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http://web.archive.org/web/20191206025344id_/https://en.wikipedia.org/wiki/Robert_Rauschenberg_p1
Rauschenberg lived and worked in New York City and on Captiva Island, Florida , until his death from heart failure on May 12, 2008. [5] Contents 1 Life and career 2 Death 3 Artistic contribution 3.1 The White Paintings , Black Paintings , and Red Paintings 3.2 Combines 3.3 Performance and dance 3.4 Commissions 4 Works 5 Exhibitions 6 Legacy 7 Art market 7.1 Lobbying for artists' resale royalties 8 See also 9 References 10 Further reading 11 External links Life and career [ edit ] Rauschenberg was born Milton Ernest Rauschenberg in Port Arthur, Texas , the son of Dora Carolina (née Matson) and Ernest R. Rauschenberg. [6] [7] [8] His father was of German and Cherokee and his mother of Anglo-Saxon ancestry. [9] [10] His parents were Fundamentalist Christians . [9] Rauschenberg was dyslexic . [11] He had a younger sister named Janet Begneaud. At 16, Rauschenberg was admitted to the University of Texas where he began studying pharmacy. [11] He was drafted into the United States Navy in 1943. Based in California, he served as a mental hospital technician until his discharge in 1945. [11] Rauschenberg subsequently studied at the Kansas City Art Institute and the Académie Julian in Paris [12] , France, where he met the painter Susan Weil . In 1948 Rauschenberg and Weil decided to attend Black Mountain College in North Carolina. [13] [14]
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Canyon (1959) Josef Albers , a founder of the Bauhaus , became Rauschenberg's painting instructor at Black Mountain , something Rauschenberg had looked forward to. His hope was that Albers would curb the younger artist's congenital sloppiness. [15] Albers' preliminary courses relied on strict discipline that did not allow for any "uninfluenced experimentation". [16] Rauschenberg described Albers as influencing him to do "exactly the reverse" of what he was being taught. [5] Rauschenberg became, in his own words, "Albers' dunce, the outstanding example of what he was not talking about". [17] He found a better suited mentor in John Cage , and after collaborations with the musician Rauschenberg moved forward to create his combines. [15] From 1949 to 1952 Rauschenberg studied with Vaclav Vytlacil and Morris Kantor at the Art Students League of New York , [18] where he met fellow artists Knox Martin and Cy Twombly . [19] Rauschenberg married Susan Weil in the summer of 1950 at the Weil family home in Outer Island, Connecticut. Their only child, Christopher, was born July 16, 1951. The two separated in June 1952 and divorced in 1953. [20] According to a 1987 oral history by the composer Morton Feldman , after the end of his marriage, Rauschenberg had romantic relationships with fellow artists Cy Twombly and Jasper Johns . [21] An article by Jonathan D. Katz states that Rauschenberg's affair with Twombly began during his marriage to Susan Weil. [22] His partner for the last 25 years of his life was artist Darryl Pottorf, [23] his former assistant. [18]
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Death [ edit ] Rauschenberg died on May 12, 2008, on Captiva Island , Florida, [24] of heart failure at the age of 82, after a personal decision to go off life support. [25] [23] Artistic contribution [ edit ] Rauschenberg's approach was sometimes called " Neo Dadaist ," a label he shared with the painter Jasper Johns . [26] Rauschenberg was quoted as saying that he wanted to work "in the gap between art and life" suggesting he questioned the distinction between art objects and everyday objects, reminiscent of the issues raised by the Fountain , by Dada pioneer, Marcel Duchamp . At the same time, Johns' paintings of numerals, flags, and the like, were reprising Duchamp's message of the role of the observer in creating art's meaning. Alternatively, in 1961, Rauschenberg took a step in what could be considered the opposite direction by championing the role of creator in creating art's meaning. Rauschenberg was invited to participate in an exhibition at the Galerie Iris Clert , where artists were to create and display a portrait of the owner, Iris Clert . Rauschenberg's submission consisted of a telegram sent to the gallery declaring "This is a portrait of Iris Clert if I say so." Robert Rauschenberg, Riding Bikes , Berlin, Germany , 1998. Rauschenberg Rhyme , 1956 From the fall of 1952 to the spring of 1953 Rauschenberg traveled through Europe and North Africa with his fellow artist and partner Cy Twombly . In Morocco , he created collages and boxes out of trash. He took them back to Italy and exhibited them at galleries in Rome and Florence . A lot of them sold; those that did not he threw into the river Arno . [27] From his stay, 38 collages survived. [28] In a famously cited incident of 1953, Rauschenberg erased a drawing by de Kooning , which he obtained from his colleague for the express purpose of erasing it as an artistic statement. The result is titled Erased de Kooning Drawing . [29] [30]
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By 1962, Rauschenberg's paintings were beginning to incorporate not only found objects but found images as well - photographs transferred to the canvas by means of the silkscreen process. Previously used only in commercial applications, silkscreen allowed Rauschenberg to address the multiple reproducibility of images, and the consequent flattening of experience that implies. In this respect, his work is contemporaneous with that of Andy Warhol , and both Rauschenberg and Johns are frequently cited as important forerunners of American Pop Art . In 1966, Billy Klüver and Rauschenberg officially launched Experiments in Art and Technology (E.A.T.) a non-profit organization established to promote collaborations between artists and engineers. [31] In 1969, NASA invited Rauschenberg to witness the launch of Apollo 11 . In response to this landmark event, Rauschenberg created his Stoned Moon Series of lithographs . This involved combining diagrams and other images from NASA's archives with photographs from various media outlets, as well as with his own work. [32] [33] From 1970 he worked from his home and studio in Captiva, Florida . His first project on Captiva Island was a 16.5-meter-long silkscreen print called Currents (1970), made with newspapers from the first two months of the year, followed by Cardboards (1970–71) and Early Egyptians (1973–74), the latter of which is a series of wall reliefs and sculptures constructed from used boxes. He also printed on textiles using his solvent-transfer technique to make the Hoarfrosts (1974–76) and Spreads (1975–82), and in the Jammers (1975–76), created a series of colorful silk wall and floor works. Urban Bourbons (1988–95) focused on different methods of transferring images onto a variety of reflective metals, such as steel and aluminum. In addition, throughout the 1990s, Rauschenberg continued to utilize new materials while still working with more rudimentary techniques, such as wet fresco, as in the Arcadian Retreat (1996) series, and the transfer of images by hand, as in the Anagrams (1995–2000). As part of his engagement with the latest technological innovations, he began making digital Iris prints and using biodegradable vegetable dyes in his transfer processes, underscoring his commitment to caring for the environment. [34]
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The White Paintings , Black Paintings , and Red Paintings [ edit ] Robert Rauschenberg, untitled "combine," 1963. In 1951 Rauschenberg created his "White Paintings," in the tradition of monochromatic painting , whose purpose was to reduce painting to its most essential nature, and to subsequently lead to the possibility of pure experience. [35] The "White Paintings" were shown at Eleanor Ward's Stable Gallery in New York during October 1953. They appear at first to be essentially blank, white canvas. However, one commentator said that "…rather than thinking of them as destructive reductions, it might be more productive to see them, as John Cage did, as hypersensitive screens – what Cage suggestively described as 'airports of the lights, shadows and particles.' In front of them, the smallest adjustments in lighting and atmosphere might be registered on their surface. [36] Rauschenberg himself said that they were affected by ambient conditions, "so you could almost tell how many people are in the room". The Black Paintings of 1951 like the White Paintings were executed on multiple panels and were single color works. Here Rauschenberg incorporated pieces of newspaper into the painting working the paper into the paint so that sometimes newspaper could be seen and in other places could not. By 1953-1954 Rauschenberg had moved from the monochromatic paintings of the White Painting and Black Painting series, to the Red Painting series. These paintings were created with diverse kinds of paint applications of red paint, and with the addition of materials such as wood, nails, newsprint and other materials to the canvas created complex painting surfaces, and were forerunners of Rauschenberg's well-known Combine series. [35]
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Combines [ edit ] Rauschenberg picked up trash and found objects that interested him on the streets of New York City and brought these back to his studio where they could become integrated into his work. He claimed he "wanted something other than what I could make myself and I wanted to use the surprise and the collectiveness and the generosity of finding surprises. And if it wasn't a surprise at first, by the time I got through with it, it was. So the object itself was changed by its context and therefore it became a new thing." [30] Rauschenberg's comment concerning the gap between art and life can be seen as a statement which provides the departure point for an understanding of his contributions as an artist. He saw the potential beauty in almost anything, including junk he would find off of the streets, "I really feel sorry for people who think things like soap dishes or mirrors or Coke bottles are ugly, because they're surrounded by things like that all day long, and it must make them miserable." [37] he once said. In particular his series of works which he called Combines served as instances in which the delineated boundaries between art and sculpture were broken down so that both were present in a single work of art. Technically "Combines" refers to Rauschenberg's work from 1954 to 1962, but the artist had begun collaging newsprint and photographic materials in his work and the impetus to combine both painting materials and everyday objects such as clothing, urban debris, and taxidermied animals such as in Monogram [38] continued throughout his artistic life.
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His transitional pieces that led to the creation of Combines were Charlene (1954) and Collection (1954) where he combined collage technique and started to incorporate objects such as scarves, comic strips, and faux architectural cornice pieces. Considered one of the first of the Combines, Bed (1955) was created by dripping red paint across a quilt. The quilt was later stretched and displayed as a work of art. Some critics according to The Daily Telegraph considered the work to be a symbol for violence and rape . [39] Critics originally viewed the Combines in terms of the formal aspects of art, shape, color, texture, and the composition and arrangement of these. This 1960s view has changed over time so that more recently critics and art historians see the Combines as carrying coded messages difficult to decipher because there is no apparent order to the presentation of the objects. Canyon (1959) features a stuffed bald eagle which drew government ire due to the 1940 Bald and Golden Eagle Protection Act, but the stuffed angora goat with paint applied to its snout in his Monogram (1955-1959) was without controversy. [40] Performance and dance [ edit ] From the early 1950s until 2007 Rauschenberg designed for dance. He began designing sets and costumes for Merce Cunningham , Paul Taylor , and Trisha Brown and for his own productions. [24] In the 1960s he was involved in the radical dance-theater experiments at and around Judson Memorial Church in Greenwich Village and was close to Cunningham-connected experimentalists like Carolyn Brown , Viola Farber , and Steve Paxton ; he even choreographed himself. Rauschenberg's full-time connection to the Cunningham company ended with its 1964 world tour. [41] In 1977 Rauschenberg, Cunningham, and Cage reconnected as collaborators for the first time in 13 years, when the Merce Cunningham Dance Company, New York, performed Travelogue (1977), for which Rauschenberg contributed the costume and set designs. [34]
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Commissions [ edit ] In 1965, when Life magazine commissioned him to visualize a modern Inferno, he did not hesitate to vent his rage at the Vietnam War and a whole range of horrors, including racial violence, neo-Nazism , political assassinations, and ecological disaster. [27] On December 30, 1979 the Miami Herald printed 650,000 Rauschenbergs as the cover of its Sunday magazine, Tropic . In essence an original lithograph, it showed images of south Florida. The artist signed 150 of them. [11] In 1966, Rauschenberg's created the Open Score performance for part of 9 Evenings: Theatre and Engineering at the 69th Regiment Armory , New York. The series was instrumental in the formation of the Experiments in Art and Technology foundation. [42] [43] In 1983, he won a Grammy Award for his album design of Talking Heads ' album Speaking in Tongues . [44] In 1986 Rauschenberg was commissioned by BMW to paint a full size BMW 635 CSi for the sixth installment of the famed BMW Art Car Project . Rauschenberg's contribution was the first to include the wheels in the project, as well as incorporating previous works of art into the design. In 1998, the Vatican commissioned (and later refused) [34] a work by Rauschenberg based on the Apocalypse to commemorate Saint Pio of Pietrelcina , the controversial Franciscan priest who died in 1968 and who is revered for having had stigmata and a saintly aura, at Renzo Piano 's Padre Pio Pilgrimage Church in Foggia, Italy. [27]
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Works [ edit ] Rauschenberg, untitled (Scatole Personali), 1952, assemblage of box with painted interior, fabric, thorns and snail shells, collection of Jasper Johns Rauschenberg, Retroactive II , 1963, combine painting with paint and photos Rauschenberg, untitled , before 1968, combine painting with photos and paint; photo in Stedelijk Museum Amsterdam , Feb. 1968 Rauschenberg, Tire , in 1996-97 designed; in 2005 made in blown glass and silver-plated brass Exhibitions [ edit ] In 1951 Rauschenberg had his first one-man show at the Betty Parsons Gallery [45] and in 1954 had a second one-man show at the Charles Egan Gallery . [46] In 1955, at the Charles Egan Gallery, Rauschenberg showed Bed (1955), one of his first and certainly most famous Combines. [47] Rauschenberg had his first career retrospective, organized by the Jewish Museum , New York, in 1963, and in 1964 he was the first American artist to win the Grand Prize at the Venice Biennale ( Mark Tobey and James Whistler had previously won the Painting Prize). After that time, he enjoyed a rare degree of institutional support. A retrospective organized by the National Collection of Fine Arts (now the Smithsonian American Art Museum ), Washington, D.C., traveled throughout the United States in 1976 and 1978. [34] A retrospective at the Solomon R. Guggenheim Museum , New York (1997), traveled to Houston, Cologne, and Bilbao (through 1999). Recent exhibitions were presented at the Metropolitan Museum of Art , New York (2005; traveled to Museum of Contemporary Art, Los Angeles , Centre Georges Pompidou , Paris, and Moderna Museet , Stockholm, through 2007); at the Peggy Guggenheim Collection , Venice (2009; traveled to the Tinguely Museum , Basel, Guggenheim Museum Bilbao, and Villa e Collezione Panza, Varese, through 2010); and Botanical Vaudeville at Inverleith House , Royal Botanic Garden Edinburgh (2011). [48]
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A memorial exhibition of Rauschenberg's photographs opened October 22, 2008, (on the occasion of what would have been his 83rd birthday) at the Guggenheim Museum . [49] Further exhibitions include: 5 Decades of Printmaking, Leslie Sacks Contemporary (2012); Robert Rauschenberg: Jammers, Gagosian Gallery, London (2013); Robert Rauschenberg: Hoarfrost Editions, Gemini G.E.L. (2014); Robert Rauschenberg: The Fulton Street Studio, 1953–54, Craig F. Starr Associates (2014); Collecting and Connecting, Nasher Museum of Art at Duke University (2014); A Visual Lexicon, Leo Castelli Gallery (2014); Robert Rauschenberg: Works on Metal, Gagosian Gallery, Beverly Hills (2014).; [50] Robert Rauschenberg, de Sarthe Gallery , Hong Kong (2016), Museum of Modern Art retrospective (2017), and Rauschenberg: The 1/4 Mile at the Los Angeles County Museum of Art, (2018-2019). [51] On June 4, 2004 the Gallery of Fine Art at Florida SouthWestern State College was renamed the Bob Rauschenberg Gallery, celebrating a long-time friendship with the artist. [52] The gallery has been host to many of Rauschenberg's exhibitions since 1980. [53] Legacy [ edit ] Already in 1984, Rauschenberg announced his Rauschenberg Overseas Culture Interchange (ROCI) at the United Nations . This would culminate in a seven-year, ten-country tour to encourage "world peace and understanding", through Mexico, Chile, Venezuela, Beijing, Lhasa (Tibet), Japan, Cuba, Soviet Union, Berlin, and Malaysia in which he left a piece of art, and was influenced by the cultures he visited. Paintings, often on reflective surfaces, as well as drawings, photographs, assemblages and other multimedia were produced, inspired by these surroundings, and these were considered some of his strongest works. The ROCI venture, supported by the National Gallery of Art in Washington, D.C., went on view in 1991.
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In 1990, Rauschenberg created the Robert Rauschenberg Foundation (RRF) to promote awareness of the causes he cared about, such as world peace, the environment and humanitarian issues. He also set up Change, Inc., to award one-time grants of up to $1,000 to visual artists based on financial need. Rauschenberg's will, filed in Probate Court on October 9, 2008, named his charitable foundation as a major beneficiary, along with Darryl Pottorf, Christopher Rauschenberg, Begneaud, his nephew Byron Richard Begneaud, and Susan Weil Kirschenbaum . The amounts to be given to the beneficiaries were not named, but the estate is "worth millions", said Pottorf, who is also executor of the estate. [54] The RRF today owns many works by Rauschenberg from every period of his career. In 2011, the foundation, in collaboration with Gagosian Gallery , presented "The Private Collection of Robert Rauschenberg", selections from Rauschenberg's personal art collection; proceeds from the collection helped fund the endowment established for the foundation's philanthropic activities. [55] Also in 2011, the foundation launched its "Artist as Activist" print project and invited Shepard Fairey to focus on an issue of his choice. The editioned work he made was sold to raise funds for the Coalition for the Homeless . [56] The RRF artist residency takes place at the late artist's property in Captiva Island , Florida. The foundation also maintains the 19th Street Project Space in New York.
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In 2000, Rauschenberg was honored with amfAR 's Award of Excellence for Artistic Contributions to the Fight Against AIDS. [57] Art market [ edit ] Robert Rauschenberg had his first solo show in 1951, at the Betty Parsons Gallery in New York. [58] Later, only after much urging from his wife, Ileana Sonnabend , did Leo Castelli finally organize a solo show for Rauschenberg in the late 1950s. [59] The Rauschenberg estate was long handled by Pace Gallery before, in May 2010, [60] it moved to Gagosian Gallery , a dealership that had first exhibited the artist's work in 1986. [61] In 2010 Studio Painting (1960‑61), one of Rauschenberg's "Combines", originally estimated at $6 million to $9 million, was bought from the collection of Michael Crichton for $11 million at Christie's , New York. [62] Lobbying for artists' resale royalties [ edit ] In the early 1970s, Rauschenberg unsuccessfully lobbied U.S. Congress to pass a bill that would compensate artists when their work is resold. The artist later supported a state bill in California that did become law, the California Resale Royalty Act of 1976. [63] Rauschenberg took up his fight for artist resale royalties after the taxi baron Robert Scull sold part of his art collection in a 1973 auction, including Rauschenberg's 1958 painting Thaw that he had originally sold to Scull for $900 but brought $85,000 at an auction at Sotheby Parke Bernet in New York. [64]
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See also [ edit ] Combine painting References [ edit ] ^ Marlena Donohue (November 28, 1997). "Rauschenberg's Signature on the Century" . Christian Science Monitor . Archived from the original on July 7, 2006. Rauschenberg's mammoth career retrospective at the Solomon R. Guggenheim Museum (and other New York sites) from Sept. 19 to Jan. 7, 1998… along with longtime friends pre- Pop painter Jasper Johns and the late conceptual composer John Cage , Rauschenberg pretty much defined the technical and philosophic art landscape and its offshoots after Abstract Expressionism . ^ "The Century's 25 Most Influential Artists" . ARTnews . May 1999 – via askART.com. Born with the name Milton Rauschenberg in Port Arthur, Texas, Robert Rauschenberg became one of the major artists of his generation and is credited along with Jasper Johns of breaking the stronghold of Abstract Expressionism . Rauschenberg was known for assemblage , conceptualist methods, printmaking, and willingness to experiment with non-artistic materials—all innovations that anticipated later movements such as Pop Art , Conceptualism, and Minimalism . ^ Lifetime Honors - National Medal of Arts Archived 2011-07-21 at the Wayback Machine ^ "Leonardo da Vinci World Award of Arts 1995" . Archived from the original on May 5, 2014 . Retrieved August 14, 2013 . ^ a b Franklin Bowles Galleries. "Robert Rauschenberg" . FranlinkBowlesGallery.com . Archived from the original on 2007-08-21. Significantly, given his use of print media imagery, he was also the first living American artist to be featured by Time magazine on its cover.
