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[ "initially imprisoned at Fort Marion in St. Augustine, before being transferred to Fort Moultrie on Sullivans Island, outside Charleston, South Carolina. Osceola's capture by deceit caused a national uproar. General Jesup's treacherous act and the administration were condemned by many congressional leaders and vilified by international press. Jesup suffered a loss of reputation that lasted for the rest of his life; his betrayal of the truce flag has been described as \"one of the most disgraceful acts in American military history.\": 221, 218 That December, Osceola and other Seminole prisoners were moved to Fort Moultrie. They were visited by various townspeople.: 213–5  The portraitists George", "expel U.S. forces from Fort Cooper. The fortification was built on the west bank of Lake Holathikaha as an outpost for actions against the local Seminole population. Despite running low on food, the U.S. garrison had enough gunpowder and ammunition to keep the Seminoles from taking the fort before reinforcements arrived.\n\nCapture and death\nOn October 21, 1837, Osceola and 81 of his followers were captured by General Joseph Hernández on the orders of General Thomas Jesup, under a white flag of truce, when they went for peace talks to Fort Peyton near St. Augustine.: 25  He was initially imprisoned at Fort Marion in St. Augustine, before being transferred" ]

[ "What happened after Osceola's death?", "Osceola was buried with military honors at Fort Moultrie." ]

[ "the oral tradition of his descendants, Dr. Frederick Weedon was alone with the body and cut off Osceola's head, placing it in the coffin with the scarf that Osceola had customarily worn being wrapped around the neck, and immediately before the funeral ceremony removed the head and shut the coffin's lid.: 172  Weedon kept the head for himself, as well as other objects belonging to Osceola, including a brass pipe and a silver concho.: 212  Capt. Pitcairn Morrison, the U.S. Army officer in charge of the Seminole prisoners who had been transported with Osceola, made a last-minute decision to take other items belonging to Osceola.", "having suffered from chronic malaria since 1836, and having acute tonsillitis as well, developed an abscess.: 233  When he was close to death, he asked the attending doctor, Frederick Weedon, that his last wish be that his body be returned to Florida, his home so he may rest in peace. He died of quinsy: 144  on January 30, 1838, three months after his capture. Weedon cut off Osceola's head, and buried his decapitated body, displaying his head in his drug store until 1843 when Valentine Mott accepted it into his cabinet of heads until his death after which it was lost.\n\nLegacy and honors\nNumerous landmarks, including Osceola", "led a small group of warriors in the Seminole resistance during the Second Seminole War, when the United States tried to remove the tribe from their lands in Florida to Indian Territory west of the Mississippi River. He became an adviser to Micanopy, the principal chief of the Seminole from 1825 to 1849. Osceola led the Seminole resistance to removal until he was captured on October 21, 1837, by deception, under a flag of truce, when he went to a site near Fort Peyton for peace talks.: 135  The United States first imprisoned him at Fort Marion in St. Augustine, then transported him to Fort Moultrie in Charleston, South Carolina. He", "to prominence, resented this ban. He felt it equated the Seminole with slaves, who were forbidden by law to carry arms.: 82–5 Thompson considered Osceola to be a friend and gave him a rifle. Osceola had a habit of barging into Thompson's office and shouting complaints at him. On one occasion Osceola quarreled with Thompson, who had the warrior locked up at Fort King for two nights until he agreed to be more respectful. In order to secure his release, Osceola agreed to sign the Treaty of Payne's Landing and to bring his followers into the fort. After his humiliating imprisonment, Osceola secretly prepared vengeance against", "bank vault to rebury them at a tourist site at the Rainbow Springs in Marion County. Shriver traveled around the state in 1967 to gather support for his project. Archaeologists later proved that Shriver had dug up animal remains; Osceola's body was still in its coffin.\nIn 1979 the Seminole Nation of Oklahoma bought Osceola's bandolier and other personal items from a Sotheby's auction. Because of the chief's significance, over time some people have created forgeries of Osceola's belongings. Rumors persist that his embalmed head has been found in various locations.\n\nRelated media\nLiterature\nOsceola (1858) by Thomas Mayne Reid\nIn the Wilds of Florida: A Tale", "transported him to Fort Moultrie in Charleston, South Carolina. He died there a few months later of causes reported as an internal infection or malaria. Because of his renown, Osceola attracted visitors in prison, including renowned artist George Catlin, who painted perhaps the most well-known portrait of the Seminole leader.: 217–218  : 115–116\n\nEarly life\nOsceola was named Billy Powell at his birth in 1804 in the Creek village of Talisi, which means \"Old Town\". The village site, now the city of Tallassee, Alabama, was located on the banks of the Tallapoosa River about 20 miles (32 km) upstream from Fort Toulouse where the Tallapoosa and", "which it was lost.\n\nLegacy and honors\nNumerous landmarks, including Osceola counties in Florida, Iowa, and Michigan, were named after him.\nThe town of Osceola, New York, is named after him. The name was selected by Anna Maria Jay, the granddaughter of John Jay.\nOsceola, Indiana, a town\nOsceola, Iowa, county seat of Clarke County\nOsceola, Nebraska, county seat of Polk County\nOsceola, Wisconsin, a village\nOsceola Township, Renville County, Minnesota\nFlorida's Osceola National Forest was named for him.\nMount Osceola, located in the White Mountains of New Hampshire.\nTwo lakes in Florida named Osceola, one located on the University of Miami campus in Coral Gables, and another", "on the University of Miami campus in Coral Gables, and another in Winter Park.\nBattery Osceola at Fort Taylor, Key West, Florida, is named after him.\nOsceola Hall, a dormitory at Florida State University.\nOcilla, a small town in southern Georgia, may have been named after him.\nThe World War II Liberty Ship SS Chief Osceola was named in his honor.\nThe U.S. Navy has named three vessels for him.\nOsceola is a symbol for Florida State University athletic teams.\n\nDescendants\nChairman Joe Dan Osceola (1936–2019), ambassador of the Seminole Tribe, was Osceola's great-great-great grandson.\n\nRelics\nAccording to the oral tradition of his descendants, Dr. Frederick Weedon was" ]

[ "the oral tradition of his descendants, Dr. Frederick Weedon was alone with the body and cut off Osceola's head, placing it in the coffin with the scarf that Osceola had customarily worn being wrapped around the neck, and immediately before the funeral ceremony removed the head and shut the coffin's lid.: 172  Weedon kept the head for himself, as well as other objects belonging to Osceola, including a brass pipe and a silver concho.: 212  Capt. Pitcairn Morrison, the U.S. Army officer in charge of the Seminole prisoners who had been transported with Osceola, made a last-minute decision to take other items belonging to Osceola." ]

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[ "led a small group of warriors in the Seminole resistance during the Second Seminole War, when the United States tried to remove the tribe from their lands in Florida to Indian Territory west of the Mississippi River. He became an adviser to Micanopy, the principal chief of the Seminole from 1825 to 1849. Osceola led the Seminole resistance to removal until he was captured on October 21, 1837, by deception, under a flag of truce, when he went to a site near Fort Peyton for peace talks.: 135  The United States first imprisoned him at Fort Marion in St. Augustine, then transported him to Fort Moultrie in Charleston, South Carolina. He", "to prominence, resented this ban. He felt it equated the Seminole with slaves, who were forbidden by law to carry arms.: 82–5 Thompson considered Osceola to be a friend and gave him a rifle. Osceola had a habit of barging into Thompson's office and shouting complaints at him. On one occasion Osceola quarreled with Thompson, who had the warrior locked up at Fort King for two nights until he agreed to be more respectful. In order to secure his release, Osceola agreed to sign the Treaty of Payne's Landing and to bring his followers into the fort. After his humiliating imprisonment, Osceola secretly prepared vengeance against", "which the US seized the northern Seminole lands, Osceola and his family moved with the Seminole deeper into the unpopulated wilds of central and southern Florida.: 55–58 \nAs an adult, Osceola took two wives, as did some other high-ranking Muscogee and Seminole leaders. With them, he had at least five children. One of his wives was black, and Osceola fiercely opposed the enslavement of free people. Lt. John T. Sprague mentions in his 1848 history The Florida War that Osceola had a wife named \"Che-cho-ter\" (Morning Dew), who bore him four children.: 58\n\n1830s resistance and war leader\nThrough the 1820s and the turn of", "Osceola (1804 – January 30, 1838, Asi-yahola in Creek), named Billy Powell at birth in Alabama, became an influential leader of the Seminole people in Florida. His mother was Muscogee, and his great-grandfather was a Scotsman, James McQueen. He was reared by his mother in the Creek (Muscogee) tradition. When he was a child, they migrated to Florida with other Red Stick refugees, led by a relative, Peter McQueen, after their group's defeat in 1814 in the Creek Wars. There they became part of what was known as the Seminole people.\nIn 1836, Osceola led a small group of warriors in the Seminole resistance during", "initially imprisoned at Fort Marion in St. Augustine, before being transferred to Fort Moultrie on Sullivans Island, outside Charleston, South Carolina. Osceola's capture by deceit caused a national uproar. General Jesup's treacherous act and the administration were condemned by many congressional leaders and vilified by international press. Jesup suffered a loss of reputation that lasted for the rest of his life; his betrayal of the truce flag has been described as \"one of the most disgraceful acts in American military history.\": 221, 218 That December, Osceola and other Seminole prisoners were moved to Fort Moultrie. They were visited by various townspeople.: 213–5  The portraitists George", "expel U.S. forces from Fort Cooper. The fortification was built on the west bank of Lake Holathikaha as an outpost for actions against the local Seminole population. Despite running low on food, the U.S. garrison had enough gunpowder and ammunition to keep the Seminoles from taking the fort before reinforcements arrived.\n\nCapture and death\nOn October 21, 1837, Osceola and 81 of his followers were captured by General Joseph Hernández on the orders of General Thomas Jesup, under a white flag of truce, when they went for peace talks to Fort Peyton near St. Augustine.: 25  He was initially imprisoned at Fort Marion in St. Augustine, before being transferred", "contemporary, Thlocklo Tustenuggee.\nLight a Distant Fire (1988) by Lucia St. Clair Robson\nCaptive (1996), a historical-fiction book by Heather Graham, features Osceola as one of the protagonists.\nFreedom Land: A Novel (2003) by Martin L. Marcus. In this version, Osceola was the son of a respected British officer and his Creek consort.\n\nFilms\nIn the mid-1930s Nathanael West wrote a 17-page film treatment entitled Osceola but failed to sell it to a studio.\nSeminole (1953), highly fictionalized American western film directed by Budd Boetticher and starring Anthony Quinn as Osceola.\nNaked in the Sun (1957), the life of Osceola and the Second Seminole", "They were visited by various townspeople.: 213–5  The portraitists George Catlin, W. M. Laning, and Robert John Curtis, the three artists known to have painted Osceola from life, persuaded the Seminole leader to allow his portrait to be painted despite his being gravely ill.: 217–8  : 115–6  Osceola and Curtis developed a close friendship, conversing at length during the painting sessions; Curtis painted two oil portraits of Osceola, one of which remains in the Charleston Museum.: 231  These paintings have inspired numerous widely distributed prints and engravings, and cigar store figures were also based on them.\nOsceola, having suffered from chronic malaria since 1836, and having acute", "resistance and war leader\nThrough the 1820s and the turn of the decade, American settlers continued pressuring the US government to remove the Seminole from Florida to make way for their desired agricultural development. In 1832, a few Seminole chiefs signed the Treaty of Payne's Landing, by which they agreed to give up their Florida lands in exchange for lands west of the Mississippi River in Indian Territory. According to legend, Osceola stabbed the treaty with his knife, although there are no contemporary reports of this.: 87–9  Donald L. Fixico, an American Indian historian, says he made a research trip to the National Archives to see the original Treaty of Fort Gibson", "on the University of Miami campus in Coral Gables, and another in Winter Park.\nBattery Osceola at Fort Taylor, Key West, Florida, is named after him.\nOsceola Hall, a dormitory at Florida State University.\nOcilla, a small town in southern Georgia, may have been named after him.\nThe World War II Liberty Ship SS Chief Osceola was named in his honor.\nThe U.S. Navy has named three vessels for him.\nOsceola is a symbol for Florida State University athletic teams.\n\nDescendants\nChairman Joe Dan Osceola (1936–2019), ambassador of the Seminole Tribe, was Osceola's great-great-great grandson.\n\nRelics\nAccording to the oral tradition of his descendants, Dr. Frederick Weedon was" ]

[ "led a small group of warriors in the Seminole resistance during the Second Seminole War, when the United States tried to remove the tribe from their lands in Florida to Indian Territory west of the Mississippi River. He became an adviser to Micanopy, the principal chief of the Seminole from 1825 to 1849. Osceola led the Seminole resistance to removal until he was captured on October 21, 1837, by deception, under a flag of truce, when he went to a site near Fort Peyton for peace talks.: 135  The United States first imprisoned him at Fort Marion in St. Augustine, then transported him to Fort Moultrie in Charleston, South Carolina. He" ]

[ "led a small group of warriors in the Seminole resistance during the Second Seminole War, when the United States tried to remove the tribe from their lands in Florida to Indian Territory west of the Mississippi River. He became an adviser to Micanopy, the principal chief of the Seminole from 1825 to 1849. Osceola led the Seminole resistance to removal until he was captured on October 21, 1837, by deception, under a flag of truce, when he went to a site near Fort Peyton for peace talks.: 135  The United States first imprisoned him at Fort Marion in St. Augustine, then transported him to Fort Moultrie in Charleston, South Carolina. He" ]

[ "What was Osceola's role in the resistance?", "Osceola's nearly simultaneous attacks catalyzed the Second Seminole War with the United States." ]

[ "resistance and war leader\nThrough the 1820s and the turn of the decade, American settlers continued pressuring the US government to remove the Seminole from Florida to make way for their desired agricultural development. In 1832, a few Seminole chiefs signed the Treaty of Payne's Landing, by which they agreed to give up their Florida lands in exchange for lands west of the Mississippi River in Indian Territory. According to legend, Osceola stabbed the treaty with his knife, although there are no contemporary reports of this.: 87–9  Donald L. Fixico, an American Indian historian, says he made a research trip to the National Archives to see the original Treaty of Fort Gibson", "to prominence, resented this ban. He felt it equated the Seminole with slaves, who were forbidden by law to carry arms.: 82–5 Thompson considered Osceola to be a friend and gave him a rifle. Osceola had a habit of barging into Thompson's office and shouting complaints at him. On one occasion Osceola quarreled with Thompson, who had the warrior locked up at Fort King for two nights until he agreed to be more respectful. In order to secure his release, Osceola agreed to sign the Treaty of Payne's Landing and to bring his followers into the fort. After his humiliating imprisonment, Osceola secretly prepared vengeance against", "which the US seized the northern Seminole lands, Osceola and his family moved with the Seminole deeper into the unpopulated wilds of central and southern Florida.: 55–58 \nAs an adult, Osceola took two wives, as did some other high-ranking Muscogee and Seminole leaders. With them, he had at least five children. One of his wives was black, and Osceola fiercely opposed the enslavement of free people. Lt. John T. Sprague mentions in his 1848 history The Florida War that Osceola had a wife named \"Che-cho-ter\" (Morning Dew), who bore him four children.: 58\n\n1830s resistance and war leader\nThrough the 1820s and the turn of", "Osceola (1804 – January 30, 1838, Asi-yahola in Creek), named Billy Powell at birth in Alabama, became an influential leader of the Seminole people in Florida. His mother was Muscogee, and his great-grandfather was a Scotsman, James McQueen. He was reared by his mother in the Creek (Muscogee) tradition. When he was a child, they migrated to Florida with other Red Stick refugees, led by a relative, Peter McQueen, after their group's defeat in 1814 in the Creek Wars. There they became part of what was known as the Seminole people.\nIn 1836, Osceola led a small group of warriors in the Seminole resistance during", "expel U.S. forces from Fort Cooper. The fortification was built on the west bank of Lake Holathikaha as an outpost for actions against the local Seminole population. Despite running low on food, the U.S. garrison had enough gunpowder and ammunition to keep the Seminoles from taking the fort before reinforcements arrived.\n\nCapture and death\nOn October 21, 1837, Osceola and 81 of his followers were captured by General Joseph Hernández on the orders of General Thomas Jesup, under a white flag of truce, when they went for peace talks to Fort Peyton near St. Augustine.: 25  He was initially imprisoned at Fort Marion in St. Augustine, before being transferred", "fort. After his humiliating imprisonment, Osceola secretly prepared vengeance against Thompson.: 90 On December 28, 1835, Osceola, with the same rifle Thompson gave him, killed the Indian agent. Osceola and his followers shot six others outside Fort King, while another group of Seminole ambushed and killed a column of US Army, more than 100 troops, who were marching from Fort Brooke to Fort King. Americans called this event the Dade Massacre. These nearly simultaneous attacks catalyzed the Second Seminole War with the United States.: 102–8 In April 1836, Osceola led a band of warriors in an attempt to expel U.S. forces from Fort Cooper. The fortification was built", "Florida, where they joined the Seminole. In adulthood, as part of the Seminole, Powell was given his name Osceola ( or ). This is an anglicized form of the Creek Asi-yahola (pronounced [asːi jahoːla]); the combination of asi, the ceremonial black drink made from the yaupon holly, and yahola, meaning \"shout\" or \"shouter\".In 1821, the United States acquired Florida from Spain, and more European-American settlers started moving in, encroaching on the Seminoles' territory. After early military skirmishes and the signing of the 1823 Treaty of Moultrie Creek, by which the US seized the northern Seminole lands, Osceola and", "initially imprisoned at Fort Marion in St. Augustine, before being transferred to Fort Moultrie on Sullivans Island, outside Charleston, South Carolina. Osceola's capture by deceit caused a national uproar. General Jesup's treacherous act and the administration were condemned by many congressional leaders and vilified by international press. Jesup suffered a loss of reputation that lasted for the rest of his life; his betrayal of the truce flag has been described as \"one of the most disgraceful acts in American military history.\": 221, 218 That December, Osceola and other Seminole prisoners were moved to Fort Moultrie. They were visited by various townspeople.: 213–5  The portraitists George", "the National Archives to see the original Treaty of Fort Gibson (also known as the Treaty of Payne's Landing), and that upon close inspection, he observed that it had \"a small triangular hole shaped like the point of a knife blade.\"Five of the most important Seminole chiefs, including Micanopy of the Alachua Seminole, did not agree to removal. In retaliation, the US Indian agent, Wiley Thompson, declared that those chiefs were deposed from their positions. As US relations with the Seminole deteriorated, Thompson forbade the sale of guns and ammunition to them. Osceola, a young warrior rising to prominence, resented this ban. He felt it equated the" ]

[ "resistance and war leader\nThrough the 1820s and the turn of the decade, American settlers continued pressuring the US government to remove the Seminole from Florida to make way for their desired agricultural development. In 1832, a few Seminole chiefs signed the Treaty of Payne's Landing, by which they agreed to give up their Florida lands in exchange for lands west of the Mississippi River in Indian Territory. According to legend, Osceola stabbed the treaty with his knife, although there are no contemporary reports of this.: 87–9  Donald L. Fixico, an American Indian historian, says he made a research trip to the National Archives to see the original Treaty of Fort Gibson" ]

[ "resistance and war leader\nThrough the 1820s and the turn of the decade, American settlers continued pressuring the US government to remove the Seminole from Florida to make way for their desired agricultural development. In 1832, a few Seminole chiefs signed the Treaty of Payne's Landing, by which they agreed to give up their Florida lands in exchange for lands west of the Mississippi River in Indian Territory. According to legend, Osceola stabbed the treaty with his knife, although there are no contemporary reports of this.: 87–9  Donald L. Fixico, an American Indian historian, says he made a research trip to the National Archives to see the original Treaty of Fort Gibson" ]

[ "What was Osceola's role in the resistance?", "Osceola's nearly simultaneous attacks catalyzed the Second Seminole War with the United States.", "What is the Treaty of Payne's Landing?", "The Treaty of Payne's Landing was an agreement signed on 9 May 1832 between the government of the United States and several chiefs of the Seminole Indians.", "Why did the US government want to remove the Seminole?", "Through the 1820s and the turn of the decade, American settlers continued pressuring the US government to remove the Seminole from Florida to make way for their desired agricultural development.", "What else did Osceola do?", "On December 28, 1835, Osceola, with the same rifle Thompson gave him, killed the Indian agent.", "Who is Wiley Thompson?", "Wiley Thompson was a United States Representative from Georgia." ]

[ "to prominence, resented this ban. He felt it equated the Seminole with slaves, who were forbidden by law to carry arms.: 82–5 Thompson considered Osceola to be a friend and gave him a rifle. Osceola had a habit of barging into Thompson's office and shouting complaints at him. On one occasion Osceola quarreled with Thompson, who had the warrior locked up at Fort King for two nights until he agreed to be more respectful. In order to secure his release, Osceola agreed to sign the Treaty of Payne's Landing and to bring his followers into the fort. After his humiliating imprisonment, Osceola secretly prepared vengeance against", "led a small group of warriors in the Seminole resistance during the Second Seminole War, when the United States tried to remove the tribe from their lands in Florida to Indian Territory west of the Mississippi River. He became an adviser to Micanopy, the principal chief of the Seminole from 1825 to 1849. Osceola led the Seminole resistance to removal until he was captured on October 21, 1837, by deception, under a flag of truce, when he went to a site near Fort Peyton for peace talks.: 135  The United States first imprisoned him at Fort Marion in St. Augustine, then transported him to Fort Moultrie in Charleston, South Carolina. He", "the National Archives to see the original Treaty of Fort Gibson (also known as the Treaty of Payne's Landing), and that upon close inspection, he observed that it had \"a small triangular hole shaped like the point of a knife blade.\"Five of the most important Seminole chiefs, including Micanopy of the Alachua Seminole, did not agree to removal. In retaliation, the US Indian agent, Wiley Thompson, declared that those chiefs were deposed from their positions. As US relations with the Seminole deteriorated, Thompson forbade the sale of guns and ammunition to them. Osceola, a young warrior rising to prominence, resented this ban. He felt it equated the", "fort. After his humiliating imprisonment, Osceola secretly prepared vengeance against Thompson.: 90 On December 28, 1835, Osceola, with the same rifle Thompson gave him, killed the Indian agent. Osceola and his followers shot six others outside Fort King, while another group of Seminole ambushed and killed a column of US Army, more than 100 troops, who were marching from Fort Brooke to Fort King. Americans called this event the Dade Massacre. These nearly simultaneous attacks catalyzed the Second Seminole War with the United States.: 102–8 In April 1836, Osceola led a band of warriors in an attempt to expel U.S. forces from Fort Cooper. The fortification was built", "which the US seized the northern Seminole lands, Osceola and his family moved with the Seminole deeper into the unpopulated wilds of central and southern Florida.: 55–58 \nAs an adult, Osceola took two wives, as did some other high-ranking Muscogee and Seminole leaders. With them, he had at least five children. One of his wives was black, and Osceola fiercely opposed the enslavement of free people. Lt. John T. Sprague mentions in his 1848 history The Florida War that Osceola had a wife named \"Che-cho-ter\" (Morning Dew), who bore him four children.: 58\n\n1830s resistance and war leader\nThrough the 1820s and the turn of", "expel U.S. forces from Fort Cooper. The fortification was built on the west bank of Lake Holathikaha as an outpost for actions against the local Seminole population. Despite running low on food, the U.S. garrison had enough gunpowder and ammunition to keep the Seminoles from taking the fort before reinforcements arrived.\n\nCapture and death\nOn October 21, 1837, Osceola and 81 of his followers were captured by General Joseph Hernández on the orders of General Thomas Jesup, under a white flag of truce, when they went for peace talks to Fort Peyton near St. Augustine.: 25  He was initially imprisoned at Fort Marion in St. Augustine, before being transferred", "Osceola (1804 – January 30, 1838, Asi-yahola in Creek), named Billy Powell at birth in Alabama, became an influential leader of the Seminole people in Florida. His mother was Muscogee, and his great-grandfather was a Scotsman, James McQueen. He was reared by his mother in the Creek (Muscogee) tradition. When he was a child, they migrated to Florida with other Red Stick refugees, led by a relative, Peter McQueen, after their group's defeat in 1814 in the Creek Wars. There they became part of what was known as the Seminole people.\nIn 1836, Osceola led a small group of warriors in the Seminole resistance during", "Florida, where they joined the Seminole. In adulthood, as part of the Seminole, Powell was given his name Osceola ( or ). This is an anglicized form of the Creek Asi-yahola (pronounced [asːi jahoːla]); the combination of asi, the ceremonial black drink made from the yaupon holly, and yahola, meaning \"shout\" or \"shouter\".In 1821, the United States acquired Florida from Spain, and more European-American settlers started moving in, encroaching on the Seminoles' territory. After early military skirmishes and the signing of the 1823 Treaty of Moultrie Creek, by which the US seized the northern Seminole lands, Osceola and", "initially imprisoned at Fort Marion in St. Augustine, before being transferred to Fort Moultrie on Sullivans Island, outside Charleston, South Carolina. Osceola's capture by deceit caused a national uproar. General Jesup's treacherous act and the administration were condemned by many congressional leaders and vilified by international press. Jesup suffered a loss of reputation that lasted for the rest of his life; his betrayal of the truce flag has been described as \"one of the most disgraceful acts in American military history.\": 221, 218 That December, Osceola and other Seminole prisoners were moved to Fort Moultrie. They were visited by various townspeople.: 213–5  The portraitists George" ]

[ "to prominence, resented this ban. He felt it equated the Seminole with slaves, who were forbidden by law to carry arms.: 82–5 Thompson considered Osceola to be a friend and gave him a rifle. Osceola had a habit of barging into Thompson's office and shouting complaints at him. On one occasion Osceola quarreled with Thompson, who had the warrior locked up at Fort King for two nights until he agreed to be more respectful. In order to secure his release, Osceola agreed to sign the Treaty of Payne's Landing and to bring his followers into the fort. After his humiliating imprisonment, Osceola secretly prepared vengeance against" ]

[ "to prominence, resented this ban. He felt it equated the Seminole with slaves, who were forbidden by law to carry arms.: 82–5 Thompson considered Osceola to be a friend and gave him a rifle. Osceola had a habit of barging into Thompson's office and shouting complaints at him. On one occasion Osceola quarreled with Thompson, who had the warrior locked up at Fort King for two nights until he agreed to be more respectful. In order to secure his release, Osceola agreed to sign the Treaty of Payne's Landing and to bring his followers into the fort. After his humiliating imprisonment, Osceola secretly prepared vengeance against", "led a small group of warriors in the Seminole resistance during the Second Seminole War, when the United States tried to remove the tribe from their lands in Florida to Indian Territory west of the Mississippi River. He became an adviser to Micanopy, the principal chief of the Seminole from 1825 to 1849. Osceola led the Seminole resistance to removal until he was captured on October 21, 1837, by deception, under a flag of truce, when he went to a site near Fort Peyton for peace talks.: 135  The United States first imprisoned him at Fort Marion in St. Augustine, then transported him to Fort Moultrie in Charleston, South Carolina. He", "resistance and war leader\nThrough the 1820s and the turn of the decade, American settlers continued pressuring the US government to remove the Seminole from Florida to make way for their desired agricultural development. In 1832, a few Seminole chiefs signed the Treaty of Payne's Landing, by which they agreed to give up their Florida lands in exchange for lands west of the Mississippi River in Indian Territory. According to legend, Osceola stabbed the treaty with his knife, although there are no contemporary reports of this.: 87–9  Donald L. Fixico, an American Indian historian, says he made a research trip to the National Archives to see the original Treaty of Fort Gibson" ]

[ "What was Osceola's role in the resistance?", "Osceola's nearly simultaneous attacks catalyzed the Second Seminole War with the United States.", "What is the Treaty of Payne's Landing?", "The Treaty of Payne's Landing was an agreement signed on 9 May 1832 between the government of the United States and several chiefs of the Seminole Indians.", "Why did the US government want to remove the Seminole?", "Through the 1820s and the turn of the decade, American settlers continued pressuring the US government to remove the Seminole from Florida to make way for their desired agricultural development.", "What else did Osceola do?", "On December 28, 1835, Osceola, with the same rifle Thompson gave him, killed the Indian agent.", "Who is Wiley Thompson?", "Wiley Thompson was a United States Representative from Georgia.", "What did Wiley Thompson do to Osceola?", "On one occasion Osceola quarreled with Wiley Thompson, who had the warrior locked up at Fort King for two nights until he agreed to be more respectful." ]

[ "the National Archives to see the original Treaty of Fort Gibson (also known as the Treaty of Payne's Landing), and that upon close inspection, he observed that it had \"a small triangular hole shaped like the point of a knife blade.\"Five of the most important Seminole chiefs, including Micanopy of the Alachua Seminole, did not agree to removal. In retaliation, the US Indian agent, Wiley Thompson, declared that those chiefs were deposed from their positions. As US relations with the Seminole deteriorated, Thompson forbade the sale of guns and ammunition to them. Osceola, a young warrior rising to prominence, resented this ban. He felt it equated the", "fort. After his humiliating imprisonment, Osceola secretly prepared vengeance against Thompson.: 90 On December 28, 1835, Osceola, with the same rifle Thompson gave him, killed the Indian agent. Osceola and his followers shot six others outside Fort King, while another group of Seminole ambushed and killed a column of US Army, more than 100 troops, who were marching from Fort Brooke to Fort King. Americans called this event the Dade Massacre. These nearly simultaneous attacks catalyzed the Second Seminole War with the United States.: 102–8 In April 1836, Osceola led a band of warriors in an attempt to expel U.S. forces from Fort Cooper. The fortification was built", "expel U.S. forces from Fort Cooper. The fortification was built on the west bank of Lake Holathikaha as an outpost for actions against the local Seminole population. Despite running low on food, the U.S. garrison had enough gunpowder and ammunition to keep the Seminoles from taking the fort before reinforcements arrived.\n\nCapture and death\nOn October 21, 1837, Osceola and 81 of his followers were captured by General Joseph Hernández on the orders of General Thomas Jesup, under a white flag of truce, when they went for peace talks to Fort Peyton near St. Augustine.: 25  He was initially imprisoned at Fort Marion in St. Augustine, before being transferred", "which the US seized the northern Seminole lands, Osceola and his family moved with the Seminole deeper into the unpopulated wilds of central and southern Florida.: 55–58 \nAs an adult, Osceola took two wives, as did some other high-ranking Muscogee and Seminole leaders. With them, he had at least five children. One of his wives was black, and Osceola fiercely opposed the enslavement of free people. Lt. John T. Sprague mentions in his 1848 history The Florida War that Osceola had a wife named \"Che-cho-ter\" (Morning Dew), who bore him four children.: 58\n\n1830s resistance and war leader\nThrough the 1820s and the turn of", "Osceola (1804 – January 30, 1838, Asi-yahola in Creek), named Billy Powell at birth in Alabama, became an influential leader of the Seminole people in Florida. His mother was Muscogee, and his great-grandfather was a Scotsman, James McQueen. He was reared by his mother in the Creek (Muscogee) tradition. When he was a child, they migrated to Florida with other Red Stick refugees, led by a relative, Peter McQueen, after their group's defeat in 1814 in the Creek Wars. There they became part of what was known as the Seminole people.\nIn 1836, Osceola led a small group of warriors in the Seminole resistance during", "Florida, where they joined the Seminole. In adulthood, as part of the Seminole, Powell was given his name Osceola ( or ). This is an anglicized form of the Creek Asi-yahola (pronounced [asːi jahoːla]); the combination of asi, the ceremonial black drink made from the yaupon holly, and yahola, meaning \"shout\" or \"shouter\".In 1821, the United States acquired Florida from Spain, and more European-American settlers started moving in, encroaching on the Seminoles' territory. After early military skirmishes and the signing of the 1823 Treaty of Moultrie Creek, by which the US seized the northern Seminole lands, Osceola and", "initially imprisoned at Fort Marion in St. Augustine, before being transferred to Fort Moultrie on Sullivans Island, outside Charleston, South Carolina. Osceola's capture by deceit caused a national uproar. General Jesup's treacherous act and the administration were condemned by many congressional leaders and vilified by international press. Jesup suffered a loss of reputation that lasted for the rest of his life; his betrayal of the truce flag has been described as \"one of the most disgraceful acts in American military history.\": 221, 218 That December, Osceola and other Seminole prisoners were moved to Fort Moultrie. They were visited by various townspeople.: 213–5  The portraitists George" ]

[ "the National Archives to see the original Treaty of Fort Gibson (also known as the Treaty of Payne's Landing), and that upon close inspection, he observed that it had \"a small triangular hole shaped like the point of a knife blade.\"Five of the most important Seminole chiefs, including Micanopy of the Alachua Seminole, did not agree to removal. In retaliation, the US Indian agent, Wiley Thompson, declared that those chiefs were deposed from their positions. As US relations with the Seminole deteriorated, Thompson forbade the sale of guns and ammunition to them. Osceola, a young warrior rising to prominence, resented this ban. He felt it equated the" ]

[ "to prominence, resented this ban. He felt it equated the Seminole with slaves, who were forbidden by law to carry arms.: 82–5 Thompson considered Osceola to be a friend and gave him a rifle. Osceola had a habit of barging into Thompson's office and shouting complaints at him. On one occasion Osceola quarreled with Thompson, who had the warrior locked up at Fort King for two nights until he agreed to be more respectful. In order to secure his release, Osceola agreed to sign the Treaty of Payne's Landing and to bring his followers into the fort. After his humiliating imprisonment, Osceola secretly prepared vengeance against", "led a small group of warriors in the Seminole resistance during the Second Seminole War, when the United States tried to remove the tribe from their lands in Florida to Indian Territory west of the Mississippi River. He became an adviser to Micanopy, the principal chief of the Seminole from 1825 to 1849. Osceola led the Seminole resistance to removal until he was captured on October 21, 1837, by deception, under a flag of truce, when he went to a site near Fort Peyton for peace talks.: 135  The United States first imprisoned him at Fort Marion in St. Augustine, then transported him to Fort Moultrie in Charleston, South Carolina. He", "resistance and war leader\nThrough the 1820s and the turn of the decade, American settlers continued pressuring the US government to remove the Seminole from Florida to make way for their desired agricultural development. In 1832, a few Seminole chiefs signed the Treaty of Payne's Landing, by which they agreed to give up their Florida lands in exchange for lands west of the Mississippi River in Indian Territory. According to legend, Osceola stabbed the treaty with his knife, although there are no contemporary reports of this.: 87–9  Donald L. Fixico, an American Indian historian, says he made a research trip to the National Archives to see the original Treaty of Fort Gibson", "the National Archives to see the original Treaty of Fort Gibson (also known as the Treaty of Payne's Landing), and that upon close inspection, he observed that it had \"a small triangular hole shaped like the point of a knife blade.\"Five of the most important Seminole chiefs, including Micanopy of the Alachua Seminole, did not agree to removal. In retaliation, the US Indian agent, Wiley Thompson, declared that those chiefs were deposed from their positions. As US relations with the Seminole deteriorated, Thompson forbade the sale of guns and ammunition to them. Osceola, a young warrior rising to prominence, resented this ban. He felt it equated the" ]

[ "What was Osceola's role in the resistance?", "Osceola's nearly simultaneous attacks catalyzed the Second Seminole War with the United States.", "What is the Treaty of Payne's Landing?", "The Treaty of Payne's Landing was an agreement signed on 9 May 1832 between the government of the United States and several chiefs of the Seminole Indians.", "Why did the US government want to remove the Seminole?", "Through the 1820s and the turn of the decade, American settlers continued pressuring the US government to remove the Seminole from Florida to make way for their desired agricultural development.", "What else did Osceola do?", "On December 28, 1835, Osceola, with the same rifle Thompson gave him, killed the Indian agent.", "Who is Wiley Thompson?", "Wiley Thompson was a United States Representative from Georgia.", "What did Wiley Thompson do to Osceola?", "On one occasion Osceola quarreled with Wiley Thompson, who had the warrior locked up at Fort King for two nights until he agreed to be more respectful.", "Who did Wiley Thompson forbid the sale to?", "As US relations with the Seminole deteriorated, Wiley Thompson forbade the sale of guns and ammunition to them." ]

[ "fort. After his humiliating imprisonment, Osceola secretly prepared vengeance against Thompson.: 90 On December 28, 1835, Osceola, with the same rifle Thompson gave him, killed the Indian agent. Osceola and his followers shot six others outside Fort King, while another group of Seminole ambushed and killed a column of US Army, more than 100 troops, who were marching from Fort Brooke to Fort King. Americans called this event the Dade Massacre. These nearly simultaneous attacks catalyzed the Second Seminole War with the United States.: 102–8 In April 1836, Osceola led a band of warriors in an attempt to expel U.S. forces from Fort Cooper. The fortification was built", "which the US seized the northern Seminole lands, Osceola and his family moved with the Seminole deeper into the unpopulated wilds of central and southern Florida.: 55–58 \nAs an adult, Osceola took two wives, as did some other high-ranking Muscogee and Seminole leaders. With them, he had at least five children. One of his wives was black, and Osceola fiercely opposed the enslavement of free people. Lt. John T. Sprague mentions in his 1848 history The Florida War that Osceola had a wife named \"Che-cho-ter\" (Morning Dew), who bore him four children.: 58\n\n1830s resistance and war leader\nThrough the 1820s and the turn of", "expel U.S. forces from Fort Cooper. The fortification was built on the west bank of Lake Holathikaha as an outpost for actions against the local Seminole population. Despite running low on food, the U.S. garrison had enough gunpowder and ammunition to keep the Seminoles from taking the fort before reinforcements arrived.\n\nCapture and death\nOn October 21, 1837, Osceola and 81 of his followers were captured by General Joseph Hernández on the orders of General Thomas Jesup, under a white flag of truce, when they went for peace talks to Fort Peyton near St. Augustine.: 25  He was initially imprisoned at Fort Marion in St. Augustine, before being transferred", "Osceola (1804 – January 30, 1838, Asi-yahola in Creek), named Billy Powell at birth in Alabama, became an influential leader of the Seminole people in Florida. His mother was Muscogee, and his great-grandfather was a Scotsman, James McQueen. He was reared by his mother in the Creek (Muscogee) tradition. When he was a child, they migrated to Florida with other Red Stick refugees, led by a relative, Peter McQueen, after their group's defeat in 1814 in the Creek Wars. There they became part of what was known as the Seminole people.\nIn 1836, Osceola led a small group of warriors in the Seminole resistance during", "Florida, where they joined the Seminole. In adulthood, as part of the Seminole, Powell was given his name Osceola ( or ). This is an anglicized form of the Creek Asi-yahola (pronounced [asːi jahoːla]); the combination of asi, the ceremonial black drink made from the yaupon holly, and yahola, meaning \"shout\" or \"shouter\".In 1821, the United States acquired Florida from Spain, and more European-American settlers started moving in, encroaching on the Seminoles' territory. After early military skirmishes and the signing of the 1823 Treaty of Moultrie Creek, by which the US seized the northern Seminole lands, Osceola and", "initially imprisoned at Fort Marion in St. Augustine, before being transferred to Fort Moultrie on Sullivans Island, outside Charleston, South Carolina. Osceola's capture by deceit caused a national uproar. General Jesup's treacherous act and the administration were condemned by many congressional leaders and vilified by international press. Jesup suffered a loss of reputation that lasted for the rest of his life; his betrayal of the truce flag has been described as \"one of the most disgraceful acts in American military history.\": 221, 218 That December, Osceola and other Seminole prisoners were moved to Fort Moultrie. They were visited by various townspeople.: 213–5  The portraitists George" ]

[ "fort. After his humiliating imprisonment, Osceola secretly prepared vengeance against Thompson.: 90 On December 28, 1835, Osceola, with the same rifle Thompson gave him, killed the Indian agent. Osceola and his followers shot six others outside Fort King, while another group of Seminole ambushed and killed a column of US Army, more than 100 troops, who were marching from Fort Brooke to Fort King. Americans called this event the Dade Massacre. These nearly simultaneous attacks catalyzed the Second Seminole War with the United States.: 102–8 In April 1836, Osceola led a band of warriors in an attempt to expel U.S. forces from Fort Cooper. The fortification was built" ]

[ "he had reportedly been suffering a serious illness. In 2017, after admitting she'd become \"a near recluse\" since Ebbeson's death, she married Texas banker Richard Ware.\n\nFederal electoral history\nSee also\nFlorida election recount\nWomen in the United States House of Representatives\n\nReferences\nExternal links\n\nBiography at the Biographical Directory of the United States Congress\nProfile piece at Washington Post\nAppearances on C-SPAN", "\"looked annoyed, hesitated, slowly turned red. Then, before he could answer, the whole club burst into a howl of laughter. The elaborate structure of logic offered by the test-tube realist had been crumpled by one word of challenge from a simple-minded boy.\"\n\nFamily\nIt was at university that Cronin met his future wife, Agnes Mary Gibson (May, 1898–1981), who was also a medical student. She was the daughter of Robert Gibson, a master baker, and Agnes Thomson Gibson (née Gilchrist) of Hamilton, Lanarkshire. The couple married on 31 August 1921. As a physician, Mary worked with her husband briefly in the dispensary while he was employed", "incident. The Observer researched the murder and found what it submitted to be contradictions between the events and Grace's subsequent statements, including the following:\n\nHer fiancé, Keith Griffin, was not shot at random by a stranger, but by a former coworker, Tommy McCoy.\nMcCoy did not have a prior criminal record.\nRather than denying the crime, McCoy confessed on the night of the murder (nevertheless, he subsequently denied the crime by a plea of not guilty and went to trial).\nThe jury deliberated for a few hours, not days.\nThere was no ongoing string of appeals (McCoy's family did not want any), though McCoy did file an appellate court habeas corpus", "and the affair only became sexual \"several years later\". In another soon-to-be-released sex tape by Vivid Entertainment, she claimed that the first time she had sex with him was when she was 21. She also said that he often had erectile dysfunction. A few days after the Daily News broke the story about the McCready relationship, they reported on another Clemens extramarital relationship, this time with Paulette Dean Daly, the now ex-wife of pro golfer John Daly. Daly declined to elaborate on the nature of her relationship with the pitcher but did not deny that it was romantic and included financial support.There have been reports of Clemens having", "the view that his relationship with his father was strained.Bradman's reclusiveness in later life is partly attributable to the ongoing health problems of his wife, particularly following the open-heart surgery Jessie underwent in her 60s. Lady Bradman died in 1997, aged 88, from cancer. This had a dispiriting effect on Bradman, but the relationship with his son improved, to the extent that John resolved to change his name back to Bradman. Since his father's death, John Bradman has become the spokesperson for the family and has been involved in defending the Bradman legacy in a number of disputes. The relationship between Bradman and his wider family", "number of times she had been married, \"for fear of sounding frivolous.\" According to her autobiographies and to Gillespie, she married Tosh Angelos in 1951, and Paul du Feu in 1974, and began her relationship with Vusumzi Make in 1961, but never formally married him. Angelou held many jobs, including some in the sex trade working as a prostitute and madam for lesbians, and describes so in her second autobiography, Gather Together in My Name. In a 1995 interview, Angelou said,\n\nI wrote about my experiences because I thought too many people tell young folks, \"I never did anything wrong. Who, Moi? – never I. I", "birth. His family name proved a burden for John Bradman; he legally changed his last name to Bradsen in 1972. Although claims were made that he became estranged from his father, it was more a matter of \"the pair inhabit[ing] different worlds\", and the two remained in contact through the years. After the cricketer's death, a collection of personal letters written by Bradman to his close friend Rohan Rivett between 1953 and 1977 was released and gave researchers new insights into Bradman's family life, including the strain between father and son. However, John Bradman later rejected the view that his relationship with his father was strained.Bradman's", "but he never had any children. His wives were:\n\nFlor de Oro Trujillo, Rafael Trujillo's eldest daughter, December 2, 1932 – 1937\nDanielle Darrieux, French actress, September 18, 1942 – May 21, 1947\nDoris Duke, American heiress, September 1, 1947 – October 30, 1948; with marital gifts and final settlement he received an alimony ($25,000 per year until remarriage), a fishing fleet off Africa, several sports cars, a converted B-25 bomber (La Ganza), and a 17th-century house in Rue de Bellechasse, Paris.\nBarbara Hutton, American heiress, December 30, 1953 – February 20, 1954; in the settlement he received a coffee plantation in", "long-lost daughter-in-law Jean shows up on his doorstep.\nJean and her young daughter, Griff move in with Einar and Mitch. Einar's son, Griffin, had married Jean years ago. She discovered that she was pregnant with Griff after Griffin died in a car accident, after which the family broke up. Tension exists between Einar and Jean, as both are still grieving for Griffin; tensions build as Einar has always blamed Jean for his son's death.\nSince Griffin died, Jean has been in a series of unsuccessful relationships. She moved in with Einar to escape her abusive boyfriend, Gary. Jean starts working at a local coffee shop to earn", "went back to his bachelor rooms in Paddington. She lived at Fellowship House. Their \"open marriage\" was the central subject in Ellis's autobiography, My Life. Ellis reportedly had an affair with Margaret Sanger.According to Ellis in My Life, his friends were much amused at his being considered an expert on sex. Some knew that he reportedly suffered from impotence until the age of 60. He then discovered that he could become aroused by the sight of a woman urinating. Ellis named this \"undinism\". After his wife died, Ellis formed a relationship with a French woman, Françoise Lafitte.\n\nEugenics\nEllis was a supporter of eugenics. He served as" ]

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[ "Hasan ibn Ali ibn Muhammad (Arabic: الحَسَن بْن عَلِيّ بْن مُحَمَّدُ, romanized: al-Ḥasan ibn ʿAlī ibn Muḥammad; c. 846 – 874), better known as Hasan al-Askari (Arabic: الحَسَن ٱلْعَسْكَرِيّ, romanized: al-Ḥasan al-ʿAskarī), was a descendant of the Islamic prophet Muhammad. He is regarded as the eleventh of the Twelve Imams, succeeding his father, Ali al-Hadi. Hasan Al-Askari was born in Medina in 844 and brought with his father to the garrison town of Samarra in 848, where the Abbasid caliphs held them under close surveillance until their deaths, even though neither were politically active. After the death" ]

