document_title: Steely Dan

question_text: where did the band steely dan get their name

text: Steely Dan

text: History[edit]

text: Formative and early years (1967–1972)[edit]

text: Becker and Fagen met in 1967 at Bard College, in Annandale-on-Hudson, New York. As Fagen passed by a café, The Red Balloon, he heard Becker practicing the electric guitar.[16] In an interview, Fagen recounted the experience: "I hear this guy practicing, and it sounded very professional and contemporary. It sounded like, you know, like a black person, really."[16] He introduced himself to Becker and asked, "Do you want to be in a band?"[16] Discovering that they enjoyed similar music, the two began writing songs together.

text: Becker and Fagen began playing in local groups. One such group, known as the Don Fagen Jazz Trio, the Bad Rock Group and later the Leather Canary, included future comedy star Chevy Chase on drums. They played covers of songs by the Rolling Stones ("Dandelion"), Moby Grape ("Hey Grandma"), and Willie Dixon ("Spoonful"), as well as some original compositions.[16] Terence Boylan, another Bard musician, remembered that Fagen took readily to the beatnik life while attending college: "They never came out of their room, they stayed up all night. They looked like ghosts — black turtlenecks and skin so white that it looked like yogurt. Absolutely no activity, chain-smoking Lucky Strikes and dope."[16] Fagen himself would later remember it as "probably the only time in my life that I actually had friends."[17]

text: After Fagen graduated in 1969, the two moved to Brooklyn and tried to peddle their tunes in the Brill Building in midtown Manhattan. Kenny Vance (of Jay and the Americans), who had a production office in the building, took an interest in their music, which led to work on the soundtrack of the low-budget Richard Pryor film You've Got to Walk It Like You Talk It or You'll Lose That Beat. Becker later said bluntly, "We did it for the money."[18] A series of demos from 1968 to 1971 are available in bootleg form.[19] This collection features approximately 25 tracks and is notable for its sparse arrangements (Fagen plays solo piano on many songs) and lo-fi production, a contrast with Steely Dan's later work. Although some of these songs ("Caves of Altamira", "Brooklyn", "Barrytown") were re-recorded for Steely Dan albums, most were never officially released.

text: Becker and Fagen joined the touring band of Jay and the Americans for about a year and a half.[20] They were at first paid $100 per show, but partway through their tenure the band's tour manager cut their salaries in half.[20] The group's lead singer, Jay Black, dubbed Becker and Fagen "the Manson and Starkweather of rock 'n' roll", referring to cult leader Charles Manson and spree killer Charles Starkweather.[20]

text: They had little success after moving to Brooklyn, although Barbra Streisand recorded their song "I Mean To Shine" on her 1971 Barbra Joan Streisand album. Their fortunes changed when one of Vance's associates, Gary Katz, moved to Los Angeles to become a staff producer for ABC Records. He hired Becker and Fagen as staff songwriters; they flew to California. Katz would produce all their 1970s albums in collaboration with engineer Roger Nichols, and Nichols would win six Grammy Awards for his work with the band from the 1970s to 2001.[21]

text: After realizing that their songs were too complex for other ABC artists, at Katz's suggestion Becker and Fagen formed their own band with guitarists Denny Dias and Jeff "Skunk" Baxter, drummer Jim Hodder and singer David Palmer, and Katz signed them to ABC as recording artists. Fans of Beat Generation literature, Fagen and Becker named the band after "Steely Dan III from Yokohama", an oversized, steam-powered strap-on dildo mentioned in the William S. Burroughs novel Naked Lunch.[22][23] Palmer joined as a second lead vocalist because of Fagen's occasional stage fright, his reluctance to sing in front of an audience, and because the label believed that his voice was not "commercial" enough.

text: In 1972, ABC issued Steely Dan's first single, "Dallas", backed with "Sail the Waterway". Distribution of "stock" copies available to the general public was apparently extremely limited;[24] the single sold so poorly that promotional copies are much more readily available than stock copies in today's collectors market. As of 2015, "Dallas" and "Sail the Waterway" are the only officially released Steely Dan tracks that have not been reissued on cassette or compact disc. In an interview (1995), Becker and Fagen called the songs "stinko."[25] "Dallas" was later covered by Poco on their Head Over Heels album.

text: Can't Buy a Thrill and Countdown to Ecstasy (1972–1973)[edit]

text: Can't Buy a Thrill, Steely Dan's debut album, was released in 1972. Its hit singles "Do It Again" and "Reelin' In the Years" reached No. 6 and No. 11 respectively on the Billboard singles chart. Along with "Dirty Work" (sung by David Palmer), the songs became staples on classic rock radio.

text: Because of Fagen's reluctance to sing live, Palmer handled most of the vocal duties on stage. During the first tour, however, Katz and Becker decided that they preferred Fagen's interpretations of the band's songs, persuading him to take over. Palmer quietly left the group while it recorded its second album. He wrote the No. 2 hit "Jazzman" (1974) with Carole King.

text: Released in 1973, Countdown to Ecstasy was not as commercially successful as Steely Dan's first album. Becker and Fagen were unhappy with some of the performances on the record and believed that it sold poorly because it had been recorded hastily on tour. The album's singles were "Show Biz Kids" and "My Old School", both of which stayed in the lower half of the Billboard charts (though "My Old School" and — to a lesser extent — "Bodhisattva" became minor FM Rock staples in time).

text: Pretzel Logic and Katy Lied (1974–1976)[edit]

text: Pretzel Logic was released in early 1974. A diverse set, it includes the group's most successful single "Rikki Don't Lose That Number" (No. 4) and a note-for-note rendition of Duke Ellington and James "Bubber" Miley's "East St. Louis Toodle-Oo".

text: During the previous album's tour, the band had added vocalist-percussionist Royce Jones, vocalist-keyboardist Michael McDonald, and session drummer Jeff Porcaro (of Sonny & Cher).[26] Porcaro contributed significantly to Pretzel Logic (as he would on future Steely Dan recordings), reflecting Steely Dan's increasing reliance on session musicians (including Dean Parks and Rick Derringer). Drummer Jeff Porcaro and Katy Lied pianist David Paich would go on to form Toto. Striving for perfection, Becker and Fagen sometimes asked musicians to record as many as forty takes of each track.[27]

text: Pretzel Logic was the first Steely Dan album to feature Walter Becker on guitar. "Once I met (session musician) Chuck Rainey", he explained, "I felt there really was no need for me to be bringing my bass guitar to the studio anymore".[27]

text: A rift began growing between Becker-Fagen and Steely Dan's other members (particularly Baxter and Hodder), who wanted to tour. Becker and Fagen disliked constant touring and wanted to concentrate solely on writing and recording. The other members gradually left the band, discouraged by this and by their diminishing roles in the studio. However, Dias remained with the group until 1980's Gaucho and Michael McDonald contributed vocals until the group's twenty-year hiatus after Gaucho. Baxter and McDonald went on to join The Doobie Brothers. Steely Dan's last tour performance was on July 5, 1974, a concert at the Santa Monica Civic Auditorium in California.[28] A recording of the show's opening track, "Bodhisattva", was released as a B-side, and later appeared on the compilation album Gold.

text: Becker and Fagen recruited a diverse group of session players for Katy Lied (1975), including Porcaro, Paich, and McDonald, as well as guitarist Elliott Randall, jazz saxophonist Phil Woods, saxophonist/bass-guitarist Wilton Felder, percussionist/vibraphonist/keyboardist Victor Feldman, keyboardist (and later producer) Michael Omartian, and guitarist Larry Carlton — Dias, Becker, and Fagen being Steely Dan's only original members. The album went gold on the strength of "Black Friday" and "Bad Sneakers", but Becker and Fagen were so dissatisfied with the album's sound (compromised by a faulty DBX noise reduction system) that they publicly apologized for it (on the album's back cover) and for years refused to listen to it in its final form.[29] Katy Lied also included "Doctor Wu" and "Chain Lightning".

text: The Royal Scam and Aja (1976–1978)[edit]

text: The Royal Scam was released in May 1976. Partly because of Carlton's prominent contributions, it is the band's most guitar-oriented album. It also features performances by session drummer Bernard Purdie. The album sold well in the U.S.A. though without the strength of a hit single. "Haitian Divorce" (Top 20) drove sales in the UK, becoming Steely Dan's first major hit in that country.[30]

text: Steely Dan's sixth album, the jazz-influenced Aja, was released in September 1977. Aja reached the Top Five in the U.S. charts within three weeks, winning the Grammy award for "Engineer – Best Engineered Recording – Non-Classical." It was also one of the first American LPs to be certified 'platinum' for sales of over 1 million albums.[31][32]

text: Featuring Michael McDonald's backing vocals, "Peg" (No. 11) was the album's first single, followed by "Josie" (No. 26) and "Deacon Blues" (No. 19). Aja solidified Becker's and Fagen's reputations as songwriters and studio perfectionists. It features such jazz and fusion luminaries as guitarists Larry Carlton and Lee Ritenour; bassist Chuck Rainey; saxophonists Wayne Shorter, Pete Christlieb, and Tom Scott; drummers Steve Gadd, Rick Marotta and Bernard Purdie; pianist Joe Sample and ex-Miles Davis pianist/vibraphonist Victor Feldman and Grammy award-winning producer/arranger Michael Omartian (piano).

text:
Roger [Nichols] made those records sound like they did. He was extraordinary in his willingness and desire to make records sound better.[33] The records we did could not have been done without Roger. He was just maniacal about making the sound of the records be what we liked... He always thought there was a better way to do it, and he would find a way to do what we needed to in ways that other people hadn't done yet.[34]

~ Steely Dan producer Gary Katz regarding Roger Nichols' role in the band's recording legacy.

tag: div

text: Planning to tour in support of Aja, Steely Dan assembled a live band. Rehearsal ended and the tour was canceled when backing musicians began comparing pay.[35] The album's history was documented in an episode of the TV and DVD series Classic Albums.

text: After Aja's success, Becker and Fagen were asked to write the title track for the movie FM. The movie was a box-office disaster, but the song was a hit, earning Steely Dan another engineering Grammy award. It was a minor hit in the UK and barely missed the Top 20 in the U.S.A.[30]

text: Gaucho and breakup (1978–1981)[edit]

text: Becker and Fagen took a break from songwriting for most of 1978 before starting work on Gaucho. The project would not go smoothly: technical, legal, and personal setbacks delayed the album's release and subsequently led Becker and Fagen to suspend their partnership for over a decade.

text: Misfortune struck early when an assistant engineer accidentally deleted "The Second Arrangement", a favorite track of Katz and Nichols,[36] which was never recovered. More trouble — this time legal — followed. In March 1979, MCA Records bought ABC, and for much of the next two years Steely Dan could not release an album. Becker and Fagen had planned on leaving ABC for Warner Bros. Records, but MCA claimed ownership of their music, preventing them from changing labels.

text: Turmoil in Becker's personal life also interfered. His girlfriend died of a drug overdose in their Upper West Side apartment, and he was sued for $17 million. Becker settled out of court, but he was shocked by the accusations and by the tabloid press coverage that followed. Soon after, Becker was struck by a taxi while crossing a Manhattan street, shattering his right leg in several places and forcing him to use crutches.

