document_title: Los Angeles Angels

question_text: when did the anaheim angels change their name

text: Los Angeles Angels

text: Franchise history[edit]

text: The "Los Angeles Angels" name originates from the first Los Angeles-based sports team, the Los Angeles Angels, who took the name "Angels" from the English translation of "Los Angeles", which means "The Angels" in Spanish. The team name started in 1892; in 1903, the team name continued in L.A. through the PCL, which is now a minor league affiliate of MiLB. The Angels franchise of today was established in MLB in 1961 after former owner Gene Autry bought the rights to continue the franchise name from Walter O'Malley, the former Los Angeles Dodgers owner who had acquired the franchise from Phil Wrigley, the owner of the Chicago Cubs at the time. As stated in the book Under the Halo: The Official History of Angels Baseball, "Autry agreed to buy the franchise name for $350,000, and continue the history of the previously popular Pacific Coast League team as his own expansion team in the MLB."[2] After the Angels joined the Major Leagues, some players from the Angels' PCL team joined the Major League Angels in 1961.

text: As an expansion franchise, the club continued in Los Angeles as the "Los Angeles Angels", and played their home games at Los Angeles' Wrigley Field (not to be confused with Chicago's stadium of the same name), which had formerly been the home of the PCL Los Angeles Angels. The Angels were one of two expansion teams established as a result of the 1961 Major League Baseball expansion, along with the second incarnation of the Washington Senators (now Texas Rangers). The team then moved in 1962 to newly built Dodger Stadium, which the Angels referred to as Chavez Ravine, where they were tenants of the Los Angeles Dodgers through 1965.

text: The team's founder, entertainer Gene Autry, owned the franchise for its first 36 years. During Autry's ownership, the team made the playoffs three times, but never won the pennant. The team has gone through several name changes in their history, first changing their name to the California Angels on September 2, 1965, with a month still left in the season, in recognition of their upcoming move to the newly constructed Anaheim Stadium in Anaheim at the start of the 1966 season.[3] When The Walt Disney Company took control of the team in 1997, it extensively renovated Anaheim Stadium, which was then renamed Edison International Field of Anaheim. The City of Anaheim contributed $30 million to the $118 million renovation with a renegotiated lease providing that the names of both the stadium and team contain the word "Anaheim".[4] The team was renamed the Anaheim Angels and became a subsidiary of Disney Sports, Inc. (later renamed Anaheim Sports, Inc.). Under Disney's ownership and the leadership of manager Mike Scioscia, the Angels won their first pennant and World Series championship in 2002.

text: In 2005, new owner Arturo Moreno added "Los Angeles" to the team's name. In compliance with the terms of its lease with the city of Anaheim, which required "Anaheim" be a part of the team's name, the team was renamed the Los Angeles Angels of Anaheim. Fans, residents and the municipal governments of both Anaheim and Los Angeles all objected to the change, with the City of Anaheim pursuing litigation; nevertheless, the change was eventually upheld in court and the city dropped its lawsuit in 2009. The team usually refers to itself as the Angels or Angels Baseball in its home media market, and the words "Los Angeles" and "LAA" do not appear in the stadium, on the Angels' uniforms, or on official team merchandise. Local media in Southern California tend to omit a geographic identifier and refer to the team as the Angels or as the Halos. The Associated Press, the most prominent news service in the U.S., refers to the team as the Los Angeles Angels, the Angels, or Los Angeles. The team refers to itself as the "Los Angeles Angels" on its social media accounts, including Twitter, Facebook, and Instagram.[5][6][7] In 2013, the team was to officially drop "of Anaheim" from its name, as part of a new Angel Stadium lease negotiated with the Anaheim city government.[8][9][10][11] The deal was never finalized, though as of 2017, most official sources omit the "of Anaheim" suffix and the official MLB Style Guide has referred to the team as simply the Los Angeles Angels since the 2016 season.[12][13][14][15]

text: Team traditions[edit]

text: The mantra "Win One for the Cowboy" is a staple that is deeply rooted in Angels history for fans. The saying refers to the Angels' founder and previous owner, Gene Autry, who never saw his Angels win a World Series in his 38 years as owner. Years went by as the team experienced many losses just strikes away from American League pennants. By the Angels' first World Series Championship in 2002, Gene Autry had died, but after winning the World Series, Angels player Tim Salmon ran into the home dugout and brought out one of Autry's signature white Stetson hats in honor of the "singing cowboy". Autry's #26 was retired as the 26th man on the field for the Angels.

text: Angel Stadium of Anaheim is nicknamed "The Big A."[16] It has a section in center field nicknamed the "California Spectacular", a formation of artificial rocks made to look like a desert mountain in California. The California Spectacular has a running waterfall, and also shoot fireworks from the rocks before every game; anytime the Angels hit a home run or win a game the fireworks shoot from the rocks as well.[16]

text: Each game begins with the song "Calling All Angels" by Train being played accompanied by a video that shows historical moments in team history, with Norman Greenbaum's "Spirit in the Sky" being played during the team's starting lineup announcement.

text: Anytime the Angels win a game, the saying "Light Up the Halo!", or "Light That Baby Up!" is used in reference to the giant landmark which is a big 230 foot tall A with a halo surrounding the top which lights up every time the Angels win a game.[16] Fans also use the saying, "Just another Halo victory", as the late Angels broadcaster Rory Markas, who would say the catch phrase after each win.

text: The Angels organization was the first North American team to employ the use of thundersticks.

text: The Rally Monkey[edit]

text: The Rally Monkey is a mascot for the Angels which appears if the Angels are losing a game or if the game is tied from the 7th inning on, but sometimes earlier depending on the situation. The Rally Monkey appears on the scoreboard in various movies or pop culture references that have been edited to include him.[citation needed]

text: The Rally Monkey was born in 2000 when the scoreboard showed a clip from Ace Ventura: Pet Detective, after which the Angels rallied to win the game. The clip proved to be so popular that the team hired Katie, a white-haired capuchin monkey, to star in original clips for later games. When seen, she jumps up and down to the House of Pain song "Jump Around" and holds a sign that says "RALLY TIME!"[citation needed]

text: The Rally Monkey came to national and worldwide attention during the Angels' appearance in the 2002 World Series against the San Francisco Giants. In the 6th game, the Angels were playing at home, but were trailing the series 3-2 and facing elimination. They were down 5-0 as the game entered the bottom of the 7th inning. Amid fervid rally-monkey themed fan support, the Angels proceeded to score six unanswered runs over the next two innings, winning the game and turning the momentum of the series for good (they went on to clinch the championship in game 7).

text: From 2007 to 2009, the Angels reached the post-season each year, sparking a renewal of the Rally Monkey's popularity.

text: Rivalries[edit]

text: The Angels have developed many rivalries in and also outside of their division. They include the New York Yankees,[17] Boston Red Sox, Texas Rangers,[18] Oakland Athletics, and the neighboring Los Angeles Dodgers.

text: Texas Rangers[edit]

text: The Rangers and Angels rivalry has been said to develop over a domination in the division between the two teams, and also in recent years more animosity between the two teams due to the amount of former players from each team playing for the division rival. Players such as Mike Napoli, Darren Oliver, Vladimir Guerrero, C. J. Wilson, and Josh Hamilton have all been acquisitions the two division rivals have made from one another. In 2012, Wilson played a joke on Napoli, his former teammate, by tweeting his phone number, causing Napoli to exchange words with Wilson.[19] The feuds go back to two incidents between Angels second baseman Adam Kennedy and Rangers catcher Gerald Laird which led to punches being thrown.[20]

text: The two teams have each had a perfect game against each other, including Mike Witt in 1984 at Arlington Stadium and Kenny Rogers in 1994 at The Ballpark in Arlington.

text: New York Yankees[edit]

text: The Angels and Yankees rivalry can be seen as stemming from heated play between the two teams through the years, including several times in the playoffs. For the past 20 years the Angels are also the only team in the majors to have a winning record against the Yankees, especially in 1998 when there was concern from New York sportswriters that the Angels could upset the Yankees in the Division Series. The Angels missed the playoffs, and the Yankees went on to win later that year. The Angels would knock off the Yankees four years later in the 2002 ALDS.[21] Coincidental enough, the former PCL Angels were nicknamed "Yankees West" due to the success the team had, and even held multiple scrimmage games between the two in the old Wrigley Field in Los Angeles during spring training throughout the 30s, 40s, and 50s.[22][23]

text: Los Angeles Dodgers[edit]

text: The rivalry with the Los Angeles Dodgers has been referred to as the Freeway Series because of the freeway system (mostly via I-5) linking the two teams' home fields.[24] The Freeway Series rivalry developed mostly over the two teams sharing similar regions and fans having been split in Los Angeles, similar to the Chicago Cubs vs. Chicago White Sox rivalry, the San Francisco Giants vs. Oakland A's rivalry, or the New York Mets vs. New York Yankees rivalry.

text: Game attendance[edit]

text: The Angels have drawn more than 3 million fans to the stadium for twelve years straight, and at least 2 million for 17 seasons, and a game average in 2010, 2011, 2012, & 2013 of 40,000 fans at each game despite not making the playoffs all four years.[25] This is 2nd in all of MLB, only trailing the New York Yankees. In 2014, the Angels were fifth in the MLB in attendance, with a total of 3,095,935 people.[26]

text: As of 2015, the Angels fans have set 6 Guinness World Records for the largest gatherings of people wearing blankets, wrestling masks, cowboy hats, wigs, Santa hats, superhero capes, and sombreros. They've also set the world record for largest gathering of people with selfie sticks.[27] In 2009, the Angels were voted the number one franchise in professional sports in Fan Value by ESPN magazine.[28] In 2011, ESPN & Fan polls by ESPN ranked the Angels #4 in the best sports franchises, ahead of every Major League team in baseball at #1 and also making it the #1 sports franchise in Los Angeles. The rankings were determined through a combination of sports analysts and fan votes ranking all sports franchises by a combination of average fan attendance, fan relations, "Bang for your Buck" or winning percentage over the past 3 years, ownership, affordability, stadium experience, players effort on the field and likability, coaching, and "Title Track".

text: Logos and colors[edit]

text: The Los Angeles Angels have used ten different logos and three different color combinations throughout their history. Their first two logos depict a baseball with wings and a halo over a baseball diamond with the letters "L" and "A" over it in different styles. The original team colors were the predominantly blue with a red trim. This color scheme would be in effect for most of the franchise's history lasting from 1961 to 1996.

text: On September 2, 1965, with the team still a tenant of the Dodgers at Chavez Ravine, Autry changed its name from the "Los Angeles Angels" to the "California Angels." With the club's 1966 move to Anaheim, the logo changed as well. During the 31 years of being known as the "California Angels", the team kept the previous color scheme, however, their logo did change six times during this period. The first logo under this name was very similar to the previous "LA" logo, the only difference was instead of an interlocking "LA", there was an interlocking "CA." Directly after this from 1971 to 1985, the Angels adopted a logo that had the word "Angels" written on an outline of the State of California. Between the years 1971–1972 the "A" was lower-case while from 1973 to 1985 it was upper-case.

