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Colour guard

In military organizations, a colour guard (or color guard) is a detachment of soldiers assigned to the protection of regimental colours and the national flag. This duty is highly prestigious, and the military colour is generally carried by a young officer (ensign), while experienced non-commissioned officers (colour sergeants) are assigned to the protection of the national flag. These non-commissioned officers, accompanied in several countries by warrant officers, can be ceremonially armed with either sabres or rifles to protect the colour. Colour guards are generally dismounted, but there are also mounted colour guard formations as well.

History

As long as armies existed there was a need for soldiers to know where their comrades where. A solution to this problem was the carrying of colourful banners or other insignia. Such flags or banners either showed a personal symbol of the leader of said units or a symbol for the "state" they represented.

Such banners or flags also came to represent a units identity and history. They were therefore treated with reverence as they represented the honour and traditions of the regiment. The loss of a unit's flag was shameful, and losing that central point of reference could also make the unit break up. Therefore, regiments tended to adopt colour guards, a detachment of experienced or élite soldiers, to protect their colours. As a result, the capture of an enemy's standard was considered as a great feat of arms.

Regimental flags were sometimes awarded to a regiment by a head of state during a ceremony, which was considered a high honour usually reserved for elite units, and colours may be inscribed with battle honours or other symbols representing former achievements.

Due to the advent of modern weapons, and subsequent changes in tactics, colours are no longer used in battle but continue to be carried by colour guards at events of formal character.

People's Republic of China
In the Chinese People's Liberation Army, the colour guards include one ensign holding the flag of the People's Liberation Army as the national colour domestically or the flag of China when abroad, and two officers or senior NCOs assisting the ensign holding rifles.

In the parades of the 1950s, this configuration was present in every unit of the PLA up to the parade of 1959, but with the ensign and escorts drawn from individual formations. Today, only honour guards are granted colour guard duty to represent the whole of the PLA. Being the senior-most branch of the PLA, the Ground Forces representative serves as the ensign in the service colour guard, with the officer to his/her right being from the Navy and the officer to their left being from the Air Force. Since 1981, the PLA has continued a tradition of the colour guard detail with the PLA flag leading the Beijing Garrison Honor Guard Battalion in military parades. In December 2017, the Beijing Garrison Colour Guard Company of the People's Armed Police, which is present during flag ceremonies in Tienanmen Square in Beijing carrying the national flag, was officially attached to the honour guard battalion. Its colour guard squad follows the same format as the guard of honor colour guard squad.

Taiwan (Republic of China)
In Taiwan, the colour guard tradition of the Republic of China Armed Forces is modeled on the German, Russian and US practice. Until 1976, each military unit sported a singular stand of colours on parade, as opposed to the honour guard of the ROCAF, which is more aligned with the traditions of the US Joint Service Honour Guard of the Joint Force Headquarters National Capital Region. All colour bearers of formations above company level must be, following US tradition, holding the rank of sergeant or above as a non-commissioned officer, while the colour escorts are lower ranking enlisted personnel. All wear full dress, service dress or battle dress uniforms. Since the National Day parade of 1978, the format of unit colour guards in ROCAF formations of battalion size (and of equivalent formations) is:

 * Left escort
 * 1st 2 company guidon bearers
 * Unit colour
 * 2nd 2 company guidon bearers
 * Right escort

Brigade-level colours (and above) are guided by the left and right escorts only.

The joint service colour guard of the ROCAF General Headquarters, today as in the past, is similarly composed but is more larger, with its composition being

 * Left escort
 * Air Force Flag
 * Naval Jack
 * Army Flag
 * Flag of the Republic of China (National Colour)
 * Army Honour Guard Unit Colour
 * Navy Honour Guard Unit Colour
 * Air Force Honour Guard Unit Colour
 * Right escort

Commonwealth of Nations
Colour guards are used in the military throughout the Commonwealth of Nations, including Australia, Canada, Jamaica, New Zealand, and the United Kingdom. A colour guard unit typically consists of the standard-bearer, who is of the rank of second lieutenant or equivalent (pilot officer or sub-lieutenant), positioned in the centre of the colour guard, flanked by two or more individuals, typically armed with rifles or sabres. A colour sergeant major typically stands behind the colours carrying a pace stick. So, the formation (when the colours are combined on parade) is as follows:

 * Colour Sergeants carrying rifles
 * Ensigns
 * Sergeant of the Guard
 * Colour Sergeant Major behind the colour

Aside from presenting arms and sabres, colour guards of the Commonwealth of Nations are expected to lower their flags to the ground in full and regular salutes in ceremonies and parades. Civilians should stand during such times and soldiers are expected to salute them when not in formation.

United Kingdom
As the British Army, the Royal Air Force, the Royal Marines and the Royal Navy have several types of colours, there are also colour guards for these colours and these colours and their colour guards are as follows:

British Army (infantry)

 * King's Colour – Union Flag (Crimson with insignia and the honours for the Guards Division)
 * Colour Sergeants and Ensign
 * State Colour – Crimson with insignia and the honours and the royal cypher at the corners, used only for the Guards Division in ceremonies in the presence of the monarch
 * Colour Sergeants and Ensign
 * Regimental colour – Union Flag on the canton with the regimental arms and honours
 * Foot Guards regiments (Union Flag)
 * Royal regiments (navy blue)
 * Royal Irish Regiment (green)
 * other regimental colours
 * same as in the King's Colour
 * Combined Colour Guards (units)
 * Colour Sergeants, Ensign, Guard Sergeant of the Colours, Colour Sergeant Major

Royal Air Force

 * King's Colour – Royal Air Force Ensign with the sovereign's cypher and the RAF roundel
 * Ensign and armed escorts
 * RAF Ensign
 * Same as King's Colour
 * Squadron Colour – Air force blue with the unit insignia and honours
 * same as King's Colour
 * Combined Colour Guards (units)
 * Colour Sgts., Ensigns, Guard Sergeant of the Colours, CSM

British Army (cavalry)
In the cavalry, the King's Standard or Guidon and the regimental/squadron standard or guidon (for the light cavalry only) are the equivalents to the King's and regimental colours.
 * King's Standard – Crimson with the royal coat of arms, the royal cypher and the regimental honours
 * Colour Sergeant/Corporal of Horse, Warrant Officers
 * Regimental/squadron standard/guidon – Crimson or scarlet or other colours with the royal cypher, the Union Badge, regimental insignia and honours (only guidons are swallow tailed)
 * same as in the King's Standard/Guidon
 * Combined Colour Guards (units)
 * Colour Corporals/Sergeants, Warrant Officers, Guard Corporal/Sergeant of the Colours, Colours Corporal Major (Household Cavalry), Colours Sergeant Major (other cavalry and armour units)

Colour guards in the artillery units are technically the lead gun's crew and leader (except in the Honourable Artillery Company which uses both guns and colours) and there are no colour guards in the rifle regiments (nowadays The Rifles), the Royal Gurkha Rifles (which use the King's Truncheon) and in the Royal Hospital in Chelsea.

Royal Navy
All of the RN's King's Colours are identical. Within the RN a colour guard unit consists of:

 * King's Colour – White Ensign defaced with the sovereign's cypher and inscribed with honours
 * Ensigns and escorts
 * White Ensign
 * Same as King's Colour
 * Combined Colour Guards
 * Escorts, Ensigns, Guard Sergeant of the Colours, CSM

Royal Marines

 * King's Colour – Union Jack with the sovereign's cypher and the RM emblem and motto with the "Gibraltar" battle honour
 * Ensigns and escorts
 * Regimental colour – Union Jack on the canton and dark blue with HM King George IV's cypher and the unit name, and the sovereign's cypher on the other corners
 * Ensigns and escorts
 * Combined Colour Guards for the RM
 * Escorts, Ensigns, Guard Sergeant of the Colours, CSM

France
A French colour guards typically includes one ensign holding the flag of France as the national colour, two non-commissioned officers assisting the ensign, and three enlisted personnel behind to guard the colour.

The colour guards of France's military academies tend to wear swords; those of NCO schools, other educational institutions and active units carry rifles instead. This design is used in other countries with Francophone populations.

French colour guards render honours on the command of present arms (présentez arme). On command, the two NCOs and three enlisted will execute present arms, whether it be by presenting their sabre vertically or by putting the right hand over the handle of their weapon while the ensign lowers the national colour/unit colour somewhere close to their legs. On some occasions, the flag is not lowered unless the guard is in the presence of a dignitary (such as the President of the Republic) or a military leader (such as the Chief of the Defence Staff).

Germany
Colour guards of the Bundeswehr follow the old German traditions of a three-man colour guard team. A tradition stemming from the days of empire, the colour guard is made up of an ensign, usually a senior NCO (and historically a lieutenant), and two unarmed escorts.

Indonesia

In Indonesia, the colour guard is known as "Pataka" an abbreviation from the Indonesian term Pasukan Tanda Kehormatan which is the term used in various uniformed institutions including the Indonesian National Armed Forces (TNI), the Indonesian National Police (Polri), the Municipal Police units, etc. The Pataka consists of white-uniformed 9 to 12 guardsmen which are present during ceremonial events carrying and escorting the Colour of the institution. The Pataka are modeled from the former Dutch practice and is led by a colour sergeant positioned at the middle of the guard (rear of the ensign), while the ensign who carries the colour is usually a junior lieutenant (2nd Lieutenant or Ensign). For a battalion level, the colour is carried by a Sergeant/chief petty officer. In the case of a massed colour guard, the Ensign (1st Lieutenant/Lieutenant (junior grade) rank leads the formation. In the Army, the Horse Cavalry Detachment (Detasemen Kavaleri Berkuda) maintains a mounted colour guard unit.

Composition

 * Colour officer
 * Lead squad carrying the unit colour or national flag
 * One colour sergeant/ensign
 * Two non-commissioned officers escorting the colour
 * Relief squad
 * One replacement colour sergeant/ensign
 * Two non-commissioned officers
 * Rear guard squad of three enlisted personnel (two squads of 3–4 in the Indonesian Marine Corps)

The uniform of the colour guard in Indonesia is all-white, wearing a white ceremonial combat helmet similar to the M1 helmet, white full dress uniforms, white leather flag carrier worn by the ensign, and white parade boots. The colour guard from the military or police usually carries the Lee–Enfield or M1 Garand rifle, but sometimes the M16, FN FAL or Pindad SS1 rifle is used.

