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Bernard Herrmann

Bernard Herrmann (born Maximillian Herman; June 29, 1911 – December 24, 1975) was an American composer and conductor best known for his work in composing for films. As a conductor, he championed the music of lesser-known composers. He is widely regarded as one of the greatest film composers. Alex Ross writes that "Over four decades, he revolutionized movie scoring by abandoning the illustrative musical techniques that dominated Hollywood in the 1930s and imposing his own peculiar harmonic and rhythmic vocabulary."

An Academy Award-winner for The Devil and Daniel Webster (1941), Herrmann is known for his collaborations with Alfred Hitchcock, notably The Man Who Knew Too Much (1956) (where he makes a cameo as the conductor at Royal Albert Hall), Vertigo (1958), North by Northwest (1959), Psycho (1960), The Birds (1963) (as "sound consultant") and Marnie (1964). He worked in radio drama, composing for Orson Welles's The Mercury Theater on the Air, and his first film score was for Welles's film debut, Citizen Kane (1941). His other credits include Jane Eyre (1943), Anna and the King of Siam (1946), The Ghost and Mrs. Muir (1947), The Day the Earth Stood Still (1951), Cape Fear (1962), Fahrenheit 451 (1966) and Twisted Nerve (1968). Herrmann scored films that were inspired by Hitchcock, like François Truffaut's The Bride Wore Black (1968) and Brian De Palma's Sisters (1972) and Obsession (1976). He composed the scores for several fantasy films by Ray Harryhausen, and composed for television, including Have Gun – Will Travel and Rod Serling's The Twilight Zone. His last score, recorded shortly before his death, was for Martin Scorsese's Taxi Driver (1976).

Early life and career
Herrmann was born in New York City as Maximillian Herman, the son of a Jewish middle-class family of Russian origin. He was the son of Ida (Gorenstein) and Abram Dardik, who was from Ukraine and had changed the family name. Herrmann attended high school at DeWitt Clinton High School, an all-boys public school at that time on 10th Avenue and 59th Street in New York City. His father encouraged music activity, taking him to the opera, and encouraging him to learn the violin. After winning a composition prize at the age of thirteen, he decided to concentrate on music, and went to New York University, where he studied with Percy Grainger and Philip James. He also studied at the Juilliard School, and at the age of 20, formed his own orchestra, the New Chamber Orchestra of New York.

In 1934, he joined the Columbia Broadcasting System (CBS) as a staff conductor. Within two years, he was appointed music director of the Columbia Workshop, an experimental radio drama series for which Herrmann composed or arranged music (one notable program was The Fall of the City). Within nine years, he had become chief conductor to the CBS Symphony Orchestra. He was responsible for introducing more new works to US audiences than any other conductor – he was a particular champion of Charles Ives' music, which was virtually unknown at that time. Herrmann's radio programs of concert music, which were broadcast under such titles as Invitation to Music and Exploring Music, were planned in an unconventional way and featured rarely heard music, old and new, which was not heard in public concert halls. Examples include broadcasts devoted to music of famous amateurs or of notable royal personages, such as the music of Frederick the Great of Prussia, Henry VIII, Charles I of England, Louis XIII and so on.

Herrmann's many US broadcast premieres during the 1940s included Myaskovsky's 22nd Symphony, Gian Francesco Malipiero's 3rd Symphony, Richard Arnell's 1st Symphony, Edmund Rubbra's 3rd Symphony and Ives' 3rd Symphony. He performed the works of Hermann Goetz, Alexander Gretchaninov, Niels Gade and Franz Liszt, and received many outstanding American musical awards and grants for his unusual programming and championship of little-known composers. In Dictators of the Baton, David Ewen wrote that Herrmann was "one of the most invigorating influences in the radio music of the past decade." Also during the 1940s, Herrmann's own concert music was taken up and played by such celebrated maestri as Leopold Stokowski, Sir John Barbirolli, Sir Thomas Beecham and Eugene Ormandy.

Between two films made by Orson Welles (see below), he wrote the score for William Dieterle's The Devil and Daniel Webster (1941), for which he won his only Academy Award. In 1947, Herrmann scored the atmospheric music for The Ghost and Mrs. Muir. In 1951, his score for The Day the Earth Stood Still featured the theremin.

In 1934, Herrmann met a young CBS secretary and aspiring writer Lucille Fletcher. Fletcher was impressed with Herrmann's work, and the two began a five-year courtship. Marriage was delayed by the objections of Fletcher's parents, who disliked the fact that Herrmann was a Jew and were put off by what they viewed as his abrasive personality. The couple finally married on October 2, 1939. They had two daughters: Dorothy (born 1941) and Wendy (born 1945).

Fletcher was to become a noted radio scriptwriter, and she and Herrmann collaborated on several projects throughout their career. He contributed the score to the famed 1941 radio presentation of Fletcher's original story The Hitch-Hiker on The Orson Welles Show, and Fletcher helped to write the libretto for his operatic adaptation of Wuthering Heights. The couple divorced in 1948. The next year, he married Lucille's cousin Lucy (Kathy Lucille) Anderson. That marriage lasted until 1964.

Collaboration with Orson Welles
While at CBS, Herrmann met Orson Welles, and wrote or arranged scores for radio shows in which Welles appeared or wrote, such as the Columbia Workshop, Welles's Mercury Theatre on the Air and Campbell Playhouse series (1938–1940), which were radio adaptations of literature and film. He conducted the live performances, including Welles's famous adaptation of H.G. Wells's The War of the Worlds broadcast on October 30, 1938, which consisted entirely of pre-existing music. Herrmann used large sections of his score for the inaugural broadcast of The Campbell Playhouse, an adaptation of Rebecca, for the feature film Jane Eyre (1943), the third film in which Welles starred.

When Welles gained his RKO Pictures contract, Herrmann worked for him. He wrote his first film score for Citizen Kane (1941) and received an Academy Award nomination for Best Score of a Dramatic Picture. The aria from the fictional opera Salammbo, which Kane's wife Susan Alexander (Dorothy Comingore) performs, was also composed by Herrmann. Welles wanted Herrmann to do a pastiche of real operas, writing in a telegram "Here is a chance for you to do something witty and amusing." Herrmann composed the score for Welles's The Magnificent Ambersons (1942); like the film, the music was heavily edited by RKO Pictures. When more than half of his score was removed from the soundtrack, Herrmann bitterly severed his ties with the film and promised legal action if his name were not removed from the credits.

Herrmann was music director for Welles's CBS radio series The Orson Welles Show (1941–1942), which included the debut of his wife Lucille Fletcher's suspense classic The Hitch-Hiker; Ceiling Unlimited (1942), a program conceived to glorify the aviation industry and dramatize its role in World War II; and The Mercury Summer Theatre on the Air (1946). "Benny Herrmann was an intimate member of the family", Welles told filmmaker Peter Bogdanovich.

Herrmann was among those who rebutted the charges Pauline Kael made in her 1971 essay "Raising Kane", in which she revived controversy over the authorship of the screenplay for Citizen Kane and denigrated Welles's contributions.

Collaboration with Alfred Hitchcock
Herrmann is closely associated with the director Alfred Hitchcock. He wrote the scores for seven Hitchcock films, from The Trouble with Harry (1955) to Marnie (1964), a period that included Vertigo, North by Northwest, and Psycho. He was also credited as sound consultant on The Birds (1963), as there was no actual music in the film as such, only electronically made bird sounds.

The film score for the remake of The Man Who Knew Too Much (1956) was composed by Herrmann, but two of the more significant pieces of music in the film – the song "Que Sera, Sera (Whatever Will Be, Will Be)" and the Storm Clouds Cantata played in the Royal Albert Hall – are not by Herrmann (although he did re-orchestrate the cantata by Australian-born composer Arthur Benjamin written for the earlier Hitchcock film of the same name). However, this film did give Herrmann the opportunity for an on-screen appearance: he is the conductor of the London Symphony Orchestra in the Albert Hall scene. Herrmann's score for Hitchcock's The Wrong Man (1956) is in a jazz style and makes heavy use of bass; Emmanuel Balestrero (Henry Fonda), the wrong man of the title, is a jazz bassist.

