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Walter Burley Griffin

 Walter Burley Griffin (November 24, 1876 – February 11, 1937) was an American architect and landscape architect. He designed Canberra, Australia's capital city, the New South Wales towns of Griffith and Leeton, and (with his wife) the Sydney suburb of Castlecrag.

Influenced by the Chicago-based Prairie School, Griffin developed a unique modern style in partnership with his wife Marion Mahony Griffin. In 28 years they designed over 350 buildings, landscape and urban-design projects as well as designing construction materials, interiors, furniture and other household items.

Early life
Griffin was born in 1876 in Maywood, Illinois, a suburb of Chicago. He was the eldest of the four children of George Walter Griffin, an insurance agent, and Estelle Burley Griffin. His family moved to Oak Park and later to Elmhurst. As a boy, he had an interest in landscape design and gardening, and his parents allowed him to landscape the yard at their new home in Elmhurst. Griffin attended Oak Park High School. He considered studying landscape design but was advised by the landscape gardener O. C. Simonds to pursue a more lucrative profession.

Griffin chose to study architecture, and, in 1899, completed his bachelor's degree in architecture at the University of Illinois at Urbana-Champaign. The University of Illinois program was run by Nathan Clifford Ricker, a German-educated architect, who emphasized the technical aspects of architecture. During his studies, he also took courses in horticulture and forestry.

Chicago career
After his studies, Griffin moved to Chicago and was employed as a draftsman for two years in the offices of progressive architects Dwight H. Perkins, Robert C. Spencer, Jr., and H. Webster Tomlinson in "Steinway Hall". Griffin's employers worked in the distinctive Prairie School style. This style is marked by horizontal lines, flat roofs with broad overhanging eaves, solid construction, craftsmanship, and strict discipline in the use of ornament. Louis Sullivan was influential among Prairie School architects and Griffin was an admirer of his work, and of his philosophy of architecture which stressed that design should be free of historical precedent. Other architects of that school include George Grant Elmslie, George Washington Maher, William Gray Purcell, William Drummond and most importantly, Frank Lloyd Wright.

In July 1901, Griffin passed the new Illinois architects' licensing examination and this permitted him to enter private practice as an architect. He began working in Frank Lloyd Wright's famous Oak Park, Illinois, studios. Although he was never made a partner, Griffin oversaw the construction on many of Wright's noted houses including the Willits House in 1902 and the Larkin Administration Building built in 1904. From 1905 he also began to supply landscape plans for Wright's buildings. Wright allowed Griffin and his other staff to undertake small commissions of their own. The William Emery house, built in Elmhurst, Illinois, in 1903 was such a commission. While working for Wright, Griffin fell in love with Mr. Wright's sister, Maginel Wright. He proposed marriage to her, but his affections for her were not returned, and she refused.

In 1906, he resigned his position at Wright's studio and established his own practice at Steinway Hall. Griffin and Wright had fallen out over events following Mr. Wright's trip to Japan in 1905. While Wright was away for five months, Griffin ran the practice. When Wright returned, he told Griffin that he had overstepped his responsibilities, completing several of Wright's jobs, and sometimes substituting his own building designs. Further, Wright had borrowed money from Griffin to pay for his travels abroad, and then he tried to pay off his debts to Griffin with prints he had acquired in Japan. It became clear to Griffin then that Wright would not make Griffin a partner in his business. Griffin's first independent commission was a landscape design for the State Normal School at Charleston, Illinois, that became Eastern Illinois University. In the fall of 1906, he received his first residential job from Harry Peters. The Peters' House was the first house designed with an L-shaped or open floor plan. The L-shape was an economical design and easily constructed. From 1907 to 1914, several houses designed by Griffin were built on the far southwest side of Chicago in the city's Beverly and Morgan Park, Chicago neighborhoods. In 1981, the city of Chicago granted landmark status to 13 of these Prairie-style bungalows in Beverly along the 1700 block of West 104th Place, 12 blocks of Longwood Drive between West 98th and 110th Streets, and three blocks of Seeley Avenue. With seven of these houses being located on West 104th Place—comprising the largest concentration of original prairie style homes built in Chicago—the street as it runs between Hale Avenue on the west to Prospect Avenue on the east was designated the Griffin Place Historic District, which comprises a part of the larger Ridge Historic District.

In 1911, Griffin developed 'Solid Rock' house for William F. Tempel in Winnetka, Illinois. It was the first house built by Griffin in his mature style and of reinforced concrete.

On June 29, 1911, Griffin married Marion Lucy Mahony, a graduate of the Massachusetts Institute of Technology in architecture. She was employed first in Wright's office, and then by Hermann V. von Holst, who had taken over Wright's work in America when Wright left for Europe in 1909. Marion Mahony recommended to von Holst that he hire Griffin to develop a landscape plan for the area surrounding the three houses on Millikin Place for which Wright had been hired in Decatur, Illinois. Mahony and Griffin worked closely on the Decatur project immediately before their marriage.

After their marriage, Mahony went to work in Griffin's practice. A housing development with several homes designed by Griffin and Mahony, Rock Crest – Rock Glen in Mason City, Iowa, is seen as their most dramatic American design development of the decade and remains the largest collection of Prairie Style homes surrounding a natural setting.

From 1899 to 1914, Griffin created more than 130 designs in his Chicago office for buildings, urban plans and landscapes; half of these were built in the mid-western states of Illinois, Iowa, Michigan and Wisconsin.

The relationship between Griffin and Frank Lloyd Wright cooled in the years following Griffin's departure from Wright's firm in 1906. With Walter and Marion's wedding, Wright started to feel they were "against him". After the Griffins' win in the Australian federal capital design competition, and resultant front-page coverage in The New York Times, Wright and Griffin never spoke to each other again. In later years, whenever Griffin was brought up in conversation Wright would downplay his achievements and refer to him as a draftsman.

Canberra
In April 1911, the Australian Commonwealth Government held an international competition to produce a design for its new, as yet unnamed, federal capital city. Griffin produced a design with impressive renderings of the plan by his new wife. They first heard about the competition in July, while on honeymoon, and worked feverishly to prepare the plans. On May 23, 1912, Griffin's design was selected as the winner from among 137 entries. This created significant press coverage at the time and brought him professional and public recognition. Of his plan, he famously remarked:

"I have planned a city that is not like any other in the world. I have planned it not in a way that I expected any government authorities in the world would accept. I have planned an ideal city – a city that meets my ideal of the city of the future."

In 1913, Griffin was invited by the Commonwealth Government to Australia to inspect the site that was to become Canberra. He left Mahony Griffin in charge of the practice and travelled to Australia in July. His letters reveal his appreciation for the Australian landscape. The Griffins joined the Naturalists Society of New South Wales in 1914, where they enjoyed organized bush walks and field studies. The society facilitated their contact with the Australian scientific community, especially botanists. This appreciation for Australian flora was reflected in Griffin's 1914 town plan for the town of Leeton in the Murrumbidgee Irrigation Area of New South Wales, and later in a design for Newman College at the University of Melbourne. He also used Australian flora botanical names as places names for suburbs and streets in Canberra, such as Grevillea Park, Telopea Park, Clienthus Circle and Blandfordia.

Griffin was offered the position of head of the department of architecture at the University of Illinois. At the same time he was negotiating a three-year contract with the Commonwealth Government to remain in Australia and oversee the implementation of his plan, which he felt had already been compromised. In October 1913, he was appointed the Federal Capital Director of Design and Construction. In this role, Griffin oversaw the design of North and South Canberra, though he struggled with considerable political and bureaucratic obstacles. In May 1914, he and his wife left America for Australia along with architects Roy Lippincott and George Elgh.

With the outbreak of World War I in 1914, Griffin was under pressure to reduce the scope and scale of his plans due to the diversion of funds towards the war effort. Several parts of his basic design underwent change. Plans to create Westbourne, Southbourne and Eastbourne Avenues to complement Canberra's Northbourne Avenue were eliminated, as was a proposed railway connecting South Canberra to North Canberra, and on to Yass, 35 mi (55 km) away. A market area that would have been at Russell Hill in North Canberra was moved south to Fyshwick, next to South Canberra.

The pace of building was slower than expected, partly because of a lack of funds and partly because of continued disputation between Griffin and Commonwealth Government bureaucrats. Many of Griffin's design ideas were attacked by both the architectural profession and the press. In 1917, a Royal Commission determined that they had undermined Griffin's authority by supplying him with false data which he had used to carry out his work. Ultimately, Griffin resigned from the Canberra design project in December 1920 when he discovered that several of these bureaucrats had been appointed to an agency that would oversee Canberra's construction. The Commonwealth Government under the leadership of Prime Minister Hughes had removed Griffin as Director of Design and Construction after disagreements over his supervisory role, and in 1921 it created the Federal Capital Advisory Committee, with John Sulman as chair. Griffin was offered membership, but declined and withdrew from further activity in Canberra.

Griffin designed several buildings for Canberra, none of which was built. The grave of General Bridges on Mount Pleasant was the only permanent structure designed by him to be built in Canberra.

Aside from the city's design, Griffin's longest-living legacy is the plantation of Redwood trees (Sequoia sempervirens and Sequoiadendron giganteum) known as Pialligo Redwood Forest, that he and arborist Thomas Charles Weston planted in 1918. It is on Pialligo Avenue between Canberra and Queanbeyan, 1.8 mi (2.8 km) east of Canberra airport.

Later career
The Griffins' office in Chicago closed in 1917; however, they had successful practices in Melbourne and Sydney, which were a strong motivation for their continuing to live in Australia. The Griffins had received commissions for work outside Canberra since Walter first arrived in the country in 1913, designing town plans, subdivisions, and one of his highly regarded buildings, Newman College, the Catholic residential college of the University of Melbourne while employed in Canberra. While supervising activities in Canberra, Griffin spent much time in Melbourne and, in 1918, became a founder, with Royden Powell, of the Henry George Club, an organization devoted to providing a home for the Single Tax movement. The Griffins' first major commission after leaving Canberra was the Capitol Theatre in Melbourne; it opened on November 7, 1924. In 1964 architectural writer Robin Boyd described the Capitol as "the best cinema that was ever built or is ever likely to be built".