Mexico
In Mexico, an Escolta de la bandera or Escolta is used to describe colour guards and flag parties in the Spanish language. In Mexico these formations are made up of six individuals: the flag party commander and the escort proper of around 5, following the French practice. In the Mexican Armed Forces, National Guard and state police formations the colour escort squad is made up of:

 * Ensign carrying the Flag of Mexico as National Colour (Infantry and other units)/National Standard (Cavalry and Artillery (the latter in the Army only))
 * Two escorts
 * Rear section of two escorts

In Mexican schools, during flag ceremonies—or as known in Mexico juramentos a la bandera or honores a la bandera—the school's colour guard march around the schoolyard while the rest of the students and school staff sing the national anthem; once they finish, the pledge of allegiance is recited, even though it's not mandated by law to do so, and finally the colour guard march off.

Normally, the honour of being part of such colour guards—or as known in Mexico escoltas—is bestowed upon disciplined students with high grades in the latest school year (6th grade in elementary schools, 9th grade in middle schools, and 12th grade in high schools). Sometimes, though, students from lower years or with lower grades may be chosen. Some schools only employ female students.

The layout consists of the flag-bearer flanked by two escorts—the right and the left escort—on the rear there are two rearguards and finally to the right escort's right is the commander. Normally the shortest members happen to be the rearguards. They wear their school dress or athletic uniform.

Netherlands
The Dutch armed forces have similar ranks corresponding to a colour guard, the vaandrig and kornet (aspirant officers who have not been sworn in yet). The colour guard practice mirrors that of the United Kingdom, with an ensign of second lieutenant rank (or equivalent), armed escorts, and a colour guard commander. All wear full dress uniform as a general rule.

Post-Soviet states
The practices of the colour guards for the armed forces of a number of post-Soviet states in the Commonwealth of Independent States are similar to one another, adopting the practice from the former Soviet Armed Forces. Colour guards from these states are typically composed of a colour officer, one ensign or senior NCO holding the flag of their respective country as the national colour or the unit colour, and two enlisted personnel assisting the ensign. Active units, military academies, and guards of honour carry sabers in the colour guard, if needed, rifles may be substituted. The guard wears full or combat dress uniform.

If there are multiple colour guards marching in a parade at the same time, one guard is required to march directly behind the first guard. During the Soviet era, the Soviet flag was never allowed to be paraded by a military colour guard, with military and regimental flags only being paraded in colour guards. On occasion during the Soviet era, the Victory Banner was also used in colour guard teams, with the last known occasions being in 1975, 1977, 1985, 1987 and 1990.

However, several post-Soviet armed forces have deviated/modified the practices of the former Soviet colour guard; evident with the colour guards of the Turkmen Ground Forces, and the Armed Forces of Ukraine, whose colour guards dip their flags as a form of salute.

The customs practiced by the colour guards of the former Soviet Armed Forces was also adopted by the Mongolian Armed Forces, given the historical relationship between the two countries. Other countries such as Afghanistan, Cuba (replacing the United States practice after 1959), North Korea and Vietnam have adopted this variant of the Soviet system.

Romania
A standard template for a colour guard formation in the Romanian Armed Forces follows French precedent but with the addition of a colour officer leading the formation. The front of the guard is made up of the ensign, a junior officer, flanked by two armed or unarmed escorts, together with the colour officer, with three rear escorts behind the ensign.

From 1949 to 1986 the Army of the Socialist Republic of Romania and Securitate followed Soviet practice in colour guard training and protocols. Since that year the old tradition was restored in the uniformed organizations and thus remains till today in the country.

Colours of battalions and brigades are not provided with a colour guard at all since they were introduced in the 2000s.

Serbia
Given a shared heritage with Austria and Turkey plus its own traditions, the modern Serbian Armed Forces maintains a colour guard component. Every unit of the Armed Forces has a colour company that includes the colour company commander and the colour guards; which includes one ensign, usually a subaltern officer, two armed senior NCOs serving as colour escorts, and two honour guard platoons guarding the colour from the rear also armed. Unlike in other countries the colour guard company wears either full or combat dress. The Guard of the Serbian Armed Forces has its colour company wearing dress uniform.

Sweden
In Sweden the colour guard can be composed in three distinct manners: Greater colour guard, smaller colour guard and an officers guard. Each regiment, or military unit that carries a colour, in Sweden sets up its own colour guard. The Swedish military rank of fänrik (and the corresponding cavalry rank of kornet) was originally intended for the holder of the company flag. This duty was considered so prestigious that an officer was necessary to carry it out. Today, it is a regular officer rank.

Composition
A expanded colour guard composed of two commissioned officers, called fanförare (ensigns, literally carriers of the colour) and eight enlisted personnel behind the colour or colours. This stems from the time of king Gustavus Adolphus and the Thirty Years' War when all Swedish regiments had eight battalions. Each battalion contributed one soldier to the common colour guard. If one colour is carried the second officer serves as the colour officer.

A smaller colour guard is composed of one commissioned officer and four enlisted soldiers. An officers colour guard is composed of three commissioned officers, one ensign and two officer escorts carrying sabres.

United States

In the military of the United States, the colour guard carries the national colour and other flags appropriate to its position in the chain of command. Typically these include a unit flag and a departmental flag (Army, Marines, Navy, Air Force, Space Force or Coast Guard, plus the National Guard Bureau (Army and/or Air Force)). In addition to the flag bearers, who are positioned in the center of the colour guard, there are two or more individuals who carry rifles and or sabres. This is a symbol that the flag (and its nation) will always be protected.

Composition of the US colour guard
In the U.S., traditionally, the unit's sergeant major is responsible for the safeguarding, care, and display of the organizational colours. The sergeant major is also responsible for the selection, training, and performance of the members. The colour guard consists of enlisted members and is commanded by the senior (colour) Sergeant, who carries the National Colors and gives the necessary commands for movements and rendering honours during drill exercises or parade ceremonies.

Being assigned to the colour guard is considered an honour due to the fact that these individuals present and carry the symbols of their unit and country. Depending on the circumstance and subject to the orders of their commander, members may wear full dress or less formal uniforms. It is mandatory for all members of the colour guard to wear headgear, for example, a garrison cap, beret, or service cap. On occasion, certain colour guards can be horse-mounted.

A US colour guard is made up of a "Color Sergeant" carrying the National Colours and serves as the unit commander, a unit or command colour bearer, and two colour escorts carrying rifles and/or sabres. If multiple colours are carried, multiple colour bearers may be needed.

Rendering honours and Maneuvering
The U.S. colour guard is formed and marched in one rank at close interval. Since the National Colors must always be in the position of honour on the right, the colour guard must execute a special movement to reverse direction. It does not execute rear march, nor does it execute about face. Rather, it performs a maneuver derived from the standard counter-column command, generally known as counter march or color reverse march, in order to keep the precedence of flags in order. Other drill movements performed by the colour guard include presenting arms, left and right wheel (turns) marches, eyes right (upon passing the reviewing stand during a parade), casing / uncasing the colour, and fixing/unfixing bayonets (by the arms bearers). Liberation Day parade.

The colour guard renders honours when the national anthem is played or sung, when passing in review during a parade, or in certain other circumstances. In these cases, the unit and departmental flags salute by dipping (leaning the flag forward). However, with the exception of a response to a naval salute, the United States national flag renders no salute. This is enshrined in the United States Flag Code and U.S. law.

In the U.S. military, individuals or units passing or being passed by uncased (unfurled) colours render honours when outdoors. Individuals who are not part of any formation begin the hand salute when the colours are six paces distant and hold it until they have passed six paces beyond the colours.

Civilians are expected to stand at the position of attention with their right hand placed over their heart for the same period, and the hand salute applies to uniformed organizations as well (specifically the Boy Scouts of America and Girl Scouts of the USA). Since recently, veterans are expected to hand salute the colours too, like their military counterparts including personnel not in uniform.

In film and television
""On Guard: A Story of American Youth"     is 2023 documentary film directed by Allen Otto and executive produced by Jim Czarnecki. The film premiered at the 2023 Philadelphia Latino Film Festival. The film follows the journey of an all-female color guard team at Bel Air High School whose goal is to qualify for the 2020 WGI World Championships, which were ultimately canceled due to the COVID-19 pandemic, with a performance dedicated to the victims of the 2019 El Paso Shooting.

Contemporary Color is a 2016 documentary film directed by Turner Ross and Bill Ross IV. The film was produced as a collaboration between David Byrne, Michael Gottwald, Dan Janvey and Josh Penn.

title: Colour guard


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Multi-user software

Multi-user software is computer software that allows access by multiple users of a computer. Time-sharing systems are multi-user systems. Most batch processing systems for mainframe computers may also be considered "multi-user", to avoid leaving the CPU idle while it waits for I/O operations to complete. However, the term "multitasking" is more common in this context.

An example is a Unix or Unix-like system where multiple remote users have access (such as via a serial port or Secure Shell) to the Unix shell prompt at the same time. Another example uses multiple X Window sessions spread across multiple terminals powered by a single machine – this is an example of the use of thin client. Similar functions were also available in a variety of non-Unix-like operating systems, such as Multics, VM/CMS, OpenVMS, MP/M, Concurrent CP/M, Concurrent DOS, FlexOS, Multiuser DOS, REAL/32, OASIS, THEOS, PC-MOS, TSX-32 and VM/386.

Some multi-user operating systems such as Windows versions from the Windows NT family support simultaneous access by multiple users (for example, via Remote Desktop Connection) as well as the ability for a user to disconnect from a local session while leaving processes running (doing work on their behalf) while another user logs into and uses the system. The operating system provides isolation of each user's processes from other users, while enabling them to execute concurrently.

Management systems are implicitly designed to be used by multiple users, typically one system administrator or more and an end-user community.

The complementary term, single-user, is most commonly used when talking about an operating system being usable only by one person at a time, or in reference to a single-user software license agreement. Multi-user operating systems such as Unix sometimes have a single user mode or runlevel available for emergency maintenance. Examples of single-user operating systems include MS-DOS, OS/2 and Classic Mac OS.

license: Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/4.0/

title: Multi-user software


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Sousaphone

The sousaphone is a brass musical instrument in the tuba family. Created around 1893 by J. W. Pepper at the direction of American bandleader John Philip Sousa (after whom the instrument was then named), it was designed to be easier to play than the concert tuba while standing or marching, as well as to carry the sound of the instrument above the heads of the band. Like the tuba, sound is produced by moving air past the lips, causing them to vibrate or "buzz" into a large cupped mouthpiece. Unlike the tuba, the instrument is bent in a circle to fit around the body of the musician; it ends in a large, flaring bell that is pointed forward, projecting the sound ahead of the player. Because of the ease of carrying and the direction of sound, it is widely employed in marching bands, as well as various other musical genres. Sousaphones were originally made of brass. Beginning in the mid-20th century, some sousaphones have also been made of lighter materials such as fiberglass & plastic.