text: It was in 1965, while the stadium was being finished, that Bud Furillo (of the Herald Examiner) coined its nickname, "the Big A" after the tall letter A that once stood beyond left-center field and served as the arena's primary scoreboard (it was later relocated to a section of the parking lot, south-east of the stadium).

text: In 1986, the Angels adopted the "big A" on top of a baseball as their new logo, with the shadow of California in the background. After the "big A" was done in 1992, the Angels returned to their roots and re-adopted the interlocking "CA" logo with some differences. The Angels used this logo from 1993 to 1996, during that time, the "CA" was either on top of a blue circle or with nothing else.

text: After the renovations of then-Anaheim Stadium and the takeover by the Walt Disney Company, the Angels changed their name to the "Anaheim Angels" along with changing the logo and color scheme. The first logo under Disney removed the halo and had a rather cartoon-like "ANGELS" script with a wing on the "A" over a periwinkle plate and crossed bats. With this change, the Angels' color scheme changed to dark blue and periwinkle. After a run with the "winged" logo from 1997 to 2001, Disney changed the Angels' logo back to a "Big A" with a silver logo over a dark blue baseball diamond. With this logo change, the colors changed to the team's current color scheme: predominantly red with some dark blue and white.

text: When the team's name changed from the "Anaheim Angels" to the "Los Angeles Angels of Anaheim", the logo changed only slightly, the name "ANAHEIM ANGELS" and the blue baseball diamond were removed leaving only the "Big A."

text: For the 2011 season, as part of the 50th anniversary of the Angels franchise, the halo on the 'Big A' logo temporarily changed colors from silver to old gold, paying tribute to the Angels logos of the past (and also the 50th Anniversary tradition of gold). The uniforms also reflected the change to the gold halo for this season.

text: During the 50th Anniversary season the players wore throwback jerseys at each Friday home game reflecting all the different logos and uniforms previously worn by players. Also, Angels alumni from past seasons threw the ceremonious first pitch at every home game during the 50th Anniversary season.

text: A new patch was added on the uniforms before the 2012 season, featuring a red circle encircling the words "Angels Baseball" and the club logo inside and flanking the year 1961 in the middle, which was the year the Angels franchise was established. With this new patch, the Angels' A with the halo now appears on three different locations of the jersey - the right shoulder, the wordmark, and the left shoulder.

text: Radio and television[edit]

text: As of 2009[update], the Angels' flagship radio station is KLAA 830AM, which is owned by the Angels themselves and ESPN.[29] It replaces KSPN (710 ESPN), on which frequency had aired most Angels games since the team's inception in 1961. That station, then KMPC, aired games from 1961 to 1996. In 1997 & 1998, the flagship station became KIEV (1110AM). In 1999, it was replaced by KLAC for four seasons, including the 2002 World Series season.

text: The Angels 2010 broadcast line-up was thrown into doubt with the death of Rory Markas in January 2010. The Angels had announced in November 2009 that Markas and Mark Gubicza would broadcast Angels' televised games, with Terry Smith and José Mota handling the radio side.[30] At the same time, the Angels announced that Steve Physioc and Rex Hudler would not return to the broadcasting team. On March 3, 2010 it was announced that Victor Rojas will replace Markas.[31]

text: In 2008, KLAA broadcast spring training games on tape delay from the beginning on February 28 to March 9 because of advertiser commitments to some daytime talk shows. Those games were available live only online. Live preseason broadcasts were to begin on March 10.[32]

text: In 2009, KFWB 980AM started broadcasting 110 weekday games, including postseason games, to better reach listeners in Los Angeles County and other areas to the north.[33] All 162 games plus post season games still air on KLAA.

text: In 2010, KSPN 710AM broadcast at least 60 weekday games. This was a partial return to their old station from 2007.[34]

text: Angels radio broadcasts are also in Spanish on KWKW 1330AM and KWKU 1220AM.

text: Fox Sports West holds the exclusive rights to the regional telecasts of approximately 150 Angels home and away games.[35] Fox owned and operated MyNetworkTV affiliate KCOP-TV broadcast select games from 2006 to 2011, but opted to move those games to Fox Sports West in 2012. As all MLB teams, select national Angels telecasts can be found on Fox, ESPN, TBS or MLB Network. During Disney's ownership of the franchise, the company planned to start an ESPN West regional sports network in 1999, which would also carry Anaheim Mighty Ducks ice hockey games, but the plan was abandoned.[36]

text: During the 2009 season, Physioc and Hudler called about 100 games, while Markas and Gubicza had the remaining game telecasts (about 50, depending on ESPN and Fox exclusive national schedules). The split arrangement dated back to the 2007 season, when Mota and Gubicza were the second team. Markas debuted on TV in a three-game series at the Toronto Blue Jays in August 2007.

text: Mota, who is bilingual and the son of former Dodger Manny Mota, has also called Angels games in Spanish, and at one time did analysis from the dugout rather than the usual booth position.

text: All locally broadcast games are produced by FSN regardless of the outlet actually showing the games.

text: Dick Enberg, who broadcast Angels baseball in the 1970s, is the broadcaster most identified with the Angels, using such phrases as "Oh, my!", "Touch 'em all!" after Angel home runs, and "The halo shines tonight!"

text: Other former Angels broadcasters over the past three decades include Buddy Blattner, Don Wells, Dave Niehaus, Don Drysdale, Bob Starr, Joe Torre, Paul Olden, Al Wisk, Al Conin, Mario Impemba, Sparky Anderson, Jerry Reuss, Ken Wilson, Ken Brett, and Ron Fairly. Jerry Coleman also spent time with the Angels organization in the early 1970s as a pre-game and post-game host before joining the San Diego Padres broadcast team.

text: From 1994 until the end of the 2012 season, the public address announcer for most Angels home games was David Courtney, who also served as the public address announcer for the Los Angeles Kings and Los Angeles Clippers and a traffic reporter for Angels flagship KLAA 830 AM until his death on November 29, 2012,.[37] Starting in the 2013 season, Michael Araujo, the PA Announcer for the LA Galaxy since 2002, was selected as the new public address announcer for the Angels.[38] Anaheim Ducks announcer Phil Hulett serves as the secondary public address announcer.

text: Film & TV[edit]

text:
Walt Disney Pictures remade the 1951 film Angels in the Outfield in 1994 with the California Angels as the team that receives heavenly assistance.
The team is also featured in the 1988 comedy film The Naked Gun.
The 1990 comedy Taking Care of Business features a world series matchup between the Chicago Cubs and the California Angels.
The 1991 movie Talent for the Game features Edward James Olmos as a baseball scout for the California Angels.
During Disney's ownership of the Angels, the team was also featured in Air Bud: Seventh Inning Fetch, Deuce Bigalow: Male Gigolo, and TV movie Angels in the Infield.
Most recently, the Angels and Angel Stadium were featured in season 8 of The Big Bang Theory in an episode titled "The First Pitch Insufficiency".

tag: ul

text: Season records[edit]

text: Awards and honors[edit]

text: Retired numbers[edit]

text:
Jim
Fregosi
SS, Manager
Retired August 1, 1998

Gene
Autry
Team Founder
Retired October 3, 1982

Rod
Carew
1B, Coach
Retired August 12, 1986

Nolan
Ryan
P
Retired June 16, 1992

Jackie
Robinson
All MLB
Honored April 15, 1997

Jimmie
Reese
Coach
Retired August 2, 1995

text:
No. 26 was retired for Gene Autry to indicate he was the team's "26th Man" (25 is the player limit for any MLB team's active roster, except in September)
No. 42 was retired throughout Major League Baseball in 1997 to honor Jackie Robinson.

text: Out of circulation, but not retired[edit]

text:
No. 15 has been out of circulation since Tim Salmon's retirement at the end of the 2006 season
No. 34 has been out of circulation since Nick Adenhart's untimely death in 2009.

text: Angels Hall of Fame[edit]

text: The Angels have a team Hall of Fame,[39] with the following members:

text:
Key

Year
Year inducted

Bold
Member of the Baseball Hall of Fame

Member of the Baseball Hall of Fame as an Angel

text:
Angels Hall of Fame

Year
No.
Name
Position(s)
Tenure

1988
4
Bobby Grich
2B
1977–1986

1989
11
Jim Fregosi
SS
Manager
1961–1971
1978–1981

1990
12, 25
Don Baylor
DH/LF
1977–1982

1991
29
Rod Carew
1B
Coach
1979–1985
1992–1999

1992
30
Nolan Ryan
P
1972–1979

1995
50
Jimmie Reese
Coach
1972–1994

2009
5, 9
Brian Downing
DH/LF/C
1978–1990

31
Chuck Finley
P
1986–1999

2011
26
Gene Autry
Owner/Founder
1961–1998

2012
2002 World Series Team

2013
29
Bobby Knoop
2B
1964–1969

2015
31
Dean Chance
P
1961–1966

15
Tim Salmon
RF
1992–2006

39
Mike Witt
P
1981–1990

2016
16
Garret Anderson
LF
1994–2008

2017
27
Vladimir Guerrero
RF/DH
2004–2009

text: Team captains[edit]

text:
Jerry Remy 1977
Don Baylor 1978–1982

text: Baseball Hall of Fame[edit]

text: As of the 2017 Hall of Fame election, no inducted members have elected to be depicted wearing an Angels cap on their plaque. However, several Hall of Famers have spent part of their careers with the Angels,[40] and the Hall lists the Angels as the "primary team"[41] of one inductee, Nolan Ryan.[42]

text:
Los Angeles Angels Hall of Famers

Affiliation according to the National Baseball Hall of Fame and Museum

California Angels

Bert Blyleven
Rod Carew

Whitey Herzog
Reggie Jackson

Frank Robinson
Nolan Ryan

Don Sutton
Hoyt Wilhelm

Dick Williams
Dave Winfield

Anaheim Angels

Rickey Henderson

Eddie Murray

Players and managers listed in bold are depicted on their Hall of Fame plaques wearing a Angels cap insignia.

text: Ford C. Frick Award recipients[edit]

text:
Los Angeles Angels Ford C. Frick Award recipients

Affiliation according to the National Baseball Hall of Fame and Museum

Jerry Coleman

Dave Niehaus

Dick Enberg

Joe Garagiola

Names in bold received the award based primarily on their work as broadcasters for the Angels.

text: Current roster[edit]

text:
Los Angeles Angels 2018 spring training roster

view
talk
edit

40-man roster
Non-roster invitees
Coaches/Other

Pitchers

48 José Álvarez
-- Luke Bard
-- Jaime Barría
32 Cam Bedrosian
62 Parker Bridwell
-- Jesús Castillo
-- Dayán Díaz
28 Andrew Heaney
-- Jake Jewell
-- Jim Johnson
23 Alex Meyer
39 Keynan Middleton
60 Eduardo Paredes
53 Blake Parker
-- Felix Pena
66 J. C. Ramírez
65 Noe Ramirez
43 Garrett Richards
38 Troy Scribner
52 Matt Shoemaker
45 Tyler Skaggs
73 Nate Smith
35 Nick Tropeano
46 Blake Wood

Catchers

13 Juan Graterol
12 Martín Maldonado
58 Carlos Perez

Infielders

22 Kaleb Cowart
-- Zack Cozart
24 C. J. Cron
49 Nolan Fontana
-- Ian Kinsler
19 Jefry Marté
 2 Andrelton Simmons
18 Luis Valbuena