In 1916 and 1917, Griffin developed a patented modular concrete construction system known as "Knitlock" for use in the construction of Canberra. No Knitlock buildings were ever built in Canberra, although several were built in Australia. The first were built on Griffin's property in Frankston in 1922, where he constructed two holiday houses called "Gumnuts". The best examples of Knitlock include the S.R. Salter House in Toorak and the Paling House. Frank Lloyd Wright designed a similar system and used Griffin's design to support the arguments for his design.

In 1919, the Griffins founded the Greater Sydney Development Association (GSDA), and in 1921 purchased 259 ha of land in North Sydney. The GSDA's goal was the development of an idyllic community with a consistent architectural feel and bushland setting. Walter Burley Griffin as managing director of the GSDA designed all the buildings built in the area until 1935. Castlecrag was the first suburb to be developed by the GSDA. The Redding House and several others in Castelcrag were also built in Knitlock. Almost all the houses Griffin designed in Castlecrag were small and had flat roofs, and he included an internal courtyard in many of them. Griffin used what was at that time the novel concept of including native bushland in these designs. He came to be referred to as "The Wizard of Castlecrag".

Other work the Griffins did during this time included the Melbourne subdivisions of Glenard (where the Griffins built their own Knitlock house "Pholiota") and Mount Eagle at Eaglemont, and the Ranelagh Estate in Mount Eliza Victoria 1924. The Ranelagh Estate was listed on the Victorian State Heritage Register (H01605) in 2005 as a significant example of a country estate. Prior to 1920 the Griffins also designed the New South Wales towns of Leeton and Griffith. Griffin and architect J Burcham Clamp designed a large tomb built at Waverley Cemetery, Sydney, between 1914 and 1916 for James Stuart, which still stands as a good example of Griffin's sense of 'human-scale monumentality'.

The Griffins participated in the celebrated Chicago Tribune Tower Competition in 1922. Having won one international competition, as architects who were both well acquainted with Chicago and recognized as practical visionaries, they offered a solution that was positive, forward-looking and elegant. Indeed, their non-winning entry appears to have been about a decade ahead of its time, with emphatic verticality along the lines of the Art Deco or Art Moderne. It anticipated, and would have been a near neighbor of, Chicago's 333 North Michigan by Holabird & Roche (1928); with stylistic echos in John and Donald Parkinson's Bullocks Wilshire, in Los Angeles (1929), as well as Adah Robinson and Bruce Goff's Boston Avenue Methodist Church, Tulsa (1929).

In the 1920s, the Griffins prepared plans for the Milleara Estate (also known as City View) at Avondale Heights and the Ranelagh Estate at Mount Eliza, both in Victoria (Australia) in conjunction with surveyors Tuxen and Miller.

Incinerators
During the financial hardship of the Great Depression, in the 1930s Griffin designed incinerators, collaborating with the Reverberatory Incinerator and Engineering Company (RIECo), in conjunction with his friend and business partner, Eric Nicholls. He was responsible for twelve incinerator designs between 1930 and 1938, of which seven still survive. They are located at:

The Willoughby incinerator is a good example of this work. It has been listed by the National Trust of Australia and the Royal Australian Institute of Architects as a building of significance. In 1999 it was listed in the New South Wales State Heritage Register. It has since been restored and converted to commercial use by Willoughby Council.
 * Willoughby, New South Wales
 * Glebe, New South Wales
 * Ipswich, Queensland
 * Essendon, Victoria
 * Hindmarsh, South Australia
 * Thebarton, South Australia
 * Canberra, Australian Capital Territory

The Walter Burley Griffin Incinerator, Ipswich, Queensland is listed on the Queensland Heritage Register and has been converted into a theatre. Another incinerator was built in the suburb of Pyrmont, not far from the centre of Sydney. This incinerator was considered for heritage listing but was demolished in 1992 because it was in irredeemably bad condition.

India
During their time at the GSDA, the Griffins became more involved in anthroposophy, and in 1935 through contacts in the movement Griffin won a commission to design the library at the University of Lucknow in Lucknow, India.

Although he had planned to stay in India only to complete the drawings for the library, he soon received more than 40 commissions, including the University of Lucknow Student Union building; a museum and library for the Raja of Mahmudabad; a zenana (women's quarters) for the Raja of Jahangirabad; Pioneer Press building, a bank, municipal offices, many private houses, and a memorial to King George V. He also won complete design responsibility for the 1936–1937 United Provinces Exhibition of Industry and Agriculture. His 53 projects for the 160 acre site featured a stadium, arena, mosque, imambara, art gallery, restaurant, bazaar, pavilions, rotundas, arcades, and towers, however, only part of his elaborate plans were fully executed.

Griffin was inspired by the architecture and culture of India, modifying forms as "he sought to create a modern Indian architecture ... Griffin was able to expand his aesthetic vocabulary to create an exuberant, expressive architecture reflecting both the 'stamp of the place' and the 'spirit of the times'". While in India, Griffin also published numerous articles for the Pioneer, writing about architecture, in particular about ventilation design improvements. Marion joined Walter in Lucknow in April 1936 to collaborate on several projects.

Death and burial in India
Griffin died of peritonitis in early 1937, five days after gall bladder surgery at King George's Hospital, Lucknow in Lucknow city in state of Uttar Pradesh, India, and was buried in Christian Cemetery in Lucknow. Marion Mahony Griffin oversaw the completion of the Pioneer Building that he had been working on at the time of his death. She closed down their Indian offices, then left their Australian practice in the hands of Griffin's partner, Eric Milton Nicholls, and returned to Chicago.

Legacy
Griffin was largely under-appreciated during his time in Australia, but since his death recognition of his work has steadily grown. In 1964, when Canberra's central lake was filled, as Griffin had intended, Prime Minister Robert Menzies declined to have the lake named after himself. Instead he named it Lake Burley Griffin, making it the first "monument" in Canberra dedicated to the city's designer ("Burley" was included in the name because of the ongoing misconception that it was part of Griffin's surname). Burley Griffin Way is a 276 km road linking Griffith, Temora, Harden, Binalong to the Hume highway west of Bowning, 10 km northwest of Yass.

Architectural drawings and other archival materials by and about the Griffins are held by numerous institutions in the United States, including the Drawings and Archives Department of Avery Architectural and Fine Arts Library at Columbia University; the Block Gallery at Northwestern University; the Ryerson & Burnham Libraries at the Art Institute of Chicago; and the New York Historical Society, as well as in several repositories in Australia, including the National Library of Australia, National Archives of Australia, and the Newman College Archives of the University of Melbourne. At the centenary of the Griffins' design work for Canberra, some believe they are owed a permanent memorial.

In his own words
"I am what may be termed a naturalist in architecture. I do not believe in any school of architecture. I believe in architecture that is the logical outgrowth of the environment in which the building in mind is to be located" From The New York Times, Sunday June 2, 1912

India

 * Library in University of Lucknow, in Lucknow city in the state of Uttar Pradesh in India
 * Dr Bhatia's Residence, still extant in Lucknow city in the state of Uttar Pradesh in India

United States

 * G.B. Cooley House, 1908 South Grand St., Monroe, Louisiana
 * Alfred W. Hebert House Remodeling, 1902, Evanston, Illinois
 * W.H. Emery House, 1903, Elmhurst, Illinois
 * Adolph Mueller House, 1906
 * John Dickinson House (part of the Eden Rift Estate Winery), 10034 Cienega Road Hollister, California 1906
 * Mary H. Bovee Apartment, 1907
 * John Gauler House, 5917-5921 N. Magnolia Ave., Chicago, Illinois, 1908
 * William S. Orth House, 1908, Winnetka, Illinois
 * Edmund C. Garrity House, 1909
 * Ralph Griffin House, 1909, Edwardsville, Illinois
 * Edmund C. Garrity House, 1712 W. 104th Place, Chicago, Illinois, 1909
 * William B. Sloan House, 1910
 * Frank N. Olmstead House, 1624 W. 100th Place, Chicago, Illinois, 1910
 * Harry N. Tolles House, 10561 S. Longwood Drive, Chicago, Illinois, 1911
 * Harry G. Van Nostrand House, 1666 W. 104th Place, Chicago, Illinois, 1911
 * Russell L. Blount House I, 1724 W. 104th Place, Chicago, Illinois, 1911
 * Benjamin J. and Mabel T. Ricker House, 1510 Broad Street, Grinnell, Iowa, 1911-1912
 * Joshua Melson House, 1912, Mason City, Iowa
 * Russel L. Blount House II, 1950 W. 102nd Street, Chicago, Illinois, 1912–1913
 * Jenkinson House, 1727 W. 104th Place, Chicago, Illinois, 1912–1913
 * Walter D. Salmon House, 1736 W. 104th Place, Chicago, Illinois, 1912–1913
 * Newland House, 1737 W. 104th Place, Chicago, Illinois, 1913
 * Ida E. Williams House, W. 104th Place, Chicago, Illinois (based on the Von Nostrand plans, built by Blount), 1913
 * William R. Hornbaker House, 1710 W. 104th Place, Chicago, Illinois, (based on the Von Nostrand plans, built by Blount), 1914
 * James Frederic Clarke House, 1731 W. 104th Place, Chicago, Illinois, (based on the Von Nostrand plans, built by Blount), 1913
 * Harry C. Furneaux House, 1741 W. 104th Place, Chicago, Illinois, (based on the Salmon House plans, built by Blount), 1913
 * James Blyth House, Mason City, Iowa
 * Stinson Memorial Library, Anna, Illinois

Australia

 * Canberra plan, 1914–1920
 * Leeton town plan, 1914
 * Griffith town plan, 1914
 * Eaglemont town plan, 1915
 * Paris Theatre, Sydney, 1915 (demolished 1981)
 * Newman College, University of Melbourne, 1916–1918
 * Café Australia, Melbourne, 1916
 * Pholiota, in Eaglemont, Victoria 1920
 * Capitol Theatre, Melbourne 1924
 * Palais de danse, St Kilda 1925 (destroyed by fire)
 * Leonard House, Elizabeth Street Melbourne 1925 (demolished)
 * Ranelagh, town plan, 1924
 * Langi Flats, Toorak 1925-26
 * Castlecrag, suburb plan, 1925
 * Fishwick House, completed in 1929
 * Lake Daylesford, completed 1929
 * Castle Cove, suburb plan, 1930
 * Willoughby Incinerator, completed 1932
 * Duncan House (Castlecrag), completed 1934
 * Eric Pratten House, in Pymble, Sydney, completed 1936
 * Hindmarsh Incinerator, South Australia, completed 1936
 * Pyrmont Incinerator, completed 1936 (demolished 1992)
 * Thebarton Incinerator, South Australia, completed 1937
 * Walter Burley Griffin Incinerator, Ipswich, completed 1992