History
The first sousaphone was built by James Welsh Pepper in 1893 at the request of John Philip Sousa, who was dissatisfied with the hélicons in use by the United States Marine Band. Some sources credit C.G. Conn with its construction, because of the first sousaphone he built later in 1898. Sousa wanted a tuba-like instrument that would send sound upward and over the band, much like a concert (upright) tuba. The new instrument had an oversized bell pointing straight up, rather than the directional bell of a normal hélicon.

The sousaphone was initially developed as a concert instrument rather than for marching. Sousa wanted the new instrument for the professional band which he started after leaving the Marines, and this band marched only once. Sousa mainly used sousaphones built by C.G. Conn. Although less balanced on a player's body than a helicon, because of the large spectacular bell high in the air, the sousaphone retained the tuba-like sound by widening the bore and throat of the instrument significantly. Its upright bell led to the instrument being dubbed a "rain-catcher". Some versions of this design allowed the bell to also rotate forward, projecting the sound to the front of the band. This bell configuration remained the standard for several decades and is the standard today.

The instrument proved practical for marching, and by 1908 the United States Marine Band adopted it.

Versions with the characteristic extra 90° bend making a forward-facing bell were developed in the early 1900s. Early sousaphones had 22 in bells, with 24 in bells popular in the 1920s. From the mid-1930s onward, sousaphone bells have been standardized at a diameter of 26 in. Some larger sousaphones (Monster, Grand, Jumbo, Giant or Grand Jumbo, depending on brand) were produced in limited quantities.

Construction
The sousaphone is a valved brass instrument with the same tube length and musical range as other tubas. The sousaphone's shape is such that the bell is above the tubist's head and projecting forward. The valves are situated directly in front of the musician slightly above the waist and all of the weight rests on the left shoulder. The bell is normally detachable from the instrument body to facilitate transportation and storage. Except for the instrument's general shape and appearance, the sousaphone is technically similar to a tuba.

For simplicity and light weight, modern sousaphones almost always use three non-compensating piston valves in their construction, in direct contrast to their concert counterparts' large variation in number, type, and orientation. Both the tuba and sousaphone are semi-conical brass instruments. No valved brass instrument can be entirely conical, since the middle section containing the valves must be cylindrical. While the degree of bore conicity does affect the timbre of the instrument, much as in a cornet and trumpet, or a euphonium and a trombone, the bore profile of a sousaphone is similar to that of most tubas.

To facilitate making the mouthpiece accessible to players of different height or body shapes, most sousaphones contain a detachable tubing gooseneck which arises from the lead pipe on the upwind side of the valves. One or two slightly-angled bit(s) (short tubing lengths) are inserted into the gooseneck, and then the mouthpiece is inserted into the terminal bit. This arrangement may be adjusted in height and yaw angle to place the mouthpiece comfortably at the player's lips.

Materials
Most sousaphones are manufactured from sheet brass, usually yellow or silver, with silver, lacquer, and gold plating options, much like many brass instruments. However, the sousaphone (uniquely) is also commonly seen manufactured from fiberglass, due to its lower cost, greater durability, and significantly lighter weight.

The weight of a sousaphone can be between 18 lb and 50 lb.

Pitch
Most modern sousaphones are made in the key of BB ♭ (Low B Flat) and like tubas (which are commonly made in pitches of BB♭, CC, EE♭, and F) the instrument's part is written in "concert pitch", not transposed by key for a specific instrument. Although sousaphones may have a more restricted range than their concert tuba counterpart (most sousaphones have 3 valves instead of 4 to reduce weight), generally they can all play the same music and usually have parts written in the bass clef and the indicated octave is played (unlike double bass or electric bass that sound an octave lower than the indicated note). Many older sousaphones were pitched in the key of E♭, but current production of sousaphones in that key is limited.

Varieties
Although most major instrument manufacturers have made, and many continue to make, sousaphones, Conn and King (H.N. White) instruments are generally agreed among players to be the standards against which other sousaphones are judged for tone quality and playability. Perhaps the most highly regarded sousaphone ever built is the 0.734 in Conn model 20K, introduced in the mid-1930s and still in production. Some players, especially those who find the 20K too heavy for marching, prefer the slightly smaller 0.687 in King model 1250, first made in the late 1920s and also still in production as model 2350. Historically, Holton, York and Martin sousaphones have also been considered fine horns.

Very large bore (>= 0.750 inch) sousaphones, with oversized bells as large as 32 in in diameter, were made by Conn ("Grand Jumbo" [46K (3-valve) & 48K (4-valve)]) and King ("Jumbo" [1265 (3- & 4-valve versions)] & "Giant" [1270 (3-valve) & 1271 (4-valve)]) in the mid-1920s and 1930s, and by Martin, York, & Buescher, but they disappeared from the catalogs during the Depression or at the onset of World War II. Because of their weight and cost, few were made and even fewer survive, especially the 4-valve models.

Fiberglass
In recent years, sousaphones have been available made of fiberglass reinforced plastics instead of brass. The fiberglass versions are used mainly for marching, with brass instruments being used for all other situations. Fiberglass sousaphones can be found commonly in younger marching bands, such as middle schools, due to their lightened weight load. Depending on the model, the fiberglass version does not have as dark and rich a tone as the brass (King fiberglass sousaphones tended to have smooth fiberglass and a tone somewhat more like a brass sousaphone; Conn fiberglass sousaphones often had rough fiberglass exteriors and a thinner sound; the Conn is also lighter).

Additional valves
In the 1920s and 1930s, four-valved sousaphones were often used by professional players, especially E♭ sousaphones; today, however, four-valved B♭ sousaphones are uncommon and are prized by collectors, especially those made by Conn, King (H.N. White), and Holton. Jupiter Company started production of four-valve BB♭ sousaphones in the late 2000s, and Dynasty USA makes a four-valve BB♭ sousaphone as well. Criticisms of the fourth valve on a sousaphone center on additional weight, although the fourth valve improves intonation and facilitates playing of the lower register.

Due to the large size of most sousaphones, the sub-contra register (for which the fourth valve is largely intended) is already covered by alternate resonances, known as "false tones" (see Tuba article). Many beginners are not aware of the false-tone resonances on their sousaphones because these notes reside in the sub-contra register, which is nearly impossible for most beginners to access. Some professionals develop a "raised embouchure" to securely play these notes. This is where either the upper or lower lip (depending on the player) takes up most of the mouthpiece area. The embouchure provides almost twice the room for vibration of the single lip (compared to the 50–50 embouchure).

Non-American sousaphones
Asian sousaphones made in China and India are gaining popularity in the street band market. In Switzerland and Southern Germany, "Guggenmusik" bands often use these instruments that provide great display and passable tone. Most are tuned in E♭. Brands like Zweiss with older British designs make affordable sousaphones that have broken the €500 barrier. These are mostly in the medium-bell size of 23 in. Chinese brands are mostly reverse-engineered models and quite passable.

Special effects
In large marching bands of the United States, the bell is often covered with a tight fitting cloth, called a sock, which enables the sousaphone section to spell out the school's name, initials, or mascot. The Leland Stanford Junior University Marching Band Tööbz! have a tradition of painting the front surface of their sousaphone bells with a variety of images.

Sousaphone players are also known to perform the 'flaming tubas' in which flash paper is ignited in the bell, thus making it appear as if the musician is breathing fire. David Silverman developed a propane powered flaming sousaphone with a trigger valve to control an array of flame jets across the top of the bell of his horn. The Yale Precision Marching Band has made a tradition of setting fire to the tops of the bells of their sousaphones, including in the fall of 1992 when sousaphones served as the "candles" of a "wedding cake" formed by the band when two band alumni were married during a halftime show. They also utilize what they refer to as the "Überphone", a sousaphone that was disassembled from its coiled format and welded back together on a twelve-foot frame to extend straight up from the player's shoulders.

College marching bands
John Philip Sousa was a benefactor of the University of Illinois music program and a friend of the university's Director of Bands Albert Austin Harding. The Marching Illini became the first band to march in a football halftime show, and were the first band to use sousaphones on the field.

The sousaphone sections of some marching bands have developed specialized performance traditions. The University of California Marching Band Bass section traditionally "struts" during the band's pregame show. During the "strut" the section separates from the rest of the band, circles the North goal post, and rejoins the band to complete the Script Cal. The University of Southern California Trojan Marching Band sousaphones play John Williams' "Imperial March" from Star Wars in single file when crossing streets on their way to and from performances on the USC campus. When The Ohio State University Marching Band performs its traditional Script Ohio formation, a senior sousaphone player dots the "i". The Fightin' Texas Aggie Band sousaphone section (called "Bass Horns" within the university) execute a distinct two-step and four-step counter-march during marching performances. During halftime performances this is accompanied (specifically for the last rank consisting all of 12 bass horns) by a "huh! huh!" from the crowd.

The University of Delaware Fightin' Blue Hen Marching Band has several traditions involving sousaphone players. During pre-game, they branch off from the rest of the band. From here, the sousaphone players run in a snake around the field jumping to drum line cadence. At most pre-games they act out a skit as well. At post game, "In My Life" by The Beatles is played featuring a sousaphone solo while the band sings.

Musical genres
The sousaphone is an important fixture of the New Orleans brass band tradition and is still used in groups such as the Dirty Dozen Brass Band by Kirk Joseph. Soul Rebels Brass Band from New Orleans features sousaphone player Edward Lee Jr.

Sinaloa, a state of Mexico, has a type of music called Banda Sinaloense, and the sousaphone is used there as a tuba.

Damon "Tuba Gooding Jr." Bryson from The Roots played the sousaphone on Late Night with Jimmy Fallon. He now does this for The Tonight Show Starring Jimmy Fallon.

Nat Mcintosh is the sousaphone player and co-founder of Youngblood Brass Band, who play a mixture of traditional New Orleans style brass band music and hip hop.

The Lemon Bucket Orkestra, a Canadian self-described "Balkan-Klezmer-Gypsy-Punk-Super-Party-Band", features a sousaphone as one of their instruments.

Red Baraat, a Brooklyn-based dhol & brass band that fuses North Indian Bhangra with hip-hop, go-go and jazz music, features John Altieri on sousaphone.

In Israel there's a growing scene of brass bands that use Sousaphone for the bass function, including acts such as Marsh Dondurma, Las Piratas Piratas and Pam Pah Orkestra.

Notable players
Warren G. Harding, the 29th President of the United States, was a sousaphone player who played well enough to join the band celebrating his election.

Jeanie Schroder of the band DeVotchKa plays sousaphone on several of the band's songs.

Tuba Gooding Jr. (Damon Bryson) plays sousaphone for The Roots.

title: Sousaphone


text:
John Philip Sousa

John Philip Sousa (, ; November 6, 1854 – March 6, 1932) was an American composer and conductor of the late Romantic era known primarily for American military marches. He is known as "The March King" or the "American March King", to distinguish him from his British counterpart Kenneth J. Alford. Among Sousa's best-known marches are "The Stars and Stripes Forever" (National March of the United States of America), "Semper Fidelis" (official march of the United States Marine Corps), "The Liberty Bell", "The Thunderer", and "The Washington Post".