text: Still more legal trouble was to come. Jazz composer Keith Jarrett sued Steely Dan for copyright infringement, claiming that they had based Gaucho's title track on one of his compositions, "Long As You Know You're Living Yours". (Fagen later admitted that he'd loved the song and that it had been a strong influence.)[37]

text: Gaucho was finally released in November 1980. Despite its tortured history, it was another major success. The album's first single, "Hey Nineteen", reached No. 10 on the pop chart in early 1981, and "Time Out of Mind" (featuring guitarist Mark Knopfler of Dire Straits) was a moderate hit in the spring. "My Rival" was featured in John Huston's 1980 film Phobia. Roger Nichols won a third engineering Grammy award for his work on the album.

text: Time off (1981–1993)[edit]

text: Steely Dan disbanded in June 1981.[38] Becker and his family moved to Maui, where he became an "avocado rancher and self-styled critic of the contemporary scene."[39] He stopped using drugs, which he had used for most of his career.[40][41][42] Meanwhile, Fagen released a solo album, The Nightfly (1982), which went platinum in both the U.S. and the U.K. and yielded the Top Twenty hit "I.G.Y. (What a Beautiful World)." In 1988 Fagen wrote the score of Bright Lights, Big City and a song for its soundtrack, but otherwise recorded little. He occasionally did production work for other artists, as did Becker. The most prominent of these were two albums Becker produced for the British sophisti-pop group China Crisis, who were strongly influenced by Steely Dan.[43] Becker is listed as an official member of China Crisis on the first of these albums, 1985's Flaunt the Imperfection, and played keyboards on the band's Top 20 UK hit "Black Man Ray". For the second of the two albums, 1989's Diary of a Hollow Horse, Becker is only listed as a producer and not as a band member.

text: In 1986 Becker and Fagen performed on Zazu, an album by former model Rosie Vela produced by Gary Katz.[44] The two rekindled their friendship and held songwriting sessions between 1986 and 1987, leaving the results unfinished.[45] On October 25, 1991, Becker attended a concert by New York Rock and Soul Revue, co-founded by Fagen and producer/singer Libby Titus (who was for many years the partner of Levon Helm of The Band and would later become Fagen's wife), and spontaneously performed with the group.

text: Becker produced Fagen's second solo album, Kamakiriad, in 1993. Fagen conceived the album as a sequel to The Nightfly. He called it the most satisfying recording experience of his career.[citation needed]

text: Reunion, Alive in America (1993–2000)[edit]

text: Becker and Fagen reunited for an American tour to support Kamakiriad, which sold poorly despite a Grammy nomination for Album of the Year. With Becker playing lead and rhythm guitar, the pair assembled a band that included a second keyboard player, a second lead guitarist, a bassist, three female backing singers, and a four-piece saxophone section. During this tour, Fagen introduced himself as "Rick Strauss" and Becker as "Frank Poulenc".

text: The next year, MCA released Citizen Steely Dan, a boxed set featuring their entire catalog (except their debut single "Dallas"/"Sail The Waterway") on four CDs, plus four extra tracks: "Here at the Western World" (originally released on 1978's "Greatest Hits"), "FM" (1978 single), a 1971 demo of "Everyone's Gone to the Movies" and "Bodhisattva (live)", the latter recorded on a cassette in 1974 and released as a B-side in 1980. That year Becker released his debut solo album, 11 Tracks of Whack, which Fagen co-produced.

text: Steely Dan toured again in support of the boxed set and Tracks. In 1995 they released a live CD, Alive in America, compiled from recordings of several 1993 and 1994 concerts. The Art Crimes Tour followed, including dates in the United States, Japan, and their first European shows in 22 years. After this activity, Becker and Fagen returned to the studio to begin work on a new album.

text: Two Against Nature and Everything Must Go (2000–2003)[edit]

text: In 2000 Steely Dan released their first studio album in 20 years: Two Against Nature. It won four Grammy Awards: Best Engineered Album – Non-Classical, Best Pop Vocal Album, Best Pop Performance by Duo or Group with Vocal ("Cousin Dupree"), and Album of the Year (despite competition in this category from Eminem's The Marshall Mathers LP and Radiohead's Kid A). In the summer of 2000, they began another American tour, followed by an international tour later that year. They released the Plush TV Jazz-Rock Party DVD, documenting a live-in-the-studio concert performance of popular songs from throughout Steely Dan's career. In March 2001, Steely Dan was inducted into the Rock and Roll Hall of Fame.[11][12]

text: In 2003 Steely Dan released Everything Must Go and began a new tour. In contrast to their earlier work, they had tried to write music that captured a live feel. Becker sang lead vocals on a Steely Dan studio album for the first time ("Slang of Ages" — he had sung lead on his own "Book of Liars" on Alive in America). Fewer session musicians played on Everything Must Go than had become typical of Steely Dan albums: Becker played bass on every track and lead guitar on five tracks; Fagen added piano, electric piano, organ, synthesizers, and percussion on top of his vocals.

text: Touring, solo activity (2003–2017)[edit]

text: After Everything Must Go, Becker and Fagen toured frequently as Steely Dan and released occasional solo albums. To complete his Nightfly trilogy, Fagen issued Morph the Cat in 2006. The band's Steelyard "Sugartooth" McDan and The Fab-Originees.com Tour followed later that year,[46] in which Michael McDonald played with the group during encores. The 2007 Heavy Rollers Tour included dates in North America, Europe, Japan, Australia, and New Zealand, making it their most expansive tour.[47]

text: The smaller Think Fast Tour followed in 2008, and Steely Dan performed at the Montreal Jazz Festival in July. That year Becker released a second album, Circus Money, produced by Larry Klein and inspired by Jamaican music. In 2009 Steely Dan toured Europe and America extensively in their Left Bank Holiday and Rent Party Tour, alternating between standard one-date concerts at large venues and multi-night theater shows that featured performances of The Royal Scam, Aja, or Gaucho in their entirety on certain nights. The following year, Fagen formed the touring supergroup Dukes of September Rhythm Revue with McDonald, Boz Scaggs, and members of Steely Dan's live band, whose repertoire included songs by all three songwriters. Longtime studio engineer Roger Nichols died of pancreatic cancer on April 10, 2011.[48] Steely Dan's Shuffle Diplomacy Tour that year included an expanded set list and dates in Australia and New Zealand. Fagen released his fourth album, Sunken Condos, in 2012. It was his first solo release unrelated to the Nightfly trilogy.

text: The Mood Swings: 8 Miles to Pancake Day Tour began in July 2013 and featured an eight-night run at the Beacon Theater in New York City.[49] Jamalot Ever After, their 2014 United States tour, ran from July 2 in Portland, Oregon to September 20 in Port Chester, New York.[50] Their Rockabye Gollie Angel Tour the following year included opening act Elvis Costello and the Imposters and dates at the Coachella Valley Music and Arts Festival. The Dan Who Knew Too Much tour followed in 2016, with Steve Winwood opening. Steely Dan also performed at The Hollywood Bowl in Los Angeles with an accompanying orchestra.

text: The band played its final shows with Becker in 2017. In April, they played the 12-date Reelin' In the Chips residency in Las Vegas and Southern California.[51] Becker's final performance came on May 27 at the Greenwich Town Party in Greenwich, Connecticut.[52] Due to an undisclosed illness, Becker did not play Steely Dan's two Classics East and West concerts at Dodger Stadium and Citi Field in July.[53]

text: After Becker's death (2017–present)[edit]

text: Walter Becker died on September 3, 2017.[54] In a note released to the media, Donald Fagen remembered his longtime friend and band mate, and promised to "keep the music we created together alive as long as I can with the Steely Dan band."[55] A week after Becker's death, Steely Dan announced a short American tour for October 2017 and three concert dates in the United Kingdom on a double bill with The Doobie Brothers.[56] The band is scheduled to play their first concert following Becker's death in Thackerville, Oklahoma on October 13.[56]

text: Musical and lyrical style[edit]

text: Music[edit]

text: Overall sound[edit]

text: Special attention is given to the individual sound of each instrument. Recording is done with the utmost fidelity and attention to sonic detail, and mixed so that all the instruments are heard and none are given undue priority (a deft and accomplished use of the multi-tracking process).[citation needed] For example, in the song "Parker's Band", two drum kits are used,[citation needed] which gives the song an unexpected drive, without overpowering the sound; it is not even immediately apparent that there are two drum kits on the track. Their albums are also notable for the characteristically 'warm' and 'dry' production sound, and the sparing use of echo and reverberation. Long known as perfectionists, they often recorded take after take before selecting the player or performance that made the final cut on their albums.[citation needed]

text: Backing vocals[edit]

text: Becker and Fagen favored a distinctly soul-influenced style of backing vocals, which after the first few albums were almost always performed by a female chorus (although Michael McDonald features prominently on several tracks, including the 1975 song "Black Friday" and the 1977 song "Peg"). Venetta Fields, Sherlie Matthews and Clydie King were the preferred trio for backing vocals on the group's late 1970s albums.[57] Other backing vocalists include Tawatha Agee, Brenda White-King, Carolyn Leonhart, Janice Pendarvis, Catherine Russell, Cynthia Calhoun, Victoria Cave, Cindy Mizelle, and Jeff Young. The band also featured singers like Patti Austin and Valerie Simpson on later projects such as Gaucho.

text: Horns[edit]

text: Horn arrangements have been used on songs from all Steely Dan albums. They are usually jazz-oriented, and typically feature instruments such as trumpets, trombones and saxophones, although they have also used other instruments such as flutes and clarinets. The horn parts occasionally integrate simple synth lines to alter the tone quality of individual horn lines; for example in "Deacon Blues" this was done to "thicken" one of the saxophone lines. On their earlier albums Steely Dan featured guest arrangers and on their later albums the arrangement work is credited to Fagen.

text: Composition and chord use[edit]

text: Steely Dan are famous for their use of chord sequences and harmonies that explore the area of musical tension between traditional pop sounds and jazz. In particular, they are known for their use of the add 2 chord, a type of added tone chord, which they nicknamed the mu major.[58][59][60] Other common chords used by Steely Dan include slash chords for example B/C or E-7/A. This notation shows a chord (shown to the left of the slash) with a note other than the tonic (shown to the right of the slash) as the lowest pitched note.[61]

text: Lyrics[edit]

text: Steely Dan's lyrical subjects are diverse, but in their basic approach they often create fictional personae that participate in a narrative or situation. The duo have said that in retrospect, most of their albums have a 'feel' of either Los Angeles or New York City, the two main cities where Becker and Fagen lived and worked. Characters appear in their songs that evoke these cities. Steely Dan's lyrics are often puzzling to the listener,[62] with the true meaning of the song "uncoded" through repeated listening, and a richer understanding of the references within the lyrics. For example, in the song "Everyone's Gone to the Movies," the line "I know you're used to 16 or more, sorry we only have eight" refers not to the count of some article, but to eight-millimeter film, which was lower quality than 16 mm or larger formats, underscoring the illicitness of Mr. Lapage's (assumedly pornographic) movie parties.