General references
Griffin, Dustin, ed., The Writings of Walter Burley Griffin (Cambridge University Press, Melbourne, 2008).
 * Birrell, James. 1964. Walter Burley Griffin. University of Queensland Press
 * Gebhard, David & Gerald Mansheim, Buildings of Iowa, Oxford University Press, New York, 1993
 * Gebhard, David. "The Suburban House and the Automobile." The Car and the city: The Automobile, the Built Environment and Daily Urban Life. Ann Arbor: University of Michigan Press, 1991: 106,123.
 * Kruty, Paul. 2000. Griffin, Walter Burley. American National Biography Online. Oxford University Press
 * Mason City Iowa, An Architectural Heritage, Department of Community Development, City of Mason, Iowa, 1977
 * Maldre, Mati and Paul Kruty, Walter Burley Griffin in America, University of Illinois Press, Urbana, 1996
 * McGregor, Alasdair, 'Grand Obsessions: The life and work of Walter Burley Griffin and Marion Mahony Griffin, Penguin/Lantern, Camberwell, Victoria, 2009
 * Walker, M., Kabos, A. and Weirick, J. (1994) Building for nature : Walter Burley Griffin and Castlecrag, Castlecrag, N.S.W. : Walter Burley Griffin Society (ISBN 0-646-18133-5)
 * Wilson, Richard Guy and Sidney K. Robinson, The Prairie School in Iowa, Iowa State University Press, Ames, 1977
 * Wilson, Richard Guy and Sidney K. Robinson, The Prairie School in Iowa, Iowa State University Press, Ames, 1977

Online exhibitions

 * Walter Burley Griffin: in his own right, Public Broadcasting Service
 * An Ideal City? The 1912 Competition to Design Canberra an online exhibition developed by the National Archives of Australia, National Library of Australia and the National Capital Authority

title: Walter Burley Griffin


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Jean-Eugène Robert-Houdin

Jean-Eugène Robert-Houdin (7 December 1805 – 13 June 1871) was a French watchmaker, magician and illusionist, widely recognized as the father of the modern style of conjuring. He transformed magic from a pastime for the lower classes, seen at fairs, to an entertainment for the wealthy, which he offered in a theatre opened in Paris, a legacy preserved by the tradition of modern magicians performing in tails.

Early life and entrance into conjuring
Robert-Houdin was born Jean-Eugène Robert in Blois, France, on 7 December 1805—a day after his autobiography said he was. His father, Prosper Robert, was a watchmaker in Blois. Jean-Eugene's mother, the former Marie-Catherine Guillon, died when he was just a young child. At the age of eleven, Prosper sent his son Jean-Eugène to school thirty-five miles up the Loire to the University of Orléans. At 18, he graduated and returned to Blois. His father wanted him to be a lawyer, but Robert-Houdin wanted to follow into his father's footsteps as a watchmaker.

Apprentice clockmaker
His penmanship was excellent, and it landed him a job as a clerk for an attorney's office. Instead of studying law, he tinkered with mechanical gadgets. His employer sent him back to his father. He was told that he was better suited as a watchmaker than a lawyer, but by then, Jean's father had already retired, so he became an apprentice to his cousin who had a watch-shop. For a short time, Jean-Eugène worked as a watchmaker.

In the mid-1820s, he saved up to buy a copy of a two-volume set of books on clockmaking called Traité de l'horlogerie ("Treatise on Clockmaking"), written by Ferdinand Berthoud. He would go on to pursue the craft of clockmaking for the rest of his life, and is widely credited with inventing the mystery clock.

Introduction to magic
When he got home and opened the wrapping, instead of the Berthoud books, what appeared before his eyes was a two-volume set on magic called Scientific Amusements. Instead of returning the books, his curiosity got the better of him. From those crude volumes, he learned the rudiments of magic. He practiced at all hours of the day.

From that point on, he became very interested in the art. He was upset that the books he got only revealed how the secrets were done but did not show how to do them. He found that learning from the books available in those days was very difficult due to the lack of detailed explanations, but the books piqued his interest in the art. So Robert-Houdin began taking lessons from a local amateur magician. He paid ten francs for a series of lessons from a man named Maous from Blois who was a podiatrist but also entertained at fairs and parties doing magic. He was proficient at sleight of hand, and taught Robert-Houdin how to juggle to improve his hand-eye coordination. He also taught him rudiments of the cups and balls. He told young Robert-Houdin that digital dexterity came with repetition, and as a direct result, Robert-Houdin practiced incessantly.

Magic was his pastime, and meanwhile, his studies in horology continued. When he felt he was ready, he moved to Tours and set up a watchmaking business, doing conjuring on the side.

Much of what we know about Robert-Houdin comes from his memoirs—and his writings were meant more to entertain than to chronicle, rendering it difficult to separate fact from fiction. Robert-Houdin would have readers believe that a major turning point in his life came when he became apprenticed to the magician Edmund De Grisi, Count's son and better known as Torrini. What is known is that his early performing came from joining an amateur acting troupe.

Marriage to Josèphe Cecile Houdin
He performed at social parties as a professional magician in Europe and the United States. It was during this period while at a party that he met Josèphe Cecile Houdin, the daughter of a Parisian watchmaker, Jacques-François Houdin, who also originally came from Blois. Jean-Eugène fell in love with her at their first meeting. On 8 July 1830, they were married; he then hyphenated his own name to hers and became Robert-Houdin. He and Josèphe had eight children, of whom three survived.

He moved to Paris and worked in his father-in-law's wholesale shop. Jacques-François was among the last of the watchmakers to use the old method of handcrafting each piece and embraced his new son-in-law's ambitions for mechanism. While Houdin worked in the main shop, Jean-Eugène was to tinker with mechanical toys and automatic figures. With his work in the shop, Jean-Eugène was still practicing magic. Quite by accident, Robert-Houdin walked into a shop on the Rue Richelieu and discovered that it sold magic. He visited the store, which was owned by a Père (Papa) Roujol. There, he met fellow magicians, both amateur and professional, where he engaged in talk about conjuring, and he met an aristocrat by the name of Jules de Rovère, who coined the term "prestidigitation" to describe a major misdirection technique magicians used.

At Papa Roujol's, Robert-Houdin learned the details to many of the mechanical tricks of the time as well as how to improve them. From there, he built his own mechanical figures, like a singing bird, a dancer on a tightrope, and an automaton doing the cups and balls. His most acclaimed automaton was his writing and drawing figure. He displayed this figure before King Louis Philippe and eventually sold it to P. T. Barnum.

On 19 October 1843, Josèphe died at the age of thirty-two, having been ill for months. At her death, having three young children to take care of, he remarried in August to Françoise Marguerite Olympe Braconnier, a woman ten years younger, who soon took over the household.

Robert-Houdin loved to watch the big magic shows that came to Paris. He dreamed about some day opening his own theatre. In the meantime, he was hired by a friend by the name of Count de l'Escalopier to perform at private parties.

Now that he had free time, he began constructing equipment for his own use instead of selling it to others. The income from the shop and his new inventions gave him enough money to experiment on new tricks using glass apparatus that would be (or at least appear to be) free of trickery. He envisioned a stage that would be as elegant as the drawing rooms in which he was hired to perform. He also decided that a magician should be dressed as such by wearing traditional evening clothes.

Opening the "Palais Royale"
He obtained financial backing from Count de l'Escalopier, who fronted him the 15,000 francs to turn his vision into reality. He rented out a suite of rooms above the archways around the gardens of the Palais Royal, which was once owned by Cardinal Richelieu. He hired workmen to redesign the old assembly room into a theatre. They painted it white with gold trim. Tasteful drapes were hung, chic candelabras were placed throughout, and the stage furniture was set in the style of Louis XV.

On 3 July 1845, Robert-Houdin premiered his 200-seat Théâtre Robert-Houdin in what he called "Soirées fantastiques". No critics covered Robert-Houdin's debut, and in his memoirs, Robert-Houdin said that the show had been a disaster. He suffered from stage fright that caused him to talk too fast and in a monotone. He said that he did not know what he was saying or doing, and everything was a blur. He believed that a magician should not present a trick until it was mechanically perfected to be certain of avoiding failure, and this caused him to over-rehearse.

After the first show, he was close to having a nervous breakdown. He closed the theatre and had every intention to close it for good, until a friend agreed that the venture was a silly idea. Instead of admitting defeat, Robert-Houdin, irked at the friend's effrontery, used this insult to regain his courage, and persevered in giving the show a long run at his little theatre. Although the forty-year-old magician was unpolished at first, he soon gained the confidence required for the stage.

With each performance, Robert-Houdin got better, and he began to receive critical acclaim. Le Charivari and L'Illustration both said that his mechanical marvels and artistic magic were comparable to those of his predecessors like Philippe and Bartolomeo Bosco. Even with all of this, still relatively few people would come to the little theatre during the summer months, and he struggled to keep it open. To meet expenses, he sold the three houses that he had inherited from his mother.

The following year, he added a new trick to his programme that became especially popular. Seats at the Palais Royal were at a premium. This new marvel was called Second Sight. Second Sight drew the audiences into the little theatre. Once there, they saw the other creations Robert-Houdin had to offer. He also performed outside Paris, sometimes with local magicians, as he did in Liège in 1846 with the then well-known Belgian magician Louis Courtois.

Famous illusions
Robert-Houdin combined his mechanical abilities along with "showmanship, humour, and artistic handling" to produce his illusions. Robert-Houdin felt that every magic programme should be arranged so one trick builds upon the others. One surprise should lead to an even bigger surprise. Some of the tricks and illusions Robert-Houdin presented became classics. Here are a few of them.

Second sight
When Robert-Houdin first opened his theatre, it was sparsely attended and he realized that he needed something more extraordinary that would bring the public to his theatre. So he came upon the idea of doing a two-person mind-reading act, concocting a silly story about how his son Émile had created a game of hot and cold that resulted in Robert-Houdin using it for the stage.