Herrmann's most recognizable music is from Hitchcock's Psycho. Unusual for a thriller at the time, the score uses only the string section of the orchestra. The screeching violin heard during the famous shower scene (which Hitchcock originally suggested have no music at all) is one of the most famous moments in film score history. Hitchcock admitted at the time that Psycho heavily depended on the music for its tension and sense of pervading doom. David Thomson notes Herrmann's "sly borrowings from Beethoven's Eroica", a recording of which can be seen in the bedroom of Norman Bates (Anthony Perkins). Herrmann's score also had a direct influence on producer George Martin's staccato string arrangement for the Beatles' 1966 single "Eleanor Rigby".

His score for Vertigo (1958) is seen as just as masterly. In many of the key scenes, Hitchcock let Herrmann's score take centre stage, a score whose melodies, echoing the "Liebestod" from Richard Wagner's Tristan und Isolde, dramatically convey the main character's obsessive love for the image of a woman and underscores that Vertigo, like Tristan, is a story of love and death. Ross writes that Hermann's homage "is a matter of deliberation and subtlety. The main melodic contour is his own; the harmony is still his idiosyncratic construction. He is jogging the memory of those who know Tristan and the subconscious of those who don't. His veiled citations indicate in their own way the unstoppable recurrence of the past."

A notable feature of the Vertigo score is the ominous two-note falling motif that opens the suite – it is a direct musical imitation of the two notes sounded by the fog horns located at either side of the Golden Gate Bridge in San Francisco (as heard from the San Francisco side of the bridge). This motif has direct relevance to the film because the horns can be clearly heard sounding in just this manner at Fort Point, the spot where a key incident occurs involving the character played by Kim Novak.

However, according to Dan Auiler, author of Vertigo: The Making of a Hitchcock Classic, Herrmann deeply regretted being unable to conduct his composition for Vertigo. A musicians' strike in America meant that it was actually conducted in England and in Austria by Muir Mathieson. Herrmann always personally conducted his own works and given that he considered the composition among his best works, he regarded it as a missed opportunity.

In a question-and-answer session at George Eastman House in October 1973, Herrmann stated that, unlike most film composers who did not have any creative input into the style and tone of the score, he insisted on creative control as a condition of accepting a scoring assignment:

"I have the final say, or I don't do the music. The reason for insisting on this is simply, compared to Orson Welles, a man of great musical culture, most other directors are just babes in the woods. If you were to follow their taste, the music would be awful. There are exceptions. I once did a film The Devil and Daniel Webster with a wonderful director William Dieterle. He was also a man of great musical culture. And Hitchcock, you know, is very sensitive; he leaves me alone. It depends on the person. But if I have to take what a director says, I'd rather not do the film. I find it's impossible to work that way."

Herrmann stated that Hitchcock would invite him on to the production of a film and, depending on his decision about the length of the music, either expand or contract the scene. It was Hitchcock who asked Herrmann for the "recognition scene" near the end of Vertigo (the scene in which James Stewart's character suddenly realizes Kim Novak's identity) to be played with music.

In 1963, Herrmann began writing original music for the CBS-TV anthology series The Alfred Hitchcock Hour, which was in its eighth season. Hitchcock served only as advisor on the show, which he hosted, but Herrmann was again working with former Mercury Theatre actor Norman Lloyd, co-producer (with Joan Harrison) of the series. Herrmann scored 17 episodes (1963–1965), and like much of his work for CBS, the music frequently was reused for other programs.

Herrmann's relationship with Hitchcock came to an abrupt end when they disagreed over the score for Torn Curtain. Reportedly pressured by Universal executives, Hitchcock wanted a score that was more jazz- and pop-influenced. Hitchcock's biographer Patrick McGilligan stated that Hitchcock was worried about becoming old-fashioned and felt that Herrmann's music had to change with the times as well. Herrmann initially accepted the offer, but then decided to score the film according to his own ideas. François Truffaut writes that "in 1966, In Hollywood and elsewhere, it was the practice of the film industry to favor scores that would sell as popular records—the kind of film music that could be danced to in discotheques. In this sort of game, Hermann, a disciple of Wagner and Stravinsky, was bound to be a loser." Truffaut writes that "Hermmann's removal is a flagrant injustice, since it is a matter of record that his contributions to The Man Who Knew Too Much, North by Northwest, and Psycho had greatly enhanced the success of these films."

Hitchcock listened to only the prelude of the score, then confronted Herrmann about the pop score. Herrmann, equally incensed, bellowed "Look, Hitch, you can't outjump your own shadow. And you don't make pop pictures. What do you want with me? I don't write pop music." Hitchcock unrelentingly insisted that Herrmann change the score, violating Herrmann's general claim to the creative control he had always maintained in their previous works together. Herrmann then said "Hitch, what's the use of my doing more with you? I had a career before you, and I will afterwards." The score was rejected and replaced with one by John Addison.

According to McGilligan, Herrmann later tried to reconcile with Hitchcock, but Hitchcock refused to see him. Herrmann's widow Norma Herrmann disputed this in a conversation with Günther Kögebehn for the Bernard Herrmann Society in 2004:

"I met Hitchcock very briefly. Everybody says they never spoke again. I met him, it was cool, it was not a warm meeting. It was in Universal Studios, this must be 69, 70, 71ish. And we were in Universal for some other reason and Herrmann said: 'See that tiny little office over there, that's Hitch. And that stupid little parking place. Hitch used to have an empire with big offices and a big staff. Then they made it down to half that size, then they made it to half that size… We are going over to say hello.' Actually [Herrmann] got a record; he was always intending to give him a record he just made. But it wasn't a film thing. It was either Moby Dick or something of his concert pieces to take it and give to Hitch. Peggy, Hitchcock's secretary was there. Hitch came out, Benny said 'I thought you'd like a copy of this.' 'How are you?' etc., and he introduced me. And Hitchcock was cool, but they did meet. They met, I was there. And when Herrmann came out again, he said 'What a great reduction in Hitch's status.'"

In 2009, Norma Herrmann began to auction her husband's personal collection on Bonhams.com, adding more interesting details to the two men's relationship. While Herrmann had brought Hitchcock a copy of his classical work after the break-up, Hitchcock had given Herrmann a copy of his 1967 interview book with François Truffaut, which he inscribed "To Benny with my fondest wishes, Hitch."

"This is rather interesting because it comes a year after Hitchcock had abruptly fired Herrmann from his work scoring Torn Curtain and indicates Hitchcock may have hoped to mend fences with Herrmann and have him score his next film, Topaz," reported Wellesnet, the Orson Welles website, in April 2009:

"Of course, once Herrmann felt he had been wronged, he was not going to say 'yes' to Hitchcock unless he was courted and it seems unlikely that Hitchcock would be willing to do that, although apparently Hitchcock did ask Herrmann back to score his last film Family Plot right before Herrmann died. Herrmann, who had a full schedule of films planned for 1976, including DePalma's Carrie, The Seven Per Cent Solution and Larry Cohen's God Told Me To, was reportedly happy to be in a position to ignore Hitchcock's reunion offer."

Herrmann's unused score for Torn Curtain was commercially recorded after his death, initially by Elmer Bernstein for his Film Music Collection subscription record label (reissued by Warner Bros. Records), then in a fuller realization of the original score by Joel McNeely and the Royal Scottish National Orchestra and later, in a concert suite adapted by Christopher Palmer, by Esa-Pekka Salonen and the Los Angeles Philharmonic for Sony. Some of Herrmann's cues for Torn Curtain were post-synched to the final cut, where they showed how remarkably attuned the composer was to the action, and how, arguably, more effective his score could have been.

Later life and death
From the late 1950s to the mid-1960s, Herrmann scored a series of notable mythically themed fantasy films, including Journey to the Center of the Earth and the Ray Harryhausen Dynamation epics The 7th Voyage of Sinbad, Jason and the Argonauts, Mysterious Island and The 3 Worlds of Gulliver.

During the same period, Herrmann turned his talents to writing scores for television shows. He wrote the scores for several well-known episodes of the original Twilight Zone series, including the lesser known theme used during the series' first season, as well as the opening theme to Have Gun – Will Travel.

In the mid-1960s, he composed the highly regarded music score for François Truffaut's Fahrenheit 451. Scored for strings, two harps, vibraphone, xylophone and glockenspiel, Herrmann's score created a driving, neurotic mood that perfectly suited the film.

By 1967, Herrmann worked almost exclusively in England. In November 1967, the 56-year-old composer married 27-year-old journalist Norma Shepherd, his third wife. In August 1971, the Herrmanns made London their permanent home.