Sousa began his career playing violin and studying music theory and composition under John Esputa and George Felix Benkert. Sousa's father enlisted him in the United States Marine Band as an apprentice in 1868. He left the band in 1875, and over the next five years, Sousa performed as a violinist and learned to conduct. In 1880, he rejoined the Marine Band and served there for 12 years as director, after which Sousa was hired to conduct a band organized by David Blakely, P.S. Gilmore's former agent. Blakely wanted to compete with Gilmore. From 1880 until his death, Sousa focused exclusively on conducting and writing music. He aided in the development of the sousaphone, a large brass instrument similar to the helicon and tuba.

Upon the USA joining World War I, Sousa was awarded a wartime commission of lieutenant to lead the Naval Reserve Band in Illinois. He then returned to conduct the Sousa Band until his death in 1932. In the 1920s, Sousa was promoted to the permanent rank of lieutenant commander in the naval reserve.

Early life and education
John Philip Sousa was born in Washington, D.C., the third of ten children of João António de Sousa (John Anthony Sousa) (September 22, 1824 – April 27, 1892), who was born in Spain to Portuguese parents, and his wife Maria Elisabeth Trinkhaus (May 20, 1826 – August 25, 1908), who was German and from Bavaria. Sousa began his music education under the tuition of John Esputa Sr., who taught him solfeggio. However, this was short-lived due to the teacher's frequent bad temper. Sousa's real music education began in 1861 or 1862 as a pupil of John Esputa Jr., the son of his previous teacher under whom Sousa studied violin, piano, flute, several brass instruments, and singing. Esputa shared his father's bad temper, and the relationship between teacher and pupil was often strained, but Sousa progressed very rapidly and was also found to have perfect pitch. During this period, Sousa wrote his first composition, "An Album Leaf", but Esputa dismissed it as "bread and cheese", and the composition was subsequently lost.

Sousa's father was a trombonist in the Marine Band, and he enlisted Sousa in the United States Marine Corps as an apprentice at age 13 to keep him from joining a circus band. That same year, Sousa began studying music under George Felix Benkert. Sousa was enlisted under a minority enlistment, meaning that he would not be discharged until his 21st birthday.

Career
Sousa completed his apprenticeship in 1875 and began performing on the violin. He then joined a theatrical pit orchestra where he learned to conduct. Sousa returned to the Marine Band as its head in 1880 and remained as its conductor until 1892. He led "The President's Own" band under five presidents from Rutherford B. Hayes to Benjamin Harrison. Sousa's band played at the inaugural balls of James A. Garfield in 1881 and Benjamin Harrison in 1889.

The marching brass bass or sousaphone is a modified helicon created in 1893 by Philadelphia instrument maker J. W. Pepper at Sousa's request, using several of his suggestions in its design. Sousa wanted a tuba that could sound upward and over the band whether its player was seated or marching. C.G. Conn recreated the instrument in 1898, and this was the model that Sousa preferred to use.

Sousa organized The Sousa Band the year that he left the Marine Band, and it toured from 1892 to 1931 and performed at 15,623 concerts, both in America and around the world, including at the World Exposition in Paris and at the Royal Albert Hall in London. In Paris, the Sousa Band marched through the streets to the Arc de Triomphe, one of only eight parades that the band marched in during its 40 years.

Military service
In 1868, Sousa enlisted in the Marine Corps at age 13 as an apprentice musician (his rank listed as "boy"). He left the Marine Corps in 1875. His second period of service began in 1880 and continued until 1892. During this period, Sousa led the Marine Band through its development into the country's premier military band.

The Columbia Phonograph Company produced 60 recordings of the Marine Band conducted by Sousa, which led to his national fame. In July 1892, Sousa requested a discharge from the Marine Corps to pursue a financially promising civilian career as a band leader. He conducted a farewell concert at the White House on July 30, 1892, and was discharged from the Marine Corps the next day.

Sousa was commissioned as a lieutenant in the Naval Reserve on May 31, 1917, shortly after the United States declared war on Germany and entered World War I. He was 62 years old, the mandatory retirement age for Navy officers. During the war, Sousa led the Navy Band at the Great Lakes Naval Station near Chicago, and he donated all of his naval salary except a token $1 per month to the Sailors' and Marines' Relief Fund. Sousa was discharged from active duty after the end of the war in November 1918 and returned to conducting his own band. In the early 1920s, Sousa was promoted to lieutenant commander in the Naval Reserve but did not return to active duty. He frequently wore his Navy uniform during performances for the remainder of his life.

For his service during the war, Sousa received the World War I Victory Medal and was elected as a Veteran Companion of the Military Order of Foreign Wars. He was also a member of the New York Athletic Club and Post 754 of the American Legion.

Personal life
On December 30, 1879, Sousa married Jane van Middlesworth Bellis, who was descended from Adam Bellis who served in the New Jersey troops during the American Revolutionary War. They had three children together: John Philip Jr., Jane Priscilla, and Helen.

On July 15, 1881, the "March King" was initiated into Freemasonry by Hiram Lodge No. 10 (Now Hiram-Takoma Lodge No. 10) in Washington, D.C., where he remained an active member until his death in 1932. Among other Masonic honors he was named the Honorary Band Leader of the Temple Band of Almas Shriners, the DC-based Chapter of Shriners International. A number of his compositions were for the organization, including the "Nobles of the Mystic Shrine" March.

In his later years, Sousa lived in Sands Point, New York. He died of heart failure at the age of 77 on March 6, 1932, in his room at the Abraham Lincoln Hotel in Reading, Pennsylvania. Sousa had conducted a rehearsal of "The Stars and Stripes Forever" the previous day with the Ringgold Band as its guest conductor. Sousa is buried in Washington, D.C.'s Congressional Cemetery. Each November 6 the Marine Band performs Semper Fidelis at Sousa's grave. His house Wildbank has been designated as a National Historic Landmark, although it remains a private home and is not open to the public.

Sousa has surviving descendants today; one of his great-grandsons, John Philip Sousa IV, works as a political activist for the Republican Party.

Honors
Sousa was decorated with the palms of the Order of Public Instruction of Portugal and the Order of Academic Palms of France. He also received the Royal Victorian Medal from King Edward VII of the United Kingdom in December 1901 for conducting a private birthday concert for Queen Alexandra.

In 1922, Sousa accepted the invitation of the national chapter to become an honorary member of Kappa Kappa Psi, the national honorary band fraternity. In 1932, he was initiated as an honorary member of Phi Mu Alpha Sinfonia, a national fraternity for men in music, by the fraternity's Alpha Xi chapter at the University of Illinois.

The World War II Liberty ship SS John Philip Sousa was named in Sousa's honor. The Marine Band possesses the ship's bell, using it in performances of the "Liberty Bell March".

In 1952, 20th Century Fox honored Sousa in their Technicolor feature film Stars and Stripes Forever with Clifton Webb portraying him. It was loosely based on Sousa's memoirs Marching Along.

In 1987, an act of Congress named "The Stars and Stripes Forever" as the national march of the United States.

In 2012, a crater on the planet Mercury was named in Sousa's honor. He was posthumously enshrined in the Hall of Fame for Great Americans in 1976.

Memberships
Sousa was a member of the Sons of the Revolution, Military Order of Foreign Wars, American Legion, Freemasons, and the Society of Artists and Composers. He was also a member of the Salmagundi, Players, Musicians, New York Athletic, Lambs, Army and Navy and the Gridiron clubs of Washington.

Music
Sousa wrote over 130 marches, 15 operettas, 5 overtures, 11 suites, 24 dances, 28 fantasies, and countless arrangements of nineteenth-century western European symphonic works.

Marches
Sousa wrote over 130 marches, published by Harry Coleman of Philadelphia, Carl Fischer Music, the John Church Company, and the Sam Fox Publishing Company, the last association beginning in 1917 and continuing until his death. Some of his more well-known marches include: Sousa wrote marches for several American universities, including the University of Minnesota, University of Illinois, University of Nebraska, Kansas State University, Marquette University, Pennsylvania Military College (Widener University), and the University of Michigan.
 * "Review" (1873) (Sousa's first published march)
 * "The Gladiator March" (1886)
 * "Semper Fidelis" (1888) (Official March of the United States Marine Corps)
 * "The Washington Post" (1889)
 * "The Thunderer" (1889)
 * "The Loyal Legion March" (1890)
 * "High School Cadets" (1890)
 * "The Liberty Bell" (1893) (later used as the credits theme for Monty Python's Flying Circus TV series)
 * "Manhattan Beach March" (1893)
 * "King Cotton" (1895)
 * "Stars and Stripes Forever" (1896) (National March of the United States)
 * "El Capitan" (1896)
 * "Hands Across the Sea" (1899)
 * "Hail to the Spirit of Liberty" March (1900)
 * "The Invincible Eagle" (1901) (dedicated to Pan-American Buffalo Exposition) (Interim United States Space Force Anthem)
 * "Imperial Edward" March (1902) Dedicated to King Edward VII of the United Kingdom
 * "Fairest of the Fair" (1908)
 * "Glory of the Yankee Navy" (1909)
 * "Columbia's Pride" (1914)
 * "U.S. Field Artillery" (1917) (modified version "The Army Goes Rolling Along" is the official song of the U.S. Army)
 * "Anchor & Star" (1918) Dedicated "To the U.S. Navy"
 * "Who's Who in Navy Blue" (1920) (composed at the request of the United States Naval Academy class of 1920 and dedicated to Tamanend, a bronze reproduction of the figurehead of the U.S.S. Delaware that occupies a key place at the Academy)
 * "The Gallant Seventh" (1922)
 * "The Dauntless Battalion" (1922) Dedicated "To Col. Hyatt, the Faculty and Cadets of the Pennsylvania Military College" (Now Widener University in Chester, PA)
 * "Nobles of the Mystic Shrine" (1923)
 * "The Black Horse Troop" (1924) (written in honor of Troop A, 107th Cavalry, Ohio National Guard).
 * "Pride of the Wolverines" (1926)
 * "The Minnesota March" (1927) Dedicated to "The faculty and students of the University of Minnesota"
 * "New Mexico March" (1928)
 * "Salvation Army March" (1930) (dedicated to the Salvation Army's 50th anniversary in the U.S.)