Outfielders

56 Kole Calhoun
-- Michael Hermosillo
27 Mike Trout
 9 Justin Upton

Designated hitters

 5 Albert Pujols

Manager

14 Mike Scioscia

Coaches

92 Anel De Los Santos (bullpen catcher)
21 Dino Ebel (third base)
70 Tom Gregorio (bullpen catcher)
 3 Alfredo Griffin (first base)
-- Eric Hinske (hitting)
41 Charles Nagy (pitching)
-- Josh Paul (bench)
63 Scott Radinsky (bullpen)
61 Steve Soliz (catching/player information)
55 Paul Sorrento (assistant hitting)

40 active, 0 inactive, 0 non-roster invitees
 7- or 10-day disabled list
* Not on active roster
† Suspended list
Roster, coaches, and NRIs updated December 15, 2017
Transactions • Depth Chart
→ All MLB rosters

text: Minor league affiliations[edit]

text:
Level
Team
League
Location

AAA
Salt Lake Bees
Pacific Coast League
Salt Lake City, Utah

AA
Mobile BayBears
Southern League
Mobile, Alabama

Advanced A
Inland Empire 66ers
California League
San Bernardino, California

A
Burlington Bees[43]
Midwest League[43]
Burlington, Iowa[43]

Rookie
Orem Owlz
Pioneer League
Orem, Utah

AZL Angels
Arizona League
Tempe, Arizona

DSL Angels
Dominican Summer League
San Pedro de Macorís, Dominican Republic


document_title: German dialects

question_text: what are a few of the different dialects spoken in germany

root

text: German dialects

text: Dialects[edit]

text: In relation to varieties of standard German[edit]

text: In German linguistics, German dialects are distinguished from varieties of Standard German.

tag: p

text:
The German dialects are the traditional local varieties. They are traditionally traced back to the different Germanic tribes. Many of them are hardly understandable to someone who knows only Standard German, since they often differ from Standard German in lexicon, phonology and syntax. If a narrow definition of language based on mutual intelligibility is used, many German dialects are considered to be separate languages (for example, in the view of Ethnologue).[citation needed] However, such a point of view is unusual in German linguistics.[citation needed]
The varieties of standard German refer to the different local varieties of the pluricentric language standard German. They only differ slightly in lexicon and phonology. In certain regions they have replaced the traditional German dialects, especially in Northern Germany.

text: Dialects in Germany[edit]

text: This section needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (February 2014) (Learn how and when to remove this template message)

tag: table

text: The variation among the German dialects is considerable with only the neighbouring dialects being mutually intelligible. Low German, most Upper German, High Franconian dialects, and even some Central German dialects when spoken in their purest form, are not intelligible to people who know only Standard German. However, all German dialects belong to the dialect continuum of High German and Low German. In the past (roughly until the end of the Second World War), there was a dialect continuum of all the continental West Germanic languages because nearly any pair of neighbouring dialects were perfectly mutually intelligible.

text: The German dialect continuum is typically divided into High German and Low German. The terms derive from the geographic characteristics of the terrain where they are spoken rather than from social status accorded to them.

text: Low German[edit]

text: Low German varieties (in Germany usually referred to as "Platt" or "Plattdeutsch") are considered dialects of the German language by some but a separate language by others (then often termed "Low Saxon"). Linguistically Low German (that is, Ingvaeonic) and Low Franconian (that is, Istvaeonic) dialects are grouped together because both did not participate in the High German consonant shift. Low German is further divided into Dutch Low Saxon, West Low German and East Low German.

text: Middle Low German was the lingua franca of the Hanseatic League.[citation needed] It was the predominant language in Northern Germany, and several translations of the Bible were printed in Low German. This predominance changed in the 16th century. In 1534, the Luther Bible was printed by Martin Luther; this translation is considered to be an important step towards the evolution of the Early New High German. It aimed to be understandable to an ample audience and was based mainly on High German varieties. The Early New High German language gained more prestige than Low Saxon[citation needed] and became the language of science and literature. Other factors included the Hanseatic League losing its importance around the same time (as new trade routes to Asia and the Americas were established) and that the most powerful German states of that period were located in Middle and Southern Germany.

text: The 18th and 19th centuries were marked by mass education with the language of the schools being standard German.[citation needed] Slowly Low Saxon was pushed back and back until it was nothing but a language spoken by the uneducated and at home.[citation needed] Today, Low Saxon could be divided in two groups: Low Saxon varieties with a sizable standard German influx,[citation needed] and varieties of standard German with a Low Saxon influence (Missingsch).[citation needed]

text: Today Low Saxon dialects are still widespread, especially among the elderly in the Northern parts of Germany,[citation needed] many of these being able to understand and speak the language, but younger people in Northern Germany are at least able to understand these dialects, though not to speak them.[citation needed] The local media take care not to let the Low Saxon language die out, so there are several newspapers published entirely in this language; other newspapers at least have recurring articles in Low Saxon. The North German Broadcasting (Norddeutscher Rundfunk) also offers TV programs (e.g. "Talk op Platt") and radio programs in Low Saxon.

text: On the other hand, Northern Germany is considered to be the region where the purest Standard German is spoken, and in everyday life little influence of dialect is heard. Still, there are notable differences in pronunciation even among North German speakers, e.g. lengthening of vowels, differences in accentuation etc. There are also some North German expressions in use even in Standard High German, which are seldom heard in Southern parts (e.g. the word "plietsch" for "intelligent").

text: High German[edit]

text: High German, that is, Irminonic, is divided into Central German, High Franconian, and Upper German.

text: Central German dialects include Ripuarian, Moselle Franconian, Central Hessian, East Hessian, North Hessian, Thuringian, North Upper Saxon, Rhine Franconian, Lorraine Franconian, Silesian German, High Prussian, Lausitzisch-neumärkisch and Upper Saxon. It is spoken in the southeastern Netherlands, eastern Belgium, Luxembourg, parts of France, and in Germany approximately between the River Main and the southern edge of the Lowlands. Modern Standard German is based on Central and Upper German, but the usual German term for modern Standard German is Hochdeutsch, that is, High German.

text: The Moselle Franconian varieties spoken in Luxembourg have been officially standardized and institutionalized and are therefore usually considered a separate language known as Luxembourgish.

text: High Franconian dialects are transitional dialects in between the two greater High German groups. High Franconian dialects include East Franconian and South Franconian.

text: Upper German dialects include Alsatian, Swabian, Low Alemannic, Central Alemannic, High Alemannic, Highest Alemannic, Southern Austro-Bavarian, Central Austro-Bavarian and Northern Austro-Bavarian. They are spoken in parts of the Alsace, southern Germany, Liechtenstein, Austria, and in the German-speaking parts of Switzerland and Italy.

text: Wymysorys, Sathmarisch and Siebenbürgisch are High German dialects of Poland and Romania.

text: The High German varieties spoken by Ashkenazi Jews (mostly in Czarist Russia, then the former Soviet Union and Poland) have several unique features, and are usually considered as a separate language, Yiddish. It is the only Germanic language that does not use the Latin script as its standard script. Since it developed in the Danube area, there are some similarities with Central und Upper German dialects in this region.

text:
Map showing the Uerdingen line, which divides Low German from High German.

The Speyer line, dividing the Central German dialects from the High Franconian dialects.

The Uerdingen and the Karlsruhe line. The Karlsruhe line divides the High Franconian dialects from the Upper German dialects.

text: Overseas dialects[edit]

text: The dialects of German that are or were primarily spoken in colonies or communities founded by German speaking people resemble the dialects of the regions the founders came from. For example, Pennsylvania German resembles dialects of the Palatinate, and Hutterite German resembles dialects of Carinthia, whereas Venezuelan Alemán Coloniero is a Low Alemannic variant.

text:
Approximate distribution of native speakers of German or a German variety outside Europe
(according to Ethnologue 2016[1] unless referenced otherwise)
Numbers of speakers should not be summed up per country, as they most likely overlap considerably.
Table includes varieties with disputed statuses as separate language.

Standard German
Hunsrik/Hunsrückisch
Low German & Plautdietsch
Pennsylvania Dutch
Hutterite

Argentina
400,000
N/A
4,000
N/A
N/A

Australia
79,000
N/A
N/A
N/A
N/A

Belize
N/A
N/A
9,360
N/A
N/A

Bolivia
160,000
N/A
60,000
N/A
N/A

Brazil
1,500,000
3,000,000
8,000
N/A
N/A

Canada
430,000
N/A
80,000
15,000
23,200

Chile
35,000
N/A
N/A
N/A
N/A

Costa Rica
N/A
N/A
2,000
N/A
N/A

Israel
200,000
N/A
N/A
N/A
N/A

Kazakhstan
30,400
N/A
100,000
N/A
N/A

Mexico
N/A
N/A
40,000
N/A
N/A

Namibia
22,500
N/A
N/A
N/A
N/A

New Zealand
36,000
N/A
N/A
N/A
N/A

Paraguay
166,000
N/A
40,000
N/A
N/A

Russia
N/A
N/A
N/A
N/A
N/A

South Africa
12,000
N/A
N/A
N/A
N/A

Uruguay
28,000
N/A
2,000
N/A
N/A

United States
1,104,354[2]
N/A
12,000
118,000
10,800

Sum
4,597,392
3,000,000
357,360
133,000
34,000

text: Amana German[edit]

text: Amana German is a dialect of West Central German. It is spoken in the Amana Colonies in Iowa, which were founded by Inspirationalists of German origin. Amana is derived from Hessian, another West Central German dialect. Amana German is called Kolonie-Deutsch in Standard German.

text: Brazilian German[edit]

text: In Brazil, the largest concentrations of German speakers (German Brazilians) are in Rio Grande do Sul, where Riograndenser Hunsrückisch was developed, especially in the areas of Santa Catarina, Paraná, and Espírito Santo, as well as in Petrópolis (Rio de Janeiro).

text: Chilean German[edit]

text: Lagunen-Deutsch is a variety of High German spoken in Chile.

text: Most speakers of Lagunen-Deutsch live around Lake Llanquihue. Lagunen-Deutsch has integrated elements of the Spanish language. This includes the integration of false cognates with the Spanish language, transferring the Spanish meanings into Lagunen-Deutsch.

text: The geographical origin of most or all speakers of Lagunen-Deutsch is Chile, to where the ancestors of the speakers immigrated from Europe in the 19th and 20th centuries.