Herrmann's last film scores included Sisters and Obsession for Brian De Palma. His final film soundtrack, and the last work he completed, was his sombre score for Taxi Driver (1976), directed by Martin Scorsese. It was De Palma who had suggested to Scorsese to use the composer. Immediately after finishing the recording of the Taxi Driver soundtrack on December 23, 1975, Herrmann viewed the rough cut of what was to be his next film assignment, Larry Cohen's God Told Me To, and dined with Cohen. He returned to his hotel, and died from an apparent heart attack in his sleep the next day. Scorsese and Cohen both dedicated their respective films in his memory. Herrmann was interred in Beth David Cemetery at Elmont, New York.

Other works
As well as his many film scores, Herrmann wrote several concert pieces, including his Symphony in 1941; the opera Wuthering Heights; the cantata Moby Dick (1938), dedicated to Charles Ives; and For the Fallen, a tribute to the soldiers who died in battle in World War II. He recorded all these compositions, and several others, for the Unicorn label during his last years in London. A work written late in his life, Souvenir de Voyages, showed his ability to write non-programmatic pieces.

Compositional style and philosophy
Herrmann's music is typified by frequent use of ostinati (short repeating patterns), novel orchestration, and, in his film scores, an ability to portray character traits not altogether obvious from other elements of the film.

Early in his life, Herrmann committed himself to a creed of personal integrity at the price of unpopularity: the quintessential artist. His philosophy is summarized by a favorite Tolstoy quote: "Eagles fly alone, and sparrows fly in flocks." Thus, Herrmann only composed music for films when he was allowed the artistic liberty to compose what he wished without the director getting in the way. This was the cause of the split with Hitchcock after over a decade of composing scores for the director's films.

His philosophy of orchestrating film was based on the assumption that the musicians were selected and hired for the recording session – that this music was not constrained to the musical forces of the concert hall. For example, his use of nine harps in Beneath the 12-Mile Reef created an extraordinary underwater-like sonic landscape; his use of four alto flutes in Citizen Kane contributed to the unsettling quality of the opening, only matched by the use of 12 flutes in his unused Torn Curtain score; and his use of the serpent in White Witch Doctor is possibly the first use of that instrument in a film score.

Herrmann said: "To orchestrate is like a thumbprint. I can't understand having someone else do it. It would be like someone putting color to your paintings."

Herrmann subscribed to the belief that the best film music should be able to stand on its own legs when detached from the film for which it was originally written. To this end, he made several well-known recordings for Decca of arrangements of his own film music as well as music of other prominent composers.

Use of electronic instruments
Herrmann's involvement with electronic musical instruments dates back to 1951, when he used the theremin in The Day the Earth Stood Still. Robert B. Sexton has noted that this score involved the use of treble and bass theremins (played by Dr. Samuel Hoffmann and Paul Shure), electric strings, bass, prepared piano, and guitar together with various pianos and harps, electronic organs, brass, and percussion, and that Herrmann treated the theremins as a truly orchestral section.

Herrmann was a sound consultant on The Birds, which made extensive use of an electronic instrument called the mixturtrautonium, performed by Oskar Sala on the film's soundtrack. Herrmann used several electronic instruments on his score of It's Alive, as well as the Moog synthesizer for the main themes in Endless Night and Sisters.

Legacy and recording
Herrmann is still a prominent figure in the world of film music today, despite his death in 1975. As such, his career has been studied extensively by biographers and documentarians. His string-only score for Psycho, for example, set the standard when it became a new way to write music for thrillers (rather than big fully orchestrated pieces). In 1992, the documentary Music for the Movies: Bernard Herrmann was made about him. It was nominated for the Academy Award for Best Documentary Feature. Also in 1988, Bruce Crawford produced a $2 1/2$-hour-long National Public Radio documentary on his life – Bernard Herrmann: A Celebration of His Life and Music. In 1991, Steven C. Smith wrote a Herrmann biography titled A Heart at Fire's Center, a quote from a favorite Stephen Spender poem of Herrmann.

His music continues to be used in films and recordings after his death. On the 1977 album Ra, American progressive rock group Utopia adapted Herrmann's "Mountain Top/Sunrise" from Journey to the Center of the Earth in a rock arrangement, as the introduction to the album's opening song, "Communion With The Sun". The 1990s saw two iconic Herrmann scores adapted for remakes: celebrated composer Elmer Bernstein adapted and expanded Herrmann's music for Martin Scorsese's update of Cape Fear, expanding the score to include music from Herrmann's rejected score to Torn Curtain, and similarly, though more faithful to the original material, film composer Danny Elfman and orchestrator Steve Bartek adapted Herrmann's full Psycho score for director Gus Van Sant's shot-for-shot remake. "Georgie's Theme" from Herrmann's score for the 1968 film Twisted Nerve is whistled by assassin Elle Driver in the hospital corridor scene in Quentin Tarantino's Kill Bill: Volume 1 (2003). 2011 saw several uses of Herrmann's music from Vertigo: the opening theme was used in the prologue to Lady Gaga's video for "Born This Way" and during a flashback sequence in the pilot episode of FX's American Horror Story (which featured "Georgie's Theme" in later episodes as a recurring musical motif for the character of Tate), and Ludovic Bource used the love theme in the last reels of The Artist. Vertigo opening sequence was also copied for the opening sequence of the 1993 miniseries, Tales Of The City, an adaptation of the first in a series of books by Armistead Maupin. More recently, the first and fourth episodes of Amazon Prime's 2018 streaming series Homecoming used cues from Herrmann's Vertigo and The Day the Earth Stood Still respectively.

Herrmann's film music is well represented on disc. His friend, John Steven Lasher, has produced several albums featuring Urtext recordings, including Battle of Neretva, Citizen Kane, The Kentuckian, The Magnificent Ambersons, The Night Digger and Sisters, under various labels owned by Fifth Continent Australia Pty Ltd.

Herrmann was an early and enthusiastic proponent of the music of Charles Ives. He met Ives in the early 1930s, performed many of his works while conductor of the CBS Symphony Orchestra, and conducted Ives' Second Symphony with the London Symphony Orchestra on his first visit to London in 1956. Herrmann later made a recording of the work in 1972 and this reunion with the LSO, after more than a decade, was significant to him for several reasons – he had long hoped to record his own interpretation of the symphony, feeling that Leonard Bernstein's 1951 version was "overblown and inaccurate"; on a personal level, it also served to assuage Herrmann's long-held feeling that he had been snubbed by the orchestra after his first visit in 1956. The notoriously prickly composer had also been enraged by the recent appointment of the LSO's new chief conductor André Previn, who Herrmann detested, and deprecatingly referred to as "that jazz boy".

Herrmann was also an ardent champion of the romantic-era composer Joachim Raff, whose music had fallen into near-oblivion by the 1960s. During the 1940s, Herrmann had played Raff's 3rd and 5th Symphonies in his CBS radio broadcasts. In May 1970, Herrmann conducted the world premiere recording of Raff's Fifth Symphony Lenore for the Unicorn label, which he mainly financed himself. The recording did not attract much notice in its time, despite receiving excellent reviews, but is now considered a major turning-point in the rehabilitation of Raff as a composer.

In 1996, Sony Classical released The Film Scores, a recording of Herrmann's music performed by the Los Angeles Philharmonic under the baton of Esa-Pekka Salonen. This disc received the 1998 Cannes Classical Music Award for Best 20th-Century Orchestral Recording. It was also nominated for the 1998 Grammy Award for Best Engineered Album, Classical.

Decca reissued on CD a series of Phase 4 Stereo recordings with Herrmann conducting the London Philharmonic Orchestra, mostly in excerpts from his various film scores, including one devoted to music from several of the Hitchcock films (including Psycho, Marnie and Vertigo). In the liner notes of the Hitchcock Phase 4 album, Herrmann said that the suite from The Trouble with Harry was a "portrait of Hitch". Another album was devoted to his fantasy film scores – a few of them being the films of the special effects animator Ray Harryhausen, including music from The Seventh Voyage of Sinbad and The Three Worlds of Gulliver. His other Phase 4 Stereo LPs of the 1970s included Music from the Great Film Classics (suites and excerpts from Jane Eyre, The Snows of Kilimanjaro, Citizen Kane and The Devil and Daniel Webster); and "The Fantasy World of Bernard Herrmann" (Journey to the Center of the Earth, The Day the Earth Stood Still, and Fahrenheit 451.)