[ "Hasan was about twenty-two, an agent of his father is said to have providentially bought a Byzantine concubine, named Narjis (Narcissus), who was given to Hasan in marriage, and later bore him his only son. Other sources give her name variously as Saqil, Sawsan, and Rayhana. The detailed accounts of Majlesi and Tusi describe Narjis as a captured granddaughter of the Byzantine emperor and a pious woman who was told in a dream about her future union with Hasan, though these accounts have been described as hagiographic. Some other accounts describe Narjis as Nubian.\n\nDesignation as the Imam\nAfter the death of al-Hadi in", "Hasan ibn Ali ibn Muhammad (Arabic: الحَسَن بْن عَلِيّ بْن مُحَمَّدُ, romanized: al-Ḥasan ibn ʿAlī ibn Muḥammad; c. 846 – 874), better known as Hasan al-Askari (Arabic: الحَسَن ٱلْعَسْكَرِيّ, romanized: al-Ḥasan al-ʿAskarī), was a descendant of the Islamic prophet Muhammad. He is regarded as the eleventh of the Twelve Imams, succeeding his father, Ali al-Hadi. Hasan Al-Askari was born in Medina in 844 and brought with his father to the garrison town of Samarra in 848, where the Abbasid caliphs held them under close surveillance until their deaths, even though neither were politically active. After the death", "entered a state of occultation. His life is said to be miraculously prolonged until the day he manifests himself again by God's permission to fill the earth with justice. Though in occultation, the Imam still remains responsible in Twelver belief for the spiritual guidance of humankind and the Shia accounts of his occasional encounters with the pious are numerous and popular.\n\nTitles\nHasan ibn Ali is known by the titles al-Samet (lit. 'the quiet'), al-Hadi (lit. 'the guide'), and al-Zaki (lit. 'the pure'), though his most common title is al-Askari (lit. 'military')، on the account of his almost life-long detention in Samarra, a", "Hasan was born in Medina, though Donaldson has cast doubt on this, as he is uncertain between Medina and Samarra. His father was the tenth Shia Imam, Ali al-Hadi, and his mother was a freed slave (umm walad), whose name is variously given as Hudayth, Susan, or Salil in different sources. At the age of about two, Hasan was brought to Samarra with his father in 233 or 234 AH (847-849), where the latter was held under close surveillance by the Abbasid caliphs until his death in 254 (868), some twenty years later.When Hasan was about twenty-two, an agent of his father is", "the Imam. However, considering that al-Askari did not have an obvious heir, Tabatabai maintains that the caliph intended to closely monitor the Imam and later continued to search for his offspring after his death. Hussain, Amir-Moezzi, and Sachedina present similar accounts.Al-Askari was buried in the family home, next to his father, Ali al-Hadi. The house was later expanded to a major shrine by various Shia and Sunni patrons. More recently, Naser al-Din Shah Qajar ordered to rebuild the complex in 1868-9 and the golden dome was added in 1905. The shrine also houses the tomb of his aunt, Hakima Khatun. As an important", "of them held that the imamate ceased with al-Askari and the Waqifiyya maintained that he would later emerge as the eschatological Mahdi. Others concluded that Muhammad ibn al-Hadi, a deceased brother of al-Askari, must have been the true Imam. Yet others accepted the imamate of Ja'far ibn al-Hadi, another brother of al-Askari, who had earlier unsuccessfully claimed the imamate for himself after the death of their father, al-Hadi. Some believed that the twelfth Imam would be born in the end of times to a descendant of al-Askari.\n\nOccultation\nThe group that went on to become the Twelvers largely held that al-Askari had a", "the audible recitation of the basmala (lit. 'in the name of God') [during daily prayers].\" In the context of intercession (shafa'a), al-Askari is reported to have said that only a small fraction of God’s mercy (rahma) has been dispersed among His creation in this world. All of God's mercy will be diffused on the Day of Judgement by means of which true Muslims will successfully intercede on behalf of their communities.\n\nSee also\nList of extinct Shia sects\nMuhammadite Shia\n\nFootnotes\nReferences\nHalm, H. (1987). \"ʿASKARĪ\". Encyclopaedia Iranica. Vol. II/7. p. 769.\nEliash, J. (2022). \"Ḥasan Al-ʿAskarī\".", "Nubian.\n\nDesignation as the Imam\nAfter the death of al-Hadi in 868, the majority of his followers acknowledged his son, Hasan al-Askari, as their next Imam. Shia sources report that al-Hadi designated Hasan as the next Imam a few months before his death. After al-Hadi, his another son, Ja'far, unsuccessfully claimed the imamate for himself. Madelung adds that some had expected another son of al-Hadi, Abu Ja'far Moḥammad, to be the next Imam but he predeceased his father in Samarra.\n\nImamate\nThe imamate of al-Askari began in 868 and lasted only about six years, overlapping with the caliphates of the Abbasid", "about six years, overlapping with the caliphates of the Abbasid al-Mu'tazz, al-Muhtadi, and al-Mu'tamid. During these years, though not politically active, al-Askari mostly lived under house arrest in Samarra, subject to constant surveillance. He therefore communicated with his followers mostly through a network of representatives, notably Uthman ibn Sa'id. Tabatabai and Sachedina write that al-Askari was not allowed any social contact with the general Shia population. Tabatabai also suggests that these restrictions were placed on al-Askari because the caliphate had come to know about the traditions, circulating among the Shia elite, which predicted that the eleventh Imam would father the", "to become the Twelvers largely held that al-Askari had a son, named Abu al-Qasim Muhammad, same name as the prophet. Born around 255 (868), he is also known as Muhammad al-Mahdi (lit. 'the rightly guided'). Out of the fear of Abbasid persecution, Muhammad was kept hidden from the public and his existence was only known to a few trusted associates of the eleventh Imam. After the death of his father, Muhammad is said to have made his only public appearance to lead the funeral prayers for his father instead of his uncle, Ja'far. He was not seen publicly afterwards and entered a state of occultation for" ]

[ "What was Hasan al-Askari's wife's name?", "Narjis bint Yashoua was the wife of Imam Hasan al-Askari and the mother of the final Imam of Twelver Shia Islam.", "Who was Narjis bint Yashoua?", "Narjis bint Yashoua was the wife of Imam Hasan al-Askari and the mother of the final Imam of Twelver Shia Islam.", "Was Narjis bint Yashoua a slave?", "Some sources have described her as a Roman princess who pretended to be a slave so that she might travel from her kingdom to Arabia.", "Did Hasan al-Askari buy Narjis bint Yashoua?", "Yes, after reading the letter in the red pouch, she desperately wanted to be sold to the writer of the letter.", "What did Ali al-Hadi do with the red purse?", "Ali al-Hadi, wrote a letter in the script of Rûm, put it in a red purse with 220 dinars, and gave it to his friend Bashar ibn Sulaiman.", "Did Hasan al-Askari and Narjis bint Yashoua marry right away?", "It was decided before even meeting that she was to be wed to Hasan al-Askari.", "Was Narjis bint Yashoua's dream significant in some way?", "Yes, it was foreshadowing of future events." ]

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[ "Umayyad Umar II, though later caliphs again appended Fadak to the state treasury.\n\nDeath\nAt the age of about twenty-eight, al-Askari died on 1 or 8 Rabi' al-Awwal 260 AH (25 December 873 or 1 January 874) after a week-long illness. The Shia currently commemorate 8 Rabi' al-Awwal for this occasion. Shia sources commonly attribute his death to poisoning at the instigation of al-Mu'tamid. During the week of his illness, many notable Alid and Abbasid figures visited him on his deathbed and the caliph also sent his doctors and servants to attend the Imam. However, considering that al-Askari did not have an" ]

[]

[ "When was Hasan al-Askari born?", "In 231 or 232 A.H., Hasan al-Askari was born in Medina.", "Where was Hasan al-Askari born?", "In 231 or 232 A.H., Hasan al-Askari was born in Medina.", "Who were Hasan al-Askari's parents?", "Hasan al-Askari's parents were Ali al-Hadi and Al-Askari's mother's given name was Hadith, though some say she was called Susan, Ghazala, Salil, or Haribta.", "Did Hasan al-Askari have siblings?", "Hasan al-Askari's siblings were Muhammad and Ja'far.", "Anything important or notable about Hasan al-Askari's early life?", "It is said that even as a child, Hasan al-Askari was endowed with divine knowledge." ]

[ "Hasan ibn Ali ibn Muhammad (Arabic: الحَسَن بْن عَلِيّ بْن مُحَمَّدُ, romanized: al-Ḥasan ibn ʿAlī ibn Muḥammad; c. 846 – 874), better known as Hasan al-Askari (Arabic: الحَسَن ٱلْعَسْكَرِيّ, romanized: al-Ḥasan al-ʿAskarī), was a descendant of the Islamic prophet Muhammad. He is regarded as the eleventh of the Twelve Imams, succeeding his father, Ali al-Hadi. Hasan Al-Askari was born in Medina in 844 and brought with his father to the garrison town of Samarra in 848, where the Abbasid caliphs held them under close surveillance until their deaths, even though neither were politically active. After the death", "Hasan was born in Medina, though Donaldson has cast doubt on this, as he is uncertain between Medina and Samarra. His father was the tenth Shia Imam, Ali al-Hadi, and his mother was a freed slave (umm walad), whose name is variously given as Hudayth, Susan, or Salil in different sources. At the age of about two, Hasan was brought to Samarra with his father in 233 or 234 AH (847-849), where the latter was held under close surveillance by the Abbasid caliphs until his death in 254 (868), some twenty years later.When Hasan was about twenty-two, an agent of his father is", "the account of his almost life-long detention in Samarra, a garrison town not far from Baghdad which was the capital of the Abbasids at the time. As a great-grandson of Ali al-Rida, the eighth of the Twelve Imams, Hasan was also known by his contemporaries as Ibn al-Rida (lit. 'son of al-Rida').\n\nBirth and early life\nMost Shia sources state that Hasan ibn Ali was born in Rabi' al-Awwal 230 AH (November 844), though other given dates range from 845 to 847. The Shia currently celebrate 8 Rabi' al-Thani as his birthday. Hasan was born in Medina, though Donaldson has cast doubt on", "their deaths, even though neither were politically active. After the death of al-Hadi in 868, the majority of his following acknowledged his son, al-Askari, as their next Imam. Al-Askari's contact with the Shia population was restricted by the caliphs and instead he communicated with his followers through a network of representatives. He died in Samarra in 873-874 at the age of about twenty-eight and was buried in the family home next to his father, which later developed into al-Askari shrine, a major center for Shia pilgrimage. Shia sources commonly hold the Abbasids responsible for the death of al-Askari and his father. A well-known", "to become the Twelvers largely held that al-Askari had a son, named Abu al-Qasim Muhammad, same name as the prophet. Born around 255 (868), he is also known as Muhammad al-Mahdi (lit. 'the rightly guided'). Out of the fear of Abbasid persecution, Muhammad was kept hidden from the public and his existence was only known to a few trusted associates of the eleventh Imam. After the death of his father, Muhammad is said to have made his only public appearance to lead the funeral prayers for his father instead of his uncle, Ja'far. He was not seen publicly afterwards and entered a state of occultation for", "Nubian.\n\nDesignation as the Imam\nAfter the death of al-Hadi in 868, the majority of his followers acknowledged his son, Hasan al-Askari, as their next Imam. Shia sources report that al-Hadi designated Hasan as the next Imam a few months before his death. After al-Hadi, his another son, Ja'far, unsuccessfully claimed the imamate for himself. Madelung adds that some had expected another son of al-Hadi, Abu Ja'far Moḥammad, to be the next Imam but he predeceased his father in Samarra.\n\nImamate\nThe imamate of al-Askari began in 868 and lasted only about six years, overlapping with the caliphates of the Abbasid", "about six years, overlapping with the caliphates of the Abbasid al-Mu'tazz, al-Muhtadi, and al-Mu'tamid. During these years, though not politically active, al-Askari mostly lived under house arrest in Samarra, subject to constant surveillance. He therefore communicated with his followers mostly through a network of representatives, notably Uthman ibn Sa'id. Tabatabai and Sachedina write that al-Askari was not allowed any social contact with the general Shia population. Tabatabai also suggests that these restrictions were placed on al-Askari because the caliphate had come to know about the traditions, circulating among the Shia elite, which predicted that the eleventh Imam would father the", "the Imam. However, considering that al-Askari did not have an obvious heir, Tabatabai maintains that the caliph intended to closely monitor the Imam and later continued to search for his offspring after his death. Hussain, Amir-Moezzi, and Sachedina present similar accounts.Al-Askari was buried in the family home, next to his father, Ali al-Hadi. The house was later expanded to a major shrine by various Shia and Sunni patrons. More recently, Naser al-Din Shah Qajar ordered to rebuild the complex in 1868-9 and the golden dome was added in 1905. The shrine also houses the tomb of his aunt, Hakima Khatun. As an important", "of them held that the imamate ceased with al-Askari and the Waqifiyya maintained that he would later emerge as the eschatological Mahdi. Others concluded that Muhammad ibn al-Hadi, a deceased brother of al-Askari, must have been the true Imam. Yet others accepted the imamate of Ja'far ibn al-Hadi, another brother of al-Askari, who had earlier unsuccessfully claimed the imamate for himself after the death of their father, al-Hadi. Some believed that the twelfth Imam would be born in the end of times to a descendant of al-Askari.\n\nOccultation\nThe group that went on to become the Twelvers largely held that al-Askari had a", "entered a state of occultation. His life is said to be miraculously prolonged until the day he manifests himself again by God's permission to fill the earth with justice. Though in occultation, the Imam still remains responsible in Twelver belief for the spiritual guidance of humankind and the Shia accounts of his occasional encounters with the pious are numerous and popular.\n\nTitles\nHasan ibn Ali is known by the titles al-Samet (lit. 'the quiet'), al-Hadi (lit. 'the guide'), and al-Zaki (lit. 'the pure'), though his most common title is al-Askari (lit. 'military')، on the account of his almost life-long detention in Samarra, a" ]

[ "Hasan ibn Ali ibn Muhammad (Arabic: الحَسَن بْن عَلِيّ بْن مُحَمَّدُ, romanized: al-Ḥasan ibn ʿAlī ibn Muḥammad; c. 846 – 874), better known as Hasan al-Askari (Arabic: الحَسَن ٱلْعَسْكَرِيّ, romanized: al-Ḥasan al-ʿAskarī), was a descendant of the Islamic prophet Muhammad. He is regarded as the eleventh of the Twelve Imams, succeeding his father, Ali al-Hadi. Hasan Al-Askari was born in Medina in 844 and brought with his father to the garrison town of Samarra in 848, where the Abbasid caliphs held them under close surveillance until their deaths, even though neither were politically active. After the death" ]

[]

[ "When was Hasan al-Askari born?", "In 231 or 232 A.H., Hasan al-Askari was born in Medina.", "Where was Hasan al-Askari born?", "In 231 or 232 A.H., Hasan al-Askari was born in Medina.", "Who were Hasan al-Askari's parents?", "Hasan al-Askari's parents were Ali al-Hadi and Al-Askari's mother's given name was Hadith, though some say she was called Susan, Ghazala, Salil, or Haribta.", "Did Hasan al-Askari have siblings?", "Hasan al-Askari's siblings were Muhammad and Ja'far.", "Anything important or notable about Hasan al-Askari's early life?", "It is said that even as a child, Hasan al-Askari was endowed with divine knowledge.", "Did Hasan al-Askari receive any education or religious training?", "No formal training but, in Samarra, Hasan al-Askari spent most of his time reading the Quran and the Sharia." ]

[ "Hasan ibn Ali ibn Muhammad (Arabic: الحَسَن بْن عَلِيّ بْن مُحَمَّدُ, romanized: al-Ḥasan ibn ʿAlī ibn Muḥammad; c. 846 – 874), better known as Hasan al-Askari (Arabic: الحَسَن ٱلْعَسْكَرِيّ, romanized: al-Ḥasan al-ʿAskarī), was a descendant of the Islamic prophet Muhammad. He is regarded as the eleventh of the Twelve Imams, succeeding his father, Ali al-Hadi. Hasan Al-Askari was born in Medina in 844 and brought with his father to the garrison town of Samarra in 848, where the Abbasid caliphs held them under close surveillance until their deaths, even though neither were politically active. After the death", "Hasan was born in Medina, though Donaldson has cast doubt on this, as he is uncertain between Medina and Samarra. His father was the tenth Shia Imam, Ali al-Hadi, and his mother was a freed slave (umm walad), whose name is variously given as Hudayth, Susan, or Salil in different sources. At the age of about two, Hasan was brought to Samarra with his father in 233 or 234 AH (847-849), where the latter was held under close surveillance by the Abbasid caliphs until his death in 254 (868), some twenty years later.When Hasan was about twenty-two, an agent of his father is", "the account of his almost life-long detention in Samarra, a garrison town not far from Baghdad which was the capital of the Abbasids at the time. As a great-grandson of Ali al-Rida, the eighth of the Twelve Imams, Hasan was also known by his contemporaries as Ibn al-Rida (lit. 'son of al-Rida').\n\nBirth and early life\nMost Shia sources state that Hasan ibn Ali was born in Rabi' al-Awwal 230 AH (November 844), though other given dates range from 845 to 847. The Shia currently celebrate 8 Rabi' al-Thani as his birthday. Hasan was born in Medina, though Donaldson has cast doubt on", "their deaths, even though neither were politically active. After the death of al-Hadi in 868, the majority of his following acknowledged his son, al-Askari, as their next Imam. Al-Askari's contact with the Shia population was restricted by the caliphs and instead he communicated with his followers through a network of representatives. He died in Samarra in 873-874 at the age of about twenty-eight and was buried in the family home next to his father, which later developed into al-Askari shrine, a major center for Shia pilgrimage. Shia sources commonly hold the Abbasids responsible for the death of al-Askari and his father. A well-known", "about six years, overlapping with the caliphates of the Abbasid al-Mu'tazz, al-Muhtadi, and al-Mu'tamid. During these years, though not politically active, al-Askari mostly lived under house arrest in Samarra, subject to constant surveillance. He therefore communicated with his followers mostly through a network of representatives, notably Uthman ibn Sa'id. Tabatabai and Sachedina write that al-Askari was not allowed any social contact with the general Shia population. Tabatabai also suggests that these restrictions were placed on al-Askari because the caliphate had come to know about the traditions, circulating among the Shia elite, which predicted that the eleventh Imam would father the", "to become the Twelvers largely held that al-Askari had a son, named Abu al-Qasim Muhammad, same name as the prophet. Born around 255 (868), he is also known as Muhammad al-Mahdi (lit. 'the rightly guided'). Out of the fear of Abbasid persecution, Muhammad was kept hidden from the public and his existence was only known to a few trusted associates of the eleventh Imam. After the death of his father, Muhammad is said to have made his only public appearance to lead the funeral prayers for his father instead of his uncle, Ja'far. He was not seen publicly afterwards and entered a state of occultation for", "Nubian.\n\nDesignation as the Imam\nAfter the death of al-Hadi in 868, the majority of his followers acknowledged his son, Hasan al-Askari, as their next Imam. Shia sources report that al-Hadi designated Hasan as the next Imam a few months before his death. After al-Hadi, his another son, Ja'far, unsuccessfully claimed the imamate for himself. Madelung adds that some had expected another son of al-Hadi, Abu Ja'far Moḥammad, to be the next Imam but he predeceased his father in Samarra.\n\nImamate\nThe imamate of al-Askari began in 868 and lasted only about six years, overlapping with the caliphates of the Abbasid", "the Imam. However, considering that al-Askari did not have an obvious heir, Tabatabai maintains that the caliph intended to closely monitor the Imam and later continued to search for his offspring after his death. Hussain, Amir-Moezzi, and Sachedina present similar accounts.Al-Askari was buried in the family home, next to his father, Ali al-Hadi. The house was later expanded to a major shrine by various Shia and Sunni patrons. More recently, Naser al-Din Shah Qajar ordered to rebuild the complex in 1868-9 and the golden dome was added in 1905. The shrine also houses the tomb of his aunt, Hakima Khatun. As an important", "entered a state of occultation. His life is said to be miraculously prolonged until the day he manifests himself again by God's permission to fill the earth with justice. Though in occultation, the Imam still remains responsible in Twelver belief for the spiritual guidance of humankind and the Shia accounts of his occasional encounters with the pious are numerous and popular.\n\nTitles\nHasan ibn Ali is known by the titles al-Samet (lit. 'the quiet'), al-Hadi (lit. 'the guide'), and al-Zaki (lit. 'the pure'), though his most common title is al-Askari (lit. 'military')، on the account of his almost life-long detention in Samarra, a", "Umayyad Umar II, though later caliphs again appended Fadak to the state treasury.\n\nDeath\nAt the age of about twenty-eight, al-Askari died on 1 or 8 Rabi' al-Awwal 260 AH (25 December 873 or 1 January 874) after a week-long illness. The Shia currently commemorate 8 Rabi' al-Awwal for this occasion. Shia sources commonly attribute his death to poisoning at the instigation of al-Mu'tamid. During the week of his illness, many notable Alid and Abbasid figures visited him on his deathbed and the caliph also sent his doctors and servants to attend the Imam. However, considering that al-Askari did not have an" ]

[ "Hasan ibn Ali ibn Muhammad (Arabic: الحَسَن بْن عَلِيّ بْن مُحَمَّدُ, romanized: al-Ḥasan ibn ʿAlī ibn Muḥammad; c. 846 – 874), better known as Hasan al-Askari (Arabic: الحَسَن ٱلْعَسْكَرِيّ, romanized: al-Ḥasan al-ʿAskarī), was a descendant of the Islamic prophet Muhammad. He is regarded as the eleventh of the Twelve Imams, succeeding his father, Ali al-Hadi. Hasan Al-Askari was born in Medina in 844 and brought with his father to the garrison town of Samarra in 848, where the Abbasid caliphs held them under close surveillance until their deaths, even though neither were politically active. After the death" ]

[ "Hasan ibn Ali ibn Muhammad (Arabic: الحَسَن بْن عَلِيّ بْن مُحَمَّدُ, romanized: al-Ḥasan ibn ʿAlī ibn Muḥammad; c. 846 – 874), better known as Hasan al-Askari (Arabic: الحَسَن ٱلْعَسْكَرِيّ, romanized: al-Ḥasan al-ʿAskarī), was a descendant of the Islamic prophet Muhammad. He is regarded as the eleventh of the Twelve Imams, succeeding his father, Ali al-Hadi. Hasan Al-Askari was born in Medina in 844 and brought with his father to the garrison town of Samarra in 848, where the Abbasid caliphs held them under close surveillance until their deaths, even though neither were politically active. After the death", "Hasan was born in Medina, though Donaldson has cast doubt on this, as he is uncertain between Medina and Samarra. His father was the tenth Shia Imam, Ali al-Hadi, and his mother was a freed slave (umm walad), whose name is variously given as Hudayth, Susan, or Salil in different sources. At the age of about two, Hasan was brought to Samarra with his father in 233 or 234 AH (847-849), where the latter was held under close surveillance by the Abbasid caliphs until his death in 254 (868), some twenty years later.When Hasan was about twenty-two, an agent of his father is", "the account of his almost life-long detention in Samarra, a garrison town not far from Baghdad which was the capital of the Abbasids at the time. As a great-grandson of Ali al-Rida, the eighth of the Twelve Imams, Hasan was also known by his contemporaries as Ibn al-Rida (lit. 'son of al-Rida').\n\nBirth and early life\nMost Shia sources state that Hasan ibn Ali was born in Rabi' al-Awwal 230 AH (November 844), though other given dates range from 845 to 847. The Shia currently celebrate 8 Rabi' al-Thani as his birthday. Hasan was born in Medina, though Donaldson has cast doubt on" ]

[ "When was Hasan al-Askari born?", "In 231 or 232 A.H., Hasan al-Askari was born in Medina.", "Where was Hasan al-Askari born?", "In 231 or 232 A.H., Hasan al-Askari was born in Medina.", "Who were Hasan al-Askari's parents?", "Hasan al-Askari's parents were Ali al-Hadi and Al-Askari's mother's given name was Hadith, though some say she was called Susan, Ghazala, Salil, or Haribta.", "Did Hasan al-Askari have siblings?", "Hasan al-Askari's siblings were Muhammad and Ja'far.", "Anything important or notable about Hasan al-Askari's early life?", "It is said that even as a child, Hasan al-Askari was endowed with divine knowledge.", "Did Hasan al-Askari receive any education or religious training?", "No formal training but, in Samarra, Hasan al-Askari spent most of his time reading the Quran and the Sharia.", "Any other pertinant or interesting info the reader should know about this article?", "According to Donaldson, Hasan al-Askari must have studied languages. In later years it was known that he could speak Hindi with the pilgrims from India, Turkish, and Persian." ]

[ "their deaths, even though neither were politically active. After the death of al-Hadi in 868, the majority of his following acknowledged his son, al-Askari, as their next Imam. Al-Askari's contact with the Shia population was restricted by the caliphs and instead he communicated with his followers through a network of representatives. He died in Samarra in 873-874 at the age of about twenty-eight and was buried in the family home next to his father, which later developed into al-Askari shrine, a major center for Shia pilgrimage. Shia sources commonly hold the Abbasids responsible for the death of al-Askari and his father. A well-known", "about six years, overlapping with the caliphates of the Abbasid al-Mu'tazz, al-Muhtadi, and al-Mu'tamid. During these years, though not politically active, al-Askari mostly lived under house arrest in Samarra, subject to constant surveillance. He therefore communicated with his followers mostly through a network of representatives, notably Uthman ibn Sa'id. Tabatabai and Sachedina write that al-Askari was not allowed any social contact with the general Shia population. Tabatabai also suggests that these restrictions were placed on al-Askari because the caliphate had come to know about the traditions, circulating among the Shia elite, which predicted that the eleventh Imam would father the", "to become the Twelvers largely held that al-Askari had a son, named Abu al-Qasim Muhammad, same name as the prophet. Born around 255 (868), he is also known as Muhammad al-Mahdi (lit. 'the rightly guided'). Out of the fear of Abbasid persecution, Muhammad was kept hidden from the public and his existence was only known to a few trusted associates of the eleventh Imam. After the death of his father, Muhammad is said to have made his only public appearance to lead the funeral prayers for his father instead of his uncle, Ja'far. He was not seen publicly afterwards and entered a state of occultation for", "Nubian.\n\nDesignation as the Imam\nAfter the death of al-Hadi in 868, the majority of his followers acknowledged his son, Hasan al-Askari, as their next Imam. Shia sources report that al-Hadi designated Hasan as the next Imam a few months before his death. After al-Hadi, his another son, Ja'far, unsuccessfully claimed the imamate for himself. Madelung adds that some had expected another son of al-Hadi, Abu Ja'far Moḥammad, to be the next Imam but he predeceased his father in Samarra.\n\nImamate\nThe imamate of al-Askari began in 868 and lasted only about six years, overlapping with the caliphates of the Abbasid", "entered a state of occultation. His life is said to be miraculously prolonged until the day he manifests himself again by God's permission to fill the earth with justice. Though in occultation, the Imam still remains responsible in Twelver belief for the spiritual guidance of humankind and the Shia accounts of his occasional encounters with the pious are numerous and popular.\n\nTitles\nHasan ibn Ali is known by the titles al-Samet (lit. 'the quiet'), al-Hadi (lit. 'the guide'), and al-Zaki (lit. 'the pure'), though his most common title is al-Askari (lit. 'military')، on the account of his almost life-long detention in Samarra, a", "the Imam. However, considering that al-Askari did not have an obvious heir, Tabatabai maintains that the caliph intended to closely monitor the Imam and later continued to search for his offspring after his death. Hussain, Amir-Moezzi, and Sachedina present similar accounts.Al-Askari was buried in the family home, next to his father, Ali al-Hadi. The house was later expanded to a major shrine by various Shia and Sunni patrons. More recently, Naser al-Din Shah Qajar ordered to rebuild the complex in 1868-9 and the golden dome was added in 1905. The shrine also houses the tomb of his aunt, Hakima Khatun. As an important", "Umayyad Umar II, though later caliphs again appended Fadak to the state treasury.\n\nDeath\nAt the age of about twenty-eight, al-Askari died on 1 or 8 Rabi' al-Awwal 260 AH (25 December 873 or 1 January 874) after a week-long illness. The Shia currently commemorate 8 Rabi' al-Awwal for this occasion. Shia sources commonly attribute his death to poisoning at the instigation of al-Mu'tamid. During the week of his illness, many notable Alid and Abbasid figures visited him on his deathbed and the caliph also sent his doctors and servants to attend the Imam. However, considering that al-Askari did not have an" ]

[ "their deaths, even though neither were politically active. After the death of al-Hadi in 868, the majority of his following acknowledged his son, al-Askari, as their next Imam. Al-Askari's contact with the Shia population was restricted by the caliphs and instead he communicated with his followers through a network of representatives. He died in Samarra in 873-874 at the age of about twenty-eight and was buried in the family home next to his father, which later developed into al-Askari shrine, a major center for Shia pilgrimage. Shia sources commonly hold the Abbasids responsible for the death of al-Askari and his father. A well-known" ]

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[ "Marriage A-la-Mode is a series of six pictures painted by William Hogarth between 1743 and 1745, intended as a pointed skewering of 18th-century society. They show the disastrous results of an ill-considered marriage for money or social status, and satirize patronage and aesthetics. The pictures are held in the National Gallery in London.\nThis series was not received as well as his other moral tales, A Harlot's Progress (1732) and A Rake's Progress (1735), and when the paintings were finally sold in 1751, it was for a much lower sum than the artist had hoped for.\n\nOverview\nIn Marriage A-la-Mode Hogarth challenges the traditional view that the", "control over the reproduction of his and other artists' work. The result was the Engravers' Copyright Act (known as 'Hogarth's Act'), which became law on 25 June 1735 and was the first copyright law to deal with visual works as well as the first to recognise the authorial rights of an individual artist.\n\nMarriage A-la-Mode\nIn 1743–1745, Hogarth painted the six pictures of Marriage A-la-Mode (National Gallery, London), a pointed skewering of upper-class 18th-century society. An engraved version of the same series, produced by French engravers, appeared in 1745. This moralistic warning shows the miserable tragedy of an ill-considered marriage for money. This", "and presented police with a photo of the fan's driver's license to prove their age. He also shared screen shots of Snapchat and WhatsApp messages related to the allegations. Ellefson's partner admitted that she had shared the video with some friends but wasn't sure how it got leaked out to others. The SPD report states the fan \"was remorseful and agreed to send out a social media statement on...Instagram\" that they were \"a willing consenting adult during their mutual virtual sexual encounter.\" Ellefson then posted her statement and one of his own on May 10, asserting that the allegations of grooming were false. Ellefson stated", "taken this into account when composing the original paintings.\n\nNaming\nCommentators have used a variety of names for the individual paintings, but as the paintings are presently in the National Gallery the names used there are used here.\n\nSee also\nList of works by William Hogarth\nThe Clandestine Marriage, a 1766 play inspired by Hogarth's series.\n\nNotes\nReferences\nFurther reading\nThe Other Hogarth, eds. Bernadette Fort and Angela Rosenthal, Princeton: Princeton University Press, 2001.\nBomford, David and Roy, Ashok \"Hogarth's 'Marriage à la Mode'\" Technical Bulletin Volume 6, 1982 National Gallery\n\nExternal links\n\nThe Literary Encyclopedia\nThe six engravings (HD) with explanatory notes by John Nichols", "DVD releases, distributed by Sony Pictures Home Entertainment, were prepared by West Wing Studios in 2004, using actual costumes and props for reference. The following year, Legend Films colorized the public-domain shorts Malice in the Palace, Sing a Song of Six Pants, Disorder in the Court, and Brideless Groom. Disorder in the Court and Brideless Groom also appears on two of West Wing's colorized releases. In any event, the Columbia-produced shorts (aside from the public domain films) are handled by Sony Pictures Entertainment, while the MGM Stooges shorts are owned by Warner Bros. via their Turner Entertainment division. Sony offers 21 of the shorts on their web platform", "Lane's death they became the property of his nephew, Colonel Cawthorn. In May 1796 they were sold by auction at Christie's, Pall Mall for one thousand guineas to John Julius Angerstein. They are now owned by the British government and are part of the collection of the National Gallery.\nIt had been Hogarth's intention to follow the Marriage A-la-Mode series with a companion series called The Happy Marriage, but that series only exists as a series of unfinished sketches.\n\nTechnical commentary\nAlthough this series of paintings are works of art in their own right, their original purpose was to provide the subjects for the series of engraved copper plate prints. When", "the subjects for the series of engraved copper plate prints. When engraving copper plates the image engraved on the plate is a mirror image of the final print. Normally, when undertaking paintings that are to be engraved, the painting is produced the \"right way round\" — not reversed, and then the engraver views it in a mirror as he undertakes the engraving. Hogarth was an engraver himself and disliked this method, so, unusually, he produced the paintings for Marriage à-la-mode already reversed so the engraver could directly copy them.\nImages are read from left to right, and Hogarth would have taken this into account when composing the original paintings.\n\nNaming\nCommentators have", "A Rubirosa: La verdad sobre Porfirio Rubirosa, El Ultimo Playboy, Santo Domingo, Republica Dominicana: Impresora Corripio\nCédric Meletta, Tombeau pour Rubirosa, un roman, Paris, Séguier, 2018.", "equipment; the suit was settled out of court.On May 10, 2021, sexually explicit videos of Ellefson were posted on Twitter. The videos, reportedly recorded by a fan that Ellefson was in correspondence with, initially led to accusations of child grooming. However, Ellefson and the other party both denied the accusations, and the fan publicly claimed they were a consenting adult and the videos were unknowingly released by a third party. The Scottsdale Police Department (SPD) was contacted by Ellefson, who sought charges for revenge porn. Ellefson took a polygraph test to affirm his claims and presented police with a photo of the fan's driver's", "the previous one - which allowed using the same stages or actors. Each series copied the use of the sitcom format, such as twenty minutes duration, almost single camera, but no studio audience, since the editing was very poor and very short principal photography (somehow, many in-camera editing episodes could be shot during the same day), which makes actual audience laughter impossible. Many criticisms were made of the poor quality of the realisation, actor play, many of them were not professional actors, and also the attempt to copy American series format – mix-up of sitcom, soap-opera and teen drama – in which laughter was the main complaint.\n\nEffects\nIn order to" ]

[ "Marriage A-la-Mode is a series of six pictures painted by William Hogarth between 1743 and 1745, intended as a pointed skewering of 18th-century society. They show the disastrous results of an ill-considered marriage for money or social status, and satirize patronage and aesthetics. The pictures are held in the National Gallery in London.\nThis series was not received as well as his other moral tales, A Harlot's Progress (1732) and A Rake's Progress (1735), and when the paintings were finally sold in 1751, it was for a much lower sum than the artist had hoped for.\n\nOverview\nIn Marriage A-la-Mode Hogarth challenges the traditional view that the" ]

[ "Marriage A-la-Mode is a series of six pictures painted by William Hogarth between 1743 and 1745, intended as a pointed skewering of 18th-century society. They show the disastrous results of an ill-considered marriage for money or social status, and satirize patronage and aesthetics. The pictures are held in the National Gallery in London.\nThis series was not received as well as his other moral tales, A Harlot's Progress (1732) and A Rake's Progress (1735), and when the paintings were finally sold in 1751, it was for a much lower sum than the artist had hoped for.\n\nOverview\nIn Marriage A-la-Mode Hogarth challenges the traditional view that the", "control over the reproduction of his and other artists' work. The result was the Engravers' Copyright Act (known as 'Hogarth's Act'), which became law on 25 June 1735 and was the first copyright law to deal with visual works as well as the first to recognise the authorial rights of an individual artist.\n\nMarriage A-la-Mode\nIn 1743–1745, Hogarth painted the six pictures of Marriage A-la-Mode (National Gallery, London), a pointed skewering of upper-class 18th-century society. An engraved version of the same series, produced by French engravers, appeared in 1745. This moralistic warning shows the miserable tragedy of an ill-considered marriage for money. This", "taken this into account when composing the original paintings.\n\nNaming\nCommentators have used a variety of names for the individual paintings, but as the paintings are presently in the National Gallery the names used there are used here.\n\nSee also\nList of works by William Hogarth\nThe Clandestine Marriage, a 1766 play inspired by Hogarth's series.\n\nNotes\nReferences\nFurther reading\nThe Other Hogarth, eds. Bernadette Fort and Angela Rosenthal, Princeton: Princeton University Press, 2001.\nBomford, David and Roy, Ashok \"Hogarth's 'Marriage à la Mode'\" Technical Bulletin Volume 6, 1982 National Gallery\n\nExternal links\n\nThe Literary Encyclopedia\nThe six engravings (HD) with explanatory notes by John Nichols", "William Hogarth (; 10 November 1697 – 26 October 1764) was an English painter, engraver, pictorial satirist, social critic, editorial cartoonist and occasional writer on art. His work ranges from realistic portraiture to comic strip-like series of pictures called \"modern moral subjects\", and he is perhaps best known for his series A Harlot's Progress, A Rake's Progress and Marriage A-la-Mode. Knowledge of his work is so pervasive that satirical political illustrations in this style are often referred to as \"Hogarthian\".Hogarth was born in London to a lower-middle-class family. In his youth he took up an apprenticeship with an engraver, but did" ]

[ "Is marriage-a-la-mode a set of pictures?", "In 1743–1745, William Hogarth painted the six pictures of Marriage Marriage A-la-Mode, a pointed skewering of upper-class 18th-century society." ]

[ "the miserable tragedy of an ill-considered marriage for money. This is regarded by many as his finest project and may be among his best-planned story serials.\nMarital ethics were the topic of much debate in 18th-century Britain. The many marriages of convenience and their attendant unhappiness came in for particular criticism, with a variety of authors taking the view that love was a much sounder basis for marriage. Hogarth here painted a satire – a genre that by definition has a moral point to convey – of a conventional marriage within the English upper class. All the paintings were engraved and the series achieved wide circulation in print form. The series,", "superstitious people, while an enormous sirloin of beef arrives, destined for the English inn as a symbol of British prosperity and superiority. He claimed to have painted himself into the picture in the left corner sketching the gate, with a \"soldier's hand upon my shoulder\", running him in.\n\nOther later works\nNotable Hogarth engravings in the 1740s include The Enraged Musician (1741), the six prints of Marriage à-la-mode (1745; executed by French artists under Hogarth's inspection), and The Stage Coach or The Country Inn Yard (1747).In 1745, Hogarth painted a self-portrait with his pug dog, Trump (now also in Tate Britain), which shows him", "Lane's death they became the property of his nephew, Colonel Cawthorn. In May 1796 they were sold by auction at Christie's, Pall Mall for one thousand guineas to John Julius Angerstein. They are now owned by the British government and are part of the collection of the National Gallery.\nIt had been Hogarth's intention to follow the Marriage A-la-Mode series with a companion series called The Happy Marriage, but that series only exists as a series of unfinished sketches.\n\nTechnical commentary\nAlthough this series of paintings are works of art in their own right, their original purpose was to provide the subjects for the series of engraved copper plate prints. When", "the subjects for the series of engraved copper plate prints. When engraving copper plates the image engraved on the plate is a mirror image of the final print. Normally, when undertaking paintings that are to be engraved, the painting is produced the \"right way round\" — not reversed, and then the engraver views it in a mirror as he undertakes the engraving. Hogarth was an engraver himself and disliked this method, so, unusually, he produced the paintings for Marriage à-la-mode already reversed so the engraver could directly copy them.\nImages are read from left to right, and Hogarth would have taken this into account when composing the original paintings.\n\nNaming\nCommentators have", "Marriage A-la-Mode Hogarth challenges the traditional view that the nobility and the rich live virtuous lives, and satirises arranged marriages. In each piece, he shows the young couple and their family and acquaintances at their worst: engaging in affairs, drinking, gambling, and numerous other vices. This is regarded by some as his finest project, and the best example of his serially-planned story cycles.\nIn the first of the series, The Marriage Settlement (the name on its frame: The marriage contract,) he shows an arranged marriage between the son of bankrupt Earl Squanderfield and the daughter of a wealthy but miserly city merchant. Construction on the Earl's", "youth he took up an apprenticeship with an engraver, but did not complete the apprenticeship. His father underwent periods of mixed fortune, and was at one time imprisoned in lieu of outstanding debts, an event that is thought to have informed William's paintings and prints with a hard edge.Influenced by French and Italian painting and engraving, Hogarth's works are mostly satirical caricatures, sometimes bawdily sexual, mostly of the first rank of realistic portraiture. They became widely popular and mass-produced via prints in his lifetime, and he was by far the most significant English artist of his generation. Charles Lamb deemed Hogarth's images to be books, filled with" ]

[ "the miserable tragedy of an ill-considered marriage for money. This is regarded by many as his finest project and may be among his best-planned story serials.\nMarital ethics were the topic of much debate in 18th-century Britain. The many marriages of convenience and their attendant unhappiness came in for particular criticism, with a variety of authors taking the view that love was a much sounder basis for marriage. Hogarth here painted a satire – a genre that by definition has a moral point to convey – of a conventional marriage within the English upper class. All the paintings were engraved and the series achieved wide circulation in print form. The series," ]

[ "Marriage A-la-Mode is a series of six pictures painted by William Hogarth between 1743 and 1745, intended as a pointed skewering of 18th-century society. They show the disastrous results of an ill-considered marriage for money or social status, and satirize patronage and aesthetics. The pictures are held in the National Gallery in London.\nThis series was not received as well as his other moral tales, A Harlot's Progress (1732) and A Rake's Progress (1735), and when the paintings were finally sold in 1751, it was for a much lower sum than the artist had hoped for.\n\nOverview\nIn Marriage A-la-Mode Hogarth challenges the traditional view that the", "control over the reproduction of his and other artists' work. The result was the Engravers' Copyright Act (known as 'Hogarth's Act'), which became law on 25 June 1735 and was the first copyright law to deal with visual works as well as the first to recognise the authorial rights of an individual artist.\n\nMarriage A-la-Mode\nIn 1743–1745, Hogarth painted the six pictures of Marriage A-la-Mode (National Gallery, London), a pointed skewering of upper-class 18th-century society. An engraved version of the same series, produced by French engravers, appeared in 1745. This moralistic warning shows the miserable tragedy of an ill-considered marriage for money. This", "taken this into account when composing the original paintings.\n\nNaming\nCommentators have used a variety of names for the individual paintings, but as the paintings are presently in the National Gallery the names used there are used here.\n\nSee also\nList of works by William Hogarth\nThe Clandestine Marriage, a 1766 play inspired by Hogarth's series.\n\nNotes\nReferences\nFurther reading\nThe Other Hogarth, eds. Bernadette Fort and Angela Rosenthal, Princeton: Princeton University Press, 2001.\nBomford, David and Roy, Ashok \"Hogarth's 'Marriage à la Mode'\" Technical Bulletin Volume 6, 1982 National Gallery\n\nExternal links\n\nThe Literary Encyclopedia\nThe six engravings (HD) with explanatory notes by John Nichols" ]

[ "Is marriage-a-la-mode a set of pictures?", "In 1743–1745, William Hogarth painted the six pictures of Marriage Marriage A-la-Mode, a pointed skewering of upper-class 18th-century society.", "What does Marriage A-la-Mode depict?", "This moralistic warning shows the miserable tragedy of an ill-considered marriage for money.", "When did William Hogarth finish it?", "William Hogarth finished Marriage A-la-Mode in 1975." ]

[ "William Hogarth (; 10 November 1697 – 26 October 1764) was an English painter, engraver, pictorial satirist, social critic, editorial cartoonist and occasional writer on art. His work ranges from realistic portraiture to comic strip-like series of pictures called \"modern moral subjects\", and he is perhaps best known for his series A Harlot's Progress, A Rake's Progress and Marriage A-la-Mode. Knowledge of his work is so pervasive that satirical political illustrations in this style are often referred to as \"Hogarthian\".Hogarth was born in London to a lower-middle-class family. In his youth he took up an apprenticeship with an engraver, but did", "the miserable tragedy of an ill-considered marriage for money. This is regarded by many as his finest project and may be among his best-planned story serials.\nMarital ethics were the topic of much debate in 18th-century Britain. The many marriages of convenience and their attendant unhappiness came in for particular criticism, with a variety of authors taking the view that love was a much sounder basis for marriage. Hogarth here painted a satire – a genre that by definition has a moral point to convey – of a conventional marriage within the English upper class. All the paintings were engraved and the series achieved wide circulation in print form. The series,", "Lane's death they became the property of his nephew, Colonel Cawthorn. In May 1796 they were sold by auction at Christie's, Pall Mall for one thousand guineas to John Julius Angerstein. They are now owned by the British government and are part of the collection of the National Gallery.\nIt had been Hogarth's intention to follow the Marriage A-la-Mode series with a companion series called The Happy Marriage, but that series only exists as a series of unfinished sketches.\n\nTechnical commentary\nAlthough this series of paintings are works of art in their own right, their original purpose was to provide the subjects for the series of engraved copper plate prints. When", "superstitious people, while an enormous sirloin of beef arrives, destined for the English inn as a symbol of British prosperity and superiority. He claimed to have painted himself into the picture in the left corner sketching the gate, with a \"soldier's hand upon my shoulder\", running him in.\n\nOther later works\nNotable Hogarth engravings in the 1740s include The Enraged Musician (1741), the six prints of Marriage à-la-mode (1745; executed by French artists under Hogarth's inspection), and The Stage Coach or The Country Inn Yard (1747).In 1745, Hogarth painted a self-portrait with his pug dog, Trump (now also in Tate Britain), which shows him", "the subjects for the series of engraved copper plate prints. When engraving copper plates the image engraved on the plate is a mirror image of the final print. Normally, when undertaking paintings that are to be engraved, the painting is produced the \"right way round\" — not reversed, and then the engraver views it in a mirror as he undertakes the engraving. Hogarth was an engraver himself and disliked this method, so, unusually, he produced the paintings for Marriage à-la-mode already reversed so the engraver could directly copy them.\nImages are read from left to right, and Hogarth would have taken this into account when composing the original paintings.\n\nNaming\nCommentators have", "Marriage A-la-Mode Hogarth challenges the traditional view that the nobility and the rich live virtuous lives, and satirises arranged marriages. In each piece, he shows the young couple and their family and acquaintances at their worst: engaging in affairs, drinking, gambling, and numerous other vices. This is regarded by some as his finest project, and the best example of his serially-planned story cycles.\nIn the first of the series, The Marriage Settlement (the name on its frame: The marriage contract,) he shows an arranged marriage between the son of bankrupt Earl Squanderfield and the daughter of a wealthy but miserly city merchant. Construction on the Earl's", "youth he took up an apprenticeship with an engraver, but did not complete the apprenticeship. His father underwent periods of mixed fortune, and was at one time imprisoned in lieu of outstanding debts, an event that is thought to have informed William's paintings and prints with a hard edge.Influenced by French and Italian painting and engraving, Hogarth's works are mostly satirical caricatures, sometimes bawdily sexual, mostly of the first rank of realistic portraiture. They became widely popular and mass-produced via prints in his lifetime, and he was by far the most significant English artist of his generation. Charles Lamb deemed Hogarth's images to be books, filled with" ]