Operettas
Sousa wrote many notable operettas, including:
 * Désirée (1883), libretto by Edward M. Taber
 * El Capitan (1896), libretto by Charles Klein
 * The Charlatan (1898), also known as The Mystical Miss, book by Charles Klein and lyrics by Sousa
 * Chris and the Wonderful Lamp (1899), libretto by Glen MacDonough

Marches and waltzes have been derived from many of these stage-works. Sousa also composed the music for six operettas that were either unfinished or not produced: The Devils' Deputy, Florine, The Irish Dragoon, Katherine, The Victory, and The Wolf.

In addition, Sousa wrote a march based on themes from Gilbert and Sullivan's comic opera The Mikado, the elegant overture Our Flirtations, several musical suites, etc. He frequently added Sullivan opera overtures or other Sullivan pieces to his concerts.

Sousa was quoted saying, "My religion lies in my composition."

Hobbies, writing, and recording
Sousa ranked as one of the all-time great trapshooters and was enshrined in the Trapshooting Hall of Fame. He organized the first national trapshooting organization, a forerunner to today's Amateur Trapshooting Association (ATA). He also wrote numerous articles about trapshooting. He was a regular competitor representing the Navy in trapshooting competitions, particularly against the Army. Records indicate that Sousa registered more than 35,000 targets during his shooting career. "Let me say that just about the sweetest music to me is when I call, 'pull,' the old gun barks, and the referee in perfect key announces, 'dead'."

In Sousa's 1902 novella The Fifth String, a virtuoso violinist makes a deal with the Devil for a magic violin with five strings. The first four strings excite the emotions of Pity, Hope, Love, and Joy, but the fifth string, made from the hair of Eve, will cause the player's death once played. The violinist wins the love of the woman he desires, but out of jealous suspicion, she commands him to play the death string, which he does. Sousa published Pipetown Sandy in 1905, which includes a satirical poem titled "The Feast of the Monkeys". He wrote a 40,000-word story entitled "The Transit of Venus" in 1920. Sousa also wrote the booklet "A manual for trumpet and drum", published by the Ludwig Drum Company with advice for playing drums and trumpet. An early version of the trumpet solo to "Semper Fidelis" was included in this volume.

Sousa held a very low opinion of the emerging recording industry. He derided recordings as "canned music", a reference to the early wax cylinder records that came in can-like cylindrical cardboard boxes. He argued to a congressional hearing in 1906: "These talking machines are going to ruin the artistic development of music in this country. When I was a boy... in front of every house in the summer evenings, you would find young people together singing the songs of the day or old songs. Today you hear these infernal machines going night and day. We will not have a vocal cord left. The vocal cord will be eliminated by a process of evolution, as was the tail of man when he came from the ape."

Sousa's antipathy to recording was such that he did not conduct his band when it was being recorded. Nevertheless, the band made numerous recordings, the earliest being issued on cylinders by several companies, followed by many recordings on discs by the Berliner Gramophone Company and its successor, the Victor Talking Machine Company (later RCA Victor). The Berliner recordings were conducted by Henry Higgins (one of Sousa's cornet soloists) and Arthur Pryor (Sousa's trombone soloist and assistant conductor). Sousa claimed that he had "never been in the gramophone company's office in my life". Sousa did conduct a few of the Victor recordings, but most were conducted by Pryor, Herbert L. Clarke, Edwin H. Clarke, Walter B. Rogers (who had also been a cornet soloist with Sousa), Rosario Bourdon, Josef Pasternack, or Nathaniel Shilkret. Details of the Victor recordings are available in the external link below to the EDVR.

After the introduction of electrical recording in 1925 Sousa changed his mind about phonograph records. After a demonstration of the Orthophonic Victrola on October 6, 1925, at the Waldorf-Astoria Hotel he said, "[Gentlemen], that is a band. This is the first time I have ever heard music with any soul to it produced by a mechanical talking machine."

Sousa also appeared with his band in newsreels and on radio broadcasts, beginning with a 1929 nationwide broadcast on NBC. In 1999, "Legacy" Records released some of Sousa's historic recordings on CD.

John Philip Sousa Award
Even after his death, Sousa continues to be remembered as "The March King" through the John Philip Sousa Foundation. The non-profit organization, founded in 1981, recognizes one superior student in marching band for "musicianship, dependability, loyalty, and cooperation." The John Philip Sousa Foundation provides awards, scholarships, and projects such as The Sudler Trophy, The Sudler Shield, The Sudler Silver Scroll, The Sudler Flag of Honor, The Historic Roll of Honor, The Sudler Cup, The Hawkins Scholarship, National Young Artists, The National Community Band, and The Junior Honor Band Project. He won many honorable awards across his lifetime.

Music sources

 * Bierley, Paul E. The Works of John Philip Sousa Columbus, OH: Integrity Press, 1984.
 * Sousa, John Philip. Marching Along: Recollections of Men, Women and Music. Edited by Paul E. Bierley. Boston: Hale, Cushman & Flint, 1928, rev. 1994.
 * Sousa, John Philip. National, Patriotic and Typical Airs of All Lands. N.Y.: Da Capo Press, 1977.
 * Sousa, John Philip. Through the Year with Sousa: Excerpts from the Operas, Marches, Miscellaneous Compositions, Novels, Letters, Magazine Articles, Songs, Sayings and Rhymes of John Philip Sousa. New York: Thomas Y. Crowell &, 1910.
 * Warfield, Patrick, ed. (2010). John Philip Sousa: Six Marches. Music of the United States of America (MUSA) vol 21. Madison, Wisconsin: A-R Editions.

Articles
 * Bennett, Jeb. "John Philip Sousa: 100th Anniversary." Marine Corps Gazette 64, no. 10 (1980): 31–34.
 * Bierley, Paul E. "Sousa: America's Greatest Composer?" Musical Journal 25, no. 1 (1967): 83–87.
 * Bierley, Paul E. "Sousa on Programming." Instrumentalist, December 1973.
 * Bierley, Paul E. "Sousa's Mystery March." Instrumentalist, February 1966.
 * Dvorak, Raymond F. "Recollections of Sousa's March Performances." School Musician, Director and Teacher, December 1969.
 * Evenson, Orville. "The March Style of Sousa." Instrumentalist, November 1954.
 * Fennell, Frederick. "Sousa: Still a Somebody." Instrumentalist, March 1982.
 * Gaydos, Jeff. "Stars and Stripes and Sousa Forever!" Bandwagon, June 1980.
 * Goldberg, Isaac. "Sousa." American Mercury 27 (1932): 193–200.
 * Goldman, Richard Franko. "John Philip Sousa." HiFi/Stereo Review 19, no. 1 (1967): 35–47.
 * Gordon, Marjorie M. "John Philip Sousa: A Centennial-Year Salute to the March King." Musical Journal 11, no. 11 (1954): 28–34.
 * Heney, John J. "On the Road with the Sousa Band." School Musician, Director and Teacher, 1976.
 * Howard, George S. "A New Era for Brass: Sousa's Role." Music Journal, January 1966.
 * Intravaia, Lawrence J. "Wind Band Scoring Practices of Gilmore and Sousa." School Musician, Director and Teacher 36, no. 7 (March 1965): 62–63.
 * Larson, Cedric. "John Philip Sousa as an Author." Etude, August 1941.
 * Mangrum, Mary Gailey. "I Remember Sousa." Instrumentalist 24, no. 5 (1969): 38–41.
 * Mangrum, Mary Gailey. "Sousa the Patriot." Instrumentalist 24, no. 6 (1970): 33–35.
 * Marek, George Richard. "John Philip Sousa." HiFi/Musical America 23, no. 11 (1973): 57–61.
 * Mathews, William Smith Babcock. "An Interview with John Philip Sousa." Music: A Monthly Magazine 9 (1896): 487–92.
 * Mayer, Francis N. "John Philip Sousa: His Instrumentation and Scoring." Music Educator's Journal, January 1960.
 * Peterson, O. A. "The Human Side of Sousa." Musical Messenger, May 1916.
 * Pleasants, Henry. "A Look at Sousa: Ormandy and Critics." International Herald Tribune (Paris Edition), December 1969.
 * "Sousa and His Mission." Music: A Monthly Magazine 16 (July 1899): 272–76.
 * "Sousa as He Is." Music: A Monthly Magazine 14 (May 1899).
 * "Sousa's New Marine Band." Musical Courier, November 9, 1892.
 * Stoddard, Hope. "Sousa: Symbol of an Era." International Musician, December 1948.
 * Thomson, Grace F. "Memories of the March King." Musical Journal 22, no. 5 (1964): 27–49.
 * Trimborn, Thomas J. "In the Footsteps of Sousa." Instrumentalist 35, no. 4 (1980): 10–13.
 * Wimbush, Roger. "Sousa at the "Proms"" Monthly Musical Record 68:238–40.

Dissertations
 * Bly, Leon Joseph. "The March in American Society." Diss., University of Miami, 1977.
 * Bowie, Gordon W. "R. B. Hall and the Community Bands of Maine." Diss., University of Maine, 1993.
 * Carpenter, Kenneth William. "A History of the United States Marine Band." Diss., University of Iowa, 1971.
 * Church, Charles Fremont. "The Life and Influence of John Philip Sousa." Diss., Ohio State University, 1942.
 * Darling, Matthew H. "A Study and Catalogue of the Solos Composed, Arranged, and Transcribed for Xylophone and Band by John Joseph Heney (1902–1978), Percussionist (1926–31) and Xylophone Soloist (1931) with the John Philip Sousa Band." Diss., University of Arizona, 1998.
 * Hemberger, Glen J. "Selected Songs for Chamber Winds and Soprano: Rediscovering a Forgotten Repertoire of John Philip Sousa." Diss., University of North Texas, 2001.
 * Hester, Michael E. "A Study of the Saxophone Soloists Performing with the John Philip Sousa Band, 1893–1930." Diss., University of Arizona, 1995.
 * Jorgensen, Michael R. "John Philip Sousa's Operetta El Capitan: A Historical, Analytical, and Performance Guide." Diss., Ball State University, 1995.
 * Korzun, Jonathan Nicholas. "The Orchestral Transcriptions for Band of John Philip Sousa: a Description and Analysis." Diss., University of Illinois at Urbana-Champaign, 1994.
 * Kreitner, Mona Bulpitt. "'A Splendid Group of American Girls': The Women Who Sang with the Sousa Band." Diss., University of Memphis, 2007.
 * Norton, Pauline Elizabeth Hosack. "March Music in Nineteenth Century America." Diss., University of Michigan, 1983.
 * Stacy, William Barney. "John Philip Sousa and His Band Suites." Diss., University of Colorado, 1973.
 * Summers, C. Oland. "The Development of Original Band Scoring from Sousa to Husa." Diss., Ball State University, 1986.
 * Warfield, Patrick. ""Salesman of Americanism, Globetrotter and Musician" the Nineteenth-century John Philip Sousa; 1854–1893." Diss., Indiana University, 2003.
 * Whisler, John A. "The Songs of John Philip Sousa." Diss., Memphis State University, 1975.
 * Wright, Maurice. "The Fifth String: an Opera in One Act." Diss., Columbia University, 1989.