Charles Gerhardt conducted a 1974 RCA recording titled The Classic Film Scores of Bernard Herrmann with the National Philharmonic Orchestra. It featured suites from Citizen Kane (with Kiri Te Kanawa singing Salammbo's Aria) and White Witch Doctor, along with music from On Dangerous Ground, Beneath the 12-Mile Reef, and the Hangover Square piano concerto.

During his last years in England, between 1966 and 1975, Herrmann made several LPs of other composers' music for assorted record labels. These included Phase 4 Stereo recordings of Gustav Holst's The Planets and Charles Ives's 2nd Symphony, as well as an album titled "The Impressionists" (music by Satie, Debussy, Ravel, Fauré and Honegger) and another titled "The Four Faces of Jazz" (works by Weill, Gershwin, Stravinsky and Milhaud). As well as recording his own film music in Phase 4 Stereo, he made LPs of movie scores by others, such as Great Shakespearean Films (music by Shostakovich for Hamlet, Walton for Richard III and Rózsa for Julius Caesar), and Great British Film Music (movie scores by Lambert, Bax, Benjamin, Walton, Vaughan Williams, and Bliss).

For Unicorn Records, he recorded several of his own concert-hall works, including the cantata Moby Dick, his opera Wuthering Heights, his symphony, and the suites Welles Raises Kane and The Devil and Daniel Webster.

Pristine Audio released two CDs of Herrmann's radio broadcasts. One is devoted to a CBS program from 1945 that features music by Handel, Vaughan Williams and Elgar; the other features works by Charles Ives, Robert Russell Bennett and Herrmann.

Influences and legacy
The works of Herrmann are widely studied, imitated and performed to this very day. His work has left a profound influence on composers of film music that followed him, the most notable being John Williams, Elmer Bernstein, Jerry Goldsmith, Howard Shore, Lalo Schifrin, James Horner, Carter Burwell and others. Stephen Sondheim found Herrmann to be a primary influence after seeing the film Hangover Square.

Popular film composer Danny Elfman counts Herrmann as his biggest influence, and has said hearing Herrmann's score to The Day the Earth Stood Still when he was a child was the first time he realized the powerful contribution a composer makes to the movies. Pastiche of Herrmann's music can be heard in Elfman's score for Pee-Wee's Big Adventure, specifically in the cues "Stolen Bike" and "Clown Dream", which reference Herrmann's "The Murder" from Psycho and "The Duel With the Skeleton" from 7th Voyage of Sinbad respectively. The prelude for Elfman's main Batman theme references Herrmann's "Mountain Top / Sunrise" from Journey to the Center of the Earth, and the Joker character's "fate motif" heard throughout the score is inspired by Herrmann's Vertigo. More integral homage can be heard in Elfman's later scores for Mars Attacks! and Hitchcock, the latter based on Hitchcock's creation of Psycho, as well as the "Blue Strings" movement of Elfman's first concert work Serenada Schizophrana.

In addition to Elfman, fellow film composers Richard Band, Graeme Revell, Christopher Young, Alexandre Desplat and Brian Tyler consider Herrmann to be a major inspiration. In 1985, Richard Band's opening theme to Re-Animator borrows heavily from Herrmann's opening score to Psycho. In 1990, Graeme Revell had adapted Herrmann's music from Psycho for its television sequel-prequel Psycho IV: The Beginning. Revell's early orchestral music during the early nineties, such as Child's Play 2 (which its music score being reminiscent of Herrmann's scores to the 1973 film Sisters, due to the synthesizers incorporated in the chilling parts of the orchestral score) as well as the 1963 The Twilight Zone episode "Living Doll" (which inspired the Child's Play franchise), were very similar to Herrmann's work. Also, Revell's score for the video game Call of Duty 2 was reminiscent of Herrmann's rare WWII music scores such as The Naked and the Dead and Battle of Neretva. Young, who was a jazz drummer at first, listened to Herrmann's works which convinced him to be a film composer. Tyler's score for Bill Paxton's film Frailty was influenced by Herrmann's film music.

Sir George Martin, best known for producing and often adding orchestration to the Beatles music, cites Herrmann as an influence in his own work, particularly in Martin's scoring of the Beatles' song "Eleanor Rigby". Martin later expanded on this as an extended suite for McCartney's 1984 film Give My Regards to Broad Street, which features a very recognizable homage to Herrmann's score for Psycho.

Avant-garde composer/saxophonist/producer John Zorn, in the biographical film A Bookshelf on Top of the Sky, cited Bernard Herrmann as one of his favorite composers and a major influence.

In addition to adapting and expanding the original score from Cape Fear for the Martin Scorsese remake, Elmer Bernstein recorded Herrmann's score for The Ghost and Mrs. Muir, released in 1975 on the Varèse Sarabande label and later reissued on CD in the 1990s.

David Thomson calls him the greatest film composer, writing: "Herrmann knew how lovely the dark should be, and he was at his best in rites of dismay, dark dreams, introspection, and the gloomy romance of loneliness. No one else would have dared or known to make the score for Taxi Driver such a lament for impossible love... Yet the score for Taxi Driver is universally cinematic: it speaks to sitting in the dark, full of dread and desire, watching."

Academy Awards
These awards and nominations are recorded by the Motion Picture Academy of Arts and Sciences:
 * 1941: Winner, Music Score of a Dramatic Picture, The Devil and Daniel Webster (later renamed All That Money Can Buy)
 * 1941: Nominee, Music Score of a Dramatic Motion Picture, Citizen Kane
 * 1946: Nominee, Music Score of a Dramatic Picture, Anna and the King of Siam
 * 1976: Nominee, Original Score, Obsession
 * 1976: Nominee, Original Score, Taxi Driver

American Film Institute
In 2005 the American Film Institute respectively ranked Herrmann's scores for Psycho and Vertigo #4 and #12 on its list of the 25 greatest film scores. His scores for the following films were also nominated for the list:
 * Citizen Kane (1941)
 * The Devil and Daniel Webster (1941)
 * Jane Eyre (1944)
 * The Ghost and Mrs. Muir (1947)
 * The Day the Earth Stood Still (1951)
 * North by Northwest (1959)
 * Taxi Driver (1976)

British Academy Film Awards

 * 1976: Winner, British Academy Film Award, Best Film Music, Taxi Driver

In popular culture

 * Featured (music and as a character) in"The Lovesong of Alfred J. Hitchcock" by David Rudkin (BBC Radio, 1993)
 * "Marnie", adapted as a song from the theme for the film Marnie, Michael Poss on his 2000 album Silver Screen Serenades
 * Part of Herrmann's score for The Trouble with Harry was used in a 2010 U.S. television commercial for the Volkswagen CC.
 * Music from the Vertigo soundtrack was used in BBC Four's Spitfire Women documentary, aired in the UK in September 2010.
 * A 2011 TV commercial titled "Snowpocalypse" for Dodge all-wheel drive vehicles uses Herrmann's main title theme for Cape Fear.
 * "Gimme Some More" by Busta Rhymes is based on a sample from Herrmann's score from Psycho.
 * The prologue to Lady Gaga's 2011 video for the song Born This Way features Herrmann's Vertigo prelude.
 * The 2011 FX series American Horror Story used cues from Twisted Nerve, Psycho, and Vertigo for episode scores.
 * The 2011 film The Artist used a soundtrack recording of the love theme from Vertigo. Film actress Kim Novak later voiced her concern about the use of the music, saying that her work "had been violated by The Artist".
 * Paul Schackman portrayed Herrmann in the 2012 biopic Hitchcock.
 * "The Whistle Song" from Twisted Nerve was used as an opening theme for the Quentin Tarantino film Kill Bill: Volume 1.
 * Herrmann's scores from many Hitchcock films are prominently featured in the New York City immersive theatrical production Sleep No More; particular standouts include the prelude from The Man Who Knew Too Much as audience members wind through the dark portal-like maze at the start of the experience, leading them back in time to the 1930s; moments from Psycho being used to underscore the Macbeth elements of the story; and the characters' hour-long loops restarting to the opening suite from Vertigo.
 * Benny & Hitch – "a brand new radio drama – with live orchestral music – about the extraordinary and explosive relationship between director Alfred Hitchcock and composer Bernard Herrmann", written by Andrew McCaldon. It was performed/recorded live on October 16, 2022, at the Alexandra Palace theatre in London with BBC Concert Orchestra conducted by Ben Palmer. Acting as Hitchcock and Herrmann respectively, Toby Jones (who also portrayed Hitchcock in the BBC/HBO co-production The Girl (2012)) and Tim McInnerny. Also featuring Joanna Monro as Alma Hitchcock, Tara Ward as Lucy Anderson (and Tippi Hedren) and Jonathan Forbes as Lew Wasserman (and briefly as Paul Newman). Broadcast on BBC Radio 3 on December 25, 2022.