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^ "American Art Great Robert Rauschenberg Dies at 82" . The Ledger . Archived from the original on May 19, 2008. ^ Rauschenberg's Roots , Theind, 2005 ^ Knight, Christopher (May 14, 2008). "He led the way to Pop Art" . Los Angeles Times . ^ a b Hughes, Robert (27 October 1997). "Art: Robert Rauschenberg: The Great Permitter" . Time . ^ "Robert Rauschenberg" . Museum of the Gulf Coast . ^ a b c d Patricia Burstein (May 19, 1980), In His Art and Life, Robert Rauschenberg Is a Man Who Steers His Own Daring Course People . ^ https://www.waddingtoncustot.com/artists/53-robert-rauschenberg/biography/ ^ Kotz, Mary Lynn (2004). Rauschenberg: Art and Life . New York City: Harry N. Abrams, Inc. ISBN 978-0-8109-3752-9 . ^ " Rauschenberg: Art and Life " . Publishers Weekly . Rauschenberg, enfant terrible of American modernism in the 1950s and 1960s, is now an ambassador for global good will. ROCI (Rauschenberg Overseas Cultural Interchange), an organization he founded in 1984, sponsors art exhibits and fosters cross-cultural collaborations with the aim of promoting world peace. "… his boyhood escape from the conformity of the oil town of Port Arthur, Texas , his formative years at Black Mountain College , his political activism in the service of civil rights and peace, and above all, his restless experimentation blurring the boundaries of painting, sculpture, photography, and printmaking . "… the varied facets of Rauschenberg's output, including his color drawings for Dante's Inferno, his sets for Merce Cunningham 's dances, the cardboard-box constructions and the sensual fabric collages and mud sculptures inspired by a 1975 trip to India.
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^ a b Collins, Bradford R., 1942- (2012). Pop art : the independent group to Neo pop, 1952-90 . London: Phaidon. ISBN 9780714862439 . OCLC 805600556 . CS1 maint: multiple names: authors list ( link ) ^ "bauhaus-archiv museum für gestaltung: startseite" . Bauhaus.de. Archived from the original on 2011-07-18 . Retrieved 2011-03-20 . ^ Tomkins, Calvin, 1925- (2005). Off the wall : a portrait of Robert Rauschenberg (1st Picador ed.). New York: Picador. ISBN 0312425856 . OCLC 63193548 . CS1 maint: multiple names: authors list ( link ) ^ a b Michael Kimmelman (May 14, 2008). "Robert Rauschenberg, American Artist, Dies at 82" . New York Times . Retrieved November 9, 2008 . ^ Walter Hopps, Robert Rauschenberg: The Early 1950s, ISBN 0-940619-07-5 ^ "The Most Living Artist" . Time magazine . November 29, 1976 . Retrieved July 27, 2009 . ^ Richard Wood Massi. "Captain Cook's first voyage: an Interview with Morton Feldman" . Retrieved July 27, 2009 . ^ Jonathan Katz. "LOVERS AND DIVERS: INTERPICTORAL DIALOG IN THE WORK OF JASPER JOHNS AND ROBERT RAUSCHENBERG" . Retrieved July 27, 2009 . ^ a b Ella Nayor,"The Pine Island Eagle, "Bob Rauschenberg, art giant, dead at 82", May 13, 2008 ^ a b Kimmelman, Michael (May 13, 2008). "Robert Rauschenberg, American Artist, Dies at 82" . New York Times . Retrieved 2008-05-14 . Robert Rauschenberg, the irrepressibly prolific American artist who time and again reshaped art in the 20th century, died on a Monday night at his home on Captiva Island, Fla. He was 82.
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^ "Artist Robert Rauschenberg Dead at 82" . Voice of America . ^ Roberta Smith (1995-02-10). "Art in Review" . New York Times . Retrieved 2009-03-20 . ^ a b c Richardson, John (September 1997). "Rauschenberg's Epic Vision" . Vanity Fair . ^ Holland Cotter (June 28, 2012), Robert Rauschenberg: 'North African Collages and Scatole Personali, c. 1952' New York Times . ^ "Explore Modern Art | Multimedia | Interactive Features | Robert Rauschenberg's Erased de Kooning Drawing" . SFMOMA. Archived from the original on 2011-01-06 . Retrieved 2011-03-20 . ^ a b "Robert Rauschenberg Dead at 82" . Blouin Artinfo . ^ Kristine Stiles & Peter Selz, Theories and Documents of Contemporary Art: A Sourcebook of Artists' Writings (Second Edition, Revised and Expanded by Kristine Stiles) University of California Press 2012, p. 453 ^ Birmingham Museum of Art (2010). Birmingham Museum of Art : guide to the collection . [Birmingham, Ala]: Birmingham Museum of Art. p. 235. ISBN 978-1-904832-77-5 . ^ "Signs of the Times: Robert Rauschenberg's America" . Madison Museum of Contemporary Art . Archived from the original on 13 October 2011 . Retrieved 27 January 2012 . ^ a b c d Robert Rauschenberg Archived 2013-01-21 at the Wayback Machine Guggenheim Collection. ^ a b "Pop art - Rauschenberg - Untitled (Red Painting)" . Guggenheim Collection . Retrieved 2011-03-20 .
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^ Cage, John (1961). Silence . Middletown, CT: Wesleyan University Press. pp. 102 . ^ Kimmelman, Michael (2008-05-14). "Robert Rauschenberg, American Artist, Dies at 82" . The New York Times . ISSN 0362-4331 . Retrieved 2019-03-21 . ^ "Robert Rauschenberg - Monogram" . Lukechueh.com . Retrieved 2011-03-20 . ^ "Robert Rauschenberg" . The Daily Telegraph . London. 13 May 2008. ^ The New York Times , "MArt's Sale Value? Zero. The Tax Bill? $29 Million, A Catch-22 of Art and Taxes, Starring a Stuffed Eagle" by Cohen, Patricia, July 22, 2012. ^ Alastair Macaulay (May 14, 2008), Rauschenberg and Dance, Partners for Life New York Times ^ " " Robert Rauschenberg – Open Score" Film Screening" . 13 January 2008. ^ "Robert Rauschenberg : Open Score (performance)" . www.fondation-langlois.org . ^ Richard Lacayo (May 15, 2008), Robert Rauschenberg: The Wild and Crazy Guy Time . ^ The New York Times, May 14, 1951, ^ Stuart Preston, New York Times, December 19, 1954 ^ Willem de Kooning. "Gallery - The Charles Egan Gallery" . The Art Story . Retrieved 2011-03-20 . ^ Robert Rauschenberg Gagosian Gallery . ^ Art Daily, Guggenheim Museum Honors Late Artist Robert Rauschenberg With Photographic Tribute , retrieved December 16, 2008 ^ "Rauschenberg, Robert - 1785 Exhibitions and Events" . www.mutualart.com . ^ "Rauschenberg: The 1/4 Mile | LACMA" . www.lacma.org . Retrieved 2019-01-08 .
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^ "Mission & History – Bob Rauscehneberg Gallery" . www.rauschenberggallery.com . ^ "Bob Rauschenberg at FSW – Bob Rauscehneberg Gallery" . www.rauschenberggallery.com . ^ "Rauschenberg will names charitable causes, family". The News-Press . Fort Myers, Florida. October 9, 2008. p. 19. ^ The Private Collection of Robert Rauschenberg, November 3 - December 23, 2011 Gagosian Gallery . ^ Cristina Ruiz (28 March 2012), Rauschenberg's foundation could outspend Warhol's The Art Newspaper . ^ Award of Excellence for Artistic Contributions to the Fight Against AIDS amfAR, The Foundation for AIDS Research . ^ Michael McNay (13 May 2008), Obituary: Robert Rauschenberg The Guardian ^ Andrew Russeth (June 7, 2010), Ten Juicy Tales from the New Leo Castelli Biography , Blouartinfo ^ Carol Vogel (September 29, 2010), Pace Gallery to Represent de Kooning Estate New York Times ^ Robert Rauschenberg: Jammers, February 16 - March 28, 2013 Gagosian Gallery , London. ^ Carol Vogel (May 12, 2010), At Christie's, a $28.6 Million Bid Sets a Record for Johns New York Times . ^ Jori Finkel (February 6, 2014), Jori Finkel: Lessons of California's droit de suite debacle Archived 2014-02-28 at the Wayback Machine The Art Newspaper . ^ Patricia Cohen (November 1, 2011), Artists File Lawsuits, Seeking Royalties New York Times . Further reading [ edit ] Busch, Julia M., A Decade of Sculpture: the New Media in the 1960s (The Art Alliance Press: Philadelphia; Associated University Presses : London, 1974) ISBN 0-87982-007-1 , ISBN 978-0-87982-007-7 .
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Marika Herskovic, New York School Abstract Expressionists Artists Choice by Artists, (New York School Press, 2000.) ISBN 0-9677994-0-6 . p. 8; p. 32; p. 38; p. 294-297. Fugelso, Karl. "Robert Rauschenberg's Inferno Illuminations." In: Postmodern Medievalisms . Ed. Richard Utz and Jesse G. Swan (Cambridge: D.S. Brewer, 2004). pp. 47–66. Sweeney, Louise M. "Rauschenberg's Worldwide Quest for Art and Ideas," The Christian Science Monitor , May 20, 1991. External links [ edit ] Wikiquote has quotations related to: Robert Rauschenberg Robert Rauschenberg: The Broad Robert Rauschenberg Foundation Oral history interview with Robert Rauschenberg, 1965, Smithsonian Archives of American Art Robert Rauschenberg: MoMA v t e Robert Rauschenberg Works Erased de Kooning Drawing (1953) Monogram (1955-1959) Canyon (1959) Reservoir (1961) Related Combine painting Experiments in Art and Technology Susan Weil (wife) Moon Museum Awards for Robert Rauschenberg v t e Leonardo da Vinci World Award of Arts Laureates Athens Acropolis Preservation Group of Greece (1989) Robert Rauschenberg (1995) Magdalena Abakanowicz (1999) Edna Hibel (2001) Otto Piene (2003) Enrique Norten (2005) Anne Moeglin-Delcroix (2007) Marcell Jankovics (2009) Todd Siler (2011) Petteri Nisunen /Tommi Grönlund (2013) Milton Masciadri (2015) Russell Hartenberger (2017) Paulo Branco (2019) v t e National Medal of Arts recipients (1990s) 1990 George Abbott Hume Cronyn Jessica Tandy Merce Cunningham Jasper Johns Jacob Lawrence Riley "B.B." King David Lloyd Kreeger Harris & Carroll Sterling Masterson
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Ian McHarg Beverly Sills Southeastern Bell Corporation 1991 Maurice Abravanel Roy Acuff Pietro Belluschi J. Carter Brown Charles "Honi" Coles John O. Crosby Richard Diebenkorn R. Philip Hanes Kitty Carlisle Hart Pearl Primus Isaac Stern Texaco Inc. 1992 Marilyn Horne James Earl Jones Allan Houser Minnie Pearl Robert Saudek Earl Scruggs Robert Shaw Billy Taylor Robert Venturi and Denise Scott Brown Robert Wise AT&T Inc. Lila Wallace 1993 Walter and Leonore Annenberg Cabell "Cab" Calloway Ray Charles Bess Lomax Hawes Stanley Kunitz Robert Merrill Arthur Miller Robert Rauschenberg Lloyd Richards William Styron Paul Taylor Billy Wilder 1994 Harry Belafonte Dave Brubeck Celia Cruz Dorothy DeLay Julie Harris Erick Hawkins Gene Kelly Pete Seeger Catherine Filene Shouse Wayne Thiebaud Richard Wilbur Young Audiences 1995 Licia Albanese Gwendolyn Brooks B. Gerald and Iris Cantor Ossie Davis and Ruby Dee David Diamond James Ingo Freed Bob Hope Roy Lichtenstein Arthur Mitchell Bill Monroe Urban Gateways 1996 Edward Albee Sarah Caldwell Harry Callahan Zelda Fichandler Eduardo "Lalo" Guerrero Lionel Hampton Bella Lewitzky Vera List Robert Redford Maurice Sendak Stephen Sondheim Boys Choir of Harlem 1997 Louise Bourgeois Betty Carter Agnes Gund Daniel Urban Kiley Angela Lansbury James Levine Tito Puente Jason Robards Edward Villella Doc Watson MacDowell Colony 1998 Jacques d'Amboise Antoine "Fats" Domino Ramblin' Jack Elliott Frank Gehry Barbara Handman Agnes Martin Gregory Peck
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Roberta Peters Philip Roth Sara Lee Corporation Steppenwolf Theatre Company Gwen Verdon 1999 Irene Diamond Aretha Franklin Michael Graves Odetta The Juilliard School Norman Lear Rosetta LeNoire Harvey Lichtenstein Lydia Mendoza George Segal Maria Tallchief Complete list 1980s 1990s 2000s 2010s Authority control AAG : 2091 AGSA : 10097 BIBSYS : 90091860 BNE : XX1015763 BNF : cb120042677 (data) CANTIC : a10830960 GND : 118598619 ISNI : 0000 0000 8342 559X LCCN : n79099066 LNB : 000053314 MusicBrainz : 3d82909b-3a79-43cc-bd7c-06bf377adeaa NARA : 10582114 NDL : 00473536 NGV : 3996 NKC : xx0011476 NTA : 068642822 PIC : 430 RKD : 65714 SELIBR : 237798 SNAC : w6bc40p6 SUDOC : 027384624 TePapa : 1906 Trove : 954646 ULAN : 500002941 VIAF : 29544362 WorldCat Identities (via VIAF): 29544362 NewPP limit report Parsed by mw1265 Cached time: 20191203020016 Cache expiry: 86400 Dynamic content: true Complications: [vary‐revision‐sha1] CPU time usage: 0.972 seconds Real time usage: 1.423 seconds Preprocessor visited node count: 4380/1000000 Preprocessor generated node count: 0/1500000 Post‐expand include size: 135870/2097152 bytes Template argument size: 23082/2097152 bytes Highest expansion depth: 20/40 Expensive parser function count: 29/500 Unstrip recursion depth: 1/20 Unstrip post‐expand size: 140493/5000000 bytes Number of Wikibase entities loaded: 3/400 Lua time usage: 0.539/10.000 seconds Lua memory usage: 8.82 MB/50 MB Transclusion expansion time report (%,ms,calls,template) 100.00% 1259.487 1 -total 41.34% 520.617 1 Template:Reflist
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33.04% 416.110 1 Template:Infobox_artist 31.57% 397.656 1 Template:Infobox_person 28.98% 364.964 1 Template:Infobox 22.82% 287.433 5 Template:Br_separated_entries 19.87% 250.319 1 Template:Birth_date 12.83% 161.600 10 Template:Cite_news 9.12% 114.916 20 Template:Cite_web 8.81% 110.902 5 Template:Cite_book Saved in parser cache with key enwiki:pcache:idhash:306181-0!canonical and timestamp 20191203020015 and revision id 926706241 Retrieved from " https://en.wikipedia.org/w/index.php?title=Robert_Rauschenberg&oldid=926706241 " Categories : 1925 births 2008 deaths 20th-century American painters 20th-century American printmakers 20th-century American sculptors 21st-century American painters AIGA medalists Alumni of the Académie Julian American male painters American male sculptors American members of the Churches of Christ American people of Cherokee descent American people of German descent American pop artists Art Students League of New York alumni Sculptors from Florida Sculptors from Texas Assemblage artists Bisexual artists Bisexual men Black Mountain College alumni Experiments in Art and Technology collaborating artists Grammy Award winners Kansas City Art Institute alumni LGBT artists from the United States LGBT people from Texas Members of the American Academy of Arts and Letters People diagnosed with dyslexia People from Port Arthur, Texas Recipients of the Praemium Imperiale United States National Medal of Arts recipients University of Texas at Austin alumni Honorary Members of the Royal Academy Sculptors from New York (state) Album-cover and concert-poster artists Hidden categories: Webarchive template wayback links CS1 maint: multiple names: authors list Articles with short description Articles with hCards Wikipedia articles with AAG identifiers Wikipedia articles with AGSA identifiers Wikipedia articles with BIBSYS identifiers Wikipedia articles with BNE identifiers Wikipedia articles with BNF identifiers Wikipedia articles with CANTIC identifiers Wikipedia articles with GND identifiers Wikipedia articles with ISNI identifiers Wikipedia articles with LCCN identifiers Wikipedia articles with LNB identifiers Wikipedia articles with MusicBrainz identifiers Wikipedia articles with NARA identifiers Wikipedia articles with NDL identifiers Wikipedia articles with NGV identifiers Wikipedia articles with NKC identifiers Wikipedia articles with NTA identifiers Wikipedia articles with PIC identifiers Wikipedia articles with RKDartists identifiers Wikipedia articles with SELIBR identifiers Wikipedia articles with SNAC-ID identifiers Wikipedia articles with SUDOC identifiers Wikipedia articles with TePapa identifiers Wikipedia articles with Trove identifiers Wikipedia articles with ULAN identifiers Wikipedia articles with VIAF identifiers Wikipedia articles with WorldCat-VIAF identifiers AC with 25 elements
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All Rights Reserved #8 Mohammed bin Salman Al Saud Crown Prince, Saudi Arabia #8 Mohammed bin Salman Al Saud Crown Prince, Saudi Arabia Previous Next His father remains king of Saudi Arabia, but the crown prince has consolidated power beyond any doubt and taken control of the country. In November 2017, Al Saud led an 'anticorruption campaign' that caused many prominent Saudis to be arrested and forced to turn over their fortunes. As a result of the campaign, ten Saudi billionaires were dropped from Forbes' annual list of the world's billionaires. The crown prince will be the fulcrum around which the Middle Eastern geopolitics moves for the next generation. On forbes lists #8 Powerful People 2018 Global Game Changers 2017 Stats Age 33 Citizenship Saudi Arabia Connections Saudi Arabia Citizen of Saudi Arabia Newsworthy 12,812 views | Mar 29, 2018 Saudi Arabia To Build Massive Solar Power Installation Just how visionary is Saudi crown prince Mohammad bin Salman's new solar power plan? 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Great Sand Dunes National Park start: shared_blocks.177359860#RI-Text-Link end: shared_blocks.177359860#RI-Text-Link start: tool_blocks.navbar Home Colorado Blog Events Calendar Welcome Getting Here Weather General Information Explore Attractions Colorado Wildlife Farming Museums Scenic Byways Scenic Railroads Towns Alamosa Creede Monte Vista South Fork Restaurants Dining The People Your Adventures Local People About Us Contact Us end: tool_blocks.navbar start: tool_blocks.rssit [ ? ]Subscribe To This Site end: tool_blocks.rssit start: tool_blocks.faceit_like.1 end: tool_blocks.faceit_like.1 Great Sand Dunes National Park There are many hidden treasures throughout Colorado but none is more impressive than the Great Sand Dunes National Park and Preserve. Located in the high mountain desert of the San Luis Valley they are North America’s biggest dune field. Covering over 30 square miles and towering above 700 feet the dunes are a sight to behold. I love the Great Sand Dunes National Park and feel it is one of the best places to visit in all of Southern Colorado. Well, my love has made this page about the sand dunes become longer and longer so I hope the following list helps you find what you are looking for. Entrance Fees Visitor's Center Sand, Sand, and More Sand Water Picnics and Parking Food and Drinks Campground Pets Wildlife Sledding/Sandboarding Hiking Best Times To Visit Unique Facts Your Stories I recently heard about sandboarding and then found this video from Outside Television where they feature sandboarding on the Great Sand Dunes. If you want to try sandboarding check out our section on it lower down the page for rental information. Entrance Fees The Great Sand Dunes National Park and Preserve is open year round. The entrance fees are very affordable at $3.00 a person or a yearly pass for $15 dollars. Here is a short video provided by the Great Sand Dunes National Park Service showcasing what the Great Sand Dunes have to offer. Visitors Center The Visitors Center is a great place to stop and the first building after you pay the entrance fee. It is open daily from 9 A.M to 6 P.M. from Memorial Day to Labor Day and the rest of the year the hours vary. Inside the visitors center there are many exhibits to give you more information about the Great Sand Dunes National Park. There is a short video about how the sand dunes were formed. Different animal exhibits show what animals live on the dunes as well as a section on the insects that are only found in the Great Sand Dunes National Park, nowhere else on earth! There is also a tree that has scarring on its bark from where the Indians removed the bark for various uses. There are still trees alive in the park with this scarring but you must have a 4WD vehicle to reach the area. As many visitors don’t have the vehicle or don’t want to take the time for the extra drive, the Visitors Center allows for easy viewing of this unique history. There are also many souvenirs and books about the Great Sand Dunes National Park as well as other interesting areas in the San Luis Valley. As this is on your way to the dunes parking lot I highly recommend stopping for a few minutes! Sand, Sand, and More Sand When you visit the Great Sand Dunes National Park be prepared to get sand everywhere, and I do mean everywhere. In your ears, nose, shoes, shorts, etc. I always recommend for people to wear old clothes that they do not care if sand gets in them