Archives

 * John Philip Sousa papers, 1695–1966 at the United States Marine Band Library and Archives  in Washington, D.C.
 * John Philip Sousa Collection, The March King: John Philip Sousa digital collection, the Music of John Philip Sousa and Victor Grabel, and the Dodrill – Sousa sheet music collection at the Library of Congress
 * The Sousa Archives and Center for American Music. University of Illinois at Urbana-Champaign, 2011.

title: John Philip Sousa


text:
Casimir Funk

Casimir Funk ( Kazimierz Funk; February 23, 1884 – November 19, 1967) was a Polish biochemist generally credited with being among the first to formulate the concept of vitamins after publishing a landmark medical writing in 1912. He highlighted these "vital amines" (or "vitamines") as critical in fighting significant diseases such as pellagra and rickets, and his analysis influenced a major shift in scientific thinking. His scientific work involved research in Poland, France and the United Kingdom. In 1920, he became a citizen of the United States where he continued his work.

Early life and education
He was born in Warsaw (the capital of Poland), being the son of a medical specialist in dermatology. In 1904, at the age of twenty, he earned a doctorate in chemistry at the University of Bern. In his early career, he worked as a biochemist at the Pasteur Institute, the Wiesbaden Municipal Hospital, the University of Berlin, and the Lister Institute. Funk emigrated to New York State in 1915, moving back and forth between the United States and Europe until World War II. After working in that country for several years, he became a citizen of the U.S. in 1920.

Funk came from a Jewish background. Retrospective reporting by a British news agency stated that, despite studying in various European countries in the context of increasing domestic antisemitism, he succeeded in his collegiate goals, without any specific obstacles hindering his efforts at those various institutions.

Career
After reading an article by Christiaan Eijkman that indicated that persons who ate brown rice were less vulnerable to beri-beri than those who ate only the fully milled product, Funk tried to isolate the substance responsible, and he succeeded. Because that substance contained an amine group, he called it "vitamine". It was later to be known as vitamin B3 (niacin), although he thought it would be thiamine (vitamin B1) and described it as "anti-beri-beri-factor".

In 1911, he published his first paper in English, on dihydroxyphenylalanine. Funk was sure more than one substance like Vitamin B1 existed, and in his 1912 article for the Journal of State Medicine, he proposed the existence of at least four vitamins: one preventing beriberi ("antiberiberi"); one preventing scurvy ("antiscorbutic"); one preventing pellagra ("antipellagric"); and one preventing rickets ("antirachitic"). From there, Funk published a book, The Vitamines, in 1912, and later that year received a Beit Fellowship to continue his research.

Funk proposed the hypothesis that other diseases, such as rickets, pellagra, coeliac disease, and scurvy could also be cured by vitamins. Funk was an early investigator of the problem of pellagra. He suggested that a change in the method of milling corn was responsible for the outbreak of pellagra, but no attention was paid to his article on this subject.

The "e" at the end of "vitamine" was later removed, when it was realized that vitamins need not be nitrogen-containing amines. He postulated the existence of other essential nutrients, which became known as vitamins B1, B2, C, and D. In 1936, he determined the molecular structure of thiamine, though he was not the first to isolate it. Funk also conducted research into hormones, diabetes, peptic ulcers, and the biochemistry of cancer.

From 1923 to 1927 Funk was the head of the National Institute of Hygiene in Poland. In 1940, after returning to the United States, he became president of the Funk Foundation for Medical Research. He spent his last years studying the causes of neoplasms.

Legacy
Funk's academic career is noted to have included serving at the Lister Institute of Preventive Medicine within London, England and the Pasteur Institute within Paris, France while he additionally worked with commercial firms such as the U.S. Vitamin & Pharmaceutical Corp. Upon his death, the American publication Time highlighted both Funk and Elmer Verner McCollum, the latter being known for his discovery of Vitamin A and other efforts, as having significant legacies "in everyday importance" for medicine, with the news organization lauding Funk as a "pioneer". Time additionally commented positively upon Funk's personal character as a "research scientist [who] focused his intense curiosity on other fields" given his status. A medical textbook distributed in 1997 by Taylor & Francis stated that Funk's 1912 release of his "landmark publication" in vitamins had internationally created a "theory [that] provided a new concept for interpreting diet-related events."

Outside of vitamin-related research, Funk's career history has been described as also having significantly extended humanity’s “knowledge of sex hormones." A retrospective analysis by the British publication The Independent in 2024 stated that Funk's discoveries as an overall body of work, especially in terms of nutrition, "has helped the health of many people and led to the cures of several life-threatening diseases." A member of Funk's family, as well, has accepted a Nutrition Hall of Fame award given to the biochemist posthumously.

Recognition
The Polish Institute of Arts and Sciences of America (PIASA), a non-profit organization focused on advancing civil society, annually honors Polish-American scientists with the "Casimir Funk Natural Sciences Award". As of February 2024, the last winner of that award was Alexander Wlodawer. An associate of the National Institutes of Health (NIH), Wlodawer has become known in the U.S. as an expert on structural biology. Past winners have included Nobel Laureate Roald Hoffmann, Aleksander Wolszczan, Hilary Koprowski, Peter T. Wolczanski, Wacław Szybalski, Zbyszek Darzynkiewicz and Benoit Mandelbrot.

A Google Doodle commemorated Funk’s 140th birthday on February 23rd of 2024 in tandem with his family's estate and its various efforts. This included working with Erik Funk, Casimir Funk's grandson, who praised the company's actions.

title: Casimir Funk


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Adnams

Adnams is a regional brewery founded in 1872 in Southwold, Suffolk, England, by George and Ernest Adnams. It produces cask ale and bottled beers. Annual production is around 85,000 barrels.

In 2010, the company established the Copper House distillery for the production of gin, vodka and whisky.

History

The earliest recorded brewing on the Adnams site was in 1396 by Johanna de Corby.

The Sole Bay Brewery in Southwold was purchased in 1872 by George and Ernest Adnams. The company was incorporated in 1890, and has remained independent since then, producing a range of beers for distribution mainly in East Anglia. The Adnams family was joined in 1902 by Pierse Loftus, who brought strategic vision, technical expertise and sound financial principles, building the base on which succeeding generations have been able to build. Adnams is now a PLC, with numerous shareholders, but still has family representation on the board, with Jonathan Adnams as chairman.

The mixed-culture yeast used by Adnams was sourced from Morgans brewery of Norwich in 1942.

Until 1953 and from 1970 to 2006, casks of Adnams ale were delivered to the six pubs of Southwold by horse and dray; the tradition ended when a new distribution depot was built three miles from the brewery.

The company founded a charity, The Adnams Charity, in 1990 to celebrate its centenary as a public company. A percentage of the company's annual profits is used to support worthwhile causes within a 25-mile radius of Southwold.

In 1993, Adnams Extra won the Champion Beer of Britain, an award presented by the Campaign for Real Ale at the annual Great British Beer Festival. Adnams remains committed to brewing cask ale and operating non-themed pubs. Cask ale is available in all its 70 pubs, and it supplies more than 1000 other outlets direct. New fermenting vessels were installed in March 2001 to cope with demand, and the brewhouse was completely re-equipped in July 2006, making it one of the most energy efficient in Europe.

At the beginning of 2004, Adnams purchased land in neighbouring village of Reydon to expand its business with a new distribution centre, designed by architect Jeremy Blake, which was nominated for the 2007 RICS East of England Award for Sustainability. Adnams was awarded a Queen's Award for Enterprise in the sustainable development category in 2005.

The distribution centre features the UK's largest living roof known as the Sky Garden which is made up of a variety of sedum species. Not only does this help to insulate the building, but the water stored in the sedum plants is also harvested and used to flush the staff toilets and clean company vehicles. This, combined with the solar panels and the environmental construction have meant the energy bills have been cut by half.

In June 2009, Adnams signed a five-year agreement to supply Ipswich Town FC with beers at their Portman Road stadium, replacing the 14-year-old association with Greene King. The rights went back to Greene King in July 2014.

In 2010 Carl's Copper Pot still and Rectifying columns were installed and put in operation in November of that same year for the production of Gin, Vodka & Whisky.

In early 2019, Adnams launched a new English cider called Wild Wave.

Beers
Adnams produce regular cask ale, seasonal beer, bottled beer, "international" beer and "commemorative" beers and cider :

Regular beers

 * Broadside, a 4.7% abv premium bitter
 * Explorer, a 4.3% golden bitter that was introduced in 2004 as a summer seasonal; it became a regular beer in February 2006
 * Ghost Ship, a 4.5% abv pale ale, previously available May through to October but available year-round from March 2012.
 * Ghost Ship Alcohol Free, a 0.5% version of their Ghost Ship pale ale. Produced through reverse osmosis.
 * Sole Star, a low alcohol (2.7% abv) amber ale, introduced December 2011 and delisted shortly afterwards, it remains available in bottles. Reintroduced in 2017 at 0.9% abv and claimed to have the same taste as the original.
 * Southwold Bitter, a 3.7% abv session bitter. This was renamed from plain "Bitter" and the packaging redesigned in May 2011.
 * Topaz Gold, a 4.0% abv pale golden ale, brewed with Australian hop varieties, introduced August 2012

Keg beers

 * Spindrift, a 5.0% abv golden bitter introduced in 2006

Seasonal

 * English Red Ale, a 4.5% abv ale, available November to December, brewed with English Admiral hops.
 * Extra, 4.3% abv. Available in April. Winner of the Champion Beer of Britain award in 1993.
 * Fat Sprat, a 3.8% abv Amber summer beer, brewed with Pale Ale malted barley, Munich, Cara and Black malt, with Columbus, English Goldings, Cascade and Chinook hops; introduced in May 2013.
 * Kristal White Ale, a 4.2% abv golden wheat beer, available February to Easter, brewed with malted wheat, barley and German Noble Hops.
 * May Day, a 5.0% abv golden ale, available April and May, is made with East Anglian Pale Ale malt, and hopped with First Gold
 * Mild, 3.2% abv. Available in March and May.
 * Old Ale, a 4.1% "cold weather beer", introduced October 2006, and available October to January
 * Oyster Stout, a 4.3% abv winter stout, available February and March, is made from East Anglian Pale Ale Malt, Crystal Malt, Chocolate Malt, roasted Barley and English Golding hops
 * Regatta, a 4.3% abv golden ale for summer, is available May through to August
 * Tally Ho, a 7.0% barley wine, limited availability in December
 * Yuletide, a 4.5% abv Christmas beer, available from November to December, is brewed with Maris Otter, Chocolate and Amber Malts and Boadicea & Chinook Hops
 * Jester, a 4.8% abv single hop golden beer brewed with Pale Ale Malt and hopped with a new British hop called Jester.