text: Texas German[edit]

text: German was at one time the main language used in schools, churches and businesses in certain parts of Texas surrounding Austin and San Antonio.[3] As of October 2013, the Texas German Dialect Project at the University of Texas is recording residual German dialect in central Texas. The dialect is characterised by a loss of lip-rounding on the /yː/ phoneme.[3]


document_title: Sunshower

question_text: where does the saying the devil is beating his wife come from

text: Sunshower

text: Folkloric names[edit]

text:
In Afrikaans, this phenomenon, i.e. when it rains and the sun shines is referred to as Jakkals trou met wolf se vrou, meaning 'Jackal marries wolf's wife'.[4][5]
In Albania, when it rains and the sun shines, people say that a romani wedding is taking place somewhere near.
In Algeria, it is called "عرس الذيب - عرس الذئب - Ar's A'Dib" or " the wolf's wedding"
In Bangladesh: "Shial mamar bia hoce" "Uncle Fox is getting married"
In Basque: "Azeri besta" ("Fox feast") or "Azeri ezteia" ("Fox's wedding"): as the sun is shining, the chicken stay outside, but as it is also raining, they remain still, paralyzed by the rain; the fox seizes that occasion to eat them.
In Belgium, Flanders: "Duiveltjeskermis" or "Devil's fair"
In Brazil, "Casamento da raposa" (Vixen's Wedding), "Sol e chuva, casamento de viúva", which is a rhyme that means "Sun and rain, widow's wedding/marriage" or "Chuva e sol, casamento do espanhol", which is a rhyme that means "Rain and Sun, Spanish man's wedding/marriage" (which is often used as a response to the first rhyme or vice versa).
In Bulgaria, there is a saying about a bear getting married.[2]
In Canada, it is also called "Jon Sunshowers" or "Glitter Waterfall".
In El Salvador, the traditional belief is that the deer is giving birth.
In Ethiopia and Eritrea, the traditional belief is that the hyena is giving birth.
In Finland, it is called "Ketut kylpevät" or "foxes are taking bath"
In France, it is called "Le mariage du loup" or "the wolf's wedding", or "giboulée"
In Galician, the traditional belief is that the vixen or the fox are getting married: casa a raposa / casa o raposo; sometimes the wolf and the vixen: Estanse casando o lobo coa raposa.[6]
in Greece they say "ήλιος και βροχή, παντρεύονται οι φτωχοί. Ήλιος και φεγγάρι, παντρεύονται οι γαιδαροι." Sun and rain, the poor are getting married. Sun and moon, the donkeys are getting married"
In Hawaii, it is known as "Ghost Rain" or "Liquid Sunshine".
In Iran it is known as ".گرگ داره میزاد"which means "Wolf giving birth".
In Italy they say "Piove e c'è il sole, la gatta fa l'amore" which means "It rains with the sun, the (female) cat is making love".
In Japan, it is known as "Kitsune no yomeiri", or "The kitsune's wedding", and means a fox's wedding ceremony is being held.
In Kenya, hyenas or monkeys are getting married.
In Korea, a male tiger gets married to a fox.
In Mazandarani language, in north of Iran, it is also called "The jackal’s wedding".
In Maldives, it is also "The rain that falls when a noble infidel dies".
In Morocco, it is the "Wolf's wedding". In the north, they say: "Shta Wel Kayla Wel 'Urss Del 'Ayla" which means "The rain and the sun and the girl's wedding."
In Nepal (Nepali), it is called "The foxes wedding" or "Gham-paani, gham-paani shyal ko bihe" which literally translates to "Sunshine-rain, sunshine-rain, the fox is getting married". In fact there's a local song dedicated to Sunshower.
In Pashto, it is also called "Da gidarh wade" or "the jackal's wedding".
In Pakistani Punjab, it is also called "Kani gidh Da waye" or "one eye jackal's wedding".
In Philippines, the traditional belief is that the wedding of a tikbalang is being held.
In Puerto Rico, the traditional belief is that witches are getting married.
In Sri Lanka in the Sinhala, it is called "The foxes wedding" (අව්වයි වැස්සයි, නරියගෙ මගුලයි.).
In South African English, a sunshower is referred to as a "monkey’s wedding", a loan translation of the Zulu umshado wezinkawu, a wedding for monkeys.[2]

text: This expression is also used in Zimbabwe.

text:
In Sudan, the donkey and monkey are getting married.
In various African languages, leopards are getting married.
In Sweden it is called "vitterväder".
In Trinidad and Tobago, it is called "Monkey Marriddin" or monkeys getting married.
In parts of the United Kingdom, it is referred to as "a monkey's birthday".
In Tanzania, they say "Simba anazaa" - literally "the lioness is giving birth."

text: India[edit]

text:
In Assamese, it is called "kKhonra xiyaalor biya (খঁৰা শিয়ালৰ বিয়া)", meaning "The bob-tailed fox's wedding".
In Bengali, it is called "The blind fox's wedding".
In Gujarati, it is called "Naago varsaad", meaning "naked rain".
In Hindi, it is also called "The ghosts' wedding".[2]
In Kannada, it is called "Kaage Nari maduve" which means "Crow and fox getting married" (ಕಾಗೆ ನರಿ ಮದುವೆ)
In Konkani, it is called "a monkey's wedding".
In Marathi, it is called "Nagda Paaus" meaning "Naked Rain".
In Malayalam, it is called the Fox's wedding (കുറുക്കന്റെ കല്യാണം)
In Oriya, it is called "The foxes wedding"(ଖରା ହେଉଛି ମେଘ ହେଉଛି, ଶିଆଳ ପୁଅ ବାହା ହେଉଛି).
In Tamil, it is called "The fox and the crow/raven are getting married" (காக்காவுக்கும் நரிக்கும் கல்யாணம்).
In Telugu, it is called "Yenda Vanala, kukkala nakkala pelli" which means "Dogs and Foxes getting married in the sunshowers" (ఎండా వానలో కుక్కల, నక్కల పెళ్ళి).

text: Devils[edit]

text: In the Southern United States, Utah as well as in Hungary a sunshower is said to show that "the devil is beating his wife" (or, more rarely, "the devil is beating his wife with a walking stick") because he is angry God created a beautiful day. The rain is said to be his wife's tears. A regional variant from Tennessee is "the devil is kissing his wife".[7][8] In French, the phrase is "Le diable bat sa femme et marie sa fille"[9] (i.e., "the devil is beating his wife and marrying his daughter"). In the Netherlands and Belgium, they say that there is a "funfair going on in hell".[10] In St. Kitts and Nevis, when rain is falling and the sun is shining, it is said that 'D devil a bang he wife'. In Liberia, it is said that "the devil is fighting with his wife over a chicken bone."

text: Other variations[edit]

text:
In Lithuanian and Estonian (vaeslapse pisarad), the phenomenon is described as "orphans' tears", where the sun is the grandmother drying those tears.
In Russian, it is called грибной дождь (gribnoy dozhd'), "mushroom rain", as such conditions are considered favorable to growing mushrooms.[11] Also, it is called слепой дождь (slepoy dozhd'), "blind rain", because it doesn't see that it shouldn't be raining.[12]
In Indonesian, the phenomenon is the sign of someone who is rich and well known has died in the place where the sunshower happened, so the sky is showing its condolences.
In Catalonia it is said that the witches are combing their hair, "Les bruixes es pentinen".
In Poland it is said that a witch is making butter, "Słońce świeci, deszczyk pada, baba jaga masło składa".
In the Caribbean islands such as Puerto Rico and The Dominican Republic, it is said that a witch is getting married.
In Guyana, it is known as "Sun-Rain ".
In Trinidad and Tobago, "Sun shining, Rain falling, Monkey marrying"
In Haiti, it is said that a zombie is beating his wife for salty food. Devil is sometimes interchanged for zombie.
In Argentina, it is said that an old woman is getting married.
In Croatia, it is said that gypsies are getting married, "Cigani se žene".
In Macedonia, it is also said that gypsies are getting married, "Циганка се мажи", and also that a bear is getting married, "Мечка се жени/мажи".
In Venezuela, the word 'cachimba' refers to raining while sunny.
In Cuba, "Se está casando la hija del diablo", i.e. "The Devil's daughter is getting married"
In Hebrew it is called a שמש משקרת (Shémesh meshakéret)- A lying sun
In Vietnamese, it is called "mua bong may" or "mưa bóng mây" (shadow rain)

text: In popular culture[edit]

text:
US soul singer Thelma Houston titled her 1969 debut album "Sunshower".
Half-brothers Stony Browder and Thomas "August Darnell" Browder co-authored a song called "Sunshower", which was included on Dr. Buzzard's Original Savannah Band's 1976 eponymous debut album.
Robert Earl Keen's song "Willie" from the 1984 album No Kinda Dancer includes the lyric "The Devil beats his wife with a silver chain" in reference to a sunshower.

text: American rock band Better Than Ezra recorded the song, "Cry in the Sun" on their Deluxe album with the lyrics, "Cry in the sun when the devil beats his wife."

text:
Akira Kurosawa's 1990 film "Dreams" has a segment about a young boy witnessing a fox wedding (Kitsune no yomeiri) procession during a sunshower.
RZA of the Wu-Tang Clan has a song called "Sunshower" off their 1997 international release of "Wu-Tang Forever."
Chris Cornell's 1999 album Euphoria Morning has a bonus track titled "Sunshower".
English-Sri Lankan musician M.I.A. recorded a single "Sunshowers" in 2004. The song appears on her 2005 debut album Arular.
American arena rock band Journey recorded a song, "Caught In A Sunshower", on their 2008 album Revelation.
The title song of the 2010 Korean drama, My Girlfriend Is a Nine-Tailed Fox, a story focusing on a nine-tailed fox (kumiho), is called "Fox Rain".
In the Creedence Clearwater Revival song Have You Ever Seen The Rain? the chorus is "I want to know, have you ever seen the rain. Comin’ down on a sunny day?"


document_title: Chicago (band)

question_text: how many original chicago band members are there

text: Chicago (band)

text: Group history[edit]

text: Chicago Transit Authority and early success[edit]

text: The original band membership consisted of saxophonist Walter Parazaider, guitarist Terry Kath, drummer Danny Seraphine, trombonist James Pankow, trumpet player Lee Loughnane, and keyboardist/singer Robert Lamm. Parazaider, Kath, Seraphine, Pankow and Loughnane met in 1967 while students at DePaul University. Lamm was recruited from Roosevelt University. The group of six called themselves "The Big Thing", and played top 40 hits. Realizing the need for both a tenor to complement baritones Lamm and Kath, and a bass player because Lamm's use of organ bass pedals did not provide "adequate bass sound", they added local tenor and bassist Peter Cetera.[16][17]

text: While gaining some success as a cover band, the group began working on original songs. In June 1968, at manager James William Guercio's request, The Big Thing moved to Los Angeles, California, and signed with Columbia Records. The band changed its name to "Chicago Transit Authority".[5] It was while performing on a regular basis at the Whisky a Go Go nightclub in West Hollywood that the band got exposure to more famous musical artists of the time. Subsequently, they were the opening act for Janis Joplin and Jimi Hendrix.[18]:77–78,106–107[19] As related to group biographer, William James Ruhlmann, by Walt Parazaider, Jimi Hendrix once told Parazaider, "'Jeez, your horn players are like one set of lungs and your guitar player is better than me.'"[19]

text: Their first record (April 1969), the eponymous Chicago Transit Authority, is a double album, which is rare for a band's first release. The album made it to number 17 on the Billboard 200 album chart,[11] sold over one million copies by 1970, and was awarded a platinum disc.[20] The album included a number of pop-rock songs – "Does Anybody Really Know What Time It Is?", "Beginnings", "Questions 67 and 68", and "I'm a Man" – which were later released as singles. For this inaugural recording effort the group was nominated for a Grammy Award for 1969 Best New Artist of the Year.[21]