because sometimes it will not come out even with several washings. My “sand dunes shoes” have been washed several times since my last trip to the dunes and still I get sand between my toes every time I wear them. If you plan on climbing the dunes during the day you will definitely need tennis shoes. The sand can heat up to 140 degrees Fahrenheit and you won’t get very far before your feet are burning. I would also recommend buying a disposable camera to prevent sand from ruining your good one. If you are careful and don’t plan on playing in the sand very much, putting your camera in a Ziploc bag when not in use will also prevent sand from ruining it. Did you manage to get great pictures? Were you able to clean all the sand off? Click here to share your tips. Water The water is the lifeblood of the Great Sand Dunes National Park and the San Luis Valley. Water is what holds the sand in place. Anywhere on the sand dunes you can find wet sand if you dig down far enough. Medano Creek and other small creeks flow within the Great Sand Dunes National Park bringing the melted snow down to the valley floor. Spring is a great time to visit the Great Sand Dunes National Park as this is when the water is flowing fast. The later in the season you visit the less water there is to splash in and during the winter there is usually no water flowing at all. If you visit late in the season, you could park at the main parking lot and walk up the Medano Creek bed. You will be able to see where the water just disappears into the sand. Picnics and Parking The main parking lot is your next left after the Visitors Center. Here there is ample parking for cars as well as larger vehicles such as RVs. This is the main entrance to the dunes and Medano Creek. After you park you are free to walk wherever you want. Some people enjoy playing in the water and just wading up and down the creek while others head straight for the dunes with the purpose of climbing to the top. Whichever one you choose you are sure to have a great time. To the south of the parking area there is a picnic area. There is a paved road that you can drive down with picnic pull off spots. There are many spots to choose from and they have a picnic table ready for your use. There are trails from the picnic area back to the dunes so you can leave your stuff at your picnic site, go play in the sand and then come back for a snack. In this area there is also a changing room and outside shower to wash some of the sand off. If you have muddy sand on you, just let it dry and then it will brush off easily. I like to wear tennis shoes when climbing the dunes, but I bring sandals to slip on after I wash off my feet. It is just a lot simpler than trying to put your tennis shoes back on. Food and Drinks There is only one convenience store/gas/restaurant in the area and this is the Oasis Store and Gas Station. The selection can be limited so I highly advise packing everything you need for your trip. Make sure to pack lots of water as climbing the sand dunes is very tiring. Also bring all your snacks and lunch to save you a lot of hassle. Don’t forget your sunscreen as you will burn quickly at this high altitude. Please pick up all your trash and leave your site as clean as or cleaner than you found it. Campground The campground is nestled among the trees at the bottom of the Sangre de Cristo Mountain Range. Don’t worry about the distance to the dune field as it is just a short walk. The campground offers 88 campsites to choose from. However, only half of these sites can be reserved, the rest are on a first come, first serve basis. Each campsite costs $20.00 per night for a maximum of six people, two tents or an RV, and two vehicles. Each site is equipped with a picnic table, fire pit, and a bear box. The campground also offers restrooms with flush toilets (thankfully no port-a-potties!!) and a sink to wash your dishes in. The campsites vary in size so some larger RVs may not fit. Want a different camping experience? Camping on the dunes is permitted in certain areas, but a FREE permit must be obtained from the Visitors Center. Camping this way is a great experience but climbing the dunes with extra gear can become very tiring. You can also camp along the Medano Pass Primitive Road in the National Preserve section of the park. To access this area you MUST have a high clearance 4WD vehicle or you will get stuck in the sand!! These campsites are on a first come basis and have seasonal closures. Pets Pets are permitted in the park as long as they are always on a leash no longer than 6 feet. This is to prevent your dog from chasing any of the wildlife or disturbing other visitors. It is also required that you clean up after your pet. It is very important to realize how hot the sand can get and that it will easily burn your pet’s feet. The best time to climb the sand dunes with your pet is early morning or evenings to avoid the hot sand. Another good way to judge the temperature of the sand is to touch it with your hand or bare foot. If it is hot to you, it is hot to your pet. There is also no water when climbing the dunes and your pet becomes quite thirsty due to the effort. I made the mistake of forgetting water for my dog and when we got to the top he kept digging until he got wet sand and then would suck on it. I guess that must be instinct, but I felt really bad so we cut our climb short. Horseback riding is permitted in most areas of the Great Sand Dunes National Park but please get a “Horse Use Guideline” from the Visitors Center before riding. The park service also asks that you shovel all manure back into your trailer to help keep the Great Sand Dunes looking nice. Wildlife There is a large diversity of wildlife throughout the Great Sand Dunes National Park and Preserve. On the valley floor there are wetlands, sand sheet, and then the dune field. Many birds call this area home as well as several lizards and insects. On the sand sheet, which is the grasses and shrubs surrounding the sand dunes, you can see pronghorn, mule deer, elk, coyotes, and jack rabbits. As you move up the mountain bobcats, mountain lions, bears, elk, and mountain sheep call this area home. There is also a large selection of plants that grow throughout the Great Sand Dunes National Park and Preserve. It is very important to remember when visiting that these are wild animals. Mule deer are frequent visitors to the campgrounds and surrounding areas. Do NOT feed them!! They may look tame but are still wild animals and could easily hurt a human. Bears can sometime be seen in the campground so it is very important to use the bear boxes to prevent bears from stealing your food. Animals quickly learn where they can get a free, easy meal and then keep coming back. This often leads to the animals being destroyed because they no longer have a fear of people. Help keep the animals wild by keeping your distance and following the park service guidelines. Sledding/Sandboarding I just learned about using sandboards and sand-sleds that are designed for sand.
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Kristi Mountain Sports in Alamosa carries both and they are the only place to get them! They offer rentals or you can buy your own. Rentals are $18/day. I'm excited to try them out next time we head to the dunes but if you have tried one please let us know how they work. Click here to share your tips and experience on sandboarding. If you don't want to rent one, bring your own plastic sled but be advised this isn't always as fun as you might think. Many people think that sledding down the slopes will be a blast. And, honestly, if the conditions are right it is, but if they are not it is a lot of work and little reward. The best time to sled down the sand dunes is right after a rain when the sand is compacted together or when there is a layer of snow. If the sand is really dry it just piles up in front of your plastic sled and you don’t go very far or fast. As the San Luis Valley is a high mountain desert there is not always rain. Timing is everything but do NOT be on the sand dunes during a thunderstorm as lightning can kill you!! Hiking You can hike the dunes themselves or one of the nearby trails. There are hikes for all levels of hikers both on the dunes and up the mountains. Many people underestimate how difficult it actually is to climb the dunes. For one thing the altitude is higher than most people live so that will make a difference with your breathing but also when climbing in sand you take two steps up and slide back one. This makes you work extra hard plus you are sinking in the sand. Don’t get discouraged as the most fun is running and sliding/jumping down the sand dunes on your way down! Many people want to make it to the highest dune. This is where I always go. My favorite hike is to drive my 4WD vehicle up the Medano Pass Primitive Road to the Castle Creek Picnic Area and begin my climb from here. I enjoy the drive but mainly how easy it is to get to the dunes and begin climbing. Medano Creek runs right next to the dunes here so it is just a few hundred feet across the creek bed to the dunes. At the main parking lot the dunes are quite a ways from Medano Creek so you have a lot of flat ground to walk before even beginning the dune hike. Both ways get you to the top, one just has less flat land to cover. Once you get to the top you will notice that several other dunes around you look higher. Depending on where you are this could be the case but do not become obsessed with trying to reach them all. Once you get to another top you will look back and see where you just were might be higher. It is all about the perspective you are looking at. The tallest dune is Star Dune and can best be reached from the main parking lot but requires a long hike to get there. Once you are at the top take time to look around and see the magnificent views of the San Luis Valley, Sangre de Cristo Mountains, and the dunes themselves. It will be worth all of your effort! Many of the hikes take you through the flat land surrounding the dunes. The ground is still covered in sand but small shrubs and trees grow in this area. It allows for people to see the Great Sand Dunes National Park from a different perspective and enjoy hiking without climbing the actual dunes. As you hike keep an eye out for wildlife, especially mule deer, as they are often found around the Great Sand Dunes National Park. The Visitors Center has a great list of all the hikes in the area. To be honest, I have not hiked most of these as I always climb the dunes. Have you hiked the dunes? We would love to hear about it. Just click here to share. Best Times To Visit The Great Sand Dunes National Park can be visited any time of the year. The best times in my opinion to visit is in the spring, starting around May 1st, when the water starts to run. As the snow melts in the mountains, Medano Creek begins to run faster. While the creek never gets much higher than a foot or so deep, it is enough to splash around in. Near the parking lot the creek makes several turns and washes away the bank. This area can get several feet deep and you can float/surf down it a little ways. If you watch the water you will notice that it has surges of water. This is due to the sand as it creates mini dams for the water. Once a dam breaks there is a surge of water that comes flowing down the creek. This is known as surge flow, which only occurs at few places in the world!! In high run-off years the surges can be up to a foot high but in all my years coming here I have never seen that happen. I also love to visit the Great Sand Dunes National Park on a calm, warm winter day. I still have to bundle up in layers but it is so peaceful this time of year. I often see large herds of mule deer on my drive in and usually have the place to myself. I like to climb the dunes as well as walk up the dry creek bed. If it has been freezing for a few nights the sand is easier to climb as well. No matter what time of year you visit it is important to check the weather. The main concern with the weather is the wind and cold. On a windy day the Great Sand Dunes National Park is NOT the place to be as you will be sandblasted constantly and your trip will not be very fun. Another day to try and avoid is when it is cold out AND the wind is blowing. This makes your trip almost unbearable due to the cold winter weather. Unique Facts There are 6 endemic insects to the Great Sand Dunes National Park. Endemic means they are found nowhere else on earth. The most well known is the Great Sand Dunes Tiger Beetle. It is the unofficial mascot of the Great Sand Dunes. Indian Grove is a group of approximately 100 trees that have scars on their trunks from where the Ute and Navajo Indians removed the bark. The bark was then used in medicine, to make trays and baskets, and for food. The Indians knew how much bark they could remove without killing the tree. These trees are slowly dying of old age and removing a living artifact. A tree has been placed in the Visitors Center to allow all people to view a part of history. Ghost forests can also be found in the Great Sand Dunes National Park. This happens when sand piles up around tree due to “escape dunes.” An escape dune is one that has crossed over Medano Creek and is no longer part of the main dune field. This usually happens during drought years. As the sand piles around the trees it causes them to suffocate and die, leaving a ghost forest. Cottonwood trees have adapted and turn their lower branches into roots enabling them to live with the sand while most evergreen trees die. As you can see there is a lot to do and see at the Great Sand Dunes National Park and Preserve. Every time you visit it will be different as the water and sand are constantly changing. I hope this site helps you get the most out of your time at the Great Sand Dunes National Park and Preserve!!
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start: tool_blocks.c2.invitation.24293758 Headline Have a Great "Sand" Story? Did you build the biggest sand castle in the Rocky Mountains? Or hike to the very top? Share your story, tip, or review about the Great Sand Dunes National Park. Enter the Title of your Story or Review (ex. Great Sand Dunes Camping is the BEST!) Tell Us about your Trip! [ ? ] Close Help Entering your story is easy to do. Just type!... Your story will appear on a Web page exactly the way you enter it here. You can wrap a word in square brackets to make it appear bold. For example [my story] would show as my story on the Web page containing your story. TIP: Since most people scan Web pages, include your best thoughts in your first paragraph. Upload up to 4 pictures of your fun in the water, sand, hiking, etc. [ ? ] Close Help Do you have some pictures or graphics to add? Great! Click the button and find the first one on your computer. Select it and click on the button to choose it. Then click on the link if you want to upload up to 3 more images. The maximum image size accepted is 800x600 pixels. If your pictures is larger than this you will need to resize it using graphics software or a Web-based resizer, such as Picnik.
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Add a Picture/Graphic Caption (optional) Click here to upload more images (optional) Add a Picture/Graphic Caption (optional) Add a Picture/Graphic Caption (optional) Add a Picture/Graphic Caption (optional) Author Information (optional) To receive credit as the author, enter your information below. Your Name (first or full name) Your Location (e.g., City, State, Country) Submit Your Contribution Check box to agree to these submission guidelines . I am at least 16 years of age. I understand and accept the privacy policy . I understand that you will display my submission on your website. The following script uses document.write() to add the captcha to the page. (You can preview and edit on the next page) End show/hide div Click here to see the rest of the form and complete your submission. Comments about the Dunes Click on the links below to see some great stories and reviews about the Great Sand Dunes National Park. THE BEST TIME EVER!!!! Not rated yet I went to the sand dunes twice in my life and they were both such amazing experiences, but the most exciting part about my trips to the sand dunes was … They are right about the sledding! Not rated yet They are right about the sledding. I love going to the Sand Dunes. I've been there many times, but this one takes the cake.
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The Second Great Awakening | Boundless US History table of contents skip to content Skip to main content nav bar logo / branding Book Title Boundless US History page title Religion, Romanticism, and Cultural Reform: 1820–1860 end .author-name search bar Search for: end sub-nav end .nav-container for sitting footer at the bottom of the page The Second Great Awakening The Second Great Awakening The Second Great Awakening, which spread religion through revivals and emotional preaching, sparked a number of reform movements. Learning Objectives Summarize the central commitments and effects of the Second Great Awakening Key Takeaways Key Points The Second Great Awakening was a Protestant revival movement during the early nineteenth century. The movement started around 1800, had begun to gain momentum by 1820, and was in decline by 1870. Revivals were a key part of the movement and attracted hundreds of converts to new Protestant denominations. The Methodist Church used circuit riders to reach people in frontier locations. The Second Great Awakening led to a period of antebellum social reform and an emphasis on salvation by institutions. Key Terms Methodists : A movement of Protestant Christianity represented by a number of denominations and organizations, claiming a total of approximately 70 million adherents worldwide; the movement traces its roots to John Wesley’s evangelistic revival movement within Anglicanism. Baptist : Of or relating to a Protestant denomination of Christianity, which believes in the baptism of believers as opposed to the baptism of infants.
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Arminian : Of or relating to the religious philosophy founded by the Dutch theologian Jacobus Arminius. Introduction The Second Great Awakening was a Protestant revival movement during the early nineteenth century. The movement began around 1790 and gained momentum by 1800; after 1820, membership rose rapidly among Baptist and Methodist congregations, whose preachers led the movement. The Second Great Awakening began to decline by 1870. It enrolled millions of new members and led to the formation of new denominations. It has been described as a reaction against skepticism, deism, and rational Christianity, although why those forces became pressing enough at the time to spark revivals is not fully understood. The Second Great Awakening expressed Arminian theology, by which every person could be saved through revivals, repentance, and conversion. Revivals were mass religious meetings featuring emotional preaching by evangelists such as the eccentric Lorenzo Dow. Many converts believed that the Awakening heralded a new millennial age. The Second Great Awakening stimulated the establishment of many reform movements designed to remedy the evils of society before the Second Coming of Jesus Christ. Lorenzo Dow, American itinerant preacher : The Second Great Awakening included large revivals, which were passionate meetings led by evangelist preachers such as the eccentric Lorenzo Dow. The Second Great Awakening had a profound effect on American religious history. The numerical strength of the Baptists and Methodists rose relative to that of the denominations dominant in the colonial period, such as the Anglicans, Presbyterians, Congregationalists, and Reformed.