Television scores
Herrmann's work for television includes scores for such westerns as Cimarron Strip, Gunsmoke, Rawhide, Have Gun – Will Travel, as well as the 1968 suspense TV movie Companions in Nightmare.

For The Twilight Zone:
 * Opening and closing themes (used only during the 1959–1960 season)
 * Where Is Everybody? (first aired October 2, 1959)
 * Walking Distance (first aired October 30, 1959)
 * The Lonely (first aired November 13, 1959)
 * Eye of the Beholder (first aired November 11, 1960)
 * Little Girl Lost (first aired March 16, 1962)
 * Living Doll (first aired November 1, 1963)

For the Alfred Hitchcock Hour:
 * A Home Away from Home (first aired September 27, 1963)
 * Terror at Northfield (first aired October 11, 1963
 * You'll Be the Death of Me (first aired October 18, 1963)
 * Nothing Ever Happens in Linvale (first aired November 8, 1963)
 * The Jar (first aired February 14, 1964)
 * Behind the Locked Door (first aired March 27, 1964
 * Body in the Barn (first aired July 3, 1964)
 * Change of Address (first aired October 12, 1964)
 * Water's Edge (first aired October 19, 1964)
 * The Life Work of Juan Diaz (first aired October 26, 1964)
 * The McGregor Affair (first aired November 23, 1964)
 * Misadventure (first aired December 7, 1964)
 * Consider Her Ways (first aired December 28, 1964)
 * Where the Woodbine Twineth (first aired January 11, 1965)
 * An Unlocked Window (first aired February 15, 1965)
 * Wally the Beard (first aired March 1, 1965)
 * Death Scene (first aired March 8, 1965)

Melodrams
These works are for narrator and full orchestra, intended to be broadcast over the radio (since a human voice would not be able to be heard over the full volume of an orchestra). In a 1938 broadcast of the Columbia Workshop, Herrmann distinguished "melodrama" from "melodram" and explained that these works are not part of the former, but the latter. The 1935 works were composed before June 1935.
 * La Belle Dame sans merci (September 1934)
 * The City of Brass (December 1934)
 * Annabel Lee (1934–1935)
 * Poem Cycle (1935):
 * "The Willow Leaf"
 * "Weep No More, Sad Fountains"
 * "Something Tells"
 * A Shropshire Lad (1935)
 * Cynara (June 1935)

Incidental music
See also Columbia Workshop for programs in which Herrmann participated but did not write original music.
 * Palmolive Beauty Box (c. 1935) (2 existing cues)
 * Dauber (October 1936)
 * Rhythm of the Jute Mill (December 1936)
 * The Gods of the Mountain (1936)
 * The Happy Prince (December 1941)
 * A Christmas Carol (1954, a CBS-TV special, after Dickens)
 * A Child Is Born (1955, a TV special hosted by Ronald Reagan with singers Nadine Conner and Theodor Uppman)
 * Brave New World (1956)

Stage works

 * Wuthering Heights: Opera (1951)
 * The King of Schnorrers (1968) Musical comedy

Concert works

 * The Forest, tone poem for large orchestra (1929)
 * November Dusk, tone poem for large orchestra (1929)
 * Tempest and Storm: Furies Shrieking!, for piano (1929)
 * The Dancing Faun and The Bells, two songs for medium voice and small Chamber orchestra (1929)
 * Requiescat, violin and piano (1929)
 * Twilight, violin and piano (1929)
 * March Militaire (1932), ballet music for Americana Revue (1932)
 * Aria for Flute and Harp (1932)
 * Variations on "Deep River" and "Water Boy" (1933)
 * Prelude to Anathema, for fifteen instruments (1933)
 * Silent Noon, for fourteen instruments (1933)
 * The Body Beautiful (1935), music from the Broadway play
 * Nocturne and Scherzo (1935)
 * Sinfonietta for Strings (1935)
 * Currier and Ives, suite (1935)
 * Violin Concerto, unfinished (1937)
 * Moby Dick, cantata (1937)
 * Johnny Appleseed, unfinished cantata (1940)
 * Symphony No. 1 (1941)
 * The Fantasticks (1942)
 * The Devil and Daniel Webster, suite (1942)
 * For the Fallen (1943)
 * Welles Raises Kane (1943)
 * Echoes, string quartet (1965)
 * Souvenirs de Voyage (1967)
 * Holst's The Planets (1970)

title: Bernard Herrmann


text:
Talk:Jansenism

Expansion
"An opponent of the Jesuits, Jansen proposed a return to the principles laid down in the work of St. Augustine of Hippo."

Would someone please expand this sentence to show exactly what in Augustine's ethos links his writings/thought/ethos to Jansenism - it doesn't necessarily follow and it would make the leap of thought clearer to others.

Thanks,

Iamlondon 14:56, 28 September 2006 (UTC)
 * I added the briefest of theological rationales just now. The.helping.people.tick 15:32, 22 September 2007 (UTC)

Is anyone who is able to read French willing to translate the article on the Convulsionaries located at http://fr.wikipedia.org/wiki/Convulsionnaires ? This was sort of a big deal back in the day, and the lack of even the briefest mention of the occurrence strikes me as an oversight. (Sorry, no username or knowledge of Wiki protocol here.) —Preceding unsigned comment added by 68.45.162.2 (talk) 04:24, 18 February 2009 (UTC)

I've been drafting a whole new article on convulsionaries over the last few days. It should be up over the next few hours. Jeremyf2010 (talk) 06:14, 6 April 2010 (UTC)

I'm a bit uncomfortable with some of the simplistic claims in this article because they're very misleading: (1) the introduction makes Jansenism sound like a movement on par with Calvinism, but Jansenists themselves denied the existence of the heresy (Antoine Arnauld called it a "phantom" in one of his writings), so although Antoine Arnauld was the most prolific Jansenist theologian, saying he was the leader of the movement seems inaccurate (2) can we really say that the statements condemned in Cum occasione are "five cardinal doctrines of Jansenism" seeing as many of the Jansenists (following Arnauld) said that they did agree that those statements were heretical, they just disagreed that they were found in Jansen's Augustinus (3) you can't really say Saint-Cyran preached "Jansenism" before the publication of the Augustinus, especially since his theology was very much in line with the whole French School of Spirituality at the time

Dead link
I removed from the article. The top google results for frenchminds are all WP or mirrors, so this site has probably gone to the great server in the sky. Silverfish70 13:17, 6 October 2006 (UTC)

Contrast to Calvinism
Unlike Calvinism, however, Jansenism lacked a doctrine of assurance, making salvation unknowable even to the "saved." I am under the impression that lack of assurance is a current criticism of Calvinism. In the eyes of Calvinism (says this criticism), people can have a religious experience and even call upon the name of Jesus for salvation, but if they end up apostate by the time of their death, they were never "really" saved, God never actually gave grace to them. In that context, the predestination of the saved and the predestination of the unsaved is unknown by the individual involved. Does anyone know more about this theological controversy? --BlueNight 06:47, 7 January 2007 (UTC)

Jansenism believed in predestination, but in a more merciful fashion than Calvinism. To Jansenists, God had saved a few men out of His mercy, as all deserved to be damned from the moment of original sin. Calvinism, in contrast, believed in double predestination where God both damned and saved. I don't know for Calvinists, but for Jansenists God's grace (and hence, salvation) was visible through works. If a man was doing good things, he must have God's grace, for only evil acts were doable after the fall without God's assistance. eperry 4/29/07

"In Jansenist thought, human beings were born sinful, and without divine help a human being could never become good." How does this differ from mainstream Catholic belief? Xxanthippe 00:15, 21 September 2007 (UTC)