He named the trick "Second Sight", a title that was already used by magicians such as John Henry Anderson, but the effect was entirely different. Anderson had a box into which items were inserted. The medium would then describe the contents inside. In Robert-Houdin's version, he walked into the audience and touched items that the audience held up, and his blindfolded assistant, played by his son, described each one in detail. It caused a sensation and brought the throng to see his shows.

Eventually, Robert-Houdin changed the method, so instead of asking his son what was in his hands, he simply rang a bell. This stunned those that suspected a spoken code. He would even set the bell off to the side and remain silent, and his son still described every object handed to his father.

Robert-Houdin made the test even more difficult. He placed a glass of water into his son's hands, and Émile proceeded to drink from it. He was able to perceive the taste of the liquids that spectators from the audience merely thought of. Even then, the audiences were not entirely convinced; they tried to trip up Émile by bringing in books written in Greek, or odd tools such as a thread counter.

The ethereal suspension
During Robert-Houdin's time, all of Paris was enthusiastically talking about the mysterious uses of "ether". He took advantage of this by presenting an illusion that appeared to use the pungent liquid. He told the audience that he had discovered a marvelous new property of ether. "If one has a living person inhale this liquid when it is at its highest degree of concentration, the body of the patient for a few moments becomes as light as a balloon," Robert-Houdin claimed.

He proceeded to "prove" just that. He placed three stools on a wooden bench. His youngest son Eugène stood on the middle one. With the instructions from his father, he extended his arms. Robert-Houdin placed two canes on top of the stools and positioned them under his son's arms.

He took a vial of ether and opened it. The audience smelled it wafting through the theatre. He placed the vial under his son's nose, and he went limp. In reality, the vial was empty, with the odour being produced by his son Émile pouring real ether on a hot iron shovel.

Robert-Houdin took the stool away from his son's feet, and he just hung limp as a rag. He took away one of the canes, so he was dangling by one arm, and carefully placed his head against his upraised hand. This was startling enough. What he did next was stunning. He lifted his boy upright in a horizontal position by his little finger and then let go until he was suspended in mid air. Robert-Houdin stepped away to leave his son in that suspended state, balanced only by his right elbow and no other support.

When it was apparent that the drug was wearing off, Robert-Houdin returned his son to his upright position. When he woke up, he seemed no worse for wear. Robert-Houdin built up the surprise of spectators until, "… by gradually heightening it up to the moment when, so to speak, it exploded." This brought letters of protest against Robert-Houdin, thinking he was putting his son's health in jeopardy, although the ether had nothing to do with the trick.

Robert-Houdin was not the first to perform the Levitation Illusion. The first in Europe was Ching Lau Lauro in the 1830s. The illusion was also reported to be performed by an Indian conjuror before that, but sitting cross-legged rather than lying down.

The Marvelous Orange Tree
This trick was likely inspired by the Indian mango tree trick, where a performer would grow a tree from a seed to a sprout, then into a tree with fruit. On one of Robert-Houdin's side tables, he had an egg, a lemon, and an orange. He went into the audience and borrowed a lady's handkerchief that was in style then. He rolled it into a ball. He rubbed the ball in between his hands, and the handkerchief got smaller and smaller until it disappeared, passing through to the egg on the table.

Carefully, he picked up the egg. The audience expected him to crack it open and produce the spectator's handkerchief. Instead, he made that disappear too. He told the audience that the egg went to the lemon. This was repeated with the lemon and the orange. When he made the orange disappear, all that was left was a fine powder. This was placed into a silver vial. He soaked this vial with alcohol and set it on fire.

A small orange tree planted in a wooden box was brought forth by one of his assistants. The audience noticed that the tree was barren of any blossoms or fruit. The blue flame from the vial was placed underneath it. The vapors from it caused the leaves to spread and sprout orange blossoms from it. Robert-Houdin then picked up his magic wand and waved it. The flowers disappeared and oranges bloomed forth.

He plucked the oranges from the tree and tossed them to the audience to prove they were real. He did this until he only had one left. He waved his wand again, and the orange split open into four sections, revealing a white material of sorts inside of it. Two clockwork butterflies appeared from behind the tree. The butterflies grabbed the end of the corner of the white cloth and spread it open, revealing the spectator's handkerchief.

The Marvelous Orange Tree trick was used by the eponymous conjurer in Steven Millhauser's short story "Eisenheim the Illusionist" and its film adaptation The Illusionist (2006), where a more complex variant is shown. It is also alluded to in Donald Barthelme's short story "Sentence".

Robert-Houdin's portfolio
Robert-Houdin brought in under his arm a large portfolio used for holding documents or art work. The portfolio was only about one and three-quarters of an inch thick, too small or too thin to hold anything but pictures.

He set it on two thin trestles to hold the case with the spine facing the audience. He removed the expected drawings from it. One of those pictures showed a bareheaded woman. Then, he produced two lady's bonnets decorated with flowers; one for winter, the other for summer. He lowered the flap for each production. Then, he showed a picture of birds, followed by a stuffed bird flat as a pancake. With that, he proceeded to produce from the portfolio four live turtle doves.

He showed a picture of a cartoon of two cooks fighting with pots. This was followed by three enormous copper pots. One was filled with beans, another with flames bursting forth, and the third pot was filled with boiling water. As an afterthought, he lifted the top flap of the portfolio and pulled out a large cage filled with birds.

He walked forward towards the audience with the square cage, and they applauded thinking the trick was over. "Nothing here now—neither anything, nor anybody," he said as he knocked on the upright flap. For a finale, he closed the portfolio one last time and produced his young son from it.

The light and heavy chest
The number of tricks he invented for his theatre was extensive, but his most remarkable one was the "Light and Heavy Chest". He took advantage of the infancy of the usage of electricity, especially the then-novelty of Hans Christian Ørsted's discovery of electromagnetism, to his advantage. Robert-Houdin brought on a small wooden box about a foot wide. He said that he had found a way to protect it from thieves. He asked a spectator to lift it, usually a small child. The child lifted it with ease. Then, he brought an adult male up from the audience and asked him to lift the same box. The adult male was unable to lift the box.

Inventions pirated
Robert-Houdin's inventions were pirated by his trusted mechanic Le Grand, who was arrested for making and selling duplicate illusions. Many of those illusions fell into the hands of his competitors, such as John Henry Anderson, Robin, Robert Heller, and Compars Herrmann. It is not known whether Herrmann or the others bought the illusions directly from LeGrand or from another source, but they willingly performed the illusions after knowing that they were invented by Robert-Houdin.

Robert-Houdin on tour
Robert-Houdin's little theatre became a mecca for magic enthusiasts. Herrmann was a constant visitor to the Palais Royal. It became the place for the Paris elite to go. Even King Louis Philippe rented out the room for a private performance. After the triumph he gave at the Royal Palace, in 1847, the king decided to take his entourage to see Robert-Houdin at the Palais Royal.

The following February, a revolution ended the reign of Louis-Philippe. With it, show business also ended. The Revolution closed all Parisian theatres. Robert-Houdin shut down his theatre and went on the road. He toured the Continent briefly, and then he headed off to Great Britain.

With a company of French dramatists, Robert-Houdin made his English debut at the St. James Theatre in London. He presented his programme three times a week. Much to his dismay, he found out that Compars Herrmann beat him to the territory. Not only was he billing himself as "the Premier Prestidigitateur of France", but he was also using pirated versions of his illusions. Despite this, Robert-Houdin still accomplished a success there. So much so, in 1848, he did a command performance for Queen Victoria. After a three-month tour of England, he went back home after about a year and a half away. He reopened the theatre and became a permanent fixture in Paris. In 1850, he handed the Palais Royal to his brother-in-law Hamilton (Pierre Etienne Chocat). This left him free to tour France. He did so for two years. Then he went to Germany and on a return engagement to England, where he ended up performing a second time for Queen Victoria.

He did a brief tour of France and then, at the age of 48, retired from public performances. He gave the theatre back to Hamilton, who continued to fill the little theatre. After Robert-Houdin retired, he devoted himself to his inventions with electricity and his writings. His home, "Le Prieuré" (the Priory), was a marvel in advancement.

Magic mission to Algeria
In 1856, he was asked by Louis-Napoleon to pacify the tribes in French Algeria. During this period, the French Army commanders maintained order in the newly pacified region. They supervised local Muslim administrations and the "bureaux arabes". These areas were closed off to colonization by the Europeans. Napoleon III was worried about religious leaders called Marabouts. The Marabouts were able to control their tribe with their faux magical abilities. They advised their leaders to break ranks with the French. Napoleon wanted Robert-Houdin to show that French magic was stronger.

The magical mission began with an informal show at the Bab Azoun Theatre in Algeria, where he would give performances twice weekly. He also gave many special galas before the country's tribal chiefs. He used The Light and Heavy Chest during these performances, but instead of playing it for comedy as he had in Paris, here he played it straight. Robert-Houdin once invited the strongest tribesman on stage and asked the Arabian to pick up the wooden chest placed on stage. The Arabian picked it up with no problem. Then Robert-Houdin announced that he was going to sap his strength. He waved his wand and declared: "Contemplez ! Maintenant vous êtes plus faible qu'une femme ; essayez de soulever la boîte." ("Behold! Now you are weaker than a woman; try to lift the box.") The Arabian pulled on the handle of the chest, but it would not budge. He tried and tried until he tried to rip it apart. Instead, he screamed in pain, as Robert-Houdin had rigged the box to give the Arabian an electrical shock if he tried to rip the handles off. The Arabian let go of the handle, ran off into the aisle, and ran screaming out of the theatre.

After his performances were done, he gave a special presentation for several chief men of their tribe. He was invited to the home of the head of the tribe of the desert interior, Bou-Allem. In dawn of the Arab desert, Robert-Houdin was challenged to do a special trick. He obliged by inviting one of the rebels to shoot at him with a marked bullet, which he caught between his teeth. He was given a certificate from Bou-Allem, who wore a red robe symbolizing his loyalty to France. With this scroll praising his mysterious manifestations, Robert-Houdin went back to France with the mission accomplished.

"The blow was struck", Robert-Houdin said, "...henceforth the interpreters and all those who had dealings with the Arabs received orders to make them understand that my pretended miracles were only the result of skill, inspired and guided by an art called prestidigitation, in no way connected with sorcery". He went on to say, "The Arabs doubtless yielded to these arguments, for henceforth I was on the most friendly terms with them." He was rewarded for his services by the French government for suppressing any possible rebellion.