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Background The burst of religious enthusiasm that began in Kentucky and Tennessee in the 1790s and early 1800s among Baptists, Methodists, and Presbyterians owed much to the uniqueness of the early decades of the republic. These years saw swift population growth, broad western expansion, and the rise of participatory democracy. These political and social changes made many people anxious, and the more egalitarian, emotional, and individualistic religious practices of the Second Great Awakening provided relief and comfort for Americans experiencing rapid change. The awakening soon spread to the East, where it had a profound effect on Congregationalists and Presbyterians. The thousands swept up in the movement believed in the possibility of creating a much better world. Many adopted millennialism, the fervent belief that the Kingdom of God would be established on earth and that God would reign on earth for a thousand years, characterized by harmony and Christian morality. Those drawn to the message of the Second Great Awakening yearned for stability, decency, and goodness in the new and turbulent American republic. Evangelizing the Frontiers Congregationalists set up missionary societies to evangelize the western territory of the Northern Tier. Members of these groups acted as apostles for the faith, educators, and exponents of northeastern urban culture. The Second Great Awakening served as an organizing process that created, “a religious and educational infrastructure” across the western frontier that encompassed social networks, a religious journalism that provided mass communication, and church-related colleges. Publication and education societies promoted Christian education; most notable among them was the American Bible Society, founded in 1816.
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Women made up a large part of these voluntary societies. The Female Missionary Society and the Maternal Association, both active in Utica, New York, were highly organized and financially sophisticated women’s organizations responsible for many of the evangelical converts of the New York frontier. Each denomination that participated in the Second Great Awakening had assets that allowed it to thrive on the frontier. The Methodists had an efficient organization that depended on ministers known as “circuit riders,” who sought out people in remote frontier locations. The circuit riders came from among the common people, which helped them establish rapport with the frontier families they hoped to convert. Relation to Social Reform Social reform prior to the Civil War came largely out of this new devotion to religion. Efforts to apply Christian teaching to the resolution of social problems presaged the social gospel of the late nineteenth century. Converts were taught that to achieve salvation, they needed not only to repent for personal sin but also work for the moral perfection of society, which meant eradicating sin in all its forms. Thus, evangelical converts were leading figures in a variety of nineteenth-century reform movements. Reforms took the shape of social movements for temperance, women’s rights, and the abolition of slavery. Social activists began efforts to reform prisons and care for the handicapped and mentally ill. They believed in the perfectibility of people and were highly moralistic in their endeavors. Many participants in the revival meetings believed that reform was a part of God’s plan. As a result, local churches saw their role in society as purifying the world through the individuals to whom they could bring salvation, as well as through changes in the law and the creation of institutions. Interest in transforming the world was applied to political action, as temperance activists, antislavery advocates, and proponents of other variations of reform sought to implement their beliefs into national politics. While religion had previously played an important role on the American political scene, the Second Great Awakening highlighted the important role which individual beliefs would play.
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Unitarianism and Universalism Unitarianism and Universalism were early Christian denominations that spread quickly during the nineteenth century. Learning Objectives Discuss the central commitments and development of Unitarianism and Universalism in the United States Key Takeaways Key Points Unitarianism is a Christian theological movement named for its understanding of God as one person, in direct contrast to Trinitarianism, which defines God as three persons coexisting consubstantially as one in being. Unitarianism spread quickly through New England beginning in the mid-eighteenth century and was particularly influential in the theology of the Harvard Divinity School in the nineteenth century. The Universalist Church of America held that all human beings may be saved through Jesus Christ and would come to harmony in God’s kingdom. Universalism emerged in the late eighteenth century from a mixture of Anabaptists, Moravians, liberal Quakers, and people influenced by Pietist movements such as Methodism. Key Terms monotheism : The belief in a single god (one God), especially within an organized religion. Unitarianism : A Christian theological movement, named for its understanding of God as one person, in direct contrast to the belief of God as three persons coexisting consubstantially as one in being. Universalism : In Christianity, the belief that all humans may be saved through Jesus Christ and eventually will come to harmony in God’s kingdom. Unitarianism Unitarianism is a Christian theological movement named for its understanding of God as one person (in direct contrast to Trinitarianism, which defines God as three persons coexisting as one in being). Thus, Unitarians adhere to strict monotheism, maintaining that Jesus was a great man and a prophet of God but not God himself. Unitarianism began in Poland and Transylvania in the late sixteenth century and had reached England by the mid-seventeenth century.
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As early as the middle of the eighteenth century, a number of clergymen in New England preached what was essentially Unitarianism. The most prominent of these men was Jonathan Mayhew (1720–1766), pastor of the West Church in Boston, who preached the strict unity of God, the subordinate nature of Christ, and salvation by character. Charles Chauncy (1705–1787), pastor of the First Church from 1727 until his death, was both a Unitarian and a Universalist. The first official acceptance of the Unitarian faith on the part of a congregation was by King’s Chapel in Boston, which revised the prayer book into a mild Unitarian liturgy in 1785. From 1725 to 1825, Unitarianism gained ground in New England and other areas. Beginning in 1805, Unitarian books appeared by John Sherman and Noah Worcester. At the beginning of the nineteenth century, with one exception, all of the churches of Boston were occupied by Unitarian preachers, and various periodicals and organizations expressed Unitarian opinions. Churches were established in New York, Baltimore, Washington, Charleston, and elsewhere during this period. The Brattle Street Church in Boston, ca. 1859 : Boston was the center of Unitarian activity in America, and the Brattle Street Church was a prominent Unitarian venue. The period of American Unitarianism from about 1800 to 1835 can be thought of as formative, mainly influenced by English philosophy, semi-supernatural, imperfectly rationalistic, and devoted to philanthropy and practical Christianity. In 1800, Joseph Stevens Buckminster became minister of the Brattle Street Church in Boston, where his sermons and literary activities helped shape the subsequent growth of Unitarianism in New England. Unitarian Henry Ware was appointed as the Hollis professor of divinity at Harvard College in 1805, and Harvard Divinity school then shifted from its conservative roots to teach Unitarian theology.
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Rev. Joseph Stevens Buckminster, influential Unitarian preacher : Joseph Buckminster’s preaching and texts greatly influenced American Unitarian thought. Buckminster’s close associate William Ellery Channing became the leader of the Unitarian movement. At first mystical rather than rationalist in his theology, he took part with the “Catholic Christians,” as they called themselves, who aimed at bringing Christianity into harmony with the progressive spirit of the time. His essays, “The System of Exclusion and Denunciation in Religion” (1815) and “Objections to Unitarian Christianity Considered” (1819) made him a defender of Unitarianism. The result of the “Unitarian Controversy” in 1815 was a growing division in the Congregational churches, which was emphasized in 1825 by the formation of the American Unitarian Association at Boston. The association published books, supported poor churches, sent out missionaries, and established new churches in nearly every state. Universalism The Universalist Church of America, which held that all human beings may be saved through Jesus Christ and would come to harmony in God’s kingdom, emerged in the late eighteenth century from a mixture of Anabaptists, Moravians, liberal Quakers, and people influenced by Pietist movements such as Methodism. Americans from these religious backgrounds gradually created a new denominational tradition of Christian Universalism during the nineteenth century. The Universalist Church of America grew to be the sixth-largest denomination in the United States at its peak.
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John Murray, who is called the “Father of American Universalism,” was a central figure in the founding of the Universalist Church of America in 1793. He served as pastor of the Universalist Society of Boston and wrote many hymns. Another important figure in early American Christian Universalism was George de Benneville, a French Huguenot preacher and physician who was imprisoned for advocating Universalism and later emigrated to Pennsylvania, where he continued preaching on the subject. Noted for his friendly and respectful relationship with American Indians and his pluralistic and multicultural view of spiritual truth, George de Benneville was well ahead of his time. Other significant early modern Christian Universalist leaders included Elhanan Winchester, a Baptist preacher who wrote several books promoting the universal salvation of all souls after a period in purgatory and founded a church that ministered to African-American slaves in South Carolina; Hosea Ballou, a Universalist preacher in New England; and Hannah Whitall Smith, a writer and evangelist from a Quaker background who was active in the women’s suffrage and temperance movements. Women and Church Governance Women constituted the majority of converts and participants in the Second Great Awakening and played an important informal role in religious revivals. Learning Objectives Assess the role of women in the religious revivals of the eighteenth and nineteenth centuries Key Takeaways Key Points
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During the antebellum period, the Second Great Awakening inspired advocacy for a number of reform topics, including women’s rights. While they constituted the majority of converts and participants, women were not formally indoctrinated and did not hold leading ministerial positions. Women did, however, become very important informally, as they facilitated conversion and religious upbringing of their children. Women usually acted in their “status quo” duties, teaching the virtues of motherhood and domesticity. To appeal to this women’s movement, sermons often “feminized” Christ. Key Terms antebellum reform : Societal changes undertaken by American Christians in the late 1800s, including in the temperance, women’s-rights, and abolitionism movements. Women and the Second Great Awakening Women made up the majority of the converts during the Second Great Awakening and therefore played a crucial role in its development and focus. It is not clear why women converted in larger numbers than men. Several scholarly theories attribute the large number of conversions in part to women’s assumption of greater religiosity. Conversion allowed women to shape identities and form community in a time of economic and personal insecurity and to assert themselves even in the face of male disapproval. Conversion may even have served as a reaction to the perceived sinfulness of youthful frivolity. Some women, especially in the South, encountered opposition to their conversion from their husbands and had to choose between submission to God or to the head of the household. While there is no single reason women joined the revival movement, the revival provided many women with shared experiences. Church membership and religious activity gave women peer support and a place for meaningful activity outside of the home.
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Informal Leadership While they constituted the majority of converts and participants, women were not formally indoctrinated and did not hold leading ministerial positions. They did occasionally take on public roles during revivals. They preached or prayed aloud on rare occasions, but they were more likely to give testimonials of their conversion experience or work through the conversion process directly with sinners (who could be male or female). Women’s prayer was seen by leaders such as Charles Finney as a crucial aspect in preparing a community for revival and improving the revival’s efficacy. Charles Grandison Finney, evangelist preacher : During the Second Great Awakening, progressively minded western evangelists, led by Charles Finney, challenged the establishment’s restrictions on women’s participation in the church. Though they typically held no formal leadership roles, women became very important informally in the process of conversion and in the religious upbringing of their children through family structure and through their maternal roles. During the period of the revivals, mothers—who were seen as the moral and spiritual foundation of the family—used their teaching and influence to pass religion to their children. The rising number of women congregants influenced the doctrine preached by ministers as well. In an effort to give sermons that would resonate with the congregation, Christ was gradually “feminized” in this period to stress his humility and forgiveness.
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Early Organizing Despite the influential part they played in the Second Great Awakening, these women still largely acted within their “status quo” roles as mothers and wives. The change in women’s roles came mostly from their participation in increasingly formalized missionary and reform societies. During the antebellum period, the Second Great Awakening inspired advocacy for a number of reform topics, including women’s rights. Antebellum reform in areas such as women’s rights was affected not only by political enthusiasm, but also by religious or spiritual enthusiasm. Women’s prayer groups were an early and socially acceptable form of women’s organization. Through their positions in these organizations, women played a role outside of the domestic sphere. Frontier Revivals In the new frontier regions, the revivals of the Second Great Awakening took the form of vast and exhilarating camp meetings. Learning Objectives Describe the revival meetings characteristic of the Second Great Awakening Key Takeaways Key Points Camp meetings on the frontier attracted tens of thousands of worshippers who gathered for several days in large tents and listened to several different preachers in rotation. The preaching emphasized personal sins and salvation through Christ. Camp meetings were often the first experience settlers had with organized religion, and the meetings were a key recruiting method for the Methodists and Baptists. The Restoration Movement, which came out of an early camp meeting, focused on a fundamentalist interpretation of the New Testament and the establishment of a personal relationship with God.
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Key Terms Restoration Movement : A Christian development that began on the American frontier during the Second Great Awakening of the early nineteenth century. camp meetings : A form of Protestant Christian religious service, originating in Britain and once common in some parts of the United States, which involved people traveling from a large area to a particular site to listen to itinerant preachers and pray. Second Great Awakening : A Christian revival movement during the early nineteenth century in the United States. Revivals on the Frontier In the newly settled frontier regions, the revivals of the Second Great Awakening took the form of camp meetings. These meetings were often the first experience settlers had with organized religion. The camp meeting was a religious service of several days’ length involving multiple preachers. Settlers in thinly populated areas would gather at the camp meeting for fellowship. The sheer exhilaration of participating in a religious revival, with crowds of hundreds and perhaps thousands of people, inspired the dancing, shouting, and singing associated with these events. The revivals typically followed an arc of great emotional power and emphasized the individual’s sins and need to turn to Christ, and subsequent personal salvation. Upon their return home, most converts joined or created small local churches, which resulted in rapid growth for small religious institutions. With the effort of such leaders as Barton W. Stone (1772–1844) and Alexander Campbell (1788–1866), the camp meeting revival became a major mode of church expansion for denominations such as the Methodists and Baptists.
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Methodist camp meeting : Camp meetings were multi-day affairs with multiple preachers, often attracting thousands of worshippers. They were an integral part of the frontier expansion of the Second Great Awakening. One of the early camp meetings took place in July 1800 at Gasper River Church in southwestern Kentucky. A much larger gathering was later held at Cane Ridge, Kentucky, in 1801, attracting perhaps as many as 20,000 people. Numerous Presbyterian, Baptist, and Methodist ministers participated in the services. The Cumberland Presbyterian Church emerged in Kentucky, and Cane Ridge was instrumental in fostering what became known as the “Restoration Movement,” which was made up of nondenominational churches committed to what they saw as the original, fundamental Christianity of the New Testament. They were committed to individuals achieving a personal relationship with Christ. Charles Finney and the Burned-Over District The “Burned-Over District” in central and western New York was so named due to the rampant religious revivals of the nineteenth century. Learning Objectives Identify the key religious movements that emerged out of the western New York frontier Key Takeaways Key Points The “Burned-Over District” of upstate New York was a region that proved especially susceptible to the religious revivals of the early and mid-nineteenth century. The term was coined in 1876 by Charles Grandison Finney, who argued that the area had been so heavily evangelized as to have no “fuel” (unconverted population) left over to “burn” (convert). This region provided not only thousands of mainline Protestant converts, but also a number of new religions, utopian experiments, and social radicals.
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American religious leaders such as Joseph Smith, Jr., William Miller, and the Fox sisters all came from the district; the Shakers were established in the area as well. Key Terms spiritualism : A philosophic doctrine opposing materialism that claims transcendency of the divine being, the altogether spiritual character of reality, and the value of inwardness of consciousness. shaker : One of a Christian Protestant religious sect who do not marry, popularly so called because of the movements of the members in dancing, which forms a part of their worship. The “Burned-Over District” refers to the religious scene in early nineteenth-century western and central New York, where religious revivals and Pentecostal movements of the Second Great Awakening took place. The term was coined in 1876 by Charles Grandison Finney, who argued that the area had been so heavily evangelized as to have no “fuel” (unconverted population) left over to “burn” (convert). Map of the “Burned-Over District” : The “Burned-Over District” of upstate New York, covering an area from approximately Buffalo to the eastern shores of Lake Erie. Charles Finney Charles Grandison Finney (August 29, 1792–August 16, 1875) was a leader in the Second Great Awakening and has been called “The Father of Modern Revivalism.” Finney was an innovative revivalist, an opponent of Old School Presbyterian theology, an advocate of Christian Perfectionism, a pioneer in social reforms in favor of women and African Americans, a religious writer, and president at Oberlin College.
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Born in 1792 in western New York, Finney studied to be a lawyer until 1821, when he experienced a religious conversion and thereafter devoted himself to revivals. He led revival meetings in New York and Pennsylvania, but his greatest success occurred after he accepted a ministry in Rochester, New York, in 1830. At the time, Rochester was a boomtown because the Erie Canal had brought a lively shipping business. The new middle class—an outgrowth of the Industrial Revolution—embraced Finney’s message. It fit perfectly with their understanding of themselves as people shaping their own destiny. Workers also latched onto the message that they, too, could control their salvation, spiritually and perhaps financially. Intense flames of religious fervor swept the area of western New York during this time, in large part due to Finney’s work. Religious Movements in Western New York Western New York still had a frontier quality at the time, making professional and established clergy scarce. This contributed to the piety of the area and many of the self-taught qualities found in folk religion. Besides producing many mainline Protestant converts, especially in nonconformist sects, the area spawned a number of innovative religious movements, all founded by laypeople during the early nineteenth century. Joseph Smith, Jr., founded the Latter Day Saint movement, which later gave rise to Mormonism. The Fox sisters conducted some of the first table-rapping seances and helped inspire Spiritualism. The first communal Shaker farm was established in this area of New York during this period. William Miller and his followers, called Millerites, believed that the Second Coming would occur on October 22, 1844. Miller is credited with beginning the religious movement now known as “Adventism,” and several major religious denominations are his direct spiritual heirs, such as Seventh-day Adventists and Advent Christians.
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The Mormons Mormonism, the principal branch of the Latter Day Saint religious and cultural movement, emerged in the 1800s in upstate New York. Learning Objectives Summarize the early history of the Mormon Church Key Takeaways Key Points Mormonism is the principal branch of the Latter Day Saint religious and cultural movement. The movement began with the visions of Joseph Smith, Jr., in the “Burned-Over District” of upstate New York. Smith presented himself as a prophet and aimed to recapture what he viewed as the purity of the primitive Christian church that had been lost over the centuries. To Smith, this meant restoring male leadership. In 1830, Smith published The Book of Mormon and organized the Church of Christ in upstate New York. Due to persecution, the Mormons first moved to Ohio and then to Missouri. They were later expelled from Missouri, and so they built the city of Nauvoo, Illinois. After Smith was assassinated in 1844, Brigham Young and the Quorum of the Twelve took leadership of the church and led followers to a city near the Great Salt Lake in Utah. Key Terms Quorum of the Twelve : One of the governing bodies in the hierarchy of the Church of Jesus Christ of Latter-day Saints (LDS Church) made up of apostles with the calling to be prophets, seers, revelators, evangelical ambassadors, and special witnesses of Jesus Christ.