Bottles

 * Broadside, a 6.3% bottled strong ale
 * Ease Up I.P.A, a 4.6% session beer
 * East Green, a 4.3%, a carbon neutral beer with a lighter bottle made with 15% recycled glass
 * Explorer, a 5.5% bottled ale which, like the cask Explorer, is a blend of English and American styles
 * Gun Hill, a 4.0% bottled dark mild
 * Lighthouse, a 3.4% bottled traditional pale ale named after Southwold lighthouse; recipe based on an award-winning beer that used to be brewed called 'Champion Pale Ale'
 * Spindrift, a 5.0% abv golden bitter, in bottles from 2010.
 * Tally Ho, a bottled version of the barley wine which, at 7.2%, is slightly stronger than its cask equivalent
 * The Bitter (formerly Suffolk Strong Ale) 4.5% bottled version of the retired cask Extra

International beers
From time to time, Adnams produce limited brews of specialty beers, either in the styles of non-UK beers, or using special international ingredients. These beers are usually available only from selected outlets. Past and current international beers have included:
 * American Style IPA, a 4.8% abv cask beer using Californian yeast and American hop varieties
 * Belgian Style Abbey Ale, a 5.0% abv cask beer
 * Dutch Style Bokbier, a 5.3% abv cask beer
 * New Zealand Pale Ale, a 4.0% abv cask beer brewed using Nelson Sauvin hops from New Zealand
 * Spiced Winter Beer, a 4.0% abv cask beer incorporating cinnamon, juniper and other spices

Commemorative beers
Adnams have a long history of producing limited and one-off special beers to commemorate events of local or national importance. These are generally available for a limited period in bottles, and in cask at a few selected outlets. Recent beers include:-

 * Diamond Ale, a 4.1% abv beer, brewed with Pale Ale and Premium Cara malts, with Sovereign hops and locally sourced honey, produced to celebrate the 2012 Diamond Jubilee of HM Queen Elizabeth II
 * Flame Runner, a 3.9% abv beer with spices and citrus, to celebrate the 2012 London Olympics and the Olympic Torch Relay through Southwold
 * Royal Wedding Ale, a 4.1% abv ale with Heather Honey, brewed for the wedding in 2011 of HRH Prince William and Catherine Middleton

Distillery
The company branched out to distilling when they installed an 800-litre copper pot still with 42 plated rectifying columns, they acquired from Carl in 2010. The capacity was expanded in 2015 with two extra pot stills.

The product line holds a wide variety of gin, vodka and whisky.

The whisky range consists of three whiskies each with different mash-bills: a single malt of 100% malted barley: a rye whisky of 75% rye and 25% malted barley; and a "triple malt" of 60% malted barley, 35% wheat, and 5% oats.

Some less common products of the distiller are a Bierbrand Spirit of Broadside, two absinthe expressions: Verte & Rouge, and non-grain products like brandy made from locally grown grapes.

title: Adnams


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Norman Rockwell

Norman Percevel Rockwell (February 3, 1894 – November 8, 1978) was an American painter and illustrator. His works have a broad popular appeal in the United States for their reflection of the country's culture. Rockwell is most famous for the cover illustrations of everyday life he created for The Saturday Evening Post magazine over nearly five decades. Among the best-known of Rockwell's works are the Willie Gillis series, Rosie the Riveter, The Problem We All Live With, Saying Grace, and the Four Freedoms series. He is also noted for his 64-year relationship with the Boy Scouts of America (BSA), during which he produced covers for their publication Boys' Life (now Scout Life), calendars, and other illustrations. These works include popular images that reflect the Scout Oath and Scout Law such as The Scoutmaster, A Scout Is Reverent, and A Guiding Hand.

Rockwell was a prolific artist, producing more than 4,000 original works in his lifetime. Most of his surviving works are in public collections. Rockwell was also commissioned to illustrate more than 40 books, including Tom Sawyer and Huckleberry Finn and to paint portraits of Presidents Eisenhower, Kennedy, Johnson, and Nixon, as well as those of foreign figures, including Gamal Abdel Nasser and Jawaharlal Nehru. His portrait subjects also included Judy Garland. One of his last portraits was of Colonel Sanders in 1973. His annual contributions for the Boy Scouts calendars between 1925 and 1976 (Rockwell was a 1939 recipient of the Silver Buffalo Award, the highest adult award given by the Boy Scouts of America), were only slightly overshadowed by his most popular of calendar works: the "Four Seasons" illustrations for Brown & Bigelow that were published for 17 years beginning in 1947 and reproduced in various styles and sizes since 1964. He created artwork for advertisements for Coca-Cola, Jell-O, General Motors, Scott Tissue, and other companies. Illustrations for booklets, catalogs, posters (particularly movie promotions), sheet music, stamps, playing cards, and murals (including "Yankee Doodle Dandy" and "God Bless the Hills", which was completed in 1936 for the Nassau Inn in Princeton, New Jersey) rounded out Rockwell's oeuvre as an illustrator.

Rockwell's work was dismissed by serious art critics in his lifetime. Many of his works appear overly sweet in the opinion of modern critics, especially the Saturday Evening Post covers, which tend toward idealistic or sentimentalized portrayals of American life. This has led to the often deprecatory adjective "Rockwellesque". Consequently, Rockwell is not considered a "serious painter" by some contemporary artists, who regard his work as bourgeois and kitsch. Writer Vladimir Nabokov stated that Rockwell's brilliant technique was put to "banal" use, and wrote in his novel Pnin: "That Dalí is really Norman Rockwell's twin brother kidnaped [sic] by gypsies [sic] in babyhood." He is called an "illustrator" instead of an artist by some critics, a designation he did not mind, as that was what he called himself.

In his later years, Rockwell began receiving more attention as a painter when he chose more serious subjects such as the series on racism for Look magazine. One example of this more serious work is The Problem We All Live With, which dealt with the issue of school racial integration. The painting depicts Ruby Bridges, flanked by white federal marshals, walking to school past a wall defaced by racist graffiti. This 1964 painting was displayed in the White House when Bridges met with President Barack Obama in 2011.

Early years
Norman Rockwell was born on February 3, 1894, in New York City, to Jarvis Waring Rockwell and Anne Mary "Nancy" (née Hill) Rockwell  His father was a Presbyterian and his mother was an Episcopalian; two years after their engagement, he converted to the Episcopal faith. Rockwell's earliest American ancestor was John Rockwell (1588–1662), from Somerset, England, who immigrated to colonial North America, probably in 1635, aboard the ship Hopewell and became one of the first settlers of Windsor, Connecticut. Rockwell had one brother, Jarvis Jr., older by a year and a half. Jarvis Sr. was the manager of the New York office of a Philadelphia textile firm, George Wood, Sons & Company, where he spent his entire career.

Rockwell transferred from high school to the Chase Art School at the age of 14. He then went on to the National Academy of Design and finally to the Art Students League. There, Rockwell was taught by Thomas Fogarty, George Bridgman, and Frank Vincent DuMond; his early works were produced for St. Nicholas Magazine, the Boy Scouts of America (BSA) magazine Boys' Life, and other youth publications. As a student, Rockwell had some small jobs, including one as a supernumerary at the Metropolitan Opera. His first major artistic job came at age 18, illustrating Carl H. Claudy's book Tell Me Why: Stories about Mother Nature.

After that, Rockwell was hired as a staff artist for Boys' Life. In this role, he received 50 dollars' compensation each month for one completed cover and a set of story illustrations. It is said to have been his first paying job as an artist. At 19, Rockwell became the art editor for Boys' Life, published by the Boy Scouts of America. He held the job for three years, during which Rockwell painted several covers, beginning with his first published magazine cover, Scout at Ship's Wheel, which appeared on the Boys' Life September 1913 edition.

Association with The Saturday Evening Post

Rockwell's family moved to New Rochelle, New York, when Norman was 21 years old. They shared a studio with the cartoonist Clyde Forsythe, who worked for The Saturday Evening Post. With Forsythe's help, Rockwell submitted his first successful cover painting to the Post in 1916, Mother's Day Off (published on May 20). He followed that success with Circus Barker and Strongman (published on June 3), Gramps at the Plate (August 5), Redhead Loves Hatty Perkins (September 16), People in a Theatre Balcony (October 14), and Man Playing Santa (December 9). Rockwell was published eight times on the Post cover within the first year. Ultimately, Rockwell published 323 original covers for The Saturday Evening Post over 47 years. His Sharp Harmony appeared on the cover of the issue dated September 26, 1936; it depicts a barber and three clients, enjoying an a cappella song. The image was adopted by SPEBSQSA in its promotion of the art.

Rockwell's success on the cover of the Post led to covers for other magazines of the day, most notably the Literary Digest, the Country Gentleman, Leslie's Weekly, Judge, Peoples Popular Monthly and Life magazine.

When Rockwell's tenure began with The Saturday Evening Post in 1916, he left his salaried position at Boys' Life, but continued to include scouts in Post cover images and the monthly magazine of the American Red Cross. He resumed work with the Boy Scouts of America in 1926 with production of his first of fifty-one original illustrations for the official Boy Scouts of America annual calendar, which still may be seen in the Norman Rockwell Art Gallery at the National Scouting Museum in Cimarron, New Mexico.

During World War I, he tried to enlist into the U.S. Navy but was refused entry because, at 140 lb, he was eight pounds underweight for someone 6 ft tall. To compensate, he spent one night gorging himself on bananas, liquids and doughnuts, and weighed enough to enlist the next day. He was given the role of a military artist, however, and did not see any action during his tour of duty.

World War II
In 1943, during World War II, Rockwell painted the Four Freedoms series, which was completed in seven months and resulted in him losing fifteen pounds. The series was inspired by a speech by Franklin D. Roosevelt, wherein Roosevelt described and articulated Four Freedoms for universal rights. Rockwell then painted Freedom from Want, Freedom of Speech, Freedom of Worship and Freedom from Fear.

The paintings were published in 1943 by The Saturday Evening Post. Rockwell used the Pennell shipbuilding family from Brunswick, Maine as models for two of the paintings, Freedom from Want and A Thankful Mother, and would combine models from photographs and his own vision to create his idealistic paintings. The United States Department of the Treasury later promoted war bonds by exhibiting the originals in sixteen cities. Rockwell considered Freedom of Speech to be the best of the four.