Retirement and death
After his mission in Algeria was completed, Robert-Houdin gave his last public performance at the Grand Théâtre in Marseille, then returned to his home in Saint-Gervais, near his native Blois, where he wrote his memoirs, Confidences d'un Prestidigitateur. He also wrote several books on the art of magic. He lived happily in retirement for about fifteen years, until the advent of the Franco Prussian War. His son Eugène was a captain in a Zouave regiment. On 6 August 1870, Robert-Houdin heard news of his son being mortally wounded at the Battle of Wörth. Meanwhile, Hessian Soldiers captured Paris, and Robert-Houdin hid his family in a cave near his property. The Russian soldiers were very rude, according to Robert-Houdin, but he found the Polish soldiers to be a lot kinder.

Four days later, Robert-Houdin was to find out that his son had died of his wounds. With the stress from that and the war, his health deteriorated, and he contracted pneumonia. On 13 June 1871, he died of his illness at the age of 65.

Legacy

His home in Blois is open to the public as the publicly owned La Maison de la Magie Robert-Houdin. It is a museum and theatre first opened by his grandson Paul Robert-Houdin in April 1966. As a museum of France and bearing the official label of "Musée de France", it is the only public museum in Europe that incorporates in one place collections of magic and a site for permanent performing arts. The creation of such a site is directly linked to the personality of Robert-Houdin. Several of Robert-Houdin's apparatuses, including automata and mystery clocks, reside in David Copperfield's private museum.

In December 1852, the Theatre Robert-Houdin moved from its original location to the Boulevard des Italiens in Paris. Ownership passed from Hamilton to Cleverman (François Lahire), then to Robert-Houdin's son Émile. Emile was too busy to perform at the theatre, so he arranged for Pierre Edouard Brunnet to present the show.

After his death, Émile's widow sold the theatre to Georges Méliès in 1888. Méliès, himself a magician but best known to history as one of the greatest early innovators of film making, later presented his first movies there. He accidentally discovered stop-action special effects and presented his creation at the Theatre Robert-Houdin. One of his classics is A Trip to the Moon. In 1924, the building was demolished.

Robert-Houdin's autobiography is The Memoirs of Robert-Houdin. His life and works are also cited in Robertson Davies's "Deptford Trilogy", notably in the trilogy's third novel, World of Wonders, which takes place on the set of a movie about Robert-Houdin.

In his book Hiding the Elephant, Jim Steinmeyer said that every magician of the 20th century was "haunted" by Robert-Houdin, "... who cast an enormous shadow over their generation". Hungarian-American magician and escape artist Harry Houdini (born Ehrich Weiss) was so impressed by Robert-Houdin that, after reading his autobiography in 1890, Weiss adopted the stage name of "Houdini" in honour of Robert-Houdin. He incorrectly believed that an i on the end of a name meant "like" in French; but Houdini, his own career and reputation established by that time, later lost his youthful respect for Robert-Houdin, believing that he took undue credit for other magicians' innovations, and wrote The Unmasking of Robert-Houdin in 1908.

Robert-Houdin is often credited as being "the father of modern magic". Before him, magicians performed in marketplaces and fairs, for the lower classes, but Robert-Houdin performed magic in theatres and private parties for wealthier patrons. He also chose to wear formal clothes, like those of his more upscale audiences, which has become a tradition for many modern magicians who wear tail-coats.

Many cities have streets that bear his name: Blois, Bourges, Caen, Paris (11th), Saint-Étienne, and Saint-Gervais-la-Forêt in France; Monticiano in Siena, Italy; and others.

Publications

 * Confidences d'un prestidigitateur, une vie d'artiste, 2 vol., 1858 Texte en ligne sur Google Books : vol. 1 et vol. 2
 * Les Tricheries des Grecs dévoilées ; l'art de gagner à tous les jeux, 1861
 * Le Prieuré, organisations mystérieuses pour le confort et l'agrément d'une demeure, 1867 Texte en ligne su Gallica
 * Note sur de nouveaux instruments propres à l'observation des divers organes de l'œil ainsi qu'à la manifestation des images entoptiques, 1867
 * Confidences et révélations, 1868. Réédition: Slatkine, Genève, 1980 Texte en ligne sur Gallica
 * Comment on devient sorcier: les secrets de la prestidigitation et de la magie, 1871
 * Magie et physique amusante, 1877

Films and television

 * 1896: Escamotage d'une dame chez Robert-Houdin ("Retraction of a Lady at the House of Robert-Houdin"), film of Georges Méliès, first film with special effects
 * 1995: Robert-Houdin une vie de magicien, film of Jean-Luc Muller, documentary
 * 2006: The Illusionist (2006 film), in which the title character performs some of Robert-Houdin's signature tricks
 * 2011: Hugo, features an automaton, reenactments of Houdin's illusions, and information about how he inspired Méliès.
 * 2013: Mysteries at the Museum, Travel Channel television program, featured the story of Robert-Houdin's Algerian mission and the role of the wooden chest now on display at the Salon de Magie. Portrayed by American actor Paul Meltzer.

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

title: Jean-Eugène Robert-Houdin


text:
Stage name

A stage name or professional name is a pseudonym used by performers, authors, and entertainers—such as actors, comedians, singers, and musicians. Such professional aliases are adopted for a wide variety of reasons and may be similar or nearly identical to an individual's birth name or be inspired by nicknames or maiden names. Some performers choose to adopt their stage name as a legal name.

Reasons for use
Some people take a stage name because their real name is difficult to pronounce or spell; fell into health and safety issues considerations; is considered unattractive, dull, or unintentionally amusing; projects an undesired image; or is already being used by another notable individual, including names that are not exactly the same but still too similar. An example of this is pop singer Katy Perry, whose real name is Katheryn "Katy" Hudson, which would have caused confusion with the actress Kate Hudson. Sometimes a performer adopts a name that is unusual or outlandish to attract attention. Other performers use a stage name in order to retain anonymity, as is often the case for porn stars, especially if they intend on switching careers. The equivalent concept among writers is called a nom de plume (pen name). In radio, the term "radio name" or "air name" is used.

Family connection
Some individuals who are related to a celebrity take a different last name so they are not perceived to have received undue advantage from their family connection. Actor Nicolas Cage, born Nicolas Coppola, chose a new last name to avoid comparisons with his uncle, director Francis Ford Coppola, who gave him his big break in the 1982 film Fast Times at Ridgemont High.

Conversely, individuals who wish to receive benefits from their family connections may take that person's first or last name. Lon Chaney Sr.'s son Creighton spent a number of years appearing in minor roles before renaming himself Lon Chaney Jr. Likewise, Emilio Estevez and his sister Renee chose not to take their father Martin Sheen's professional name and use their birth names. Their brother Carlos chose to use their father's professional name, and took the name Charlie Sheen. Some children born outside marriage to a (usually male) celebrity parent have done the same: Jett Williams (née Antha Bell Jett) and Scott Eastwood (né Scott Clinton Reeves) each use their fathers' last names; while others have not: Joseph Baena, son of Arnold Schwarzenegger, chose not to use his father's last name.

Women who achieve fame after marriage often use their married name as part of their professional name, while women who achieved fame before marriage may continue to use their maiden name or a hyphenated surname.

In some cases, the individual may adopt a stage name to avoid confusion with other family members who have similar names. Actor Mark Harmon (Thomas Mark Harmon) uses his middle name professionally to avoid confusion with his father Heisman Trophy winner and former broadcaster Tom Harmon (Thomas Dudley Harmon).

Stephen Nice, the birth name of the lead singer of Steve Harley and Cockney Rebel, took on the stage name Steve Harley after realising that his on stage persona differed greatly from his real-life persona, and as a result feeling that he was no longer "Ronald and Joyce's [Harley's Parents] little boy" when on stage.

Comedian Amos Muzyad Yaqoob Kairouz adopted the stage name Danny Thomas, largely because he did not want his friends and family to know he had gone back into working clubs where the salary was better.

Union rules
Guilds and associations that represent actors, such as the SAG-AFTRA (formed from a 2012 merger between the Screen Actors Guild and the American Federation of Television and Radio Artists) in the United States and Equity in the United Kingdom, stipulate that no two members may have identical working names. An actor whose name has already been taken must choose a new name. SAG-AFTRA allows any new member to keep their legal name as their stage name, even if another member has the same stage name already, as long as they sign a waiver.

Notable examples include: Nathan Lane, whose birth name (Joseph Lane) was already in use; Stewart Granger, born James Stewart; and Michael Keaton, born Michael Douglas. Diane Keaton, whose birth name is Diane Hall, took her mother's maiden name as a stage name after learning that there was already a registered actress named Diane Hall in the Actors' Equity Association. Ugly Betty actress Vanessa Williams officially uses "Vanessa L. Williams" because of SAG guidelines, although the other actress with same first and last name (Vanessa E. Williams) is arguably less notable. Similarly, David Walliams changed one letter in his surname owing to there being another "David Williams". Terry O'Quinn of Lost fame changed his surname from Quinn to O'Quinn as another registered actor already had the name Terrance Quinn. Long-time Simpsons writer and Futurama executive producer David X. Cohen changed his middle initial from S to X because there was already a David S. Cohen registered with the Writers Guild of America. Julianne Moore was born Julie Anne Smith but found that all variations of that name were already used by other actors.

The rumor that Michael Keaton changed his surname because of an attraction to actress Diane Keaton is incorrect; he chose Keaton because of an affinity for the physical comedy of Buster Keaton.

A middle name may be adopted in preference to changing a name. American author James Finn Garner, born James Edward Garner, adopted his mother's maiden name for a middle name after joining the SAG, to avoid confusion with James Garner, and retained the name for his writing career. In some cases, attaching a generational suffix is sufficient for guild rules; broadcaster David Lawrence is credited as David H. Lawrence XVII as a result of there being sixteen other David Lawrences in show business at the time he received his SAG card.

A person hoping to become successful as an entertainer who has a name identical to a name already familiar to the public (in any field of endeavor) may change their name in order to avoid having their name evoke the other person with the same name. Singer Katy Perry, born Katheryn Elizabeth Hudson, released her self-titled album under the name Katy Hudson, but later used her mother's maiden name to avoid confusion with actress Kate Hudson.