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burned-over district : The religious scene in the western and central regions of New York in the early 1800s, where religious revivals and Pentecostal movements of the Second Great Awakening took place. polygamy : The marriage of a man to more than one wife, or the practice of having several wives at the same time. The Development of Mormonism Mormonism is the principal branch of the Latter Day Saint religious and cultural movement. The movement began with the visions of Joseph Smith, Jr., in the “Burned-Over District” of upstate New York, which was so called for the intense flames of religious revival that swept across the region. Smith came from a large Vermont family that had not prospered in the new market economy and moved to the town of Palmyra, New York. In 1823, Smith claimed to have to been visited by the angel Moroni, who told him the location of a trove of golden plates or tablets. During the late 1820s, Smith translated the writing on the golden plates, and in 1830, he published his finding as The Book of Mormon. With a small following, he organized the Church of Christ later that year, the progenitor of the Church of Jesus Christ of Latter-day Saints popularly known as “Mormons.” He presented himself as a prophet and aimed to recapture what he viewed as the purity of the primitive Christian church—purity he believed had been lost over the centuries. To Smith, this meant restoring male leadership.
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Smith emphasized the importance of families being ruled by fathers. His vision of a reinvigorated patriarchy resonated with men and women who had not thrived during the market revolution, and his claims attracted those who hoped for a better future. Smith’s new church placed great emphasis on work and discipline. He aimed to create a New Jerusalem where the church would exercise oversight of its members. Joseph Smith, Jr. : Joseph Smith, Jr., founder of the Latter Day Saint movement, which gave rise to Mormonism. Moving Westward: The Mormon Exodus After the founding of the Church of Jesus Christ of Latter-day Saints (LDS) in 1830, members were often harshly treated by their neighbors, partially due to their religious beliefs and sometimes as a reaction against the actions and the words of the LDS Church and its members and leaders. This harsh treatment caused the body of the Church to move—first from New York to Ohio, then to Missouri, and then to Illinois, where church members built the city of Nauvoo. Smith’s claims of translating the golden plates antagonized his neighbors in New York. Difficulties with anti-Mormons led him and his followers to move to Kirtland, Ohio, in 1831. By 1838, as the United States experienced continued economic turbulence following the Panic of 1837, Smith and his followers were facing financial collapse after a series of efforts in banking and moneymaking ended in disaster. They moved to Missouri, but trouble soon developed there as well, as citizens reacted against the Mormons’ beliefs. The 1838 Mormon War with other Missouri settlers ensued, culminating in the expulsion of adherents from the state. After leaving Missouri, Smith built the city of Nauvoo, Illinois, near which he was assassinated in 1844.
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After Smith’s death, a succession crisis ensued, and a majority voted to accept the Quorum of the Twelve, led by Brigham Young, as the church’s leading body. The assassination of Smith made it clear the faith could not remain in Nauvoo—which the church had purchased, improved, renamed, and developed. The Mormon exodus began in 1846 when, in the face of these conflicts, Young decided to abandon Nauvoo and establish a new home for the church in the Great Basin. According to church belief, God inspired Young to call for the Saints (as church members call themselves) to organize and head west, beyond the western frontier of the United States (into what was then Mexico, though the U.S. Army had already captured New Mexico and California in late 1846). Young led his followers along the Mormon Trail, a 1,300-mile route that Mormon pioneers traveled from Nauvoo, Illinois, to Salt Lake City, Utah. The journey, taken by about 70,000 people, began with church fathers sending out advanced parties in March of 1846. In the spring of 1847, Young led the vanguard company to the Salt Lake Valley, which was then outside the boundaries of the United States and which later became Utah. The period (including the flight from Missouri in 1838 to Nauvoo) known as the “Mormon Exodus” is, by convention among social scientists, traditionally assumed to have ended with the completion of the first transcontinental railroad in 1869. Wagon train migrations to the far west continued sporadically until the twentieth century, but not everyone could afford to uproot and transport a family by railroad, and the transcontinental railroad network only serviced limited main routes.
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Mormon Practices Today a vast majority of Mormons are members of The Church of Jesus Christ of Latter-day Saints (LDS Church), while a minority are members of other churches. Some Mormons are also either independent or non-practicing. Utah is the center of Mormon cultural influence, and North America has more Mormons than any other continent, though the majority of Mormons live outside the United States. Mormons have developed a strong sense of community that stems from their doctrine and history. During the 1800s, Mormon converts tended to gather to a central geographic location. Between 1852 and 1890, many Mormons openly practiced plural marriage, a form of religious polygamy. Mormons dedicate large amounts of time and resources to serving in their church, and many young Mormons choose to serve a full-time proselytizing mission. Mormons have a health code that eschews alcoholic beverages, tobacco, coffee, tea, and other addictive substances. They tend to be very family-oriented and have strong connections across generations and with extended family. Mormons also follow strict laws of chastity, requiring abstention from sexual relations outside of marriage and strict fidelity within marriage. Mormons self-identify as Christian, though some of their beliefs differ from mainstream Christianity. Mormons believe in the Bible, as well as other books of scripture, such as the Book of Mormon. They have a unique view of cosmology and believe that all people are spirit children of God. Mormons believe that returning to God requires following the example of Jesus Christ and accepting his atonement through ordinances such as baptism. They believe that Christ’s church was restored through Joseph Smith and is guided by living prophets and apostles. The belief that God speaks to his children and answers their prayers is central to Mormon faith.
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Frequently Asked Questions - Statue Of Liberty National Monument (U.S. National Park Service) googleoff: index Skip to global NPS navigation Skip to park navigation Skip to main content Skip to park information Skip to footer googleon: index googleoff: index googleon: index googleoff: index National Park Service Logo National Park Service Search This Site All NPS Search Open Menu Explore This Park <ul id="GlobalNav" class="GlobalNav GlobalNav-lvl-1"> googleon: index Statue Of Liberty National Monument New York googleoff: index _CSDPFID=3671292|3671292=_CSDPFID nav googleoff: index googleon: index googleon: index googleoff: index Info Alerts Maps Calendar Reserve id="UtilityNav" class="UtilityNav" class="Utility-nav" googleon: index <div class="container no-gutter"> id="Park-header"> Alerts In Effect Dismiss × Contact Us googleoff: index googleon: index Frequently Asked Questions Jump To: May I Visit ... About the Statue Plan Your Visit Keep in Contact Statue Symbols Statue Geography May I Visit … ... the crown or the pedestal of the Statue of Liberty? Tickets to the crown and pedestal are limited, so plan your visit today! ... the museum on Liberty Island? The museum is located near the flag pole, and is accessible to all visitors. ... the Ellis Island Immigration Museum? Yes. Artifacts, documents, and other historic items are available throughout the exhibits. Visitors can see many of the historic rooms that immigrants would have passed through. A guided tour of the Contagious Disease Ward is available by reservation only via booking online at statuecruises.com. Learn how to plan your visit to Ellis Island.
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… the inside area of the Statue of Liberty? Pedestal or crown tickets are required. Check www.statuecruises.com for available dates and times. … the Crown? Those wishing to visit the Crown must be able to walk approximately 10 floors of stairs. This includes a narrow spiral staircase inside the Statue's body. Crown tickets are available by reservation usually 3-4 months in advance. … the Torch? No. The torch, accessed by a narrow 40 foot ladder, has been closed to the public since July 30, 1916. … the Fort? To access the top of Fort Wood, visitors must have pedestal or crown tickets. Are there storage facilities on Liberty Island? There are lockers available for visitors entering the monument with pedestal or crown access tickets. "Grounds Only" ticket holders must keep all of their items with them at all times. I'm using a car to get to the ferry. Is parking available? Ferries depart from Battery Park in New York City, and from Liberty State Park, Jersey City, NJ. Although private parking garages are available in New York City, parking is usually very limited and very expensive. There is ample car and bus parking at the ferry area in Liberty State Park, New Jersey. Parking fees are nominal compared to parking in New York. Plan Your Visit to the Statue of Liberty
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What are your hours of operation? We are open nearly every day year-round between the hours of 8:30AM-5PM (the last ferry departing from New York City and from Liberty State Park in New Jersey is at 3:30PM). We are closed on the fourth Thursday of November for Thanksgivng Day and on December 25th. We close early on December 24th. Hours are extended during the summer season. Schedule changes are possible during extreme weather conditions. Do I need to buy a ticket to visit the island? Yes, tickets are needed to board the ferry. Statue Cruises is the only authorized concession for the park. I have a question about my ticket purchase. Who should I contact? Statue Cruises is the ferry operator. How can I view the inside interior of the Statue of Liberty? Advanced reservations for the inside of the Statue of Liberty are currently available at www.statuecruises.com . What are my food options? A refreshments menu can be found on our concessionaire's webpage at Evelyn Hill Inc. . They have a snack bar on both islands. You can also bring your own food, but large coolers are not permitted. Are pets allowed in the park? No, pets are not permitted on the ferry system or in the park itself. Documented service/assist animals are exempt from this regulation. May I have a special event on the island?
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Special events can be arranged through our permit process. For more information, visit our Permits page. May I dock my personal vessel at the island? No. Due to security concerns, docking of private vessels is not permitted. All visits to the island must be made through Statue Cruises; the official transportation concessionaire. May I use my National Park Pass when visiting this park? No. National Park passes are valid at parks that charge an entrance fee. Liberty and Ellis Islands are fee-exempt by law. The price of the ferry ticket covers the cost of transportation by the concessionaire. Can I get a reserved tour? Ranger-guided tours are offered to the public on a first-come, first-served basis. They cannot be reserved. Program listings are posted each day at the Liberty Island Information Center. Frequency is dependent upon daily staffing levels. About the Statue of Liberty What materials make up the Statue of Liberty? The Statue of Liberty is made of copper 3/32in. (about 2.5mm) thick, the same as two American pennies placed together. The internal structure is comprised of cast iron and stainless steel. Why is the Statue green? The Statue's copper has naturally oxidized to form the outer patina or green coating. Upon completion in 1886, the Statue of Liberty was more of a traditional brown color like an American penny. It took about thirty years for the Statue of Liberty to fully oxidize and form a patina.
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How tall is the Statue of Liberty? The Statue is 305 feet and 1 inch (about 93m) in height from the ground to the tip of the flame. This is an equivalent height of a 22-story building. In 1886, the Statue of Liberty was the tallest structure in New York City. See more Statue Statistics . Why is the Statue of Liberty a woman? Classical images of Liberty are often depicted in a female form. The Statue of Liberty was modeled after the Roman Goddess of Liberty. Which direction does the Statue face? The Statue of Liberty was placed inside the existing Fort Wood and faces southeast. The Statue's position makes it a welcoming symbol for arriving ships. Does the Statue of Liberty ever get struck by lightning? Yes! As one of the tallest structures in New York Harbor, the Statue of Liberty gets struck by lightning on an infrequent basis. The Statue is grounded through the massive concrete and granite pedestal. How many Torches have there been on the Statue? The Statue is holding her second torch. The first torch's interior support structure corroded beyond repair. French artists created a new torch to the exact specifications that the artist Bartholdi originally desired; a copper flame gilded in 24K gold. It is reflective of the sun's rays in daytime, and lighted by floodlights at night. The original torch was removed in 1984, and is now on display in our museum.
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Symbols on the Statue of Liberty What does the torch represent? The torch is a symbol of enlightenment; since her official name is "Liberty Enlightening the World." What is written on the Statue's tablet? The tablet in the Statue's left hand has the date of American Independence: July 4, 1776. The date is written in Roman numerals, and reads July IV MDCCLXXVI. What does the Statue wear on her head? The Statue of Liberty wears a crown, or diadem. The spiers above this crown represent light, like a halo, since she is the Roman Goddess Libertas. Where on the Statue are the broken chains located, and what do the chains mean? The broken chains are near the Statue's feet, and are not visible from the ground level. Many believe that the chains represent breaking free from tyranny and servitude. Keep in Contact with the Statue of Liberty... What should I do if I've lost an item on Liberty Island? If you are still at Liberty, check-in at the Information Center. If the item hasn't been recovered, fill out a Lost and Found report at that time. We will contact you if your item gets turned in by another visitor. If you discover your loss after you leave the park, make a report . How can I contact the park? For more information, please Contact Us .
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Does the Statue of Liberty have a Facebook page? Yes! Our Facebook username is StatueLibrtyNPS . Is Liberty Island on Twitter ? Yes! Visit us on Twitter by following @StatueEllisNPS . Is Liberty Island on Instagram? Yes! Visit us on Instagram by following @StatueEllisNPS Where are Statue webcams located? There are multiple webcams located on the torch. We invite you to visit our webcam page at Photos and Multimedia . Statue of Liberty Geography Is the Statue in New York or New Jersey? The Statue of Liberty is on Liberty Island; which is federal property administered by the National Park Service. The island is part of the territorial jurisdiction of the State of New York. Is the Statue of Liberty on Ellis Island? No. The park is comprised of two separate islands; Liberty Island and Ellis Island. The Statue of Liberty is on Liberty Island. Ellis Island, a former federal immigration station, is now the Ellis Island National Museum of Immigration. Is Liberty Island a man-made island? Liberty Island has received some landfill on its western shore for administrative and maintenance purposes. However, the land directly under and around the Statue of Liberty is natural. Learn about the Island's original usage by going to our History and Culture page. col-sm-12 row ColumnMain col-sm-9 ColumnGrid row end container Last updated: June 12, 2019
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The Right Stuff (1983) - Full Cast & Crew - IMDb h=ics-c52xl-10-1b-365e7752.us-east-1 [if IE]><link rel="stylesheet" type="text/css" href="https://m.media-amazon.com/images/G/01/imdb/css/collections/ie-3579153447._CB468514839_.css" /><![endif] begin SRA begin ads header end ads header begin sis pixel slot Begin SIS code End SIS code begin comscore beacon end comscore beacon end sis pixel slot Menu Movies Release Calendar DVD & Blu-ray Releases Top Rated Movies Most Popular Movies Browse Movies by Genre Top Box Office Showtimes & Tickets Showtimes & Tickets In Theaters Coming Soon Coming Soon Movie News India Movie Spotlight TV Shows What's on TV & Streaming What's on TV & Streaming Top Rated Shows Most Popular Shows Browse TV Shows by Genre TV News India TV Spotlight Watch What to Watch Latest Trailers IMDb Originals IMDb Picks IMDb Podcasts Awards & Events Oscars Best Picture Winners Best Picture Winners Golden Globes Emmys STARmeter Awards San Diego Comic-Con New York Comic-Con Sundance Film Festival Toronto Int'l Film Festival Awards Central Festival Central All Events Celebs Born Today Most Popular Celebs Most Popular Celebs Celebrity News Community Help Center Contributor Zone Polls For Industry Professionals All All Titles TV Episodes Celebs Companies Keywords Advanced Search Watchlist Sign In begin TOP_AD End TOP_AD no content received for slot: navstrip begin INJECTED_NAVSTRIP End INJECTED_NAVSTRIP begin INJECTED_BILLBOARD End INJECTED_BILLBOARD Edit The Right Stuff (1983) Full Cast & Crew See agents for this cast & crew on IMDbPro