[ "William Hogarth (; 10 November 1697 – 26 October 1764) was an English painter, engraver, pictorial satirist, social critic, editorial cartoonist and occasional writer on art. His work ranges from realistic portraiture to comic strip-like series of pictures called \"modern moral subjects\", and he is perhaps best known for his series A Harlot's Progress, A Rake's Progress and Marriage A-la-Mode. Knowledge of his work is so pervasive that satirical political illustrations in this style are often referred to as \"Hogarthian\".Hogarth was born in London to a lower-middle-class family. In his youth he took up an apprenticeship with an engraver, but did" ]

[ "Marriage A-la-Mode is a series of six pictures painted by William Hogarth between 1743 and 1745, intended as a pointed skewering of 18th-century society. They show the disastrous results of an ill-considered marriage for money or social status, and satirize patronage and aesthetics. The pictures are held in the National Gallery in London.\nThis series was not received as well as his other moral tales, A Harlot's Progress (1732) and A Rake's Progress (1735), and when the paintings were finally sold in 1751, it was for a much lower sum than the artist had hoped for.\n\nOverview\nIn Marriage A-la-Mode Hogarth challenges the traditional view that the", "control over the reproduction of his and other artists' work. The result was the Engravers' Copyright Act (known as 'Hogarth's Act'), which became law on 25 June 1735 and was the first copyright law to deal with visual works as well as the first to recognise the authorial rights of an individual artist.\n\nMarriage A-la-Mode\nIn 1743–1745, Hogarth painted the six pictures of Marriage A-la-Mode (National Gallery, London), a pointed skewering of upper-class 18th-century society. An engraved version of the same series, produced by French engravers, appeared in 1745. This moralistic warning shows the miserable tragedy of an ill-considered marriage for money. This", "taken this into account when composing the original paintings.\n\nNaming\nCommentators have used a variety of names for the individual paintings, but as the paintings are presently in the National Gallery the names used there are used here.\n\nSee also\nList of works by William Hogarth\nThe Clandestine Marriage, a 1766 play inspired by Hogarth's series.\n\nNotes\nReferences\nFurther reading\nThe Other Hogarth, eds. Bernadette Fort and Angela Rosenthal, Princeton: Princeton University Press, 2001.\nBomford, David and Roy, Ashok \"Hogarth's 'Marriage à la Mode'\" Technical Bulletin Volume 6, 1982 National Gallery\n\nExternal links\n\nThe Literary Encyclopedia\nThe six engravings (HD) with explanatory notes by John Nichols", "William Hogarth (; 10 November 1697 – 26 October 1764) was an English painter, engraver, pictorial satirist, social critic, editorial cartoonist and occasional writer on art. His work ranges from realistic portraiture to comic strip-like series of pictures called \"modern moral subjects\", and he is perhaps best known for his series A Harlot's Progress, A Rake's Progress and Marriage A-la-Mode. Knowledge of his work is so pervasive that satirical political illustrations in this style are often referred to as \"Hogarthian\".Hogarth was born in London to a lower-middle-class family. In his youth he took up an apprenticeship with an engraver, but did", "the miserable tragedy of an ill-considered marriage for money. This is regarded by many as his finest project and may be among his best-planned story serials.\nMarital ethics were the topic of much debate in 18th-century Britain. The many marriages of convenience and their attendant unhappiness came in for particular criticism, with a variety of authors taking the view that love was a much sounder basis for marriage. Hogarth here painted a satire – a genre that by definition has a moral point to convey – of a conventional marriage within the English upper class. All the paintings were engraved and the series achieved wide circulation in print form. The series,", "superstitious people, while an enormous sirloin of beef arrives, destined for the English inn as a symbol of British prosperity and superiority. He claimed to have painted himself into the picture in the left corner sketching the gate, with a \"soldier's hand upon my shoulder\", running him in.\n\nOther later works\nNotable Hogarth engravings in the 1740s include The Enraged Musician (1741), the six prints of Marriage à-la-mode (1745; executed by French artists under Hogarth's inspection), and The Stage Coach or The Country Inn Yard (1747).In 1745, Hogarth painted a self-portrait with his pug dog, Trump (now also in Tate Britain), which shows him", "Lane's death they became the property of his nephew, Colonel Cawthorn. In May 1796 they were sold by auction at Christie's, Pall Mall for one thousand guineas to John Julius Angerstein. They are now owned by the British government and are part of the collection of the National Gallery.\nIt had been Hogarth's intention to follow the Marriage A-la-Mode series with a companion series called The Happy Marriage, but that series only exists as a series of unfinished sketches.\n\nTechnical commentary\nAlthough this series of paintings are works of art in their own right, their original purpose was to provide the subjects for the series of engraved copper plate prints. When", "the subjects for the series of engraved copper plate prints. When engraving copper plates the image engraved on the plate is a mirror image of the final print. Normally, when undertaking paintings that are to be engraved, the painting is produced the \"right way round\" — not reversed, and then the engraver views it in a mirror as he undertakes the engraving. Hogarth was an engraver himself and disliked this method, so, unusually, he produced the paintings for Marriage à-la-mode already reversed so the engraver could directly copy them.\nImages are read from left to right, and Hogarth would have taken this into account when composing the original paintings.\n\nNaming\nCommentators have", "37/4 (November 2009), 577–596.\nBernd W. Krysmanski, Hogarth's Hidden Parts: Satiric Allusion, Erotic Wit, Blasphemous Bawdiness and Dark Humour in Eighteenth-Century English Art (Hildesheim, Zurich, New York: Olms-Verlag, 2010 ISBN 978-3487144719)\nJohann Joachim Eschenburg, Über William Hogarth und seine Erklärer, ed. Till Kinzel (Hanover: Wehrhahn, 2013 ISBN 978-3-8652-5347-7)\nCynthia Ellen Roman, ed., Hogarth's Legacy (New Haven and London: Yale University Press, 2016)\nElizabeth Einberg, William Hogarth: A Complete Catalogue of the Paintings (New Haven and London, Yale University Press for Paul Mellon Centre for Studies in British Art,", "Marriage A-la-Mode Hogarth challenges the traditional view that the nobility and the rich live virtuous lives, and satirises arranged marriages. In each piece, he shows the young couple and their family and acquaintances at their worst: engaging in affairs, drinking, gambling, and numerous other vices. This is regarded by some as his finest project, and the best example of his serially-planned story cycles.\nIn the first of the series, The Marriage Settlement (the name on its frame: The marriage contract,) he shows an arranged marriage between the son of bankrupt Earl Squanderfield and the daughter of a wealthy but miserly city merchant. Construction on the Earl's" ]

[ "Is marriage-a-la-mode a set of pictures?", "In 1743–1745, William Hogarth painted the six pictures of Marriage Marriage A-la-Mode, a pointed skewering of upper-class 18th-century society.", "What does Marriage A-la-Mode depict?", "This moralistic warning shows the miserable tragedy of an ill-considered marriage for money.", "When did William Hogarth finish it?", "William Hogarth finished Marriage A-la-Mode in 1975.", "Was Marriage A-la-Mode well received?", "This series of paintings were not received as well as William Hogarth's other moral tales.", "Where is Marriage A-la-Mode now?", "Marriage A-la-Mode is currently on display at the National Portrait Gallery in London." ]

[]

[ "and the series achieved wide circulation in print form. The series, which is set in a Classical interior, shows the story of the fashionable marriage of Viscount Squanderfield, the son of bankrupt Earl Squander, to the daughter of a wealthy but miserly city merchant, starting with the signing of a marriage contract at the Earl's grand house and ending with the murder of the son by his wife's lover and the suicide of the daughter after her lover is hanged at Tyburn for murdering her husband.\n\nWilliam Makepeace Thackeray wrote: This famous set of pictures contains the most important and highly wrought of the Hogarth comedies. The care and" ]

[ "Marriage A-la-Mode is a series of six pictures painted by William Hogarth between 1743 and 1745, intended as a pointed skewering of 18th-century society. They show the disastrous results of an ill-considered marriage for money or social status, and satirize patronage and aesthetics. The pictures are held in the National Gallery in London.\nThis series was not received as well as his other moral tales, A Harlot's Progress (1732) and A Rake's Progress (1735), and when the paintings were finally sold in 1751, it was for a much lower sum than the artist had hoped for.\n\nOverview\nIn Marriage A-la-Mode Hogarth challenges the traditional view that the", "control over the reproduction of his and other artists' work. The result was the Engravers' Copyright Act (known as 'Hogarth's Act'), which became law on 25 June 1735 and was the first copyright law to deal with visual works as well as the first to recognise the authorial rights of an individual artist.\n\nMarriage A-la-Mode\nIn 1743–1745, Hogarth painted the six pictures of Marriage A-la-Mode (National Gallery, London), a pointed skewering of upper-class 18th-century society. An engraved version of the same series, produced by French engravers, appeared in 1745. This moralistic warning shows the miserable tragedy of an ill-considered marriage for money. This", "taken this into account when composing the original paintings.\n\nNaming\nCommentators have used a variety of names for the individual paintings, but as the paintings are presently in the National Gallery the names used there are used here.\n\nSee also\nList of works by William Hogarth\nThe Clandestine Marriage, a 1766 play inspired by Hogarth's series.\n\nNotes\nReferences\nFurther reading\nThe Other Hogarth, eds. Bernadette Fort and Angela Rosenthal, Princeton: Princeton University Press, 2001.\nBomford, David and Roy, Ashok \"Hogarth's 'Marriage à la Mode'\" Technical Bulletin Volume 6, 1982 National Gallery\n\nExternal links\n\nThe Literary Encyclopedia\nThe six engravings (HD) with explanatory notes by John Nichols", "William Hogarth (; 10 November 1697 – 26 October 1764) was an English painter, engraver, pictorial satirist, social critic, editorial cartoonist and occasional writer on art. His work ranges from realistic portraiture to comic strip-like series of pictures called \"modern moral subjects\", and he is perhaps best known for his series A Harlot's Progress, A Rake's Progress and Marriage A-la-Mode. Knowledge of his work is so pervasive that satirical political illustrations in this style are often referred to as \"Hogarthian\".Hogarth was born in London to a lower-middle-class family. In his youth he took up an apprenticeship with an engraver, but did", "the miserable tragedy of an ill-considered marriage for money. This is regarded by many as his finest project and may be among his best-planned story serials.\nMarital ethics were the topic of much debate in 18th-century Britain. The many marriages of convenience and their attendant unhappiness came in for particular criticism, with a variety of authors taking the view that love was a much sounder basis for marriage. Hogarth here painted a satire – a genre that by definition has a moral point to convey – of a conventional marriage within the English upper class. All the paintings were engraved and the series achieved wide circulation in print form. The series," ]

[ "Is marriage-a-la-mode a set of pictures?", "In 1743–1745, William Hogarth painted the six pictures of Marriage Marriage A-la-Mode, a pointed skewering of upper-class 18th-century society.", "What does Marriage A-la-Mode depict?", "This moralistic warning shows the miserable tragedy of an ill-considered marriage for money.", "When did William Hogarth finish it?", "William Hogarth finished Marriage A-la-Mode in 1975.", "Was Marriage A-la-Mode well received?", "This series of paintings were not received as well as William Hogarth's other moral tales.", "Where is Marriage A-la-Mode now?", "Marriage A-la-Mode is currently on display at the National Portrait Gallery in London.", "Was Marriage A-la-Mode reproduced?", "Yes, all the paintings were engraved and the series achieved wide circulation in print form." ]

[ "the subjects for the series of engraved copper plate prints. When engraving copper plates the image engraved on the plate is a mirror image of the final print. Normally, when undertaking paintings that are to be engraved, the painting is produced the \"right way round\" — not reversed, and then the engraver views it in a mirror as he undertakes the engraving. Hogarth was an engraver himself and disliked this method, so, unusually, he produced the paintings for Marriage à-la-mode already reversed so the engraver could directly copy them.\nImages are read from left to right, and Hogarth would have taken this into account when composing the original paintings.\n\nNaming\nCommentators have", "Lane's death they became the property of his nephew, Colonel Cawthorn. In May 1796 they were sold by auction at Christie's, Pall Mall for one thousand guineas to John Julius Angerstein. They are now owned by the British government and are part of the collection of the National Gallery.\nIt had been Hogarth's intention to follow the Marriage A-la-Mode series with a companion series called The Happy Marriage, but that series only exists as a series of unfinished sketches.\n\nTechnical commentary\nAlthough this series of paintings are works of art in their own right, their original purpose was to provide the subjects for the series of engraved copper plate prints. When", "superstitious people, while an enormous sirloin of beef arrives, destined for the English inn as a symbol of British prosperity and superiority. He claimed to have painted himself into the picture in the left corner sketching the gate, with a \"soldier's hand upon my shoulder\", running him in.\n\nOther later works\nNotable Hogarth engravings in the 1740s include The Enraged Musician (1741), the six prints of Marriage à-la-mode (1745; executed by French artists under Hogarth's inspection), and The Stage Coach or The Country Inn Yard (1747).In 1745, Hogarth painted a self-portrait with his pug dog, Trump (now also in Tate Britain), which shows him", "youth he took up an apprenticeship with an engraver, but did not complete the apprenticeship. His father underwent periods of mixed fortune, and was at one time imprisoned in lieu of outstanding debts, an event that is thought to have informed William's paintings and prints with a hard edge.Influenced by French and Italian painting and engraving, Hogarth's works are mostly satirical caricatures, sometimes bawdily sexual, mostly of the first rank of realistic portraiture. They became widely popular and mass-produced via prints in his lifetime, and he was by far the most significant English artist of his generation. Charles Lamb deemed Hogarth's images to be books, filled with", "37/4 (November 2009), 577–596.\nBernd W. Krysmanski, Hogarth's Hidden Parts: Satiric Allusion, Erotic Wit, Blasphemous Bawdiness and Dark Humour in Eighteenth-Century English Art (Hildesheim, Zurich, New York: Olms-Verlag, 2010 ISBN 978-3487144719)\nJohann Joachim Eschenburg, Über William Hogarth und seine Erklärer, ed. Till Kinzel (Hanover: Wehrhahn, 2013 ISBN 978-3-8652-5347-7)\nCynthia Ellen Roman, ed., Hogarth's Legacy (New Haven and London: Yale University Press, 2016)\nElizabeth Einberg, William Hogarth: A Complete Catalogue of the Paintings (New Haven and London, Yale University Press for Paul Mellon Centre for Studies in British Art," ]

[ "the subjects for the series of engraved copper plate prints. When engraving copper plates the image engraved on the plate is a mirror image of the final print. Normally, when undertaking paintings that are to be engraved, the painting is produced the \"right way round\" — not reversed, and then the engraver views it in a mirror as he undertakes the engraving. Hogarth was an engraver himself and disliked this method, so, unusually, he produced the paintings for Marriage à-la-mode already reversed so the engraver could directly copy them.\nImages are read from left to right, and Hogarth would have taken this into account when composing the original paintings.\n\nNaming\nCommentators have" ]

[ "recognition. The collection of six scenes was entitled A Harlot's Progress and appeared first as paintings (now lost) before being published as engravings. A Harlot's Progress depicts the fate of a country girl who begins prostituting – the six scenes are chronological, starting with a meeting with a bawd and ending with a funeral ceremony that follows the character's death from venereal disease.The inaugural series was an immediate success and was followed in 1733–1735 by the sequel A Rake's Progress. The second instalment consisted of eight pictures that depicted the reckless life of Tom Rakewell, the son of a rich merchant, who spends all of his money", "William Hogarth (; 10 November 1697 – 26 October 1764) was an English painter, engraver, pictorial satirist, social critic, editorial cartoonist and occasional writer on art. His work ranges from realistic portraiture to comic strip-like series of pictures called \"modern moral subjects\", and he is perhaps best known for his series A Harlot's Progress, A Rake's Progress and Marriage A-la-Mode. Knowledge of his work is so pervasive that satirical political illustrations in this style are often referred to as \"Hogarthian\".Hogarth was born in London to a lower-middle-class family. In his youth he took up an apprenticeship with an engraver, but did", "son of a rich merchant, who spends all of his money on luxurious living, services from prostitutes, and gambling – the character's life ultimately ends in Bethlem Royal Hospital. The original paintings of A Harlot's Progress were destroyed in the fire at Fonthill House in 1755; the oil paintings of A Rake's Progress (1733–34) are displayed in the gallery room at Sir John Soane's Museum, London, UK.When the success of A Harlot's Progress and A Rake's Progress resulted in numerous pirated reproductions by unscrupulous printsellers, Hogarth lobbied in parliament for greater legal control over the reproduction of his and other artists' work. The", "Marriage A-la-Mode is a series of six pictures painted by William Hogarth between 1743 and 1745, intended as a pointed skewering of 18th-century society. They show the disastrous results of an ill-considered marriage for money or social status, and satirize patronage and aesthetics. The pictures are held in the National Gallery in London.\nThis series was not received as well as his other moral tales, A Harlot's Progress (1732) and A Rake's Progress (1735), and when the paintings were finally sold in 1751, it was for a much lower sum than the artist had hoped for.\n\nOverview\nIn Marriage A-la-Mode Hogarth challenges the traditional view that the", "His prints were expensive, and remained so until early 19th-century reprints brought them to a wider audience.\n\nParodic borrowings from Old Masters\nWhen analysing the work of the artist as a whole, Ronald Paulson says, \"In A Harlot's Progress, every single plate but one is based on Dürer's images of the story of the Virgin and the story of the Passion.\" In other works, he parodies Leonardo da Vinci's Last Supper. According to Paulson, Hogarth is subverting the religious establishment and the orthodox belief in an immanent God who intervenes in the lives of people and produces miracles. Indeed, Hogarth was a Deist, a" ]

[ "What is Harlot's Progress?", "The collection of six scenes was entitled A Harlot's Progress and appeared first as paintings before being published as engravings." ]

[ "(1736), The Distrest Poet (1736), The Four Times of the Day (1738), and Strolling Actresses Dressing in a Barn (1738). He might also have printed Burlington Gate (1731), evoked by Alexander Pope's Epistle to Lord Burlington, and defending Lord Chandos, who is therein satirized. This print gave great offence, and was suppressed. However, modern authorities such as Ronald Paulson no longer attribute it to Hogarth.\n\nMoralizing art\nHarlot's Progress and Rake's Progress\nIn 1731, Hogarth completed the earliest of his series of moral works, a body of work that led to wide recognition. The collection of six scenes was entitled A Harlot's", "control over the reproduction of his and other artists' work. The result was the Engravers' Copyright Act (known as 'Hogarth's Act'), which became law on 25 June 1735 and was the first copyright law to deal with visual works as well as the first to recognise the authorial rights of an individual artist.\n\nMarriage A-la-Mode\nIn 1743–1745, Hogarth painted the six pictures of Marriage A-la-Mode (National Gallery, London), a pointed skewering of upper-class 18th-century society. An engraved version of the same series, produced by French engravers, appeared in 1745. This moralistic warning shows the miserable tragedy of an ill-considered marriage for money. This", "on John Collier, who was known as the \"Lancashire Hogarth\". The spread of Hogarth's prints throughout Europe, together with the depiction of popular scenes from his prints in faked Hogarth prints, influenced Continental book illustration through the 18th and early 19th centuries, especially in Germany and France. He also influenced many caricaturists of the 18th, 19th and 20th centuries. Hogarth's influence lives on today as artists continue to draw inspiration from his work.\nHogarth's paintings and prints have provided the subject matter for several other works. For example, Gavin Gordon's 1935 ballet The Rake's Progress, to choreography by Ninette de Valois, was based directly on", "bourgeois tragedy, and especially, a new form of fiction called the novel with which authors such as Henry Fielding had great success. Therefore, by that time, Hogarth hit on a new idea: \"painting and engraving modern moral subjects ... to treat my subjects as a dramatic writer; my picture was my stage\", as he himself remarked in his manuscript notes.\nHe drew from the highly moralizing Protestant tradition of Dutch genre painting, and the very vigorous satirical traditions of the English broadsheet and other types of popular print. In England the fine arts had little comedy in them before Hogarth. His prints were expensive, and remained so until early 19th-century", "portrait, and his unfinished oil sketch of a young fishwoman, entitled The Shrimp Girl (National Gallery, London), may be called masterpieces of British painting. There are also portraits of his wife, his two sisters, and of many other people; among them Bishop Hoadly and Bishop Herring. The engraved portrait of John Wilkes was a bestseller.\n\nHistorical subjects\nFor a long period, during the mid-18th century, Hogarth tried to achieve the status of a history painter, but did not earn much respect in this field. The painter, and later founder of the Royal Academy of Arts, Joshua Reynolds, was highly critical of Hogarth's style and work. According to art" ]

[ "(1736), The Distrest Poet (1736), The Four Times of the Day (1738), and Strolling Actresses Dressing in a Barn (1738). He might also have printed Burlington Gate (1731), evoked by Alexander Pope's Epistle to Lord Burlington, and defending Lord Chandos, who is therein satirized. This print gave great offence, and was suppressed. However, modern authorities such as Ronald Paulson no longer attribute it to Hogarth.\n\nMoralizing art\nHarlot's Progress and Rake's Progress\nIn 1731, Hogarth completed the earliest of his series of moral works, a body of work that led to wide recognition. The collection of six scenes was entitled A Harlot's" ]

[ "William Hogarth (; 10 November 1697 – 26 October 1764) was an English painter, engraver, pictorial satirist, social critic, editorial cartoonist and occasional writer on art. His work ranges from realistic portraiture to comic strip-like series of pictures called \"modern moral subjects\", and he is perhaps best known for his series A Harlot's Progress, A Rake's Progress and Marriage A-la-Mode. Knowledge of his work is so pervasive that satirical political illustrations in this style are often referred to as \"Hogarthian\".Hogarth was born in London to a lower-middle-class family. In his youth he took up an apprenticeship with an engraver, but did", "(1736), The Distrest Poet (1736), The Four Times of the Day (1738), and Strolling Actresses Dressing in a Barn (1738). He might also have printed Burlington Gate (1731), evoked by Alexander Pope's Epistle to Lord Burlington, and defending Lord Chandos, who is therein satirized. This print gave great offence, and was suppressed. However, modern authorities such as Ronald Paulson no longer attribute it to Hogarth.\n\nMoralizing art\nHarlot's Progress and Rake's Progress\nIn 1731, Hogarth completed the earliest of his series of moral works, a body of work that led to wide recognition. The collection of six scenes was entitled A Harlot's" ]

[ "What is Harlot's Progress?", "The collection of six scenes was entitled A Harlot's Progress and appeared first as paintings before being published as engravings.", "Who drew Harlot's Progress?", "In 1731 William Hogarth completed the earliest of his series of moral works, a body of work that led to significant recognition." ]

[ "recognition. The collection of six scenes was entitled A Harlot's Progress and appeared first as paintings (now lost) before being published as engravings. A Harlot's Progress depicts the fate of a country girl who begins prostituting – the six scenes are chronological, starting with a meeting with a bawd and ending with a funeral ceremony that follows the character's death from venereal disease.The inaugural series was an immediate success and was followed in 1733–1735 by the sequel A Rake's Progress. The second instalment consisted of eight pictures that depicted the reckless life of Tom Rakewell, the son of a rich merchant, who spends all of his money", "Marriage A-la-Mode is a series of six pictures painted by William Hogarth between 1743 and 1745, intended as a pointed skewering of 18th-century society. They show the disastrous results of an ill-considered marriage for money or social status, and satirize patronage and aesthetics. The pictures are held in the National Gallery in London.\nThis series was not received as well as his other moral tales, A Harlot's Progress (1732) and A Rake's Progress (1735), and when the paintings were finally sold in 1751, it was for a much lower sum than the artist had hoped for.\n\nOverview\nIn Marriage A-la-Mode Hogarth challenges the traditional view that the", "son of a rich merchant, who spends all of his money on luxurious living, services from prostitutes, and gambling – the character's life ultimately ends in Bethlem Royal Hospital. The original paintings of A Harlot's Progress were destroyed in the fire at Fonthill House in 1755; the oil paintings of A Rake's Progress (1733–34) are displayed in the gallery room at Sir John Soane's Museum, London, UK.When the success of A Harlot's Progress and A Rake's Progress resulted in numerous pirated reproductions by unscrupulous printsellers, Hogarth lobbied in parliament for greater legal control over the reproduction of his and other artists' work. The", "bourgeois tragedy, and especially, a new form of fiction called the novel with which authors such as Henry Fielding had great success. Therefore, by that time, Hogarth hit on a new idea: \"painting and engraving modern moral subjects ... to treat my subjects as a dramatic writer; my picture was my stage\", as he himself remarked in his manuscript notes.\nHe drew from the highly moralizing Protestant tradition of Dutch genre painting, and the very vigorous satirical traditions of the English broadsheet and other types of popular print. In England the fine arts had little comedy in them before Hogarth. His prints were expensive, and remained so until early 19th-century", "youth he took up an apprenticeship with an engraver, but did not complete the apprenticeship. His father underwent periods of mixed fortune, and was at one time imprisoned in lieu of outstanding debts, an event that is thought to have informed William's paintings and prints with a hard edge.Influenced by French and Italian painting and engraving, Hogarth's works are mostly satirical caricatures, sometimes bawdily sexual, mostly of the first rank of realistic portraiture. They became widely popular and mass-produced via prints in his lifetime, and he was by far the most significant English artist of his generation. Charles Lamb deemed Hogarth's images to be books, filled with", "money. The prints were published in support of the Gin Act 1751.\nHogarth's friend, the magistrate Henry Fielding, may have enlisted Hogarth to help with propaganda for the Gin Act; Beer Street and Gin Lane were issued shortly after his work An Enquiry into the Causes of the Late Increase of Robbers, and Related Writings, and addressed the same issues.\n\nThe Four Stages of Cruelty\nOther prints were his outcry against inhumanity in The Four Stages of Cruelty (published 21 February 1751), in which Hogarth depicts the cruel treatment of animals which he saw around him and suggests what will happen to people who carry on in this manner. In the first", "control over the reproduction of his and other artists' work. The result was the Engravers' Copyright Act (known as 'Hogarth's Act'), which became law on 25 June 1735 and was the first copyright law to deal with visual works as well as the first to recognise the authorial rights of an individual artist.\n\nMarriage A-la-Mode\nIn 1743–1745, Hogarth painted the six pictures of Marriage A-la-Mode (National Gallery, London), a pointed skewering of upper-class 18th-century society. An engraved version of the same series, produced by French engravers, appeared in 1745. This moralistic warning shows the miserable tragedy of an ill-considered marriage for money. This", "living women, that even the Grecian Venus doth but coarsely imitate.\"\n\nPersonal life\nOn 23 March 1729, Hogarth eloped with Jane Thornhill at Paddington Church, against the wishes of her father, the artist Sir James Thornhill.\nSir James saw the match as unequal, as Hogarth was a rather obscure artist at the time. However, when Hogarth started on his series of moral prints, A Harlot's Progress, some of the initial paintings were placed either in Sir James' drawing room or dining room, through the conspiring of Jane and her mother, in the hopes of reconciling him with the couple. When he saw them, he inquired as" ]

[ "recognition. The collection of six scenes was entitled A Harlot's Progress and appeared first as paintings (now lost) before being published as engravings. A Harlot's Progress depicts the fate of a country girl who begins prostituting – the six scenes are chronological, starting with a meeting with a bawd and ending with a funeral ceremony that follows the character's death from venereal disease.The inaugural series was an immediate success and was followed in 1733–1735 by the sequel A Rake's Progress. The second instalment consisted of eight pictures that depicted the reckless life of Tom Rakewell, the son of a rich merchant, who spends all of his money" ]

[]

[ "What is Harlot's Progress?", "The collection of six scenes was entitled A Harlot's Progress and appeared first as paintings before being published as engravings.", "Who drew Harlot's Progress?", "In 1731 William Hogarth completed the earliest of his series of moral works, a body of work that led to significant recognition.", "How many paintings were there in the Harlot's Progress?", "The collection of six scenes was entitled A Harlot's Progress and appeared first as paintings before being published as engravings." ]

[ "William Hogarth (; 10 November 1697 – 26 October 1764) was an English painter, engraver, pictorial satirist, social critic, editorial cartoonist and occasional writer on art. His work ranges from realistic portraiture to comic strip-like series of pictures called \"modern moral subjects\", and he is perhaps best known for his series A Harlot's Progress, A Rake's Progress and Marriage A-la-Mode. Knowledge of his work is so pervasive that satirical political illustrations in this style are often referred to as \"Hogarthian\".Hogarth was born in London to a lower-middle-class family. In his youth he took up an apprenticeship with an engraver, but did", "(1736), The Distrest Poet (1736), The Four Times of the Day (1738), and Strolling Actresses Dressing in a Barn (1738). He might also have printed Burlington Gate (1731), evoked by Alexander Pope's Epistle to Lord Burlington, and defending Lord Chandos, who is therein satirized. This print gave great offence, and was suppressed. However, modern authorities such as Ronald Paulson no longer attribute it to Hogarth.\n\nMoralizing art\nHarlot's Progress and Rake's Progress\nIn 1731, Hogarth completed the earliest of his series of moral works, a body of work that led to wide recognition. The collection of six scenes was entitled A Harlot's", "recognition. The collection of six scenes was entitled A Harlot's Progress and appeared first as paintings (now lost) before being published as engravings. A Harlot's Progress depicts the fate of a country girl who begins prostituting – the six scenes are chronological, starting with a meeting with a bawd and ending with a funeral ceremony that follows the character's death from venereal disease.The inaugural series was an immediate success and was followed in 1733–1735 by the sequel A Rake's Progress. The second instalment consisted of eight pictures that depicted the reckless life of Tom Rakewell, the son of a rich merchant, who spends all of his money", "son of a rich merchant, who spends all of his money on luxurious living, services from prostitutes, and gambling – the character's life ultimately ends in Bethlem Royal Hospital. The original paintings of A Harlot's Progress were destroyed in the fire at Fonthill House in 1755; the oil paintings of A Rake's Progress (1733–34) are displayed in the gallery room at Sir John Soane's Museum, London, UK.When the success of A Harlot's Progress and A Rake's Progress resulted in numerous pirated reproductions by unscrupulous printsellers, Hogarth lobbied in parliament for greater legal control over the reproduction of his and other artists' work. The", "Marriage A-la-Mode is a series of six pictures painted by William Hogarth between 1743 and 1745, intended as a pointed skewering of 18th-century society. They show the disastrous results of an ill-considered marriage for money or social status, and satirize patronage and aesthetics. The pictures are held in the National Gallery in London.\nThis series was not received as well as his other moral tales, A Harlot's Progress (1732) and A Rake's Progress (1735), and when the paintings were finally sold in 1751, it was for a much lower sum than the artist had hoped for.\n\nOverview\nIn Marriage A-la-Mode Hogarth challenges the traditional view that the", "bourgeois tragedy, and especially, a new form of fiction called the novel with which authors such as Henry Fielding had great success. Therefore, by that time, Hogarth hit on a new idea: \"painting and engraving modern moral subjects ... to treat my subjects as a dramatic writer; my picture was my stage\", as he himself remarked in his manuscript notes.\nHe drew from the highly moralizing Protestant tradition of Dutch genre painting, and the very vigorous satirical traditions of the English broadsheet and other types of popular print. In England the fine arts had little comedy in them before Hogarth. His prints were expensive, and remained so until early 19th-century", "youth he took up an apprenticeship with an engraver, but did not complete the apprenticeship. His father underwent periods of mixed fortune, and was at one time imprisoned in lieu of outstanding debts, an event that is thought to have informed William's paintings and prints with a hard edge.Influenced by French and Italian painting and engraving, Hogarth's works are mostly satirical caricatures, sometimes bawdily sexual, mostly of the first rank of realistic portraiture. They became widely popular and mass-produced via prints in his lifetime, and he was by far the most significant English artist of his generation. Charles Lamb deemed Hogarth's images to be books, filled with", "living women, that even the Grecian Venus doth but coarsely imitate.\"\n\nPersonal life\nOn 23 March 1729, Hogarth eloped with Jane Thornhill at Paddington Church, against the wishes of her father, the artist Sir James Thornhill.\nSir James saw the match as unequal, as Hogarth was a rather obscure artist at the time. However, when Hogarth started on his series of moral prints, A Harlot's Progress, some of the initial paintings were placed either in Sir James' drawing room or dining room, through the conspiring of Jane and her mother, in the hopes of reconciling him with the couple. When he saw them, he inquired as", "money. The prints were published in support of the Gin Act 1751.\nHogarth's friend, the magistrate Henry Fielding, may have enlisted Hogarth to help with propaganda for the Gin Act; Beer Street and Gin Lane were issued shortly after his work An Enquiry into the Causes of the Late Increase of Robbers, and Related Writings, and addressed the same issues.\n\nThe Four Stages of Cruelty\nOther prints were his outcry against inhumanity in The Four Stages of Cruelty (published 21 February 1751), in which Hogarth depicts the cruel treatment of animals which he saw around him and suggests what will happen to people who carry on in this manner. In the first", "he painted actor David Garrick as Richard III, for which he was paid £200, \"which was more\", he wrote, \"than any English artist ever received for a single portrait.\" With this picture Hogarth established the genre of theatrical portraiture as a distinctively British kind of history painting. In 1746, a sketch of Simon Fraser, 11th Lord Lovat, afterwards beheaded on Tower Hill, had an exceptional success.\nIn 1740, he created a truthful, vivid full-length portrait of his friend, the philanthropic Captain Coram, for the Thomas Coram Foundation for Children, now in the Foundling Museum. This portrait, and his unfinished oil sketch of a young fishwoman," ]

[ "William Hogarth (; 10 November 1697 – 26 October 1764) was an English painter, engraver, pictorial satirist, social critic, editorial cartoonist and occasional writer on art. His work ranges from realistic portraiture to comic strip-like series of pictures called \"modern moral subjects\", and he is perhaps best known for his series A Harlot's Progress, A Rake's Progress and Marriage A-la-Mode. Knowledge of his work is so pervasive that satirical political illustrations in this style are often referred to as \"Hogarthian\".Hogarth was born in London to a lower-middle-class family. In his youth he took up an apprenticeship with an engraver, but did" ]

[ "William Hogarth (; 10 November 1697 – 26 October 1764) was an English painter, engraver, pictorial satirist, social critic, editorial cartoonist and occasional writer on art. His work ranges from realistic portraiture to comic strip-like series of pictures called \"modern moral subjects\", and he is perhaps best known for his series A Harlot's Progress, A Rake's Progress and Marriage A-la-Mode. Knowledge of his work is so pervasive that satirical political illustrations in this style are often referred to as \"Hogarthian\".Hogarth was born in London to a lower-middle-class family. In his youth he took up an apprenticeship with an engraver, but did", "(1736), The Distrest Poet (1736), The Four Times of the Day (1738), and Strolling Actresses Dressing in a Barn (1738). He might also have printed Burlington Gate (1731), evoked by Alexander Pope's Epistle to Lord Burlington, and defending Lord Chandos, who is therein satirized. This print gave great offence, and was suppressed. However, modern authorities such as Ronald Paulson no longer attribute it to Hogarth.\n\nMoralizing art\nHarlot's Progress and Rake's Progress\nIn 1731, Hogarth completed the earliest of his series of moral works, a body of work that led to wide recognition. The collection of six scenes was entitled A Harlot's", "recognition. The collection of six scenes was entitled A Harlot's Progress and appeared first as paintings (now lost) before being published as engravings. A Harlot's Progress depicts the fate of a country girl who begins prostituting – the six scenes are chronological, starting with a meeting with a bawd and ending with a funeral ceremony that follows the character's death from venereal disease.The inaugural series was an immediate success and was followed in 1733–1735 by the sequel A Rake's Progress. The second instalment consisted of eight pictures that depicted the reckless life of Tom Rakewell, the son of a rich merchant, who spends all of his money", "son of a rich merchant, who spends all of his money on luxurious living, services from prostitutes, and gambling – the character's life ultimately ends in Bethlem Royal Hospital. The original paintings of A Harlot's Progress were destroyed in the fire at Fonthill House in 1755; the oil paintings of A Rake's Progress (1733–34) are displayed in the gallery room at Sir John Soane's Museum, London, UK.When the success of A Harlot's Progress and A Rake's Progress resulted in numerous pirated reproductions by unscrupulous printsellers, Hogarth lobbied in parliament for greater legal control over the reproduction of his and other artists' work. The", "Marriage A-la-Mode is a series of six pictures painted by William Hogarth between 1743 and 1745, intended as a pointed skewering of 18th-century society. They show the disastrous results of an ill-considered marriage for money or social status, and satirize patronage and aesthetics. The pictures are held in the National Gallery in London.\nThis series was not received as well as his other moral tales, A Harlot's Progress (1732) and A Rake's Progress (1735), and when the paintings were finally sold in 1751, it was for a much lower sum than the artist had hoped for.\n\nOverview\nIn Marriage A-la-Mode Hogarth challenges the traditional view that the", "on John Collier, who was known as the \"Lancashire Hogarth\". The spread of Hogarth's prints throughout Europe, together with the depiction of popular scenes from his prints in faked Hogarth prints, influenced Continental book illustration through the 18th and early 19th centuries, especially in Germany and France. He also influenced many caricaturists of the 18th, 19th and 20th centuries. Hogarth's influence lives on today as artists continue to draw inspiration from his work.\nHogarth's paintings and prints have provided the subject matter for several other works. For example, Gavin Gordon's 1935 ballet The Rake's Progress, to choreography by Ninette de Valois, was based directly on", "bourgeois tragedy, and especially, a new form of fiction called the novel with which authors such as Henry Fielding had great success. Therefore, by that time, Hogarth hit on a new idea: \"painting and engraving modern moral subjects ... to treat my subjects as a dramatic writer; my picture was my stage\", as he himself remarked in his manuscript notes.\nHe drew from the highly moralizing Protestant tradition of Dutch genre painting, and the very vigorous satirical traditions of the English broadsheet and other types of popular print. In England the fine arts had little comedy in them before Hogarth. His prints were expensive, and remained so until early 19th-century", "youth he took up an apprenticeship with an engraver, but did not complete the apprenticeship. His father underwent periods of mixed fortune, and was at one time imprisoned in lieu of outstanding debts, an event that is thought to have informed William's paintings and prints with a hard edge.Influenced by French and Italian painting and engraving, Hogarth's works are mostly satirical caricatures, sometimes bawdily sexual, mostly of the first rank of realistic portraiture. They became widely popular and mass-produced via prints in his lifetime, and he was by far the most significant English artist of his generation. Charles Lamb deemed Hogarth's images to be books, filled with", "portrait, and his unfinished oil sketch of a young fishwoman, entitled The Shrimp Girl (National Gallery, London), may be called masterpieces of British painting. There are also portraits of his wife, his two sisters, and of many other people; among them Bishop Hoadly and Bishop Herring. The engraved portrait of John Wilkes was a bestseller.\n\nHistorical subjects\nFor a long period, during the mid-18th century, Hogarth tried to achieve the status of a history painter, but did not earn much respect in this field. The painter, and later founder of the Royal Academy of Arts, Joshua Reynolds, was highly critical of Hogarth's style and work. According to art", "he painted actor David Garrick as Richard III, for which he was paid £200, \"which was more\", he wrote, \"than any English artist ever received for a single portrait.\" With this picture Hogarth established the genre of theatrical portraiture as a distinctively British kind of history painting. In 1746, a sketch of Simon Fraser, 11th Lord Lovat, afterwards beheaded on Tower Hill, had an exceptional success.\nIn 1740, he created a truthful, vivid full-length portrait of his friend, the philanthropic Captain Coram, for the Thomas Coram Foundation for Children, now in the Foundling Museum. This portrait, and his unfinished oil sketch of a young fishwoman," ]

[ "What is Harlot's Progress?", "The collection of six scenes was entitled A Harlot's Progress and appeared first as paintings before being published as engravings.", "Who drew Harlot's Progress?", "In 1731 William Hogarth completed the earliest of his series of moral works, a body of work that led to significant recognition.", "How many paintings were there in the Harlot's Progress?", "The collection of six scenes was entitled A Harlot's Progress and appeared first as paintings before being published as engravings.", "When did William Hogarth draw Harlot's Progress?", "In 1731 William Hogarth completed the earliest of his series of moral works, Harlot's Progress." ]

[]

[ "a wealthy but miserly city merchant. Construction on the Earl's new mansion, visible through the window, has stopped, and a usurer negotiates payment for further construction at the center table. The gouty Earl proudly points to a picture of his family tree, originating with William the Conqueror. The son views himself in a mirror, showing where his interests in the matter lie. His neck features a black patch that may conceal a syphilitic sore. The distraught merchant's daughter is consoled by the lawyer Silvertongue. Her wedding ring is threaded through a handkerchief to dry her tears. Even the faces on the walls appear to have misgivings. Two" ]

[ "William Hogarth (; 10 November 1697 – 26 October 1764) was an English painter, engraver, pictorial satirist, social critic, editorial cartoonist and occasional writer on art. His work ranges from realistic portraiture to comic strip-like series of pictures called \"modern moral subjects\", and he is perhaps best known for his series A Harlot's Progress, A Rake's Progress and Marriage A-la-Mode. Knowledge of his work is so pervasive that satirical political illustrations in this style are often referred to as \"Hogarthian\".Hogarth was born in London to a lower-middle-class family. In his youth he took up an apprenticeship with an engraver, but did", "recognition. The collection of six scenes was entitled A Harlot's Progress and appeared first as paintings (now lost) before being published as engravings. A Harlot's Progress depicts the fate of a country girl who begins prostituting – the six scenes are chronological, starting with a meeting with a bawd and ending with a funeral ceremony that follows the character's death from venereal disease.The inaugural series was an immediate success and was followed in 1733–1735 by the sequel A Rake's Progress. The second instalment consisted of eight pictures that depicted the reckless life of Tom Rakewell, the son of a rich merchant, who spends all of his money" ]

[ "What is Harlot's Progress?", "The collection of six scenes was entitled A Harlot's Progress and appeared first as paintings before being published as engravings.", "Who drew Harlot's Progress?", "In 1731 William Hogarth completed the earliest of his series of moral works, a body of work that led to significant recognition.", "How many paintings were there in the Harlot's Progress?", "The collection of six scenes was entitled A Harlot's Progress and appeared first as paintings before being published as engravings.", "When did William Hogarth draw Harlot's Progress?", "In 1731 William Hogarth completed the earliest of his series of moral works, Harlot's Progress.", "What is a Rake's Progress about?", "The series shows the decline and fall of Tom Rakewell, the spendthrift son and heir of a rich merchant, who wastes all his money on luxurious living, prostitution and gambling.", "Who is Tom Rakewell?", "In a historical context, a rake was a man who was habituated to immoral conduct, particularly womanising." ]

[ "son of a rich merchant, who spends all of his money on luxurious living, services from prostitutes, and gambling – the character's life ultimately ends in Bethlem Royal Hospital. The original paintings of A Harlot's Progress were destroyed in the fire at Fonthill House in 1755; the oil paintings of A Rake's Progress (1733–34) are displayed in the gallery room at Sir John Soane's Museum, London, UK.When the success of A Harlot's Progress and A Rake's Progress resulted in numerous pirated reproductions by unscrupulous printsellers, Hogarth lobbied in parliament for greater legal control over the reproduction of his and other artists' work. The", "(1736), The Distrest Poet (1736), The Four Times of the Day (1738), and Strolling Actresses Dressing in a Barn (1738). He might also have printed Burlington Gate (1731), evoked by Alexander Pope's Epistle to Lord Burlington, and defending Lord Chandos, who is therein satirized. This print gave great offence, and was suppressed. However, modern authorities such as Ronald Paulson no longer attribute it to Hogarth.\n\nMoralizing art\nHarlot's Progress and Rake's Progress\nIn 1731, Hogarth completed the earliest of his series of moral works, a body of work that led to wide recognition. The collection of six scenes was entitled A Harlot's", "Marriage A-la-Mode is a series of six pictures painted by William Hogarth between 1743 and 1745, intended as a pointed skewering of 18th-century society. They show the disastrous results of an ill-considered marriage for money or social status, and satirize patronage and aesthetics. The pictures are held in the National Gallery in London.\nThis series was not received as well as his other moral tales, A Harlot's Progress (1732) and A Rake's Progress (1735), and when the paintings were finally sold in 1751, it was for a much lower sum than the artist had hoped for.\n\nOverview\nIn Marriage A-la-Mode Hogarth challenges the traditional view that the", "on John Collier, who was known as the \"Lancashire Hogarth\". The spread of Hogarth's prints throughout Europe, together with the depiction of popular scenes from his prints in faked Hogarth prints, influenced Continental book illustration through the 18th and early 19th centuries, especially in Germany and France. He also influenced many caricaturists of the 18th, 19th and 20th centuries. Hogarth's influence lives on today as artists continue to draw inspiration from his work.\nHogarth's paintings and prints have provided the subject matter for several other works. For example, Gavin Gordon's 1935 ballet The Rake's Progress, to choreography by Ninette de Valois, was based directly on", "youth he took up an apprenticeship with an engraver, but did not complete the apprenticeship. His father underwent periods of mixed fortune, and was at one time imprisoned in lieu of outstanding debts, an event that is thought to have informed William's paintings and prints with a hard edge.Influenced by French and Italian painting and engraving, Hogarth's works are mostly satirical caricatures, sometimes bawdily sexual, mostly of the first rank of realistic portraiture. They became widely popular and mass-produced via prints in his lifetime, and he was by far the most significant English artist of his generation. Charles Lamb deemed Hogarth's images to be books, filled with", "money. The prints were published in support of the Gin Act 1751.\nHogarth's friend, the magistrate Henry Fielding, may have enlisted Hogarth to help with propaganda for the Gin Act; Beer Street and Gin Lane were issued shortly after his work An Enquiry into the Causes of the Late Increase of Robbers, and Related Writings, and addressed the same issues.\n\nThe Four Stages of Cruelty\nOther prints were his outcry against inhumanity in The Four Stages of Cruelty (published 21 February 1751), in which Hogarth depicts the cruel treatment of animals which he saw around him and suggests what will happen to people who carry on in this manner. In the first", "portrait, and his unfinished oil sketch of a young fishwoman, entitled The Shrimp Girl (National Gallery, London), may be called masterpieces of British painting. There are also portraits of his wife, his two sisters, and of many other people; among them Bishop Hoadly and Bishop Herring. The engraved portrait of John Wilkes was a bestseller.\n\nHistorical subjects\nFor a long period, during the mid-18th century, Hogarth tried to achieve the status of a history painter, but did not earn much respect in this field. The painter, and later founder of the Royal Academy of Arts, Joshua Reynolds, was highly critical of Hogarth's style and work. According to art", "he painted actor David Garrick as Richard III, for which he was paid £200, \"which was more\", he wrote, \"than any English artist ever received for a single portrait.\" With this picture Hogarth established the genre of theatrical portraiture as a distinctively British kind of history painting. In 1746, a sketch of Simon Fraser, 11th Lord Lovat, afterwards beheaded on Tower Hill, had an exceptional success.\nIn 1740, he created a truthful, vivid full-length portrait of his friend, the philanthropic Captain Coram, for the Thomas Coram Foundation for Children, now in the Foundling Museum. This portrait, and his unfinished oil sketch of a young fishwoman," ]