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

text: The 1970s: Chicago[edit]

text: The band released a second album, titled Chicago (retroactively known as Chicago II), which is another double-LP. The album's centerpiece track is a seven-part, 13-minute suite composed by Pankow called "Ballet for a Girl in Buchannon". The suite yielded two top ten hits: "Make Me Smile" (No. 9 U.S.) and "Colour My World",[12] both sung by Kath. Among the other tracks on the album: Lamm's dynamic but cryptic "25 or 6 to 4" (Chicago's first Top 5 hit),[12] which is a reference to a songwriter trying to write at 25 or 26 minutes before 4 o'clock in the morning,[22][18]:109[23] and was sung by Cetera with Terry Kath on guitar; the lengthy war-protest song "It Better End Soon"; and, at the end, Cetera's 1969 moon landing-inspired "Where Do We Go from Here?"[24] The double-LP album's inner cover includes the playlist, the entire lyrics to "It Better End Soon", and two declarations: "This endeavor should be experienced sequentially", and, "With this album, we dedicate ourselves, our futures and our energies to the people of the revolution. And the revolution in all of its forms." The album was a commercial success, rising to number four on the Billboard 200,[11] and was certified gold by the Recording Industry Association of America (RIAA) in 1970, and platinum in 1991.[25] The band was nominated for two Grammy Awards as a result of this album, Album of the Year, and Best Contemporary Vocal Performance by a Duo, Group or Chorus.[21]

text: Chicago III, another double LP, was released in 1971 and charted at number two on the Billboard 200.[11] Two singles were released from it: "Free" from Lamm's "Travel Suite", which charted at number 20 on the Billboard Hot 100;[12] and "Lowdown", written by Cetera and Seraphine, which made it to number 40.[12] The album was certified gold by the RIAA in February, 1971, and platinum in November, 1986.[25]

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

text: In 1971, the band released Chicago at Carnegie Hall Volumes I, II, III, and IV, a quadruple LP, consisting of live performances, mostly of music from their first three albums, from a week-long run at Carnegie Hall. Chicago was the first rock act to sell out a week at Carnegie Hall and the live recording was made to chronicle that milestone.[7] Along with the four vinyl discs, the packaging contained some strident political messaging about how "We [youth] can change The System", including wall posters and voter registration information.[26][27] The album went gold "out of the box" and on to multi-platinum status.[7] William James Ruhlmann says Chicago at Carnegie Hall was "perhaps" the best-selling box set by a rock act and held that record for 15 years.[7] Drummer Danny Seraphine attributes the fact that none of Chicago's first four albums were issued on single LPs to the productive creativity of this period and the length of the jazz-rock pieces.[28]

text: In 1972 the band released its first single-disc release, Chicago V, which reached number one on both the Billboard pop[11] and jazz album charts.[citation needed] It features "Saturday in the Park", written by Robert Lamm, which mixes everyday life and political yearning in a more subtle way. It peaked at No. 3 on the Billboard Hot 100 in early 1972.[29][30] The second single released from the album was the Lamm-composed "Dialogue (Part I & II)", which featured a musical "debate" between a political activist (sung by Kath) and a blasé college student (sung by Cetera). It peaked at number 24 on the Billboard Hot 100.[12]

text: In 1973, Guercio produced and directed Electra Glide in Blue, a film about an Arizona motorcycle policeman. The film stars Robert Blake and features Cetera, Kath, Loughnane, and Parazaider in supporting roles.[31] The group also appears prominently on the film's soundtrack.

text: Other albums and singles followed in each of the succeeding years. 1973's Chicago VI was the first of several albums to include Brazilian jazz percussionist Laudir de Oliveira[32] and saw Cetera emerge as the main lead singer. According to William James Ruhlmann, de Oliveira was a "sideman" on Chicago VI, and became an official member of the group in 1974.[32] Chicago VI featured two top ten singles,[12] "Just You 'n' Me", written by Pankow, and "Feelin' Stronger Every Day", written by Pankow and Cetera. Chicago VII was the band's double-disc 1974 release. Three singles were released from this album: "(I've Been) Searchin' So Long", written by Pankow, and "Call On Me", written by Loughnane, which both made it into the top ten;[12] and the Beach Boys-infused "Wishing You Were Here", written by Cetera, which peaked at number eleven.[12] Their 1975 release, Chicago VIII, featured the political allegory "Harry Truman" (No. 13, Billboard Top 100 chart) and the nostalgic Pankow-composed "Old Days" (No. 5, Billboard Top 100 chart).[33][34] That summer also saw a joint tour across America with the Beach Boys,[35] with the two acts performing separately, then coming together for a finale.[36] Chicago VI, VII and VIII all made it to number one on the Billboard 200,[11] all were certified gold the years they were released, and all have since been certified platinum. Chicago VI was certified two times multi-platinum in 1986.[37] Chicago IX: Chicago's Greatest Hits was released in 1975 and became the band's fifth consecutive number-one album on the Billboard 200.[11]

text: 1976's Chicago X features Cetera's ballad "If You Leave Me Now", which held the top spot in the U.S. charts for two weeks[38] and the UK charts for three weeks.[39] It was the group's first number one single,[35] and won Chicago their only Grammy Award to date,[40] the 1976 Best Pop Vocal Performance by a Duo, Group or Chorus, at the 19th Annual Grammy Awards held on February 19, 1977.[41] The single was certified gold by the RIAA the same year of its release.[42] The song almost did not make the cut for the album.[35] "If You Leave Me Now" was recorded at the very last minute. The success of the song, according to William James Ruhlmann, foreshadowed a later reliance on ballads.[35] The album was commercially successful. It reached number three on the Billboard 200,[11] was certified both gold and platinum by the RIAA the same year of its release and two times multi-platinum since,[43] and was also nominated for the Grammy Award for Album of the Year.[21] At the 4th Annual American Music Awards, a fan-voted awards show,[44] held January 31, 1977, Chicago won the award for Favorite Pop/Rock Band/Duo/Group, the group's first of two American Music Awards they have received.[45]

text: The group's 1977 release, Chicago XI, includes Cetera's ballad "Baby, What a Big Surprise", a No. 4 U.S. hit which became the group's last top 10 hit of the decade.[12] Chicago XI performed well commercially, peaking at number six on the Billboard 200,[11] and reaching platinum status during the year of its release.[37]

text: Death of Terry Kath and transition[edit]

text: The year 1978 began with a split with Guercio.[35] Then on January 23 of that same year, Kath died of an accidental, self-inflicted gunshot wound from a gun he thought was unloaded.[32][46] Doc Severinson, who was the bandleader for The Tonight Show at the time and a friend of the group, visited them after Kath's funeral and encouraged them to continue. According to writer Jim Jerome, the visit "snapped them back" and helped them make the decision to carry on.[47]

text: After auditioning over 30 potential replacements for Kath, Chicago decided upon guitarist and singer-songwriter Donnie Dacus.[47][32] While filming for the musical Hair, he joined the band in April 1978 just in time for the Hot Streets album.[47] Its energetic lead-off single, "Alive Again", brought Chicago back to the Top 15;[12] Pankow wrote it "originally as a love song but ultimately as recognition of Kath's guiding spirit shining down from above."[48]

text: The 1978 album Hot Streets was produced by Phil Ramone.[47][32] It was Chicago's first album with a title rather than a number; and was the band's first LP to have a picture of the band (shot by photographer Norman Seeff)[49] featured prominently on the cover (with the ubiquitous logo downsized).[47][32] These two moves were seen by many as indications that the band had changed following Kath's death.[47] To a degree, the band returned to the old naming scheme on its subsequent releases, although most titles would now bear Arabic numerals rather than Roman numerals. Hot Streets, the band's 12th album, peaked at No. 12 on the Billboard charts;[11] it was Chicago's first release since their debut to fail to make the Top 10. The release also marked a move somewhat away from the jazz-rock direction favored by Kath and towards more pop songs and ballads. Dacus stayed with the band through the 1979 album Chicago 13,[32] and is also featured in a promotional video on the DVD included in the Rhino Records Chicago box set from 2003. Again produced by Ramone, it was the group's first studio album not to contain a Top 40 hit. Dacus departed from the band shortly after the album's release.

text: The 1980s: changing sound[edit]

text: Chicago XIV (1980), produced by Tom Dowd, relegated the horn section to the background on a number of tracks, and the album's two singles failed to make the Top 40. Chris Pinnick joined the band to play guitar and remained through 1985,[32] and the band were also augmented by saxophone player Marty Grebb on the subsequent tour.[50] The album peaked at number 71 on the Billboard 200,[11] and failed to reach gold certification by the RIAA.[37] Believing the band to no longer be commercially viable, Columbia Records dropped them from its roster in 1981 and released a second "Greatest Hits" volume (also known as Chicago XV) later that year to fulfill its contractual obligation.[32]

text: In late 1981, the band had a new producer (David Foster),[32] a new label (Warner Bros. Records),[32] and the addition of keyboardist, guitarist, and singer Bill Champlin (Sons of Champlin).[51] Percussionist Laudir de Oliveira and Marty Grebb departed from the band. During Foster's stewardship, less of an emphasis was placed on the band's horn-based sound, being replaced by lush power ballads, which became Chicago's style during the 1980s. The new sound brought more singles success to the band.

text: For the 1982 album Chicago 16, the band worked with composers from outside the group for the first time, and Foster brought in studio musicians for some tracks (including the core members of Toto),[51] and used new technology (such as synthesizers) to "update" and streamline the sound, further pushing back the horn section, and in some cases not even using them at all. The band did return to the charts with the Cetera-sung ballad "Hard to Say I'm Sorry/Get Away", which is featured in the soundtrack of the Daryl Hannah film Summer Lovers.[52] Co-written by Cetera and David Foster, "Hard to Say I'm Sorry" was the group's second single to reach number one on the Billboard Hot 100 chart[12] and brought them a nomination for the Grammy Award for Best Pop Performance by a Duo or Group with Vocal.[21] Chicago 16 reached both gold and platinum status during the year of its release,[37] and went to number nine on the Billboard 200 album chart.[11]

text: 1984's Chicago 17 became the biggest selling album of the band's history, certified by the RIAA in 1997 as six times multi-platinum.[53] The album produced two more Top Ten (both No. 3) singles,[54] "You're the Inspiration", written by Cetera and David Foster, and "Hard Habit to Break", written by Steve Kipner and John Lewis Parker. The single, "Hard Habit to Break", brought two more Grammy Award nominations for the band, for Record of the Year and Best Pop Performance by a Duo or Group with Vocals.[21] The album included two other singles: "Stay the Night" (No. 16),[12] another composition by Cetera and Foster; and "Along Comes a Woman" (No. 14),[12] written by Cetera and Mark Goldenberg. Peter's brother, Kenny Cetera, who had provided background vocals on the Chicago 17 album,[55] was brought into the group for the 17 tour to add percussion and high harmony vocals.[56]

text: By 1985, the band was embracing the newest medium, the music video channel MTV, by releasing music videos for four songs. They featured a track titled "Good for Nothing" on the 1985 global activist album, We Are the World.[57] As contributors to the album, along with all other artists who were on the album, the band received its last nomination for a Grammy Award, for Album of the Year.[21]

text: At the 13th Annual American Music Awards, held January 27, 1986, Chicago won the award for Favorite Pop/Rock Band/Duo/Group for the second time.[45] It is the last American Music Award the band has received.