Involuntary name changes
A performer may also have had their stage name chosen for them by their agent – such was the case with Barbara Eden, born Barbara Jean Huffman – or, in the heyday of the Hollywood studios, by a movie studio. Joan Rivers (born Joan Alexandra Molinsky) went one step further and named herself after a former agent, Tony Rivers, after he told her to change her name. In the non English-speaking world, an example is the Taiwanese Mandopop girl group S.H.E (composed of Selina Jen, Hebe Tian, and Ella Chen), whose members' English names were chosen by their manager after taking personality tests.

Rockabilly musician Glen Glenn (real name Orin Glen Troutman) had an involuntary name change bestowed upon him in 1956, while he originally performed as Glen Trout, he became Glen Glenn.

Former child star Patty Duke (whose real name is Anna Marie Duke) had her stage name chosen for her by her first managers. Their choice of the name "Patty" was inspired by another child actress named Patty McCormack.

Cary Grant (born Archibald Alec Leach) had his name selected for him by Paramount Pictures. He had been using the name "Cary Lockwood", but the studio decided against it, deeming it too similar to another actor working at the time. Cary and the studio eventually settled on "Cary Grant" (Grant thought the letters "C" and "G" to be lucky: they had brought previous success for both Clark Gable and Gary Cooper). Joan Crawford, born Lucille Fay LeSueur, had her name changed as a result of a magazine poll organised by her studio, MGM.

Gorden Kaye (born Gordon Kaye) had one letter in his first name changed owing to a spelling error by the British Actors' Equity Association; he preferred the mistake over his original name.

Ethnicity
In the past, a stage name was often used when a performer's real name was considered to denote a specific ethnicity that faced potential discrimination. In other cases, actors have reinvented themselves with a more ethnic identity, when that gave them an advantage in playing "ethnic" roles.

Steven Tyler of Aerosmith changed his name from Steven Victor Tallarico "for more promotional appeal".

Historically, Jews in Hollywood were encouraged to anglicize their names to avoid possible discrimination. Examples of such name changes are Danny Kaye and Mel Brooks, both of whom were born with the surname Kaminsky, the original two lineups of The Three Stooges (born the Horwitz brothers and Louis Feinburg) and Woody Allen (born Allen Konigsberg). Jon Stewart claims that he did not anglicize his name for career reasons, but because of his estranged relationship with his father. Israeli-American Natalie Portman, born Natalie Hershlag, changed her name allegedly to protect her privacy. James Goldman, retired television anchorman, has stated that he chose the name Jim Gardner because of the thought that there were too many people with Jewish last names on staff.

Ramón Estévez changed his name to Martin Sheen as he felt it affected his job prospects owing to racial discrimination and bias, although he maintains his birth name for legal documents such as his passport; his sons made divergent choices: Carlos Irwin Estévez is now Charlie Sheen, while Emilio Estevez left his name unchanged. German-born actor Hans Gudegast adopted the stage name of Eric Braeden.

Actors Anthony Quinn and Anne Bancroft were advised to anglicize their names because 'Antonio Rodolfo Quinn Oaxaca' and 'Anna Maria Louisa Italiano', respectively, were considered too 'ethnic' for Hollywood and Broadway at the time. Eydie Gorme (born Edith Garmezano), Sophia Loren (born Sofia Villani Scicolone), Charles Bronson (born Charles Dennis Buchinsky), and Rita Hayworth (born Margarita Carmen Cansino), are four more well-known examples of this trend.

Broadcaster Dave Roberts was born David T. Boreanaz but was known professionally as Dave Thomas and later Dave Roberts as ethnic surnames were discouraged when he first began his career during the 1950s; his son, actor David Boreanaz, chose not to adopt a stage name.

The use of stage names for ethnic purposes may vary widely depending on the media market the personality is representing. For example, in Buffalo, New York, a city with a large Polish-American population, Polish-American media personalities typically work freely using their birth names.

Sicilian-American actor Espera Oscar de Corti, who built his film career portraying Native Americans, reinvented himself as Iron Eyes Cody. He not only took his stage name as his legal name but eventually began insisting that he actually was Native American.

Actress Bernadette Peters (born Bernadette Lazzara) was encouraged as a child actress to use her father's first name, Peter as her last name by her mother to avoid being type-cast in Italian roles.

Chloe Bennet had used her birth name, Chloe Wang, for her singing career in China, along with a short-lived TeenNick music series. She started using the surname Bennet, after her father's first name, when she failed to be welcomed by Hollywood agents. In reverse, Nichole Bloom, an actress with mixed Japanese-Irish parentage, changed her stage name to her birth name of Nichole Sakura in the wake of the summer of 2020, to honor her Japanese heritage; she had originally used Bloom, an English equivalent to Sakura (meaning cherry blossom) out of a fear of typecasting.

Ease of use
Another consideration in choosing a stage name is the ease of use. The Actors' Equity Association (AEA) advises performers to select a name that is easy for others to pronounce, spell, and remember. Some performers, while paying great attention to their skills and abilities, give little thought to the difference that a well-thought-out name can make to their career. Often a person or group decides on a different name only after they realize that a poorly chosen name gives a bad impression.

Actor Michael Caine was born Maurice Micklewhite and chose his new first name because he preferred the sound of it to the less glamorous-sounding "Maurice". He reputedly chose the surname "Caine" because, while deciding on a new surname, he looked across the street and saw a cinema advertising the film The Caine Mutiny. He later joked that he would be called "Michael The One Hundred and One Dalmatians" if he had looked in the other direction. Actor Pete Postlethwaite was advised to change his surname by peers who quipped that it "would never be put up in lights outside theaters because they couldn't afford the electricity", but he decided to keep it. In a similar situation, Doris Day (born Doris Kappelhoff) was told by a bandleader that her name would never fit on the marquee, and she thus took the surname "Day" because the song "Day By Day" had become one of her signature tracks.

Relevance to image
Ching Lau Lauro (1806?–1840) used a Chinese stage name to represent his stage image as a contortionist in Chinese costume. Believed to be a Cornishman, he was probably the first European magician to dress in Chinese costume on stage.

Commonly in the music world, especially those of heavy metal, punk rock, industrial, and hip hop, musicians will rename themselves with names more menacing or striking than their birth names. Every member of the punk band Ramones took the pseudonymous "Ramone" surname as part of their collective stage persona. Members of New Zealand art-rock band Split Enz all took their middle names as stage names, so as to keep their private image separate from their public personae.

Other performers may assume stage names as a means of distancing themselves from publicly known childhood names that could be considered professionally embarrassing, outlandish, or otherwise inappropriate. Film director Duncan Jones (son of singer David Bowie) was known publicly as a child as Zowie Bowie.

Rappers are known to use stage names, such as Jay-Z (Shawn Carter), 50 Cent (Curtis Jackson), Diddy (Sean Combs), Ludacris (Chris Bridges), Lil Wayne (Dwayne Carter Jr.), and Soulja Boy (DeAndre Way). At times, these artists will use their real names to make some of their material seem more authentic or personal. Eminem (Marshall Mathers) took his stage name from the pronunciation of his initials (M and M), and later used his real name at various public events and as an alter ego after his real name gained recognition following the release of his multi-platinum album The Marshall Mathers LP. LL Cool J (James Todd Smith) referenced his real name on the albums Mr. Smith and Todd Smith. Queen Latifah (Dana Owens) released The Dana Owens Album after changing her focus from hip-hop to jazz. Xzibit (Alvin Joiner) has also been credited by his real name when acting in several television shows.

Euphony and ease of remembrance
Some performers and artists may choose to simplify their name to make it easier to spell and pronounce, and easier for others to remember. For instance, Fall Out Boy vocalist and guitarist Patrick Stump removed the "h" from his original name, Stumph. It was still pronounced "stump", but the change ensured his audience would not think to pronounce it "stumf". Singer Jason Derulo (known for announcing his name in many of the introductions of his songs) uses the phonetic spelling of his given name, Jason Desrouleaux. Australian actress Yvonne Strahovski adopted a phonetic spelling of her surname Strzechowski as her stage name upon moving to the United States.

Andy Warhol dropped an "a" from his original name, Warhola, while couturier Yves Mathieu-Saint-Laurent dropped the first of his two surnames. Rodolfo Alfonso Raffaello Piero Filiberto Guglielmi adopted the stage name Rudolph Valentino in part because American casting directors found his original surname difficult to pronounce. Singer George Michael (the son of a Greek Cypriot restaurateur in North London) was born Georgios Kyriacos Panayiotou.

Some surnames may carry unfortunate connotations. Hal Linden, born Harold Lipshitz, adopted his stage name for fear that the embedded obscenity in his original surname could cost him work. Ralph Lauren's brother (who was his guardian) changed their family name from Lifshitz for a similar reason: fear of mockery. Duran Duran's Nick Rhodes, born Nicholas James Bates, changed his name to escape childhood ridicule (as a child, children would often tease him by calling him "Master Bates)"; he adopted the surname "Rhodes" after the keyboard manufacturer of the same name. Diana Dors was born Diana Fluck (one letter away from a profanity); this prompted her to change her name to a more benign one in order to avoid an accidental obscenity (which could have been exacerbated by her status as a sex symbol).

Musical use
Some types of music are more associated with stage names than others. For example, hip hop and EDM artists almost always use stage names, whereas "classical" composers and performers rarely do. Classical violinist Amadéus Leopold (born in South Korea as Yoo Hanbin) and opera singers Beverly Sills (born Belle Miriam Silverman), Nellie Melba (born Helen Porter Mitchell) and Jennifer Toye (born Jennifer Gay Bishop) are exceptions.

Some Algerian raï musicians use the prefix Cheb (for men) or Chaba (Chebba) for women. Both Arabic words mean "young" (e.g. as in Cheb Khaled, or "Young Khaled").

Some performers take a series of different stage names. The British pop singer who was successful in the 1970s as Alvin Stardust previously went by the stage name of Shane Fenton in the 1960s. He had been born Bernard William Jewry. Some performers will use different names in different settings. Charles Thompson, singer-songwriter for the alternative band the Pixies, was known in that band as Black Francis. He was called Frank Black as a solo performer and again called Black Francis in a reunited Pixies.

Unlike Hollywood stage names, many musical artists' stage names are obviously not personal names, but they may still end up universally used to refer to the performer, such as Lady Gaga. At times the line may be blurred between the name of an act and the stage name of the lead.