[ "son of a rich merchant, who spends all of his money on luxurious living, services from prostitutes, and gambling – the character's life ultimately ends in Bethlem Royal Hospital. The original paintings of A Harlot's Progress were destroyed in the fire at Fonthill House in 1755; the oil paintings of A Rake's Progress (1733–34) are displayed in the gallery room at Sir John Soane's Museum, London, UK.When the success of A Harlot's Progress and A Rake's Progress resulted in numerous pirated reproductions by unscrupulous printsellers, Hogarth lobbied in parliament for greater legal control over the reproduction of his and other artists' work. The" ]

[ "William Hogarth (; 10 November 1697 – 26 October 1764) was an English painter, engraver, pictorial satirist, social critic, editorial cartoonist and occasional writer on art. His work ranges from realistic portraiture to comic strip-like series of pictures called \"modern moral subjects\", and he is perhaps best known for his series A Harlot's Progress, A Rake's Progress and Marriage A-la-Mode. Knowledge of his work is so pervasive that satirical political illustrations in this style are often referred to as \"Hogarthian\".Hogarth was born in London to a lower-middle-class family. In his youth he took up an apprenticeship with an engraver, but did" ]

[ "What is Harlot's Progress?", "The collection of six scenes was entitled A Harlot's Progress and appeared first as paintings before being published as engravings.", "Who drew Harlot's Progress?", "In 1731 William Hogarth completed the earliest of his series of moral works, a body of work that led to significant recognition.", "How many paintings were there in the Harlot's Progress?", "The collection of six scenes was entitled A Harlot's Progress and appeared first as paintings before being published as engravings.", "When did William Hogarth draw Harlot's Progress?", "In 1731 William Hogarth completed the earliest of his series of moral works, Harlot's Progress.", "What is a Rake's Progress about?", "The series shows the decline and fall of Tom Rakewell, the spendthrift son and heir of a rich merchant, who wastes all his money on luxurious living, prostitution and gambling.", "Who is Tom Rakewell?", "In a historical context, a rake was a man who was habituated to immoral conduct, particularly womanising.", "Where these 8 paintings of Rake's Progress now?", "The oil paintings of A Rake's Progress are displayed in the gallery room at Sir John Soane's Museum, London, UK." ]

[ "son of a rich merchant, who spends all of his money on luxurious living, services from prostitutes, and gambling – the character's life ultimately ends in Bethlem Royal Hospital. The original paintings of A Harlot's Progress were destroyed in the fire at Fonthill House in 1755; the oil paintings of A Rake's Progress (1733–34) are displayed in the gallery room at Sir John Soane's Museum, London, UK.When the success of A Harlot's Progress and A Rake's Progress resulted in numerous pirated reproductions by unscrupulous printsellers, Hogarth lobbied in parliament for greater legal control over the reproduction of his and other artists' work. The", "recognition. The collection of six scenes was entitled A Harlot's Progress and appeared first as paintings (now lost) before being published as engravings. A Harlot's Progress depicts the fate of a country girl who begins prostituting – the six scenes are chronological, starting with a meeting with a bawd and ending with a funeral ceremony that follows the character's death from venereal disease.The inaugural series was an immediate success and was followed in 1733–1735 by the sequel A Rake's Progress. The second instalment consisted of eight pictures that depicted the reckless life of Tom Rakewell, the son of a rich merchant, who spends all of his money", "(1736), The Distrest Poet (1736), The Four Times of the Day (1738), and Strolling Actresses Dressing in a Barn (1738). He might also have printed Burlington Gate (1731), evoked by Alexander Pope's Epistle to Lord Burlington, and defending Lord Chandos, who is therein satirized. This print gave great offence, and was suppressed. However, modern authorities such as Ronald Paulson no longer attribute it to Hogarth.\n\nMoralizing art\nHarlot's Progress and Rake's Progress\nIn 1731, Hogarth completed the earliest of his series of moral works, a body of work that led to wide recognition. The collection of six scenes was entitled A Harlot's", "Marriage A-la-Mode is a series of six pictures painted by William Hogarth between 1743 and 1745, intended as a pointed skewering of 18th-century society. They show the disastrous results of an ill-considered marriage for money or social status, and satirize patronage and aesthetics. The pictures are held in the National Gallery in London.\nThis series was not received as well as his other moral tales, A Harlot's Progress (1732) and A Rake's Progress (1735), and when the paintings were finally sold in 1751, it was for a much lower sum than the artist had hoped for.\n\nOverview\nIn Marriage A-la-Mode Hogarth challenges the traditional view that the", "on John Collier, who was known as the \"Lancashire Hogarth\". The spread of Hogarth's prints throughout Europe, together with the depiction of popular scenes from his prints in faked Hogarth prints, influenced Continental book illustration through the 18th and early 19th centuries, especially in Germany and France. He also influenced many caricaturists of the 18th, 19th and 20th centuries. Hogarth's influence lives on today as artists continue to draw inspiration from his work.\nHogarth's paintings and prints have provided the subject matter for several other works. For example, Gavin Gordon's 1935 ballet The Rake's Progress, to choreography by Ninette de Valois, was based directly on", "youth he took up an apprenticeship with an engraver, but did not complete the apprenticeship. His father underwent periods of mixed fortune, and was at one time imprisoned in lieu of outstanding debts, an event that is thought to have informed William's paintings and prints with a hard edge.Influenced by French and Italian painting and engraving, Hogarth's works are mostly satirical caricatures, sometimes bawdily sexual, mostly of the first rank of realistic portraiture. They became widely popular and mass-produced via prints in his lifetime, and he was by far the most significant English artist of his generation. Charles Lamb deemed Hogarth's images to be books, filled with", "money. The prints were published in support of the Gin Act 1751.\nHogarth's friend, the magistrate Henry Fielding, may have enlisted Hogarth to help with propaganda for the Gin Act; Beer Street and Gin Lane were issued shortly after his work An Enquiry into the Causes of the Late Increase of Robbers, and Related Writings, and addressed the same issues.\n\nThe Four Stages of Cruelty\nOther prints were his outcry against inhumanity in The Four Stages of Cruelty (published 21 February 1751), in which Hogarth depicts the cruel treatment of animals which he saw around him and suggests what will happen to people who carry on in this manner. In the first", "portrait, and his unfinished oil sketch of a young fishwoman, entitled The Shrimp Girl (National Gallery, London), may be called masterpieces of British painting. There are also portraits of his wife, his two sisters, and of many other people; among them Bishop Hoadly and Bishop Herring. The engraved portrait of John Wilkes was a bestseller.\n\nHistorical subjects\nFor a long period, during the mid-18th century, Hogarth tried to achieve the status of a history painter, but did not earn much respect in this field. The painter, and later founder of the Royal Academy of Arts, Joshua Reynolds, was highly critical of Hogarth's style and work. According to art", "Hogarth was the lead character in Nick Dear's play The Art of Success, whilst he is played by Toby Jones in the 2006 television film A Harlot's Progress.\nHogarth's House in Chiswick, west London, is now a museum; the major road junction next to it is named the Hogarth Roundabout. In 2014 both Hogarth's House and the Foundling Museum held special exhibitions to mark the 250th anniversary of his death.\nIn 2019, Sir John Soane's Museum, which owns both The Rake's Progress and The Humours of an Election, held an exhibition which assembled all Hogarth's series of paintings, and his series of engravings, in one place" ]

[ "son of a rich merchant, who spends all of his money on luxurious living, services from prostitutes, and gambling – the character's life ultimately ends in Bethlem Royal Hospital. The original paintings of A Harlot's Progress were destroyed in the fire at Fonthill House in 1755; the oil paintings of A Rake's Progress (1733–34) are displayed in the gallery room at Sir John Soane's Museum, London, UK.When the success of A Harlot's Progress and A Rake's Progress resulted in numerous pirated reproductions by unscrupulous printsellers, Hogarth lobbied in parliament for greater legal control over the reproduction of his and other artists' work. The" ]

[ "later, original songs by Danny Elfman. Guitarist Steve Bartek joined in 1976 as musical co-director. That year, the troupe appeared on the TV talent contest program The Gong Show, which they won.\n\nI.R.S. and A&M years (1979–1984)\nIn 1979, Danny Elfman reformed the group as a dedicated rock band, under the new name Oingo Boingo, at which point most existing members left. Steve Bartek and a brass trio of Dale Turner, Sam \"Sluggo\" Phipps, and Leon Schneiderman continued with the new band. Various reasons were given for the restart as a rock band, notably Danny's emerging musical interests, and reducing the need for transportation", "later claimed the two departing members had \"lost the spirit\", but stated, \"I could never blame anybody for losing the spirit. It's very hard being an 8-piece ensemble doing what, at the time, was non-commercial music\".\n\nMCA years (1984–1992)\nElfman used the 1984 hiatus as an opportunity to release a solo album, co-produced with Steve Bartek, with the remaining members of Oingo Boingo returning as session musicians. This was released as So-Lo in late 1984. At this point, new manager Mike Gormley, who had just left the position of VP of Publicity and Asst. to the Chairman of A&M, negotiated a release from the", "to the Chairman of A&M, negotiated a release from the label and signed the band to MCA Records.\nShortly after releasing So-Lo, Oingo Boingo returned to performing with new bassist John Avila and keyboardist Mike Bacich. The first release with the new line-up was Dead Man's Party in 1985. The album marked a notable change towards more pop oriented songwriting and production style, and became the band's most commercially successful record. It featured their highest-charting song on the Billboard Hot 100, \"Weird Science\", which was written for the John Hughes film of the same name.\nThe band appeared on a number of movie soundtracks in the early to", "name Oingo Boingo was settled on in 1979, at which point their early song \"I'm Afraid\" appeared on the Rhino Records Los Angeles rock and new wave \"up and coming\" compilation, L.A. In.\nThat same year, the band self-funded a promo EP record, known as the \"Demo EP\", for distribution to radio stations and recording industry A&R representatives to help land a contract. The effort paid off, as the record caught the attention of I.R.S. Records, who released a revised version of the EP in 1980: the Oingo Boingo (EP).\nThe band had now coalesced as an octet: Danny Elfman on lead vocals", "the mid-1980s, the band adopted a more pop-oriented style, until a significant genre change to alternative rock in 1994. At that point, the name was shortened to simply Boingo and the keyboard and horn section were dropped. The band retired after a farewell concert on Halloween 1995, for which they reverted to the name Oingo Boingo and readopted the horn section.\n\nHistory\nThe Mystic Knights of the Oingo Boingo (1972–1979)\nThe Mystic Knights of the Oingo Boingo began as a street theater troupe in Los Angeles, founded by Richard Elfman. The name was inspired by a fictional secret society on the Amos 'n' Andy TV series called", "Oingo Boingo () were an American new wave band formed by songwriter Danny Elfman in 1979. The band emerged from a surrealist musical theatre troupe, The Mystic Knights of the Oingo Boingo, that Elfman had led and written material for in the years previous. Their highest-charting song, \"Weird Science\", reached No. 45 on the US Billboard Hot 100.\nOingo Boingo were known for their high-energy live concerts and experimental music, which can be described as combining elements of music such as art, punk, ska, rock, pop, jazz, and world, amongst other genres. The band's body of work spanned 17 years, with various genre", "greatest albums of all time by publications such as Rolling Stone and Time.\n\nBackground\nAfter his Atlantic Records contract ended, Ray Charles signed with ABC-Paramount Records in November 1959, obtaining a much more generous contract than other artists had at the time. Following his commercial and pop crossover breakthrough with the hit single \"What'd I Say\" earlier that year, ABC offered Charles a $50,000 annual advance, higher royalties than previously offered and eventual ownership of his masters—a very valuable and lucrative deal at the time. Composed by Charles himself, the single furthered Charles's mainstream appeal, while becoming a Top 10 pop hit and selling a million copies in the United", "album was completed with the new 5-piece line-up, including orchestral instrumentation, and several songs improvised in the studio for the first time in the band's history. This was released as Boingo in 1994, and would be the band's final studio album.\nIn 1995, it was announced that Boingo would be disbanding after 17 years. The band embarked on a farewell tour in 1995, restoring the original horn trio, and reverting its name to Oingo Boingo, ending with a final Halloween performance at the Universal Amphitheatre. The concert was filmed and released as a live album and DVD.\n\nLegacy\nFollowing the band's dissolution, Danny Elfman continued composing", "1981, also titled Only a Lad (and featuring a new recording of the song). The band released further albums Nothing to Fear in 1982, and Good for Your Soul in 1983. Although the band's sound was termed as new wave, Oingo Boingo's use of exotic percussion, a three-piece horn section, unconventional scales and harmony, and surreal imagery was a genre-skewing combination.\nIn 1984, bassist Kerry Hatch and keyboardist Richard Gibbs departed to form the short-lived band Zuma II and Oingo Boingo went on temporary hiatus, although this was not known publicly at the time. Elfman later claimed the two departing members had \"lost the spirit\",", "chose to use “Rakim Allah” as his stage name, although it was most often shortened to simply “Rakim”. During his career he has been nicknamed the \"God MC\" because of his acclaimed status as an MC and a reference to the \"Allah\" in his stage name, which is the Arabic word for God.\n\nCareer\nPairing with Eric B. (1985–1992)\nFirst meeting in 1985, Eric B. and Rakim went on to release four studio albums before their separation in 1992. The duo were described by journalist Tom Terrell of NPR as \"the most influential DJ/MC combo in contemporary pop music period\", while the editors of About.com ranked them as" ]

[ "What were the MCA years?", "MCA years were the time Oingo Boingo was signed to MCA Records.", "What switches did Oingo Boingo make?", "Mike Gormley, who had just left the position of VP of Publicity and Asst. to the Chairman of A&M, negotiated a release from the label and signed to MCA Records." ]

[]

[ "has orchestrated most of Elfman's film and television scores.\nThe album BOI-NGO was released in 1987. Following its recording, Bacich was replaced by new keyboardist Carl Graves. The band's 1988 release, Boingo Alive, comprised \"live\" re-recordings of previous album songs on a studio soundstage, plus a new song, \"Winning Side\". This new track was also released as a single, and became a No. 14 hit on US Modern Rock radio stations.\nIn 1990, the band released their seventh studio album, Dark at the End of the Tunnel, featuring more mellow songs than any previous release, and including the singles \"Out of Control\" and \"Flesh 'N" ]

[ "later claimed the two departing members had \"lost the spirit\", but stated, \"I could never blame anybody for losing the spirit. It's very hard being an 8-piece ensemble doing what, at the time, was non-commercial music\".\n\nMCA years (1984–1992)\nElfman used the 1984 hiatus as an opportunity to release a solo album, co-produced with Steve Bartek, with the remaining members of Oingo Boingo returning as session musicians. This was released as So-Lo in late 1984. At this point, new manager Mike Gormley, who had just left the position of VP of Publicity and Asst. to the Chairman of A&M, negotiated a release from the", "later, original songs by Danny Elfman. Guitarist Steve Bartek joined in 1976 as musical co-director. That year, the troupe appeared on the TV talent contest program The Gong Show, which they won.\n\nI.R.S. and A&M years (1979–1984)\nIn 1979, Danny Elfman reformed the group as a dedicated rock band, under the new name Oingo Boingo, at which point most existing members left. Steve Bartek and a brass trio of Dale Turner, Sam \"Sluggo\" Phipps, and Leon Schneiderman continued with the new band. Various reasons were given for the restart as a rock band, notably Danny's emerging musical interests, and reducing the need for transportation", "to the Chairman of A&M, negotiated a release from the label and signed the band to MCA Records.\nShortly after releasing So-Lo, Oingo Boingo returned to performing with new bassist John Avila and keyboardist Mike Bacich. The first release with the new line-up was Dead Man's Party in 1985. The album marked a notable change towards more pop oriented songwriting and production style, and became the band's most commercially successful record. It featured their highest-charting song on the Billboard Hot 100, \"Weird Science\", which was written for the John Hughes film of the same name.\nThe band appeared on a number of movie soundtracks in the early to" ]

[ "What were the MCA years?", "MCA years were the time Oingo Boingo was signed to MCA Records.", "What switches did Oingo Boingo make?", "Mike Gormley, who had just left the position of VP of Publicity and Asst. to the Chairman of A&M, negotiated a release from the label and signed to MCA Records.", "Did Oingo Boingo release any songs between 1985 to 1990?", "Oingo Boingo released three albums from 1985 to 1990: Dead Man's Party, Boi-ngo, and Dark at the End of the Tunnel." ]

[ "Oingo Boingo () were an American new wave band formed by songwriter Danny Elfman in 1979. The band emerged from a surrealist musical theatre troupe, The Mystic Knights of the Oingo Boingo, that Elfman had led and written material for in the years previous. Their highest-charting song, \"Weird Science\", reached No. 45 on the US Billboard Hot 100.\nOingo Boingo were known for their high-energy live concerts and experimental music, which can be described as combining elements of music such as art, punk, ska, rock, pop, jazz, and world, amongst other genres. The band's body of work spanned 17 years, with various genre", "the mid-1980s, the band adopted a more pop-oriented style, until a significant genre change to alternative rock in 1994. At that point, the name was shortened to simply Boingo and the keyboard and horn section were dropped. The band retired after a farewell concert on Halloween 1995, for which they reverted to the name Oingo Boingo and readopted the horn section.\n\nHistory\nThe Mystic Knights of the Oingo Boingo (1972–1979)\nThe Mystic Knights of the Oingo Boingo began as a street theater troupe in Los Angeles, founded by Richard Elfman. The name was inspired by a fictional secret society on the Amos 'n' Andy TV series called", "and including the singles \"Out of Control\" and \"Flesh 'N Blood\".\n\nFinal years (1993–1995)\nOingo Boingo continued to regularly perform live, most notably with annual Halloween concerts at Irvine Meadows and the Universal Amphitheatre. Following a short hiatus in 1992, during which time Elfman was busy scoring films, the band returned in 1993 with an increasingly different, hard-rock musical direction, and debuted new material such as \"Insanity\", \"Helpless\" and the unreleased song \"Did It There\". Shows during these years often included the so-called \"Sad Clown Orchestra\" providing additional accordion and circus percussion.\nThat same year, Oingo Boingo began recording an eighth studio album for", "has orchestrated most of Elfman's film and television scores.\nThe album BOI-NGO was released in 1987. Following its recording, Bacich was replaced by new keyboardist Carl Graves. The band's 1988 release, Boingo Alive, comprised \"live\" re-recordings of previous album songs on a studio soundstage, plus a new song, \"Winning Side\". This new track was also released as a single, and became a No. 14 hit on US Modern Rock radio stations.\nIn 1990, the band released their seventh studio album, Dark at the End of the Tunnel, featuring more mellow songs than any previous release, and including the singles \"Out of Control\" and \"Flesh 'N", "album was completed with the new 5-piece line-up, including orchestral instrumentation, and several songs improvised in the studio for the first time in the band's history. This was released as Boingo in 1994, and would be the band's final studio album.\nIn 1995, it was announced that Boingo would be disbanding after 17 years. The band embarked on a farewell tour in 1995, restoring the original horn trio, and reverting its name to Oingo Boingo, ending with a final Halloween performance at the Universal Amphitheatre. The concert was filmed and released as a live album and DVD.\n\nLegacy\nFollowing the band's dissolution, Danny Elfman continued composing", "band's body of work spanned 17 years, with various genre and line-up changes. Their best-known songs include \"Only a Lad\", \"Little Girls\", \"Dead Man's Party\" and \"Weird Science\".\nThe band had experienced multiple line-up changes, with Leon Schneiderman and Dale Turner being the band's only constant members, though Sam Phipps, Danny Elfman, Steve Bartek, and John \"Vatos\" Hernandez had also been with the band for most of their history. As a rock band, Oingo Boingo started as a ska and punk-influenced new wave octet, achieving significant popularity in Southern California. During the mid-1980s, the band adopted a more pop-oriented style,", "name Oingo Boingo was settled on in 1979, at which point their early song \"I'm Afraid\" appeared on the Rhino Records Los Angeles rock and new wave \"up and coming\" compilation, L.A. In.\nThat same year, the band self-funded a promo EP record, known as the \"Demo EP\", for distribution to radio stations and recording industry A&R representatives to help land a contract. The effort paid off, as the record caught the attention of I.R.S. Records, who released a revised version of the EP in 1980: the Oingo Boingo (EP).\nThe band had now coalesced as an octet: Danny Elfman on lead vocals" ]

[ "Oingo Boingo () were an American new wave band formed by songwriter Danny Elfman in 1979. The band emerged from a surrealist musical theatre troupe, The Mystic Knights of the Oingo Boingo, that Elfman had led and written material for in the years previous. Their highest-charting song, \"Weird Science\", reached No. 45 on the US Billboard Hot 100.\nOingo Boingo were known for their high-energy live concerts and experimental music, which can be described as combining elements of music such as art, punk, ska, rock, pop, jazz, and world, amongst other genres. The band's body of work spanned 17 years, with various genre" ]

[ "Oingo Boingo () were an American new wave band formed by songwriter Danny Elfman in 1979. The band emerged from a surrealist musical theatre troupe, The Mystic Knights of the Oingo Boingo, that Elfman had led and written material for in the years previous. Their highest-charting song, \"Weird Science\", reached No. 45 on the US Billboard Hot 100.\nOingo Boingo were known for their high-energy live concerts and experimental music, which can be described as combining elements of music such as art, punk, ska, rock, pop, jazz, and world, amongst other genres. The band's body of work spanned 17 years, with various genre" ]

[ "What were the MCA years?", "MCA years were the time Oingo Boingo was signed to MCA Records.", "What switches did Oingo Boingo make?", "Mike Gormley, who had just left the position of VP of Publicity and Asst. to the Chairman of A&M, negotiated a release from the label and signed to MCA Records.", "Did Oingo Boingo release any songs between 1985 to 1990?", "Oingo Boingo released three albums from 1985 to 1990: Dead Man's Party, Boi-ngo, and Dark at the End of the Tunnel.", "What was Weird Science about?", "Weird Science is a song by Oingo Boingo. Written by frontman Danny Elfman, it is the theme song to the Weird Science film and television series." ]

[ "to the Chairman of A&M, negotiated a release from the label and signed the band to MCA Records.\nShortly after releasing So-Lo, Oingo Boingo returned to performing with new bassist John Avila and keyboardist Mike Bacich. The first release with the new line-up was Dead Man's Party in 1985. The album marked a notable change towards more pop oriented songwriting and production style, and became the band's most commercially successful record. It featured their highest-charting song on the Billboard Hot 100, \"Weird Science\", which was written for the John Hughes film of the same name.\nThe band appeared on a number of movie soundtracks in the early to", "later claimed the two departing members had \"lost the spirit\", but stated, \"I could never blame anybody for losing the spirit. It's very hard being an 8-piece ensemble doing what, at the time, was non-commercial music\".\n\nMCA years (1984–1992)\nElfman used the 1984 hiatus as an opportunity to release a solo album, co-produced with Steve Bartek, with the remaining members of Oingo Boingo returning as session musicians. This was released as So-Lo in late 1984. At this point, new manager Mike Gormley, who had just left the position of VP of Publicity and Asst. to the Chairman of A&M, negotiated a release from the", "band's body of work spanned 17 years, with various genre and line-up changes. Their best-known songs include \"Only a Lad\", \"Little Girls\", \"Dead Man's Party\" and \"Weird Science\".\nThe band had experienced multiple line-up changes, with Leon Schneiderman and Dale Turner being the band's only constant members, though Sam Phipps, Danny Elfman, Steve Bartek, and John \"Vatos\" Hernandez had also been with the band for most of their history. As a rock band, Oingo Boingo started as a ska and punk-influenced new wave octet, achieving significant popularity in Southern California. During the mid-1980s, the band adopted a more pop-oriented style,", "later, original songs by Danny Elfman. Guitarist Steve Bartek joined in 1976 as musical co-director. That year, the troupe appeared on the TV talent contest program The Gong Show, which they won.\n\nI.R.S. and A&M years (1979–1984)\nIn 1979, Danny Elfman reformed the group as a dedicated rock band, under the new name Oingo Boingo, at which point most existing members left. Steve Bartek and a brass trio of Dale Turner, Sam \"Sluggo\" Phipps, and Leon Schneiderman continued with the new band. Various reasons were given for the restart as a rock band, notably Danny's emerging musical interests, and reducing the need for transportation", "and including the singles \"Out of Control\" and \"Flesh 'N Blood\".\n\nFinal years (1993–1995)\nOingo Boingo continued to regularly perform live, most notably with annual Halloween concerts at Irvine Meadows and the Universal Amphitheatre. Following a short hiatus in 1992, during which time Elfman was busy scoring films, the band returned in 1993 with an increasingly different, hard-rock musical direction, and debuted new material such as \"Insanity\", \"Helpless\" and the unreleased song \"Did It There\". Shows during these years often included the so-called \"Sad Clown Orchestra\" providing additional accordion and circus percussion.\nThat same year, Oingo Boingo began recording an eighth studio album for", "the mid-1980s, the band adopted a more pop-oriented style, until a significant genre change to alternative rock in 1994. At that point, the name was shortened to simply Boingo and the keyboard and horn section were dropped. The band retired after a farewell concert on Halloween 1995, for which they reverted to the name Oingo Boingo and readopted the horn section.\n\nHistory\nThe Mystic Knights of the Oingo Boingo (1972–1979)\nThe Mystic Knights of the Oingo Boingo began as a street theater troupe in Los Angeles, founded by Richard Elfman. The name was inspired by a fictional secret society on the Amos 'n' Andy TV series called", "name Oingo Boingo was settled on in 1979, at which point their early song \"I'm Afraid\" appeared on the Rhino Records Los Angeles rock and new wave \"up and coming\" compilation, L.A. In.\nThat same year, the band self-funded a promo EP record, known as the \"Demo EP\", for distribution to radio stations and recording industry A&R representatives to help land a contract. The effort paid off, as the record caught the attention of I.R.S. Records, who released a revised version of the EP in 1980: the Oingo Boingo (EP).\nThe band had now coalesced as an octet: Danny Elfman on lead vocals", "has orchestrated most of Elfman's film and television scores.\nThe album BOI-NGO was released in 1987. Following its recording, Bacich was replaced by new keyboardist Carl Graves. The band's 1988 release, Boingo Alive, comprised \"live\" re-recordings of previous album songs on a studio soundstage, plus a new song, \"Winning Side\". This new track was also released as a single, and became a No. 14 hit on US Modern Rock radio stations.\nIn 1990, the band released their seventh studio album, Dark at the End of the Tunnel, featuring more mellow songs than any previous release, and including the singles \"Out of Control\" and \"Flesh 'N", "album was completed with the new 5-piece line-up, including orchestral instrumentation, and several songs improvised in the studio for the first time in the band's history. This was released as Boingo in 1994, and would be the band's final studio album.\nIn 1995, it was announced that Boingo would be disbanding after 17 years. The band embarked on a farewell tour in 1995, restoring the original horn trio, and reverting its name to Oingo Boingo, ending with a final Halloween performance at the Universal Amphitheatre. The concert was filmed and released as a live album and DVD.\n\nLegacy\nFollowing the band's dissolution, Danny Elfman continued composing" ]

[ "to the Chairman of A&M, negotiated a release from the label and signed the band to MCA Records.\nShortly after releasing So-Lo, Oingo Boingo returned to performing with new bassist John Avila and keyboardist Mike Bacich. The first release with the new line-up was Dead Man's Party in 1985. The album marked a notable change towards more pop oriented songwriting and production style, and became the band's most commercially successful record. It featured their highest-charting song on the Billboard Hot 100, \"Weird Science\", which was written for the John Hughes film of the same name.\nThe band appeared on a number of movie soundtracks in the early to" ]

[ "Oingo Boingo () were an American new wave band formed by songwriter Danny Elfman in 1979. The band emerged from a surrealist musical theatre troupe, The Mystic Knights of the Oingo Boingo, that Elfman had led and written material for in the years previous. Their highest-charting song, \"Weird Science\", reached No. 45 on the US Billboard Hot 100.\nOingo Boingo were known for their high-energy live concerts and experimental music, which can be described as combining elements of music such as art, punk, ska, rock, pop, jazz, and world, amongst other genres. The band's body of work spanned 17 years, with various genre", "to the Chairman of A&M, negotiated a release from the label and signed the band to MCA Records.\nShortly after releasing So-Lo, Oingo Boingo returned to performing with new bassist John Avila and keyboardist Mike Bacich. The first release with the new line-up was Dead Man's Party in 1985. The album marked a notable change towards more pop oriented songwriting and production style, and became the band's most commercially successful record. It featured their highest-charting song on the Billboard Hot 100, \"Weird Science\", which was written for the John Hughes film of the same name.\nThe band appeared on a number of movie soundtracks in the early to", "band's body of work spanned 17 years, with various genre and line-up changes. Their best-known songs include \"Only a Lad\", \"Little Girls\", \"Dead Man's Party\" and \"Weird Science\".\nThe band had experienced multiple line-up changes, with Leon Schneiderman and Dale Turner being the band's only constant members, though Sam Phipps, Danny Elfman, Steve Bartek, and John \"Vatos\" Hernandez had also been with the band for most of their history. As a rock band, Oingo Boingo started as a ska and punk-influenced new wave octet, achieving significant popularity in Southern California. During the mid-1980s, the band adopted a more pop-oriented style,", "later claimed the two departing members had \"lost the spirit\", but stated, \"I could never blame anybody for losing the spirit. It's very hard being an 8-piece ensemble doing what, at the time, was non-commercial music\".\n\nMCA years (1984–1992)\nElfman used the 1984 hiatus as an opportunity to release a solo album, co-produced with Steve Bartek, with the remaining members of Oingo Boingo returning as session musicians. This was released as So-Lo in late 1984. At this point, new manager Mike Gormley, who had just left the position of VP of Publicity and Asst. to the Chairman of A&M, negotiated a release from the", "later, original songs by Danny Elfman. Guitarist Steve Bartek joined in 1976 as musical co-director. That year, the troupe appeared on the TV talent contest program The Gong Show, which they won.\n\nI.R.S. and A&M years (1979–1984)\nIn 1979, Danny Elfman reformed the group as a dedicated rock band, under the new name Oingo Boingo, at which point most existing members left. Steve Bartek and a brass trio of Dale Turner, Sam \"Sluggo\" Phipps, and Leon Schneiderman continued with the new band. Various reasons were given for the restart as a rock band, notably Danny's emerging musical interests, and reducing the need for transportation", "and including the singles \"Out of Control\" and \"Flesh 'N Blood\".\n\nFinal years (1993–1995)\nOingo Boingo continued to regularly perform live, most notably with annual Halloween concerts at Irvine Meadows and the Universal Amphitheatre. Following a short hiatus in 1992, during which time Elfman was busy scoring films, the band returned in 1993 with an increasingly different, hard-rock musical direction, and debuted new material such as \"Insanity\", \"Helpless\" and the unreleased song \"Did It There\". Shows during these years often included the so-called \"Sad Clown Orchestra\" providing additional accordion and circus percussion.\nThat same year, Oingo Boingo began recording an eighth studio album for" ]

[ "What were the MCA years?", "MCA years were the time Oingo Boingo was signed to MCA Records.", "What switches did Oingo Boingo make?", "Mike Gormley, who had just left the position of VP of Publicity and Asst. to the Chairman of A&M, negotiated a release from the label and signed to MCA Records.", "Did Oingo Boingo release any songs between 1985 to 1990?", "Oingo Boingo released three albums from 1985 to 1990: Dead Man's Party, Boi-ngo, and Dark at the End of the Tunnel.", "What was Weird Science about?", "Weird Science is a song by Oingo Boingo. Written by frontman Danny Elfman, it is the theme song to the Weird Science film and television series.", "When was Weird Science written?", "Weird Science was released on the film's soundtrack, as well as Oingo Boingo's 1985 album, Dead Man's Party, as a longer mix." ]

[ "appeared on a number of movie soundtracks in the early to mid-1980s, including an appearance in the movie Back to School in 1986, performing their hit single \"Dead Man's Party\". The soundtrack to the movie Bachelor Party included a theme song written by Elfman, and a song unreleased on any Oingo Boingo album: \"Something Isn't Right\".\nDuring this era, Danny Elfman also began scoring major films, beginning with 1985's Pee-wee's Big Adventure. Elfman would go on to write the scores to almost all of Tim Burton's films. Oingo Boingo guitarist Steve Bartek has orchestrated most of Elfman's film and television scores.\nThe album", "has orchestrated most of Elfman's film and television scores.\nThe album BOI-NGO was released in 1987. Following its recording, Bacich was replaced by new keyboardist Carl Graves. The band's 1988 release, Boingo Alive, comprised \"live\" re-recordings of previous album songs on a studio soundstage, plus a new song, \"Winning Side\". This new track was also released as a single, and became a No. 14 hit on US Modern Rock radio stations.\nIn 1990, the band released their seventh studio album, Dark at the End of the Tunnel, featuring more mellow songs than any previous release, and including the singles \"Out of Control\" and \"Flesh 'N", "the mid-1980s, the band adopted a more pop-oriented style, until a significant genre change to alternative rock in 1994. At that point, the name was shortened to simply Boingo and the keyboard and horn section were dropped. The band retired after a farewell concert on Halloween 1995, for which they reverted to the name Oingo Boingo and readopted the horn section.\n\nHistory\nThe Mystic Knights of the Oingo Boingo (1972–1979)\nThe Mystic Knights of the Oingo Boingo began as a street theater troupe in Los Angeles, founded by Richard Elfman. The name was inspired by a fictional secret society on the Amos 'n' Andy TV series called", "album was completed with the new 5-piece line-up, including orchestral instrumentation, and several songs improvised in the studio for the first time in the band's history. This was released as Boingo in 1994, and would be the band's final studio album.\nIn 1995, it was announced that Boingo would be disbanding after 17 years. The band embarked on a farewell tour in 1995, restoring the original horn trio, and reverting its name to Oingo Boingo, ending with a final Halloween performance at the Universal Amphitheatre. The concert was filmed and released as a live album and DVD.\n\nLegacy\nFollowing the band's dissolution, Danny Elfman continued composing" ]

[ "appeared on a number of movie soundtracks in the early to mid-1980s, including an appearance in the movie Back to School in 1986, performing their hit single \"Dead Man's Party\". The soundtrack to the movie Bachelor Party included a theme song written by Elfman, and a song unreleased on any Oingo Boingo album: \"Something Isn't Right\".\nDuring this era, Danny Elfman also began scoring major films, beginning with 1985's Pee-wee's Big Adventure. Elfman would go on to write the scores to almost all of Tim Burton's films. Oingo Boingo guitarist Steve Bartek has orchestrated most of Elfman's film and television scores.\nThe album" ]

[ "to the Chairman of A&M, negotiated a release from the label and signed the band to MCA Records.\nShortly after releasing So-Lo, Oingo Boingo returned to performing with new bassist John Avila and keyboardist Mike Bacich. The first release with the new line-up was Dead Man's Party in 1985. The album marked a notable change towards more pop oriented songwriting and production style, and became the band's most commercially successful record. It featured their highest-charting song on the Billboard Hot 100, \"Weird Science\", which was written for the John Hughes film of the same name.\nThe band appeared on a number of movie soundtracks in the early to" ]

[ "What were the MCA years?", "MCA years were the time Oingo Boingo was signed to MCA Records.", "What switches did Oingo Boingo make?", "Mike Gormley, who had just left the position of VP of Publicity and Asst. to the Chairman of A&M, negotiated a release from the label and signed to MCA Records.", "Did Oingo Boingo release any songs between 1985 to 1990?", "Oingo Boingo released three albums from 1985 to 1990: Dead Man's Party, Boi-ngo, and Dark at the End of the Tunnel.", "What was Weird Science about?", "Weird Science is a song by Oingo Boingo. Written by frontman Danny Elfman, it is the theme song to the Weird Science film and television series.", "When was Weird Science written?", "Weird Science was released on the film's soundtrack, as well as Oingo Boingo's 1985 album, Dead Man's Party, as a longer mix.", "Did Oingo Boingo release any more sound tracks?", "Oingo Boingo appeared on a number of movie soundtracks, including an appearance in the movie Back to School in 1986, performing their hit single Dead Man's Party." ]

[ "Oingo Boingo () were an American new wave band formed by songwriter Danny Elfman in 1979. The band emerged from a surrealist musical theatre troupe, The Mystic Knights of the Oingo Boingo, that Elfman had led and written material for in the years previous. Their highest-charting song, \"Weird Science\", reached No. 45 on the US Billboard Hot 100.\nOingo Boingo were known for their high-energy live concerts and experimental music, which can be described as combining elements of music such as art, punk, ska, rock, pop, jazz, and world, amongst other genres. The band's body of work spanned 17 years, with various genre", "band's body of work spanned 17 years, with various genre and line-up changes. Their best-known songs include \"Only a Lad\", \"Little Girls\", \"Dead Man's Party\" and \"Weird Science\".\nThe band had experienced multiple line-up changes, with Leon Schneiderman and Dale Turner being the band's only constant members, though Sam Phipps, Danny Elfman, Steve Bartek, and John \"Vatos\" Hernandez had also been with the band for most of their history. As a rock band, Oingo Boingo started as a ska and punk-influenced new wave octet, achieving significant popularity in Southern California. During the mid-1980s, the band adopted a more pop-oriented style,", "later claimed the two departing members had \"lost the spirit\", but stated, \"I could never blame anybody for losing the spirit. It's very hard being an 8-piece ensemble doing what, at the time, was non-commercial music\".\n\nMCA years (1984–1992)\nElfman used the 1984 hiatus as an opportunity to release a solo album, co-produced with Steve Bartek, with the remaining members of Oingo Boingo returning as session musicians. This was released as So-Lo in late 1984. At this point, new manager Mike Gormley, who had just left the position of VP of Publicity and Asst. to the Chairman of A&M, negotiated a release from the", "later, original songs by Danny Elfman. Guitarist Steve Bartek joined in 1976 as musical co-director. That year, the troupe appeared on the TV talent contest program The Gong Show, which they won.\n\nI.R.S. and A&M years (1979–1984)\nIn 1979, Danny Elfman reformed the group as a dedicated rock band, under the new name Oingo Boingo, at which point most existing members left. Steve Bartek and a brass trio of Dale Turner, Sam \"Sluggo\" Phipps, and Leon Schneiderman continued with the new band. Various reasons were given for the restart as a rock band, notably Danny's emerging musical interests, and reducing the need for transportation", "appeared on a number of movie soundtracks in the early to mid-1980s, including an appearance in the movie Back to School in 1986, performing their hit single \"Dead Man's Party\". The soundtrack to the movie Bachelor Party included a theme song written by Elfman, and a song unreleased on any Oingo Boingo album: \"Something Isn't Right\".\nDuring this era, Danny Elfman also began scoring major films, beginning with 1985's Pee-wee's Big Adventure. Elfman would go on to write the scores to almost all of Tim Burton's films. Oingo Boingo guitarist Steve Bartek has orchestrated most of Elfman's film and television scores.\nThe album", "and including the singles \"Out of Control\" and \"Flesh 'N Blood\".\n\nFinal years (1993–1995)\nOingo Boingo continued to regularly perform live, most notably with annual Halloween concerts at Irvine Meadows and the Universal Amphitheatre. Following a short hiatus in 1992, during which time Elfman was busy scoring films, the band returned in 1993 with an increasingly different, hard-rock musical direction, and debuted new material such as \"Insanity\", \"Helpless\" and the unreleased song \"Did It There\". Shows during these years often included the so-called \"Sad Clown Orchestra\" providing additional accordion and circus percussion.\nThat same year, Oingo Boingo began recording an eighth studio album for", "has orchestrated most of Elfman's film and television scores.\nThe album BOI-NGO was released in 1987. Following its recording, Bacich was replaced by new keyboardist Carl Graves. The band's 1988 release, Boingo Alive, comprised \"live\" re-recordings of previous album songs on a studio soundstage, plus a new song, \"Winning Side\". This new track was also released as a single, and became a No. 14 hit on US Modern Rock radio stations.\nIn 1990, the band released their seventh studio album, Dark at the End of the Tunnel, featuring more mellow songs than any previous release, and including the singles \"Out of Control\" and \"Flesh 'N", "the mid-1980s, the band adopted a more pop-oriented style, until a significant genre change to alternative rock in 1994. At that point, the name was shortened to simply Boingo and the keyboard and horn section were dropped. The band retired after a farewell concert on Halloween 1995, for which they reverted to the name Oingo Boingo and readopted the horn section.\n\nHistory\nThe Mystic Knights of the Oingo Boingo (1972–1979)\nThe Mystic Knights of the Oingo Boingo began as a street theater troupe in Los Angeles, founded by Richard Elfman. The name was inspired by a fictional secret society on the Amos 'n' Andy TV series called", "album was completed with the new 5-piece line-up, including orchestral instrumentation, and several songs improvised in the studio for the first time in the band's history. This was released as Boingo in 1994, and would be the band's final studio album.\nIn 1995, it was announced that Boingo would be disbanding after 17 years. The band embarked on a farewell tour in 1995, restoring the original horn trio, and reverting its name to Oingo Boingo, ending with a final Halloween performance at the Universal Amphitheatre. The concert was filmed and released as a live album and DVD.\n\nLegacy\nFollowing the band's dissolution, Danny Elfman continued composing" ]

[ "Oingo Boingo () were an American new wave band formed by songwriter Danny Elfman in 1979. The band emerged from a surrealist musical theatre troupe, The Mystic Knights of the Oingo Boingo, that Elfman had led and written material for in the years previous. Their highest-charting song, \"Weird Science\", reached No. 45 on the US Billboard Hot 100.\nOingo Boingo were known for their high-energy live concerts and experimental music, which can be described as combining elements of music such as art, punk, ska, rock, pop, jazz, and world, amongst other genres. The band's body of work spanned 17 years, with various genre" ]

[]

[ "What were the MCA years?", "MCA years were the time Oingo Boingo was signed to MCA Records.", "What switches did Oingo Boingo make?", "Mike Gormley, who had just left the position of VP of Publicity and Asst. to the Chairman of A&M, negotiated a release from the label and signed to MCA Records.", "Did Oingo Boingo release any songs between 1985 to 1990?", "Oingo Boingo released three albums from 1985 to 1990: Dead Man's Party, Boi-ngo, and Dark at the End of the Tunnel.", "What was Weird Science about?", "Weird Science is a song by Oingo Boingo. Written by frontman Danny Elfman, it is the theme song to the Weird Science film and television series.", "When was Weird Science written?", "Weird Science was released on the film's soundtrack, as well as Oingo Boingo's 1985 album, Dead Man's Party, as a longer mix.", "Did Oingo Boingo release any more sound tracks?", "Oingo Boingo appeared on a number of movie soundtracks, including an appearance in the movie Back to School in 1986, performing their hit single Dead Man's Party.", "Which label did Oingo Boingo use to release their music?", "Oingo Boingo used MCA Records for the most part to release their music." ]

[ "to the Chairman of A&M, negotiated a release from the label and signed the band to MCA Records.\nShortly after releasing So-Lo, Oingo Boingo returned to performing with new bassist John Avila and keyboardist Mike Bacich. The first release with the new line-up was Dead Man's Party in 1985. The album marked a notable change towards more pop oriented songwriting and production style, and became the band's most commercially successful record. It featured their highest-charting song on the Billboard Hot 100, \"Weird Science\", which was written for the John Hughes film of the same name.\nThe band appeared on a number of movie soundtracks in the early to", "Oingo Boingo () were an American new wave band formed by songwriter Danny Elfman in 1979. The band emerged from a surrealist musical theatre troupe, The Mystic Knights of the Oingo Boingo, that Elfman had led and written material for in the years previous. Their highest-charting song, \"Weird Science\", reached No. 45 on the US Billboard Hot 100.\nOingo Boingo were known for their high-energy live concerts and experimental music, which can be described as combining elements of music such as art, punk, ska, rock, pop, jazz, and world, amongst other genres. The band's body of work spanned 17 years, with various genre", "band's body of work spanned 17 years, with various genre and line-up changes. Their best-known songs include \"Only a Lad\", \"Little Girls\", \"Dead Man's Party\" and \"Weird Science\".\nThe band had experienced multiple line-up changes, with Leon Schneiderman and Dale Turner being the band's only constant members, though Sam Phipps, Danny Elfman, Steve Bartek, and John \"Vatos\" Hernandez had also been with the band for most of their history. As a rock band, Oingo Boingo started as a ska and punk-influenced new wave octet, achieving significant popularity in Southern California. During the mid-1980s, the band adopted a more pop-oriented style,", "later claimed the two departing members had \"lost the spirit\", but stated, \"I could never blame anybody for losing the spirit. It's very hard being an 8-piece ensemble doing what, at the time, was non-commercial music\".\n\nMCA years (1984–1992)\nElfman used the 1984 hiatus as an opportunity to release a solo album, co-produced with Steve Bartek, with the remaining members of Oingo Boingo returning as session musicians. This was released as So-Lo in late 1984. At this point, new manager Mike Gormley, who had just left the position of VP of Publicity and Asst. to the Chairman of A&M, negotiated a release from the", "later, original songs by Danny Elfman. Guitarist Steve Bartek joined in 1976 as musical co-director. That year, the troupe appeared on the TV talent contest program The Gong Show, which they won.\n\nI.R.S. and A&M years (1979–1984)\nIn 1979, Danny Elfman reformed the group as a dedicated rock band, under the new name Oingo Boingo, at which point most existing members left. Steve Bartek and a brass trio of Dale Turner, Sam \"Sluggo\" Phipps, and Leon Schneiderman continued with the new band. Various reasons were given for the restart as a rock band, notably Danny's emerging musical interests, and reducing the need for transportation", "and including the singles \"Out of Control\" and \"Flesh 'N Blood\".\n\nFinal years (1993–1995)\nOingo Boingo continued to regularly perform live, most notably with annual Halloween concerts at Irvine Meadows and the Universal Amphitheatre. Following a short hiatus in 1992, during which time Elfman was busy scoring films, the band returned in 1993 with an increasingly different, hard-rock musical direction, and debuted new material such as \"Insanity\", \"Helpless\" and the unreleased song \"Did It There\". Shows during these years often included the so-called \"Sad Clown Orchestra\" providing additional accordion and circus percussion.\nThat same year, Oingo Boingo began recording an eighth studio album for", "appeared on a number of movie soundtracks in the early to mid-1980s, including an appearance in the movie Back to School in 1986, performing their hit single \"Dead Man's Party\". The soundtrack to the movie Bachelor Party included a theme song written by Elfman, and a song unreleased on any Oingo Boingo album: \"Something Isn't Right\".\nDuring this era, Danny Elfman also began scoring major films, beginning with 1985's Pee-wee's Big Adventure. Elfman would go on to write the scores to almost all of Tim Burton's films. Oingo Boingo guitarist Steve Bartek has orchestrated most of Elfman's film and television scores.\nThe album", "the mid-1980s, the band adopted a more pop-oriented style, until a significant genre change to alternative rock in 1994. At that point, the name was shortened to simply Boingo and the keyboard and horn section were dropped. The band retired after a farewell concert on Halloween 1995, for which they reverted to the name Oingo Boingo and readopted the horn section.\n\nHistory\nThe Mystic Knights of the Oingo Boingo (1972–1979)\nThe Mystic Knights of the Oingo Boingo began as a street theater troupe in Los Angeles, founded by Richard Elfman. The name was inspired by a fictional secret society on the Amos 'n' Andy TV series called", "name Oingo Boingo was settled on in 1979, at which point their early song \"I'm Afraid\" appeared on the Rhino Records Los Angeles rock and new wave \"up and coming\" compilation, L.A. In.\nThat same year, the band self-funded a promo EP record, known as the \"Demo EP\", for distribution to radio stations and recording industry A&R representatives to help land a contract. The effort paid off, as the record caught the attention of I.R.S. Records, who released a revised version of the EP in 1980: the Oingo Boingo (EP).\nThe band had now coalesced as an octet: Danny Elfman on lead vocals", "album was completed with the new 5-piece line-up, including orchestral instrumentation, and several songs improvised in the studio for the first time in the band's history. This was released as Boingo in 1994, and would be the band's final studio album.\nIn 1995, it was announced that Boingo would be disbanding after 17 years. The band embarked on a farewell tour in 1995, restoring the original horn trio, and reverting its name to Oingo Boingo, ending with a final Halloween performance at the Universal Amphitheatre. The concert was filmed and released as a live album and DVD.\n\nLegacy\nFollowing the band's dissolution, Danny Elfman continued composing" ]