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Directed by Philip Kaufman Writing Credits Philip Kaufman ... (written for the screen by) Tom Wolfe ... (based on the book by) Cast (in credits order) verified as complete Sam Shepard ... Chuck Yeager Scott Glenn ... Alan Shepard Ed Harris ... John Glenn Dennis Quaid ... Gordon Cooper Fred Ward ... Gus Grissom Barbara Hershey ... Glennis Yeager Kim Stanley ... Pancho Barnes Veronica Cartwright ... Betty Grissom Pamela Reed ... Trudy Cooper Scott Paulin ... Deke Slayton Charles Frank ... Scott Carpenter Lance Henriksen ... Wally Schirra Donald Moffat ... Lyndon B. Johnson Levon Helm ... Jack Ridley / Narrator Mary Jo Deschanel ... Annie Glenn Scott Wilson ... Scott Crossfield Kathy Baker ... Louise Shepard Mickey Crocker ... Marge Slayton Susan Kase ... Rene Carpenter Mittie Smith ... Jo Schirra Royal Dano ... Minister David Clennon ... Liaison Man Jim Haynie ... Air Force Major Jeff Goldblum ... Recruiter Harry Shearer ... Recruiter Scott Beach ... Chief Scientist Jane Dornacker ... Nurse Murch Anthony Munoz ... Gonzales John P. Ryan ... Head of Program Darryl Henriques ... Life Reporter Eric Sevareid ... Eric Sevareid William Russ ... Slick Goodlin Drew Letchworth ... The Permanent Press Corps Christopher P. Beale ... The Permanent Press Corps Richard Dupell ... The Permanent Press Corps William Hall ... The Permanent Press Corps
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John X. Heart ... The Permanent Press Corps Ed Holmes ... The Permanent Press Corps Jack Bruno Tate ... The Permanent Press Corps Edward Anhalt ... Grand Designer Mary Apick ... Woman Reporter Robert Beer ... Dwight D. Eisenhower Erik Bergmann ... Eddie Hodges James Brady ... Aide to Lyndon B. Johnson (as James M. Brady) Katherine Conklin ... Woman TV Reporter Maureen Coyne ... Waitress Tom Dahlgren ... Bell Aircraft Executive John Lion ... Bell Aircraft Executive Peggy Davis ... Sally Rand John Dehner ... Henry Luce Robert Elross ... Review Board President Drew Eshelman ... Assistant Scientist Robert J. Geary ... Game Show M.C. Royce Grones ... 1st X-1 Pilot (as Major Royce Grones) David Gulpilil ... Aborigine Anthony Wallis ... Australian Driver (as Anthony Wallace) Kaaren Lee ... Young Widow Sandy Kronemeyer ... Cocoa Beach Girl Frankie Di ... Cocoa Beach Girl Michael Pritchard ... Texan Ed Corbett ... Texan O-Lan Jones ... Girl at Pancho's (as O-Lan Shepard) Mark Todd ... Astronaut Trainee Allen Gebhardt ... Astronaut Trainee (as Alan Gebhart) Chuck Yeager ... Fred (as General Chuck Yeager) Rest of cast listed alphabetically: Ed Sullivan ... Self (archive footage) Gilbert Bazan ... Spectator (uncredited) Alan Bendich ... NYPD Patrolman (uncredited) Ronnie Dee Blaire ... Voiceover (uncredited) Nikolai Bulganin ... Self - Viewing Parade for Gagarin (archive footage) (uncredited)
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Bill Dana ... José Jimenez (archive footage) (uncredited) Craig Elario ... Self (uncredited) Shawn Flanagan ... Fan at the cow palace (uncredited) Yuri Gagarin ... Self - Embracing Khrushchev (archive footage) (uncredited) Lyndon B. Johnson ... Self - Standing Behind JFK (archive footage) (uncredited) John F. Kennedy ... Self (archive footage) (uncredited) Nikita Khrushchev ... Self - Embracing Gagarin (archive footage) (uncredited) Christopher Kriesa ... Mission Control Room Man (uncredited) Georgi Malenkov ... Self - Viewing Parade for Gagarin (archive footage) (uncredited) James Mathers ... Capt. Mills (uncredited) Anastas Mikoyan ... Self - Viewing Parade for Gagarin (archive footage) (uncredited) Randy Outzen ... Reporter (uncredited) Mimi Sarkisian ... New Mexico Nurse in Lobby (uncredited) Gregory Rae Stone ... Hero Extra (uncredited) Paula Telander ... Party Guest (uncredited) Tony Toscano ... Reporter (uncredited) Kliment Voroshilov ... Self - Viewing Parade for Gagarin (archive footage) (uncredited) Dean Wood ... Technician (uncredited) Produced by James D. Brubaker ... executive producer Robert Chartoff ... producer Irwin Winkler ... producer Music by Bill Conti Cinematography by Caleb Deschanel ... director of photography Film Editing by Glenn Farr Lisa Fruchtman Tom Rolf Stephen A. Rotter Douglas Stewart Casting By Lynn Stalmaster Production Design by Geoffrey Kirkland Art Direction by W. Stewart Campbell Richard Lawrence ... (as Richard J. Lawrence) Peter R. Romero ... (as Peter Romero) Set Decoration by
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George R. Nelson Jim Poynter ... (as Pat Pending) Makeup Department Karen Bradley ... makeup artist Catherine Childers ... hair stylist Yvonne Curry ... makeup artist (as J. Yvonne Curry) Bruce Geller ... hair stylist Pat Grover ... hair stylist (as Patricia Grover) Production Management James D. Brubaker ... production manager Ned Kopp ... production manager: additional photography Larry Powell ... unit production manager: desert and aerial unit David Whorf ... unit production manager Second Unit Director or Assistant Director Nancy Giebink ... second assistant director: additional unit L. Dean Jones Jr. ... second assistant director Michael Looney ... additional second assistant director Sharon Mann ... additional second assistant director Ed Milkovich ... first assistant director: desert and aerial unit (as Edward F. Milkovich) Charles Myers ... first assistant director (as Charles A. Myers) / first assistant director: additional unit (as Charles A. Myers) Art Department James R. Allen ... assistant property master Thomas Anderson ... labor foreman Peter Bankins ... lead set dresser (as Peteris M. Bankins) Steve Banks ... additional set dresser Tim Boxell ... storyboard artist Alan Covey Jr. ... greensman Dale Edward Cowart ... drapery foreman Paul Dal Porto ... property master Bruce Di Valerio ... construction foreman Cal DiValerio ... supervising construction coordinator (as Cal Di Valerio) Craig Edgar ... set designer Robert Evans ... stand-by painter
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Emily Ferry ... supervising property master Tom J. Furginson ... lead set dresser (as Thomas J. Furginson) Gary Gutierrez ... storyboard artist Elizabeth Hamilton ... paint coordinator Dale Haugo ... paint foreman (as Dale Halgo) Donald E. Kerns ... additional set dresser Rich Larson ... storyboard artist (as Richard Larson) Joel David Lawrence ... set designer Leo Loverro ... construction foreman Rick Moore ... artist Nick Navarro ... set designer (as Nicanor Navarro) Gene Rudolf ... visual consultant Don Watson ... drapery supervisor Dwight Williams ... construction coordinator (as Dwight E. Williams) George Zimninsky ... lead set dresser William Boyd ... construction foreman (uncredited) Scott H. Campbell ... assistant art director (uncredited) Jim Fiorito ... scenic artist (uncredited) Gerald Gates Jr. ... paint foreman (uncredited) Tom Jung ... poster designer (uncredited) Sound Department C.J. Appel ... adr editor Sandina Bailo-Lape ... Dialogue and ADR Assistant (as Sandina Bailo) Tom Bellfort ... adr assistant Danny Benson ... cable person John Benson ... Sound Effects Editor Mark Berger ... Supervising Re-Recording Mixer Jay Boekelheide ... Supervising Sound Editor Todd Boekelheide ... Re-Recording Mixer Karen Brocco ... sound technician Valerie Bryce ... recordist T.M. Christopher ... sound effects assistant (as Tom Christopher) Sukey Fontelieu ... sound effects assistant Vivien Hillgrove Gilliam ... dialogue editor Cynthia Haagens ... foley assistant editor Tim Holland ... Sound Effects Editor
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Richard Hymns ... supervising dialogue editor Pat Jackson ... Sound Effects Editor Mary Helen Leasman ... changes assistant David MacMillan ... production sound mixer (as David R.B. MacMillan) Michael Magill ... sound effects assistant Robert Marty ... recordist Barbara McBane ... dialogue editor Marilyn McCoppen ... dialogue assistant David Parker ... Location and Sound Effects Mixer Diana Pellegrini ... foley editor Steve Powell ... boom operator (as Stephen E. Powell) E. Jeane Putnam ... sound apprentice (as Jeane Putnam) Fred Runner ... sound apprentice Paige Sartorius ... sound apprentice Thomas Scott ... Re-Recording Mixer (as Tom Scott) Michael Silvers ... dialogue assistant Karen Spangenberg ... dialogue assistant Stephen Sutter ... Re-Recording Mix Assistant (as Stephen J. Sutter) Randy Thom ... Re-Recording Mixer Dennie Thorpe ... foley artist Christopher Weir ... sound effects assistant Karen G. Wilson ... Sound Effects Editor (as Karen Wilson) Andy Wiskes ... Re-Recording Mixer J. Michael Davis ... sound sampler (uncredited) Richard Hymns ... Sound Effects Editor (uncredited) David Parker ... sound effects recordist (uncredited) / sound recordist (uncredited) Donald C. Rogers ... technical director of sound (uncredited) Ewa Sztompke ... sound technician (uncredited) Clive Taylor ... sound recordist (uncredited) Randy Thom ... sound effects artist (uncredited) / sound effects recordist (uncredited) Special Effects by Stan Parks ... special effects foreman Ken Pepiot ... special effects supervisor (as Kenneth Pepiot)
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David Pier ... special effects foreman Rod P. Sharpe ... technical engineering advisor Joseph C. Sasgen ... special effects electronics (uncredited) Visual Effects by Terry Lynn Allen ... editorial coordinator: USFX Peter Amundson ... editorial coordinator: USFX Stewart Barbee ... effects cameraman: USFX Jordan Belson ... special visual creations Leigh Blicher ... editorial coordinator: USFX Zac Bogart ... motion control systems designer: USFX Michael Bottero ... key grip: USFX Kris Boxell ... art assistant: USFX Bill Buttfield ... modelmaker: USFX David Carothers ... modelmaker: USFX Peter Daulton ... first assistant cameraman: USFX Don Dow ... effects cameraman: USFX (as Donald Dow) John V. Fante ... effects cameraman: USFX Rick Fichter ... effects cameraman: USFX Whitney Green ... production manager: USFX William Groshelle ... second assistant cameraman: USFX Gary Gutierrez ... supervisor special visual effects: USFX Peter Hadres ... key grip: USFX Bill Hansard Jr. ... process coordinator (as William G. Hansard Jr.) Donald Hansard Sr. ... process coordinator (as Donald R. Hansard) Toby Heindel ... second assistant cameraman: USFX H. Kent Hendricks ... photographic printer: USFX Karl Herrmann ... effects cameraman: USFX Jan M. Heyneker ... chief stage technician: USFX Jena Holman ... art supervisor: USFX Jay Ignaszewski ... chief stage technician: USFX Rick Kerrigan ... production administator: USFX (as Richard Kerrigan) Greg Kimble ... second assistant cameraman: USFX (as Gregory Kimble)
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Pete Kleinow ... modelmaker: USFX (as Peter Kleinow) Dan Kuhn ... key grip: USFX Michael Lawler ... effects cameraman: USFX Frank Morelli ... chief model designer: USFX Deborah Morgan ... second assistant cameraman: USFX Thaine Morris ... pyrotechnician: USFX Earle Murphy ... model shop supervisor: USFX Bill Neil ... effects cameraman: USFX (as William Neil) Jenny Oznowicz ... editorial apprentice: USFX Diana Pellegrini ... editorial coordinator: USFX Rick Perkins ... mechanical designer: USFX Gary Platek ... technical researcher: USFX Bruce Richardson ... modelmaker: USFX Lawrence G. Robinson ... process supervisor Martin Rosenberg ... first assistant cameraman: USFX Tom Rudduck ... modelmaker: USFX John Rynn ... computer programmer: USFX David Shwartz ... modelmaker: USFX Mark Stetson ... chief model designer: USFX Gordon Stout ... engineering consultant: USFX Chris Strohmeyer ... key grip: USFX Zuzana Swansea ... modelmaker: USFX Pat Turner ... first assistant cameraman: USFX (as Patrick Turner) Christine Whitney ... assistant production administrator: USFX Thomas Baker ... main title graphics (uncredited) Ira Keeler ... model maker (uncredited) Susan Turner ... visual effects (uncredited) Stunts Rande DeLuca ... parachute stunts Buddy Joe Hooker ... stunt coordinator Clay Lacy ... stunt pilot Phil Pastuhov ... parachute stunts Art Scholl ... stunt pilot (as Arthur Scholl) Joseph Leonard Svec ... parachute stunts B.J. Worth ... parachute stunts Buddy Joe Hooker ... stunt double: riding: Sam Shepard (uncredited)
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Joseph Leonard Svec ... parachuting stunt double: Sam Shepard (uncredited) Camera and Electrical Department Elizabeth Bailey ... video assistant Jim Beebe ... aerial photographer Maurice Beesley ... electrician Gary M. Brickley ... grip Hugh Byrne ... best boy grip (as Hugh C. Byrne Jr.) Steve Cardellini ... grip (as Steven L. Cardellini) Dave Childers ... electrician (as David O. Childers) Ted Churchill ... Steadicam operator Ray De La Motte ... additional camera operator Craig Denault ... camera operator Alan R. Disler ... first assistant camera (as Alan Disler) Stephen J. Gardner ... best boy Jeff Gershman ... assistant camera: desert (as Jeffrey Gershman) Gary Gill ... grip (as Girard A. Gill Jr.) Jeff Gilliam ... gaffer (as Jeffrey Gilliam) Ron Grover ... still photographer Jon Guterres ... key grip (as Jonathan Guterres) Gary Holt ... supervising gaffer Brad Jerrell ... electrician (as Brad L. Jerrell) Louis Mahler ... video technician (as Louis E. Mahler) Harry Mathias ... Steadicam operator Stan McClain ... assistant camera: aerial unit Nick McLean ... additional camera operator Paul Murphey ... video operator (as Paul Jay Murphy) Hiro Narita ... additional camera operator Dennis Pope ... best boy grip Medel Ramos ... electrician Art Scholl ... aerial photographer Tom Sindicich ... grip (as Thomas Sindicich) Chris Squires ... second assistant camera (as Christopher Squires) Bill Bennett ...
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aerial camera operator (uncredited) Mark Ludwig ... second assistant camera (uncredited) Michael Maley ... electrician (uncredited) Tony Rivetti ... first assistant camera: additional first assistant (uncredited) Skip Stanyan ... electrician (uncredited) Casting Department Ann Brebner ... additional casting: San Francisco Patricia de Oliveira ... casting assistant Gail Eisenstadt ... casting assistant Costume and Wardrobe Department William Browder ... costumer Winnie D. Brown ... costumer: women (as Winnie Brown) Jill Maley ... costumer Monique Montgomery ... promotion wardrobe coordinator John Napolitano ... costumer James W. Tyson ... costume supervisor (as Jim Tyson) Editorial Department Donah Bassett ... negative cutter Louis Benioff ... first assistant editor Susanna Blaustein ... apprentice editor Nicole Boris ... editorial assistant David Dresher ... apprentice editor Jack Garsha ... color timer Cliff Latimer ... apprentice editor (as Clifford Latimer) Victor Livingston ... first assistant editor John Morris ... apprentice editor Sara Roberts ... assistant editor Bob Sarles ... apprentice editor Frank Simeone ... apprentice editor (as Franklin Simeone) John Teton ... editorial consultant Jeff Watts ... assistant editor Jenny Weyman-Cockle ... assistant editor (as Jennifer Weyman-Cockle) Robert Yano ... apprentice editor William Chartoff ... apprentice editor (uncredited) Location Management Steph Benseman ... additional locations (as Stephen S. Benseman) Rory Enke ... additional locations Michael Polaire ... location manager Patrick Ranahan ... additional locations Ken Freeze ... location consultant (uncredited)
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Music Department Michael Boddicker ... musician: synthesizer (uncredited) Todd Boekelheide ... additional music by Susan R. Crutcher ... source music editor (as Susan Crutcher) Vivien Hillgrove Gilliam ... source music editor Stephen A. Hope ... music editor Garth Hudson ... composer: additional music Forrest Patten ... music researcher (as Forrest O. Patten) Dan Wallin ... scoring mixer Harry Bluestone ... musician: violin (uncredited) Tom Boyd ... musician: oboe soloist (uncredited) Dennis Budimir ... musician: guitar (uncredited) Denyse Buffum ... musician: viola (uncredited) Larry Bunker ... musician: percussion (uncredited) Gene Cipriano ... musician: saxophone, clarinet (uncredited) Bill Conti ... composer: source music (uncredited) / conductor (uncredited) / music arranger (uncredited) / music producer (uncredited) Vince De Rosa ... musician: french horn (uncredited) Chuck Domanico ... musician: double bass (uncredited) Bonnie Jean Douglas ... musician: violin (uncredited) David Duke ... musician: french horn (uncredited) Arni Egilsson ... musician: double bass (uncredited) Dominick Fera ... musician: saxophone, clarinet (uncredited) Endre Granat ... musician: violin (uncredited) Ralph Grierson ... musician: keyboards (uncredited) Alan Harshman ... musician: viola (uncredited) Richard Hazard ... orchestrator (uncredited) Norman Herzburg ... musician: bassoon (uncredited) Garth Hudson ... musician: keyboards (uncredited) Anatol Kaminsky ... musician: violin (uncredited) Armand Kaproff ... musician: cello (uncredited) Roland Kato ... musician: viola (uncredited) Milton Kestenbaum ... musician: double bass (uncredited) Connie Kupka ... musician: violin (uncredited)