Many performers refer to their stage name as their "professional name". For instance David Jones became David Bowie in order to avoid confusion with Davy Jones of the Monkees but retained Jones as his legal name. In some cases, performers subsequently adopt their stage name as their legal name. For instance, the former Robert Allen Zimmerman's legal name has been Robert Dylan (Bob Dylan) since he changed it in New York City Supreme Court in August 1962. Elton John was born Reginald Kenneth Dwight but changed his name by deed poll, making Elton Hercules John his real name. When he was knighted, he became Sir Elton Hercules John rather than Sir Reginald Kenneth Dwight. Similarly, Freddie Mercury was born Farrokh Bulsara, but legally changed his name concurrently with the formation of Queen. Elvis Costello (born Declan MacManus), who had adopted his professional name as a legal name, changed it back to his birth name in 1986. Another example is Marvin Lee Aday, known by his stage name Meat Loaf. In a similar way, actress and singer Miley Cyrus was born Destiny Hope Cyrus but found "Miley" more comfortable, making it her legal name.

Entire musical groups have been known to adopt a common stage surname, the most notable arguably being the Ramones. Recent examples include The Donnas, Those Darlins, Los Campesinos! and Ween.

title: Stage name


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Cream (band)

Cream were a British rock band formed in London in 1966. The group consisted of bassist Jack Bruce, guitarist Eric Clapton and drummer Ginger Baker. Bruce was the primary songwriter and vocalist, although Clapton and Baker contributed to songs. Formed by members of previously successful bands, they are widely considered the first supergroup. Cream were highly regarded for the instrumental proficiency of each of their members.

During their brief three-year career, the band released four albums: Fresh Cream (1966), Disraeli Gears (1967), Wheels of Fire (1968), and Goodbye (1969). Beginning with Disraeli Gears, the band was joined in the studio by producer and multi-instrumentalist Felix Pappalardi. Their music spanned rock styles such as blues rock, psychedelia, and hard rock. Throughout their career, they sold more than 15 million records worldwide. The group's third album, Wheels of Fire (1968), is the first platinum-selling double album. They scored international hits with singles such as "Sunshine of Your Love" (1967) and "White Room" (1968).

Tensions between Bruce and Baker led to their decision in May 1968 to break up, although the band were persuaded to make a final album, Goodbye, and to tour, culminating in two final farewell concerts at the Royal Albert Hall on 25 and 26 November 1968 which were filmed and shown in theatres, then in 1977 released as a home video, Farewell Concert.

In 1993, Cream were inducted into the Rock and Roll Hall of Fame. They were included in both Rolling Stone and VH1's lists of the "100 Greatest Artists of All Time", at number 67 and 61 respectively. They were also ranked number 16 on VH1's "100 Greatest Artists of Hard Rock".

Formation (1966)
By July 1966, Eric Clapton's career with the Yardbirds and John Mayall & the Bluesbreakers had earned him a reputation as the premier blues guitarist in Britain. Clapton, however, found the environment of Mayall's band confining, and sought to expand his playing in a new band. In 1966, Clapton met Ginger Baker, then the drummer of the Graham Bond Organisation, for which Jack Bruce had played bass guitar, harmonica and piano. Baker felt stifled in the Graham Bond Organisation and had grown tired of Graham Bond's drug addictions and bouts of mental instability. "I had always liked Ginger", explained Clapton. "Ginger had come to see me play with the Bluesbreakers. After the gig he drove me back to London in his Rover. I was very impressed with his car and driving. He was telling me that he wanted to start a band, and I had been thinking about it too."

Each was impressed with the other's playing abilities, prompting Baker to ask Clapton to join his new, then-unnamed group. Clapton immediately agreed, on the condition that Baker hire Bruce, who had joined Manfred Mann since leaving Graham Bond, as the group's bassist; according to Clapton, Baker was so surprised at the suggestion that he almost crashed the car. Clapton had met Bruce when the bassist/vocalist briefly played with the Bluesbreakers in November 1965; the two also had recorded together as part of an ad hoc group dubbed Powerhouse (which also included Steve Winwood and Paul Jones). Impressed with Bruce's vocals and technical prowess, Clapton wanted to work with him on an ongoing basis.

In contrast, while Bruce was in Bond's band, he and Baker had been notorious for their quarrelling. Their volatile relationship included on-stage fights and the sabotage of one another's instruments. After Baker fired Bruce from the band, Bruce continued to arrive for gigs; ultimately, Bruce was driven away from the band after Baker threatened him at knifepoint.

Baker and Bruce tried to put aside their differences for the good of Baker's new trio, which he envisioned as collaborative, with each of the members contributing to music and lyrics. The band was named "Cream", as Clapton, Bruce, and Baker were already considered the "cream of the crop" amongst blues and jazz musicians in the exploding British music scene. Initially, the group were referred to and billed as "The Cream", but starting officially with its first record releases, the trio came to be known as "Cream". Despite this, the band was referred to as "The Cream" on several occasions by promoters and disc jockeys, and even on occasion by the band members themselves. Before deciding upon "Cream", the band considered calling themselves "Sweet 'n' Sour Rock 'n' Roll". Of the trio, Clapton had the biggest reputation in England; however, he was unknown in the United States, having left the Yardbirds before "For Your Love" hit the American Top Ten.

The band made its unofficial debut at the Twisted Wheel on 29 July 1966. Its official debut came two nights later at the Sixth Annual Windsor Jazz & Blues Festival. Being new and with few original songs to its credit, they performed blues reworkings that thrilled the large crowd and earned it a warm reception. In October the band also got a chance to jam with Jimi Hendrix, who had recently arrived in London. Hendrix was a fan of Clapton's music, and wanted a chance to play with him onstage.

It was during the early organisation that they decided Bruce would serve as the group's lead vocalist. While Clapton was shy about singing, he occasionally harmonised with Bruce, and in time, took lead vocals on several Cream tracks including "Four Until Late", "Strange Brew", "World of Pain", "Outside Woman Blues", "Crossroads", and "Badge".

Fresh Cream (1966)
The band's debut album, Fresh Cream, was recorded and released in 1966. The album reached number 6 in the UK charts and number 39 in the US. It was evenly split between self-penned originals and blues covers, including "Four Until Late", "Rollin' and Tumblin'", "Spoonful", "I'm So Glad" and "Cat's Squirrel". The rest of the songs were written by either Jack Bruce or Ginger Baker. ("I Feel Free", a UK hit single, was included on only the American edition of the LP.) The track "Toad" contained one of the earliest examples of a drum solo in rock music as Ginger Baker expanded upon his early composition "Camels and Elephants", written in 1965 with the Graham Bond Organisation.

Early Cream bootlegs display a much tighter band showcasing more songs. All of the songs are reasonably short, including five-minute versions of "N.S.U.", "Sweet Wine" and "Toad". But a mere two months later, the setlist shortened, with the songs then much longer.

Disraeli Gears (1967)
The band first visited the US in March 1967 to play nine dates at the RKO 58th Street Theatre in New York City. There was little impact, as impresario Murray the K placed them at the bottom of a six-act bill that performed three times per date, eventually reducing the band to one song per concert. They returned to record Disraeli Gears in New York between 11 and 15 May 1967. This, the band's second album, was released in November 1967 and reached the top five in the charts on both sides of the Atlantic. Produced by Felix Pappalardi (who later co-founded the Cream-influenced quartet Mountain) and engineer Tom Dowd, it was recorded at Atlantic Studios in New York. Disraeli Gears is often considered to be the band's defining effort, successfully blending psychedelic British rock with American blues.

Disraeli Gears also included "Sunshine of Your Love", which became the group's unofficial anthem, and is probably their best-known song today. Bruce and Pete Brown came upon the idea in a state of near desperation in the wee hours. In a last-ditch attempt to salvage something from the long and fruitless night at his apartment, the bleary-eyed Bruce pulled out his double bass again and played a riff. At that point, Brown looked out the window and saw the sun was about to rise: "It's getting near dawn", he said to himself. Brown put the words on paper then thought some more: "When lights close their tired eyes". Later on, Eric Clapton added the song's refrain.

The album was originally slated for release in the summer of 1967, but the record label opted to scrap the planned cover and repackage it with a new psychedelic cover, designed by artist Martin Sharp, and the resulting changes delayed its release for several months. The cover was remarkable for the time, with a psychedelic design patterned over a publicity photo of the trio.

Although the album is considered one of Cream's finest efforts, it has never been well represented in the band's live sets. Although they consistently played "Tales of Brave Ulysses" and "Sunshine of Your Love", several songs from Disraeli Gears were quickly dropped from performances in mid-1967, favouring longer jams instead of short pop songs. "We're Going Wrong" was the only additional song from the album the group performed live. In fact, at their 2005 reunion shows in London, the band played only three songs from Disraeli Gears: "Outside Woman Blues", "We're Going Wrong", and "Sunshine of Your Love"; at their three October 2005 performances in New York, "Tales of Brave Ulysses" was also included in the setlist.

In August 1967, the band played their first headlining dates in the US, first at The Fillmore in San Francisco and later at The Pinnacle in Los Angeles. The concerts were a great success and proved very influential on both the band itself and the flourishing hippie scene surrounding them. Upon discovering a growing listening audience, the band began to stretch out on stage, incorporating more time in their repertoire, some songs reaching jams of twenty minutes. Long, drawn-out jams in numbers like "Spoonful", "N.S.U.", "I'm So Glad", and "Sweet Wine" became live favourites, while songs like "Sunshine of Your Love", "Crossroads", and "Tales of Brave Ulysses" remained reasonably short.

Wheels of Fire (1968)
In 1968 came the band's third release, Wheels of Fire, which topped the American charts. The album was recorded in a spate of short sessions from July 1967 to June 1968. Still a relative novelty, the double album of two LP records was well-suited to extended solos. The Wheels of Fire studio recordings showcased the band moving away from the blues and more towards a semi-progressive rock style highlighted by odd time signatures and various orchestral instruments. However, the band did record Howlin' Wolf's "Sitting on Top of the World" and Albert King's "Born Under a Bad Sign". According to a BBC interview with Clapton, the record company, Atco Records, also handling Albert King, asked the band to cover "Born Under a Bad Sign", which became a popular track off the record. The opening song, "White Room", became a radio staple. Another song, "Politician", was written by the band while waiting to perform live at the BBC. The album's second disc included three live recordings from the Winterland Ballroom and one from the Fillmore. Clapton's second solo from "Crossroads" has made it to the top 20 in multiple "greatest guitar solo" lists.