text: Thematically, Steely Dan creates a universe peopled by losers, creeps and failed dreamers – often victims of their own obsessions and delusions – and frequently suggests the moral reckoning that is due them. These motifs are introduced in the Dan's first hit song, "Do It Again" – where we hear of a murderous cowboy who beats the gallows, a man taken advantage of by a cheating girlfriend, and an obsessive gambler, all of whom are unable to command their own destinies; similar themes of being trapped in a death spiral of one's own making appear throughout the corpus of their catalog. Other themes are also present, such as prejudice, aging, poverty and middle-class ennui, and are typically seen from an ironic and detached perspective. The moral point of view expressed in Steely Dan songs reinforces traditional values, that substance abuse and sexual promiscuity lead to ruin.[citation needed]

text: Many would argue that Steely Dan never wrote a genuine love song, instead dealing with personal passion in the guise of a destructive obsession.[63] Many of their songs concern love, but none can be classed as straightforward love songs; typical of Steely Dan songs is an ironic or disturbing twist in the lyrics that reveal a darker reality. For example, upon deeper analysis the listener realizes that the "love" expressed is actually about prostitution ("Pearl of the Quarter"), incest ("Cousin Dupree"), pedophilia ("Everyone's Gone to the Movies"), pornography ("Peg") or some other socially unacceptable subject. However, some of their demo-era recordings show Fagen and Becker expressing romance, including "This Seat's Been Taken", "Oh, Wow, It's You" and "Come Back Baby".

text: Steely Dan's lyrics contain subtle and encoded references, unusual (and sometimes original) slang expressions, a wide variety of "word games" and intriguing lyrical choices and constructions of considerable depth. The obscure and sometimes teasing lyrics have given rise to considerable efforts by fans to explain the "inner meaning" of certain songs.[64][65] Jazz is a recurring theme, with references abounding in their songs, and there are numerous other film, television and literary references and allusions, such as "Home at Last" (from Aja), which was inspired by Homer's Odyssey.

text: Some of their lyrics are notable for their unusual meter patterns; a prime example of this is their 1972 hit "Reelin' In the Years", which crams an unusually large number of words into each line, giving it a highly syncopated quality.

text: "Name dropping" is another Steely Dan lyrical device; references to real places and people abound in their songs. The song "My Old School" is a major example, referring to Annandale (Annandale-on-Hudson, New York, is home to Bard College, which both attended and where they met), and the Two Against Nature album (2000) contains numerous references to the duo's original region, the New York metro area, including the district of Gramercy Park, the Strand Bookstore, and the upscale food store Dean & DeLuca. In the song "Glamour Profession" the conclusion of a drug deal is celebrated with dumplings at Mr. Chow, a Chinese restaurant in Beverly Hills. The band even employed self-reference; in the song "Show Biz Kids," the titular subjects are sardonically portrayed as owning "the Steely Dan T-shirt."

text: The band also often name-checks drinks, typically alcoholic, in their songs: rum and cokes ("Daddy Don't Live in That New York City No More"), piña coladas ("Bad Sneakers"), zombies ("Haitian Divorce"), black cows ("Black Cow"), Scotch whisky ("Deacon Blues"), retsina ("Home at Last"), grapefruit wine ("FM"), cherry wine ("Time Out of Mind"), Cuervo Gold ("Hey Nineteen"), kirschwasser ("Babylon Sisters"), Tanqueray ("Lunch with Gina") and Cuban breeze (Fagen's solo track "The Goodbye Look") are all mentioned in Steely Dan lyrics.[66]

text: Members[edit]

text: Current members

text: Donald Fagen – lead vocals, keyboards (1972–1981, 1993–present)

text: Former members

text:
Walter Becker – guitar, bass (1972–1981, 1993–2017; died 2017)
Jeff "Skunk" Baxter – guitar, backing vocals (1972–1974)
Denny Dias – guitar (1972–1974)
Jim Hodder – drums, backing and lead vocals (1972–1974; died 1990)
David Palmer – backing and lead vocals (1972–1973)
Royce Jones – backing and lead vocals, percussion (1973, 1974)
Michael McDonald – keyboards, backing vocals (1974)
Jeff Porcaro – drums (1974; died 1992)

text: Timeline[edit]

text: Discography[edit]

text:
Can't Buy a Thrill (1972)
Countdown to Ecstasy (1973)
Pretzel Logic (1974)
Katy Lied (1975)
The Royal Scam (1976)
Aja (1977)
Gaucho (1980)
Two Against Nature (2000)
Everything Must Go (2003)


document_title: Major League Baseball All-Star Game records

question_text: most home runs in mlb all star game

question_tokens: most home runs in mlb all star game

root

text: All-Star Game appearance record[edit]

text:
Most number of games on the roster originally or as a replacement.[1]
Two All-Star Games were held each season from 1959 through 1962.

tag: p

text:
Hank Aaron 25
Willie Mays 24
Stan Musial 24

tag: ul

text: All-Star Game MVP Award record[edit]

text: Willie Mays, Steve Garvey, Gary Carter,  Cal Ripken, Jr., and Mike Trout 2

text: Single All-Star Game hitting records[edit]

text:
Runs batted in: Al Rosen, Ted Williams 5
Runs: Ted Williams 4
Hits: Joe Medwick, Ted Williams, Carl Yastrzemski 4
Home runs: Gary Carter, Willie McCovey, Al Rosen, Arky Vaughan, Ted Williams 2
Inside-the-park home runs: Ichiro Suzuki 1
Grand slams: Fred Lynn 1
Doubles: Ernie Banks, Barry Bonds, Ted Kluszewski, Paul Konerko, Joe Medwick, Damian Miller, Albert Pujols, Al Simmons 2
Triples: Rod Carew 2
Walks: Phil Cavarretta, Charlie Gehringer 3
Total bases: Ted Williams 10

text: Single All-Star Game pitching records[edit]

text:
Runs: Atlee Hammaker 7
Earned runs: Atlee Hammaker 7
Hits: Tom Glavine 9
Home runs: Jim Palmer 3
Innings pitched: Lefty Gomez 6
Strikeouts: Carl Hubbell, Larry Jansen, Ferguson Jenkins, Johnny Vander Meer 6
Consecutive Strikeouts: Carl Hubbell, Fernando Valenzuela 5

text: Career All-Star Game hitting records[edit]

text:
At bats: Willie Mays 75
Batting average: Charlie Gehringer .500
Runs batted in: Ted Williams 12
Runs: Willie Mays 20
Hits: Willie Mays 23
Extra base hits: Willie Mays, Stan Musial 8
Home runs: Stan Musial 6
Inside-the-park home runs: Ichiro Suzuki 1
Grand slams: Fred Lynn 1
Doubles: Dave Winfield 7
Triples: Willie Mays, Brooks Robinson 3
Walks: Ted Williams 11
Total bases: Willie Mays, Stan Musial 40
Pinch hits: Stan Musial 3

text: Career All-Star Game pitching records[edit]

text:
Wins: Lefty Gomez 3
Losses: Mort Cooper, Whitey Ford, Dwight Gooden, Catfish Hunter, Claude Passeau, John Smoltz, Luis Tiant 2
Earned runs: Whitey Ford 11
Hits: Whitey Ford 19
Innings pitched: Don Drysdale 19⅓
Batters faced: Don Drysdale 69
Balks: Dwight Gooden 2
Walks: Jim Palmer 7
Strikeouts: Don Drysdale 19
Games pitched: Roger Clemens 9
Games started: Don Drysdale, Lefty Gomez, Robin Roberts 5
Games finished: Rich Gossage 6
Saves: Mariano Rivera 4


document_title: Mona Lisa

question_text: when was the mona lisa exhibited in the united states for the first time

text: Mona Lisa

text: Title and subject

text: The title of the painting, which is known in English as Mona Lisa, comes from a description by Renaissance art historian Giorgio Vasari, who wrote "Leonardo undertook to paint, for Francesco del Giocondo, the portrait of Mona Lisa, his wife."[11][12] Mona in Italian is a polite form of address originating as "ma donna" – similar to "Ma’am", "Madam", or "my lady" in English. This became "madonna", and its contraction "mona". The title of the painting, though traditionally spelled "Mona" (as used by Vasari[11]), is also commonly spelled in modern Italian as Monna Lisa ("mona" being a vulgarity in some Italian dialects) but this is rare in English.[citation needed]

text: Vasari's account of the Mona Lisa comes from his biography of Leonardo published in 1550, 31 years after the artist's death. It has long been the best-known source of information on the provenance of the work and identity of the sitter. Leonardo's assistant Salaì, at his death in 1524, owned a portrait which in his personal papers was named la Gioconda, a painting bequeathed to him by Leonardo.

text: That Leonardo painted such a work, and its date, were confirmed in 2005 when a scholar at Heidelberg University discovered a marginal note in a 1477 printing of a volume written by the ancient Roman philosopher Cicero. Dated October 1503, the note was written by Leonardo's contemporary Agostino Vespucci. This note likens Leonardo to renowned Greek painter Apelles, who is mentioned in the text, and states that Leonardo was at that time working on a painting of Lisa del Giocondo.[13]

text: In response to the announcement of the discovery of this document, Vincent Delieuvin, the Louvre representative, stated "Leonardo da Vinci was painting, in 1503, the portrait of a Florentine lady by the name of Lisa del Giocondo. About this we are now certain. Unfortunately, we cannot be absolutely certain that this portrait of Lisa del Giocondo is the painting of the Louvre."[14]

text:
The model, Lisa del Giocondo,[15][16]
was a member of the Gherardini family of Florence and Tuscany, and the wife of wealthy Florentine silk merchant Francesco del Giocondo.[17] The painting is thought to have been commissioned for their new home, and to celebrate the birth of their second son, Andrea.[18] The Italian name for the painting, La Gioconda, means "jocund" ("happy" or "jovial") or, literally, "the jocund one", a pun on the feminine form of Lisa's married name, "Giocondo".[17][19] In French, the title La Joconde has the same meaning.