[ "to the Chairman of A&M, negotiated a release from the label and signed the band to MCA Records.\nShortly after releasing So-Lo, Oingo Boingo returned to performing with new bassist John Avila and keyboardist Mike Bacich. The first release with the new line-up was Dead Man's Party in 1985. The album marked a notable change towards more pop oriented songwriting and production style, and became the band's most commercially successful record. It featured their highest-charting song on the Billboard Hot 100, \"Weird Science\", which was written for the John Hughes film of the same name.\nThe band appeared on a number of movie soundtracks in the early to" ]

[ "been used on other works by Fairey.\n\nMembers\nTimeline\nDiscography\nWaiting (1999)\nFull Collapse (2001)\nWar All the Time (2003)\nA City by the Light Divided (2006)\nCommon Existence (2009)\nNo Devolución (2011)\n\nNotes\nReferences\nExternal links\n\nOfficial website", "a track from their yet-to-be released album. In early March 2014, it was announced that the band's sixth album, Ghost Stories, would be released 19 May 2014. Ghost Stories is a spiritually driven album that revolves around two major themes mentioned by Chris Martin. The album explores the idea of past actions, and the effects they can have on your future and one's capacity for unconditional love. The band took a different approach for their sixth studio album in contrast to their previous studio albums, with Martin inviting the band to contribute original songwriting material for the album, as opposed to building songs off his ideas as they had done", "album Metallic K.O. amongst his favorite albums.\nSeattle Band Willard recorded \"I Got A Right\" in 1993 and released it in 2018 on their Underground record.\n\nBand members\nFinal lineup\nFormer members\nTimeline\nDiscography\nThe Stooges (1969)\nFun House (1970)\nRaw Power (1973)\nThe Weirdness (2007)\nReady to Die (2013)\n\nVideography\nLive in Detroit (2003)\nIggy & the Stooges Reunion at Coachella! (2003)\nEscaped Maniacs (2007)\nGimme Danger (2016)\n\nReferences\nExternal links\n\nOfficial website \nThe Stooges discography at Discogs\nThe Untouchable", "Living Things (stylized in all caps) is the fifth studio album by the American rock band Linkin Park. It was released under Warner Bros. Records and Machine Shop Recordings on June 20, 2012, in Japan, and throughout the rest of the world during the following week. Production was handled by vocalist Mike Shinoda and Rick Rubin, who both co-produced the band's previous two studio albums, Minutes to Midnight (2007) and A Thousand Suns (2010). Living Things was their last album to be produced by Rubin and recorded at NRG Recording Studios.\nThe band states that Living Things combines elements from their previous four studio albums to create a new sound.", "studio album Living Things. The album was released on iTunes, and was released through Warner Bros. and Machine Shop on June 25, 2012, it was produced by Rick Rubin and Mike Shinoda. This album was released before the release of Living Things on June 26, 2012. The album was released by Linkin Park after Shinoda heard all the remixes of their songs by other producers, and it was confirmed on their official website.\n\nTrack listing\n\n\n== References ==", "not stating explicitly in the article whether they were breaking up or on an indefinite hiatus. The following is excerpted from the article:\n\nDespite the fantastic year that the band has enjoyed, creatively, things haven't been as easy for us on a personal level. Without diving into detail, it's fair to say that this year has been an endless series of personal difficulties. We haven't had any falling out and are all still close. I'm sure that we will continue to create, in some capacity, together. We've talked about turning Thursday into something else: a non-profit, a band that only records sporadically, a collection of", "in interviews with Absolute Radio and Magic Radio in London that they would be releasing new songs in a new EP called the Kaleidoscope EP. Described as being made from a leftover \"bag of ideas\" from the recording of A Head Full of Dreams, Martin stated that it would be released in \"a couple of months\". The band officially announced that the EP was released on 14 July 2017.\nOn 22 February 2017, the band released a long-awaited and teased collaboration track with EDM duo The Chainsmokers called \"Something Just Like This\". Reaching number 2 in the UK Singles Chart and number 3 on the US Billboard Hot 100, it", "on new material for their fifth album. He explained, \"We've been working on a new record for the past two months. The music is great and we're well ahead of where we're expecting to be. There aren't a whole lot of noises going on, but there are a lot of good songs.\"The band's co-lead vocalist and rapper, Mike Shinoda, and Rick Rubin served as producers for the album. \"Typically we'll have a once-a-week meeting to go listen to the songs that they're coming up with and talk about them. For so early in the project, they are much further along than they have been on", "and released as a single in April. A support slot for Fall Out Boy and an appearance at the Bamboozle festival followed.\nThe band went on an Australian tour in June, which was followed by a music video for \"Weightless\" in July. Nothing Personal was released through Hopeless Records on July 7. On the same day, the band performed shows in three different cities in a 24-hour span. They then went on a US tour before performing on the main stage at the Warped Tour in July and August, followed by appearances at the Reading and Leeds Festivals. In September, a music video was released for \"Damned If I Do Ya (Damned", "fans speculate an imminent release of new material. On 19 October 2019, a cryptic 5 second teaser was released on social media with orchestral music in the background. On 21 October 2019, in a letter sent to fans, the band announced that their eighth studio album would be titled Everyday Life and that it would be a double album, with the first half titled Sunrise and the second half titled Sunset.\n\nOn 23 October 2019, the album tracks were revealed in advertisements in the band members local newspapers in the UK, including north Wales' Daily Post (with whom Jonny Buckland once had a holiday job), and Exeter's Express & Echo (the newspaper" ]

[]

[]

[ "1981, also titled Only a Lad (and featuring a new recording of the song). The band released further albums Nothing to Fear in 1982, and Good for Your Soul in 1983. Although the band's sound was termed as new wave, Oingo Boingo's use of exotic percussion, a three-piece horn section, unconventional scales and harmony, and surreal imagery was a genre-skewing combination.\nIn 1984, bassist Kerry Hatch and keyboardist Richard Gibbs departed to form the short-lived band Zuma II and Oingo Boingo went on temporary hiatus, although this was not known publicly at the time. Elfman later claimed the two departing members had \"lost the spirit\"," ]

[ "1981, also titled Only a Lad (and featuring a new recording of the song). The band released further albums Nothing to Fear in 1982, and Good for Your Soul in 1983. Although the band's sound was termed as new wave, Oingo Boingo's use of exotic percussion, a three-piece horn section, unconventional scales and harmony, and surreal imagery was a genre-skewing combination.\nIn 1984, bassist Kerry Hatch and keyboardist Richard Gibbs departed to form the short-lived band Zuma II and Oingo Boingo went on temporary hiatus, although this was not known publicly at the time. Elfman later claimed the two departing members had \"lost the spirit\",", "band's body of work spanned 17 years, with various genre and line-up changes. Their best-known songs include \"Only a Lad\", \"Little Girls\", \"Dead Man's Party\" and \"Weird Science\".\nThe band had experienced multiple line-up changes, with Leon Schneiderman and Dale Turner being the band's only constant members, though Sam Phipps, Danny Elfman, Steve Bartek, and John \"Vatos\" Hernandez had also been with the band for most of their history. As a rock band, Oingo Boingo started as a ska and punk-influenced new wave octet, achieving significant popularity in Southern California. During the mid-1980s, the band adopted a more pop-oriented style,", "Oingo Boingo () were an American new wave band formed by songwriter Danny Elfman in 1979. The band emerged from a surrealist musical theatre troupe, The Mystic Knights of the Oingo Boingo, that Elfman had led and written material for in the years previous. Their highest-charting song, \"Weird Science\", reached No. 45 on the US Billboard Hot 100.\nOingo Boingo were known for their high-energy live concerts and experimental music, which can be described as combining elements of music such as art, punk, ska, rock, pop, jazz, and world, amongst other genres. The band's body of work spanned 17 years, with various genre", "name Oingo Boingo was settled on in 1979, at which point their early song \"I'm Afraid\" appeared on the Rhino Records Los Angeles rock and new wave \"up and coming\" compilation, L.A. In.\nThat same year, the band self-funded a promo EP record, known as the \"Demo EP\", for distribution to radio stations and recording industry A&R representatives to help land a contract. The effort paid off, as the record caught the attention of I.R.S. Records, who released a revised version of the EP in 1980: the Oingo Boingo (EP).\nThe band had now coalesced as an octet: Danny Elfman on lead vocals", "has orchestrated most of Elfman's film and television scores.\nThe album BOI-NGO was released in 1987. Following its recording, Bacich was replaced by new keyboardist Carl Graves. The band's 1988 release, Boingo Alive, comprised \"live\" re-recordings of previous album songs on a studio soundstage, plus a new song, \"Winning Side\". This new track was also released as a single, and became a No. 14 hit on US Modern Rock radio stations.\nIn 1990, the band released their seventh studio album, Dark at the End of the Tunnel, featuring more mellow songs than any previous release, and including the singles \"Out of Control\" and \"Flesh 'N", "later claimed the two departing members had \"lost the spirit\", but stated, \"I could never blame anybody for losing the spirit. It's very hard being an 8-piece ensemble doing what, at the time, was non-commercial music\".\n\nMCA years (1984–1992)\nElfman used the 1984 hiatus as an opportunity to release a solo album, co-produced with Steve Bartek, with the remaining members of Oingo Boingo returning as session musicians. This was released as So-Lo in late 1984. At this point, new manager Mike Gormley, who had just left the position of VP of Publicity and Asst. to the Chairman of A&M, negotiated a release from the", "album was completed with the new 5-piece line-up, including orchestral instrumentation, and several songs improvised in the studio for the first time in the band's history. This was released as Boingo in 1994, and would be the band's final studio album.\nIn 1995, it was announced that Boingo would be disbanding after 17 years. The band embarked on a farewell tour in 1995, restoring the original horn trio, and reverting its name to Oingo Boingo, ending with a final Halloween performance at the Universal Amphitheatre. The concert was filmed and released as a live album and DVD.\n\nLegacy\nFollowing the band's dissolution, Danny Elfman continued composing" ]

[ "Did Oingo Boingo release any albums?", "Oingo Boing also released the albums Only a Lad, Nothing to Fear, and Good for Your Soul." ]

[ "to the Chairman of A&M, negotiated a release from the label and signed the band to MCA Records.\nShortly after releasing So-Lo, Oingo Boingo returned to performing with new bassist John Avila and keyboardist Mike Bacich. The first release with the new line-up was Dead Man's Party in 1985. The album marked a notable change towards more pop oriented songwriting and production style, and became the band's most commercially successful record. It featured their highest-charting song on the Billboard Hot 100, \"Weird Science\", which was written for the John Hughes film of the same name.\nThe band appeared on a number of movie soundtracks in the early to", "later, original songs by Danny Elfman. Guitarist Steve Bartek joined in 1976 as musical co-director. That year, the troupe appeared on the TV talent contest program The Gong Show, which they won.\n\nI.R.S. and A&M years (1979–1984)\nIn 1979, Danny Elfman reformed the group as a dedicated rock band, under the new name Oingo Boingo, at which point most existing members left. Steve Bartek and a brass trio of Dale Turner, Sam \"Sluggo\" Phipps, and Leon Schneiderman continued with the new band. Various reasons were given for the restart as a rock band, notably Danny's emerging musical interests, and reducing the need for transportation", "such as Bartek, Fitzgerald, and Mann and a new arrangement and recording of Oingo Boingo's \"Insects\" from the 1982 album Nothing to Fear.\n\nFormer Members Tribute Band\nSince Halloween 2005, former drummer Johnny \"Vatos\" Hernandez has regularly put together an Oingo Boingo tribute band, performing mainly throughout Southern California and Arizona, including the Grove of Anaheim. Initially billed as the \"Johnny 'Vatos' Tribute to Halloween, Featuring Former Members of Oingo Boingo\", Hernandez later titled the band \"Johnny Vatos Oingo Boingo Dance Party\" and then \"Oingo Boingo Former Members\". Since 2015, Elfman has endorsed the group as the authorized Oingo Boingo" ]

[ "to the Chairman of A&M, negotiated a release from the label and signed the band to MCA Records.\nShortly after releasing So-Lo, Oingo Boingo returned to performing with new bassist John Avila and keyboardist Mike Bacich. The first release with the new line-up was Dead Man's Party in 1985. The album marked a notable change towards more pop oriented songwriting and production style, and became the band's most commercially successful record. It featured their highest-charting song on the Billboard Hot 100, \"Weird Science\", which was written for the John Hughes film of the same name.\nThe band appeared on a number of movie soundtracks in the early to" ]

[]

[ "Did Oingo Boingo release any albums?", "Oingo Boing also released the albums Only a Lad, Nothing to Fear, and Good for Your Soul.", "Did Oingo Boingo have any hit songs?", "Oingo Boingo appeared on the movie Back to School in 1986, performing their hit single Dead Man's Party." ]

[ "band's body of work spanned 17 years, with various genre and line-up changes. Their best-known songs include \"Only a Lad\", \"Little Girls\", \"Dead Man's Party\" and \"Weird Science\".\nThe band had experienced multiple line-up changes, with Leon Schneiderman and Dale Turner being the band's only constant members, though Sam Phipps, Danny Elfman, Steve Bartek, and John \"Vatos\" Hernandez had also been with the band for most of their history. As a rock band, Oingo Boingo started as a ska and punk-influenced new wave octet, achieving significant popularity in Southern California. During the mid-1980s, the band adopted a more pop-oriented style,", "to the Chairman of A&M, negotiated a release from the label and signed the band to MCA Records.\nShortly after releasing So-Lo, Oingo Boingo returned to performing with new bassist John Avila and keyboardist Mike Bacich. The first release with the new line-up was Dead Man's Party in 1985. The album marked a notable change towards more pop oriented songwriting and production style, and became the band's most commercially successful record. It featured their highest-charting song on the Billboard Hot 100, \"Weird Science\", which was written for the John Hughes film of the same name.\nThe band appeared on a number of movie soundtracks in the early to", "1981, also titled Only a Lad (and featuring a new recording of the song). The band released further albums Nothing to Fear in 1982, and Good for Your Soul in 1983. Although the band's sound was termed as new wave, Oingo Boingo's use of exotic percussion, a three-piece horn section, unconventional scales and harmony, and surreal imagery was a genre-skewing combination.\nIn 1984, bassist Kerry Hatch and keyboardist Richard Gibbs departed to form the short-lived band Zuma II and Oingo Boingo went on temporary hiatus, although this was not known publicly at the time. Elfman later claimed the two departing members had \"lost the spirit\",", "appeared on a number of movie soundtracks in the early to mid-1980s, including an appearance in the movie Back to School in 1986, performing their hit single \"Dead Man's Party\". The soundtrack to the movie Bachelor Party included a theme song written by Elfman, and a song unreleased on any Oingo Boingo album: \"Something Isn't Right\".\nDuring this era, Danny Elfman also began scoring major films, beginning with 1985's Pee-wee's Big Adventure. Elfman would go on to write the scores to almost all of Tim Burton's films. Oingo Boingo guitarist Steve Bartek has orchestrated most of Elfman's film and television scores.\nThe album", "line-up\nLeon Schneiderman – baritone and alto saxophones (1972–1995)\nDale Turner – trumpet, trombones, background vocals (1972–1995)\nSam \"Sluggo\" Phipps – tenor and soprano saxophones (1973–1995)\nDanny Elfman – lead vocals, rhythm guitars (1974–1995)\nSteve Bartek – lead guitars, background vocals (1975–1995)\nJohnny \"Vatos\" Hernandez – drums, percussion (1978–1995)\nJohn Avila – bass guitar, background vocals (1984–1995)\nWarren Fitzgerald – guitars, background vocals (1993–1995)\n\nDiscography\nOnly a Lad (1981)\nNothing to Fear (1982)\nGood for Your Soul (1983)\nSo-Lo (1984) (as Danny Elfman)\nDead Man's Party (1985)\nBoi-ngo (1987)\nDark at the End of the Tunnel (1990)\nBoingo (1994)\n\nFilmography\nAppearing on", "Oingo Boingo () were an American new wave band formed by songwriter Danny Elfman in 1979. The band emerged from a surrealist musical theatre troupe, The Mystic Knights of the Oingo Boingo, that Elfman had led and written material for in the years previous. Their highest-charting song, \"Weird Science\", reached No. 45 on the US Billboard Hot 100.\nOingo Boingo were known for their high-energy live concerts and experimental music, which can be described as combining elements of music such as art, punk, ska, rock, pop, jazz, and world, amongst other genres. The band's body of work spanned 17 years, with various genre", "later, original songs by Danny Elfman. Guitarist Steve Bartek joined in 1976 as musical co-director. That year, the troupe appeared on the TV talent contest program The Gong Show, which they won.\n\nI.R.S. and A&M years (1979–1984)\nIn 1979, Danny Elfman reformed the group as a dedicated rock band, under the new name Oingo Boingo, at which point most existing members left. Steve Bartek and a brass trio of Dale Turner, Sam \"Sluggo\" Phipps, and Leon Schneiderman continued with the new band. Various reasons were given for the restart as a rock band, notably Danny's emerging musical interests, and reducing the need for transportation", "and including the singles \"Out of Control\" and \"Flesh 'N Blood\".\n\nFinal years (1993–1995)\nOingo Boingo continued to regularly perform live, most notably with annual Halloween concerts at Irvine Meadows and the Universal Amphitheatre. Following a short hiatus in 1992, during which time Elfman was busy scoring films, the band returned in 1993 with an increasingly different, hard-rock musical direction, and debuted new material such as \"Insanity\", \"Helpless\" and the unreleased song \"Did It There\". Shows during these years often included the so-called \"Sad Clown Orchestra\" providing additional accordion and circus percussion.\nThat same year, Oingo Boingo began recording an eighth studio album for", "keyboardist Richard Gibbs also began a career as a composer for film.\nDanny Elfman has regularly stated that there will not be an Oingo Boingo reunion, initially citing his worry that playing live would exacerbate his hearing loss. In 2021 Elfman added that he disliked former bands reuniting now that they are older, likening them to \"zombies\".On Halloween 2015, a live concert performance of The Nightmare Before Christmas culminated in Elfman and former Oingo Boingo guitarist Steve Bartek performing \"Dead Man's Party\" for the first time in twenty years, accompanied by the orchestra. The song was again performed on several subsequent Nightmare Before Christmas concert dates.In", "name Oingo Boingo was settled on in 1979, at which point their early song \"I'm Afraid\" appeared on the Rhino Records Los Angeles rock and new wave \"up and coming\" compilation, L.A. In.\nThat same year, the band self-funded a promo EP record, known as the \"Demo EP\", for distribution to radio stations and recording industry A&R representatives to help land a contract. The effort paid off, as the record caught the attention of I.R.S. Records, who released a revised version of the EP in 1980: the Oingo Boingo (EP).\nThe band had now coalesced as an octet: Danny Elfman on lead vocals" ]

[ "band's body of work spanned 17 years, with various genre and line-up changes. Their best-known songs include \"Only a Lad\", \"Little Girls\", \"Dead Man's Party\" and \"Weird Science\".\nThe band had experienced multiple line-up changes, with Leon Schneiderman and Dale Turner being the band's only constant members, though Sam Phipps, Danny Elfman, Steve Bartek, and John \"Vatos\" Hernandez had also been with the band for most of their history. As a rock band, Oingo Boingo started as a ska and punk-influenced new wave octet, achieving significant popularity in Southern California. During the mid-1980s, the band adopted a more pop-oriented style," ]

[ "band's body of work spanned 17 years, with various genre and line-up changes. Their best-known songs include \"Only a Lad\", \"Little Girls\", \"Dead Man's Party\" and \"Weird Science\".\nThe band had experienced multiple line-up changes, with Leon Schneiderman and Dale Turner being the band's only constant members, though Sam Phipps, Danny Elfman, Steve Bartek, and John \"Vatos\" Hernandez had also been with the band for most of their history. As a rock band, Oingo Boingo started as a ska and punk-influenced new wave octet, achieving significant popularity in Southern California. During the mid-1980s, the band adopted a more pop-oriented style,", "to the Chairman of A&M, negotiated a release from the label and signed the band to MCA Records.\nShortly after releasing So-Lo, Oingo Boingo returned to performing with new bassist John Avila and keyboardist Mike Bacich. The first release with the new line-up was Dead Man's Party in 1985. The album marked a notable change towards more pop oriented songwriting and production style, and became the band's most commercially successful record. It featured their highest-charting song on the Billboard Hot 100, \"Weird Science\", which was written for the John Hughes film of the same name.\nThe band appeared on a number of movie soundtracks in the early to", "Oingo Boingo () were an American new wave band formed by songwriter Danny Elfman in 1979. The band emerged from a surrealist musical theatre troupe, The Mystic Knights of the Oingo Boingo, that Elfman had led and written material for in the years previous. Their highest-charting song, \"Weird Science\", reached No. 45 on the US Billboard Hot 100.\nOingo Boingo were known for their high-energy live concerts and experimental music, which can be described as combining elements of music such as art, punk, ska, rock, pop, jazz, and world, amongst other genres. The band's body of work spanned 17 years, with various genre", "1981, also titled Only a Lad (and featuring a new recording of the song). The band released further albums Nothing to Fear in 1982, and Good for Your Soul in 1983. Although the band's sound was termed as new wave, Oingo Boingo's use of exotic percussion, a three-piece horn section, unconventional scales and harmony, and surreal imagery was a genre-skewing combination.\nIn 1984, bassist Kerry Hatch and keyboardist Richard Gibbs departed to form the short-lived band Zuma II and Oingo Boingo went on temporary hiatus, although this was not known publicly at the time. Elfman later claimed the two departing members had \"lost the spirit\",", "appeared on a number of movie soundtracks in the early to mid-1980s, including an appearance in the movie Back to School in 1986, performing their hit single \"Dead Man's Party\". The soundtrack to the movie Bachelor Party included a theme song written by Elfman, and a song unreleased on any Oingo Boingo album: \"Something Isn't Right\".\nDuring this era, Danny Elfman also began scoring major films, beginning with 1985's Pee-wee's Big Adventure. Elfman would go on to write the scores to almost all of Tim Burton's films. Oingo Boingo guitarist Steve Bartek has orchestrated most of Elfman's film and television scores.\nThe album", "later, original songs by Danny Elfman. Guitarist Steve Bartek joined in 1976 as musical co-director. That year, the troupe appeared on the TV talent contest program The Gong Show, which they won.\n\nI.R.S. and A&M years (1979–1984)\nIn 1979, Danny Elfman reformed the group as a dedicated rock band, under the new name Oingo Boingo, at which point most existing members left. Steve Bartek and a brass trio of Dale Turner, Sam \"Sluggo\" Phipps, and Leon Schneiderman continued with the new band. Various reasons were given for the restart as a rock band, notably Danny's emerging musical interests, and reducing the need for transportation", "name Oingo Boingo was settled on in 1979, at which point their early song \"I'm Afraid\" appeared on the Rhino Records Los Angeles rock and new wave \"up and coming\" compilation, L.A. In.\nThat same year, the band self-funded a promo EP record, known as the \"Demo EP\", for distribution to radio stations and recording industry A&R representatives to help land a contract. The effort paid off, as the record caught the attention of I.R.S. Records, who released a revised version of the EP in 1980: the Oingo Boingo (EP).\nThe band had now coalesced as an octet: Danny Elfman on lead vocals" ]

[ "Did Oingo Boingo release any albums?", "Oingo Boing also released the albums Only a Lad, Nothing to Fear, and Good for Your Soul.", "Did Oingo Boingo have any hit songs?", "Oingo Boingo appeared on the movie Back to School in 1986, performing their hit single Dead Man's Party.", "Where Oingo Boingo influenced by anyone?", "As a rock band, Oingo Boingo started as a ska and punk-influenced new wave octet, achieving significant popularity in Southern California." ]

[ "and including the singles \"Out of Control\" and \"Flesh 'N Blood\".\n\nFinal years (1993–1995)\nOingo Boingo continued to regularly perform live, most notably with annual Halloween concerts at Irvine Meadows and the Universal Amphitheatre. Following a short hiatus in 1992, during which time Elfman was busy scoring films, the band returned in 1993 with an increasingly different, hard-rock musical direction, and debuted new material such as \"Insanity\", \"Helpless\" and the unreleased song \"Did It There\". Shows during these years often included the so-called \"Sad Clown Orchestra\" providing additional accordion and circus percussion.\nThat same year, Oingo Boingo began recording an eighth studio album for", "such as Bartek, Fitzgerald, and Mann and a new arrangement and recording of Oingo Boingo's \"Insects\" from the 1982 album Nothing to Fear.\n\nFormer Members Tribute Band\nSince Halloween 2005, former drummer Johnny \"Vatos\" Hernandez has regularly put together an Oingo Boingo tribute band, performing mainly throughout Southern California and Arizona, including the Grove of Anaheim. Initially billed as the \"Johnny 'Vatos' Tribute to Halloween, Featuring Former Members of Oingo Boingo\", Hernandez later titled the band \"Johnny Vatos Oingo Boingo Dance Party\" and then \"Oingo Boingo Former Members\". Since 2015, Elfman has endorsed the group as the authorized Oingo Boingo", "album was completed with the new 5-piece line-up, including orchestral instrumentation, and several songs improvised in the studio for the first time in the band's history. This was released as Boingo in 1994, and would be the band's final studio album.\nIn 1995, it was announced that Boingo would be disbanding after 17 years. The band embarked on a farewell tour in 1995, restoring the original horn trio, and reverting its name to Oingo Boingo, ending with a final Halloween performance at the Universal Amphitheatre. The concert was filmed and released as a live album and DVD.\n\nLegacy\nFollowing the band's dissolution, Danny Elfman continued composing" ]

[ "and including the singles \"Out of Control\" and \"Flesh 'N Blood\".\n\nFinal years (1993–1995)\nOingo Boingo continued to regularly perform live, most notably with annual Halloween concerts at Irvine Meadows and the Universal Amphitheatre. Following a short hiatus in 1992, during which time Elfman was busy scoring films, the band returned in 1993 with an increasingly different, hard-rock musical direction, and debuted new material such as \"Insanity\", \"Helpless\" and the unreleased song \"Did It There\". Shows during these years often included the so-called \"Sad Clown Orchestra\" providing additional accordion and circus percussion.\nThat same year, Oingo Boingo began recording an eighth studio album for" ]

[ "band's body of work spanned 17 years, with various genre and line-up changes. Their best-known songs include \"Only a Lad\", \"Little Girls\", \"Dead Man's Party\" and \"Weird Science\".\nThe band had experienced multiple line-up changes, with Leon Schneiderman and Dale Turner being the band's only constant members, though Sam Phipps, Danny Elfman, Steve Bartek, and John \"Vatos\" Hernandez had also been with the band for most of their history. As a rock band, Oingo Boingo started as a ska and punk-influenced new wave octet, achieving significant popularity in Southern California. During the mid-1980s, the band adopted a more pop-oriented style," ]

[ "Did Oingo Boingo release any albums?", "Oingo Boing also released the albums Only a Lad, Nothing to Fear, and Good for Your Soul.", "Did Oingo Boingo have any hit songs?", "Oingo Boingo appeared on the movie Back to School in 1986, performing their hit single Dead Man's Party.", "Where Oingo Boingo influenced by anyone?", "As a rock band, Oingo Boingo started as a ska and punk-influenced new wave octet, achieving significant popularity in Southern California.", "Did Oingo Boingo do any live performances?", "Oingo Boingo continued to regularly perform live, most notably with annual Halloween concerts at Irvine Meadows and the Universal Amphitheatre." ]

[ "Oingo Boingo () were an American new wave band formed by songwriter Danny Elfman in 1979. The band emerged from a surrealist musical theatre troupe, The Mystic Knights of the Oingo Boingo, that Elfman had led and written material for in the years previous. Their highest-charting song, \"Weird Science\", reached No. 45 on the US Billboard Hot 100.\nOingo Boingo were known for their high-energy live concerts and experimental music, which can be described as combining elements of music such as art, punk, ska, rock, pop, jazz, and world, amongst other genres. The band's body of work spanned 17 years, with various genre", "to the Chairman of A&M, negotiated a release from the label and signed the band to MCA Records.\nShortly after releasing So-Lo, Oingo Boingo returned to performing with new bassist John Avila and keyboardist Mike Bacich. The first release with the new line-up was Dead Man's Party in 1985. The album marked a notable change towards more pop oriented songwriting and production style, and became the band's most commercially successful record. It featured their highest-charting song on the Billboard Hot 100, \"Weird Science\", which was written for the John Hughes film of the same name.\nThe band appeared on a number of movie soundtracks in the early to", "1981, also titled Only a Lad (and featuring a new recording of the song). The band released further albums Nothing to Fear in 1982, and Good for Your Soul in 1983. Although the band's sound was termed as new wave, Oingo Boingo's use of exotic percussion, a three-piece horn section, unconventional scales and harmony, and surreal imagery was a genre-skewing combination.\nIn 1984, bassist Kerry Hatch and keyboardist Richard Gibbs departed to form the short-lived band Zuma II and Oingo Boingo went on temporary hiatus, although this was not known publicly at the time. Elfman later claimed the two departing members had \"lost the spirit\",", "and including the singles \"Out of Control\" and \"Flesh 'N Blood\".\n\nFinal years (1993–1995)\nOingo Boingo continued to regularly perform live, most notably with annual Halloween concerts at Irvine Meadows and the Universal Amphitheatre. Following a short hiatus in 1992, during which time Elfman was busy scoring films, the band returned in 1993 with an increasingly different, hard-rock musical direction, and debuted new material such as \"Insanity\", \"Helpless\" and the unreleased song \"Did It There\". Shows during these years often included the so-called \"Sad Clown Orchestra\" providing additional accordion and circus percussion.\nThat same year, Oingo Boingo began recording an eighth studio album for", "later, original songs by Danny Elfman. Guitarist Steve Bartek joined in 1976 as musical co-director. That year, the troupe appeared on the TV talent contest program The Gong Show, which they won.\n\nI.R.S. and A&M years (1979–1984)\nIn 1979, Danny Elfman reformed the group as a dedicated rock band, under the new name Oingo Boingo, at which point most existing members left. Steve Bartek and a brass trio of Dale Turner, Sam \"Sluggo\" Phipps, and Leon Schneiderman continued with the new band. Various reasons were given for the restart as a rock band, notably Danny's emerging musical interests, and reducing the need for transportation", "such as Bartek, Fitzgerald, and Mann and a new arrangement and recording of Oingo Boingo's \"Insects\" from the 1982 album Nothing to Fear.\n\nFormer Members Tribute Band\nSince Halloween 2005, former drummer Johnny \"Vatos\" Hernandez has regularly put together an Oingo Boingo tribute band, performing mainly throughout Southern California and Arizona, including the Grove of Anaheim. Initially billed as the \"Johnny 'Vatos' Tribute to Halloween, Featuring Former Members of Oingo Boingo\", Hernandez later titled the band \"Johnny Vatos Oingo Boingo Dance Party\" and then \"Oingo Boingo Former Members\". Since 2015, Elfman has endorsed the group as the authorized Oingo Boingo", "name Oingo Boingo was settled on in 1979, at which point their early song \"I'm Afraid\" appeared on the Rhino Records Los Angeles rock and new wave \"up and coming\" compilation, L.A. In.\nThat same year, the band self-funded a promo EP record, known as the \"Demo EP\", for distribution to radio stations and recording industry A&R representatives to help land a contract. The effort paid off, as the record caught the attention of I.R.S. Records, who released a revised version of the EP in 1980: the Oingo Boingo (EP).\nThe band had now coalesced as an octet: Danny Elfman on lead vocals", "album was completed with the new 5-piece line-up, including orchestral instrumentation, and several songs improvised in the studio for the first time in the band's history. This was released as Boingo in 1994, and would be the band's final studio album.\nIn 1995, it was announced that Boingo would be disbanding after 17 years. The band embarked on a farewell tour in 1995, restoring the original horn trio, and reverting its name to Oingo Boingo, ending with a final Halloween performance at the Universal Amphitheatre. The concert was filmed and released as a live album and DVD.\n\nLegacy\nFollowing the band's dissolution, Danny Elfman continued composing", "appeared on a number of movie soundtracks in the early to mid-1980s, including an appearance in the movie Back to School in 1986, performing their hit single \"Dead Man's Party\". The soundtrack to the movie Bachelor Party included a theme song written by Elfman, and a song unreleased on any Oingo Boingo album: \"Something Isn't Right\".\nDuring this era, Danny Elfman also began scoring major films, beginning with 1985's Pee-wee's Big Adventure. Elfman would go on to write the scores to almost all of Tim Burton's films. Oingo Boingo guitarist Steve Bartek has orchestrated most of Elfman's film and television scores.\nThe album" ]

[ "Oingo Boingo () were an American new wave band formed by songwriter Danny Elfman in 1979. The band emerged from a surrealist musical theatre troupe, The Mystic Knights of the Oingo Boingo, that Elfman had led and written material for in the years previous. Their highest-charting song, \"Weird Science\", reached No. 45 on the US Billboard Hot 100.\nOingo Boingo were known for their high-energy live concerts and experimental music, which can be described as combining elements of music such as art, punk, ska, rock, pop, jazz, and world, amongst other genres. The band's body of work spanned 17 years, with various genre" ]

[ "band's body of work spanned 17 years, with various genre and line-up changes. Their best-known songs include \"Only a Lad\", \"Little Girls\", \"Dead Man's Party\" and \"Weird Science\".\nThe band had experienced multiple line-up changes, with Leon Schneiderman and Dale Turner being the band's only constant members, though Sam Phipps, Danny Elfman, Steve Bartek, and John \"Vatos\" Hernandez had also been with the band for most of their history. As a rock band, Oingo Boingo started as a ska and punk-influenced new wave octet, achieving significant popularity in Southern California. During the mid-1980s, the band adopted a more pop-oriented style,", "Oingo Boingo () were an American new wave band formed by songwriter Danny Elfman in 1979. The band emerged from a surrealist musical theatre troupe, The Mystic Knights of the Oingo Boingo, that Elfman had led and written material for in the years previous. Their highest-charting song, \"Weird Science\", reached No. 45 on the US Billboard Hot 100.\nOingo Boingo were known for their high-energy live concerts and experimental music, which can be described as combining elements of music such as art, punk, ska, rock, pop, jazz, and world, amongst other genres. The band's body of work spanned 17 years, with various genre", "to the Chairman of A&M, negotiated a release from the label and signed the band to MCA Records.\nShortly after releasing So-Lo, Oingo Boingo returned to performing with new bassist John Avila and keyboardist Mike Bacich. The first release with the new line-up was Dead Man's Party in 1985. The album marked a notable change towards more pop oriented songwriting and production style, and became the band's most commercially successful record. It featured their highest-charting song on the Billboard Hot 100, \"Weird Science\", which was written for the John Hughes film of the same name.\nThe band appeared on a number of movie soundtracks in the early to", "later, original songs by Danny Elfman. Guitarist Steve Bartek joined in 1976 as musical co-director. That year, the troupe appeared on the TV talent contest program The Gong Show, which they won.\n\nI.R.S. and A&M years (1979–1984)\nIn 1979, Danny Elfman reformed the group as a dedicated rock band, under the new name Oingo Boingo, at which point most existing members left. Steve Bartek and a brass trio of Dale Turner, Sam \"Sluggo\" Phipps, and Leon Schneiderman continued with the new band. Various reasons were given for the restart as a rock band, notably Danny's emerging musical interests, and reducing the need for transportation", "and including the singles \"Out of Control\" and \"Flesh 'N Blood\".\n\nFinal years (1993–1995)\nOingo Boingo continued to regularly perform live, most notably with annual Halloween concerts at Irvine Meadows and the Universal Amphitheatre. Following a short hiatus in 1992, during which time Elfman was busy scoring films, the band returned in 1993 with an increasingly different, hard-rock musical direction, and debuted new material such as \"Insanity\", \"Helpless\" and the unreleased song \"Did It There\". Shows during these years often included the so-called \"Sad Clown Orchestra\" providing additional accordion and circus percussion.\nThat same year, Oingo Boingo began recording an eighth studio album for" ]

[ "Did Oingo Boingo release any albums?", "Oingo Boing also released the albums Only a Lad, Nothing to Fear, and Good for Your Soul.", "Did Oingo Boingo have any hit songs?", "Oingo Boingo appeared on the movie Back to School in 1986, performing their hit single Dead Man's Party.", "Where Oingo Boingo influenced by anyone?", "As a rock band, Oingo Boingo started as a ska and punk-influenced new wave octet, achieving significant popularity in Southern California.", "Did Oingo Boingo do any live performances?", "Oingo Boingo continued to regularly perform live, most notably with annual Halloween concerts at Irvine Meadows and the Universal Amphitheatre.", "Did Oingo Boingo do any music videos?", "The music video for Weird Science features Oingo Boingo performing in an abstract laboratory.", "Did Oingo Boingo work with any other celebrities?", "Popular LA radio & television personality Richard Blade gave a speech describing Oingo Boingo. Several members attended the meeting from across the band's changing line-ups." ]

[ "the mid-1980s, the band adopted a more pop-oriented style, until a significant genre change to alternative rock in 1994. At that point, the name was shortened to simply Boingo and the keyboard and horn section were dropped. The band retired after a farewell concert on Halloween 1995, for which they reverted to the name Oingo Boingo and readopted the horn section.\n\nHistory\nThe Mystic Knights of the Oingo Boingo (1972–1979)\nThe Mystic Knights of the Oingo Boingo began as a street theater troupe in Los Angeles, founded by Richard Elfman. The name was inspired by a fictional secret society on the Amos 'n' Andy TV series called", "such as Bartek, Fitzgerald, and Mann and a new arrangement and recording of Oingo Boingo's \"Insects\" from the 1982 album Nothing to Fear.\n\nFormer Members Tribute Band\nSince Halloween 2005, former drummer Johnny \"Vatos\" Hernandez has regularly put together an Oingo Boingo tribute band, performing mainly throughout Southern California and Arizona, including the Grove of Anaheim. Initially billed as the \"Johnny 'Vatos' Tribute to Halloween, Featuring Former Members of Oingo Boingo\", Hernandez later titled the band \"Johnny Vatos Oingo Boingo Dance Party\" and then \"Oingo Boingo Former Members\". Since 2015, Elfman has endorsed the group as the authorized Oingo Boingo", "the End of the Tunnel (1990)\nBoingo (1994)\n\nFilmography\nAppearing on screen as Oingo Boingo\n\nLongshot (1981)\nForbidden Zone (1982)\nUrgh! A Music War (1981)\nGood Morning, Mr. Orwell (1984)\nBack to School (1986)\nThe Best of Oingo Boingo: Skeletons in the Closet (1989; music video compilation)\nFarewell: Live from the Universal Amphitheatre, Halloween 1995\n\nExplanatory notes\nReferences\nExternal links\nThe Complete History of the Oingo Boingo – by Richard Elfman\nDanny Elfman's Boingo page\nOingo Ed site from former drum tech", "1981, also titled Only a Lad (and featuring a new recording of the song). The band released further albums Nothing to Fear in 1982, and Good for Your Soul in 1983. Although the band's sound was termed as new wave, Oingo Boingo's use of exotic percussion, a three-piece horn section, unconventional scales and harmony, and surreal imagery was a genre-skewing combination.\nIn 1984, bassist Kerry Hatch and keyboardist Richard Gibbs departed to form the short-lived band Zuma II and Oingo Boingo went on temporary hiatus, although this was not known publicly at the time. Elfman later claimed the two departing members had \"lost the spirit\",", "name Oingo Boingo was settled on in 1979, at which point their early song \"I'm Afraid\" appeared on the Rhino Records Los Angeles rock and new wave \"up and coming\" compilation, L.A. In.\nThat same year, the band self-funded a promo EP record, known as the \"Demo EP\", for distribution to radio stations and recording industry A&R representatives to help land a contract. The effort paid off, as the record caught the attention of I.R.S. Records, who released a revised version of the EP in 1980: the Oingo Boingo (EP).\nThe band had now coalesced as an octet: Danny Elfman on lead vocals" ]

[ "the mid-1980s, the band adopted a more pop-oriented style, until a significant genre change to alternative rock in 1994. At that point, the name was shortened to simply Boingo and the keyboard and horn section were dropped. The band retired after a farewell concert on Halloween 1995, for which they reverted to the name Oingo Boingo and readopted the horn section.\n\nHistory\nThe Mystic Knights of the Oingo Boingo (1972–1979)\nThe Mystic Knights of the Oingo Boingo began as a street theater troupe in Los Angeles, founded by Richard Elfman. The name was inspired by a fictional secret society on the Amos 'n' Andy TV series called" ]

[ "Oingo Boingo () were an American new wave band formed by songwriter Danny Elfman in 1979. The band emerged from a surrealist musical theatre troupe, The Mystic Knights of the Oingo Boingo, that Elfman had led and written material for in the years previous. Their highest-charting song, \"Weird Science\", reached No. 45 on the US Billboard Hot 100.\nOingo Boingo were known for their high-energy live concerts and experimental music, which can be described as combining elements of music such as art, punk, ska, rock, pop, jazz, and world, amongst other genres. The band's body of work spanned 17 years, with various genre", "band's body of work spanned 17 years, with various genre and line-up changes. Their best-known songs include \"Only a Lad\", \"Little Girls\", \"Dead Man's Party\" and \"Weird Science\".\nThe band had experienced multiple line-up changes, with Leon Schneiderman and Dale Turner being the band's only constant members, though Sam Phipps, Danny Elfman, Steve Bartek, and John \"Vatos\" Hernandez had also been with the band for most of their history. As a rock band, Oingo Boingo started as a ska and punk-influenced new wave octet, achieving significant popularity in Southern California. During the mid-1980s, the band adopted a more pop-oriented style,", "the mid-1980s, the band adopted a more pop-oriented style, until a significant genre change to alternative rock in 1994. At that point, the name was shortened to simply Boingo and the keyboard and horn section were dropped. The band retired after a farewell concert on Halloween 1995, for which they reverted to the name Oingo Boingo and readopted the horn section.\n\nHistory\nThe Mystic Knights of the Oingo Boingo (1972–1979)\nThe Mystic Knights of the Oingo Boingo began as a street theater troupe in Los Angeles, founded by Richard Elfman. The name was inspired by a fictional secret society on the Amos 'n' Andy TV series called", "to the Chairman of A&M, negotiated a release from the label and signed the band to MCA Records.\nShortly after releasing So-Lo, Oingo Boingo returned to performing with new bassist John Avila and keyboardist Mike Bacich. The first release with the new line-up was Dead Man's Party in 1985. The album marked a notable change towards more pop oriented songwriting and production style, and became the band's most commercially successful record. It featured their highest-charting song on the Billboard Hot 100, \"Weird Science\", which was written for the John Hughes film of the same name.\nThe band appeared on a number of movie soundtracks in the early to", "the End of the Tunnel (1990)\nBoingo (1994)\n\nFilmography\nAppearing on screen as Oingo Boingo\n\nLongshot (1981)\nForbidden Zone (1982)\nUrgh! A Music War (1981)\nGood Morning, Mr. Orwell (1984)\nBack to School (1986)\nThe Best of Oingo Boingo: Skeletons in the Closet (1989; music video compilation)\nFarewell: Live from the Universal Amphitheatre, Halloween 1995\n\nExplanatory notes\nReferences\nExternal links\nThe Complete History of the Oingo Boingo – by Richard Elfman\nDanny Elfman's Boingo page\nOingo Ed site from former drum tech", "later, original songs by Danny Elfman. Guitarist Steve Bartek joined in 1976 as musical co-director. That year, the troupe appeared on the TV talent contest program The Gong Show, which they won.\n\nI.R.S. and A&M years (1979–1984)\nIn 1979, Danny Elfman reformed the group as a dedicated rock band, under the new name Oingo Boingo, at which point most existing members left. Steve Bartek and a brass trio of Dale Turner, Sam \"Sluggo\" Phipps, and Leon Schneiderman continued with the new band. Various reasons were given for the restart as a rock band, notably Danny's emerging musical interests, and reducing the need for transportation", "and including the singles \"Out of Control\" and \"Flesh 'N Blood\".\n\nFinal years (1993–1995)\nOingo Boingo continued to regularly perform live, most notably with annual Halloween concerts at Irvine Meadows and the Universal Amphitheatre. Following a short hiatus in 1992, during which time Elfman was busy scoring films, the band returned in 1993 with an increasingly different, hard-rock musical direction, and debuted new material such as \"Insanity\", \"Helpless\" and the unreleased song \"Did It There\". Shows during these years often included the so-called \"Sad Clown Orchestra\" providing additional accordion and circus percussion.\nThat same year, Oingo Boingo began recording an eighth studio album for", "such as Bartek, Fitzgerald, and Mann and a new arrangement and recording of Oingo Boingo's \"Insects\" from the 1982 album Nothing to Fear.\n\nFormer Members Tribute Band\nSince Halloween 2005, former drummer Johnny \"Vatos\" Hernandez has regularly put together an Oingo Boingo tribute band, performing mainly throughout Southern California and Arizona, including the Grove of Anaheim. Initially billed as the \"Johnny 'Vatos' Tribute to Halloween, Featuring Former Members of Oingo Boingo\", Hernandez later titled the band \"Johnny Vatos Oingo Boingo Dance Party\" and then \"Oingo Boingo Former Members\". Since 2015, Elfman has endorsed the group as the authorized Oingo Boingo", "album was completed with the new 5-piece line-up, including orchestral instrumentation, and several songs improvised in the studio for the first time in the band's history. This was released as Boingo in 1994, and would be the band's final studio album.\nIn 1995, it was announced that Boingo would be disbanding after 17 years. The band embarked on a farewell tour in 1995, restoring the original horn trio, and reverting its name to Oingo Boingo, ending with a final Halloween performance at the Universal Amphitheatre. The concert was filmed and released as a live album and DVD.\n\nLegacy\nFollowing the band's dissolution, Danny Elfman continued composing", "appeared on a number of movie soundtracks in the early to mid-1980s, including an appearance in the movie Back to School in 1986, performing their hit single \"Dead Man's Party\". The soundtrack to the movie Bachelor Party included a theme song written by Elfman, and a song unreleased on any Oingo Boingo album: \"Something Isn't Right\".\nDuring this era, Danny Elfman also began scoring major films, beginning with 1985's Pee-wee's Big Adventure. Elfman would go on to write the scores to almost all of Tim Burton's films. Oingo Boingo guitarist Steve Bartek has orchestrated most of Elfman's film and television scores.\nThe album" ]