After the completion of Wheels of Fire in mid-1968, the band members had grown tired of their exhausting touring schedule and increasingly loud jamming, and wanted to go their separate ways. Baker stated in a 2006 interview with Music Mart magazine, "It just got to the point where Eric said to me: 'I've had enough of this', and I said so have I. I couldn't stand it. The last year with Cream was just agony. It damaged my hearing permanently, and today I've still got a hearing problem because of the sheer volume throughout the last year of Cream. But it didn't start off like that. In 1966, it was great. It was really a wonderful experience musically, and it just went into the realms of stupidity." Bruce and Baker's combustible relationship proved even worse as a result of the strain put upon the band by non-stop touring, forcing Clapton to play the perpetual role of peacekeeper.

Clapton had also become interested in the music of Bob Dylan's former backing group, now known as the Band, and their debut album, Music from Big Pink, which proved to be a welcome breath of fresh air to Clapton in comparison to the psychedelia and volume that had defined Cream. Furthermore, he had read a scathing Cream review in Rolling Stone, a publication he had much admired, in which the reviewer, Jon Landau, called him a "master of the blues cliché". In the wake of that article, Clapton wanted to end Cream and pursue a different musical direction.

At the beginning of the band's farewell tour on 4 October 1968, in Oakland, California, nearly the entire set consisted of songs from Wheels of Fire: "White Room", "Politician", "Crossroads", "Spoonful", and "Deserted Cities of the Heart", with "Passing the Time" taking the place of "Toad" for a drum solo. "Passing the Time" and "Deserted Cities" were quickly removed from the setlist and replaced by "Sitting on Top of the World" and "Toad".

Goodbye and break-up (1968–1969)
From its creation, Cream was faced with some fundamental problems that would later lead to its dissolution in November 1968. The antagonism between Bruce and Baker created tensions in the band. Clapton also felt that the members of the band did not listen to each other enough. Equipment during these years had also improved; new Marshall amplifier stacks produced more power, and Jack Bruce pushed the volume levels higher, creating tension for Baker, who would have trouble competing with roaring stacks. Clapton spoke of a concert during which he stopped playing and neither Baker nor Bruce noticed. Clapton has also commented that Cream's later gigs mainly consisted of its members showing off.

Cream decided that they would break up in May 1968 during a tour of the US. Later, in July, the band announced that they would break up after a farewell tour of the US and after playing two concerts in London. Jack Bruce was quoted as saying "Travel can kill a group. It becomes boring, tiring and very depressing."

Cream were eventually persuaded to do one final album, appropriately titled Goodbye. The album was recorded in late 1968 and released in early 1969, after the band had broken up. It comprised six songs: three live recordings dating from a concert at The Forum in Los Angeles, California, on 19 October, and three new studio recordings (including "Badge", which was written by Clapton and George Harrison, who also played rhythm guitar and was credited as "L'Angelo Misterioso"). "I'm So Glad" was included among the live tracks.

Cream's farewell tour consisted of 22 shows at 19 venues in the US from 4 October to 4 November 1968, and two final farewell concerts at the Royal Albert Hall on 25 and 26 November 1968. The final US gig was at the Rhode Island Auditorium on 4 November. The band arrived late, and due to local restrictions, were able to perform only two songs, "Toad" and a 20+ minute version of "Spoonful". The two Royal Albert Hall concerts were filmed for a BBC documentary and released on video (and later DVD) as Farewell Concert. Both shows were sold out and attracted more attention than any other Cream concert, but their performance was regarded by many as below standard. Baker himself said of the concerts: "It wasn't a good gig ... Cream was better than that ... We knew it was all over. We knew we were just finishing it off, getting it over with." Bruce had three Marshall stacks on stage for the farewell shows but one acted only as a spare, and he only used one or two, depending on the song. In an interview from Cream: Classic Artists, he added that the band was getting worse by the minute.

Post-Cream

Blind Faith, a band that included both Clapton and Baker, was formed after the demise of Cream, following an attempt by Clapton to recruit Steve Winwood into Cream in the hope that he would help act as a buffer between Bruce and Baker. Inspired by more song-based acts, Clapton went on to perform very different, less improvisational material with Delaney & Bonnie, Derek and the Dominos, and in his own long and varied solo career.

Bruce began a varied and successful solo career with the 1969 release of Songs for a Tailor, while Baker formed a jazz-fusion ensemble, Ginger Baker's Air Force, from the remnants of Blind Faith, with Winwood, Blind Faith bassist Rick Grech, Graham Bond on saxophone, and guitarist Denny Laine of the Moody Blues and (later) Wings.

All three members continued to explore new musical ideas and partnerships, play concerts and record music for over four decades after ending Cream.

Rock and Roll Hall of Fame
In 1993, Cream were inducted into the Rock and Roll Hall of Fame and re-formed to perform at the induction ceremony. Initially, the trio were wary about performing, until encouraging words from Robbie Robertson inspired them to try. The set consisted of "Sunshine of Your Love", "Crossroads", and "Born Under a Bad Sign", a song they had previously played live just three times. Clapton mentioned in his acceptance speech that their rehearsal the day before the ceremony had marked the first time they had played together in 25 years. This performance spurred rumours of a reunion tour. Bruce and Baker said in later interviews that they were, indeed, interested in touring as Cream. A formal reunion did not take place immediately, as Clapton, Bruce and Baker continued to pursue solo projects, although the latter two worked together again in the mid-1990s as two-thirds of the power trio BBM with Irish blues rock guitarist Gary Moore.

2005 concerts
At Clapton's request, Cream reunited for a series of four shows, on 2, 3, 5, and 6 May 2005 at the Royal Albert Hall in London, the venue of their final concerts in 1968. Although the three musicians chose not to speak publicly about the shows, Clapton would later state that he had become more "generous" in regard to his past, and that the physical health of Bruce and Baker was a major factor: Bruce had recently undergone a transplant for liver cancer in 2003, and had almost lost his life, while Baker had severe arthritis.

Tickets for all four shows sold out in under an hour. The performances were recorded for a live CD and DVD. Among those in attendance were Bill Wyman, Steve Winwood, Paul McCartney, Ringo Starr, Roger Waters, Brian May, Jimmy Page, and Mick Taylor. The reunion marked the first time the band had played "Badge" and "Pressed Rat and Warthog" live.

Inspired by the success of the reunion, the band agreed to an additional set of three shows at the Madison Square Garden in New York City, from 24 to 26 October 2005. According to Clapton, these concerts did not live up to the Royal Albert Hall performances due to, among other reasons, lack of rehearsal and the resurgence of old grudges among band members.

Post-2005
In February 2006, Cream received a Grammy Lifetime Achievement Award in recognition of their contribution to, and influence upon, modern music. That same month, a "Classic Albums" DVD was released detailing the story behind the creation and recording of Disraeli Gears. On the day prior to the Grammy ceremony, Bruce made a public statement that more one-off performances of Cream had been planned: multiple dates in a few cities, similar to the Royal Albert Hall and Madison Square Garden shows.

However, this story was denied by both Clapton and Baker, first by Clapton in The Times in April 2006. When asked about Cream, Clapton said: "No. Not for me. We did it and it was fun. But life is too short. I've got lots of other things I would rather do, including staying at home with my kids. The thing about that band was that it was all to do with its limits ... it was an experiment." In an interview in the UK magazine Music Mart, about the release of a DVD about the Blind Faith concert in Hyde Park 1969, Baker commented about his unwillingness to continue the Cream reunion. These comments were far more specific and explosive than Clapton's, as they were centred around his relationship with Jack Bruce. Ginger said, "When he's Dr. Jekyll, he's fine ... It's when he's Mr. Hyde that he's not. And I'm afraid he's still the same. I tell you this – there won't ever be any more Cream gigs, because he did Mr. Hyde in New York last year."

When asked to elaborate, Baker replied: "Oh, he shouted at me on stage, he turned his bass up so loud that he deafened me on the first gig. What he does is that he apologises and apologises, but I'm afraid, to do it on a Cream reunion gig, that was the end. He killed the magic, and New York was like 1968 ... It was just a get through the gig, get the money sort of deal. I was absolutely amazed. I mean, he demonstrated why he got the sack from Graham Bond and why Cream didn't last very long on stage in New York. I didn't want to do it in the first place simply because of how Jack was. I have worked with him several times since Cream, and I promised myself that I would never work with him again. When Eric first came up with the idea, I said no, and then he phoned me up and eventually convinced me to do it. I was on my best behaviour and I did everything I could to make things go as smooth as possible, and I was really pleasant to Jack."

Baker and Bruce appeared on stage in London when Baker was awarded a lifetime achievement award by legendary cymbal manufacturer Zildjian. Bruce told Detroit's WCSX radio station in May 2007 that there were plans for a Cream reunion later in the year. It was later revealed that the potential performance was to be November 2007 in London as a tribute to Ahmet Ertegun. The band decided against it and this was confirmed by Bruce in a letter to the editor of the Jack Bruce fanzine, The Cuicoland Express, dated 26 September 2007:

The headlining act for the O2 Arena Ahmet Ertegun Tribute Concert (postponed to December 2007) turned out to be from another reunited English hard-rock act, Led Zeppelin. In an interview with BBC 6 Music in April 2010, Bruce confirmed that there would be no more Cream shows, stating simply, "Cream is over." Bruce died on 25 October 2014 and Baker died on 6 October 2019, leaving Clapton as the last surviving member.

Personnel
Band members
 * Ginger Baker – drums, percussion, backing and lead vocals (died 2019)
 * Jack Bruce – lead and backing vocals, bass guitar, keyboards, piano, harmonica, cello, acoustic guitar, recorder (died 2014)
 * Eric Clapton – lead and rhythm guitars, backing and lead vocals

Session contributors

 * Pete Brown – lyrics, co songwriter (1966–1969; died 2023)
 * Felix Pappalardi – production, viola, bells, organ, trumpet, tonette, mellotron, piano, bass (1967–1969; died 1983)
 * Mike Taylor - co songwriter (1968; died 1969)
 * George Harrison – rhythm guitar (1969; died 2001)

Discography

 * Fresh Cream (1966)
 * Disraeli Gears (1967)
 * Wheels of Fire (1968)
 * Goodbye (1969)

title: Cream (band)