text:
Before that discovery, scholars had developed several alternative views as to the subject of the painting. Some argued that Lisa del Giocondo was the subject of a different portrait, identifying at least four other paintings as the Mona Lisa referred to by Vasari.[20][21]
Several other women have been proposed as the subject of the painting.[22]
Isabella of Aragon,[23] Cecilia Gallerani,[24] Costanza d'Avalos, Duchess of Francavilla,[22] Isabella d'Este, Pacifica Brandano or Brandino, Isabela Gualanda, Caterina Sforza—even Salaì and Leonardo himself—are all among the list of posited models portrayed in the painting.[25][26]
The consensus of art historians in the 21st century maintains the long-held traditional opinion, that the painting depicts Lisa del Giocondo.[13]

text: History

text: Leonardo da Vinci is thought by some to have begun painting the Mona Lisa in 1503 or 1504 in Florence, Italy.[27] Although the Louvre states that it was "doubtless painted between 1503 and 1506",[10] the art historian Martin Kemp says there are some difficulties in confirming the actual dates with certainty.[17] In addition, many Leonardo experts, such as Carlo Pedretti [4] and Alessandro Vezzosi,[5] are of the opinion that the painting is characteristic of Leonardo’s style in the final years of his life, post-1513. Other academics argue that, given the historical documentation, Leonardo would have painted the work from 1513.[7] According to Leonardo's contemporary, Giorgio Vasari, "after he had lingered over it four years, [he] left it unfinished".[12] Leonardo, later in his life, is said to have regretted "never having completed a single work".[28]

text: Circa 1504, Raphael executed a pen and ink sketch, today in the Louvre museum, in which the subject is flanked by large columns,. Experts universally agree it is based on Leonardo’s portrait of Mona Lisa.[29][30][6][31] Other later copies of the Mona Lisa, such as those in the National Museum of Art, Architecture and Design in Oslo and The Walters Art Museum in Baltimore, also display large flanking columns. As a result, it was originally thought that the Mona Lisa in the Louvre had side columns and had been cut.[32][33][4][34][35] However, as early as 1993, Zöllner observed that the painting surface had never been trimmed.[36] This was confirmed through a series of tests conducted in 2004.[37] In view of this, Vincent Delieuvin, curator of 16th-century Italian painting at the Louvre museum states that the sketch and these other copies must have been inspired by another version,[38] while Frank Zöllner states that the sketch brings up the possibility that Leonardo executed another work on the subject of Mona Lisa.[36]

text: It is unclear as to who commissioned the painting. Vasari states that the work was painted for Francesco del Giocondo, the husband of Lisa del Giocondo.[39] However, Antonio de Beatis, following a visit with Leonardo in 1517, records that the painting was executed at the instance of Giuliano di Lorenzo de' Medici.[40]

text: In 1516, Leonardo was invited by King François I to work at the Clos Lucé near the king's castle in Amboise. It is believed that he took the Mona Lisa with him and continued to work after he moved to France.[25] Art historian Carmen C. Bambach has concluded that Leonardo probably continued refining the work until 1516 or 1517.[41]

text: The fate of the painting around Leonardo’s death and just after it has divided academic opinion. Some, such as Kemp, believe that upon Leonardo’s death, the painting was inherited with other works by his pupil and assistant Salaì and was still in the latter’s possession in 1525.[17][42] Others believe that the painting was sold to Francis I by Salaì, together with The Virgin and Child with St. Anne and the St. John the Baptist in 1518.[43] The Louvre Museum lists the painting as having entered the Royal collection in 1518.[44]

text: Given the issue surrounding the dating of the painting, the presence of the flanking columns in the Raphael sketch, the uncertainty concerning the person who commissioned it and its fate around the time of Leonardo’s death, a number of experts have argued that Leonardo painted two versions of the Mona Lisa.[31][6][45] The first would have been commissioned by Francesco del Giocondo circa 1503, had flanking columns, have been left unfinished and have been in Salai’s possession in 1525. The second, commissioned by Giuliano de Medici circa 1513, without the flanking columns, would have been sold by Salai to Francis I in 1518 and be the one in the Louvre today.[31][6][45]

text: The painting was kept at the Palace of Fontainebleau, where it remained until Louis XIV moved the painting to the Palace of Versailles. After the French Revolution, it was moved to the Louvre, but spent a brief period in the bedroom of Napoleon in the Tuileries Palace.

text: During the Franco-Prussian War (1870–71) it was moved from the Louvre to the Brest Arsenal.[46] During World War II, Mona Lisa was again removed from the Louvre and taken safely, first to Château d'Amboise, then to the Loc-Dieu Abbey and Château de Chambord, then finally to the Ingres Museum in Montauban.

text: In December 2015, it was reported that French scientist Pascal Cotte had found a hidden portrait underneath the surface of the painting using reflective light technology.[47] The portrait is an underlying image of a model looking off to the side.[48] Having been given access to the painting by Louvre in 2004, Cotte spent ten years using layer amplification methods to study the painting.[47] According to Cotte, the underlying image is Leonardo's original Mona Lisa.[47][49]

text: However, this portrait does not fit with the description of the painting in the historical records: Both Vasari[11] and Gian Paolo Lomazzo[50] describe the subject as smiling; the subject in Cotte’s portrait displays no smile. In addition, the portrait lacks the flanking columns drawn by Raphael in his c.1504 sketch of Mona Lisa. Moreover, Cotte admits that his reconstitution had been carried out only in support of his hypotheses and should not be considered a real painting; he stresses that the images never existed.[51] Kemp is also adamant that Cotte’s images in no way establish the existence of a separate underlying portrait.[42]

text: Theft and vandalism

text: On 21 August 1911, the painting was stolen from the Louvre.[52] The theft was not discovered until the next day, when painter Louis Béroud walked into the museum and went to the Salon Carré where the Mona Lisa had been on display for five years, only to find four iron pegs on the wall. Béroud contacted the head of the guards, who thought the painting was being photographed for promotional purposes. A few hours later, Béroud checked back with the Section Chief of the Louvre who confirmed that the Mona Lisa was not with the photographers. The Louvre was closed for an entire week during the investigation.

text: French poet Guillaume Apollinaire came under suspicion and was arrested and imprisoned. Apollinaire implicated his friend Pablo Picasso, who was brought in for questioning. Both were later exonerated.[53][54] Two years later the thief revealed himself. Louvre employee Vincenzo Peruggia had stolen the Mona Lisa by entering the building during regular hours, hiding in a broom closet, and walking out with it hidden under his coat after the museum had closed.[19] Peruggia was an Italian patriot who believed Leonardo's painting should have been returned for display in an Italian museum.

text: Peruggia may have been motivated by an associate whose copies of the original would significantly rise in value after the painting's theft. A later account suggested Eduardo de Valfierno had been the mastermind of the theft and had commissioned forger Yves Chaudron to create six copies of the painting to sell in the U.S. while the location of the original was unclear.[55] However, the original painting remained in Europe. After having kept the Mona Lisa in his apartment for two years, Peruggia grew impatient and was caught when he attempted to sell it to directors of the Uffizi Gallery in Florence. It was exhibited in the Uffizi Gallery for over two weeks and returned to the Louvre on 4 January 1914.[56] Peruggia served six months in prison for the crime and was hailed for his patriotism in Italy.[54] Before its theft, the Mona Lisa was not widely known outside the art world. It was not until the 1860s that some critics, a thin slice of the French intelligentsia, began to hail it as a masterwork of Renaissance painting.[57]

text: In 1956, part of the painting was damaged when a vandal threw acid at it.[58] On 30 December of that year, a rock was thrown at the painting, dislodging a speck of pigment near the left elbow, later restored.[59]

text: The use of bulletproof glass has shielded the Mona Lisa from subsequent attacks. In April 1974, while the painting was on display at the Tokyo National Museum, a woman sprayed it with red paint as a protest against that museum's failure to provide access for disabled people.[60] On 2 August 2009, a Russian woman, distraught over being denied French citizenship, threw a ceramic teacup purchased at the Louvre; the vessel shattered against the glass enclosure.[61][62] In both cases, the painting was undamaged.

text: Aesthetics

text: The Mona Lisa bears a strong resemblance to many Renaissance depictions of the Virgin Mary, who was at that time seen as an ideal for womanhood.[63]

text: The depiction of the sitter in three-quarter profile is similar to late 15th-century works by Lorenzo di Credi and Agnolo di Domenico del Mazziere.[63] Zöllner notes that the sitter's general position can be traced back to Flemish models and that "in particular the vertical slices of columns at both sides of the panel had precedents in Flemish portraiture."[64] Woods-Marsden cites  Hans Memling's portrait of Benededetto Portinari (1487) or Italian imitations such as Sebastiano Mainardi's pendant portraits for the use of a loggia, which has the effect of mediating between the sitter and the distant landscape, a feature missing from Leonardo's earlier portrait of Ginevra de' Benci.[65]

text: The woman sits markedly upright in a "pozzetto" armchair with her arms folded, a sign of her reserved posture. Her gaze is fixed on the observer.  The woman appears alive to an unusual extent, which Leonardo achieved by his method of not drawing outlines (sfumato). The soft blending creates an ambiguous mood "mainly in two features: the corners of the mouth, and the corners of the eyes".[66]

text: The painting was one of the first portraits to depict the sitter in front of an imaginary landscape, and Leonardo was one of the first painters to use aerial perspective.[68] The enigmatic woman is portrayed seated in what appears to be an open loggia with dark pillar bases on either side. Behind her, a vast landscape recedes to icy mountains. Winding paths and a distant bridge give only the slightest indications of human presence. Leonardo has chosen to place the horizon line not at the neck, as he did with Ginevra de' Benci, but on a level with the eyes, thus linking the figure with the landscape and emphasizing the mysterious nature of the painting.[65]

text: Mona Lisa has no clearly visible eyebrows or eyelashes. Some researchers claim that it was common at this time for genteel women to pluck these hairs, as they were considered unsightly.[69][70] In 2007, French engineer Pascal Cotte announced that his ultra-high resolution scans of the painting provide evidence that Mona Lisa was originally painted with eyelashes and with visible eyebrows, but that these had gradually disappeared over time, perhaps as a result of overcleaning.[71] Cotte discovered the painting had been reworked several times, with changes made to the size of the Mona Lisa's face and the direction of her gaze. He also found that in one layer the subject was depicted wearing numerous hairpins and a headdress adorned with pearls which was later scrubbed out and overpainted.[72]

text: There has been much speculation regarding the painting's model and landscape. For example, Leonardo probably painted his model faithfully since her beauty is not seen as being among the best, "even when measured by late quattrocento (15th century) or even twenty-first century standards."[73] Some art historians in Eastern art, such as Yukio Yashiro, argue that the landscape in the background of the picture was influenced by Chinese paintings,[74] but this thesis has been contested for lack of clear evidence.[74]

text: Research in 2003 by Professor Margaret Livingstone of Harvard University said that Mona Lisa's smile disappears when observed with direct vision, known as foveal. Because of the way the human eye processes visual information, it is less suited to pick up shadows directly; however, peripheral vision can pick up shadows well.[75]

text: Research in 2008 by a geomorphology professor at Urbino University and an artist-photographer revealed likenesses of Mona Lisa's landscapes to some views in the Montefeltro region in the Italian provinces of Pesaro, Urbino and Rimini.[76][77]

text: Conservation

text: The Mona Lisa has survived for more than 500 years, and an international commission convened in 1952 noted that "the picture is in a remarkable state of preservation."[37] This is partly due to a variety of conservation treatments the painting has undergone. A detailed analysis in 1933 by Madame de Gironde revealed that earlier restorers had "acted with a great deal of restraint."[37] Nevertheless, applications of varnish made to the painting had darkened even by the end of the 16th century, and an aggressive 1809 cleaning and revarnishing removed some of the uppermost portion of the paint layer, resulting in a washed-out appearance to the face of the figure. Despite the treatments, the Mona Lisa has been well cared for throughout its history, and although the panel's warping caused the curators "some worry",[78] the 2004–05 conservation team was optimistic about the future of the work.[37]