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Michael Lang ... musician: keyboards (uncredited) Ronny Lang ... musician: saxophone, clarinet (uncredited) Gayle Levant ... musician: harp (uncredited) Warren Luening ... musician: trumpet (uncredited) Arthur Maebe ... musician: french horn (uncredited) Lincoln Mayorga ... musician: keyboards (uncredited) Malcolm McNab ... musician: trumpet (uncredited) Michael Melvoin ... musician: keyboards (uncredited) Peter Mercurio ... musician: double bass (uncredited) Tommy Morgan ... musician: harmonica (uncredited) Angela Morley ... orchestrator (uncredited) Victor Morosco ... musician: saxophone, clarinet (uncredited) Carole Mukagawa ... musician: viola (uncredited) Richard Nash ... musician: trombone (uncredited) Richard Perissi ... musician: french horn (uncredited) Joe Porcaro ... musician: percussion (uncredited) Dorothy Remsen ... musician: harp (uncredited) Emil Richards ... musician: percussion (uncredited) George Roberts ... musician: trombone (uncredited) Gale Robinson ... musician: french horn (uncredited) Thomas Z. Shepard ... musician: trombone (uncredited) Paul Shure ... musician: violin (uncredited) Sheridon Stokes ... musician: flute (uncredited) Chet Swiatkowsky ... musician: keyboards (uncredited) Tommy Tedesco ... musician: guitar (uncredited) Milton Thomas ... musician: viola (uncredited) Louise Di Tullio ... musician: flute (uncredited) Lloyd Ulyate ... musician: trombone (uncredited) Ian Underwood ... musician: keyboards (uncredited) Ernie Watts ... musician: saxophone, clarinet (uncredited) Celia Weiner ... music editor (uncredited) Chauncey Welsch ... musician: trombone (uncredited) Script and Continuity Department Alice Tompkins ... script supervisor Transportation Department Ed Arter ... transportation co-captain Russell McEntyre ... transportation coordinator
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Bruce Richardson ... transportation captain Dan Riportella ... transportation captain (as Danny Riportella) Ed Wirth ... transportation co-captain Additional Crew Don Aites ... military liaison officer: USCG (as Capt. Don Aites) Joey Bacow ... production assistant Ted Bear ... historical research Dale Benson ... promotion consultant Karen Bergman ... stock footage researcher Lynne Birdt ... assistant production accountant Gloria S. Borders ... stock footage researcher (as Gloria Borders) Kevin Breslin ... production assistant Dell Byrne ... stock footage researcher Christine Claycombe-Brooks ... crowd promotion coordinator Martha Cohen ... production assistant Janet Crosby ... assistant: Mr. Winkler Dan Curry ... title designer Patricia de Oliveira ... assistant: Mr. Kaufman Robert Evans Lowy ... production assistant Jonathan Fairbanks ... production assistant Karen Frerichs ... assistant: Mr. Kaufman Tom Gray ... unit publicist Royce Grones ... military liaison officer: USAF (as Maj. Royce Grones) Richard P. Hallion ... historical research (as Dr. Richard P. Hallion) Larry Heflin ... stock footage researcher Diane Jackson ... production secretary Peter Kaufman ... assistant: Mr. Kaufman Howard Kosters ... military liaison officer: USAF (as Lt. Col. Howard Kosters) Alan Ladd Jr. ... presenter Nancy LaLuntas ... military liaison officer: USMC (as Capt. Nancy LaLuntas) Pixie Larson ... military liaison officer: USN (as Lt. Pixie Larson) JoAnn May-Pavey ... production coordinator (as Jo Ann May-Pavey) Michael O'Donnell ... craft service
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Nancy Olexo ... historical research (as Nancy Oleko) Barbara Parker ... assistant: Mr. Kaufman Susan Roether ... production secretary Art Schaefer ... production accountant Lori Sussman ... assistant: Mr. Chartoff Heinrich Thueringer ... military liaison officer: German Air Force (as Lt. Col. Heinrich Thueringer) Dave Wagner ... military liaison officer: USA (as Lt. Col. Dave Wagner) Diana Wells ... production secretary Duncan Wilmore ... technical advisor Chuck Yeager ... technical consultant (as Gen. General Charles E. 'Chuck' Yeager) Bill Casale ... researcher (uncredited) Peter Greenwood ... australian footage consultant (uncredited) Wayne Klein ... security officer (uncredited) Bill McCamey ... stage set constructor (uncredited) Lillian Michelson ... researcher (uncredited) Thanks Arthur Baliantz ... special thanks Walter Murch ... Special thanks to Wallis Nicita ... special thanks (as Wally Nicita) Crew believed to be complete See also Release Dates | Official Sites | Company Credits | Filming & Production | Technical Specs Getting Started | Contributor Zone » Contribute to This Page Edit page begin TOP_RHS End TOP_RHS The Right Stuff Details Full Cast and Crew Release Dates Official Sites Company Credits Filming & Production Technical Specs Storyline Taglines Plot Summary Synopsis Plot Keywords Parents Guide Did You Know? Trivia Goofs Crazy Credits Quotes Alternate Versions Connections Soundtracks Photo & Video Photo Gallery Trailers and Videos Opinion Awards FAQ User Reviews User Ratings
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http://web.archive.org/web/20190412192104id_/https://www.nytimes.com/1983/01/27/obituaries/bear-bryant-is-dead-at-69-won-a-record-323-games.html_p0
BEAR BRYANT IS DEAD AT 69; WON A RECORD 323 GAMES - The New York Times NYTimes.com no longer supports Internet Explorer 9 or earlier. Please upgrade your browser. LEARN MORE » Sections Home Search Skip to content Skip to navigation View mobile version close button-group The New York Times close branding Archives | BEAR BRYANT IS DEAD AT 69; WON A RECORD 323 GAMES close story-meta close shareTools Search Subscribe Now Log In 0 Settings close user-tools-button-group close user-tools Close search Site Search Navigation Search NYTimes.com Clear this text input Go close control https://nyti.ms/29PRi5t Loading... See next articles See previous articles close nocontent Site Navigation close navigation Site Mobile Navigation close mobile-navigation Advertisement Archives | 1983 BEAR BRYANT IS DEAD AT 69; WON A RECORD 323 GAMES By JOSEPH DURSO JAN. 27, 1983 Continue reading the main story Share This Page Continue reading the main story close shareTools close story-meta-footer About the Archive This is a digitized version of an article from The Times’s print archive, before the start of online publication in 1996. To preserve these articles as they originally appeared, The Times does not alter, edit or update them. Occasionally the digitization process introduces transcription errors or other problems. Please send reports of such problems to archive_feedback@nytimes.com. View page in TimesMachine January 27, 1983, Page 00025 The New York Times Archives
http://web.archive.org/web/20190412192104id_/https://www.nytimes.com/1983/01/27/obituaries/bear-bryant-is-dead-at-69-won-a-record-323-games.html_p1
Bear Bryant died of a heart attack yesterday in Tuscaloosa, Ala., only 37 days after he had retired as head football coach at the University of Alabama with the most victories in college football history. Mr. Bryant, who was 69 years old, entered the Druid City Hospital in Tuscaloosa on Tuesday night, complaining of chest pains. Dr. William Hill, the attending physician, said that Mr. Bryant had suffered a massive heart attack at 1:24 P.M. while undergoing X-rays. ''We did put a pacemaker through his chest and were able to restore a weak heartbeat,'' for about an hour, Dr. Hill said. Mr. Bryant was declared dead at 2:30 P.M. Dr. Hill said Mr. Bryant had been in ''very good spirits,'' early yesterday. ''In the morning, he even joked about going to Las Vegas,'' the doctor said. ''And he said one thing he wanted to do was go back home to Arkansas and do some duck hunting.'' Advertisement Continue reading the main story Mr. Bryant created national headlines only a month ago when he ended his 38-year career as the most successful football coach on any American campus, and one of the most colorful. He quit with a record of 323 victories, 85 losses and 17 ties at four schools: Maryland, Kentucky, Texas A&M and, for the last 25 years, at his alma mater, Alabama. Six of his teams at Alabama were rated No.1 nationally by the wire-service polls. And, when Alabama defeated Auburn, 28-17, on Nov. 28, 1981, for his 315th victory, he surpassed the record that had been set early in the century by Amos Alonzo Stagg. Impact on Sport Assured Continue reading the main story
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close story-body close supplemental close story-body-supplemental Advertisement Continue reading the main story But, despite his decision to retire, his impact on the university was expected to continue because of two other decisions: He remained as athletic director, and his job as coach was assigned to one of his former players, Ray Perkins, who resigned as coach of the Giants to return to Alabama. Mr. Bryant's impact on football everywhere was assured through the scores of men who had played or coached under ''the Bear.'' In his time, he developed star quarterbacks such as Joe Namath, George Blanda, Babe Parilli, Ken Stabler, Steve Sloan and Richard Todd, now the quarterback of the New York Jets. More than 40 of his former players became head college coaches, including Jerry Claiborne at Kentucky, Howard Schnellenberger at Miami, Jackie Sherrill at Texas A&M, Pat Dye at Auburn and Sloan at Duke. He also became instrumental in recruiting black athletes for Alabama. His first black player was Wilbur Jackson, a running back, in 1971. In his final season, 54 of the 128 football players at Alabama were black. Later, he remembered that he had wanted to recruit black football players at Kentucky, and said: ''They wouldn't let me. Then, at Alabama all those years, my hands were tied. To tell you the truth, Sam Cunningham did more for integration at Alabama than anybody else. He was a black running back for Southern Cal. Came down here in 1970 and ran all over my skinny little white boys. Scored three touchdowns.'' Last Game in Liberty Bowl Two weeks after he announced his retirement as coach, the Bryant era ended on Dec. 29 when Alabama defeated Illinois in the Liberty Bowl, 21-15. It was the eighth victory of the season for Alabama after four defeats, the first time in 13 years the team had lost as many as four games. It was also his 29th bowl game, a record for a coach that included 24 straight at Alabama, and the last appearance in a stadium for the craggy-faced figure roaming the sidelines in the houndstooth hat. Paul William Bryant was born Sept. 11, 1913, in Moro Bottom, Ark., which he described as ''a little piece of bottom land on the Moro Creek, about seven miles fourth of Fordyce.'' He was one of 11 children in a poor family, and he remembered that he had an inferiority complex and ''wasn't very smart in school, and lazy to boot.'' But he was big, eventually growing to 6 feet 4 inches. And he recalled that he acquired his nickname as a teen-ager in high school when he accepted a dare to wrestle a bear. How He Won His Nickname ''It was outside the Lyric Theater,'' he said. ''There was a poster out front with a picture of a bear, and a guy was offering a dollar a minute to anyone who would wrestle the bear. The guy who was supposed to wrestle the bear didn't show up, so they egged me on. They let me and my friends into the picture show free, and I wrestled this scrawny bear to the floor. I went around later to get my money, but the guy with the bear had flown the coop. All I got out of the whole thing was a nickname.''
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Advertisement Continue reading the main story As a strapping and aggressive tackle on the Fordyce High School football team, Mr. Bryant lived up to his nickname by winning allstate honors. Then he was recruited for the University of Alabama by Hank Crisp, an assistant to Frank Thomas, and played right end. His principal assignment, he remembered, was doing the blocking while Don Hutson, the left end, was the star pass receiver who later was elected to the college football hall of fame. But they thrived, winning 23 games and losing only 3, and they defeated Stanford in the 1935 Rose Bowl game, 29-13. After his class had graduated, Mr. Bryant stayed at Alabama as an assistant coach. Four years later, he switched to Vanderbilt as an assistant to Red Sanders. But two years after that, in 1941, he joined the Navy and served in World War II, part of the time as a football coach at the preflight school in North Carolina. He was discharged in 1945, in time to become head coach at Maryland, where he opened his long and sometimes stormy career. An Instant Success He was an instant success, partly because he had taken the precaution of bringing along several good players from the Navy preflight team. In his first game, Maryland whipped Guilford College, 60-6. That first season, Maryland won six games, lost two and tied one. But he also was an instant center of controversy. He suspended a player for breaking training rules, was overruled by the school's president and promptly quit and took over as coach at Kentucky. He stayed eight seasons, and his teams won 60 games and lost 23, appeared in four postseason games and won the school's only Southeastern Conference championship. The highlight was a 13-7 victory over Oklahoma in the Sugar Bowl in 1950 that broke a 31-game winning streak for Oklahoma. After he left in 1954, he conceded that one problem had been a conflict of personalities with Adolph Rupp, the highly successful basketball coach. Conflict With Rupp ''The trouble,'' he said, ''was that we were too much alike. He wanted basketball to be No.1, and I wanted football No.1. In an environment like that, one or the other has to go.'' The next stop was Texas A&M, where Mr. Bryant stayed four seasons with a record of 25 victories and 14 defeats, and a Southwestern Conference title in 1956. He also developed John David Crow, a running back who won the Heisman Trophy as the nation's best player.But more controversy arose when the school was placed on probation for violating the rules on recruiting players, and Mr. Bryant acknowledged later that some of his players had been paid, though not by him.
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Advertisement Continue reading the main story Finally, he went ''home'' in 1958 to his alma mater, Alabama. ''It was like when you were out in the field, and you heard your mama calling you to dinner,'' he said, explaining his joy at returning. ''Mama called.'' Team Ranked No.1 in '61 Alabama had won only four football games in three years. But in his first season, the Crimson Tide won five games and lost four. And in 1961, he received his first No.1 ranking nationally. For the rest of his career, his teams averaged 8.5 victories a year and did not suffer a losing season. Controversy followed him home, however. An article in The Saturday Evening Post said that he and Wally Butts, the coach at Georgia, had arranged to fix the result of a game in 1962. Alabama won the game, 35-0. Mr. Butts won a libel suit against the publisher, and Mr. Bryant won a substantial out-of-court settlement. Although he acknowledged an obsession for winning, he was a forbidding figure when it came to training rules. Not even Namath escaped his discipline. In 1964, he removed Namath as quarterback for breaking training and kept him on the sidelines during the Sugar Bowl game. At other times, he also disciplined Lee Roy Jordan, Scott Hunter, John Hannah, Stabler, Sloan and even Perkins, the man who succeeded him as head coach. The View From the Tower Mr. Bryant was a tireless worker who customarily rose at 5 A.M. and did not stop until late in the evening. He often supervised practice sessions from a tower overlooking two fields, one covered with grass, the other with artificial turf. One of his quarterbacks, Steadman Shealy, once said: ''There's something about him up in that tower that makes you want to run through a wall.'' He was married to his college sweetheart, Mary Harmon Black, who had been a campus beauty queen when he played football at Alabama. They had two children, Paul William Jr. and May Martin Tyson, and four grandchildren. Mr. Bryant's stature at Alabama was so great that his salary became something of a protocol problem. Eventually, it reached $120,000. But, for years, the university made an effort to keep the football coach's salary below that of the school's president. The president made $100,000 a year; Mr. Bryant was paid $99,999.99. Mr. Bryant's funeral will be Friday, with members of his 1982 team serving as honorary pallbearers. He will be buried at Elmwood Cemetery in Birmingham, Ala., following a 10 A.M. memorial ceremony at First Methodist Church in Tuscaloosa. The world of football reacted with shock and sadness to the news of Bear Bryant's death. Page B13.
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A version of this obituary appears in print on January 27, 1983, on Page D00025 of the National edition with the headline: BEAR BRYANT IS DEAD AT 69; WON A RECORD 323 GAMES. Order Reprints | Today's Paper | Subscribe close story-meta Continue reading the main story close story-body close supplemental close story-body-supplemental What's Next Loading... close nocontent end bundle-payflow close main Go to Home Page » Site Index The New York Times Site Index Navigation News World U.S. Politics N.Y. Business Tech Science Health Sports Education Obituaries Today's Paper Corrections close column Opinion Today's Opinion Op-Ed Columnists Editorials Op-Ed Contributors Letters Sunday Review Video: Opinion close column Arts Today's Arts Art & Design Books Dance Movies Music N.Y.C. Events Guide Television Theater Video: Arts close column Living Automobiles Crossword Food Education Fashion & Style Health Jobs Magazine N.Y.C. Events Guide Real Estate T Magazine Travel Weddings & Celebrations close column Listings & More Reader Center Classifieds Tools & Services N.Y.C. Events Guide Multimedia Photography Video NYT Store Times Journeys Subscribe Manage My Account NYTCo close column Subscribe Subscribe Home Delivery Digital Subscriptions Crossword Email Newsletters Gift Subscriptions Group Subscriptions Education Rate Mobile Applications Replica Edition close column close split-6-layout close nav close site-index Site Information Navigation © 2019 The New York Times Company Home Search Accessibility concerns? Email us at accessibility@nytimes.com . We would love to hear from you.