 * It does not. The main difference between Jansenism and main Catholic thought is its belief of predestination. Otherwise, the debate focused on "efficacious grace" vs "sufficient grace": in agreement with Augustinism, Jansenius insisted that God did not bestow to all men his grace, and that only an "efficacious grace" could save man. On the other hand, Jesuits, following Luis Molina and Molinism, claimed that a "sufficient grace" was bestowed to all men, and that, by itself, it could save man. The latter insists on human's free will while the former insists on the necessity of grace: the heresy, on one side or the other, would be to annihilate the opposing pole. This tension is already to be found in St. Augustine, who claimed that if an "efficacious grace" was necessary, it did not cancel man's free will. Note that particularly radical forms of Jesuitism were also considered heretical (equivalence between natural and Christian virtues or justification of lies by Thomas Sanchez under the pretext of "direction of intention", etc.) Spirals31 (talk) 17:37, 22 November 2007 (UTC)

Heresy
This article does not appear to explain why this sect was condemned as a heresy - which aspects of its doctrine contradicted Catholic orthodoxy. Chubbles 01:07, 18 June 2007 (UTC)

 * Ditto the above comment. The article could use a clear statement of what the Catholic propositions were which were denied by Jansenism and what the propositions of Jansenism were which were denied by the Catholic Church. patsw 23:28, 16 October 2007 (UTC)

 * Added, per above. patsw 02:41, 19 October 2007 (UTC)

"In France, King Louis XIV, acting under the pressures of the Jesuits, sought the end of Jansenism." Is this plausible? I would not have thought that Louis XIV was a person to be easily influenced by anybody. There must have been a lot of internal French politics involved in the downfall of Jansenism. Xxanthippe (talk) 21:54, 21 November 2007 (UTC).

 * Definitely serious. Sun-King maybe, but human being still, and his personal penitentiary, François Annat, was a Jesuit. Of course, there were other reasons, not least the political importance of the Society of Jesus, in Rome, in Europe, and in the whole world. Spirals31 (talk) 17:07, 22 November 2007 (UTC)

 * OED defines "penitentiary" as "office in papal court deciding questions of penitence" Is this what is meant? Would "confessor" or "spiritual director" be more appropriate in the context? Xxanthippe (talk) 09:01, 28 November 2007 (UTC).
 * Spiritual director & confessor is what I had in mind. Spirals31 (talk) 12:30, 17 February 2008 (UTC). Thanks, article modified. Xxanthippe (talk) 23:13, 17 February 2008 (UTC).

Jansenism and sex
There is a colloquial use of the term Jansenism which designates clerics or laypeople that have a particularly rigorist understanding of Catholicism in terms of morality, and especially in terms of sexual morality. The original Jansenists were considered to be very puritanical, and so any subsequent theological movement that was suspected of puritanism inherited the derogatory nickname of Jansenism because of its perceived prudishness. ADM (talk) 06:47, 22 May 2009 (UTC) "Puritanical" as compared to the morals of the French court under Louis XIV.--07:24, 30 May 2018 (UTC)Friarjohn00 (talk)

In Ireland?
I've heard claims that the Catholic Church in Ireland was "soaked in Jansenism" until a few decades ago. Does this refer only to the meaning "prudish" given in the comment above, or was there any actual influence of Jansenism on Irish Catholicism? -- 77.7.145.220 (talk) 01:53, 27 April 2011 (UTC)

 * In a similar vein I've read that the Catholic church in the U.S. (which is supposedly dominated by the descendants of Irish immigrants) is also "Jansenist" and that in part that explains the stereotype (in America) of Catholics as (sexually) repressed and guilt-ridden. The explanation I recall is that clergy training for the Irish took place mainly in Holland and France (where Jansenism was widespread or at least a force), as the British suppressed Catholicism in Ireland itself and these two countries were the closest to Ireland by boat (and were politically anti-British so welcoming to people from Ireland). Having said that I remember reading a quote in one of the Hungarian-American historian John Lukas's books where he refers to this theory as "bunk" (or something similar). :-)

146.95.98.226 (talk) 23:05, 4 June 2012 (UTC)

Cum occasione detials
The introductory paragraph reads:

"The papal bull Cum occasione, issued by Pope Innocent X in 1653, condemned five cardinal doctrines of Jansenism as heresy . . . " Emphasis mine.

However, under papal condemnation we read: "However, on August 1, 1641, the Holy Office issued a decree condemning Augustinus and forbidding its reading. In 1643, Pope Urban VIII followed up with a papal bull entitled Cum occasione, which condemned Augustinus on the grounds that . . . "

Is this an error? Are there really two documents entitled Cum occasione issued 10 years apart, condmening the same error?

All evidence that I have supports the Innocent X in 1653 document. This is the only citation of a document by Urban in 1643 by this title, that I have been able to find. But the fact that the article is so specific makes me wonder whether I've missed something. Wmdiem (talk) 21:33, 12 September 2011 (UTC)

After further poking about, I'm pretty sure the article is talking about In eminenti issued by Urban VIII in March 1642. I'm assuming the current text is a mistake, and changing it appropriately. Wmdiem (talk) 01:39, 13 September 2011 (UTC)

Refus
The term jansenist only appears once in the text (this translation):"A small and humble people grown from a jansenist colony, isolated, defeated, we were powerless to defend ourselves against invasion by all the religious orders of France and Navarre, carrying with them the pomp and privilege of a Catholic Church badly mauled in Europe, rushing to establish themselves in this land blessed by fear-the-mother-of-wisdom."

That paragraph certainly does not mean:

My interpretation of the manifesto text is that —BoBoMisiu (talk) 21:57, 14 June 2015 (UTC)
 * a "jansenist colony" was not the result
 * Catholic Church in Quebec was not jansenist

I am from Canada and when I went to university there as well, and I was taught that Quebec had a Jansenist Catholic tradition — Preceding unsigned comment added by 64.114.251.212 (talk) 04:44, 17 September 2016 (UTC)

 * By who? What course? What university? 76.65.220.79 (talk) 19:15, 27 March 2023 (UTC)

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

title: Talk:Jansenism


text:
MacPaint

MacPaint is a raster graphics editor developed by Apple Computer and released with the original Macintosh personal computer on January 24, 1984. It was sold separately for US$195 with its word processing counterpart, MacWrite. MacPaint was notable because it could generate graphics that could be used by other applications. It taught consumers what a graphics-based system could do by using the mouse, the clipboard, and QuickDraw picture language. Pictures could be cut from MacPaint and pasted into MacWrite documents.

The original MacPaint was developed by Bill Atkinson, a member of Apple's original Macintosh development team. Early development versions of MacPaint were called MacSketch, still retaining part of the name of its roots, LisaSketch. It was later developed by Claris, the software subsidiary of Apple which was formed in 1987. The last version of MacPaint was version 2.0, released in 1988. It was discontinued by Claris in 1998 because of diminishing sales.

Development
MacPaint was written by Bill Atkinson, a member of Apple's original Macintosh development team. The original MacPaint program consisted of 5,804 lines of Pascal computer code, augmented by another 2,738 lines of 68000 assembly language. MacPaint's user interface was designed by Susan Kare, also a member of the Macintosh team. Kare also beta-tested MacPaint before release.

MacPaint allows users to edit a 576-by-720 pixel, 72-dpi bitmap (slightly wider than the screen, and slightly more than twice as tall as the screen). A occupies most of the screen real estate, offering a viewport into a portion of the bitmap, with toolbars and pattern palettes around it.

MacPaint uses two offscreen memory buffers to avoid flicker when dragging shapes or images across the screen. One of these buffers contained the existing pixels of a document, and the other contained the pixels of its previous state. The second buffer was used as the basis of the software's undo feature. In April 1983, the software's name was changed from MacSketch to MacPaint. The original MacPaint was programmed as a single-document interface. The palette positions and sizes were unalterable, as was the document window. This differed from other Macintosh software at the time, which allowed users to move windows and resize them.

FatBits
The original MacPaint did incorporate a double zoom function. Instead of a zoom function, a special magnification mode called FatBits was used. FatBits showed each pixel as a clickable rectangle with a white border. The FatBits editing mode set the standard for many future editors. MacPaint included a "Goodies" menu which included the FatBits tool. This menu had been named the "Aids" menu in prerelease versions, but was renamed "Goodies" as public awareness of the AIDS epidemic grew in the summer of 1983.

Release and version history
MacPaint was first advertised in an 18-page brochure in December 1983, following the earlier announcement of the Macintosh 128K. The Macintosh was released on January 24, 1984, with two applications, MacPaint and MacWrite. For a special post-election edition of Newsweek in November 1984, Apple spent more than US$2.5 million to buy all 39 of the advertising pages in the issue. The Newsweek advertisement included many pages dedicated to explaining how MacWrite and MacPaint worked together. After launch, a New York Times reviewer noted how MacPaint unfolded numerous graphic possibilities for the personal computer; he went further to say "it is better than anything else of its kind offered on personal computers by a factor of 10."