text: Peter Cetera's departure[edit]

text: Concurrently with Chicago's existing career, lead vocalist Peter Cetera had begun a solo career. He proposed an arrangement with the band where they would take hiatuses after tours to let him focus on solo work, but the band declined. Cetera ultimately left Chicago in the summer of 1985. He soon topped the charts with "Glory of Love" (the theme song of the film The Karate Kid Part II), and with "The Next Time I Fall" (a duet with Amy Grant). Two more songs reached the Top Ten: a 1988 solo hit called "One Good Woman" (No. 4 U.S.), and a 1989 duet with Cher called "After All" (No. 6 U.S.). In 1992, Cetera released his fourth studio album, World Falling Down, which earned him three hits on the Adult Contemporary charts, including the single "Restless Heart". Cetera's former position was filled by bassist and singer-songwriter Jason Scheff, son of Elvis Presley's bassist Jerry Scheff.[58] Guitarist Chris Pinnick also left the group prior to the recording of the band's next album.

text: For the final Foster-produced album, Chicago 18, the band filled Pinnick's spot with several session guitarists, none of whom became band members. The album was released on September 29, 1986,[59] and included the No. 3 single "Will You Still Love Me?", and Top 20 Pop song "If She Would Have Been Faithful...", in addition to an updated version of "25 or 6 to 4" with a video that got airplay on MTV. Soon after the album was recorded, the band hired guitarist Dawayne Bailey,[60][61] who was fresh off a stint recording and performing in Bob Seger's Silver Bullet Band.[62] Bailey and Scheff had previously played in bands together, so Scheff introduced Bailey to the band in time for the Chicago 18 tour.

text: For the 1988 release, Chicago 19, the band had replaced producer Foster with co-producers Ron Nevison, who had recently produced an album for Heart, and Chas Sanford, who had worked with Rod Stewart and Stevie Nicks.[63] They topped the charts again with the Diane Warren-composed single "Look Away". It was the third and last Chicago single to reach number one on the Billboard Hot 100.[12] The song ultimately was named as the Billboard Hot 100 No. 1 Song of the Year for 1989.[64] The album also yielded two more Top 10 hits, "I Don't Wanna Live Without Your Love" and "You're Not Alone",[12] both with Champlin singing solo lead for the first time, and the Scheff-sung number 55 single, "We Can Last Forever," in addition to including the original version of a Top 5 single titled "What Kind Of Man Would I Be?". The latter, also sung by Scheff, was remixed for inclusion on the band's forthcoming greatest hits record (and twentieth album), Greatest Hits 1982–1989, and it was this version that became a hit.

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

text: The beginning of the 1990s brought yet another departure. Original drummer Danny Seraphine left Chicago in May 1990.[65] Seraphine was succeeded by Tris Imboden,[65] a longtime drummer with Kenny Loggins[66] and former session drummer with Peter Cetera.[67] Imboden made his first appearance on the 1991 album Twenty 1 with a fragment of band's logo, which yielded an eleven-week stretch on Billboard, a peak at No. 66,[68] and the song "Chasin' the Wind" which peaked at No. 39. Twenty 1 would be their last released album of original music for fifteen years.

text: The band was recognized with a star on the Hollywood Walk of Fame on July 23, 1992.[69]

text: In 1993, Chicago wrote and recorded their 22nd album Stone of Sisyphus.[70] This album was to have marked their return to their traditional composition of the 1970s, emphasizing major horn accompaniment.[71] However, following a reorganization of the record company, the new executives at Reprise Records (now part of the newly formed Warner Music Group) rejected the completed album. It remained unpublished for fifteen years, aside from bootleg tapes and Internet files.[70] This contributed to the parting of the band from the record label. The band was dismayed by the failure of the label. Upset with the shelving of the album, Dawayne Bailey left the group in late 1994, leading to many years of debates and conjecture about the events surrounding the recordings. It was also suggested some years later that the band's management was negotiating with the label regarding a licensing of the extensive Chicago back catalog, and when those talks stalled, the label apparently retaliated by scrapping the project.[71] The album eventually saw an expanded release on Rhino Records in June 2008 to favorable reviews from both fans and critics and made it to No. 122 on the album charts.[11]

text: After finishing their 1994 tour, and after signing with the Warner Bros. Records' imprint label Giant Records, they released their 1995 album Night & Day: Big Band,[72] consisting of covers of songs originally recorded by Sarah Vaughan, Glenn Miller, and Duke Ellington. Session guitarist Bruce Gaitsch handled the guitar work and the album featured guest appearances by Paul Shaffer of David Letterman fame, and Aerosmith guitarist Joe Perry. In early 1995 Keith Howland, who had been a studio musician and stage hand based in Los Angeles, was recruited as Chicago's new permanent guitarist.[73]

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

text: The 2000s[edit]

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

text: On March 21, 2006, their first all-new studio album since Twenty 1 arrived with Chicago XXX. It was produced by Jay DeMarcus, bassist/vocalist with the country trio Rascal Flatts,[74] who was a long-time fan of Chicago and had cited the group as an influence on him as a musician in a previous fan letter to Jason Scheff.[75] It also marked the first time the band's music was available as a digital download. The album peaked at No. 41 in the U.S.,[11] spawning two minor adult contemporary hits: "Feel" and "Love Will Come Back". Two songs from this album, "Feel" and "Caroline", were performed live during Chicago's fall 2005 tour.

text: Chicago made multi-week appearances at the MGM Grand Las Vegas in March, May and October 2006.[74][76] In July 2006, the band made a series of U.S. appearances with Huey Lewis and the News.[77]

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

text: In 2008, Stone of Sisyphus – once known as the aborted Chicago XXII, now listed officially as Chicago XXXII – was released with an expanded format.[70][71]

text: In 2009, Chicago again toured with Earth, Wind & Fire.[78]

text: Drew Hester, who was the percussionist and drummer for the Foo Fighters, joined the band in January 2009 to temporarily fill in for an ill Imboden,[79] and continued with the band as a percussionist upon Imboden's return later in the year.[80] In August 2009, Champlin was fired from the band.[81] He was replaced by Grammy-nominated keyboardist Lou Pardini, who had worked with Stevie Wonder and Santana.[82]

text: 2010 to present[edit]

text: In 2010 Chicago toured with the Doobie Brothers.[83] A 2011 performance in Chicago became a video for the HDNet cable channel that featured the Doobie Brothers joining Chicago for three encore tunes.[84] The band also appeared on the season nine finale of American Idol.[85] On July 24, 2011, the band performed at Red Rocks in Colorado, accompanied by the Colorado Symphony Orchestra.[86]

text: With Chicago XXXIII: O Christmas Three, the band re-teamed with producer Ramone (he had previously released the new tracks for the expanded Christmas re-release What's It Gonna Be, Santa?) to record a new Christmas album.[87] Dolly Parton was a guest artist on the album,[87] which was released in October 2011. In the meantime, Rhino released Chicago XXXIV: Live in '75, a two-disc set containing two hours of previously unreleased performances recorded June 24–26, 1975 at the Capital Centre in Largo, Maryland, featuring the original members of Chicago performing some of their greatest hits up to that point. In 2012, Chicago and the Doobie Brothers held another joint tour.[88] That same year, Hester left the group shortly before the tour,[80] and was succeeded, first by percussionist Daniel de los Reyes,[89][90] then by Daniel's brother and former long-term Santana member, Walfredo Reyes Jr.[89][91][92]

text: In 2013 Robert Lamm, Lee Loughnane, James Pankow, and Walter Parazaider appeared in the HBO movie Clear History as the band Chicago.[93] In late 2013, the band began releasing singles for a new album, starting with "Somethin' Comin', I Know" in August, "America" in September, "Crazy Happy" in December 2013, and "Naked in the Garden of Allah" in January 2014. The album, titled Chicago XXXVI: Now, was released on July 4, 2014.[94]

text: In 2015, Chicago was listed among the nominees for induction into the Rock and Roll Hall of Fame.[95] The original lineup was inducted at the 31st annual Rock and Roll Hall of Fame induction ceremony on April 8, 2016 along with N.W.A., Deep Purple, Steve Miller, and Cheap Trick.[96] In February 2016, it was announced that original drummer Danny Seraphine would join the current lineup of Chicago for the first time in over 25 years for the Hall of Fame Induction Ceremony.[97] Peter Cetera chose not to attend.[98] Terry Kath's daughter Michelle accepted her father's award.[98] In July 2016, Chicago performed on ABC's Greatest Hits.[99][100]

text: After taking a temporary leave in May 2016, citing "family health reasons",[101][102] it was announced on October 25, 2016 that Jason Scheff had left Chicago.[101][103] Jeff Coffey, who had been filling in for Scheff during his absence, was promoted to a full-time member.[104] Touring saxophonist Ray Herrmann also became an official member at that time.

text: In January 2017, CNN Films aired a 2-hour biographical documentary film on the group titled Now More Than Ever: The History of Chicago.[105] The film was directed and edited by Peter Pardini, nephew of band member Lou Pardini, and produced by the band, Chicago.[106] The film was the highest rated program in its premiere in the 25-54 demographic and has an 8.4 rating on IMDB.[citation needed] The film won the 2016 "Best of the Fest" Audience Choice Award at the Sedona International Film Festival.[107] At the 10th Annual Fort Myers Beach Film Festival in 2016, it won the "People's Choice" award and Peter Pardini won the "Rising Star Award" as director and filmmaker.[108]

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

text: Former percussionist Laudir de Oliveira died of a heart attack while performing onstage in his native Rio de Janeiro.[109]

text: Graphics[edit]

text: Upon being renamed from Chicago Transit Authority to Chicago, the band sported a new logo. Its inspiration was found in the design of the Coca-Cola logo,[110][111][112] in the attitude of the city of Chicago itself,[113] and in the desire to visually transcend the individual identities of the band's members.[110] It was designed[113] by the Art Director of Columbia/CBS Records, John Berg,[110][111][112] with each album's graphic art work being done by Nick Fasciano.[114][115] Berg said, "The Chicago logo...was fashioned for me by Nick Fasciano from my sketch."[110]

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

text: The album cover series has endured as a cataloged work of art in its own right, described by Paul Nini of the American Institute of Graphic Arts as a "real landmark in record cover design".[110] In 2013, the iconic status of Chicago's album art was featured in a New York art museum exhibit, which centered upon ninety-five album covers completely selected from John Berg's career portfolio of hundreds. Having overseen the design of approximately fourteen Chicago album covers across more than twenty years, Berg stated that this artistic success resulted from the combination of Chicago's "unique situation" and his position in "the best possible job at the best possible time to have that job, at the center of the graphic universe".[111] Berg won the 1976 Grammy Award for Best Album Package for Chicago X, one of four Grammy Awards he won in his lifetime.[116]

text: The book titled Type and Image: The Language of Graphic Design described the logo as "a warm vernacular form, executed in thick script letters with Victorian swashes in the tradition of sports teams and orange crate labels." The book mentions the cultural and material background of the city of Chicago as inspiration for the logo; for example, describing the leather embossing of Chicago VII as representative of the great fire and the stockades. The author connects the album art to the atmosphere of the band's namesake city, quoting the band's original manager, James William Guercio: "The printed word can never aspire to document a truly musical experience, so if you must call them something, speak of the city where all save one were born; where all of them were schooled and bred, and where all of this incredible music went down barely noticed; call them CHICAGO."[113]

text: Personnel[edit]

text: The four original remaining members of Chicago are Robert Lamm, Lee Loughnane, James Pankow and Walter Parazaider. During the summer of 2017 published reports stated Parazaider had retired from touring but is still a member.[117][118][119] Unnamed sources date his retirement to October 2016.