text: Poplar panel

text: At some point, the Mona Lisa was removed from its original frame. The unconstrained poplar panel warped freely with changes in humidity, and as a result, a crack developed near the top of the panel, extending down to the hairline of the figure. In the mid-18th century to early 19th century, two butterfly-shaped walnut braces were inserted into the back of the panel to a depth of about one third the thickness of the panel. This intervention was skilfully executed, and successfully stabilized the crack. Sometime between 1888 and 1905, or perhaps during the picture's theft, the upper brace fell out. A later restorer glued and lined the resulting socket and crack with cloth.[citation needed]

text: The picture is kept under strict, climate-controlled conditions in its bulletproof glass case. The humidity is maintained at 50% ±10%, and the temperature is maintained between 18 and 21 °C. To compensate for fluctuations in relative humidity, the case is supplemented with a bed of silica gel treated to provide 55% relative humidity.[37]

text: Frame

text: Because the Mona Lisa's poplar support expands and contracts with changes in humidity, the picture has experienced some warping. In response to warping and swelling experienced during its storage during World War II, and to prepare the picture for an exhibit to honour the anniversary of Leonardo's 500th birthday, the Mona Lisa was fitted in 1951 with a flexible oak frame with beech crosspieces. This flexible frame, which is used in addition to the decorative frame described below, exerts pressure on the panel to keep it from warping further. In 1970, the beech crosspieces were switched to maple after it was found that the beechwood had been infested with insects. In 2004–05, a conservation and study team replaced the maple crosspieces with sycamore ones, and an additional metal crosspiece was added for scientific measurement of the panel's warp.[citation needed]

text: The Mona Lisa has had many different decorative frames in its history, owing to changes in taste over the centuries. In 1909, the Comtesse de Béhague gave the portrait its current frame,[79] a Renaissance-era work consistent with the historical period of the Mona Lisa. The edges of the painting have been trimmed at least once in its history to fit the picture into various frames, but no part of the original paint layer has been trimmed.[37]

text: Cleaning and touch-up

text: The first and most extensive recorded cleaning, revarnishing, and touch-up of the Mona Lisa was an 1809 wash and revarnishing undertaken by Jean-Marie Hooghstoel, who was responsible for restoration of paintings for the galleries of the Musée Napoléon. The work involved cleaning with spirits, touch-up of colour, and revarnishing the painting. In 1906, Louvre restorer Eugène Denizard performed watercolour retouches on areas of the paint layer disturbed by the crack in the panel. Denizard also retouched the edges of the picture with varnish, to mask areas that had been covered initially by an older frame. In 1913, when the painting was recovered after its theft, Denizard was again called upon to work on the Mona Lisa. Denizard was directed to clean the picture without solvent, and to lightly touch up several scratches to the painting with watercolour. In 1952, the varnish layer over the background in the painting was evened out. After the second 1956 attack, restorer Jean-Gabriel Goulinat was directed to touch up the damage to Mona Lisa's left elbow with watercolour.[37]

text: In 1977, a new insect infestation was discovered in the back of the panel as a result of crosspieces installed to keep the painting from warping. This was treated on the spot with carbon tetrachloride, and later with an ethylene oxide treatment. In 1985, the spot was again treated with carbon tetrachloride as a preventive measure.[37]

text: Display

text: On 6 April 2005—following a period of curatorial maintenance, recording, and analysis—the painting was moved to a new location within the museum's Salle des États. It is displayed in a purpose-built, climate-controlled enclosure behind bulletproof glass.[80] Since 2005 the painting has been illuminated by an LED lamp, and in 2013 a new 20 watt LED lamp was installed, specially designed for this painting. The lamp has a colour rendering index up to 98, and minimizes infrared and ultraviolet radiation which could otherwise degrade the painting.[81] The renovation of the gallery where the painting now resides was financed by the Japanese broadcaster Nippon Television.[82] About 6 million people view the painting at the Louvre each year.[25]

text: Fame

text:
Today the Mona Lisa is considered the most famous painting in the world, but until the 20th century it was simply one among many highly regarded artworks.[83]
Once part of King Francis I of France's collection, the Mona Lisa was among the first artworks to be exhibited in Louvre, which became a national museum after the French Revolution. From the 19th century Leonardo began to be revered as a genius and the painting's popularity grew from the mid-19th century when French intelligentsia developed a theme that it was mysterious and a representation of the femme fatale.[84]
The Baedeker guide in 1878 called it "the most celebrated work of Leonardo in the Louvre",[85] but the painting was known more by the intelligentsia than the general public.[citation needed]

text: The 1911 theft of the Mona Lisa and its subsequent return was reported worldwide, leading to a massive increase in public recognition of the painting. During the 20th century it was an object for mass reproduction, merchandising, lampooning and speculation, and was claimed to have been reproduced in "300 paintings and 2,000 advertisements".[85] It has been said that the Mona Lisa was regarded as "just another Leonardo until early last century, when the scandal of the painting's theft from the Louvre and subsequent return kept a spotlight on it over several years."[86]

text: From December 1962 to March 1963, the French government lent it to the United States to be displayed in New York City and Washington, D.C.[87][88] It was shipped on the new liner SS France.[89] In New York an estimated 1.7 million people queued "in order to cast a glance at the Mona Lisa for 20 seconds or so."[85] While exhibited in the Metropolitan Museum of Art, the painting was almost drenched in water because of a faulty sprinkler, but the bullet-proof glass case which encased the painting protected it.[90]

text: In 1974, the painting was exhibited in Tokyo and Moscow.[91]

text: In 2014, 9.3 million people visited the Louvre.[92] Former director Henri Loyrette reckoned that "80 percent of the people only want to see the Mona Lisa."[93]

text: Financial worth

text: Before the 1962–63 tour, the painting was assessed for insurance at $100 million. The insurance was not bought. Instead, more was spent on security.[94] Adjusted for inflation using the US Consumer Price Index, $100 million in 1962 is around $782 million in 2015[95] making it, in practice, by far the most valued painting in the world.

text: In 2014 a France 24 article suggested that the painting could be sold to help ease the national debt, although it was noted that the Mona Lisa and other such art works were prohibited from being sold due to French heritage law, which states that "Collections held in museums that belong to public bodies are considered public property and cannot be otherwise."[96]

text: Legacy

text: Before its completion the Mona Lisa had already begun to influence contemporary Florentine painting.  Raphael, who had been to Leonardo's workshop several times, promptly used elements of the portrait's composition and format in several of his works, such as Young Woman with Unicorn (c. 1506[97]), and Portrait of Maddalena Doni (c. 1506).  Celebrated later paintings by Raphael, La velata (1515–16) and Portrait of Baldassare Castiglione (c. 1514–15), continued to borrow from Leonardo's painting. Zollner states that "None of Leonardo's works would exert more influence upon the evolution of the genre than the Mona Lisa.  It became the definitive example of the Renaissance portrait and perhaps for this reason is seen not just as the likeness of a real person, but also as the embodiment of an ideal."[98]

text: Early commentators such as Vasari and André Félibien praised the picture for its realism, but by the Victorian era writers began to regard the Mona Lisa as imbued with a sense of mystery and romance.  In 1859 Théophile Gautier wrote that the Mona Lisa was a "sphinx of beauty who smiles so mysteriously" and that "Beneath the form expressed one feels a thought that is vague, infinite, inexpressible. One is moved, troubled ... repressed desires, hopes that drive one to despair, stir painfully."  Walter Pater's famous essay of 1869 described the sitter as "older than the rocks among which she sits; like the vampire, she has been dead many times, and learned the secrets of the grave; and has been a diver in the deep seas, and keeps their fallen day about her."[99]  By the early 20th century some critics started to feel the painting had become a repository for subjective exegeses and theories,[100] and upon the painting's theft in 1911, Renaissance historian Bernard Berenson admitted that it had "simply become an incubus, and I was glad to be rid of her."[100][101]

text: The avant-garde art world has made note of the undeniable fact of the Mona Lisa's popularity. Because of the painting's overwhelming stature, Dadaists and Surrealists often produce modifications and caricatures. Already in 1883, Le rire, an image of a Mona Lisa smoking a pipe, by Sapeck (Eugène Bataille), was shown at the "Incoherents" show in Paris. In 1919, Marcel Duchamp, one of the most influential modern artists, created L.H.O.O.Q., a Mona Lisa parody made by adorning a cheap reproduction with a moustache and goatee. Duchamp added an inscription, which when read out loud in French sounds like "Elle a chaud au cul" meaning: "she has a hot ass", implying the woman in the painting is in a state of sexual excitement and intended as a Freudian joke.[102] According to Rhonda R. Shearer, the apparent reproduction is in fact a copy partly modelled on Duchamp's own face.[103]

text: Salvador Dalí, famous for his surrealist work, painted Self portrait as Mona Lisa in 1954.[104] In 1963 following the painting's visit to the United States, Andy Warhol created serigraph prints of multiple Mona Lisas called Thirty are Better than One, like his works of Marilyn Monroe (Twenty-five Coloured Marilyns, 1962), Elvis Presley (1964) and Campbell's soup (1961–62).[105] The Mona Lisa continues to inspire artists. A French urban artist known pseudonymously as Invader has created versions on city walls in Paris and Tokyo using a mosaic style.[106] A collection of Mona Lisa parodies may be found on YouTube.[107]  A 2014 New Yorker magazine cartoon parodies the supposed enigma of the Mona Lisa smile in an animation showing progressively maniacal smiles.

text: Early versions and copies

text: Prado Museum La Gioconda

text: A version of Mona Lisa known as Mujer de mano de Leonardo Abince ("Leonardo da Vinci's handy-woman") held in Madrid's Museo del Prado was for centuries considered to be a work by Leonardo. However, since its restoration in 2012 it is considered to have been executed by one of Leonardo's pupils in his studio at the same time as Mona Lisa was being painted.[108] Their conclusion, based on analysis obtained after the picture underwent extensive restoration, that the painting is probably by Salaì (1480–1524) or by Melzi (1493–1572). This has been called into question by others.[109]

text: The restored painting is from a slightly different perspective than the original Mona Lisa, leading to the speculation that it is part of the world's first stereoscopic pair.[110][111][112]  However, a more recent report has demonstrated that this stereoscopic pair in fact gives no reliable stereoscopic depth.[113]

text: Isleworth Mona Lisa

text: A version of the Mona Lisa known as the Isleworth Mona Lisa and also known as the Earlier Mona Lisa was first bought by an English nobleman in 1778 and was rediscovered in 1913 by Hugh Blaker, an art connoisseur. The painting was presented to the media in 2012 by the Mona Lisa Foundation.[114]  It is a painting of the same subject as Leonardo da Vinci's Mona Lisa. The painting is claimed by a majority of experts to be mostly an original work of Leonardo dating from the early 16th century.[115][29][116][117][118][119][120][31][121][6][7][45] Other experts, including Zöllner and Kemp, deny the attribution.[122][119]

text:
Copy of Mona Lisa commonly attributed to Salaì

The Prado Museum La Gioconda

The Isleworth Mona Lisa

16th-century copy at the Hermitage by unknown artist


document_title: Almost Famous

question_text: who played the lead singer of stillwater in almost famous

text: Almost Famous

text: Plot[edit]

text: In 1969, child prodigy William Miller struggles to fit in with the world. His widowed mother Elaine has led him to believe he is 13 years old, until William's older sister, Anita, tells their mother to tell the truth. His age is actually 11; his mother had him start first grade at 5 years old and then he skipped fifth grade. Their mother strictly controls and protects him and Anita, forbidding rock music and other unwelcome influences, driving Anita to leave home and become a flight attendant.