MacPaint 2.0 was released on January 11, 1988, by Claris. It added many improvements to the software, including the capability to open and use up to nine documents simultaneously. The original MacPaint operated as a single-document application with an immovable window. MacPaint 2.0 eliminated this limitation, introducing a fully functioning document window, which could be sized up to 8 x 10". Several other features were introduced, such as a Zoom tool, MagicEraser tool for undo actions and stationary documents. MacPaint 2.0 was developed by David Ramsey, a developer at Claris. MacPaint 2.0 was sold for US$125, with a US$25 upgrade available for existing users of MacPaint. Claris discontinued technical support for the original MacPaint in 1989. Claris stopped selling MacPaint in early 1998 because of diminishing sales. There has been an unofficial update called MacPaint X which is 3.0 beta, mainly for people who wished to be able to use the program.

Since 2010, MacPaint 1.3's source code (written in a combination of Assembly and Pascal) has been available through the Computer History Museum, along with the QuickDraw source code, a library to draw bitmapped graphics, due to the support of Steve Jobs.

MacPaint inspired other companies to release similar products for other platforms; within a year a half-dozen clones existed for the Apple II and IBM PC. Some of these included Broderbund's Dazzle Draw for the Apple II, Mouse Systems' PCPaint for the PC, and IBM's Color Paint for the IBM PCjr.

title: MacPaint


text:
The Buddy Holly Story

The Buddy Holly Story is a 1978 American biographical musical drama film directed by Steve Rash which tells the life and career of rock and roll musician Buddy Holly. It features an Academy Award-winning musical score, adapted by Joe Renzetti and Oscar-nominated lead performance by Gary Busey. The film also stars Don Stroud, Charles Martin Smith, Conrad Janis, William Jordan, and Maria Richwine, who plays María Elena Holly.

It was adapted by Robert Gittler from Buddy Holly: His Life and Music, the 1975 biography of Holly by John Goldrosen, and was directed by Steve Rash.

Plot
In 1956, Buddy Holly and his friends, drummer Jesse Charles and bass player Ray Bob Simmons, regularly performed at a local roller rink in Lubbock, Texas, as The Crickets. A local radio station broadcasts the show. Holly plays a country song, then switches to a rock and roll song, exciting the teens much to the annoyance of the radio station's sponsor. Station manager Riley tells Holly that Coral Records vice president wants the band to make a recording in Nashville, Tennessee.

At the recording studio, Holly walks out when his rock-and-roll vision clashes with the producers, who want The Crickets to play country music. Later, Riley says he sent a tape of the Cricket's roller rink performance to New York City music producer Ross Turner. Believing the demo tape is a master copy, Turner releases it without realizing the band has no contract. The record is a hit and Holly can now pursue music full time. In New York City, the Crickets meet with Turner; after initial resistance, he agrees that Holly can make music how he wants.

Sol Gittler books the Crickets for the famous Apollo Theater in Harlem, assuming they are a black band. He is stunned when three white Texans show up and he refuses to let them perform, fearing the audience's reaction. Holly points out that Gittler's telegram specifies that they only have to be in New York City for a week to be paid $1,000, so Gittler nervously allows them to perform, the first white act to perform at the Apollo. After an uncomfortable start, Holly's music soon wins over the audience and the Crickets are a hit. Turner's secretary, Maria Elena Santiago, catches Holly's eye but their budding romance is nearly ended when her strict aunt refuses to allow them to date. Holly convinces her to change her mind and on their first date, Holly proposes to Maria. She accepts and they are soon married.

After two years of success, Ray Bob and Jesse, feeling overshadowed by Holly and wanting to return to Texas, decide to quit while Holly believes it is necessary to remain in New York to stay popular. After appearing on CBS TV on The Ed Sullivan Show, Jesse and Ray Bob return to Lubbock with the agreement that they will retain the Crickets name. Though saddened by their departure, Holly carries on writing. He initially fears performing without them despite his manager emphasizing that touring is necessary to chart success. Holly is delighted when Maria becomes pregnant, though she sees he is frustrated professionally and urges him to go on tour.

On February 2, 1959, preparing for a concert at Clear Lake, Iowa, Holly charters a private plane to fly to Moorhead, Minnesota for the next concert after the tour bus has broken down. The Big Bopper and Ritchie Valens join him on the flight. The Crickets, feeling nostalgic and wanting to revive the band, plan to join Holly at his next tour stop. After playing his final song, "Not Fade Away", Holly bids the crowd farewell. A caption reveals that Holly, Valens and the Bopper died in a plane crash that night "... and the rest is Rock 'n Roll".

Production
The actors did their own singing and played their own instruments, with guitarist Jerry Zaremba overdubbing the guitar parts. Busey, in particular, was noted for recording the soundtrack music live and for losing a considerable amount of weight in order to portray the skinny Holly. According to Busey's biography, he lost 32 pounds to look more like Holly, who weighed 146 pounds at the time of his death.

The actor's accurate portrayal was aided by knowledge gained from a previous attempt to film part of the Holly life story, the ill-fated Three-Sided Coin, in which he played Crickets drummer Jerry Allison. The film was cancelled by 20th Century Fox due to pressure from Fred Bauer and his company, who had made deals with the Holly estate. The screenplay of Three-Sided Coin (by Allison and Tom Drake) revealed many personal details about Holly, and Busey picked up more during off-set conversations with Allison.

While the story follows Buddy Holly from age 20 to 22 (1956 to February 1959), Busey was 33 when he played the role. Charles Martin Smith auditioned for the role of Buddy, but since Busey already had been cast, the producers cast Smith to play Ray Bob Simmons because they liked his audition. Simmons and Jesse Charles were character names used in place of Joe B. Mauldin and Jerry Allison, two of the actual Crickets (1956 to early 1958 Cricket Niki Sullivan, performing on 27 of the 32 songs Holly recorded, is not shown).

The incident in which a Buffalo disc jockey locked himself in a studio and repeatedly played the same song over and over was loosely based on real-life stunts orchestrated by disc jockey Tom Clay (and repeated a few years later by Danny Neaverth), who held up Buffalo's Shelton Square by playing Bill Haley & His Comets' "Rock Around the Clock" repeatedly from the top of a billboard, and by Joey Reynolds, who locked himself in a studio playing "Sherry" by The Four Seasons for several hours; those incidents, however, had no relation to Buddy Holly or his music.

Release
The film had a special premiere in nine different Texas and Oklahoma cities on May 18, 1978, including Holly's hometown of Lubbock and Busey's hometown of Tulsa, before opening in Los Angeles on June 14.

Box office
The film earned $14.3 million on a $1.2 million budget.

Critical response
Roger Ebert gave the film three and a half stars out of four and praised Busey's "remarkable performance as Buddy Holly. If you're a fan of Holly and his music, you'll be quietly amazed at how completely Busey gets into the character." Vincent Canby of The New York Times wrote, "There are a lot of actors in 'The Buddy Holly Story' — some of them very nice — but the movie is really a one-man show. It's Gary Busey's galvanizing solo performance that gives meaning to an otherwise shapeless and bland feature-length film about the American rock-and-roll star who was killed in a plane crash in 1959." Gene Siskel gave the film four stars out of four and wrote, "In a year in which we are inundated with films featuring rock music, 'The Buddy Holly Story' probably will turn out to be the best. That is because of Busey's galvanizing performance." Charles Champlin of the Los Angeles Times wrote, "The heart and soul and power of 'The Buddy Holly Story' is the uncanny, marrow-deep, robust, exhilarating, likable, superlative, overwhelmingly convincing portrayal by Gary Busey ... For once there is no lip-synching to someone else's voice, no feigning with the fingers to somebody else's strumming. Busey does it all himself, and it is one of those rare and stunning performances in which the person of the actor himself is totally lost to sight in his creation of someone else." Gary Arnold of The Washington Post wrote, "Gary Busey invests the title role with a personal charm so original and an emotional dedication so exhilarating that he seems to lift the material off its somewhat pedestrian feet."

The Buddy Holly Story holds a 100% rating on Rotten Tomatoes based on 30 reviews, with a weighted average of 7.3/10. The New York Times placed the film on its Best 1000 Movies Ever list.