[ "Did Oingo Boingo release any albums?", "Oingo Boing also released the albums Only a Lad, Nothing to Fear, and Good for Your Soul.", "Did Oingo Boingo have any hit songs?", "Oingo Boingo appeared on the movie Back to School in 1986, performing their hit single Dead Man's Party.", "Where Oingo Boingo influenced by anyone?", "As a rock band, Oingo Boingo started as a ska and punk-influenced new wave octet, achieving significant popularity in Southern California.", "Did Oingo Boingo do any live performances?", "Oingo Boingo continued to regularly perform live, most notably with annual Halloween concerts at Irvine Meadows and the Universal Amphitheatre.", "Did Oingo Boingo do any music videos?", "The music video for Weird Science features Oingo Boingo performing in an abstract laboratory.", "Did Oingo Boingo work with any other celebrities?", "Popular LA radio & television personality Richard Blade gave a speech describing Oingo Boingo. Several members attended the meeting from across the band's changing line-ups.", "What happened to Oingo Boingo in 1972?", "The Mystic Knights of the Oingo Boingo began as a street theater troupe in Los Angeles, founded by Richard Elfman in 1972.", "Was Oingo Boingo in any movies?", "Oingo Boingo appeared on a number of movie soundtracks in the early to mid-1980s, including an appearance in the movie Back to School in 1986." ]

[]

[ "and DVD.\n\nLegacy\nFollowing the band's dissolution, Danny Elfman continued composing for film and has been nominated for four Academy Awards for his work. He has scored the majority of Tim Burton's films since Pee-wee's Big Adventure in 1985, including Batman (1989), Edward Scissorhands (1990), The Nightmare Before Christmas (1993) and Big Fish (2003). Other scores include Good Will Hunting (1997), Men in Black (1997) and Spider-Man (2002). Elfman has also written themes for more than a dozen TV series, including The Simpsons, Batman: The Animated Series, Tales from the Crypt, and Desperate Housewives. Elfman almost exclusively employs former Oingo Boingo guitarist" ]

[ "but later earned his GED. He studied film at the University of Toledo, but dropped out after a year. His subsequent plan to join the Navy did not pan out because of his juvenile police record.\n\nMusical career\n2003–08: Beginnings in New York City and A Kid Named Cudi\nCudi first began rapping in 2003, towards the end of his time in high school, and was inspired by alternative hip hop groups such as the Pharcyde and A Tribe Called Quest. He later moved to New York City to pursue a music career. After leaving Cleveland in 2005 with $500 and a demo tape, he moved in with his uncle, accomplished jazz", "Ted Arnbjörn Gärdestad (Swedish pronunciation: [ˈtɛdː ˈjæ̂ːɖɛˌstɑːd]; 18 February 1956 – 22 June 1997) was a Swedish singer, songwriter, musician and actor known internationally as Ted. Gärdestad began his acting career in 1966 and began playing music in 1971, signing with Polar Music. Assigned with in-house producers Benny Andersson and Björn Ulvaeus, Gärdestad released his first single, \"Hela världen runt,\" in late 1971 and worked closely with the four members of ABBA to create his debut album Undringar (1972). As Polar Music's best-selling solo artist (aside from ABBA), he continued to work with the group members throughout the 1970s, releasing", "a promising tennis player. At 14 he ranked second in his age group in Sweden after Björn Borg, and once considered a career as a professional tennis player but instead chose a career in music. In 1971, 15-year-old Ted and his eight-year-older brother Kenneth Gärdestad contacted the record company Polar Music and showed an audition tape to Stig \"Stikkan\" Anderson, who would later manage the pop group ABBA. Ted was composer and singer, while Kenneth wrote lyrics to Ted's melodies, a collaboration that continued throughout Ted's career. Anderson subsequently signed Ted to the label and assigned him to in-house producers Benny Andersson and Björn Ulvaeus.\n\nDebut", "instruments. Richard began piano lessons aged eight, but quickly grew frustrated with the formal direction of the lessons and quit after a year. From the age of 11, he had begun to teach himself to play by ear, and resumed studying with a different teacher. He took a greater interest in playing this time, and would frequently practice at home. By 14, he was interested in performing professionally, and started lessons at Yale School of Music.In June 1963, the Carpenter family moved to the Los Angeles suburb of Downey hoping that it would mean better musical opportunities for Richard. He was asked to be the organist for weddings and services at the", "him to in-house producers Benny Andersson and Björn Ulvaeus.\n\nDebut single\nIn late 1971, Gärdestad released his first single, the gospel-influenced \"Hela världen runt\" (\"All Over the World\"). The follow-up single, an acoustic ballad \"Jag vill ha en egen måne\" (\"I Want a Moon of My Own\"), a song he wrote at age 12, brought him to the attention of the Swedish public. He quickly became the country's first teen idol, touring at folkparks. Andersson and Ulvaeus produced Ted's debut album Undringar (\"Wonderings\"), which was released on Polar Music in early 1972, with Agnetha Fältskog and Anni-Frid", "and early life\nAtkins was born on June 20, 1924, in Luttrell, Tennessee, near Clinch Mountain. His parents divorced when he was six years old, after which he was raised by his mother. He was the youngest of three boys and a girl. He started out on the ukulele, later moving on to the fiddle, but he made a swap with his brother Lowell when he was nine: an old pistol and some chores for a guitar. He stated in his 1974 autobiography, \"We were so poor and everybody around us was so poor that it was the forties before anyone even knew there had been a depression.\" Forced to relocate", "James William Buffett (December 25, 1946 – September 1, 2023) was an American musician and singer-songwriter. He was best known for his tropical rock music, which often portrayed a lifestyle described as \"island escapism\" and promoted enjoying life and following passions. Buffett recorded hit songs known as \"The Big 8\": \"Margaritaville\" (1977), which is ranked 234th on the Recording Industry Association of America's list of \"Songs of the Century\"; \"Come Monday\" (1974); \"Fins\" (1979); \"Volcano\" (1979); \"A Pirate Looks at Forty\" (1974); \"Cheeseburger in Paradise\" (1978); \"Why Don't We Get Drunk\" (1973); and \"Changes in", "time frame from 2002 to 2003, Utada was diagnosed with a benign ovarian tumour that needed surgery and treatment. She also married her then-husband Kazuaki Kiriya, which stopped recording temporarily.\nMusically, Exodus incorporates several musical genres including dance music and electronic music, whilst also incorporating several elements from electronica, avant-garde, alternative and glitch music. Exodus is her first studio album to have full English-language tracks since her album Precious under the alias Cubic U. The majority of the tracks on the album were written, composed and produced by Utada herself but also received help from American rapper Timbaland, Danja and Utada's father Teruzane Utada.", "Dylan's audience re-engaged with adolescent concerns presented in the \"newly energized and autonomous pop culture\".In July 1966, Dylan suffered a motorcycle accident and spent a period in convalescence, and principally for McCartney, Brian Wilson of the Beach Boys subsequently took his place as the Beatles' chief artistic rival. The two bands inspired and endeavoured to top each other with their artistry and recording techniques, but the Beach Boys failed to maintain their career momentum after 1967. According to Jones, the interplay between the two bands during the Pet Sounds era remains one of the most noteworthy episodes in rock history.\n\nCultural legitimisation of pop music\nIn Britain, music", "and every line was blunt, mesmeric.\" Rakim's relaxed delivery results from his jazz influences; he had played the saxophone and was a John Coltrane fan.Artists and critics often credit Rakim with creating the overall shift from the more simplistic old school flows to more complex flows. Kool Moe Dee says, \"any emcee that came after 1986 had to study Rakim just to know what to be able to do. [...] Rakim, in 1986, gave us flow and that was the rhyme style from 1986 to 1994. [...] From that point on, anybody emceeing was forced to focus on their flow.\" Kool Moe Dee" ]

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[ "\"Certified Guitar Picker\". He was a member of the American Radio Relay League.\n\nEarly musical career\nAfter dropping out of high school in 1942, Atkins landed a job at WNOX (AM) (now WNML) radio in Knoxville, where he played fiddle and guitar with the singer Bill Carlisle and the comic Archie Campbell and became a member of the station's Dixieland Swingsters, a small swing instrumental combo. After three years, he moved to WLW-AM in Cincinnati, Ohio, where Merle Travis had formerly worked.\nAfter six months, he moved to Raleigh and worked with Johnnie and Jack before heading for Richmond, Virginia, where he performed with Sunshine Sue Workman." ]

[ "the school from demolition.\nStories have been told about the very young Chet who, when a friend or relative would come to visit and play guitar, crowded the musician and put his ear so close to the instrument that it became difficult for the visitor to play.Atkins became an accomplished guitarist while he was in high school. He used the restroom in the school to practice because it had good acoustics. His first guitar had a nail for a nut and was so bowed that only the first few frets could be used. He later purchased a semi-acoustic electric guitar and amp, but he had to travel many miles to find an electrical", "\"Certified Guitar Picker\". He was a member of the American Radio Relay League.\n\nEarly musical career\nAfter dropping out of high school in 1942, Atkins landed a job at WNOX (AM) (now WNML) radio in Knoxville, where he played fiddle and guitar with the singer Bill Carlisle and the comic Archie Campbell and became a member of the station's Dixieland Swingsters, a small swing instrumental combo. After three years, he moved to WLW-AM in Cincinnati, Ohio, where Merle Travis had formerly worked.\nAfter six months, he moved to Raleigh and worked with Johnnie and Jack before heading for Richmond, Virginia, where he performed with Sunshine Sue Workman.", "and early life\nAtkins was born on June 20, 1924, in Luttrell, Tennessee, near Clinch Mountain. His parents divorced when he was six years old, after which he was raised by his mother. He was the youngest of three boys and a girl. He started out on the ukulele, later moving on to the fiddle, but he made a swap with his brother Lowell when he was nine: an old pistol and some chores for a guitar. He stated in his 1974 autobiography, \"We were so poor and everybody around us was so poor that it was the forties before anyone even knew there had been a depression.\" Forced to relocate", "Atkins ended his 35-year association with RCA Records and signed with rival Columbia Records. He produced his first album for Columbia in 1983.Atkins had always been an ardent lover of jazz and throughout his career he was often criticized by \"pure\" country musicians for his jazz influences. He also said on many occasions that he did not like being referred to as a \"country guitarist\", insisting that he was \"a guitarist, period.\" Although he played by ear and was a masterful improviser, he was able to read music and even performed some classical guitar pieces. When Roger C. Field, a friend, suggested to him in 1991 that he record", "Despite the support of executive Si Siman, however, he soon was fired for not sounding \"country enough\".\n\nSigning with RCA Victor\nWhile working with a Western band in Denver, Colorado, Atkins came to the attention of RCA Victor. Siman had been encouraging Steve Sholes to sign Atkins, as his style (with the success of Merle Travis as a hit recording artist) was suddenly in vogue. Sholes, A&R director of country music at RCA, tracked Atkins down in Denver.\nHe made his first RCA Victor recordings in Chicago in 1947, but they did not sell. He did some studio work for RCA that year, but had relocated to Knoxville again where he", "1958 (by then renamed Jubilee USA).\n\nIn addition to recording, Atkins was a design consultant for Gretsch, which manufactured a popular Chet Atkins line of electric guitars from 1955 to 1980. He became manager of RCA Victor's Nashville studios, eventually inspiring and seeing the completion of the legendary RCA Studio B, the first studio built specifically for the purpose of recording on the now-famous Music Row. Also later on, Chet and Owen Bradley would become instrumental in the creation of studio B's adjacent building RCA Studio A as well.\n\nPerformer and producer\nWhen Sholes took over pop production in 1957—a result of his success with Elvis Presley—he put Atkins in charge", "felt stifled because the record company would not let him branch into jazz. He had also produced late '60s jazz recordings by Canadian guitarist Lenny Breau, a friend and protege. His mid-1970s collaborations with one of his influences, Les Paul, Chester & Lester and Guitar Monsters, had already reflected that interest; Chester & Lester was one of the best-selling recordings of Atkins's career. At the same time, he grew dissatisfied with the direction Gretsch (no longer family-owned) was going and withdrew his authorization for them to use his name and began designing guitars with Gibson. In 1982, Atkins ended his 35-year association with RCA Records and signed with", "anyone even knew there had been a depression.\" Forced to relocate to Fortson, Georgia, outside of Columbus to live with his father because of a critical asthma condition, Atkins was a sensitive youth who became obsessed with music. Because of his illness, he was forced to sleep in a straight-back chair to breathe comfortably. On those nights, he played his guitar until he fell asleep holding it, a habit that lasted his whole life. While living in Fortson, Atkins attended the historic Mountain Hill School. He returned in the 1990s to play a series of charity concerts to save the school from demolition.\nStories have been told about the very young" ]

[ "When did Chet Atkins start his musical career?", "After dropping out of high school in 1942, Chet Atkins landed a job at WNOX-AM radio in Knoxville, where he played fiddle and guitar.", "What prompted Chet Atkins to start his musical career?", "Though not clearly stated, it's possible that dropping out of high school prompted Chet Atkins to pursue a musical career." ]

[ "to Chicago, Atkins auditioned for Red Foley, who was leaving his star position on WLS-AM's National Barn Dance to join the Grand Ole Opry. Atkins made his first appearance at the Opry in 1946 as a member of Foley's band. He also recorded a single for Nashville-based Bullet Records that year. That single, \"Guitar Blues\", was fairly progressive, including a clarinet solo by the Nashville dance band musician Dutch McMillan, with Owen Bradley on piano. He had a solo spot on the Opry, but when that was cut, Atkins moved on to KWTO in Springfield, Missouri. Despite the support of executive Si Siman, however, he soon", "of tune, he would not single that person out by name. Instead, he would say something like, \"we got a little tuning problem ... Everybody check and see what's going on.\" If that did not work, Atkins would instruct Porter to turn the offending player down in the mix. When Porter left RCA in late-1964, Atkins said, \"the sound was never the same, never as great.\"Atkins's trademark \"Atkins style\" of playing uses the thumb and first two or sometimes three fingers of the right hand. He developed this style from listening to Merle Travis, occasionally on a primitive radio. He was sure no one could play" ]

[ "to Chicago, Atkins auditioned for Red Foley, who was leaving his star position on WLS-AM's National Barn Dance to join the Grand Ole Opry. Atkins made his first appearance at the Opry in 1946 as a member of Foley's band. He also recorded a single for Nashville-based Bullet Records that year. That single, \"Guitar Blues\", was fairly progressive, including a clarinet solo by the Nashville dance band musician Dutch McMillan, with Owen Bradley on piano. He had a solo spot on the Opry, but when that was cut, Atkins moved on to KWTO in Springfield, Missouri. Despite the support of executive Si Siman, however, he soon" ]

[ "the school from demolition.\nStories have been told about the very young Chet who, when a friend or relative would come to visit and play guitar, crowded the musician and put his ear so close to the instrument that it became difficult for the visitor to play.Atkins became an accomplished guitarist while he was in high school. He used the restroom in the school to practice because it had good acoustics. His first guitar had a nail for a nut and was so bowed that only the first few frets could be used. He later purchased a semi-acoustic electric guitar and amp, but he had to travel many miles to find an electrical", "1958 (by then renamed Jubilee USA).\n\nIn addition to recording, Atkins was a design consultant for Gretsch, which manufactured a popular Chet Atkins line of electric guitars from 1955 to 1980. He became manager of RCA Victor's Nashville studios, eventually inspiring and seeing the completion of the legendary RCA Studio B, the first studio built specifically for the purpose of recording on the now-famous Music Row. Also later on, Chet and Owen Bradley would become instrumental in the creation of studio B's adjacent building RCA Studio A as well.\n\nPerformer and producer\nWhen Sholes took over pop production in 1957—a result of his success with Elvis Presley—he put Atkins in charge" ]

[ "When did Chet Atkins start his musical career?", "After dropping out of high school in 1942, Chet Atkins landed a job at WNOX-AM radio in Knoxville, where he played fiddle and guitar.", "What prompted Chet Atkins to start his musical career?", "Though not clearly stated, it's possible that dropping out of high school prompted Chet Atkins to pursue a musical career.", "Was Chet Atkins playing with a band?", "Chet Atkins made his first appearance at the Opry in 1946 as a member of Foley's band.", "Was Chet Atkins successful?", "When Sholes took over pop production in 1957—a result of his success with Elvis Presley—he put Chet Atkins in charge of RCA Victor's Nashville division.", "Why wasn't Chet Atkins successful?", "Chet Atkins faced difficulty in his field of work due to his shy nature and unique sound that to some was not country enough." ]

[ "Despite the support of executive Si Siman, however, he soon was fired for not sounding \"country enough\".\n\nSigning with RCA Victor\nWhile working with a Western band in Denver, Colorado, Atkins came to the attention of RCA Victor. Siman had been encouraging Steve Sholes to sign Atkins, as his style (with the success of Merle Travis as a hit recording artist) was suddenly in vogue. Sholes, A&R director of country music at RCA, tracked Atkins down in Denver.\nHe made his first RCA Victor recordings in Chicago in 1947, but they did not sell. He did some studio work for RCA that year, but had relocated to Knoxville again where he", "\"Certified Guitar Picker\". He was a member of the American Radio Relay League.\n\nEarly musical career\nAfter dropping out of high school in 1942, Atkins landed a job at WNOX (AM) (now WNML) radio in Knoxville, where he played fiddle and guitar with the singer Bill Carlisle and the comic Archie Campbell and became a member of the station's Dixieland Swingsters, a small swing instrumental combo. After three years, he moved to WLW-AM in Cincinnati, Ohio, where Merle Travis had formerly worked.\nAfter six months, he moved to Raleigh and worked with Johnnie and Jack before heading for Richmond, Virginia, where he performed with Sunshine Sue Workman.", "Atkins ended his 35-year association with RCA Records and signed with rival Columbia Records. He produced his first album for Columbia in 1983.Atkins had always been an ardent lover of jazz and throughout his career he was often criticized by \"pure\" country musicians for his jazz influences. He also said on many occasions that he did not like being referred to as a \"country guitarist\", insisting that he was \"a guitarist, period.\" Although he played by ear and was a masterful improviser, he was able to read music and even performed some classical guitar pieces. When Roger C. Field, a friend, suggested to him in 1991 that he record", "felt stifled because the record company would not let him branch into jazz. He had also produced late '60s jazz recordings by Canadian guitarist Lenny Breau, a friend and protege. His mid-1970s collaborations with one of his influences, Les Paul, Chester & Lester and Guitar Monsters, had already reflected that interest; Chester & Lester was one of the best-selling recordings of Atkins's career. At the same time, he grew dissatisfied with the direction Gretsch (no longer family-owned) was going and withdrew his authorization for them to use his name and began designing guitars with Gibson. In 1982, Atkins ended his 35-year association with RCA Records and signed with", "and early life\nAtkins was born on June 20, 1924, in Luttrell, Tennessee, near Clinch Mountain. His parents divorced when he was six years old, after which he was raised by his mother. He was the youngest of three boys and a girl. He started out on the ukulele, later moving on to the fiddle, but he made a swap with his brother Lowell when he was nine: an old pistol and some chores for a guitar. He stated in his 1974 autobiography, \"We were so poor and everybody around us was so poor that it was the forties before anyone even knew there had been a depression.\" Forced to relocate", "to Chicago, Atkins auditioned for Red Foley, who was leaving his star position on WLS-AM's National Barn Dance to join the Grand Ole Opry. Atkins made his first appearance at the Opry in 1946 as a member of Foley's band. He also recorded a single for Nashville-based Bullet Records that year. That single, \"Guitar Blues\", was fairly progressive, including a clarinet solo by the Nashville dance band musician Dutch McMillan, with Owen Bradley on piano. He had a solo spot on the Opry, but when that was cut, Atkins moved on to KWTO in Springfield, Missouri. Despite the support of executive Si Siman, however, he soon", "Chester Burton Atkins (June 20, 1924 – June 30, 2001), also known as \"Mr. Guitar\" and \"The Country Gentleman\", was an American musician who, along with Owen Bradley and Bob Ferguson, helped create the Nashville sound, the country music style which expanded its appeal to adult pop music fans. He was primarily a guitarist, but he also played the mandolin, fiddle, banjo, and ukulele, and occasionally sang.\nAtkins's signature picking style was inspired by Merle Travis. Other major guitar influences were Django Reinhardt, George Barnes, Les Paul, and, later, Jerry Reed. His distinctive picking style and musicianship brought him admirers inside and outside the country", "style and musicianship brought him admirers inside and outside the country scene, both in the United States and abroad. Atkins spent most of his career at RCA Victor and produced records for the Browns, Hank Snow, Porter Wagoner, Norma Jean, Dolly Parton, Dottie West, Perry Como, Floyd Cramer, Elvis Presley, the Everly Brothers, Eddy Arnold, Don Gibson, Jim Reeves, Jerry Reed, Skeeter Davis, Waylon Jennings, Roger Whittaker, Ann-Margret and many others.\nRolling Stone credited Atkins with inventing the \"popwise 'Nashville sound' that rescued country music from a commercial slump\" and ranked him number 21 on their list of \"The 100 Greatest Guitarists of" ]

[ "Despite the support of executive Si Siman, however, he soon was fired for not sounding \"country enough\".\n\nSigning with RCA Victor\nWhile working with a Western band in Denver, Colorado, Atkins came to the attention of RCA Victor. Siman had been encouraging Steve Sholes to sign Atkins, as his style (with the success of Merle Travis as a hit recording artist) was suddenly in vogue. Sholes, A&R director of country music at RCA, tracked Atkins down in Denver.\nHe made his first RCA Victor recordings in Chicago in 1947, but they did not sell. He did some studio work for RCA that year, but had relocated to Knoxville again where he" ]

[ "1958 (by then renamed Jubilee USA).\n\nIn addition to recording, Atkins was a design consultant for Gretsch, which manufactured a popular Chet Atkins line of electric guitars from 1955 to 1980. He became manager of RCA Victor's Nashville studios, eventually inspiring and seeing the completion of the legendary RCA Studio B, the first studio built specifically for the purpose of recording on the now-famous Music Row. Also later on, Chet and Owen Bradley would become instrumental in the creation of studio B's adjacent building RCA Studio A as well.\n\nPerformer and producer\nWhen Sholes took over pop production in 1957—a result of his success with Elvis Presley—he put Atkins in charge", "the school from demolition.\nStories have been told about the very young Chet who, when a friend or relative would come to visit and play guitar, crowded the musician and put his ear so close to the instrument that it became difficult for the visitor to play.Atkins became an accomplished guitarist while he was in high school. He used the restroom in the school to practice because it had good acoustics. His first guitar had a nail for a nut and was so bowed that only the first few frets could be used. He later purchased a semi-acoustic electric guitar and amp, but he had to travel many miles to find an electrical", "Despite the support of executive Si Siman, however, he soon was fired for not sounding \"country enough\".\n\nSigning with RCA Victor\nWhile working with a Western band in Denver, Colorado, Atkins came to the attention of RCA Victor. Siman had been encouraging Steve Sholes to sign Atkins, as his style (with the success of Merle Travis as a hit recording artist) was suddenly in vogue. Sholes, A&R director of country music at RCA, tracked Atkins down in Denver.\nHe made his first RCA Victor recordings in Chicago in 1947, but they did not sell. He did some studio work for RCA that year, but had relocated to Knoxville again where he" ]

[ "When did Chet Atkins start his musical career?", "After dropping out of high school in 1942, Chet Atkins landed a job at WNOX-AM radio in Knoxville, where he played fiddle and guitar.", "What prompted Chet Atkins to start his musical career?", "Though not clearly stated, it's possible that dropping out of high school prompted Chet Atkins to pursue a musical career.", "Was Chet Atkins playing with a band?", "Chet Atkins made his first appearance at the Opry in 1946 as a member of Foley's band.", "Was Chet Atkins successful?", "When Sholes took over pop production in 1957—a result of his success with Elvis Presley—he put Chet Atkins in charge of RCA Victor's Nashville division.", "Why wasn't Chet Atkins successful?", "Chet Atkins faced difficulty in his field of work due to his shy nature and unique sound that to some was not country enough.", "Did Chet Atkins have a job other than playing music at the time?", "Chet Atkins began assisting Sholes as a session leader when the New York–based producer needed help organizing Nashville sessions for RCA Victor artists." ]

[ "Atkins ended his 35-year association with RCA Records and signed with rival Columbia Records. He produced his first album for Columbia in 1983.Atkins had always been an ardent lover of jazz and throughout his career he was often criticized by \"pure\" country musicians for his jazz influences. He also said on many occasions that he did not like being referred to as a \"country guitarist\", insisting that he was \"a guitarist, period.\" Although he played by ear and was a masterful improviser, he was able to read music and even performed some classical guitar pieces. When Roger C. Field, a friend, suggested to him in 1991 that he record", "\"Certified Guitar Picker\". He was a member of the American Radio Relay League.\n\nEarly musical career\nAfter dropping out of high school in 1942, Atkins landed a job at WNOX (AM) (now WNML) radio in Knoxville, where he played fiddle and guitar with the singer Bill Carlisle and the comic Archie Campbell and became a member of the station's Dixieland Swingsters, a small swing instrumental combo. After three years, he moved to WLW-AM in Cincinnati, Ohio, where Merle Travis had formerly worked.\nAfter six months, he moved to Raleigh and worked with Johnnie and Jack before heading for Richmond, Virginia, where he performed with Sunshine Sue Workman.", "felt stifled because the record company would not let him branch into jazz. He had also produced late '60s jazz recordings by Canadian guitarist Lenny Breau, a friend and protege. His mid-1970s collaborations with one of his influences, Les Paul, Chester & Lester and Guitar Monsters, had already reflected that interest; Chester & Lester was one of the best-selling recordings of Atkins's career. At the same time, he grew dissatisfied with the direction Gretsch (no longer family-owned) was going and withdrew his authorization for them to use his name and began designing guitars with Gibson. In 1982, Atkins ended his 35-year association with RCA Records and signed with", "to Chicago, Atkins auditioned for Red Foley, who was leaving his star position on WLS-AM's National Barn Dance to join the Grand Ole Opry. Atkins made his first appearance at the Opry in 1946 as a member of Foley's band. He also recorded a single for Nashville-based Bullet Records that year. That single, \"Guitar Blues\", was fairly progressive, including a clarinet solo by the Nashville dance band musician Dutch McMillan, with Owen Bradley on piano. He had a solo spot on the Opry, but when that was cut, Atkins moved on to KWTO in Springfield, Missouri. Despite the support of executive Si Siman, however, he soon", "style and musicianship brought him admirers inside and outside the country scene, both in the United States and abroad. Atkins spent most of his career at RCA Victor and produced records for the Browns, Hank Snow, Porter Wagoner, Norma Jean, Dolly Parton, Dottie West, Perry Como, Floyd Cramer, Elvis Presley, the Everly Brothers, Eddy Arnold, Don Gibson, Jim Reeves, Jerry Reed, Skeeter Davis, Waylon Jennings, Roger Whittaker, Ann-Margret and many others.\nRolling Stone credited Atkins with inventing the \"popwise 'Nashville sound' that rescued country music from a commercial slump\" and ranked him number 21 on their list of \"The 100 Greatest Guitarists of", "Chester Burton Atkins (June 20, 1924 – June 30, 2001), also known as \"Mr. Guitar\" and \"The Country Gentleman\", was an American musician who, along with Owen Bradley and Bob Ferguson, helped create the Nashville sound, the country music style which expanded its appeal to adult pop music fans. He was primarily a guitarist, but he also played the mandolin, fiddle, banjo, and ukulele, and occasionally sang.\nAtkins's signature picking style was inspired by Merle Travis. Other major guitar influences were Django Reinhardt, George Barnes, Les Paul, and, later, Jerry Reed. His distinctive picking style and musicianship brought him admirers inside and outside the country", "and early life\nAtkins was born on June 20, 1924, in Luttrell, Tennessee, near Clinch Mountain. His parents divorced when he was six years old, after which he was raised by his mother. He was the youngest of three boys and a girl. He started out on the ukulele, later moving on to the fiddle, but he made a swap with his brother Lowell when he was nine: an old pistol and some chores for a guitar. He stated in his 1974 autobiography, \"We were so poor and everybody around us was so poor that it was the forties before anyone even knew there had been a depression.\" Forced to relocate" ]

[ "Atkins ended his 35-year association with RCA Records and signed with rival Columbia Records. He produced his first album for Columbia in 1983.Atkins had always been an ardent lover of jazz and throughout his career he was often criticized by \"pure\" country musicians for his jazz influences. He also said on many occasions that he did not like being referred to as a \"country guitarist\", insisting that he was \"a guitarist, period.\" Although he played by ear and was a masterful improviser, he was able to read music and even performed some classical guitar pieces. When Roger C. Field, a friend, suggested to him in 1991 that he record" ]

[ "the school from demolition.\nStories have been told about the very young Chet who, when a friend or relative would come to visit and play guitar, crowded the musician and put his ear so close to the instrument that it became difficult for the visitor to play.Atkins became an accomplished guitarist while he was in high school. He used the restroom in the school to practice because it had good acoustics. His first guitar had a nail for a nut and was so bowed that only the first few frets could be used. He later purchased a semi-acoustic electric guitar and amp, but he had to travel many miles to find an electrical" ]

[ "When did Chet Atkins start his musical career?", "After dropping out of high school in 1942, Chet Atkins landed a job at WNOX-AM radio in Knoxville, where he played fiddle and guitar.", "What prompted Chet Atkins to start his musical career?", "Though not clearly stated, it's possible that dropping out of high school prompted Chet Atkins to pursue a musical career.", "Was Chet Atkins playing with a band?", "Chet Atkins made his first appearance at the Opry in 1946 as a member of Foley's band.", "Was Chet Atkins successful?", "When Sholes took over pop production in 1957—a result of his success with Elvis Presley—he put Chet Atkins in charge of RCA Victor's Nashville division.", "Why wasn't Chet Atkins successful?", "Chet Atkins faced difficulty in his field of work due to his shy nature and unique sound that to some was not country enough.", "Did Chet Atkins have a job other than playing music at the time?", "Chet Atkins began assisting Sholes as a session leader when the New York–based producer needed help organizing Nashville sessions for RCA Victor artists.", "Was Chet Atkins reviewed by critics?", "Jazz had always been a strong love of Chet Atkins', and often in his career he was criticized by pure country musicians for his jazz influences.", "Did Chet Atkins record anything?", "Chet Atkins produced albums such as Chet Atkins' Gallopin' Guitar, Stringin' Along with Chet Atkins, A Session with Chet Atkins, and many more." ]

[ "1958 (by then renamed Jubilee USA).\n\nIn addition to recording, Atkins was a design consultant for Gretsch, which manufactured a popular Chet Atkins line of electric guitars from 1955 to 1980. He became manager of RCA Victor's Nashville studios, eventually inspiring and seeing the completion of the legendary RCA Studio B, the first studio built specifically for the purpose of recording on the now-famous Music Row. Also later on, Chet and Owen Bradley would become instrumental in the creation of studio B's adjacent building RCA Studio A as well.\n\nPerformer and producer\nWhen Sholes took over pop production in 1957—a result of his success with Elvis Presley—he put Atkins in charge", "Atkins ended his 35-year association with RCA Records and signed with rival Columbia Records. He produced his first album for Columbia in 1983.Atkins had always been an ardent lover of jazz and throughout his career he was often criticized by \"pure\" country musicians for his jazz influences. He also said on many occasions that he did not like being referred to as a \"country guitarist\", insisting that he was \"a guitarist, period.\" Although he played by ear and was a masterful improviser, he was able to read music and even performed some classical guitar pieces. When Roger C. Field, a friend, suggested to him in 1991 that he record", "Despite the support of executive Si Siman, however, he soon was fired for not sounding \"country enough\".\n\nSigning with RCA Victor\nWhile working with a Western band in Denver, Colorado, Atkins came to the attention of RCA Victor. Siman had been encouraging Steve Sholes to sign Atkins, as his style (with the success of Merle Travis as a hit recording artist) was suddenly in vogue. Sholes, A&R director of country music at RCA, tracked Atkins down in Denver.\nHe made his first RCA Victor recordings in Chicago in 1947, but they did not sell. He did some studio work for RCA that year, but had relocated to Knoxville again where he", "felt stifled because the record company would not let him branch into jazz. He had also produced late '60s jazz recordings by Canadian guitarist Lenny Breau, a friend and protege. His mid-1970s collaborations with one of his influences, Les Paul, Chester & Lester and Guitar Monsters, had already reflected that interest; Chester & Lester was one of the best-selling recordings of Atkins's career. At the same time, he grew dissatisfied with the direction Gretsch (no longer family-owned) was going and withdrew his authorization for them to use his name and began designing guitars with Gibson. In 1982, Atkins ended his 35-year association with RCA Records and signed with", "\"Certified Guitar Picker\". He was a member of the American Radio Relay League.\n\nEarly musical career\nAfter dropping out of high school in 1942, Atkins landed a job at WNOX (AM) (now WNML) radio in Knoxville, where he played fiddle and guitar with the singer Bill Carlisle and the comic Archie Campbell and became a member of the station's Dixieland Swingsters, a small swing instrumental combo. After three years, he moved to WLW-AM in Cincinnati, Ohio, where Merle Travis had formerly worked.\nAfter six months, he moved to Raleigh and worked with Johnnie and Jack before heading for Richmond, Virginia, where he performed with Sunshine Sue Workman.", "style and musicianship brought him admirers inside and outside the country scene, both in the United States and abroad. Atkins spent most of his career at RCA Victor and produced records for the Browns, Hank Snow, Porter Wagoner, Norma Jean, Dolly Parton, Dottie West, Perry Como, Floyd Cramer, Elvis Presley, the Everly Brothers, Eddy Arnold, Don Gibson, Jim Reeves, Jerry Reed, Skeeter Davis, Waylon Jennings, Roger Whittaker, Ann-Margret and many others.\nRolling Stone credited Atkins with inventing the \"popwise 'Nashville sound' that rescued country music from a commercial slump\" and ranked him number 21 on their list of \"The 100 Greatest Guitarists of", "Chester Burton Atkins (June 20, 1924 – June 30, 2001), also known as \"Mr. Guitar\" and \"The Country Gentleman\", was an American musician who, along with Owen Bradley and Bob Ferguson, helped create the Nashville sound, the country music style which expanded its appeal to adult pop music fans. He was primarily a guitarist, but he also played the mandolin, fiddle, banjo, and ukulele, and occasionally sang.\nAtkins's signature picking style was inspired by Merle Travis. Other major guitar influences were Django Reinhardt, George Barnes, Les Paul, and, later, Jerry Reed. His distinctive picking style and musicianship brought him admirers inside and outside the country", "and early life\nAtkins was born on June 20, 1924, in Luttrell, Tennessee, near Clinch Mountain. His parents divorced when he was six years old, after which he was raised by his mother. He was the youngest of three boys and a girl. He started out on the ukulele, later moving on to the fiddle, but he made a swap with his brother Lowell when he was nine: an old pistol and some chores for a guitar. He stated in his 1974 autobiography, \"We were so poor and everybody around us was so poor that it was the forties before anyone even knew there had been a depression.\" Forced to relocate", "of tune, he would not single that person out by name. Instead, he would say something like, \"we got a little tuning problem ... Everybody check and see what's going on.\" If that did not work, Atkins would instruct Porter to turn the offending player down in the mix. When Porter left RCA in late-1964, Atkins said, \"the sound was never the same, never as great.\"Atkins's trademark \"Atkins style\" of playing uses the thumb and first two or sometimes three fingers of the right hand. He developed this style from listening to Merle Travis, occasionally on a primitive radio. He was sure no one could play" ]

[ "1958 (by then renamed Jubilee USA).\n\nIn addition to recording, Atkins was a design consultant for Gretsch, which manufactured a popular Chet Atkins line of electric guitars from 1955 to 1980. He became manager of RCA Victor's Nashville studios, eventually inspiring and seeing the completion of the legendary RCA Studio B, the first studio built specifically for the purpose of recording on the now-famous Music Row. Also later on, Chet and Owen Bradley would become instrumental in the creation of studio B's adjacent building RCA Studio A as well.\n\nPerformer and producer\nWhen Sholes took over pop production in 1957—a result of his success with Elvis Presley—he put Atkins in charge" ]

[ "song, \"Chet's Tune\", was produced for Atkins' birthday, with contributions by a long list of RCA Victor artists, including Eddy Arnold, Connie Smith, Jerry Reed, Willie Nelson, Hank Snow, and others. The song was written by the Nashville songwriter Cy Coben, a friend of Atkins. The single reached number 38 on the country charts.In 2009, Steve Wariner released an album titled My Tribute to Chet Atkins. One song from that record, \"Producer's Medley\", featured Wariner's recreation of several famous songs that Atkins both produced and performed. \"Producer's Medley\" won the Grammy for Best Country Instrumental Performance in 2010.\nIn November 2011, Rolling Stone ranked Atkins", "interviewed a host of candidates, including Ryan, Jeff Jagodzinski, Russ Grimm, Bill Callahan, and Brian Schottenheimer; however, the contract, which was valued at approximately $11.5 million over the course of four years, was ultimately offered to Ryan.Accepting the offer on January 19, 2009, Ryan immediately began to carry out a plan of action that he had outlined for the franchise's future. He planned to remove the players from distractions on and off the field and allow them get to know one another to build team chemistry. Thus, training camp was moved to the campus of SUNY Cortland, where the team would be relatively secluded from the", "as the team's head coach, the club announced he had been given a two-year contract extension. Ryan continued to exude confidence in the team, writing on ESPN's training camp tour bus \"Soon To Be Champs\" in August, referencing that the Jets would make it to the Super Bowl and become the eventual champions. Ryan had been asked to sign the Jets' logo on the back of the bus but included the message with his signature. The prediction was met with some criticism while others praised his brashness, something that was felt to be lacking in the NFL at the time. When the team appeared on the television series Hard Knocks", "of his own until 1939 when (while still living in Georgia) he heard Merle Travis picking over WLW radio. This early influence dramatically shaped his unique playing style. Whereas Travis used his index finger on his right hand for the melody and his thumb for the bass notes, Atkins expanded his right-hand style to include picking with his first three fingers, with the thumb on bass.\nChet Atkins was an amateur radio general class licensee. Formerly using the call sign WA4CZD, he obtained the vanity call sign W4CGP in 1998 to include the CGP designation, which supposedly stood for \"Certified Guitar Picker\". He was a member of the American", "wing half and inside forward. Robson had also interested his beloved Newcastle, but he opted to join Fulham as, in his opinion, \"Newcastle made no appreciable effort to secure [my] signature.\" He also thought he stood a better chance of breaking into the first team at Fulham. Robson had partial deafness in one ear, which rendered him ineligible to be called up for national service.\n\nPlaying career\nClub playing career\nAlthough Robson had signed professionally, his father insisted he continue to work as an electrician. He spent the day working at the Festival of Britain site and trained three nights a week at Fulham. Eventually, this took its toll on Robson and", "five-year, $27.5 million contract.\n\n2015 season\nThe Bills opened the 2015 season with a 27–14 win over the Indianapolis Colts. Frustrated by the Bills leading the NFL in penalties heading into their Week 5 game against the Tennessee Titans, Ryan gave the entire team wristbands with the message \"Yes sir\". These were the only words he wanted his players to use with officials if they were flagged. After being flagged 17 times in Week 4 loss against the New York Giants, the Bills were penalized only seven times in their 14–13 victory over the Titans. The Bills entered their bye week with a 3–4 record after losing in London to", "number 21 on their list of \"The 100 Greatest Guitarists of All Time\". In 2023, Atkins was named the 39th best guitarist of all time. Among many other honors, Atkins received 14 Grammy Awards and the Grammy Lifetime Achievement Award. He also received nine Country Music Association awards for Instrumentalist of the Year. He was inducted into the Rock & Roll Hall of Fame, the Country Music Hall of Fame and Museum, and the Musicians Hall of Fame and Museum. George Harrison was also inspired by Chet Atkins; early Beatles songs such as \"All My Loving\" show the influence.\n\nBiography\nChildhood and early life\nAtkins was born on June 20, 1924, in", "per cent was a lot of money in those days and we didn't have it.\" Pink Floyd terminated their relationship with NWG, demanding the return of uninvested funds. Gilmour said he became closely involved in the business side of Pink Floyd afterwards: \"Ever since then, there's not a penny that I haven't signed for. I sign every cheque and examine everything.\"To help manage the project's 26 tracks, Waters decided to bring in an outside producer and collaborator, feeling he needed \"a collaborator who was musically and intellectually in a similar place to where I was\". They hired Ezrin at the suggestion of Waters's then-wife", "of the year, needed to replace the retired Woodfull as captain. The Board of Control wanted Bradman to lead the team, yet, on 8 August, the board announced his withdrawal from the team due to a lack of fitness. Surprisingly, in the light of this announcement, Bradman led the South Australian team in a full programme of matches that season.The captaincy was given to Vic Richardson, Bradman's predecessor as South Australian captain. Cricket author Chris Harte's analysis of the situation is that a prior (unspecified) commercial agreement forced Bradman to remain in Australia. Harte attributed an ulterior motive to his relocation: the off-field behaviour of Richardson", "the tour, TLC—who had received little monetary compensation up to this point—decided that they no longer wished to employ Pebbles Reid as their manager, in an effort to hold more control over their careers. Reid released the group from its management deal, but they remained signed to Pebbitone, and Reid continued to receive a share of their earnings.\nLopes began dating American football player Andre Rison shortly after the release of Ooooooohhh... On the TLC Tip, and by 1994 the two were living together in Rison's upscale home. Their relationship was allegedly violent at times, and Lopes filed an assault charge against Rison on September 2," ]

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[ "Despite the support of executive Si Siman, however, he soon was fired for not sounding \"country enough\".\n\nSigning with RCA Victor\nWhile working with a Western band in Denver, Colorado, Atkins came to the attention of RCA Victor. Siman had been encouraging Steve Sholes to sign Atkins, as his style (with the success of Merle Travis as a hit recording artist) was suddenly in vogue. Sholes, A&R director of country music at RCA, tracked Atkins down in Denver.\nHe made his first RCA Victor recordings in Chicago in 1947, but they did not sell. He did some studio work for RCA that year, but had relocated to Knoxville again where he" ]

[]

[ "Who signed Chet Atkins?", "Siman had been encouraging Steve Sholes to sign Chet Atkins, as his style was suddenly in vogue. Sholes, A&R director of country music at RCA, tracked Atkins down in Denver." ]

[ "Despite the support of executive Si Siman, however, he soon was fired for not sounding \"country enough\".\n\nSigning with RCA Victor\nWhile working with a Western band in Denver, Colorado, Atkins came to the attention of RCA Victor. Siman had been encouraging Steve Sholes to sign Atkins, as his style (with the success of Merle Travis as a hit recording artist) was suddenly in vogue. Sholes, A&R director of country music at RCA, tracked Atkins down in Denver.\nHe made his first RCA Victor recordings in Chicago in 1947, but they did not sell. He did some studio work for RCA that year, but had relocated to Knoxville again where he", "felt stifled because the record company would not let him branch into jazz. He had also produced late '60s jazz recordings by Canadian guitarist Lenny Breau, a friend and protege. His mid-1970s collaborations with one of his influences, Les Paul, Chester & Lester and Guitar Monsters, had already reflected that interest; Chester & Lester was one of the best-selling recordings of Atkins's career. At the same time, he grew dissatisfied with the direction Gretsch (no longer family-owned) was going and withdrew his authorization for them to use his name and began designing guitars with Gibson. In 1982, Atkins ended his 35-year association with RCA Records and signed with", "style and musicianship brought him admirers inside and outside the country scene, both in the United States and abroad. Atkins spent most of his career at RCA Victor and produced records for the Browns, Hank Snow, Porter Wagoner, Norma Jean, Dolly Parton, Dottie West, Perry Como, Floyd Cramer, Elvis Presley, the Everly Brothers, Eddy Arnold, Don Gibson, Jim Reeves, Jerry Reed, Skeeter Davis, Waylon Jennings, Roger Whittaker, Ann-Margret and many others.\nRolling Stone credited Atkins with inventing the \"popwise 'Nashville sound' that rescued country music from a commercial slump\" and ranked him number 21 on their list of \"The 100 Greatest Guitarists of", "Chester Burton Atkins (June 20, 1924 – June 30, 2001), also known as \"Mr. Guitar\" and \"The Country Gentleman\", was an American musician who, along with Owen Bradley and Bob Ferguson, helped create the Nashville sound, the country music style which expanded its appeal to adult pop music fans. He was primarily a guitarist, but he also played the mandolin, fiddle, banjo, and ukulele, and occasionally sang.\nAtkins's signature picking style was inspired by Merle Travis. Other major guitar influences were Django Reinhardt, George Barnes, Les Paul, and, later, Jerry Reed. His distinctive picking style and musicianship brought him admirers inside and outside the country", "Kennedy through to George H. W. Bush. Atkins was a member of the Million Dollar Band during the 1980s. He is also well known for his song \"Yankee Doodle Dixie\", in which he played \"Yankee Doodle\" and \"Dixie\" simultaneously, on the same guitar.\nBefore his mentor Sholes died in 1968, Atkins had become vice president of RCA's country division. In 1987, he told Nine-O-One Network magazine that he was \"ashamed\" of his promotion: \"I wanted to be known as a guitarist and I know, too, that they give you titles like that in lieu of money. So beware when they want to make you vice president.\"", "much of his childhood.\nIn 2002, Atkins was posthumously inducted into the Rock and Roll Hall of Fame. His award was presented by Marty Stuart and Brian Setzer and accepted by Atkins's grandson, Jonathan Russell. The following year, Atkins ranked number 28 in Country Music Television's \"40 Greatest Men of Country Music\".\nAt the age of 13, the future jazz guitarist Earl Klugh was captivated watching Atkins's guitar playing on The Perry Como Show. Similarly, he was a big influence on Doyle Dykes. Atkins also inspired Drexl Jonez and Tommy Emmanuel.Johnny Winter's thumb-picking style came from Atkin's playing.Clint Black's album Nothin' but the Taillights", "Atkins ended his 35-year association with RCA Records and signed with rival Columbia Records. He produced his first album for Columbia in 1983.Atkins had always been an ardent lover of jazz and throughout his career he was often criticized by \"pure\" country musicians for his jazz influences. He also said on many occasions that he did not like being referred to as a \"country guitarist\", insisting that he was \"a guitarist, period.\" Although he played by ear and was a masterful improviser, he was able to read music and even performed some classical guitar pieces. When Roger C. Field, a friend, suggested to him in 1991 that he record", "1958 (by then renamed Jubilee USA).\n\nIn addition to recording, Atkins was a design consultant for Gretsch, which manufactured a popular Chet Atkins line of electric guitars from 1955 to 1980. He became manager of RCA Victor's Nashville studios, eventually inspiring and seeing the completion of the legendary RCA Studio B, the first studio built specifically for the purpose of recording on the now-famous Music Row. Also later on, Chet and Owen Bradley would become instrumental in the creation of studio B's adjacent building RCA Studio A as well.\n\nPerformer and producer\nWhen Sholes took over pop production in 1957—a result of his success with Elvis Presley—he put Atkins in charge", "\"Certified Guitar Picker\". He was a member of the American Radio Relay League.\n\nEarly musical career\nAfter dropping out of high school in 1942, Atkins landed a job at WNOX (AM) (now WNML) radio in Knoxville, where he played fiddle and guitar with the singer Bill Carlisle and the comic Archie Campbell and became a member of the station's Dixieland Swingsters, a small swing instrumental combo. After three years, he moved to WLW-AM in Cincinnati, Ohio, where Merle Travis had formerly worked.\nAfter six months, he moved to Raleigh and worked with Johnnie and Jack before heading for Richmond, Virginia, where he performed with Sunshine Sue Workman.", "of all styles came to admire various Atkins albums for their unique musical ideas and in some cases experimental electronic ideas. In this period, he became known internationally as \"Mister Guitar\", inspiring an album, Mister Guitar, engineered by both Bob Ferris and Bill Porter, Ferris's replacement.\n\nAt the end of March 1959, Porter took over as chief engineer at RCA's Nashville studio, in the space eventually known as Studio B after the facility expanded with a second studio in 1960. (At the time, RCA's sole Nashville studio had no letter designation.) Porter soon helped Atkins get a better reverberation sound from the studio's German effects device, an EMT" ]