text: Lineups[edit]

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

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

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

Peter Cetera – bass, vocals
Robert Lamm – keyboards, vocals
Lee Loughnane – trumpet
James Pankow – trombone
Walter Parazaider – saxophones, flute
Danny Seraphine – drums
Laudir de Oliveira – percussion
Donnie Dacus – guitar, vocals[47][32]

Peter Cetera – bass, vocals
Robert Lamm – keyboards, vocals
Lee Loughnane – trumpet
James Pankow – trombone
Walter Parazaider – saxophones, flute
Danny Seraphine – drums
Laudir de Oliveira – percussion
Chris Pinnick – guitar[32]

Touring musicians

Marty Grebb – saxophone, guitar, keyboards, backing vocals (1980–1981)[50]

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

Peter Cetera – bass, vocals
Robert Lamm – keyboards, vocals
Lee Loughnane – trumpet
James Pankow – trombone
Walter Parazaider – saxophones, flute
Danny Seraphine – drums
Chris Pinnick – guitar
Bill Champlin – keyboards, vocals[51]

Touring musicians

Kenny Cetera – percussion, backing vocals (1984–1985)[56]

Robert Lamm – keyboards, vocals
Lee Loughnane – trumpet
James Pankow – trombone
Walter Parazaider – saxophones, flute
Danny Seraphine – drums
Bill Champlin – keyboards, vocals
Dawayne Bailey – guitar, vocals
Jason Scheff – bass, vocals[58]

Robert Lamm – keyboards, vocals
Lee Loughnane – trumpet
James Pankow – trombone
Walter Parazaider – saxophones, flute
Danny Seraphine – drums
Bill Champlin – keyboards, vocals
Jason Scheff – bass, vocals
Dawayne Bailey – guitar, vocals[60]

Robert Lamm – keyboards, vocals
Lee Loughnane – trumpet
James Pankow – trombone
Walter Parazaider – saxophones, flute
Bill Champlin – keyboards, vocals
Jason Scheff – bass, vocals
Dawayne Bailey – guitar, vocals
Tris Imboden – drums[65]

Touring musicians

Steve Jankowski – trumpet (sub for Lee 1992)[120]
Lee Thornburg – trumpet (sub for Lee 1992)[121]

1995
1995–2009
2009
2009–2012

Robert Lamm – keyboards, vocals
Lee Loughnane – trumpet
James Pankow – trombone
Walter Parazaider – saxophones, flute
Bill Champlin – keyboards, vocals
Jason Scheff – bass, vocals
Tris Imboden – drums
Keith Howland – guitar, vocals[73]

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

Touring musicians

Nick Lane – trombone (sub for James 1999–2009)[122]
Lou Pardini – guitar, vocals (sub for Bill for a few shows 1999, 2007)
Larry Klimas – saxophones, flute (sub for Walt 2003–2009)[123][77]
Ray Herrmann – saxophones, flute (sub for Walt 2005–2009)[124]
Tom Timko – saxophones, flute (sub for Walt 2005)
Steve Jankowski – trumpet (sub for Lee 2006, 2007)[120]
Lee Thornburg – trumpet (sub for Lee 2008, 2009)
Drew Hester – drums (sub for Tris 2009)[79]

Robert Lamm – keyboards, vocals
Lee Loughnane – trumpet
James Pankow – trombone
Walter Parazaider – saxophones, flute
Jason Scheff – bass, vocals
Tris Imboden – drums
Keith Howland – guitar, vocals
Lou Pardini – keyboards, vocals[82]

Touring musicians

Nick Lane – trombone (sub for James 2009)
Larry Klimas – saxophones, flute (sub for Walt 2009)
Ray Herrmann – saxophones, flute (sub for Walt 2009)
Drew Hester – drums (sub for Tris 2009)[80]

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

Touring musicians

Nick Lane – trombone (sub for James 2009–2012)[125]
Larry Klimas – saxophones, flute (sub for Walt 2009–2012)
Ray Herrmann – saxophones, flute (sub for Walt 2009–2012)[126]
Drew Hester – percussion (2010–2012)[80]
Art Velasco – trombone (sub for James 2011)

2012
2012–2016
2016–present

Robert Lamm – keyboards, vocals
Lee Loughnane – trumpet
James Pankow – trombone
Walter Parazaider – saxophones, flute
Jason Scheff – bass, vocals
Tris Imboden – drums
Keith Howland – guitar, vocals
Lou Pardini – keyboards, vocals
Daniel de los Reyes – percussion[89]

Touring personnel

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

Robert Lamm – keyboards, vocals
Lee Loughnane – trumpet
James Pankow – trombone
Walter Parazaider – saxophones, flute
Jason Scheff – bass, vocals
Tris Imboden – drums
Keith Howland – guitar, vocals
Lou Pardini – keyboards, vocals
Walfredo Reyes Jr. – percussion[80]

Touring musicians

Nick Lane – trombone (sub for James 2012-2016)[127]
Larry Klimas – saxophones, flute (sub for Walt 2012)[127]
Ray Herrmann – saxophones, flute (sub for Walt 2012–2016)[128]
Lee Thornburg – trumpet (sub for Lee 2012)[129]
Jeff Coffey - bass, vocals (sub for Jason 2016)[101]

Robert Lamm – keyboards, vocals
Lee Loughnane – trumpet
James Pankow – trombone
Tris Imboden – drums
Keith Howland – guitar, vocals
Lou Pardini – keyboards, vocals
Walfredo Reyes Jr. – percussion
Jeff Coffey – bass, vocals[101]
Ray Herrmann – saxophones, flute[117]

Touring musicians

Nick Lane – trombone (sub for James 2016)[130]
Larry Klimas – saxophones, flute (sub for Ray 2016)

text: Timeline[edit]

text: Discography[edit]

text: Studio albums[edit]

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

text: Live albums[edit]

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

text: Awards and honors[edit]

text:
American Music Awards

Year
Category
Result
Ref.

1977
Favorite Pop/Rock Band/Duo/Group
Won
[45]

1986
Favorite Pop/Rock Band/Duo/Group
Won
[45]

text:
Grammy Awards

Year
Category
Work
Result
Ref.

1970
Best New Artist of the Year (1969)

Nominated
[21]

1971
Album of the Year
Chicago
Nominated
[131]

Contemporary Vocal Group
Chicago
Nominated
[131]

Best Album Cover
Chicago (John Berg & Nick Fasciano)
Nominated
[131]

1974
Best Album Package
Chicago VI (John Berg)
Nominated
[132]

1977
Album of the Year
Chicago X
Nominated
[133]

Record of the Year
"If You Leave Me Now"
Nominated
[133]

Best Album Package
Chicago X (John Berg)
Won
[133]

Best Arrangement, Instrumental and Vocals
"If You Leave Me Now" (James William Guercio, Jimmie Haskell)
Won
[40]

Best Pop Vocal Performance By a Duo, Group or Chorus
"If You Leave Me Now"
Won
[133]

1980
Best Album Package
Chicago 13 (Tony Lane)
Nominated
[134]

1981
Best Album Package
Chicago XIV (John Berg)
Nominated
[135]

1983
Pop Vocal Group
"Hard To Say I'm Sorry"
Nominated
[136]

1985
Record of the Year
"Hard Habit To Break"
Nominated
[137]

Best Engineered Album, Non-Classical
Chicago 17 (Humberto Gatica)
Won
[40]

Best Instrumental Arrangement Accompanying Vocal(s)
"Hard Habit To Break" (David Foster & Jeremy Lubbock)
Won
[40]

2014
Grammy Hall of Fame
The Chicago Transit Authority
Inductee
[138]

text: Other honors

text:
1987: American Video Award, Best Cinematography, "25 or 6 to 4" (Bobby Byrne)[139]
1992: Hollywood Walk of Fame star for music contributions, located at 6400 Hollywood Boulevard.[69][140]
2016: Rock and Roll Hall of Fame induction[141][142]


document_title: Fast & Furious (2009 film)

question_text: who got murdered in fast and furious 4

question_tokens: who got murdered in fast and furious 4

text: Fast & Furious (2009 film)

text: Plot[edit]

text: Five years after the first film, Dominic Toretto and his new crew, consisting of his girlfriend Letty, Tego Leo, Rico Santos, Cara Mirtha, and Han Seoul-Oh, are hijacking fuel tankers in the Dominican Republic. Dominic suspects that the police are on their trail, forcing the crew to disband and go their separate ways, with Han deciding to go to Tokyo. Realizing that he must leave, Dominic runs, leaving Letty behind to protect her from harm.

text: Three months later, Dominic is now residing in Panama City. He gets a call from his sister, Mia Toretto, who tells him that Letty has been murdered. Dominic heads back to Los Angeles to attend her funeral and examine the crash and finds traces of nitromethane on the ground. He visits the only car mechanic that sells nitromethane in LA and forces him into giving him the name David Park, the man who ordered the fuel, and informs him that the only car that uses nitromethane in the area is a green 1972 Ford Gran Torino Sport.

text: Meanwhile, FBI agent Brian O'Conner is trying to track down a Mexican drug lord, Arturo Braga. His search leads him to David Park, and he tracks him down using an illegal modification record on his car. Dominic arrives at Park's apartment first and hangs him out of the window by his ankles before Brian arrives. Brian saves Park and Park becomes the FBI's new informant. Park gets Brian into a street race. Brian selects a modified 2002 Nissan Skyline GT-R R34[5] from the impound lot. Dominic races in his modified 1970 Chevrolet Chevelle SS 454. Gisele Yashar, the liaison for Braga, reveals that the winner will become the last driver on a team that traffics heroin between the Mexico–United States border. Dominic wins by bumping Brian's car while it is in nitro, making him lose control. Brian uses his power as an FBI agent to arrest another driver, Dwight Mueller, and takes his place on the team.

text: The team meets one of Braga's men, Fenix, and Dominic notices that Fenix drives the same Torino the mechanic described. They drive across the border using underground tunnels to avoid detection. Brian has prior knowledge that after the heroin was delivered Braga ordered the drivers to be killed. Fenix killed Letty personally, and after a stand-off, Dominic detonates his car with nitrous to distract Braga's men, and Brian hijacks a 1999 Hummer H1 with $60 million worth of heroin in it. Dominic and Brian drive back to LA and hide the heroin in a police impound lot, where Brian picks up a modified Subaru Impreza WRX STI Hatchback, and they drive to Dominic's hideout.

text: Dominic finds out Brian was the last person to contact Letty, which results in Dominic attacking Brian until Brian explains that Letty was working undercover, tracking down Braga in exchange for clearing Dominic's record. Brian tells his superiors that in exchange for Dominic's pardon, he will lure Braga into a trap, forcing him to show up to exchange money for the heroin. At the drop site, the man who claims to be "Braga" is revealed as a decoy, and "Campos", the real Braga, escapes and flees to Mexico.