text: In 1973, 15-year-old William, influenced by the rock albums left by his sister, aspires to be a rock journalist, writing freelance articles for underground papers in San Diego. Rock journalist Lester Bangs, impressed with his writing, gives him a $35 assignment to review a Black Sabbath concert. He can't get backstage, but opening band Stillwater arrives, and after he flatters them with critical praise they bring him along. Lead guitarist Russell Hammond takes a liking to him, partly because of William's new friendship with veteran groupie Penny Lane, though she prefers the term Band-Aid. Feigning retirement from her glory days, she takes William under her wing.

text: William is contacted by Ben Fong-Torres, editor of Rolling Stone, who believes him to be older and hires him to write a story. He convinces Ben to let him write about Stillwater, and he is instructed to go on the road with them. Tensions between Russell and lead singer Jeff Bebe are evident. William begins to interview the members of the band, but Russell repeatedly puts it off. Penny watches the interaction and sympathizes with William, whom they jokingly call "the enemy" because he's a journalist, but he quickly becomes part of their inner circle as he loses his objectivity.

text: The band experiences problems with promoters and venues on the tour, and hires Dennis, a professional manager. Penny is told she must leave them before New York, where Russell's ex-wife-girlfriend Leslie will join them. Stillwater "loses" Penny and her three protégé groupies to another band in a poker game; Penny acts nonchalant but is devastated. Also, Dennis has chartered a small plane to allow them to play more gigs than their tour bus does, and there is no room on it for Penny, who is left behind.

text: However, Penny goes to New York on her own, and shows up at the restaurant where the band is celebrating the news that they will be featured on the cover of Rolling Stone. Leslie notices her apparent attempts to get Russell's attention, and Penny is asked to leave. William chases her back to her hotel, where he saves her from overdosing on quaaludes.

text: The next day, the band flies to another gig, and the plane encounters severe weather. Believing they are about to die, members of the group confess their secrets to one another, bringing the conflicts between Jeff and Russell into the open. Jeff insults Penny, but William defends her and confesses that he loves her. The plane lands safely in Tupelo, leaving everyone to ponder the changed atmosphere.

text: William leaves the group, to finish the article at the Rolling Stone office in San Francisco, writing the whole truth about what he has observed. Fearful the story will damage the band's image, Russell tells the magazine's fact-checker that the boy's story is untrue, killing the article and crushing William emotionally. William's sister happens to encounter him sitting dejected in the airport, and offers to take him anywhere in the world; he chooses to go home to San Diego, where their mother is overcome to have both of them back.

text: One of the groupies chastises Russell for what he did to William. Russell calls Penny and asks to meet with her, but she tricks him, giving him William's home address instead. He is forced to face William and apologizes; William finally gets his interview, and Russell reverses himself and confirms William's article to Rolling Stone, which runs it as a cover feature. Meanwhile, Penny purchases a ticket to Morocco, fulfilling her long-standing fantasy.

text: Cast[edit]

text:
Patrick Fugit as William Miller

Michael Angarano as Young William

Billy Crudup as Russell Hammond
Frances McDormand as Elaine Miller
Kate Hudson as Penny Lane
Jason Lee as Jeff Bebe
Zooey Deschanel as Anita Miller
Anna Paquin as Polexia Aphrodisia
Fairuza Balk as Sapphire
Bijou Phillips as Estrella Starr
Noah Taylor as Dick Roswell
Philip Seymour Hoffman as Lester Bangs
Terry Chen as Ben Fong-Torres
Jay Baruchel as Vic Munoz
Jimmy Fallon as Dennis Hope
Rainn Wilson as David Felton
Mark Kozelek as Larry Fellows
Liz Stauber as Leslie Hammond
Zack Ward as The Legendary Red Dog
John Fedevich as Ed Vallencourt
Eric Stonestreet as Sheldon the Desk Clerk

text: Production[edit]

text: Crowe used a composite of the bands he had known to come up with Stillwater, the emerging act that welcomes the young journalist into its sphere, then becomes wary of his intentions. Seventies rocker Peter Frampton served as a technical consultant on the film. Crowe and his then-wife, musician Nancy Wilson of Heart, co-wrote three of the five Stillwater songs in the film, and Frampton wrote the other two, with Mike McCready of Pearl Jam playing lead guitar on all of the Stillwater songs.

text: Crowe based the character of Penny Lane on the real-life Pennie Lane Trumbull and her group of female promoters who called themselves the Flying Garter Girls Group.[4] Though they were not in the Flying Garter Girls group, various other women have been described as Crowe's inspiration, for instance Pamela Des Barres [5] and Bebe Buell.[6]

text: The character of William Miller's mother (played by Frances McDormand) was based on Crowe's own mother, who even showed up on the set to keep an eye on him while he worked. Though he asked his mother not to bother McDormand, the two women ended up getting along well.[7]

text: Crowe took a copy of the film to London for a special screening with Led Zeppelin members Jimmy Page and Robert Plant. After the screening, Led Zeppelin granted Crowe the right to use one of their songs on the soundtrack — the first time they had ever consented to this since allowing Crowe to use "Kashmir" in Fast Times at Ridgemont High — and also gave him rights to four of their other songs in the movie itself, although they did not grant him the rights to "Stairway to Heaven" for an intended scene (on the special "Bootleg" edition DVD, the scene is included as an extra, sans the song, where the viewer is instructed by a watermark to begin playing it).

text: In his 2012 memoir My Cross to Bear, Gregg Allman confirms that several aspects of the movie are directly based on Crowe's time spent with the Allman Brothers Band. The scene in which Russell jumps from the top of the Topeka party house into a pool was based on something Duane Allman did: "the jumping off the roof into the pool, that was Duane—from the third floor of a place called the Travelodge in San Francisco. My brother wanted to do it again, but the cat who owned the place came out shaking his fist, yelling at him. We told that story all the time, and I have no doubt that Cameron was around for it." He also confirms that he and Dickey Betts played a joke on Crowe by claiming clauses in their contract did not allow his story to be published — just before he was to deliver it to Rolling Stone.[8]

text: Soundtrack[edit]

text: The Almost Famous soundtrack album was awarded the 2001 Grammy Award for Best Compilation Soundtrack Album for a Motion Picture, Television or Other Visual Media.

text: Personnel[edit]

text: "Stillwater"[edit]

text:
Billy Crudup ("Russell Hammond") - lead guitar
Jason Lee ("Jeff Bebe") - lead singer
John Fedevich ("Ed Vallencourt") - drums
Mark Kozelek ("Larry Fellows") - bass guitar

text: Other personnel[edit]

text:
Peter Frampton
Mike McCready
Jon Bayless
Ben Smith
Gordon Kennedy
Marti Frederiksen – vocals

text: Reception[edit]

text: Box office[edit]

text: Almost Famous had its premiere at the 2000 Toronto International Film Festival.[9] It was subsequently given a limited release on September 15, 2000, in 131 theaters where it grossed $2.3 million on its first weekend. It was given a wider release on September 22, 2000, in 1,193 theaters where it grossed $6.9 million on its opening weekend. The film went on to make $32.5 million in North America and $14.8 million in the rest of the world for a worldwide total of $47.4 million against a $60 million budget.[10]

text: Critical response[edit]

text: Almost Famous received widespread critical acclaim, and currently holds an 89% approval rating on Rotten Tomatoes, based on 166 reviews, with an average rating of 7.9/10. The site's critical consensus reads, "Almost Famous, with its great ensemble performances and story, is a well-crafted, warm-hearted movie that successfully draws you into its era." [11] The film also holds a score of 90 out of 100 on Metacritic, based on 38 reviews, indicating "universal acclaim."[12]

text: Film critic Roger Ebert gave the film four out of four stars and described it as "funny and touching in so many different ways".[13] In his review for The New York Times, A.O. Scott wrote, "The movie's real pleasures are to be found not in its story but in its profusion of funny, offbeat scenes. It's the kind of picture that invites you to go back and savor your favorite moments like choice album cuts".[14] Time magazine's Richard Corliss praised the film's screenplay for "giving each character his reasons, making everyone in the emotional debate charming and compelling, creating fictional people who breathe in a story with an organic life".[15] In her review for the L.A. Weekly, Manohla Dargis wrote that "the film shimmers with the irresistible pleasures that define Hollywood at its best—it's polished like glass, funny, knowing and bright, and filled with characters whose lives are invariably sexier and more purposeful than our own".[16] Rolling Stone magazine's Peter Travers wrote, "Not since A Hard Day's Night has a movie caught the thrumming exuberance of going where the music takes you".[17] In his review for Newsweek, David Ansen wrote, "Character-driven, it relies on chemistry, camaraderie, a sharp eye for detail and good casting".[18] Entertainment Weekly put it on its end-of-the-decade, "best-of" list, saying, " Every Cameron Crowe film is, in one way or another, about romance, rock & roll, and his romance with rock & roll. This power ballad of a movie, from 2000, also happens to be Crowe's greatest (and most personal) film thanks to the golden gods of Stillwater and their biggest fan, Kate Hudson's incomparable Penny Lane."[19]

text: Entertainment Weekly gave the film an "A−" rating and Owen Gleiberman praised Crowe for depicting the 1970s as "an era that found its purpose in having no purpose. Crowe, staying close to his memories, has gotten it, for perhaps the first time, onto the screen".[20] In his review for the Los Angeles Times, Kenneth Turan praised Philip Seymour Hoffman's portrayal of Lester Bangs: "Superbly played by Philip Seymour Hoffman, more and more the most gifted and inspired character actor working in film, what could have been the cliched portrait of an older mentor who speaks the straight truth blossoms into a marvelous personality".[21] However, in his review for The New York Observer, Andrew Sarris felt that "none of the non-musical components on the screen matched the excitement of the music. For whatever reason, too much of the dark side has been left out".[22] Desson Howe, in his review for the Washington Post, found it "very hard to see these long-haired kids as products of the 1970s instead of dressed up actors from the Seattle-Starbucks era. I couldn't help wondering how many of these performers had to buy a CD copy of the song and study it for the first time".[23]

text: Accolades[edit]


document_title: NFC North

question_text: when was the last time the detroit lions won a division title

text: NFC North

text: Division lineups[edit]

text: Place cursor over year for division champ or Super Bowl team.

text:
Years

NFL Western Conference
Central Division
NFC Central Division[B]

1900s
2000s

67[A]
68
69
70
71
72
73
74
75
76
77
78
79
80
81
82
83
84
85
86
87
88
89
90
91
92
93
94
95
96
97
98
99
00
01

Chicago Bears

Detroit Lions

Green Bay Packers

Minnesota Vikings

Tampa Bay Buccaneers[C]

NFC North Division[D]