[ "Despite the support of executive Si Siman, however, he soon was fired for not sounding \"country enough\".\n\nSigning with RCA Victor\nWhile working with a Western band in Denver, Colorado, Atkins came to the attention of RCA Victor. Siman had been encouraging Steve Sholes to sign Atkins, as his style (with the success of Merle Travis as a hit recording artist) was suddenly in vogue. Sholes, A&R director of country music at RCA, tracked Atkins down in Denver.\nHe made his first RCA Victor recordings in Chicago in 1947, but they did not sell. He did some studio work for RCA that year, but had relocated to Knoxville again where he" ]

[ "Despite the support of executive Si Siman, however, he soon was fired for not sounding \"country enough\".\n\nSigning with RCA Victor\nWhile working with a Western band in Denver, Colorado, Atkins came to the attention of RCA Victor. Siman had been encouraging Steve Sholes to sign Atkins, as his style (with the success of Merle Travis as a hit recording artist) was suddenly in vogue. Sholes, A&R director of country music at RCA, tracked Atkins down in Denver.\nHe made his first RCA Victor recordings in Chicago in 1947, but they did not sell. He did some studio work for RCA that year, but had relocated to Knoxville again where he", "felt stifled because the record company would not let him branch into jazz. He had also produced late '60s jazz recordings by Canadian guitarist Lenny Breau, a friend and protege. His mid-1970s collaborations with one of his influences, Les Paul, Chester & Lester and Guitar Monsters, had already reflected that interest; Chester & Lester was one of the best-selling recordings of Atkins's career. At the same time, he grew dissatisfied with the direction Gretsch (no longer family-owned) was going and withdrew his authorization for them to use his name and began designing guitars with Gibson. In 1982, Atkins ended his 35-year association with RCA Records and signed with", "Atkins ended his 35-year association with RCA Records and signed with rival Columbia Records. He produced his first album for Columbia in 1983.Atkins had always been an ardent lover of jazz and throughout his career he was often criticized by \"pure\" country musicians for his jazz influences. He also said on many occasions that he did not like being referred to as a \"country guitarist\", insisting that he was \"a guitarist, period.\" Although he played by ear and was a masterful improviser, he was able to read music and even performed some classical guitar pieces. When Roger C. Field, a friend, suggested to him in 1991 that he record", "1958 (by then renamed Jubilee USA).\n\nIn addition to recording, Atkins was a design consultant for Gretsch, which manufactured a popular Chet Atkins line of electric guitars from 1955 to 1980. He became manager of RCA Victor's Nashville studios, eventually inspiring and seeing the completion of the legendary RCA Studio B, the first studio built specifically for the purpose of recording on the now-famous Music Row. Also later on, Chet and Owen Bradley would become instrumental in the creation of studio B's adjacent building RCA Studio A as well.\n\nPerformer and producer\nWhen Sholes took over pop production in 1957—a result of his success with Elvis Presley—he put Atkins in charge", "style and musicianship brought him admirers inside and outside the country scene, both in the United States and abroad. Atkins spent most of his career at RCA Victor and produced records for the Browns, Hank Snow, Porter Wagoner, Norma Jean, Dolly Parton, Dottie West, Perry Como, Floyd Cramer, Elvis Presley, the Everly Brothers, Eddy Arnold, Don Gibson, Jim Reeves, Jerry Reed, Skeeter Davis, Waylon Jennings, Roger Whittaker, Ann-Margret and many others.\nRolling Stone credited Atkins with inventing the \"popwise 'Nashville sound' that rescued country music from a commercial slump\" and ranked him number 21 on their list of \"The 100 Greatest Guitarists of", "of tune, he would not single that person out by name. Instead, he would say something like, \"we got a little tuning problem ... Everybody check and see what's going on.\" If that did not work, Atkins would instruct Porter to turn the offending player down in the mix. When Porter left RCA in late-1964, Atkins said, \"the sound was never the same, never as great.\"Atkins's trademark \"Atkins style\" of playing uses the thumb and first two or sometimes three fingers of the right hand. He developed this style from listening to Merle Travis, occasionally on a primitive radio. He was sure no one could play", "Instrumental Performance in 2010.\nIn November 2011, Rolling Stone ranked Atkins number 21 on their list of the \"100 Greatest Guitarists of All Time\".\n\nDiscography\nIndustry awards\nCountry Music Association\n\n1967 Instrumentalist of the Year\n1968 Instrumentalist of the Year\n1969 Instrumentalist of the Year\n1981 Instrumentalist of the Year\n1982 Instrumentalist of the Year\n1983 Instrumentalist of the Year\n1984 Instrumentalist of the Year\n1985 Instrumentalist of the Year\n1988 Musician of the YearCountry Music Hall of Fame and Museum\n\nInducted in 1973Grammy Awards\n\nRock and Roll Hall of Fame\n\nInductees of the Rock and Roll Hall of Fame\n\nReferences\nFurther reading\nKienzle, Rich (1998). \"Chet Atkins\". The Encyclopedia of Country Music. Paul Kingsbury, ed. New York: Oxford University", "Kennedy through to George H. W. Bush. Atkins was a member of the Million Dollar Band during the 1980s. He is also well known for his song \"Yankee Doodle Dixie\", in which he played \"Yankee Doodle\" and \"Dixie\" simultaneously, on the same guitar.\nBefore his mentor Sholes died in 1968, Atkins had become vice president of RCA's country division. In 1987, he told Nine-O-One Network magazine that he was \"ashamed\" of his promotion: \"I wanted to be known as a guitarist and I know, too, that they give you titles like that in lieu of money. So beware when they want to make you vice president.\"", "much of his childhood.\nIn 2002, Atkins was posthumously inducted into the Rock and Roll Hall of Fame. His award was presented by Marty Stuart and Brian Setzer and accepted by Atkins's grandson, Jonathan Russell. The following year, Atkins ranked number 28 in Country Music Television's \"40 Greatest Men of Country Music\".\nAt the age of 13, the future jazz guitarist Earl Klugh was captivated watching Atkins's guitar playing on The Perry Como Show. Similarly, he was a big influence on Doyle Dykes. Atkins also inspired Drexl Jonez and Tommy Emmanuel.Johnny Winter's thumb-picking style came from Atkin's playing.Clint Black's album Nothin' but the Taillights", "Chester Burton Atkins (June 20, 1924 – June 30, 2001), also known as \"Mr. Guitar\" and \"The Country Gentleman\", was an American musician who, along with Owen Bradley and Bob Ferguson, helped create the Nashville sound, the country music style which expanded its appeal to adult pop music fans. He was primarily a guitarist, but he also played the mandolin, fiddle, banjo, and ukulele, and occasionally sang.\nAtkins's signature picking style was inspired by Merle Travis. Other major guitar influences were Django Reinhardt, George Barnes, Les Paul, and, later, Jerry Reed. His distinctive picking style and musicianship brought him admirers inside and outside the country" ]

[ "Who signed Chet Atkins?", "Siman had been encouraging Steve Sholes to sign Chet Atkins, as his style was suddenly in vogue. Sholes, A&R director of country music at RCA, tracked Atkins down in Denver.", "Did Steve Sholes sign Chet Atkins?", "Yes. Steve Sholes signed Chet Atkins, as his style was suddenly in vogue. Sholes, A&R director of country music at RCA, tracked Atkins down in Denver.", "Did Chet Atkins record any song with RCA Records?", "Chet Atkins released numerous albums with RCA Records including Stringin' Along with Chet Atkins, Chet Atkins in Three Dimensions, Finger Style Guitar, and many more.", "When did Chet Atkins do the recording with RCA Records?", "Chet Atkins recorded numerous albums with RCA Records from 1953 all the way to 1981.", "Was Chet Atkins' Gallopin' Guitar successful?", "During their first release, Chet Atkins' albums were not very sought after." ]

[]

[ "for Richmond, Virginia, where he performed with Sunshine Sue Workman. Atkins's shy personality worked against him, as did the fact that his sophisticated style led many to doubt he was truly \"country\". He was fired often but was soon able to land another job at another radio station on account of his unique playing ability.Atkins and Jethro Burns (of Homer and Jethro) married twin sisters Leona and Lois Johnson, who sang as Laverne and Fern Johnson, the Johnson Sisters. Leona Atkins outlived her husband by eight years, dying in 2009 at the age of 85.Travelling to Chicago, Atkins auditioned for Red Foley, who was leaving his" ]

[ "Despite the support of executive Si Siman, however, he soon was fired for not sounding \"country enough\".\n\nSigning with RCA Victor\nWhile working with a Western band in Denver, Colorado, Atkins came to the attention of RCA Victor. Siman had been encouraging Steve Sholes to sign Atkins, as his style (with the success of Merle Travis as a hit recording artist) was suddenly in vogue. Sholes, A&R director of country music at RCA, tracked Atkins down in Denver.\nHe made his first RCA Victor recordings in Chicago in 1947, but they did not sell. He did some studio work for RCA that year, but had relocated to Knoxville again where he", "felt stifled because the record company would not let him branch into jazz. He had also produced late '60s jazz recordings by Canadian guitarist Lenny Breau, a friend and protege. His mid-1970s collaborations with one of his influences, Les Paul, Chester & Lester and Guitar Monsters, had already reflected that interest; Chester & Lester was one of the best-selling recordings of Atkins's career. At the same time, he grew dissatisfied with the direction Gretsch (no longer family-owned) was going and withdrew his authorization for them to use his name and began designing guitars with Gibson. In 1982, Atkins ended his 35-year association with RCA Records and signed with", "1958 (by then renamed Jubilee USA).\n\nIn addition to recording, Atkins was a design consultant for Gretsch, which manufactured a popular Chet Atkins line of electric guitars from 1955 to 1980. He became manager of RCA Victor's Nashville studios, eventually inspiring and seeing the completion of the legendary RCA Studio B, the first studio built specifically for the purpose of recording on the now-famous Music Row. Also later on, Chet and Owen Bradley would become instrumental in the creation of studio B's adjacent building RCA Studio A as well.\n\nPerformer and producer\nWhen Sholes took over pop production in 1957—a result of his success with Elvis Presley—he put Atkins in charge", "style and musicianship brought him admirers inside and outside the country scene, both in the United States and abroad. Atkins spent most of his career at RCA Victor and produced records for the Browns, Hank Snow, Porter Wagoner, Norma Jean, Dolly Parton, Dottie West, Perry Como, Floyd Cramer, Elvis Presley, the Everly Brothers, Eddy Arnold, Don Gibson, Jim Reeves, Jerry Reed, Skeeter Davis, Waylon Jennings, Roger Whittaker, Ann-Margret and many others.\nRolling Stone credited Atkins with inventing the \"popwise 'Nashville sound' that rescued country music from a commercial slump\" and ranked him number 21 on their list of \"The 100 Greatest Guitarists of", "Atkins ended his 35-year association with RCA Records and signed with rival Columbia Records. He produced his first album for Columbia in 1983.Atkins had always been an ardent lover of jazz and throughout his career he was often criticized by \"pure\" country musicians for his jazz influences. He also said on many occasions that he did not like being referred to as a \"country guitarist\", insisting that he was \"a guitarist, period.\" Although he played by ear and was a masterful improviser, he was able to read music and even performed some classical guitar pieces. When Roger C. Field, a friend, suggested to him in 1991 that he record", "Kennedy through to George H. W. Bush. Atkins was a member of the Million Dollar Band during the 1980s. He is also well known for his song \"Yankee Doodle Dixie\", in which he played \"Yankee Doodle\" and \"Dixie\" simultaneously, on the same guitar.\nBefore his mentor Sholes died in 1968, Atkins had become vice president of RCA's country division. In 1987, he told Nine-O-One Network magazine that he was \"ashamed\" of his promotion: \"I wanted to be known as a guitarist and I know, too, that they give you titles like that in lieu of money. So beware when they want to make you vice president.\"", "much of his childhood.\nIn 2002, Atkins was posthumously inducted into the Rock and Roll Hall of Fame. His award was presented by Marty Stuart and Brian Setzer and accepted by Atkins's grandson, Jonathan Russell. The following year, Atkins ranked number 28 in Country Music Television's \"40 Greatest Men of Country Music\".\nAt the age of 13, the future jazz guitarist Earl Klugh was captivated watching Atkins's guitar playing on The Perry Como Show. Similarly, he was a big influence on Doyle Dykes. Atkins also inspired Drexl Jonez and Tommy Emmanuel.Johnny Winter's thumb-picking style came from Atkin's playing.Clint Black's album Nothin' but the Taillights", "for Richmond, Virginia, where he performed with Sunshine Sue Workman. Atkins's shy personality worked against him, as did the fact that his sophisticated style led many to doubt he was truly \"country\". He was fired often but was soon able to land another job at another radio station on account of his unique playing ability.Atkins and Jethro Burns (of Homer and Jethro) married twin sisters Leona and Lois Johnson, who sang as Laverne and Fern Johnson, the Johnson Sisters. Leona Atkins outlived her husband by eight years, dying in 2009 at the age of 85.Travelling to Chicago, Atkins auditioned for Red Foley, who was leaving his", "at RCA Records, to allow others to handle administration while he went back to his first love, the guitar, often recording with Reed or even Jethro Burns from Homer and Jethro (his brother-in-law) after Homer died in 1971. Atkins would turn over his administrative duties to Jerry Bradley, son of Owen, in 1973 at RCA.\nAtkins did little production work at RCA after stepping down and in fact, had hired producers at the label in the 1960s, among them Bob Ferguson and Felton Jarvis. As a recording artist, Atkins grew disillusioned with RCA in the late 1970s. He felt stifled because the record company would not let him branch", "song, \"Chet's Tune\", was produced for Atkins' birthday, with contributions by a long list of RCA Victor artists, including Eddy Arnold, Connie Smith, Jerry Reed, Willie Nelson, Hank Snow, and others. The song was written by the Nashville songwriter Cy Coben, a friend of Atkins. The single reached number 38 on the country charts.In 2009, Steve Wariner released an album titled My Tribute to Chet Atkins. One song from that record, \"Producer's Medley\", featured Wariner's recreation of several famous songs that Atkins both produced and performed. \"Producer's Medley\" won the Grammy for Best Country Instrumental Performance in 2010.\nIn November 2011, Rolling Stone ranked Atkins" ]

[ "Who signed Chet Atkins?", "Siman had been encouraging Steve Sholes to sign Chet Atkins, as his style was suddenly in vogue. Sholes, A&R director of country music at RCA, tracked Atkins down in Denver.", "Did Steve Sholes sign Chet Atkins?", "Yes. Steve Sholes signed Chet Atkins, as his style was suddenly in vogue. Sholes, A&R director of country music at RCA, tracked Atkins down in Denver.", "Did Chet Atkins record any song with RCA Records?", "Chet Atkins released numerous albums with RCA Records including Stringin' Along with Chet Atkins, Chet Atkins in Three Dimensions, Finger Style Guitar, and many more.", "When did Chet Atkins do the recording with RCA Records?", "Chet Atkins recorded numerous albums with RCA Records from 1953 all the way to 1981.", "Was Chet Atkins' Gallopin' Guitar successful?", "During their first release, Chet Atkins' albums were not very sought after.", "Are there any other interesting aspects about this article?", "Chet Atkins and Jethro Burns married twin sisters, Leona and Lois Johnson, who sang as Laverne and Fern Johnson, the Johnson Sisters.", "Did Sholes later show appreciation or help Chet Atkins back?", "Yes, when Sholes took over pop production in 1957—a result of his success with Elvis Presley—he put Chet Atkins in charge of RCA Victor's Nashville division." ]

[]

[ "Instrumental Performance in 2010.\nIn November 2011, Rolling Stone ranked Atkins number 21 on their list of the \"100 Greatest Guitarists of All Time\".\n\nDiscography\nIndustry awards\nCountry Music Association\n\n1967 Instrumentalist of the Year\n1968 Instrumentalist of the Year\n1969 Instrumentalist of the Year\n1981 Instrumentalist of the Year\n1982 Instrumentalist of the Year\n1983 Instrumentalist of the Year\n1984 Instrumentalist of the Year\n1985 Instrumentalist of the Year\n1988 Musician of the YearCountry Music Hall of Fame and Museum\n\nInducted in 1973Grammy Awards\n\nRock and Roll Hall of Fame\n\nInductees of the Rock and Roll Hall of Fame\n\nReferences\nFurther reading\nKienzle, Rich (1998). \"Chet Atkins\". The Encyclopedia of Country Music. Paul Kingsbury, ed. New York: Oxford University" ]

[ "Despite the support of executive Si Siman, however, he soon was fired for not sounding \"country enough\".\n\nSigning with RCA Victor\nWhile working with a Western band in Denver, Colorado, Atkins came to the attention of RCA Victor. Siman had been encouraging Steve Sholes to sign Atkins, as his style (with the success of Merle Travis as a hit recording artist) was suddenly in vogue. Sholes, A&R director of country music at RCA, tracked Atkins down in Denver.\nHe made his first RCA Victor recordings in Chicago in 1947, but they did not sell. He did some studio work for RCA that year, but had relocated to Knoxville again where he", "felt stifled because the record company would not let him branch into jazz. He had also produced late '60s jazz recordings by Canadian guitarist Lenny Breau, a friend and protege. His mid-1970s collaborations with one of his influences, Les Paul, Chester & Lester and Guitar Monsters, had already reflected that interest; Chester & Lester was one of the best-selling recordings of Atkins's career. At the same time, he grew dissatisfied with the direction Gretsch (no longer family-owned) was going and withdrew his authorization for them to use his name and began designing guitars with Gibson. In 1982, Atkins ended his 35-year association with RCA Records and signed with", "style and musicianship brought him admirers inside and outside the country scene, both in the United States and abroad. Atkins spent most of his career at RCA Victor and produced records for the Browns, Hank Snow, Porter Wagoner, Norma Jean, Dolly Parton, Dottie West, Perry Como, Floyd Cramer, Elvis Presley, the Everly Brothers, Eddy Arnold, Don Gibson, Jim Reeves, Jerry Reed, Skeeter Davis, Waylon Jennings, Roger Whittaker, Ann-Margret and many others.\nRolling Stone credited Atkins with inventing the \"popwise 'Nashville sound' that rescued country music from a commercial slump\" and ranked him number 21 on their list of \"The 100 Greatest Guitarists of", "1958 (by then renamed Jubilee USA).\n\nIn addition to recording, Atkins was a design consultant for Gretsch, which manufactured a popular Chet Atkins line of electric guitars from 1955 to 1980. He became manager of RCA Victor's Nashville studios, eventually inspiring and seeing the completion of the legendary RCA Studio B, the first studio built specifically for the purpose of recording on the now-famous Music Row. Also later on, Chet and Owen Bradley would become instrumental in the creation of studio B's adjacent building RCA Studio A as well.\n\nPerformer and producer\nWhen Sholes took over pop production in 1957—a result of his success with Elvis Presley—he put Atkins in charge", "Atkins ended his 35-year association with RCA Records and signed with rival Columbia Records. He produced his first album for Columbia in 1983.Atkins had always been an ardent lover of jazz and throughout his career he was often criticized by \"pure\" country musicians for his jazz influences. He also said on many occasions that he did not like being referred to as a \"country guitarist\", insisting that he was \"a guitarist, period.\" Although he played by ear and was a masterful improviser, he was able to read music and even performed some classical guitar pieces. When Roger C. Field, a friend, suggested to him in 1991 that he record", "much of his childhood.\nIn 2002, Atkins was posthumously inducted into the Rock and Roll Hall of Fame. His award was presented by Marty Stuart and Brian Setzer and accepted by Atkins's grandson, Jonathan Russell. The following year, Atkins ranked number 28 in Country Music Television's \"40 Greatest Men of Country Music\".\nAt the age of 13, the future jazz guitarist Earl Klugh was captivated watching Atkins's guitar playing on The Perry Como Show. Similarly, he was a big influence on Doyle Dykes. Atkins also inspired Drexl Jonez and Tommy Emmanuel.Johnny Winter's thumb-picking style came from Atkin's playing.Clint Black's album Nothin' but the Taillights", "Kennedy through to George H. W. Bush. Atkins was a member of the Million Dollar Band during the 1980s. He is also well known for his song \"Yankee Doodle Dixie\", in which he played \"Yankee Doodle\" and \"Dixie\" simultaneously, on the same guitar.\nBefore his mentor Sholes died in 1968, Atkins had become vice president of RCA's country division. In 1987, he told Nine-O-One Network magazine that he was \"ashamed\" of his promotion: \"I wanted to be known as a guitarist and I know, too, that they give you titles like that in lieu of money. So beware when they want to make you vice president.\"", "Instrumental Performance in 2010.\nIn November 2011, Rolling Stone ranked Atkins number 21 on their list of the \"100 Greatest Guitarists of All Time\".\n\nDiscography\nIndustry awards\nCountry Music Association\n\n1967 Instrumentalist of the Year\n1968 Instrumentalist of the Year\n1969 Instrumentalist of the Year\n1981 Instrumentalist of the Year\n1982 Instrumentalist of the Year\n1983 Instrumentalist of the Year\n1984 Instrumentalist of the Year\n1985 Instrumentalist of the Year\n1988 Musician of the YearCountry Music Hall of Fame and Museum\n\nInducted in 1973Grammy Awards\n\nRock and Roll Hall of Fame\n\nInductees of the Rock and Roll Hall of Fame\n\nReferences\nFurther reading\nKienzle, Rich (1998). \"Chet Atkins\". The Encyclopedia of Country Music. Paul Kingsbury, ed. New York: Oxford University" ]

[ "Who signed Chet Atkins?", "Siman had been encouraging Steve Sholes to sign Chet Atkins, as his style was suddenly in vogue. Sholes, A&R director of country music at RCA, tracked Atkins down in Denver.", "Did Steve Sholes sign Chet Atkins?", "Yes. Steve Sholes signed Chet Atkins, as his style was suddenly in vogue. Sholes, A&R director of country music at RCA, tracked Atkins down in Denver.", "Did Chet Atkins record any song with RCA Records?", "Chet Atkins released numerous albums with RCA Records including Stringin' Along with Chet Atkins, Chet Atkins in Three Dimensions, Finger Style Guitar, and many more.", "When did Chet Atkins do the recording with RCA Records?", "Chet Atkins recorded numerous albums with RCA Records from 1953 all the way to 1981.", "Was Chet Atkins' Gallopin' Guitar successful?", "During their first release, Chet Atkins' albums were not very sought after.", "Are there any other interesting aspects about this article?", "Chet Atkins and Jethro Burns married twin sisters, Leona and Lois Johnson, who sang as Laverne and Fern Johnson, the Johnson Sisters.", "Did Sholes later show appreciation or help Chet Atkins back?", "Yes, when Sholes took over pop production in 1957—a result of his success with Elvis Presley—he put Chet Atkins in charge of RCA Victor's Nashville division.", "What other things does Chet Atkins do?", "Chet Atkins received numerous awards, including 14 Grammy awards and nine Country Music Association awards for Instrumentalist of the Year." ]

[ "song, \"Chet's Tune\", was produced for Atkins' birthday, with contributions by a long list of RCA Victor artists, including Eddy Arnold, Connie Smith, Jerry Reed, Willie Nelson, Hank Snow, and others. The song was written by the Nashville songwriter Cy Coben, a friend of Atkins. The single reached number 38 on the country charts.In 2009, Steve Wariner released an album titled My Tribute to Chet Atkins. One song from that record, \"Producer's Medley\", featured Wariner's recreation of several famous songs that Atkins both produced and performed. \"Producer's Medley\" won the Grammy for Best Country Instrumental Performance in 2010.\nIn November 2011, Rolling Stone ranked Atkins", "for Richmond, Virginia, where he performed with Sunshine Sue Workman. Atkins's shy personality worked against him, as did the fact that his sophisticated style led many to doubt he was truly \"country\". He was fired often but was soon able to land another job at another radio station on account of his unique playing ability.Atkins and Jethro Burns (of Homer and Jethro) married twin sisters Leona and Lois Johnson, who sang as Laverne and Fern Johnson, the Johnson Sisters. Leona Atkins outlived her husband by eight years, dying in 2009 at the age of 85.Travelling to Chicago, Atkins auditioned for Red Foley, who was leaving his" ]

[ "song, \"Chet's Tune\", was produced for Atkins' birthday, with contributions by a long list of RCA Victor artists, including Eddy Arnold, Connie Smith, Jerry Reed, Willie Nelson, Hank Snow, and others. The song was written by the Nashville songwriter Cy Coben, a friend of Atkins. The single reached number 38 on the country charts.In 2009, Steve Wariner released an album titled My Tribute to Chet Atkins. One song from that record, \"Producer's Medley\", featured Wariner's recreation of several famous songs that Atkins both produced and performed. \"Producer's Medley\" won the Grammy for Best Country Instrumental Performance in 2010.\nIn November 2011, Rolling Stone ranked Atkins" ]

[ "Despite the support of executive Si Siman, however, he soon was fired for not sounding \"country enough\".\n\nSigning with RCA Victor\nWhile working with a Western band in Denver, Colorado, Atkins came to the attention of RCA Victor. Siman had been encouraging Steve Sholes to sign Atkins, as his style (with the success of Merle Travis as a hit recording artist) was suddenly in vogue. Sholes, A&R director of country music at RCA, tracked Atkins down in Denver.\nHe made his first RCA Victor recordings in Chicago in 1947, but they did not sell. He did some studio work for RCA that year, but had relocated to Knoxville again where he", "felt stifled because the record company would not let him branch into jazz. He had also produced late '60s jazz recordings by Canadian guitarist Lenny Breau, a friend and protege. His mid-1970s collaborations with one of his influences, Les Paul, Chester & Lester and Guitar Monsters, had already reflected that interest; Chester & Lester was one of the best-selling recordings of Atkins's career. At the same time, he grew dissatisfied with the direction Gretsch (no longer family-owned) was going and withdrew his authorization for them to use his name and began designing guitars with Gibson. In 1982, Atkins ended his 35-year association with RCA Records and signed with", "1958 (by then renamed Jubilee USA).\n\nIn addition to recording, Atkins was a design consultant for Gretsch, which manufactured a popular Chet Atkins line of electric guitars from 1955 to 1980. He became manager of RCA Victor's Nashville studios, eventually inspiring and seeing the completion of the legendary RCA Studio B, the first studio built specifically for the purpose of recording on the now-famous Music Row. Also later on, Chet and Owen Bradley would become instrumental in the creation of studio B's adjacent building RCA Studio A as well.\n\nPerformer and producer\nWhen Sholes took over pop production in 1957—a result of his success with Elvis Presley—he put Atkins in charge", "style and musicianship brought him admirers inside and outside the country scene, both in the United States and abroad. Atkins spent most of his career at RCA Victor and produced records for the Browns, Hank Snow, Porter Wagoner, Norma Jean, Dolly Parton, Dottie West, Perry Como, Floyd Cramer, Elvis Presley, the Everly Brothers, Eddy Arnold, Don Gibson, Jim Reeves, Jerry Reed, Skeeter Davis, Waylon Jennings, Roger Whittaker, Ann-Margret and many others.\nRolling Stone credited Atkins with inventing the \"popwise 'Nashville sound' that rescued country music from a commercial slump\" and ranked him number 21 on their list of \"The 100 Greatest Guitarists of", "song, \"Chet's Tune\", was produced for Atkins' birthday, with contributions by a long list of RCA Victor artists, including Eddy Arnold, Connie Smith, Jerry Reed, Willie Nelson, Hank Snow, and others. The song was written by the Nashville songwriter Cy Coben, a friend of Atkins. The single reached number 38 on the country charts.In 2009, Steve Wariner released an album titled My Tribute to Chet Atkins. One song from that record, \"Producer's Medley\", featured Wariner's recreation of several famous songs that Atkins both produced and performed. \"Producer's Medley\" won the Grammy for Best Country Instrumental Performance in 2010.\nIn November 2011, Rolling Stone ranked Atkins", "Atkins ended his 35-year association with RCA Records and signed with rival Columbia Records. He produced his first album for Columbia in 1983.Atkins had always been an ardent lover of jazz and throughout his career he was often criticized by \"pure\" country musicians for his jazz influences. He also said on many occasions that he did not like being referred to as a \"country guitarist\", insisting that he was \"a guitarist, period.\" Although he played by ear and was a masterful improviser, he was able to read music and even performed some classical guitar pieces. When Roger C. Field, a friend, suggested to him in 1991 that he record", "much of his childhood.\nIn 2002, Atkins was posthumously inducted into the Rock and Roll Hall of Fame. His award was presented by Marty Stuart and Brian Setzer and accepted by Atkins's grandson, Jonathan Russell. The following year, Atkins ranked number 28 in Country Music Television's \"40 Greatest Men of Country Music\".\nAt the age of 13, the future jazz guitarist Earl Klugh was captivated watching Atkins's guitar playing on The Perry Como Show. Similarly, he was a big influence on Doyle Dykes. Atkins also inspired Drexl Jonez and Tommy Emmanuel.Johnny Winter's thumb-picking style came from Atkin's playing.Clint Black's album Nothin' but the Taillights", "Instrumental Performance in 2010.\nIn November 2011, Rolling Stone ranked Atkins number 21 on their list of the \"100 Greatest Guitarists of All Time\".\n\nDiscography\nIndustry awards\nCountry Music Association\n\n1967 Instrumentalist of the Year\n1968 Instrumentalist of the Year\n1969 Instrumentalist of the Year\n1981 Instrumentalist of the Year\n1982 Instrumentalist of the Year\n1983 Instrumentalist of the Year\n1984 Instrumentalist of the Year\n1985 Instrumentalist of the Year\n1988 Musician of the YearCountry Music Hall of Fame and Museum\n\nInducted in 1973Grammy Awards\n\nRock and Roll Hall of Fame\n\nInductees of the Rock and Roll Hall of Fame\n\nReferences\nFurther reading\nKienzle, Rich (1998). \"Chet Atkins\". The Encyclopedia of Country Music. Paul Kingsbury, ed. New York: Oxford University", "Kennedy through to George H. W. Bush. Atkins was a member of the Million Dollar Band during the 1980s. He is also well known for his song \"Yankee Doodle Dixie\", in which he played \"Yankee Doodle\" and \"Dixie\" simultaneously, on the same guitar.\nBefore his mentor Sholes died in 1968, Atkins had become vice president of RCA's country division. In 1987, he told Nine-O-One Network magazine that he was \"ashamed\" of his promotion: \"I wanted to be known as a guitarist and I know, too, that they give you titles like that in lieu of money. So beware when they want to make you vice president.\"", "of Country Music. Paul Kingsbury, ed. New York: Oxford University Press. pp. 26–27.\n\nExternal links\n\nOfficial website \n\"Chet Atkins\". Rock and Roll Hall of Fame. \nChet Atkins at the Country Music Hall of Fame\nAllmusic entry for Chet Atkins\nBob Moore's A-Team Musicians Website\nChet Atkins at IMDb\nChet Atkins interviewed on the Pop Chronicles (1969)" ]

[ "Who signed Chet Atkins?", "Siman had been encouraging Steve Sholes to sign Chet Atkins, as his style was suddenly in vogue. Sholes, A&R director of country music at RCA, tracked Atkins down in Denver.", "Did Steve Sholes sign Chet Atkins?", "Yes. Steve Sholes signed Chet Atkins, as his style was suddenly in vogue. Sholes, A&R director of country music at RCA, tracked Atkins down in Denver.", "Did Chet Atkins record any song with RCA Records?", "Chet Atkins released numerous albums with RCA Records including Stringin' Along with Chet Atkins, Chet Atkins in Three Dimensions, Finger Style Guitar, and many more.", "When did Chet Atkins do the recording with RCA Records?", "Chet Atkins recorded numerous albums with RCA Records from 1953 all the way to 1981.", "Was Chet Atkins' Gallopin' Guitar successful?", "During their first release, Chet Atkins' albums were not very sought after.", "Are there any other interesting aspects about this article?", "Chet Atkins and Jethro Burns married twin sisters, Leona and Lois Johnson, who sang as Laverne and Fern Johnson, the Johnson Sisters.", "Did Sholes later show appreciation or help Chet Atkins back?", "Yes, when Sholes took over pop production in 1957—a result of his success with Elvis Presley—he put Chet Atkins in charge of RCA Victor's Nashville division.", "What other things does Chet Atkins do?", "Chet Atkins received numerous awards, including 14 Grammy awards and nine Country Music Association awards for Instrumentalist of the Year.", "What did people produce for Chet Atkin's birthday?", "In 1967, a tribute song, Chet's Tune, was produced for Chet Atkins' birthday, with contributions by a long list of RCA Victor artists." ]

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[ "at RCA Records, to allow others to handle administration while he went back to his first love, the guitar, often recording with Reed or even Jethro Burns from Homer and Jethro (his brother-in-law) after Homer died in 1971. Atkins would turn over his administrative duties to Jerry Bradley, son of Owen, in 1973 at RCA.\nAtkins did little production work at RCA after stepping down and in fact, had hired producers at the label in the 1960s, among them Bob Ferguson and Felton Jarvis. As a recording artist, Atkins grew disillusioned with RCA in the late 1970s. He felt stifled because the record company would not let him branch" ]

[ "Harry S. Truman (May 8, 1884 – December 26, 1972) was the 33rd president of the United States, serving from 1945 to 1953. A member of the Democratic Party, he previously served as a United States senator from Missouri from 1935 to 1945 and briefly as the 34th vice president in 1945 under Franklin D. Roosevelt. Assuming the presidency after Roosevelt's death, Truman implemented the Marshall Plan to rebuild the economy of Western Europe and established both the Truman Doctrine and NATO to contain the expansion of Soviet communism. He proposed numerous liberal domestic reforms, but few were enacted by the conservative coalition that dominated the Congress.\nTruman was raised in Independence,", "are the one in trouble now!\" He was sworn in as president at 7:09 pm in the West Wing of the White House, by Chief Justice Harlan F. Stone.\n\nPresidency (1945–1953)\nAt the White House, Truman replaced Roosevelt holdovers with old confidants. The White House was badly understaffed with no more than a dozen aides; they could barely keep up with the heavy workflow of a greatly expanded executive department. Truman acted as his own chief of staff on a daily basis, as well as his own liaison with Congress—a body he already knew very well. He was not well prepared to deal with the press, and never achieved", "hours later, the House voted to draft the strikers. The bill died in the Senate.\n\nApproval rating falls; Republicans win Congress in 1946\nThe president's approval rating dropped from 82 percent in the polls in January 1946 to 52 percent by June. This dissatisfaction led to large Democratic losses in the 1946 midterm elections, and Republicans took control of Congress for the first time since 1930. When Truman dropped to 32 percent in the polls, Democratic Arkansas Senator William Fulbright suggested that Truman resign; the president said he did not care what Senator \"Halfbright\" said.Truman cooperated closely with the Republican leaders on foreign policy but fought them bitterly on domestic issues. The", "The Surratt tavern was being used as a safe house for Confederate spies, and at least one author concludes that Mary had \"de facto\" knowledge of this. Confederate scout and spy Thomas Nelson Conrad visited Surratt's boarding house before and during the Civil War.On March 7, 1861, three days after Abraham Lincoln's inauguration as President of the United States, Isaac left Maryland and traveled to Texas, where he enlisted in the Confederate States Army (serving in the 33rd Cavalry, or Duff's Partisan Rangers, 14th Cavalry Battalion). John Jr. quit his studies at St. Charles College in July 1861 and became a courier for the Confederate Secret Service, moving", "Rogers Clark Ballard Morton (September 19, 1914 – April 19, 1979) was an American politician who served as the U.S. Secretary of the Interior and Secretary of Commerce during the administrations of presidents Richard Nixon and Gerald Ford, respectively. He also served as a member of the U.S. House of Representatives from Maryland.\nMorton was born in Louisville, Kentucky, and moved to a farm on the Eastern Shore of Maryland in the early 1950s. In 1962, he was elected to the House of Representatives, in which capacity he established a pro-environment record. Morton would joke that his two middle initials stood for \"Chesapeake Bay\". In 1968, Morton played", "victories against numerically superior forces while minimising his own losses. He is regarded as one of the greatest defensive commanders of all time, and many of his tactics and battle plans are still studied in military academies around the world. After the end of his active military career, he returned to politics. He was twice British prime minister as a member of the Tory party from 1828 to 1830 and for a little less than a month in 1834. He oversaw the passage of the Roman Catholic Relief Act 1829, while he opposed the Reform Act 1832. He continued as one of the leading figures in the House of Lords until his retirement", "Missouri Compromise\" and was well received. The Roosevelt–Truman ticket achieved a 432–99 electoral-vote victory in the election, defeating the Republican ticket of Governor Thomas E. Dewey of New York and running mate Governor John Bricker of Ohio. Truman was sworn in as vice president on January 20, 1945. After the inauguration, Truman called his mother, who instructed him, \"Now you behave yourself.\"Truman's brief vice-presidency was relatively uneventful. Truman mostly presided over the Senate and attended parties and receptions. He kept the same offices from his Senate years, mostly only using the Vice President's official office in the Capitol to greet visitors. Truman was the first vice", "in the Capitol to greet visitors. Truman was the first vice president to have a Secret Service agent assigned to him. Truman envisioned the office as a liaison between the Senate and the president. On April 10, 1945, Truman cast his only tie-breaking vote as president of the Senate, against a Robert A. Taft amendment that would have blocked the postwar delivery of Lend-Lease Act items contracted for during the war. Roosevelt rarely contacted him, even to inform him of major decisions; the president and vice president met alone together only twice during their time in office.In one of his first acts as vice president, Truman created some controversy when he", "President Nixon shared their concerns, and encouraged Morton to remain as chairman. On December 16, 1969, with Nixon by his side, Morton announced that his priorities were with the national committee, and that he would not seek Tydings' seat. Morton also threw his full support for the nomination behind J. Glenn Beall Jr., a freshman member of the House from Cumberland, Mathias's successor in the House, and son of former senator James Glenn Beall.Morton's decision not to challenge Tydings initially worried Maryland Republicans, who saw Morton as one of their best candidates. National Republican strategists had also begun to write off Tydings' seat as", "to a second full term after serving more than two remaining years of a term of a previously elected president. The latter clause did not apply to Truman's situation in 1952 because of a grandfather clause exempting the incumbent president.\nTherefore, he seriously considered running for another term in 1952 and left his name on the ballot in the New Hampshire primary. However, all his close advisors, pointing to his age, his failing abilities, and his poor showing in the polls, talked him out of it. At the time of the 1952 New Hampshire primary, no candidate had won Truman's backing. His first choice, Chief Justice Fred M. Vinson, had declined" ]

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[ "was reelected to Congress four more times, and served from 1963 until 1971. In Congress, Morton worked to enact legislation that would preserve the Chesapeake Bay, including laws reducing pollution into the bay, working for the creation of a national park on Assateague Island, and providing funds to the Army Corps of Engineers to model how the Bay functions as an estuary. Concerning civil rights, Morton voted for the Civil Rights Act of 1964 and the Voting Rights Act of 1965, but cast no vote on the Civil Rights Act of 1968.During the 1968 Republican National Convention, Morton served as the floor manager for eventual presidential nominee Richard Nixon." ]

[ "was reelected to Congress four more times, and served from 1963 until 1971. In Congress, Morton worked to enact legislation that would preserve the Chesapeake Bay, including laws reducing pollution into the bay, working for the creation of a national park on Assateague Island, and providing funds to the Army Corps of Engineers to model how the Bay functions as an estuary. Concerning civil rights, Morton voted for the Civil Rights Act of 1964 and the Voting Rights Act of 1965, but cast no vote on the Civil Rights Act of 1968.During the 1968 Republican National Convention, Morton served as the floor manager for eventual presidential nominee Richard Nixon.", "Rogers Clark Ballard Morton (September 19, 1914 – April 19, 1979) was an American politician who served as the U.S. Secretary of the Interior and Secretary of Commerce during the administrations of presidents Richard Nixon and Gerald Ford, respectively. He also served as a member of the U.S. House of Representatives from Maryland.\nMorton was born in Louisville, Kentucky, and moved to a farm on the Eastern Shore of Maryland in the early 1950s. In 1962, he was elected to the House of Representatives, in which capacity he established a pro-environment record. Morton would joke that his two middle initials stood for \"Chesapeake Bay\". In 1968, Morton played", "As chairman, Morton was granted ex officio cabinet rank by Nixon, an unprecedented practice that ultimately continued through the administration of Gerald Ford.\n\n1970 United States Senate election\nIn 1969, leading up to the 1970 elections, Morton was considered one of the strongest potential candidates to challenge incumbent Democratic senator Joseph Tydings. Morton had sought the Republican nomination for Maryland's other U.S. Senate seat in the 1968 elections, but bowed out in favor of Congressman Charles Mathias to prevent a primary battle.Speculation that Morton would seek election to Tydings' seat increased after an editorial in the Baltimore Sun encouraged him to challenge Tydings. Sources within the administration of Vice", "of World War II, Morton enlisted in the Armored Field Artillery of the United States Army as a private and served in the European Theater. He received a commission during the war and left the army as a captain in 1945.After the war, Morton returned to the family business, where he served as president from 1947 to 1951. In 1952, the business was merged into the Pillsbury Flour Company, where Morton went on to serve as a director and a member of the executive committee for several more years.\n\nCongressional career\nIn 1947, Morton spent a great deal of time helping his brother Thruston in his ultimately successful campaign for election to the", "much of his salary would be supplied by taxpayers versus the Ford election committee. In rebuttal, Morton stated \"you can't separate government from politics\", and that Presidential aides should be allowed to offer political advice.In April 1976, Morton was named campaign manager for Ford leading up to the 1976 presidential election. He replaced former U.S. Representative Howard Callaway of Georgia, who was forced to resign following allegations of improper use of authority while he was Secretary of the Army. Morton directed Ford's campaign until August 25, 1976, when he was reassigned as chairman of a steering committee and was replaced by James Baker of Houston, Texas. Morton's", "middle initials stood for \"Chesapeake Bay\". In 1968, Morton played a major role in Richard Nixon's campaign for president, and was chosen by Nixon in 1969 to serve as chairman of the Republican National Committee.\nIn the elections of 1970, Morton was considered a strong candidate to challenge Joseph Tydings for his U.S. Senate seat from Maryland, but he chose instead to remain as chairman of the RNC. In 1971, President Nixon tapped Morton to serve as Secretary of the Interior, during which time he oversaw the construction of the Trans-Alaska Pipeline System and the 1973 oil crisis. Morton was the only person from the East Coast to serve" ]

[ "When was Rogers Morton elected to Congress?", "Rogers Morton became a member of the House of Representatives in January 3, 1963." ]

[ "brother Thruston in his ultimately successful campaign for election to the House of Representatives in Kentucky. After this initial exposure to politics, Morton moved to the Eastern Shore of Maryland in the early 1950s, where he set up a 1,400 acres (5.7 km2) cattle farm along the Wye River in Talbot County. In 1962, Morton decided to challenge Democratic incumbent Thomas Francis Johnson of Maryland's 1st congressional district. Johnson, who was reeling from a political scandal, lost to Morton in the general election. Morton was lauded for not making Johnson's legal troubles his primary campaign issue.Morton was reelected to Congress four more times, and served from 1963", "was replaced by James Baker of Houston, Texas. Morton's demotion was at his own request; he said that he no longer wished to bear \"the responsibility and accountability of the chairmanship\".After the 1976 campaign, Morton retired from politics to his farm, \"Presqu'isle\", near Easton, Maryland, where he operated a boat construction business.Morton had been diagnosed with prostate cancer in 1973, but he said that the disease was in its early phase and was still treatable. In 1979, however, Morton died of the cancer at his home in Easton. He is interred in Old Wye Cemetery in Wye Mills, Maryland.\n\nReferences\nExternal links\nGuide to the Angela", "had also begun to write off Tydings' seat as unwinnable for the 1970 election because of Tydings' wealth and popularity in the dense urban areas of Montgomery County and Baltimore. However, despite initial misgivings by state Republicans, Beall defeated Tydings on November 3, 1970, by a margin of more than 30,000 votes.\n\nSecretary of the Interior\nMorton continued to serve in the House and as chairman of the RNC until 1971, when he was nominated to be Secretary of the Interior by President Nixon. He was unanimously confirmed by the United States Senate Subcommittee on the Interior, though some concerns regarding Morton's record of environmental protection were raised", "President Nixon shared their concerns, and encouraged Morton to remain as chairman. On December 16, 1969, with Nixon by his side, Morton announced that his priorities were with the national committee, and that he would not seek Tydings' seat. Morton also threw his full support for the nomination behind J. Glenn Beall Jr., a freshman member of the House from Cumberland, Mathias's successor in the House, and son of former senator James Glenn Beall.Morton's decision not to challenge Tydings initially worried Maryland Republicans, who saw Morton as one of their best candidates. National Republican strategists had also begun to write off Tydings' seat as" ]