text: Brian and Dominic travel to Mexico to catch Braga. They find him at a church and apprehend him. As Braga's henchmen try to rescue him, Brian and Dominic drive through the underground tunnels back to the United States. Brian crashes his car after taking fire from Braga's men. He is then injured after being T-boned by Fenix. Before Fenix can kill Brian, Dominic drives into and kills Fenix. As police and helicopters approach the crash site on the American side of the border, Brian tells Dominic to leave, but Dominic refuses, saying he is not running anymore. Despite Brian's request for clemency, the judge sentences Dominic to 25 years to life. Brian resigns from the FBI and Dominic boards a prison bus that will transport him to Lompoc penitentiary. As the bus drives down the road, Brian, Mia, Leo, and Santos arrive in their cars to intercept it.

text: Cast[edit]

text:
Vin Diesel as Dominic Toretto, an auto mechanic, ex-convict, elite street racer, and a street smart hijacker from the United States. Dominic is wanted for committing numerous semi-truck hijackings. At the beginning of the film, he is living in the Dominican Republic and drives a black Buick Grand National to hijack fuel trucks.[6]
Paul Walker as Brian O'Conner, a former police officer, auto mechanic and elite street racer. Brian is now an FBI agent on the trail of the Mexican drug lord Arturo Braga. He drives a Nissan Skyline GT-R R34, and then switches to a Subaru Impreza WRX Hatchback.
Michelle Rodríguez as Leticia "Letty" Ortiz, a street racer, mechanic, and Dominic's girlfriend who lives with him in the Dominican Republic. She drives a grey 1970 Plymouth Satellite also driven by Dominic at the end of The Fast and the Furious: Tokyo Drift.
Jordana Brewster as Mia Toretto, Dominic's younger sister and Brian's girlfriend. She drives a Honda NSX-R (although she also owns a white Honda Integra Type R).
Gal Gadot as Gisele Yashar, a liaison for Braga. She drives a white Porsche Cayman.
John Ortiz as Arturo Braga / Ramon Campos, a Mexican drug lord who wants drivers to smuggle heroin across the U.S.-Mexico border.
Laz Alonso as Fenix Calderon, Arturo Braga's main henchman. He is Letty's murderer and he drives a green 1972 Ford Gran Torino Sport.
Jack Conley as Penning, head of the Los Angeles FBI office
Shea Whigham as Michael Stasiak, a sarcastic FBI agent and Brian's colleague.
Tego Calderón as Tego, ex-convict and a member of Dominic's crew.
Don Omar as Rico Santos, a member of Dominic's crew. He drives a 1986 Nissan Silvia Nismo.
Sung Kang as Han Lue, a street racer, mechanic, and member of Dominic's crew, who also appeared in Tokyo Drift (setting this film as a prequel).
Liza Lapira as Sophie Trinh, an FBI agent and Brian's colleague.
Mirtha Michelle as Cara Mirtha, a member of Dominic's crew and Han's girlfriend.
Greg Cipes as Dwight Mueller, Braga's Camaro driver.
Ron Yuan as David Park, a street racer, and scout for street racers for Braga.
Neil Brown Jr. as Malik Herzon.
Wilmer Calderon as Tash Barilla.
Brandon T. Jackson as Alex.
Mousa Kraish as Silvia S14 driver.
Alejandro Patino as Petrol truck driver.
Greg Collins as FBI investigator.

text: Production[edit]

text: The film was announced in July 2007. Vin Diesel, Paul Walker, and the rest of the cast of the original film all reprised their roles. Filming began in 2008. The movie cars were built in Southern California's San Fernando Valley. Around 240 cars were built for the film.[7] However, the replica vehicles do not match the specifications they were supposed to represent. For example, the replica version of F-Bomb, a 1973 Chevrolet Camaro built by Tom Nelson of NRE and David Freiburger of Hot Rod magazine, included a 300 hp crate V8 engine with a 3-speed automatic transmission, whereas the actual car included a twin-turbo 1,500 hp engine and a 5-speed transmission.[8]

text: The original Dodge Charger 426 Hemi R/T that was used in the original movie was a 1970, but the car in this movie was a 1969 Dodge Charger R/T 426 Hemi with a slightly modified front grill and rear tail lights to appear as a 1970 car; the original 1970 Dodge Charger was in pieces, being totally disassembled for restoration.

text: The original red 1970 Chevrolet Chevelle SS 454 seen in the end credits of the first Fast & Furious movie, also makes an appearance but is later highly modified for a street race.

text: The most radical vehicles built for the film were the Chevy trucks constructed for the fuel heist. Powered by 502ci GM big block motors, the '67 had a giant ladder-bar suspension with airbags using a massive 10-ton semi rear axle with the biggest and widest truck tires they could find. The '88 Chevy Crew Cab was built with twin full-floating GM 1-ton axles equipped with Detroit Lockers and a transfer case directing power to both axles and capable of four-wheel burnouts.[9]

text: Another vehicle built for the film was the blue Nissan Skyline GT-R R34 owned by an uncredited owner which brought a 241-mile per hour top speed at the Bayshore Route Highway in Japan. It was a hard car to build by the production so they made clones by acquiring Nissan Skyline 25GT's and made them look like the original car. The Skyline that was also used at the desert was actually a dune buggy using a Skyline R34's shell.

text: Music[edit]

text: The score to Fast & Furious was composed by Brian Tyler, who recorded his score with the Hollywood Studio Symphony at the Newman Scoring Stage at 20th Century Fox.[10] The score album was released on CD by Varèse Sarabande Records with over 78 minutes worth of music.

text: The trailers for the film feature the track "We Are Rockstars" by Does It Offend You, Yeah? and a Travis Barker-remixed version of "Crank That" by Soulja Boy Tell 'Em.

text: The official soundtrack was released on March 31, 2009 on Star Trak. The first single from the soundtrack was titled "Blanco" and is by Pitbull featuring Pharrell Williams and is produced by The Neptunes.[10] The second single from the album is "Krazy" by Pitbull featuring Lil Jon. The track is also featured on Pitbull's album Rebelution. The third and final single from the album is "Bad Girls" by Robin Thicke. The soundtrack also features the song "G-Stro" by Busta Rhymes featuring Pharrell Williams and also produced by The Neptunes. The track is a leftover track from Busta Rhymes' album Back on My B.S. Amazon.com gave the album an average score of 3.5 out of 5, calling it a Spanish-themed rap soundtrack with mostly average tracks. Interscope and Star Trak Records released the soundtrack for the film with "Crank That" not included.

text: Another song that was omitted from the album was song "Rising Sun" by South Korean group TVXQ.

text: The Japanese version of the movie features the song "Before I Decay" by Japanese rock group The GazettE.

text: Also featured in the background under a club scene which was omitted from the album, was song "Ride" written by Kervins Joseph and Travis Baker, published by InDigi Avenue Music Publishing (ASCAP), courtesy InDigi Music, and Virtual Diva performed by Don Omar.[citation needed]

text: Release[edit]

text: It was originally set to release on June 12, 2009, but moved it up to April 3, 2009 instead. It was the first motion-enhanced theatrical film to feature D-BOX motion feedback technology in selected theaters.[11]

text: Reception[edit]

text: Critical response[edit]

text: Fast & Furious received generally negative reviews from professional critics. The film is rated at 28% based on 173 reviews collected on the Rotten Tomatoes website[12] and 45 on Metacritic based on 27 reviews.[13]

text: Lisa Schwarzbaum of Entertainment Weekly gives the film a B+, saying, "Fast & Furious is still no Point Break. But it's perfectly aware of its limited dramatic mission...and...it offers an attractive getaway route from self-importance, snark, and chatty comedies about male bonding."[14] Kirk Honeycutt of The Hollywood Reporter thought this movie was the first real sequel to the first and also gave it a positive review, writing, "Fast & Furious is the first true sequel of the bunch. By reuniting the two male stars from the original and...continuing the story from the first film, this new film should re-ignite the franchise."[15] Betsy Sharkey of the Los Angeles Times gave it a positive review, providing viewers were car fans, writing, "If you're a lover of stomach-clenching speed that turns the world into a neon blur...then Fast & Furious, the fourth edition of that metal-twisting series, should leave you exhausted and satiated for a very long time."[16]

text: Roger Ebert, who gave positive reviews to the previous films, gave an unfavorable review of the film, writing, "I admire the craft involved, but the movie leaves me profoundly indifferent. After three earlier movies in the series, which have been transmuted into video games, why do we need a fourth one? Oh. I just answered my own question."[17]

text: Box office[edit]

text: On its first day of release the movie grossed $30.6 million, and peaked at the top spot of the weekend box office with $70,950,500, more than Tokyo Drift earned in its entire domestic run.[18] The film had the sixth-biggest opening weekend of 2009 and was double what most industry observers expected.[19]

text: It also held the record for the highest-grossing opening weekend in April[20] and of any car-oriented film, the record having been previously held by Cars, which grossed $60.1 million. Both of these records were broken two years later by Fast Five, which grossed $86.2 million.[21] Fast & Furious also held the record for the highest opening weekend for a Spring release, until it was broken by Tim Burton's Alice in Wonderland. Its worldwide gross on its opening weekend stands at $102.6 million[22] with $7.2 million coming from the UK, $8.6 million from Russia, $6 million in France and $3 million from Germany.[23]

text: As of July 27, 2011 the film had grossed a total of $155,064,265 in the United States and $208,100,000 internationally for a worldwide total of $363,164,265 (making it the fift most successful film in the franchise behind Furious 7, The Fate of the Furious, Fast & Furious 6, and Fast Five). It is the sixth highest-grossing film in the car genre, behind Furious 7, The Fate of the Furious, Fast & Furious 6, Fast Five, and Cars.[2] It is also the 17th highest grossing film of 2009 and the fifth highest film of 2009 to gross $300 million worldwide behind Star Trek, Monsters vs. Aliens, X-Men Origins: Wolverine, and Terminator Salvation.[24]

text: Home video[edit]

text: Fast & Furious was released on DVD and Blu-ray on July 28, 2009.[25] The DVD is a two-disc set that includes:

text:
Digital copy of the film
Under the Hood: Muscle Cars & Imports
High Octane Action: The Stunts
Shooting the Big Rig Heist
Driving School with Vin Diesel
Original short film Los Bandoleros, the never-before-seen short film that reveals the events leading up to the explosive beginning of Fast & Furious. It is written and directed by Vin Diesel and was produced in the Dominican Republic.[26] This was released on the iTunes Store as a free download.

text: As of July 29, 2011 the DVD has sold 3,324,117 copies generating $53,879,547 in sales revenue for a combined total of $417,043,812 including worldwide movie ticket sales.[27] It was re-released in Australia on Blu-ray including a digital copy and re-titled Fast & Furious 4 on March 30, 2011.

text: Sequel[edit]

text: Vin Diesel and Paul Walker reunited for a Fast & Furious sequel, entitled Fast Five. Justin Lin directed, while Chris Morgan wrote the screenplay. It was released in April 2011.[28]