That same year, a fire in his studio destroyed numerous original paintings, costumes, and props. Because the period costumes and props were irreplaceable, the fire split his career into two phases, the second phase depicting modern characters and situations. Rockwell was contacted by writer Elliott Caplin, brother of cartoonist Al Capp, with the suggestion that the three of them should make a daily comic strip together, with Caplin and his brother writing and Rockwell drawing. King Features Syndicate is reported to have promised a $1,000 per week deal, knowing that a Capp–Rockwell collaboration would gain strong public interest. The project was ultimately aborted, however, as it turned out that Rockwell, known for his perfectionism as an artist, could not deliver material so quickly as would be required of him for a daily comic strip.

Later career
During the late 1940s, Norman Rockwell spent the winter months as artist-in-residence at Otis College of Art and Design. Occasionally, students were models for his Saturday Evening Post covers. In 1949, Rockwell donated an original Post cover, April Fool, to be raffled off in a library fund raiser.

In 1959, after his wife Mary died suddenly from a heart attack, Rockwell took time off from his work to grieve. It was during that break that he and his son Thomas produced Rockwell's autobiography, My Adventures as an Illustrator, which was published in 1960. The Post printed excerpts from this book in eight consecutive issues, the first containing Rockwell's famous Triple Self-Portrait.

Rockwell's last painting for the Post was published in 1963, marking the end of a publishing relationship that had included 321 cover paintings. He spent the next 10 years painting for Look magazine, where his work depicted his interests in civil rights, poverty, and space exploration.

In 1966, Rockwell was invited to Hollywood to paint portraits of the stars of the film Stagecoach, and also found himself appearing as an extra in the film, playing a "mangy old gambler".

In 1968, Rockwell was commissioned to do an album cover portrait of Mike Bloomfield and Al Kooper for their record, The Live Adventures of Mike Bloomfield and Al Kooper.

In 1969, as a tribute on the 75th anniversary of Rockwell's birth, officials of Brown & Bigelow and the Boy Scouts of America asked Rockwell to pose in Beyond the Easel, the calendar illustration that year.

In 1969 the U. S. Bureau of Reclamation commissioned Rockwell to paint the Glen Canyon Dam.

His last commission for the Boy Scouts of America was a calendar illustration titled The Spirit of 1976, which was completed when Rockwell was 82, concluding a partnership which generated 471 images for periodicals, guidebooks, calendars, and promotional materials. His connection to the BSA spanned 64 years, marking the longest professional association of his career. His legacy and style for the BSA has been carried on by Joseph Csatari.

For "vivid and affectionate portraits of our country", Rockwell was awarded the Presidential Medal of Freedom, the United States of America's highest civilian honor, in 1977 by President Gerald Ford. Rockwell's son, Jarvis, accepted the award.

Death
Rockwell died on November 8, 1978, of emphysema at the age of 84 in his Stockbridge, Massachusetts, home. First Lady Rosalynn Carter attended Rockwell's funeral.

Personal life
Rockwell married his first wife, Irene O'Connor, on July 1, 1916. Irene was Rockwell's model in Mother Tucking Children into Bed, published on the cover of The Literary Digest on January 19, 1921. The couple divorced on January 13, 1930.

Depressed, Rockwell moved briefly to Alhambra, California as a guest of his old friend Clyde Forsythe. There, Rockwell painted some of his best-known paintings including The Doctor and the Doll. While there, he met and married schoolteacher Mary Barstow on April 17, 1930. The couple returned to New York shortly after their marriage. They had three sons: Jarvis Waring, Thomas Rhodes, and Peter Barstow. The family lived at 24 Lord Kitchener Road in the Bonnie Crest neighborhood of New Rochelle, New York.

Rockwell and his wife were not regular church attendees, although they were members of St. John's Wilmot Church, an Episcopal church near their home, where their sons were baptized. Rockwell moved to Arlington, Vermont, in 1939 where his work began to reflect small-town life. He would later be joined by his good friend, John Carlton Atherton.

In 1953, the Rockwell family moved to Stockbridge, Massachusetts, so that his wife could be treated at the Austen Riggs Center, a psychiatric hospital at 25 Main Street, close to where Rockwell set up his studio. Rockwell also received psychiatric treatment, seeing the analyst Erik Erikson, who was on staff at Riggs. Erikson told biographer Laura Claridge that he painted his happiness, but did not live it. On August 25, 1959, Mary died unexpectedly of a heart attack.

Rockwell married his third wife, retired Milton Academy English teacher, Mary Leete "Mollie" Punderson (1896–1985), on October 25, 1961. His Stockbridge studio was located on the second floor of a row of buildings. Directly underneath Rockwell's studio was, for a time in 1966, the Back Room Rest, better known as the famous "Alice's Restaurant". During his time in Stockbridge, chief of police William Obanhein was a frequent model for Rockwell's paintings.

From 1961 until his death, Rockwell was a member of the Monday Evening Club, a men's literary group based in Pittsfield, Massachusetts. At his funeral, five members of the club served as pallbearers, along with Jarvis Rockwell.

Legacy
A custodianship of his original paintings and drawings was established with Rockwell's help near his home in Stockbridge, Massachusetts, and the Norman Rockwell Museum still is open today year-round. The museum's collection includes more than 700 original Rockwell paintings, drawings, and studies. The Rockwell Center for American Visual Studies at the Norman Rockwell Museum is a national research institute dedicated to American illustration art.

Rockwell's work was exhibited at the Solomon R. Guggenheim Museum in 2001. Rockwell's Breaking Home Ties sold for $15.4 million at a 2006 Sotheby's auction. A 12-city U.S. tour of Rockwell's works took place in 2008. In 2008, Rockwell was named the official state artist of the Commonwealth of Massachusetts. The 2013 sale of Saying Grace for $46 million (including buyer's premium) established a new record price for Rockwell. Rockwell's work was exhibited at the Reading Public Museum and the Church History Museum in 2013–2014.

 * In "Annie Hall" (1977) Alvy (Woody Allen) teases Annie (Diane Keaton) saying: "What did you do, grow up in a Norman Rockwell painting?".
 * In 1981, Rockwell's painting Girl at Mirror was used for the cover of Prism's fifth studio album Small Change.
 * Rockwell is among the figures depicted in Our Nation's 200th Birthday, The Telephone's 100th Birthday (1976) by Stanley Meltzoff for Bell System which Meltzoff based on Rockwell's 1948 painting The Gossips.
 * In the film Empire of the Sun, a young boy (played by Christian Bale) is put to bed by his loving parents in a scene also inspired by a Rockwell painting—a reproduction of which is later kept by the young boy during his captivity in a prison camp ("Freedom from Fear", 1943).
 * The 1994 film Forrest Gump includes a shot in a school that re-creates Rockwell's "Girl with Black Eye" with young Forrest in place of the girl. Much of the film drew heavy visual inspiration from Rockwell's art.
 * Film director George Lucas owns Rockwell's original of "The Peach Crop", and his colleague Steven Spielberg owns a sketch of Rockwell's Triple Self-Portrait. Each of the artworks hangs in the respective filmmaker's work space. Rockwell is a major character in an episode of Lucas' The Young Indiana Jones Chronicles, "Passion for Life", portrayed by Lukas Haas.
 * Museum director Thomas S. Buechner said that Rockwell's art is important for standing the test of time, "When the last half century is explored by the future, a few paintings will continue to communicate with the same immediacy and veracity they have today."
 * In 2005, May Corporation, that previously bought Marshall Field's from Target Corp., was bought by Federated Department Stores. After the sale, Federated discovered that Rockwell's The Clock Mender displayed in the store was a reproduction. Rockwell had donated the painting, which depicts a repairman setting the time on one of the Marshall Field and Company Building clocks, and was depicted on the cover of the November 3, 1945 Saturday Evening Post, to the store in 1948. Target had since donated the original to the Chicago History Museum.
 * On an anniversary of Norman Rockwell's birth, on February 3, 2010, Google featured Rockwell's iconic image of young love "Boy and Girl Gazing at the Moon", which is also known as "Puppy Love", on its home page. The response was so great that day that the Norman Rockwell museum's servers were overwhelmed by the volume of traffic.
 * "Dreamland", a track from Canadian alternative rock band Our Lady Peace's 2009 album Burn Burn, was inspired by Rockwell's paintings.
 * The cover for the Oingo Boingo album Only a Lad is a parody of the Boy Scouts of America 1960 official handbook cover illustrated by Rockwell.
 * Lana Del Rey named her sixth studio album, Norman Fucking Rockwell! (2019), after Rockwell.

Major works

 * Children Dancing at a Party (1918)
 * The Love Song (1926)
 * The Four Freedoms (1943)
 * Freedom of Speech (1943)
 * Freedom of Worship (1943)
 * Freedom from Want (1943)
 * Freedom from Fear (1943)
 * Rosie the Riveter (1943)
 * Little Girl Observing Lovers on a Train (1944)
 * We, Too, Have a Job to Do (1944)
 * Working on the Statue of Liberty (1946)
 * Tough Call (1948)
 * Saying Grace (1951)
 * Walking to Church (1953)
 * Breaking Home Ties (1954)
 * Marriage License (1955)
 * The Scoutmaster (1956)
 * The Rookie (1957)
 * The Runaway (1958)
 * Triple Self-Portrait (1960)
 * Golden Rule (1961)
 * The Connoisseur (1962)
 * Growth of a Leader (1964)
 * The Problem We All Live With (1964)
 * Murder in Mississippi (1965)
 * Southern Justice (Murder in Mississippi) (1965)
 * New Kids in the Neighborhood (1967)
 * Russian Schoolroom (1967)
 * The Spirit of 1976 (1976)

Film posters and album covers

Rockwell provided illustrations for several film posters.
 * The Adventures of Marco Polo (1938)
 * The Magnificent Ambersons (1942)
 * The Song of Bernadette (1943)
 * Along Came Jones (1945)
 * The Razor's Edge (1946)
 * Cinderfella (1960)
 * Stagecoach (1966)

He designed an album cover for The Live Adventures of Mike Bloomfield and Al Kooper (1969). He was also commissioned by English musician David Bowie to design the cover artwork for his 1975 album Young Americans, but the offer was retracted after Rockwell informed him he would need at least half a year to complete a painting for the album.

Displays

 * Norman Rockwell Museum in Stockbridge, Massachusetts
 * Rockwell Collection at the National Museum of American Illustration
 * Rockwell illustrations for The Adventures of Tom Sawyer and Adventures of Huckleberry Finn at the Mark Twain Museum in Hannibal MO.
 * Norman Rockwell World War II posters, hosted by the University of North Texas Libraries Digital Collections
 * Norman Rockwell and the Art of Scouting at the National Scouting Museum, Irving, Texas
 * Norman Rockwell Exhibit in Arlington, Vermont

Honors

 * Society of Illustrators Hall of Fame, first inductee 1958

title: Norman Rockwell