2000s

02[D]
03
04
05
06
07
08
09
10
11
12
13
14
15
16
17
18
19

Chicago Bears

Detroit Lions

Green Bay Packers

Minnesota Vikings

     Team not in division      Division Won Super Bowl      Division Won NFC Championship      Division won NFL Championship, Lost Super Bowl

tag: table

text: Division champions[edit]

text:
Season
Team
Record
Playoff Results

NFL Central (pre-merger)

1967
Green Bay Packers
9–4–1
Won 1967 NFL Championship Game
Won Super Bowl II

1968
Minnesota Vikings
8–6
Lost NFL Divisional Playoffs

1969
Minnesota Vikings
12–2
Won 1969 NFL Championship Game
Lost Super Bowl IV

NFC Central (post merger)

1970
Minnesota Vikings
12–2
Lost NFC Divisional Playoffs

1971
Minnesota Vikings
11–3
Lost NFC Divisional Playoffs

1972
Green Bay Packers
10–4
Lost NFC Divisional Playoffs

1973
Minnesota Vikings
12–2
Lost Super Bowl VIII

1974
Minnesota Vikings
10–4
Lost Super Bowl IX

1975
Minnesota Vikings
12–2
Lost NFC Divisional Playoffs

1976
Minnesota Vikings
11–2–1
Lost Super Bowl XI

1977
Minnesota Vikings
9–5
Lost NFC Championship Game

1978
Minnesota Vikings
8–7–1
Lost NFC Divisional Playoffs

1979
Tampa Bay Buccaneers
10–6
Lost NFC Championship Game

1980
Minnesota Vikings
9–7
Lost NFC Divisional Playoffs

1981
Tampa Bay Buccaneers
9–7
Lost NFC Divisional Playoffs

1982+
Green Bay Packers
5–3–1
Lost NFC Second Round

1983
Detroit Lions
9–7
Lost NFC Divisional Playoffs

1984
Chicago Bears
10–6
Lost NFC Championship Game

1985
Chicago Bears
15–1
Won Super Bowl XX

1986
Chicago Bears
14–2
Lost NFC Divisional Playoffs

1987
Chicago Bears
11–4
Lost NFC Divisional Playoffs

1988
Chicago Bears
12–4
Lost NFC Championship Game

1989
Minnesota Vikings
10–6
Lost NFC Divisional Playoffs

1990
Chicago Bears
11–5
Lost NFC Divisional Playoffs

1991
Detroit Lions
12–4
Lost NFC Championship Game

1992
Minnesota Vikings
11–5
Lost NFC Wild Card Playoffs

1993
Detroit Lions
10–6
Lost NFC Wild Card Playoffs

1994
Minnesota Vikings
10–6
Lost NFC Wild Card Playoffs

1995
Green Bay Packers
11–5
Lost NFC Championship Game

1996
Green Bay Packers
13–3
Won Super Bowl XXXI

1997
Green Bay Packers
13–3
Lost Super Bowl XXXII

1998
Minnesota Vikings
15–1
Lost NFC Championship Game

1999
Tampa Bay Buccaneers
11–5
Lost NFC Championship Game

2000
Minnesota Vikings
11–5
Lost NFC Championship Game

2001
Chicago Bears
13–3
Lost NFC Divisional Playoffs

NFC North

2002
Green Bay Packers
12–4
Lost NFC Wild Card Playoffs

2003
Green Bay Packers
10–6
Lost NFC Divisional Playoffs

2004
Green Bay Packers
10–6
Lost NFC Wild Card Playoffs

2005
Chicago Bears
11–5
Lost NFC Divisional Playoffs

2006
Chicago Bears
13–3
Lost Super Bowl XLI

2007
Green Bay Packers
13–3
Lost NFC Championship Game

2008
Minnesota Vikings
10–6
Lost NFC Wild Card Playoffs

2009
Minnesota Vikings
12–4
Lost NFC Championship Game

2010
Chicago Bears
11–5
Lost NFC Championship Game

2011
Green Bay Packers
15–1
Won Super Bowl XLV

2012
Green Bay Packers
11–5
Lost NFC Divisional Playoffs

2013
Green Bay Packers
8–7–1
Lost NFC Wild Card Playoffs

2014
Green Bay Packers
12–4
Lost NFC Championship Game

2015
Minnesota Vikings
11–5
Lost NFC Wild Card Playoffs

2016
Green Bay Packers
10–6
Lost NFC Championship Game

2017
Minnesota Vikings
13–3
Lost NFC Championship Game

text: + A players' strike in 1982 reduced the regular season to nine games, so the league used a special 16-team playoff tournament just for this year. Division standings were ignored; Green Bay had the best record of the division teams.

text: Wild Card qualifiers[edit]

text:
Season
Team
Record
Playoff Results

NFC Central

1970
Detroit Lions
10–4–0
Lost Divisional Playoffs

1977
Chicago Bears
9–5–0
Lost Divisional Playoffs

1979
Chicago Bears
10–6–0
Lost Wild Card Playoffs

1982+
Minnesota Vikings
Tampa Bay Buccaneers
Detroit Lions
5–4–0
5–4–0
4–5–0
Lost NFC Second Round
Lost NFC First Round
Lost NFC First Round

1987
Minnesota Vikings
8–7–0
Lost NFC Championship Game

1988
Minnesota Vikings
11–5–0
Lost Divisional Playoffs

1991
Chicago Bears
11–5–0
Lost Wild Card Playoffs

1993
Minnesota Vikings
Green Bay Packers
9–7–0
9–7–0
Lost Wild Card Playoffs
Lost Divisional Playoffs

1994
Detroit Lions
Chicago Bears
Green Bay Packers
9–7–0
9–7–0
9–7–0
Lost Wild Card Playoffs
Lost Divisional Playoffs
Lost Divisional Playoffs

1995
Detroit Lions
10–6–0
Lost Wild Card Playoffs

1996
Minnesota Vikings
9–7–0
Lost Wild Card Playoffs

1997
Detroit Lions
Minnesota Vikings
Tampa Bay Buccaneers
9–7–0
9–7–0
10–6–0
Lost Wild Card Playoffs
Lost Divisional Playoffs
Lost Divisional Playoffs

1998
Green Bay Packers
11–5–0
Lost Wild Card Playoffs

1999
Detroit Lions
Minnesota Vikings
8–8–0
10–6–0
Lost Wild Card Playoffs
Lost Divisional Playoffs

2000
Tampa Bay Buccaneers
10–6–0
Lost Wild Card Playoffs

2001
Tampa Bay Buccaneers
Green Bay Packers
9–7–0
12–4–0
Lost Wild Card Playoffs
Lost Divisional Playoffs

NFC North

2004
Minnesota Vikings
8–8–0
Lost Divisional Playoffs

2009
Green Bay Packers
11–5–0
Lost Wild Card Playoffs

2010
Green Bay Packers
10–6–0
Won Super Bowl XLV

2011
Detroit Lions
10–6–0
Lost Wild Card Playoffs

2012
Minnesota Vikings
10–6–0
Lost Wild Card Playoffs

2014
Detroit Lions
11–5–0
Lost Wild Card Playoffs

2015
Green Bay Packers
10–6–0
Lost Divisional Playoffs

2016
Detroit Lions
9–7–0
Lost Wild Card Playoffs

text: Total playoff berths[edit]

text: Total playoff berths as members of the NFC Central/North[edit]

text: (1966–2016 seasons)

text:
Team
Division
Championships
Playoff
Berths
NFL League
Titles
Super Bowl
Appearances
Super Bowl
Wins

Minnesota Vikings
20
29
1
4
0

Green Bay Packers
15
22
2
5
4

Chicago Bears
10
14
0
2
1

Detroit Lions
3
12
0
0
0

text: To sort table above, click button to right of heading.

text: Total playoff berths in team history[edit]

text: (1920–2016 seasons)

text:
Team
Division
Championships
Playoff
Berths
NFL League
Titles
(pre-merger)
Conference
Wins
Super Bowl
Wins
Total (1)
Championships

Minnesota Vikings
20
29
1
4
0
1

Green Bay Packers
18
31
11
9
4
13

Chicago Bears
18
25
8
4
1
9

Detroit Lions
4
18
4
4
0
4

text: Schedule assignments[edit]

text:
Year
Opponents

Interconf.
Intraconf.

2017
AFC North
NFC South

2018
AFC East
NFC West

2019
AFC West
NFC East

2020
AFC South
NFC South

2021
AFC North
NFC West

2022
AFC East
NFC East

2023
AFC West
NFC South

2024
AFC South
NFC West

2025
AFC North
NFC East

2026
AFC East
NFC South

2027
AFC West
NFC West

2028
AFC South
NFC East


document_title: Musical nationalism

question_text: when did nationalism begin to emerge in music

text: Musical nationalism

text: History[edit]

text: As a musical movement, nationalism emerged early in the 19th century in connection with political independence movements, and was characterized by an emphasis on national musical elements such as the use of folk songs, folk dances or rhythms, or on the adoption of nationalist subjects for operas, symphonic poems, or other forms of music (Kennedy 2006). As new nations were formed in Europe, nationalism in music was a reaction against the dominance of the mainstream European classical tradition as composers started to separate themselves from the standards set by Italian, French, and especially German traditionalists (Miles n.d.).[unreliable source]

text: More precise considerations of the point of origin are a matter of some dispute. One view holds that it began with the war of liberation against Napoleon, leading to a receptive atmosphere in Germany for Weber's opera Der Freischütz (1821) and, later, Richard Wagner's epic dramas based on Teutonic legends. At around the same time, Poland’s struggle for freedom from Czarist Russia produced a nationalist spirit in the piano works and orchestral compositions such as the Fantasy_on_Polish_Airs_(Chopin) of Frédéric Chopin, and slightly later Italy's aspiration to independence from Austria resonated in many of the operas of Giuseppe Verdi (Machlis 1979, 125–26). Countries or regions most commonly linked to musical nationalism include Russia, Czechoslovakia, Poland, Romania, Scandinavia, Spain, UK, Latin America and the United States.

text: Poland[edit]

text: Jan Stefani (pl) (1746–1829)[edit]

text: Jan Stefani composed the Singspiel Cud mniemany, czyli Krakowiacy i górali (The Supposed Miracle, or the Cracovians and the Highlanders), which premiered in 1794 and contains krakowiaks, polonaises, and mazurkas that were adopted as if they were Polish folk music by audiences at the 1816 revival with new music by Karol Kurpiński (Goldberg 2008, 231-32). The suggestive lyrics of many of the songs could scarcely have been interpreted by the Polish audiences at the verge of the outbreak of the Kościuszko Uprising as anything other than a call for revolution, national unity, and independence (Milewski 1999, 129–30). In this sense, despite his obscurity today, Stefani must be regarded as a precursor and founder of nineteenth-century musical nationalism.