[ "brother Thruston in his ultimately successful campaign for election to the House of Representatives in Kentucky. After this initial exposure to politics, Morton moved to the Eastern Shore of Maryland in the early 1950s, where he set up a 1,400 acres (5.7 km2) cattle farm along the Wye River in Talbot County. In 1962, Morton decided to challenge Democratic incumbent Thomas Francis Johnson of Maryland's 1st congressional district. Johnson, who was reeling from a political scandal, lost to Morton in the general election. Morton was lauded for not making Johnson's legal troubles his primary campaign issue.Morton was reelected to Congress four more times, and served from 1963" ]

[ "brother Thruston in his ultimately successful campaign for election to the House of Representatives in Kentucky. After this initial exposure to politics, Morton moved to the Eastern Shore of Maryland in the early 1950s, where he set up a 1,400 acres (5.7 km2) cattle farm along the Wye River in Talbot County. In 1962, Morton decided to challenge Democratic incumbent Thomas Francis Johnson of Maryland's 1st congressional district. Johnson, who was reeling from a political scandal, lost to Morton in the general election. Morton was lauded for not making Johnson's legal troubles his primary campaign issue.Morton was reelected to Congress four more times, and served from 1963", "Rogers Clark Ballard Morton (September 19, 1914 – April 19, 1979) was an American politician who served as the U.S. Secretary of the Interior and Secretary of Commerce during the administrations of presidents Richard Nixon and Gerald Ford, respectively. He also served as a member of the U.S. House of Representatives from Maryland.\nMorton was born in Louisville, Kentucky, and moved to a farm on the Eastern Shore of Maryland in the early 1950s. In 1962, he was elected to the House of Representatives, in which capacity he established a pro-environment record. Morton would joke that his two middle initials stood for \"Chesapeake Bay\". In 1968, Morton played", "As chairman, Morton was granted ex officio cabinet rank by Nixon, an unprecedented practice that ultimately continued through the administration of Gerald Ford.\n\n1970 United States Senate election\nIn 1969, leading up to the 1970 elections, Morton was considered one of the strongest potential candidates to challenge incumbent Democratic senator Joseph Tydings. Morton had sought the Republican nomination for Maryland's other U.S. Senate seat in the 1968 elections, but bowed out in favor of Congressman Charles Mathias to prevent a primary battle.Speculation that Morton would seek election to Tydings' seat increased after an editorial in the Baltimore Sun encouraged him to challenge Tydings. Sources within the administration of Vice" ]

[ "When was Rogers Morton elected to Congress?", "Rogers Morton became a member of the House of Representatives in January 3, 1963.", "Was it a close race between Rogers Morton and Thomas Francis Johnson?", "No. Rogers Morton decided to challenge Democratic incumbent Thomas Francis Johnson of Maryland's 1st congressional district. Johnson, who was reeling from a political scandal, lost in the general election." ]

[ "was reelected to Congress four more times, and served from 1963 until 1971. In Congress, Morton worked to enact legislation that would preserve the Chesapeake Bay, including laws reducing pollution into the bay, working for the creation of a national park on Assateague Island, and providing funds to the Army Corps of Engineers to model how the Bay functions as an estuary. Concerning civil rights, Morton voted for the Civil Rights Act of 1964 and the Voting Rights Act of 1965, but cast no vote on the Civil Rights Act of 1968.During the 1968 Republican National Convention, Morton served as the floor manager for eventual presidential nominee Richard Nixon.", "President Nixon shared their concerns, and encouraged Morton to remain as chairman. On December 16, 1969, with Nixon by his side, Morton announced that his priorities were with the national committee, and that he would not seek Tydings' seat. Morton also threw his full support for the nomination behind J. Glenn Beall Jr., a freshman member of the House from Cumberland, Mathias's successor in the House, and son of former senator James Glenn Beall.Morton's decision not to challenge Tydings initially worried Maryland Republicans, who saw Morton as one of their best candidates. National Republican strategists had also begun to write off Tydings' seat as", "middle initials stood for \"Chesapeake Bay\". In 1968, Morton played a major role in Richard Nixon's campaign for president, and was chosen by Nixon in 1969 to serve as chairman of the Republican National Committee.\nIn the elections of 1970, Morton was considered a strong candidate to challenge Joseph Tydings for his U.S. Senate seat from Maryland, but he chose instead to remain as chairman of the RNC. In 1971, President Nixon tapped Morton to serve as Secretary of the Interior, during which time he oversaw the construction of the Trans-Alaska Pipeline System and the 1973 oil crisis. Morton was the only person from the East Coast to serve", "much of his salary would be supplied by taxpayers versus the Ford election committee. In rebuttal, Morton stated \"you can't separate government from politics\", and that Presidential aides should be allowed to offer political advice.In April 1976, Morton was named campaign manager for Ford leading up to the 1976 presidential election. He replaced former U.S. Representative Howard Callaway of Georgia, who was forced to resign following allegations of improper use of authority while he was Secretary of the Army. Morton directed Ford's campaign until August 25, 1976, when he was reassigned as chairman of a steering committee and was replaced by James Baker of Houston, Texas. Morton's", "of World War II, Morton enlisted in the Armored Field Artillery of the United States Army as a private and served in the European Theater. He received a commission during the war and left the army as a captain in 1945.After the war, Morton returned to the family business, where he served as president from 1947 to 1951. In 1952, the business was merged into the Pillsbury Flour Company, where Morton went on to serve as a director and a member of the executive committee for several more years.\n\nCongressional career\nIn 1947, Morton spent a great deal of time helping his brother Thruston in his ultimately successful campaign for election to the", "had also begun to write off Tydings' seat as unwinnable for the 1970 election because of Tydings' wealth and popularity in the dense urban areas of Montgomery County and Baltimore. However, despite initial misgivings by state Republicans, Beall defeated Tydings on November 3, 1970, by a margin of more than 30,000 votes.\n\nSecretary of the Interior\nMorton continued to serve in the House and as chairman of the RNC until 1971, when he was nominated to be Secretary of the Interior by President Nixon. He was unanimously confirmed by the United States Senate Subcommittee on the Interior, though some concerns regarding Morton's record of environmental protection were raised", "him to challenge Tydings. Sources within the administration of Vice President Spiro Agnew, who was formerly governor of Maryland, were also commenting that Morton would make a strong candidate and would likely run. When Morton stated he would be making an important announcement with President Nixon in December 1969, it seemed all but certain at the time that it would be to declare his candidacy.However, Republicans around the country were concerned that Morton, who had just been appointed chairman of the RNC in January 1969, would resign during the election season to better handle the battle with Tydings. President Nixon shared their concerns, and encouraged Morton to remain as" ]

[ "was reelected to Congress four more times, and served from 1963 until 1971. In Congress, Morton worked to enact legislation that would preserve the Chesapeake Bay, including laws reducing pollution into the bay, working for the creation of a national park on Assateague Island, and providing funds to the Army Corps of Engineers to model how the Bay functions as an estuary. Concerning civil rights, Morton voted for the Civil Rights Act of 1964 and the Voting Rights Act of 1965, but cast no vote on the Civil Rights Act of 1968.During the 1968 Republican National Convention, Morton served as the floor manager for eventual presidential nominee Richard Nixon." ]

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[ "Patsy Cline (born Virginia Patterson Hensley; September 8, 1932 – March 5, 1963) was an American singer. She is considered one of the most influential vocalists of the 20th century and was one of the first country music artists to cross over into pop music. Cline had several major hits during her eight-year recording career, including two number-one hits on the Billboard Hot Country and Western Sides chart.\nCline's first professional performances began at local radio station WINC when she was fifteen. In the early 1950s, Cline began appearing in a local band led by performer Bill Peer. Various local appearances led to featured performances on Connie B. Gay's", "at the Moose Lodge in Brunswick, Maryland. Gerald Cline said, \"It might not have been love at first sight when Patsy saw me, but it was for me.\" Gerald Cline often took her to \"one-nighters\" and other concerts she performed in. Although he enjoyed her performances, he could not get used to her touring and road schedule. During their marriage, Patsy told a friend that she didn't think she \"knew what love was\" upon marrying Gerald. The pair began living separately by the end of 1956 and divorced in 1957.Cline married her second husband Charlie Dick on September 15, 1957. The pair met in 1956 while Cline", "the show's narrator and revisits memories she shared with Cline through their letter exchanges. Among the show's original performers was Mandy Barnett, who debuted the show at the Ryman Auditorium in 1994. Barnett would go on to have a music and performing career. A second musical was later released in 1991 titled A Closer Walk with Patsy Cline. The show was written by Dean Regan and has been called a \"musical retelling\" of Cline's career.\n\nArtistry\nInfluences\nCline was influenced by various music artists. Among her earliest influences were pop singers of the 1940s and 1950s. These included Kay Starr, Helen Morgan, Patti Page, and Kate Smith. Patti Page", "back in the studio to record an upcoming album. Among the first songs she recorded was \"She's Got You\". Written by Hank Cochran, he pitched the song to Cline over the phone. Insisting that Patsy hear it in-person, Cochran brought the recording over to her house, along with a bottle of alcohol. Upon listening to it again, she liked the song and wanted to record it. Owen Bradley also liked the song and she recorded it on December 17, 1961. \"She's Got You\" became her third country-pop crossover hit by early 1962. \"She's Got You\" would also be her second number 1 hit on the Billboard country", "Virginia. She was not officially added to the program's television shows until October 1955. Cline's television performances received critical acclaim. The Washington Star magazine praised her stage presence, commenting, \"She creates the moods through movement of her hands and body and by the lilt of her voice, reaching way down deep in her soul to bring forth the melody. Most female country music vocalists stand motionless, sing with monotonous high-pitched nasal twang. Patsy's come up with a throaty style loaded with motion and E-motion.\"\n\n1954–1960: Four Star Records\nIn 1954, Bill Peer created and distributed a series of demonstration tapes with Cline's voice on it. A", "started covering every Patsy Cline song. Then when I first got my record deal I came to Winchester to visit a radio station to try to get them to play my song Three Chords and the Truth.\"In 1973, Cline was inducted into the Country Music Hall of Fame. With the induction, she became the first solo female artist to be included. In 1977, Cline's friend and mentee Loretta Lynn released a tribute album entitled I Remember Patsy. The record contained covers of Cline's songs, including \"Back in Baby's Arms\" and \"Crazy\". The album's lead single was \"She's Got You\", which would reach the number 1 spot", "songs recorded were \"Sweet Dreams\", \"He Called Me Baby\", and \"Faded Love\". Cline arranged for friends Jan Howard and Dottie West to come and hear the session playbacks. According to Howard, \"I was in awe of Patsy. You know, afterward you're supposed to say something nice. I couldn't talk. I was dumbfounded.\"\n\nPersonal life\nFriendships\nCline had close friendships with several country artists and performers. Her friendship with Loretta Lynn has been the subject of numerous books, songs, films and other projects. The pair first met when Lynn performed \"I Fall to Pieces\" on the radio shortly after Cline's 1961 car accident. Cline heard the broadcast", "still kind of amazed at it myself, because there's 'Mom' and then there's 'Patsy Cline,' and I'm actually a fan.\"The present-day American female blues, swing, and rock and roll singer, songwriter and record producer Casey Hensley is a distant relation of Cline's.\n\nMarriages\nCline was married twice. Her first marriage was to Gerald Cline, on March 7, 1953. His family had owned a contracting and excavating company in Frederick, Maryland. According to Cline's brother Sam, he liked \"flashy cars and women.\" The two met while she was performing with Bill Peer at the Moose Lodge in Brunswick, Maryland. Gerald Cline said,", "Starr, Helen Morgan, Patti Page, and Kate Smith. Patti Page recollected that Cline's husband said to her, \"I just wish Patsy could have met you because she just adored you and listened to you all the time and wanted to be like you.\" Among her primary influences was Kay Starr, of whom Cline was a \"fervent devotee\" according to The Washington Post. Jack Hurst of the Chicago Tribune remarked that \"Her rich, powerful voice, obviously influenced by that of pop's Kay Starr, has continued and perhaps even grown in popularity over the decades.\" Cline was also attracted to country music radio programs, notably the Grand Ole", "received a call to perform on Arthur Godfrey's Talent Scouts, a national television show she had auditioned for several months prior. She accepted the offer, using her mother Hilda Hensley as her talent scout for the show. According to the show's rules, talent scouts could not be family members. For those reasons, Cline's mother lied in order to appear on the show. When Arthur Godfrey asked if Hensley had known Cline her entire life, she replied, \"Yes, just about!\"Cline and Mrs. Hensley flew into LaGuardia Airport in New York City on January 18, 1957. She made her debut appearance on the program on January 21." ]

[ "Patsy Cline (born Virginia Patterson Hensley; September 8, 1932 – March 5, 1963) was an American singer. She is considered one of the most influential vocalists of the 20th century and was one of the first country music artists to cross over into pop music. Cline had several major hits during her eight-year recording career, including two number-one hits on the Billboard Hot Country and Western Sides chart.\nCline's first professional performances began at local radio station WINC when she was fifteen. In the early 1950s, Cline began appearing in a local band led by performer Bill Peer. Various local appearances led to featured performances on Connie B. Gay's" ]

[ "Patsy Cline (born Virginia Patterson Hensley; September 8, 1932 – March 5, 1963) was an American singer. She is considered one of the most influential vocalists of the 20th century and was one of the first country music artists to cross over into pop music. Cline had several major hits during her eight-year recording career, including two number-one hits on the Billboard Hot Country and Western Sides chart.\nCline's first professional performances began at local radio station WINC when she was fifteen. In the early 1950s, Cline began appearing in a local band led by performer Bill Peer. Various local appearances led to featured performances on Connie B. Gay's", "Virginia. She was not officially added to the program's television shows until October 1955. Cline's television performances received critical acclaim. The Washington Star magazine praised her stage presence, commenting, \"She creates the moods through movement of her hands and body and by the lilt of her voice, reaching way down deep in her soul to bring forth the melody. Most female country music vocalists stand motionless, sing with monotonous high-pitched nasal twang. Patsy's come up with a throaty style loaded with motion and E-motion.\"\n\n1954–1960: Four Star Records\nIn 1954, Bill Peer created and distributed a series of demonstration tapes with Cline's voice on it. A", "Peer encouraged her to have a more appropriate stage name. She changed her first name from Virginia to Patsy (taken from her middle name \"Patterson\"). She kept her new last name, Cline. Ultimately, she became professionally known as \"Patsy Cline\".In August 1953, Cline was a contestant in a local country music contest. She won 100 dollars and the opportunity to perform as a regular on Connie B. Gay's Town and Country Time. The show included country stars Jimmy Dean, Roy Clark, George Hamilton IV and Billy Grammer, and was filmed in Washington D.C. and Arlington County, Virginia. She was not officially added to the program's television", "Starr, Helen Morgan, Patti Page, and Kate Smith. Patti Page recollected that Cline's husband said to her, \"I just wish Patsy could have met you because she just adored you and listened to you all the time and wanted to be like you.\" Among her primary influences was Kay Starr, of whom Cline was a \"fervent devotee\" according to The Washington Post. Jack Hurst of the Chicago Tribune remarked that \"Her rich, powerful voice, obviously influenced by that of pop's Kay Starr, has continued and perhaps even grown in popularity over the decades.\" Cline was also attracted to country music radio programs, notably the Grand Ole", "hear from the Opry the same day. However, she never received news and the family returned to Virginia.By the early 1950s, Cline continued performing around the local area. In 1952, she asked to audition for local country bandleader Bill Peer. Following her audition, she began performing regularly as a member of Bill Peer's Melody Boys and Girls. The pair's relationship turned romantic, continuing an affair for several years. Nonetheless, the pair remained married to their spouses. Peer's group played primarily at the Moose Lodge in Brunswick, Maryland where she would meet her first husband, Gerald Cline. Peer encouraged her to have a more appropriate stage name. She", "the show's narrator and revisits memories she shared with Cline through their letter exchanges. Among the show's original performers was Mandy Barnett, who debuted the show at the Ryman Auditorium in 1994. Barnett would go on to have a music and performing career. A second musical was later released in 1991 titled A Closer Walk with Patsy Cline. The show was written by Dean Regan and has been called a \"musical retelling\" of Cline's career.\n\nArtistry\nInfluences\nCline was influenced by various music artists. Among her earliest influences were pop singers of the 1940s and 1950s. These included Kay Starr, Helen Morgan, Patti Page, and Kate Smith. Patti Page", "influence on her own career, \"I think I was most influenced by Patsy Cline, she said things for people. There was so much feeling in there. In fact, she told me, 'Hoss, if you can't do it with feeling, don't'\". In 2019, Sara Evans discussed how Cline has been an influence since she was a young girl, \"I learned everything I could learn about her. I tried to mimic her singing to the ‘t’. We grew up singing in bars — my brothers, sisters and I — from the time I was really little. So I started covering every Patsy Cline song. Then when I first got", "her legacy, stating, \"Even though her style is considered country, her delivery is more like a classic pop singer... That's what set her apart from Loretta Lynn or Tammy Wynette. You'd almost think she was classically trained.\"Cline has been a major influence on various music artists including Reba McEntire, Loretta Lynn, LeAnn Rimes, k.d. lang, Linda Ronstadt, Trisha Yearwood, Sara Evans, Dottie West, Kacey Musgraves, Margo Price, Cyndi Lauper, Trixie Mattel and Brandi Carlile. Dottie West (also a close friend of Cline's) spoke about her influence on her own career, \"I think I was most influenced", "this time, including the 1988 musical Always...Patsy Cline. A 1991 box set of her recordings was issued that received critical acclaim. Her greatest hits album sold over 10 million copies in 2005. In 2011, Cline's childhood home was restored as a museum for visitors and fans to tour.\n\nEarly life\nVirginia Patterson Hensley was born in Winchester, Virginia, on September 8, 1932, to Hilda Virginia (née Patterson) and Samuel Lawrence Hensley. Mrs. Hensley was only 16 years old at the time of Cline's birth. Sam Hensley had been married before; Cline had two half siblings (aged 12 and 15) who lived with a foster family because of", "still kind of amazed at it myself, because there's 'Mom' and then there's 'Patsy Cline,' and I'm actually a fan.\"The present-day American female blues, swing, and rock and roll singer, songwriter and record producer Casey Hensley is a distant relation of Cline's.\n\nMarriages\nCline was married twice. Her first marriage was to Gerald Cline, on March 7, 1953. His family had owned a contracting and excavating company in Frederick, Maryland. According to Cline's brother Sam, he liked \"flashy cars and women.\" The two met while she was performing with Bill Peer at the Moose Lodge in Brunswick, Maryland. Gerald Cline said," ]

[ "When did Patsy Cline begin going by the name of Patsy?", "While a member of Bill Peer's Melody Boys and Girls, Peer encouraged Patsy Cline to have a more appropriate stage name. She changed her name from Virginia to Patsy." ]

[]

[ "12 and 15) who lived with a foster family because of their mother's death years before. After Cline, Hilda Hensley gave birth to Samuel Jr. (called John) and Sylvia Mae. Besides being called \"Virginia\" in her childhood, Cline was referred to as \"Ginny\".She temporarily lived with her mother's family in Gore, Virginia, before relocating many times throughout the state. In her childhood, the family relocated where Samuel Hensley, a blacksmith, could find employment, including Elkton, Staunton, and Norfolk. When the family had little money, she would find work. This included an Elkton poultry factory, where her job was to pluck and cut" ]

[ "Patsy Cline (born Virginia Patterson Hensley; September 8, 1932 – March 5, 1963) was an American singer. She is considered one of the most influential vocalists of the 20th century and was one of the first country music artists to cross over into pop music. Cline had several major hits during her eight-year recording career, including two number-one hits on the Billboard Hot Country and Western Sides chart.\nCline's first professional performances began at local radio station WINC when she was fifteen. In the early 1950s, Cline began appearing in a local band led by performer Bill Peer. Various local appearances led to featured performances on Connie B. Gay's", "this time, including the 1988 musical Always...Patsy Cline. A 1991 box set of her recordings was issued that received critical acclaim. Her greatest hits album sold over 10 million copies in 2005. In 2011, Cline's childhood home was restored as a museum for visitors and fans to tour.\n\nEarly life\nVirginia Patterson Hensley was born in Winchester, Virginia, on September 8, 1932, to Hilda Virginia (née Patterson) and Samuel Lawrence Hensley. Mrs. Hensley was only 16 years old at the time of Cline's birth. Sam Hensley had been married before; Cline had two half siblings (aged 12 and 15) who lived with a foster family because of", "influence on her own career, \"I think I was most influenced by Patsy Cline, she said things for people. There was so much feeling in there. In fact, she told me, 'Hoss, if you can't do it with feeling, don't'\". In 2019, Sara Evans discussed how Cline has been an influence since she was a young girl, \"I learned everything I could learn about her. I tried to mimic her singing to the ‘t’. We grew up singing in bars — my brothers, sisters and I — from the time I was really little. So I started covering every Patsy Cline song. Then when I first got", "Virginia. She was not officially added to the program's television shows until October 1955. Cline's television performances received critical acclaim. The Washington Star magazine praised her stage presence, commenting, \"She creates the moods through movement of her hands and body and by the lilt of her voice, reaching way down deep in her soul to bring forth the melody. Most female country music vocalists stand motionless, sing with monotonous high-pitched nasal twang. Patsy's come up with a throaty style loaded with motion and E-motion.\"\n\n1954–1960: Four Star Records\nIn 1954, Bill Peer created and distributed a series of demonstration tapes with Cline's voice on it. A", "Starr, Helen Morgan, Patti Page, and Kate Smith. Patti Page recollected that Cline's husband said to her, \"I just wish Patsy could have met you because she just adored you and listened to you all the time and wanted to be like you.\" Among her primary influences was Kay Starr, of whom Cline was a \"fervent devotee\" according to The Washington Post. Jack Hurst of the Chicago Tribune remarked that \"Her rich, powerful voice, obviously influenced by that of pop's Kay Starr, has continued and perhaps even grown in popularity over the decades.\" Cline was also attracted to country music radio programs, notably the Grand Ole", "in talent contests and created a nightclub cabaret act similar to performer Helen Morgan.Cline's parents had marital conflicts during her childhood and by 1947 her father deserted the family. Author Ellis Nassour of the biography Honky Tonk Angel: An Intimate Story of Patsy Cline reported Cline had a \"beautiful relationship\" with her mother. In his interviews with Hilda Hensley, he quoted Cline's mother as saying they \"were more like sisters\" than parent and child. Upon entering the ninth grade, Cline enrolled at John Handley High School in Winchester, Virginia. However, the family had trouble sustaining an income after her father's desertion. Therefore, Cline dropped out", "Peer encouraged her to have a more appropriate stage name. She changed her first name from Virginia to Patsy (taken from her middle name \"Patterson\"). She kept her new last name, Cline. Ultimately, she became professionally known as \"Patsy Cline\".In August 1953, Cline was a contestant in a local country music contest. She won 100 dollars and the opportunity to perform as a regular on Connie B. Gay's Town and Country Time. The show included country stars Jimmy Dean, Roy Clark, George Hamilton IV and Billy Grammer, and was filmed in Washington D.C. and Arlington County, Virginia. She was not officially added to the program's television", "still kind of amazed at it myself, because there's 'Mom' and then there's 'Patsy Cline,' and I'm actually a fan.\"The present-day American female blues, swing, and rock and roll singer, songwriter and record producer Casey Hensley is a distant relation of Cline's.\n\nMarriages\nCline was married twice. Her first marriage was to Gerald Cline, on March 7, 1953. His family had owned a contracting and excavating company in Frederick, Maryland. According to Cline's brother Sam, he liked \"flashy cars and women.\" The two met while she was performing with Bill Peer at the Moose Lodge in Brunswick, Maryland. Gerald Cline said,", "12 and 15) who lived with a foster family because of their mother's death years before. After Cline, Hilda Hensley gave birth to Samuel Jr. (called John) and Sylvia Mae. Besides being called \"Virginia\" in her childhood, Cline was referred to as \"Ginny\".She temporarily lived with her mother's family in Gore, Virginia, before relocating many times throughout the state. In her childhood, the family relocated where Samuel Hensley, a blacksmith, could find employment, including Elkton, Staunton, and Norfolk. When the family had little money, she would find work. This included an Elkton poultry factory, where her job was to pluck and cut", "the show's narrator and revisits memories she shared with Cline through their letter exchanges. Among the show's original performers was Mandy Barnett, who debuted the show at the Ryman Auditorium in 1994. Barnett would go on to have a music and performing career. A second musical was later released in 1991 titled A Closer Walk with Patsy Cline. The show was written by Dean Regan and has been called a \"musical retelling\" of Cline's career.\n\nArtistry\nInfluences\nCline was influenced by various music artists. Among her earliest influences were pop singers of the 1940s and 1950s. These included Kay Starr, Helen Morgan, Patti Page, and Kate Smith. Patti Page" ]

[ "When did Patsy Cline begin going by the name of Patsy?", "While a member of Bill Peer's Melody Boys and Girls, Peer encouraged Patsy Cline to have a more appropriate stage name. She changed her name from Virginia to Patsy.", "How were Patsy Cline's early years?", "In Patsy Cline's childhood, the family relocated where Sam Hensley could find employment, including Elkton, Staunton, and Norfolk." ]

[]

[ "my heart even stopped beating. The doctor put me in an oxygen tent. You might say it was my return to the living after several days that launched me as a singer. The fever affected my throat and when I recovered I had this booming voice like Kate Smith's.\" It was during this time she developed an interest in singing. She started performing with her mother in the local Baptist choir. Mother and daughter also performed duets at church social events. She also taught herself how to play the piano.With the new performing opportunities, Cline's interest in singing only grew further and at the age of 14, she told her mother" ]

[ "Patsy Cline (born Virginia Patterson Hensley; September 8, 1932 – March 5, 1963) was an American singer. She is considered one of the most influential vocalists of the 20th century and was one of the first country music artists to cross over into pop music. Cline had several major hits during her eight-year recording career, including two number-one hits on the Billboard Hot Country and Western Sides chart.\nCline's first professional performances began at local radio station WINC when she was fifteen. In the early 1950s, Cline began appearing in a local band led by performer Bill Peer. Various local appearances led to featured performances on Connie B. Gay's", "this time, including the 1988 musical Always...Patsy Cline. A 1991 box set of her recordings was issued that received critical acclaim. Her greatest hits album sold over 10 million copies in 2005. In 2011, Cline's childhood home was restored as a museum for visitors and fans to tour.\n\nEarly life\nVirginia Patterson Hensley was born in Winchester, Virginia, on September 8, 1932, to Hilda Virginia (née Patterson) and Samuel Lawrence Hensley. Mrs. Hensley was only 16 years old at the time of Cline's birth. Sam Hensley had been married before; Cline had two half siblings (aged 12 and 15) who lived with a foster family because of", "in talent contests and created a nightclub cabaret act similar to performer Helen Morgan.Cline's parents had marital conflicts during her childhood and by 1947 her father deserted the family. Author Ellis Nassour of the biography Honky Tonk Angel: An Intimate Story of Patsy Cline reported Cline had a \"beautiful relationship\" with her mother. In his interviews with Hilda Hensley, he quoted Cline's mother as saying they \"were more like sisters\" than parent and child. Upon entering the ninth grade, Cline enrolled at John Handley High School in Winchester, Virginia. However, the family had trouble sustaining an income after her father's desertion. Therefore, Cline dropped out", "influence on her own career, \"I think I was most influenced by Patsy Cline, she said things for people. There was so much feeling in there. In fact, she told me, 'Hoss, if you can't do it with feeling, don't'\". In 2019, Sara Evans discussed how Cline has been an influence since she was a young girl, \"I learned everything I could learn about her. I tried to mimic her singing to the ‘t’. We grew up singing in bars — my brothers, sisters and I — from the time I was really little. So I started covering every Patsy Cline song. Then when I first got", "my heart even stopped beating. The doctor put me in an oxygen tent. You might say it was my return to the living after several days that launched me as a singer. The fever affected my throat and when I recovered I had this booming voice like Kate Smith's.\" It was during this time she developed an interest in singing. She started performing with her mother in the local Baptist choir. Mother and daughter also performed duets at church social events. She also taught herself how to play the piano.With the new performing opportunities, Cline's interest in singing only grew further and at the age of 14, she told her mother", "Virginia. She was not officially added to the program's television shows until October 1955. Cline's television performances received critical acclaim. The Washington Star magazine praised her stage presence, commenting, \"She creates the moods through movement of her hands and body and by the lilt of her voice, reaching way down deep in her soul to bring forth the melody. Most female country music vocalists stand motionless, sing with monotonous high-pitched nasal twang. Patsy's come up with a throaty style loaded with motion and E-motion.\"\n\n1954–1960: Four Star Records\nIn 1954, Bill Peer created and distributed a series of demonstration tapes with Cline's voice on it. A", "Starr, Helen Morgan, Patti Page, and Kate Smith. Patti Page recollected that Cline's husband said to her, \"I just wish Patsy could have met you because she just adored you and listened to you all the time and wanted to be like you.\" Among her primary influences was Kay Starr, of whom Cline was a \"fervent devotee\" according to The Washington Post. Jack Hurst of the Chicago Tribune remarked that \"Her rich, powerful voice, obviously influenced by that of pop's Kay Starr, has continued and perhaps even grown in popularity over the decades.\" Cline was also attracted to country music radio programs, notably the Grand Ole", "12 and 15) who lived with a foster family because of their mother's death years before. After Cline, Hilda Hensley gave birth to Samuel Jr. (called John) and Sylvia Mae. Besides being called \"Virginia\" in her childhood, Cline was referred to as \"Ginny\".She temporarily lived with her mother's family in Gore, Virginia, before relocating many times throughout the state. In her childhood, the family relocated where Samuel Hensley, a blacksmith, could find employment, including Elkton, Staunton, and Norfolk. When the family had little money, she would find work. This included an Elkton poultry factory, where her job was to pluck and cut", "still kind of amazed at it myself, because there's 'Mom' and then there's 'Patsy Cline,' and I'm actually a fan.\"The present-day American female blues, swing, and rock and roll singer, songwriter and record producer Casey Hensley is a distant relation of Cline's.\n\nMarriages\nCline was married twice. Her first marriage was to Gerald Cline, on March 7, 1953. His family had owned a contracting and excavating company in Frederick, Maryland. According to Cline's brother Sam, he liked \"flashy cars and women.\" The two met while she was performing with Bill Peer at the Moose Lodge in Brunswick, Maryland. Gerald Cline said,", "The bell tower cost thirty five thousand dollars and was partially funded by Cline's friends Jan Howard and Loretta Lynn. In 2005, Cline's childhood home was given an official on-site marker and included on the National Register of Historic Places. With the development of an organization entitled Celebrating Patsy Cline Inc., renovations began on Cline's childhood home. In August 2011, the Patsy Cline House officially opened as a historic home for tours. In almost three months, about three thousand people visited the home. The home was restored to the era in which Cline lived in it during the 1950s with her mother and siblings. Replicas of furniture and" ]

[ "When did Patsy Cline begin going by the name of Patsy?", "While a member of Bill Peer's Melody Boys and Girls, Peer encouraged Patsy Cline to have a more appropriate stage name. She changed her name from Virginia to Patsy.", "How were Patsy Cline's early years?", "In Patsy Cline's childhood, the family relocated where Sam Hensley could find employment, including Elkton, Staunton, and Norfolk.", "How did the illnesses affect Patsy Cline?", "The fever affected Patsy Cline's throat and when she recovered she had this booming voice like Kate Smith's.", "Did Patsy Cline have any siblings?", "Patsy Cline had a sister and a brother: Sylvia Mae Hensley and Samuel Jr." ]

[]

[ "poultry factory, where her job was to pluck and cut chickens. The family moved often before finally settling in Winchester, Virginia, on South Kent Street. Cline would later report that her father sexually abused her. When confiding about the abuse to friend Loretta Lynn, Cline told her, \"take this to your grave.\" Hilda Hensley would later report details of the abuse to producers of Cline's 1985 biopic Sweet Dreams.At age 13, Cline was hospitalized with a throat infection and rheumatic fever. Speaking of the incident in 1957 she said, \"I developed a terrible throat infection and my heart even stopped beating. The doctor put me in an" ]

[ "Patsy Cline (born Virginia Patterson Hensley; September 8, 1932 – March 5, 1963) was an American singer. She is considered one of the most influential vocalists of the 20th century and was one of the first country music artists to cross over into pop music. Cline had several major hits during her eight-year recording career, including two number-one hits on the Billboard Hot Country and Western Sides chart.\nCline's first professional performances began at local radio station WINC when she was fifteen. In the early 1950s, Cline began appearing in a local band led by performer Bill Peer. Various local appearances led to featured performances on Connie B. Gay's", "my heart even stopped beating. The doctor put me in an oxygen tent. You might say it was my return to the living after several days that launched me as a singer. The fever affected my throat and when I recovered I had this booming voice like Kate Smith's.\" It was during this time she developed an interest in singing. She started performing with her mother in the local Baptist choir. Mother and daughter also performed duets at church social events. She also taught herself how to play the piano.With the new performing opportunities, Cline's interest in singing only grew further and at the age of 14, she told her mother", "in talent contests and created a nightclub cabaret act similar to performer Helen Morgan.Cline's parents had marital conflicts during her childhood and by 1947 her father deserted the family. Author Ellis Nassour of the biography Honky Tonk Angel: An Intimate Story of Patsy Cline reported Cline had a \"beautiful relationship\" with her mother. In his interviews with Hilda Hensley, he quoted Cline's mother as saying they \"were more like sisters\" than parent and child. Upon entering the ninth grade, Cline enrolled at John Handley High School in Winchester, Virginia. However, the family had trouble sustaining an income after her father's desertion. Therefore, Cline dropped out", "this time, including the 1988 musical Always...Patsy Cline. A 1991 box set of her recordings was issued that received critical acclaim. Her greatest hits album sold over 10 million copies in 2005. In 2011, Cline's childhood home was restored as a museum for visitors and fans to tour.\n\nEarly life\nVirginia Patterson Hensley was born in Winchester, Virginia, on September 8, 1932, to Hilda Virginia (née Patterson) and Samuel Lawrence Hensley. Mrs. Hensley was only 16 years old at the time of Cline's birth. Sam Hensley had been married before; Cline had two half siblings (aged 12 and 15) who lived with a foster family because of", "influence on her own career, \"I think I was most influenced by Patsy Cline, she said things for people. There was so much feeling in there. In fact, she told me, 'Hoss, if you can't do it with feeling, don't'\". In 2019, Sara Evans discussed how Cline has been an influence since she was a young girl, \"I learned everything I could learn about her. I tried to mimic her singing to the ‘t’. We grew up singing in bars — my brothers, sisters and I — from the time I was really little. So I started covering every Patsy Cline song. Then when I first got" ]

[ "When did Patsy Cline begin going by the name of Patsy?", "While a member of Bill Peer's Melody Boys and Girls, Peer encouraged Patsy Cline to have a more appropriate stage name. She changed her name from Virginia to Patsy.", "How were Patsy Cline's early years?", "In Patsy Cline's childhood, the family relocated where Sam Hensley could find employment, including Elkton, Staunton, and Norfolk.", "How did the illnesses affect Patsy Cline?", "The fever affected Patsy Cline's throat and when she recovered she had this booming voice like Kate Smith's.", "Did Patsy Cline have any siblings?", "Patsy Cline had a sister and a brother: Sylvia Mae Hensley and Samuel Jr.", "How was Patsy Cline relationship with her parents?", "Patsy Cline's father sexually abused her and deserted the family.", "Why did Patsy Cline start singing?", "Patsy Cline had a beautiful relationship with her mother. Cline's mother said they were more like sisters than parent and child." ]

[ "Virginia. She was not officially added to the program's television shows until October 1955. Cline's television performances received critical acclaim. The Washington Star magazine praised her stage presence, commenting, \"She creates the moods through movement of her hands and body and by the lilt of her voice, reaching way down deep in her soul to bring forth the melody. Most female country music vocalists stand motionless, sing with monotonous high-pitched nasal twang. Patsy's come up with a throaty style loaded with motion and E-motion.\"\n\n1954–1960: Four Star Records\nIn 1954, Bill Peer created and distributed a series of demonstration tapes with Cline's voice on it. A", "Starr, Helen Morgan, Patti Page, and Kate Smith. Patti Page recollected that Cline's husband said to her, \"I just wish Patsy could have met you because she just adored you and listened to you all the time and wanted to be like you.\" Among her primary influences was Kay Starr, of whom Cline was a \"fervent devotee\" according to The Washington Post. Jack Hurst of the Chicago Tribune remarked that \"Her rich, powerful voice, obviously influenced by that of pop's Kay Starr, has continued and perhaps even grown in popularity over the decades.\" Cline was also attracted to country music radio programs, notably the Grand Ole", "still kind of amazed at it myself, because there's 'Mom' and then there's 'Patsy Cline,' and I'm actually a fan.\"The present-day American female blues, swing, and rock and roll singer, songwriter and record producer Casey Hensley is a distant relation of Cline's.\n\nMarriages\nCline was married twice. Her first marriage was to Gerald Cline, on March 7, 1953. His family had owned a contracting and excavating company in Frederick, Maryland. According to Cline's brother Sam, he liked \"flashy cars and women.\" The two met while she was performing with Bill Peer at the Moose Lodge in Brunswick, Maryland. Gerald Cline said,", "also attracted to country music radio programs, notably the Grand Ole Opry. According to Mary Bufwack and Robert Oermann, Cline became \"obsessed\" with the program at a young age. Cline's mother Hilda Hensley commented on her daughter's admiration, \"I know she never wanted anything so badly as to be a star on the Grand Ole Opry...\" Among performers from the program she admired was Patsy Montana. Cline was also influenced by other types of performers including early rockabilly artist Charline Arthur.\n\nVoice and style\nCline possessed a contralto voice. Time magazine writer Richard Corliss called her voice \"bold\". Her voice has also been praised for", "The bell tower cost thirty five thousand dollars and was partially funded by Cline's friends Jan Howard and Loretta Lynn. In 2005, Cline's childhood home was given an official on-site marker and included on the National Register of Historic Places. With the development of an organization entitled Celebrating Patsy Cline Inc., renovations began on Cline's childhood home. In August 2011, the Patsy Cline House officially opened as a historic home for tours. In almost three months, about three thousand people visited the home. The home was restored to the era in which Cline lived in it during the 1950s with her mother and siblings. Replicas of furniture and" ]

[ "Virginia. She was not officially added to the program's television shows until October 1955. Cline's television performances received critical acclaim. The Washington Star magazine praised her stage presence, commenting, \"She creates the moods through movement of her hands and body and by the lilt of her voice, reaching way down deep in her soul to bring forth the melody. Most female country music vocalists stand motionless, sing with monotonous high-pitched nasal twang. Patsy's come up with a throaty style loaded with motion and E-motion.\"\n\n1954–1960: Four Star Records\nIn 1954, Bill Peer created and distributed a series of demonstration tapes with Cline's voice on it. A" ]

[ "Patsy Cline (born Virginia Patterson Hensley; September 8, 1932 – March 5, 1963) was an American singer. She is considered one of the most influential vocalists of the 20th century and was one of the first country music artists to cross over into pop music. Cline had several major hits during her eight-year recording career, including two number-one hits on the Billboard Hot Country and Western Sides chart.\nCline's first professional performances began at local radio station WINC when she was fifteen. In the early 1950s, Cline began appearing in a local band led by performer Bill Peer. Various local appearances led to featured performances on Connie B. Gay's", "my heart even stopped beating. The doctor put me in an oxygen tent. You might say it was my return to the living after several days that launched me as a singer. The fever affected my throat and when I recovered I had this booming voice like Kate Smith's.\" It was during this time she developed an interest in singing. She started performing with her mother in the local Baptist choir. Mother and daughter also performed duets at church social events. She also taught herself how to play the piano.With the new performing opportunities, Cline's interest in singing only grew further and at the age of 14, she told her mother", "Virginia. She was not officially added to the program's television shows until October 1955. Cline's television performances received critical acclaim. The Washington Star magazine praised her stage presence, commenting, \"She creates the moods through movement of her hands and body and by the lilt of her voice, reaching way down deep in her soul to bring forth the melody. Most female country music vocalists stand motionless, sing with monotonous high-pitched nasal twang. Patsy's come up with a throaty style loaded with motion and E-motion.\"\n\n1954–1960: Four Star Records\nIn 1954, Bill Peer created and distributed a series of demonstration tapes with Cline's voice on it. A", "this time, including the 1988 musical Always...Patsy Cline. A 1991 box set of her recordings was issued that received critical acclaim. Her greatest hits album sold over 10 million copies in 2005. In 2011, Cline's childhood home was restored as a museum for visitors and fans to tour.\n\nEarly life\nVirginia Patterson Hensley was born in Winchester, Virginia, on September 8, 1932, to Hilda Virginia (née Patterson) and Samuel Lawrence Hensley. Mrs. Hensley was only 16 years old at the time of Cline's birth. Sam Hensley had been married before; Cline had two half siblings (aged 12 and 15) who lived with a foster family because of", "in talent contests and created a nightclub cabaret act similar to performer Helen Morgan.Cline's parents had marital conflicts during her childhood and by 1947 her father deserted the family. Author Ellis Nassour of the biography Honky Tonk Angel: An Intimate Story of Patsy Cline reported Cline had a \"beautiful relationship\" with her mother. In his interviews with Hilda Hensley, he quoted Cline's mother as saying they \"were more like sisters\" than parent and child. Upon entering the ninth grade, Cline enrolled at John Handley High School in Winchester, Virginia. However, the family had trouble sustaining an income after her father's desertion. Therefore, Cline dropped out", "influence on her own career, \"I think I was most influenced by Patsy Cline, she said things for people. There was so much feeling in there. In fact, she told me, 'Hoss, if you can't do it with feeling, don't'\". In 2019, Sara Evans discussed how Cline has been an influence since she was a young girl, \"I learned everything I could learn about her. I tried to mimic her singing to the ‘t’. We grew up singing in bars — my brothers, sisters and I — from the time I was really little. So I started covering every Patsy Cline song. Then when I first got", "Starr, Helen Morgan, Patti Page, and Kate Smith. Patti Page recollected that Cline's husband said to her, \"I just wish Patsy could have met you because she just adored you and listened to you all the time and wanted to be like you.\" Among her primary influences was Kay Starr, of whom Cline was a \"fervent devotee\" according to The Washington Post. Jack Hurst of the Chicago Tribune remarked that \"Her rich, powerful voice, obviously influenced by that of pop's Kay Starr, has continued and perhaps even grown in popularity over the decades.\" Cline was also attracted to country music radio programs, notably the Grand Ole", "still kind of amazed at it myself, because there's 'Mom' and then there's 'Patsy Cline,' and I'm actually a fan.\"The present-day American female blues, swing, and rock and roll singer, songwriter and record producer Casey Hensley is a distant relation of Cline's.\n\nMarriages\nCline was married twice. Her first marriage was to Gerald Cline, on March 7, 1953. His family had owned a contracting and excavating company in Frederick, Maryland. According to Cline's brother Sam, he liked \"flashy cars and women.\" The two met while she was performing with Bill Peer at the Moose Lodge in Brunswick, Maryland. Gerald Cline said,", "also attracted to country music radio programs, notably the Grand Ole Opry. According to Mary Bufwack and Robert Oermann, Cline became \"obsessed\" with the program at a young age. Cline's mother Hilda Hensley commented on her daughter's admiration, \"I know she never wanted anything so badly as to be a star on the Grand Ole Opry...\" Among performers from the program she admired was Patsy Montana. Cline was also influenced by other types of performers including early rockabilly artist Charline Arthur.\n\nVoice and style\nCline possessed a contralto voice. Time magazine writer Richard Corliss called her voice \"bold\". Her voice has also been praised for", "the show's narrator and revisits memories she shared with Cline through their letter exchanges. Among the show's original performers was Mandy Barnett, who debuted the show at the Ryman Auditorium in 1994. Barnett would go on to have a music and performing career. A second musical was later released in 1991 titled A Closer Walk with Patsy Cline. The show was written by Dean Regan and has been called a \"musical retelling\" of Cline's career.\n\nArtistry\nInfluences\nCline was influenced by various music artists. Among her earliest influences were pop singers of the 1940s and 1950s. These included Kay Starr, Helen Morgan, Patti Page, and Kate Smith. Patti Page" ]

[ "When did Patsy Cline begin going by the name of Patsy?", "While a member of Bill Peer's Melody Boys and Girls, Peer encouraged Patsy Cline to have a more appropriate stage name. She changed her name from Virginia to Patsy.", "How were Patsy Cline's early years?", "In Patsy Cline's childhood, the family relocated where Sam Hensley could find employment, including Elkton, Staunton, and Norfolk.", "How did the illnesses affect Patsy Cline?", "The fever affected Patsy Cline's throat and when she recovered she had this booming voice like Kate Smith's.", "Did Patsy Cline have any siblings?", "Patsy Cline had a sister and a brother: Sylvia Mae Hensley and Samuel Jr.", "How was Patsy Cline relationship with her parents?", "Patsy Cline's father sexually abused her and deserted the family.", "Why did Patsy Cline start singing?", "Patsy Cline had a beautiful relationship with her mother. Cline's mother said they were more like sisters than parent and child.", "What was the outcome of Patsy Cline's singing on the show?", "She was not officially added to the program's television shows until October 1955. Patsy Cline's television performances received critical acclaim.", "How old was Patsy Cline when she began singing?", "At age 13, after her recovery in the oxygen tent, Patsy Cline developed an interest in singing." ]

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[ "Hughes, she began working steadier jobs. He organized fifty dollar bookings and got her multiple performances on the Grand Ole Opry. In January 1960, Cline officially became a member of the Opry. When she asked general manager Ott Devine about a membership he replied, \"Patsy, if that's all you want, you're on the Opry.\" Also in January 1960, Cline made her final recording sessions set forth in her contract with Four Star Records. Later that year, her final singles with the label were released: \"Lovesick Blues\" and \"Crazy Dreams\". Leaving Four Star, Cline officially signed with Decca Records in late 1960, working exclusively under" ]