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Anywhere I Lay My Head - Wikipedia CentralNotice Anywhere I Lay My Head From Wikipedia, the free encyclopedia Jump to navigation Jump to search 2008 studio album by Scarlett Johansson Anywhere I Lay My Head Studio album by Scarlett Johansson Released May 16, 2008 ( 2008-05-16 ) Recorded 2007 Studio Dockside Studios ( Maurice, Louisiana ) Genre Indie folk alternative rock dream pop Length 44 : 23 Label Atco Producer David Andrew Sitek Scarlett Johansson chronology Anywhere I Lay My Head (2008) Break Up (2009) Singles from Anywhere I Lay My Head "Falling Down" Released: March 18, 2008 [1] Anywhere I Lay My Head is the debut studio album by American actress Scarlett Johansson , released on May 16, 2008 by Atco Records . Johansson recorded the album over five weeks in spring 2007 at Dockside Studios in Maurice, Louisiana . [2] It was produced by Dave Sitek of TV on the Radio and includes collaborations with David Bowie and members of Yeah Yeah Yeahs and Celebration . [3] Anywhere I Lay My Head contains four songs written by Tom Waits , six songs written by Waits and his wife Kathleen Brennan , and one original composition, "Song for Jo". Upon release, the album received mixed reviews from critics, and saw moderate commercial success. "Falling Down" was released as the album's lead single. [4]
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Contents 1 Critical reception 2 Commercial performance 3 Track listing 4 Personnel 5 Charts 5.1 Album 5.2 Singles 6 Release history 7 References Critical reception [ edit ] Professional ratings Aggregate scores Source Rating Metacritic 58/100 [5] Review scores Source Rating AllMusic [6] Drowned in Sound 6/10 [7] Entertainment Weekly C [8] The Guardian [9] NME 8/10 [10] The Observer [11] Pitchfork Media 5.5/10 [12] Rolling Stone [13] Slant Magazine [14] Spin 5/10 [15] Anywhere I Lay My Head received mixed reviews from music critics. At Metacritic , which assigns a weighted mean rating out of 100 to reviews from mainstream critics, the album received an average score of 58, based on 35 reviews, indicating "mixed or average reviews". [5] Priya Elan of the NME called the album "brilliant" and wrote that "just like Lou Reed with Nico and Serge Gainsbourg with Brigitte Bardot , Sitek has effortlessly translated Johansson's magnetism on to record", while comparing her "deep" voice to "latter-day Ronnie Spector 's street-savvy tone". [10] The Observer ' s Barney Hoskyns commented that Johansson's "blankly androgynous alto timbre is nothing special, but that barely matters", praising the album as "a bravely eccentric selection and a captivating homage to a singular writer". [11] The Guardian ' s Dorian Lynskey described Johansson's voice as "a supple, languid instrument offering hints of Nico, Kim Deal and Martina Topley-Bird " and stated, "You might wish there was more from Waits' 70s barfly period [...] but it's a measure of this album's surprising allure that you're left wanting more." [9]
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AllMusic reviewer Stephen Thomas Erlewine found Johansson to be "surprisingly deep and brittle as a singer", concluding that the album "doesn't quite work, but it can't quite be dismissed, either: unlike so many actor-turned-singer records, there's not a hint of vanity to this project and it's hard not to marvel at its ambition even as it fails." [6] Mikael Wood of Spin wrote, "Beyond the fact that her voice is deep enough for her to front Crash Test Dummies , there's nothing particularly compelling about Scarlett Johansson's singing", adding that "her vocals are buried deep beneath [...] Dave Sitek's mountain of reverbed space-gospel noise." Nevertheless, Wood opined the album is "[n]ot your typical Hollywood vanity project". [15] Chris Willman of Entertainment Weekly remarked, "In burying Johansson's vocals so deeply in the druggy ambiance, producer David Andrew Sitek [...] means well but ends up obscuring Waits' great tunes." [8] Stephen M. Deusner of Pitchfork Media viewed the album as "a Brooklyn update on vintage 4AD bands like This Mortal Coil or Cocteau Twins ", but noted that "[t]he only thing we've learned about her is that she really, really likes Tom Waits. That's more than enough to avoid catastrophe, but not quite enough to make Anywhere I Lay My Head much more than a curio." [12] Rolling Stone ' s Will Hermes critiqued that "Johansson's voice is unremarkable and her pitch sometimes unsteady", dubbing her "a faintly goth Marilyn Monroe lost in a sonic fog". [13] Dave Hughes of Slant Magazine expressed that Johansson is "neither a particularly interesting nor a particularly skillful singer, and she spends much of the record locked into a sub-Nico hum that's quite a bit less charismatic than her husky line readings might suggest." [14] Alex Denney of Drowned in Sound concluded, "Perversely given the record's comprehensive musical overhaul it's perhaps a surfeit of respect for the source material that proves Anywhere... ' s undoing; for all its undoubted accomplishments there's a lingering suspicion that this is too safe, too respectable a record to do justice to an artist who remains forever mid-topple from the bar stool in the popular consciousness." [7]
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Commercial performance [ edit ] Anywhere I Lay My Head debuted at number 126 on the Billboard 200 , selling 5,100 copies in its first week. [16] The album fared better in Europe, reaching number 15 in Switzerland, number 25 in Austria, number 26 in France, number 27 in Sweden, and number 30 in Belgium and Germany. [17] By August 2009, the album had sold about 25,000 copies worldwide. [18] Track listing [ edit ] No. Title Writer(s) Length 1. "Fawn" (from Alice ) Tom Waits Kathleen Brennan 2:32 2. "Town with No Cheer" (from Swordfishtrombones ) Waits 5:03 3. "Falling Down" (from Big Time ) Waits 4:55 4. "Anywhere I Lay My Head" (from Rain Dogs ) Waits 3:38 5. "Fannin Street" (from Orphans: Brawlers, Bawlers & Bastards ) Waits Brennan 5:06 6. "Song for Jo" Scarlett Johansson David Andrew Sitek 4:09 7. "Green Grass" (from Real Gone ) Waits Brennan 3:33 8. "I Wish I Was in New Orleans" (from Small Change ) Waits 3:59 9. "I Don't Wanna Grow Up" (from Bone Machine ) Waits Brennan 4:11 10. "No One Knows I'm Gone" (from Alice ) Waits Brennan 2:57 11. "Who Are You" (from Bone Machine ) Waits Brennan 4:20 iTunes Store deluxe edition bonus tracks [19] No. Title Writer(s) Length 12. "Yesterday Is Here" (from Franks Wild Years )
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Waits Brennan 2:44 13. "I'll Shoot the Moon" (from The Black Rider ) Waits 4:11 14. "Falling Down" (video) 3:58 Japanese edition bonus track [20] No. Title Writer(s) Length 12. "Yesterday Is Here" (from Franks Wild Years ) Waits Brennan 2:44 Personnel [ edit ] Credits adapted from the liner notes of Anywhere I Lay My Head . [21] Scarlett Johansson – vocals (tracks 2–11) Tunde Adebimpe – loops, vocals (track 6) Kris Ahrend – project assistance Sean Antanaitis – wind chimes (track 1) ; organ (tracks 1, 2, 11) ; tambourine, jingle bells (tracks 1–3, 5) ; bass pedals , bowls (track 2) ; pump organ (tracks 2–4) ; synthesizer (tracks 2–5, 7, 9, 10) ; vibes (tracks 2, 3, 7) ; electric piano (tracks 2, 11) ; piano (tracks 3, 5, 11) ; banjo (tracks 3, 7) ; guitorgan (tracks 3, 7, 11) ; guitar (tracks 5, 7) ; acoustic guitar, kalimba (track 7) ; music box (track 8) Dave Bergander – Nigerian logs (track 11) Stuart Bogie – saxophone (tracks 1, 2, 4) ; bass harmonica (tracks 2, 4) David Bowie – vocals (tracks 3, 5) Jaleel Bunton – bass (tracks 1, 9, 11) ; synthesizer (track 2) ; acoustic guitar (tracks 3–5) ; electric piano (tracks 4, 10) ; slide guitar (track 7) Greg Calbi – mastering
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Lellie Capwell – project assistance Steve Fallone – mastering assistance Sheryl Farber – project assistance David Farrell – engineering assistance (all tracks) ; tambourine, triangle (track 1) Robin Hurley – project supervision Rick Kwan – engineering assistance Maria McKenna – project assistance Paul McMenamin – design Chris Moore – mixing, recording (all tracks) ; synthesizer (track 10) Sara Newkirk – management Martin Perna – saxophone (tracks 1, 2, 4) ; flute (tracks 6, 10) Korey Richey – engineering assistance (all tracks) ; jingle bells, tambourine (track 1) ; Tibetan bowls (track 2) ; acoustic guitar, guitar, rainstick , vocals, piano (track 6) Ryan Sawyer – drums (tracks 1–3, 7) ; dog bowl (track 2) ; Tibetan bowls (tracks 2, 10) ; bowed vibes (track 3) ; tambourine (tracks 3, 11) ; bowed cymbal (track 4) ; toms (track 5) ; jingle bells (tracks 7, 10) ; bells, snare drum (track 10) ; Nigerian logs (track 11) Liuba Shapiro – product management David Andrew Sitek – mixing, recording, production (all tracks) ; guitar (tracks 2–6, 9–11) ; sampler (tracks 2–5, 7, 9–11) ; drum machine (tracks 4, 9, 11) ; synthesizer (tracks 5, 11) ; drums, acoustic guitar (track 6) ; kalimba (track 7) ; vocals (track 11) ; photography Brea Souders – diorama creation, photography Colin Suzuki – engineering assistance Ivo Watts-Russell – sequencing
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Brett Westfall – illustration Steve Woolard – project assistance Nick Zinner – guitar (tracks 1, 2, 4, 5, 9, 11) ; slide guitar (track 3) Charts [ edit ] Album [ edit ] Chart (2008) Peak position Australian Hitseekers Albums ( ARIA ) [22] 9 Austrian Albums ( Ö3 Austria ) [23] 25 Belgian Albums ( Ultratop Flanders) [17] 30 Belgian Albums ( Ultratop Wallonia) [24] 45 European Albums ( Billboard ) [25] 27 French Albums ( SNEP ) [26] 26 German Albums ( Offizielle Top 100 ) [27] 30 Irish Albums ( IRMA ) [28] 65 Scottish Albums ( OCC ) [29] 71 Spanish Albums ( PROMUSICAE ) [30] 77 Swedish Albums ( Sverigetopplistan ) [31] 27 Swiss Albums ( Schweizer Hitparade ) [32] 15 UK Albums ( OCC ) [33] 64 US Billboard 200 [34] 126 Singles [ edit ] Title Year Peak chart positions BEL TIP (FL) [35] SWI [36] "Falling Down" 2008 23 70 Release history [ edit ] Region Date Label Ref. Germany May 16, 2008 Warner [37] France May 19, 2008 [38] United Kingdom Rhino [39] United States May 20, 2008 Atco [2] Sweden May 21, 2008 Warner [40] Australia May 23, 2008 [41] Japan June 25, 2008 [20] References [ edit ] ^ "Scarlett Johansson – Falling Down" . Discogs . Retrieved November 23, 2016 .
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^ a b Cohen, Jonathan (January 24, 2008). "Johansson Sets Date For Waits Covers Disc" . Billboard . Prometheus Global Media . Retrieved April 6, 2013 . ^ Solarski, Matthew (February 13, 2008). "Scarlett Johansson Album Has Tracklist, David Bowie!" . Pitchfork Media . Archived from the original on March 3, 2009 . Retrieved February 14, 2013 . ^ Goodman, William (May 7, 2008). "New Video: Scarlett Johansson, "Falling Down " " . Spin . Retrieved March 24, 2016 . ^ a b "Reviews for Anywhere I Lay My Head by Scarlett Johansson" . Metacritic . CBS Interactive . Retrieved May 20, 2008 . ^ a b Erlewine, Stephen Thomas . "Anywhere I Lay My Head – Scarlett Johansson" . AllMusic . All Media Network . Retrieved May 20, 2008 . ^ a b Denney, Alex (April 30, 2008). "Scarlett Johansson – Anywhere I Lay My Head" . Drowned in Sound . Retrieved May 2, 2008 . ^ a b Willman, Chris (May 16, 2008). "Anywhere I Lay My Head" . Entertainment Weekly . Time . Retrieved March 24, 2016 . ^ a b Lynskey, Dorian (May 16, 2008). "Scarlett Johansson, Anywhere I Lay My Head" . The Guardian . Retrieved March 24, 2016 . ^ a b Elan, Priya (May 2, 2008). "Scarlett Johansson" . NME . Time Inc. UK . Retrieved May 2, 2008 .
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^ a b Hoskyns, Barney (May 18, 2008). "Scarlett Johansson, Anywhere I Lay My Head" . The Observer . Guardian Media Group . Retrieved March 24, 2016 . ^ a b Deusner, Stephen M. (May 19, 2008). "Scarlett Johansson: Anywhere I Lay My Head" . Pitchfork Media . Retrieved May 19, 2008 . ^ a b Hermes, Will (May 29, 2008). "Anywhere I Lay My Head : Scarlett Johansson" . Rolling Stone . Wenner Media . Archived from the original on May 3, 2009 . Retrieved May 16, 2008 . ^ a b Hughes, Dave (May 19, 2008). "Scarlett Johansson: Anywhere I Lay My Head" . Slant Magazine . Retrieved March 24, 2016 . ^ a b Wood, Mikael (May 29, 2008). "Scarlett Johansson, 'Anywhere I Lay My Head' (ATCO)" . Spin . Archived from the original on February 13, 2012 . Retrieved January 21, 2012 . ^ Harris, Chris (May 28, 2008). "American Idol David Cook, Runner-Up David Archuleta Dominate Billboard Downloads Chart" . MTV News . Viacom . Retrieved March 24, 2016 . ^ a b "Ultratop.be – Scarlett Johansson – Anywhere I Lay My Head" (in Dutch). Hung Medien. Retrieved November 26, 2011. ^ Parker, Lyndsey (August 13, 2009). "Will Scarlett Johansson's Music Finally Get Some Respect?" . Yahoo! Music . Archived from the original on April 5, 2012 . Retrieved January 22, 2012 .
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^ "Anywhere I Lay My Head (Deluxe Edition) by Scarlett Johansson" . iTunes Store (US). Apple . Retrieved January 22, 2012 . ^ a b "Anywhere I Lay My Head / レイ・マイ・ヘッド" (in Japanese). Warner Music Japan . Retrieved January 22, 2012 . ^ Anywhere I Lay My Head (CD liner notes). Scarlett Johansson . Atco Records . 2008. R2 454524. CS1 maint: others ( link ) ^ "ARIA Hitseekers – Week Commencing 2nd June 2008" (PDF) . ARIA Charts . Pandora Archive . p. 21 . Retrieved January 22, 2012 . ^ "Austriancharts.at – Scarlett Johansson – Anywhere I Lay My Head" (in German). Hung Medien. Retrieved November 26, 2011. ^ "Ultratop.be – Scarlett Johansson – Anywhere I Lay My Head" (in French). Hung Medien. Retrieved November 26, 2011. ^ "Hits of the World". Billboard . 120 (23): 67. June 7, 2008. ISSN 0006-2510 . ^ "Lescharts.com – Scarlett Johansson – Anywhere I Lay My Head" . Hung Medien. Retrieved March 24, 2016. ^ "Offiziellecharts.de – Scarlett Johansson – Anywhere I Lay My Head" (in German). GfK Entertainment Charts . Retrieved March 24, 2016. ^ "GFK Chart-Track Albums: Week 21, 2008" . Chart-Track . IRMA . Retrieved November 26, 2011. ^ "Official Scottish Albums Chart Top 100" . Official Charts Company . Retrieved March 24, 2016. ^ "Spanishcharts.com – Scarlett Johansson – Anywhere I Lay My Head" . Hung Medien. Retrieved March 24, 2016.
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^ "Swedishcharts.com – Scarlett Johansson – Anywhere I Lay My Head" . Hung Medien. Retrieved March 24, 2016. ^ "Swisscharts.com – Scarlett Johansson – Anywhere I Lay My Head" . Hung Medien. Retrieved March 24, 2016. ^ "Scarlett Johansson | Artist | Official Charts" . UK Albums Chart . Retrieved March 24, 2016. ^ "Scarlett Johansson Chart History ( Billboard 200)" . Billboard . Retrieved April 5, 2013. ^ "Discografie Scarlett Johansson" (in Dutch). Ultratop. Hung Medien . Retrieved January 22, 2012 . ^ "Discography Scarlett Johansson" . swisscharts.com. Hung Medien . Retrieved January 22, 2012 . ^ "Anywhere I Lay My Head" (in German). Amazon.de . Retrieved March 24, 2016 . ^ "Anywhere I lay my head – Scarlett Johansson" (in French). Fnac . Retrieved January 22, 2012 . ^ "Anywhere I Lay My Head" . Amazon.co.uk . Retrieved March 24, 2016 . ^ "Anywhere I Lay My Head – Johansson Scarlett" (select "Fakta" tab) (in Swedish). CDON.se . Retrieved March 24, 2016 . ^ "Anywhere I Lay My Head – Johansson, Scarlett" . JB Hi-Fi . Retrieved January 22, 2012 . NewPP limit report Parsed by mw1247 Cached time: 20191204092935 Cache expiry: 2592000 Dynamic content: false Complications: [vary‐revision‐sha1] CPU time usage: 0.748 seconds Real time usage: 0.917 seconds Preprocessor visited node count: 6820/1000000 Preprocessor generated node count: 0/1500000 Post‐expand include size: 103519/2097152 bytes
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Template argument size: 8746/2097152 bytes Highest expansion depth: 25/40 Expensive parser function count: 2/500 Unstrip recursion depth: 1/20 Unstrip post‐expand size: 95280/5000000 bytes Number of Wikibase entities loaded: 1/400 Lua time usage: 0.310/10.000 seconds Lua memory usage: 6.47 MB/50 MB Transclusion expansion time report (%,ms,calls,template) 100.00% 798.628 1 -total 39.84% 318.165 1 Template:Reflist 25.28% 201.909 1 Template:Infobox_album 21.32% 170.264 12 Template:Albumchart 15.67% 125.150 26 Template:Cite_web 13.40% 106.981 2 Template:Infobox 9.63% 76.874 1 Template:Cite_news 8.19% 65.396 1 Template:Cite_journal 7.04% 56.206 1 Template:Short_description 5.98% 47.768 1 Template:Album_ratings Saved in parser cache with key enwiki:pcache:idhash:15753101-0!canonical and timestamp 20191204092934 and revision id 909727895 Retrieved from " https://en.wikipedia.org/w/index.php?title=Anywhere_I_Lay_My_Head&oldid=909727895 " Categories : 2008 debut albums Albums produced by Dave Sitek Atco Records albums Covers albums Rhino Records albums Scarlett Johansson albums Tom Waits tribute albums Hidden categories: CS1 Japanese-language sources (ja) CS1 maint: others CS1 Dutch-language sources (nl) CS1 German-language sources (de) CS1 French-language sources (fr) CS1 Swedish-language sources (sv) Articles with short description Articles with hAudio microformats Navigation menu Personal tools Not logged in Talk Contributions Create account Log in Namespaces Article Talk Variants Views Read Edit View history More Search Navigation Main page Contents Featured content Current events Random article Donate to Wikipedia Wikipedia store Interaction Help About Wikipedia Community portal Recent changes Contact page Tools What links here Related changes Upload file Special pages Permanent link Page information Wikidata item Cite this page
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Most Important Muscles For Fighting Skip to primary navigation Skip to main content Skip to primary sidebar Skip to footer The #1 boxing training website since 2008. Join over 500,000 Boxers How to Box | ExpertBoxing Blog Reviews Community Courses Members Beginners Guide Punching Power Boxing Footwork Boxing Defense search for boxing tips Most Important Muscles For Fighting January 30, 2011 by Johnny N Boxing Training , Boxing Workouts 378 Comments What are the most important fighting muscles? I will explain the roles of each muscle for fighting and how they are used during boxing. Everybody knows that training a muscle is an advantage compared to not training it. If boxing was that simple, then training the entire body would give you the ultimate physical advantage, right? The problem is that nobody has the time to workout every single muscle. Many of your smaller muscles offer only a slight advantage if at all. Much of the physical aspects of boxing such as balance, power, and movement will come from your lower body. The more technical aspects of boxing such as accuracy, defense, and landing punches will typically come from your upper body. Depending on what you feel your style needs, the most it is up to you to decide whether to focus on more power, or handspeed, endurance, or all of it.
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The key to effective boxing training is understanding how your muscles are used in boxing and to be able to decide how to train them to best fit that purpose. Smart athletes will know that certain muscles should definitely be given priority over the others. Legs (Power) By “legs”, I’m referring specifically to the quads and the calf muscles. This is something that should be ingrained into anybody ever wanting to learn how to do anything powerful with their body. ALL power comes from the ground, nowhere else! Because your legs are connected to the ground, they are most responsible for pushing off the ground to generate power throughout your body. Your legs also happen to be the biggest muscles in your body, which is why all proper boxing punches are typically thrown with the legs pivoting and rotating. Again, the legs generate the most power! Not the chest and definitely not the triceps. If you look carefully at many of the most dynamic and complete punches or boxers in history, you will see that they have great legs more often than great arms or big chests. Look very carefully at the typical boxer’s body and you won’t find over-developed pecs or huge triceps. Marcos Maidana, Manny Pacquiao, Thomas Hearns, Julian Jackson, and Felix Trinidad are some names of guys that immediately come to mind. These guys did not have big upper-bodies but they carried HUGE power in their fists. Even Mike Tyson, as dynamic a puncher as he was, was still more muscular at his legs than his arms !
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Hips (Balance & Lower Body Core) The hips hold your lower body and legs together. They also generate a huge amount of power by pivoting your whole body when you need. Another important function is that your hips have to do with how well you are balanced. Since your hips are very close to your body’s center-of-gravity, stronger hips would mean that you have better control of your balance. I shouldn’t have to stress that balance is definitely one of the most important factors in boxing. Balance essentially determines the effectiveness and efficiency of your offense, defense, movement, and overal fighting ability! You can also think of your hips as your body weight. By using the muscles in your leg to move your hips with every punch, you will be able to put your entire body weight into each punch maximizing its power. Abs (Frontal Body Core & Snap) The abdominal muscles are a very powerful set of muscles that hold your whole body together. Every limb in your body generates a certain amount of power individually but it is your abs that allow you to combine the force generated by every limb into one total force. Simply put, your abs allow you to connect the force generated by all your limbs into one powerful punch. Aside from connecting your whole body together the abdominal muscles help you breathe and allow you to take frontal body shots.
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Back (Rear Body Core & Punch Recovery) The back also funtions as a total body core muscle by holding your body together and combining the power generated by all your limbs. Another little known (BUT VERY IMPORTANT) fact is that the back helps a lot in punch recovery–which is the speed of how fast you can pull your hand back after a punch. Many fighters are too busy building the front of their upper body through push-ups and punching at the heavybag but very few of them focus on building up the back of the upper body like the rear shoulders and the back. I’m going to explain something very important, when you spend all your time hitting the heavy bag, you may not realize that the heavy bag is bouncing your hand back at you on the recovery phase. By neglecting to workout your back and rear shoulder muscles, you will have weaker punch recovery muscles. The moment you start missing punches during a real fight, your arms will tire very quickly because your gloves become very heavy as you have to pull your punches back with your own muscles instead of having them bounced back at you. Shoulders (Arm Endurance) The shoulders are most important for punch endurance. Yes, the shoulders do generate power and snap for the punches but to me, they are most important for endurance. Typically when boxers’ arms become too tired to punch or hold up to defend their head, it is usually because the shoulders that are tired! Think about it: when your arms get tired, it is usually always the shoulder that is the first part of the arm to get tired. From a physical standpoint, it makes sense since it’s a relatively small muscle on the edge of the arm that has to hold up the entire arm. From a physics standpoint, it’s not hard to see why the shoulder can get tired so fast.