text: Frédéric Chopin (1810–1849)[edit]

text: Frédéric Chopin was one of the first composers to incorporate nationalistic elements into his compositions. Joseph Machlis states, "Poland's struggle for freedom from tsarist rule aroused the national poet in Poland. ... Examples of musical nationalism abound in the output of the romantic era. The folk idiom is prominent in the Mazurkas of Chopin" (Machlis 1963, 149–50). His mazurkas and polonaises are particularly notable for their use of nationalistic rhythms. Moreover, "During World War II the Nazis forbade the playing of ... Chopin's Polonaises in Warsaw because of the powerful symbolism residing in these works" (Machlis 1963, 150).

text: Stanisław Moniuszko (1819–1872)[edit]

text: Stanisław Moniuszko has become associated above all with the concept of a national style in opera. Moniuszko's opera and music as a whole is representative of 19th-century romanticism, given the extensive use by the composer of arias, recitatives and ensembles that feature strongly in his operas. The source of Moniuszko's melodies and rhythmic patterns often lies in Polish musical folklore. One of the most visibly "Polish" aspects of his music is in the forms he uses, including dances popular among upper classes such as polonaise and mazurka, and folk tunes and dances such as kujawiak and krakowiak.

text: Henryk Wieniawski (1835–1880)[edit]

text: Henryk Wieniawski was another important composer using Polish folk melodies—he wrote two popular mazurkas for solo violin and piano accompaniment (the second one, Obertas, in G major).

text: Russia[edit]

text: Mikhail Glinka (1804–1857)[edit]

text: The Mighty Five[edit]

text: Czech Republic[edit]

text: Bedřich Smetana (1824–1884)[edit]

text: Smetana pioneered the development of a musical style which became closely identified with his country's aspirations to independent statehood. He is widely regarded in his homeland as the father of Czech music. He is best known for the symphonic cycle Má vlast ("My Homeland"), which portrays the history, legends and landscape of the his native land.

text: Antonín Dvořák (1841–1904)[edit]

text: After Smetana, he was the second Czech composer to achieve worldwide recognition. Following Smetana's nationalist example, Dvořák frequently employed aspects, specifically rhythms, of the folk music of Moravia and his native Bohemia. Dvořák’s own style creates a national idiom by blending elements of the classical symphonic tradition and extraneous popular musical traditions, absorbing folk influences and finding effective ways of using them. Dvořák also wrote nine operas, which, other than his first, have librettos in Czech and were intended to convey Czech national spirit, as were some of his choral works.

text: Leoš Janáček (1854–1928)[edit]

text: Bohuslav Martinů (1890–1959)[edit]

text: Martinů is compared with Prokofiev and Bartók in his innovative incorporation of Central European ethnomusicology into his music. He continued to use Bohemian and Moravian folk melodies throughout his oeuvre, usually nursery rhymes—for instance in Otvírání studánek ("The Opening of the Wells").

text: Norway[edit]

text: Edvard Grieg (1843–1907)[edit]

text: Edvard Grieg was an important Romantic era composer whose music helped establish a Norwegian national identity (Grimley 2006,[page needed]).

text: Finland[edit]

text: Jean Sibelius (1865–1957)[edit]

text: Jean Sibelius had strong patriotic feelings for Finland. He composed Finlandia.[clarification needed]

text: Sweden[edit]

text: Hugo Alfvén (1872–1960)[edit]

text: Studied at the music conservatory in his hometown, Stockholm. In addition to being a violinist, conductor, and composer, he was also a painter. He is perhaps best known for his five symphonies and three Swedish Rhapsodies.[citation needed]

text: Romania[edit]

text: George Enescu (1881–1955)[edit]

text: George Enescu is considered Romania's most important composer (Malcolm and Sandu-Dediu 2015). Amongst his best-known compositions are his two Romanian Rhapsodies and his Violin Sonata No. 3 (in Romanian Folk Style), Op. 25.

text: Hungary[edit]

text: Béla Bartók (1881–1945)[edit]

text: Béla Bartók collaborated with fellow Hungarian composer Zoltán Kodály to document Hungarian folk music, which they both incorporated in their musical pieces (Stevens 2016).

text: Zoltán Kodály (1882–1967)[edit]

text: Zoltán Kodály studied at the Academy of Music in Hungary and had an interest Hungarian folk songs and would often take prolonged trips to the Hungarian countryside to study the melodies which were then incorporated into his music compositions (Anon. 2014).

text: Spain[edit]

text: Isaac Albéniz (1860–1909)[edit]

text: Manuel de Falla (1876–1946)[edit]

text: Enrique Granados (1867–1916)[edit]

text: Granados composed his work Goyescas (1911) based on the etchings of the Spanish painter, Goya.[clarification needed] Also of a national style are his Danzas españolas and his first opera María del Carmen.[citation needed]

text: Joaquín Rodrigo (1901–1999)[edit]

text: Joaquín Turina (1882–1949)[edit]

text: Mexico[edit]

text: A nationalistic renascence in the arts was produced by the Mexican Revolution of 1910–1920. Álvaro Obregón's regime, inaugurated in 1921, provided a large budget for the Secretariat of Public Education, under the direction of José Vasconcelos, who commissioned paintings for public buildings from artists such as José Clemente Orozco, Diego Rivera, and David Alfaro Siqueiros. As part of this ambitious programme, Vasconcelos also commissioned musical compositions on nationalistic themes. One of the first such works was the Aztec-themed ballet El fuego nuevo (The New Fire) by Carlos Chávez, composed in 1921 but not performed until 1928 (Parker 1983, 3–4).

text: Manuel M. Ponce (1882–1948)[edit]

text: Manuel M. Ponce was a composer, educator and scholar of Mexican music. Among his works are the lullaby La Rancherita (1907), Scherzerino Mexicana (1909) composed in the style of sones and huapangos, Rapsodía Mexicana, No 1 (1911) based on the jarabe tapatío, and the romantic ballad Estrellita (1912).

text: Carlos Chávez (1899–1978)[edit]

text: Carlos Chávez was a Mexican composer, conductor, educator, journalist, and founder and director of the Mexican Symphonic Orchestra and the National Institute of Fine Arts (INBA). Some of his music was influenced by indigenous Mexican cultures. A period of nationalistic leanings initiated in 1921 with the Aztec-themed ballet El fuego nuevo (The New Fire), followed by a second ballet, Los cuatro soles (The Four Suns), in 1925.

text: Brazil[edit]

text: Carlos Gomes (1836–1896)[edit]

text: The most representative composer of Brazilian romanticism, Gomes used several references from the country's folk music and traditional themes, chiefly in his opera Il Guarany (1870).

text: Francisco Mignone (1897–1986)[edit]

text: Mignone incorporated folk rhythms and instruments into his suites Fantasias Brasileiras nos.1–4 (1929–1936), his 12 Brazilian Waltzes (1968–1979), Congada (1921) and Babaloxá (1936), besides composing ballets based on major literary works from Brazilian literature.

text: Heitor Villa-Lobos (1887–1959)[edit]

text: Villa-Lobos traveled extensively throughout Brazil in his youth and recorded folksongs and tunes that he later used in his series Bachianas Brasileiras[citation needed] and all of his Chôros[citation needed] (amongst them, his Chôros No. 10, subtitled Rasga o coração after the song with words by Catulo da Paixão Cearense and music by Anacleto de Madeiros, which Villa-Lobos quotes in the second half of this choral-orchestral piece, which employs native percussion).

text: United Kingdom[edit]

text: Joseph Parry (1841–1903)[edit]

text: Parry was born in Wales, but moved to the United States as a child. In his adulthood, he traveled between Wales and America, and performed Welsh songs and glees with Welsh texts in recitals. He composed the first Welsh opera, Blodwen, in 1878 (Rhys 1998,[page needed]).

text: Edward Elgar (1857–1934)[edit]

text: Best known for the Pomp and Circumstance Marches[clarification needed] (Moore 1984,[page needed]).

text: Charles Villiers Stanford (1852–1924)[edit]

text: Stanford wrote five Irish Rhapsodies (1901–1914). He published volumes of Irish folk song arrangements, and his third symphony is titled the Irish symphony. In addition to being heavily influenced by Irish culture and folk music, he was particularly influenced by Johannes Brahms (White n.d., 205).

text: Alexander Mackenzie (1847–1935)[edit]

text: Mackenzie wrote a Highland Ballad for violin and orchestra (1893), and the Scottish Concerto for piano and orchestra (1897). He also composed the Canadian Rhapsody.

text: In his life, MacKenzie witnessed both the survivals of Jacobite culture, and the Red Clydeside Era. His music is heavily influenced by Jacobite art (White and Murphy 2001, 224–25).

text: Ralph Vaughan Williams (1872–1958)[edit]

text: Vaughan Williams collected, published, and arranged many folksongs from across the country, and wrote many pieces, large and small scale, based on folk melodies, such as the Fantasia on Greensleeves and the Five Variants on "Dives and Lazarus. Vaughan Williams helped define musical nationalism, writing that "The art of music above all the other arts is the expression of the soul of a nation" (Vaughan Williams 1934, 123).

text: United States[edit]

text: Aaron Copland (1900–1990)[edit]

text: Ironically, Copland composed "Mexican" music such as El Salón México in addition to his American nationalist works (Piston 1961, 25).

text: Horatio Parker (1863–1919)[edit]

text: Edward MacDowell (1860–1908)[edit]

text: MacDowell's Woodland Sketches, op. 51 (1896) consists of ten short piano pieces bearing titles referring to the American landscape. In this way, they make a claim to MacDowell's identity as an American composer (Crawford 1996, 542).

text: Charles Ives (1874–1954)[edit]

text: Ukraine[edit]

text: In Ukraine the term "Music nationalism" (Ukrainian: музичний націоналізм) was coined by Stanyslav Lyudkevych in 1905 (Hrabovsky 2009,[page needed]). The article under this title is devoted to Mykola Lysenko who is considered to be the father of Ukrainian classical music. Ludkevych concludes that Lysenko's nationalism was inspired by those of Glinka in Russian music, though western tradition, particularly German, is still significant in his music, especially instrumental.

text: V. Hrabovsky assumes that Stanyslav Lyudkevych himself could be considered as significant nationalistic composer and musicologist thanks to his numerous composition under Ukraine-devoted titles as well as numerous paper devoted to use of Ukrainian folk songs and poetry in Ukrainian classical music (Lyudkevych 1905).

text: Inspiration by Ukrainian folklore could be observed even earlier, particularly in compositions by Maksym Berezovsky (1745–1777) (Kornii 1998, 188), Dmytro Bortnyansky (1751–1825) (Kornii 1998, 296), and Artem Vedel (1767–1808) (Kornii 1998, 311). Semen Hulak-Artemovsky (1813–1873) is considered to be the author of the first Ukrainian opera (Zaporozhets za Dunayem, premièred in 1863). Lysenko's traditions were continued by, among others, Kyrylo Stetsenko (1882–1922), Mykola Leontovych (1877–1921), Yakiv Stepovy (1883–1921), Alexander Koshetz (1877–1944), and later, Levko Revutsky (1889–1977).

text: At the same time the term "nationalism" is not used in Ukrainian musicology (see for example Yutsevych 2009, where such term is missing). Moreover, the article "Music Nationalism" by Ludkevych was prohibited in the USSR (Hrabovsky 2009,[page needed]) and was not widely known until its publication in 1999 (Lyudkevych 1999).