
152
Won 1907 World Series

1931
Philadelphia Athletics
AL
107
45
.704
152
Lost 1931 World Series

1998
New York Yankees
AL
114
48
.704
162
Won 1998 World Series

1887
St. Louis Browns
AA
95
40
.704
135
Lost 1887 World Series

1939
New York Yankees
AL
106
45
.702
152
Won 1939 World Series

text: Other teams[edit]

text: Prior to 1886, teams played .700 ball or better over shorter schedules, where there is much less of the "evening out" effect of a lengthier season.

text: For example, the Chicago White Stockings won the National League's first pennant in 1876 with a 52-14 record (.788), and won the 1880 NL pennant with a 67-17 record (.798), which stands as the overall percentage record between the National or the American League. The White Stockings' 1880 record would project to a record of 129-33 under the modern schedule of 162 games, while Pythagorean expectation based on the White Stockings' results (538 runs scored, 317 runs allowed) and a 162-game schedule would translate to a record of 120-42.

text: The all-time best single season record belongs to the Cincinnati Red Stockings, who posted baseball's only perfect record at 67-0 (57-0 against National Association of Base Ball Players clubs) in 1869. Their record would stretch to 81-0 across the 1870 season before losing 8-7 in eleven innings to the Brooklyn Atlantics in Brooklyn on June 14.[1][2]

text: The second-best record belongs to the 1875 Boston Red Stockings of the National Association, who finished with a record of 71-8 (.899), but the status of the National Association as a major league has long been disputed. The Red Stockings record would project to 146-16 under the modern schedule of 162 games, while Pythagorean expectation based on the Red Stockings results (831 runs scored, 343 runs allowed) and the modern 162-game schedule would translate to a record of 138-24.

text: The National Association folded at the end of 1875, and the Red Stockings, who had won the last four pennants, joined the National League for 1876, being renamed the Red Caps. The team went 39-31 for a fourth-place finish in 1876 before winning the 1877 and 1878 pennants with records of 42-18 and 41-19.

text: The third-best record belongs to the St. Louis Maroons of the 1884 Union Association, who finished with a record of 94-19 (.832), but the Union Association was quite lopsided in talent distribution (team owner Henry Lucas was also league president, an obvious conflict-of-interest situation which is now banned, and bought all the best available players for his franchise), generally disorganized (six teams played close to full schedules, another four teams folded and one relocated during the course of the season), and poorly scheduled. The Maroons' record would project to 135-27 under the modern schedule of 162 games, while Pythagorean expectation based on the Maroons' results (887 runs scored, 429 runs allowed) and a 162-game schedule would translate to a record of 131-31, but these results are of questionable merit.

text: The Union Association folded at the end of 1884, and the Maroons joined the National League for 1885. Playing against stiffer competition, they went 36-72 in 1885, and 43-79 in 1886, finishing in last and sixth in both seasons. In 1887, the Maroons relocated to Indianapolis and became the Indianapolis Hoosiers, playing three more seasons below .500 before folding.