Peggy Sue Gerrow Allison Rackham, to whom the song "Peggy Sue" was written, called the film "typical Hollywood, gobbledygook fantasy". Ex-Beatle Paul McCartney wasn't positive about the film either. Being interviewed and involved in the production of director Richard Spence's documentary 'The Real Story of Buddy Holly', McCartney decided after seeing the film to make a more accurate account of what happened. In a Rolling Stone interview, executive producer Ed Cohen, director Steve Rash and producer Freddy Bauer defended inaccuracies in the movie, pointing out the budget of the movie was only two million dollars. "Whatever we put up there on the screen will be the truth", commented Bauer. "Ask moviegoers who invented the telephone. They'll tell you that Don Ameche did." According to Rolling Stone, the three major complaints concerned the portrayal of Holly's family, the treatment of the Crickets and the omission of Norman Petty, Holly's producer.

Awards
The film won the Academy Award for Best Adaptation Score by Joe Renzetti. Busey was nominated for Best Actor in a Leading Role, and Tex Rudloff, Joel Fein, Curly Thirlwell and Willie D. Burton for Best Sound.

title: The Buddy Holly Story


text:
Chicano rock

Chicano rock, also called chicano fusion, is rock music performed by Mexican American (Chicano) groups or music with themes derived from Chicano culture. Chicano Rock, to a great extent, does not refer to any single style or approach. Some of these groups do not sing in Spanish at all, or use many specific Latin instruments or sounds. The subgenre is defined by the ethnicity of its performers, and as a result covers a wide range of approaches.

Overview
There are three basic styles of Chicano rock.

1) The earliest Chicano rock emerged as a distinctive style of rock and roll performed by Mexican Americans from East Los Angeles and Southern California, containing themes from their cultural experience. Although the genre is broad and diverse, encompassing a variety of styles and subjects, the overarching theme of early Chicano rock is its rhythm and blues influence and incorporation of brass instruments like the saxophone and trumpet, Farfisa or Hammond B3 organ, funky basslines, and its blending of Mexican vocal styling sung in English.

A tradition of 60s Chicano rock emerges from these origins, following a devotion to the original rhythm and blues, rockabilly and Rock and roll. And Ritchie Valens, Sunny & the Sunglows, The Sir Douglas Quintet, Cannibal & the Headhunters, The Premiers, Sam the Sham & the Pharaohs and Thee Midniters, all have made music that is heavily based on 1950s R&B, even when general trends moved away from the original sound of rock as time went by.

2) The second style of 70s Chicano rock is more open to blues music, soul music, R&B, rock music, funk, Latin music, salsa music, and jazz. Santana, Malo, War, El Chicano, Sapo and other Chicano 'Latin Rock' groups follow this approach with their fusions of R&B, Jazz, and Caribbean sounds. Later Chicano musicians who draw from rockabilly and country include Linda Ronstadt and Los Lobos. These musicians also sometimes draw from traditions of Norteño music or Tejano music.

3) A third style is the 80s Latin rock, Latin R&B by Tierra, Little Joe, Little Willie G, Ralfi Pagan, Sheila E, Sugar Style, Sunny and the Sunliners and Rocky Padilla.

History
In places such as San Antonio, Los Angeles, the San Francisco Bay area, and Dallas and Houston, Texas, the African-American audience was very important to aspiring Latino musicians, and this kept their music wedded to authentic R&B. DJ Dick Hugg (aka Huggie Boy) and radio station KRLA 1110 played a big role in promoting this music. Chicano rock music was also influenced by the Doo-wop genre, an example being the song "Angel Baby" by the Chicana fronted group Rosie and the Originals.

Don Tosti's Pachuco Boogie, recorded in 1948, was the first Chicano million-selling record, a swing tune featuring Spanish lyrics, using hipster slang called Calo. Lalo Guerrero arrived in Los Angeles in the late 1930s and found that L.A is "bursting with ambition". Lalo and his friend captured their spirit in music by mixing swing and boogie woogie in a cross-cultural, dialog between African American, Anglo, and Mexican American influences.

The 1950s brought rhythm and blues and the roots of rock 'n' roll. Mexican American were among first to catch the beat and introduced a Latin flair to early rock music.

Chicano rock 'n' roll star Ritchie Valens, was a Mexican-American singer and songwriter influential in the Chicano rock movement. He recorded numerous hits during his short career, most notably the 1958 hit "La Bamba." Valens died at age 17 in a plane crash with fellow musicians Buddy Holly and the Big Bopper on February 3, 1959. The tragedy was later immortalized as "the day the music died" in the song "American Pie."

The 1958 hit song "Tequila!" was written and sung by the saxophone player Danny Flores (not to be confused with Danny David Flores, a former member of Renegade) and performed by The Champs. Flores, who died in September 2006, was known as the "Godfather of Latino Rock."

In the early to mid-1960s, the American audience was probably more open to Latin sounds than even today because of the popularity of bossa nova, bugalú, mambo, and other forms. Also, musicians who didn't conform to the rather limited range of early rock could find success as folk performers. Trini Lopez, whose music was a mixture of folk and pop, gained big hit "If I Had a Hammer" in 1963. He recorded "Corazón de Melón", a Mexican folk tune,. Mid 1960s, the Beatles and The Rolling Stones got success, and unfortunately Trini's club style seemed old fashioned too soon.

In the 60s there was an explosion of Chicano rock bands in East Los Angeles and Texas. Sunny & the Sunglows produced several regional hits during the 1960s but is best remembered for its 1963 Number 11 Billboard hit "Talk to Me, Talk to Me". They hold the distinction of being the first all-Mexican American group featured on American Bandstand. Their versions of "Rags to Riches" (Tony Bennett) and "Out of Sight-Out of Mind" (The Five Keys) also reached the Billboard Hot 100. Another group to appear on American Bandstand as well as open for The Rolling Stones, was The Premiers with their hit rendition of a Don and Dewey song called "Farmer John". It featured the beat from the popular hit, Louie, Louie, which was in turn based on a Latino song, El Loco Cha Cha. Richard Berry, credited with writing Louie, Louie, drew inspiration to record the song after listening to an R&B rendition of El Loco Cha Cha performed by the Latin R&B group Rhythm Rockers led by Mexican-Filipino American brothers, Rick and Barry Rillera. The Rillera brothers would go on to record and perform with The Righteous Brothers.

The British Invasion challenged all American musicians, not just Chicanos. East Los Angeles witnessed a surge of creativity, and a renaissance of art, music and politics. Leading the way in music was the band Cannibal and the Headhunters, composed of five young men from the projects who recorded a national hit, "Land of a Thousand Dances," and almost overnight found themselves opening for the Beatles on the British superstars' 1965 tour. That same year, Thee Midniters hit the charts with "Whittier Blvd.," an anthem to East L.A.'s most famous street, the home of a late-night cruising scene that expressed the California car culture that Mexican Americans were making their own. Also in 1965, the Chicano led Sam the Sham and The Pharaohs released the international hit Wooly Bully which would go on to sell three million copies. Penned by frontman Domingo "Sam" Samudio, it holds the distinction of being the first American record to sell a million copies during the British Invasion era. In 1966, the Mexican American garage band ? and the Mysterians scored a number one hit with the song 96 Tears. The Sir Douglas Quintet is said to have made the most 'English' sounding American music of the Beatlemania period (actually since the English were playing music that was more rooted in R&B than many white Americans of that time, the Quintet were actually sounding 'English' by keeping to an all-American R&B/Country sound). Indeed, producer Huey P. Meaux put the Sir in the group's name to emphasize the connection, but that was more a marketing change than a musical one. The Sir Douglas Quintet was from central Texas, and some of its members were Latinos. However, the group's lead singer, Doug Sahm, was not of Mexican descent. Sahm was so thoroughly immersed in Tejano culture, that he later recorded an album under the name Doug Saldaña. Despite the musician's efforts to make the group appear to have emerged from the British Invasion, scholars have noted that the group's clear Tejano influences and accordion based slowed down polka rhythms give the band a Chicano rock title.

In the late 1960s and 1970s, when civil rights and the Vietnam War were compelling issues, young Mexican American proudly called themselves Chicanos—which once considered as a derogatory term—and many took to the streets to stand up for their rights. Chicano duo Cheech and Chong released novelty single "Basketball Jones"(1973) and hit "Earache My Eye"(1974). Bands like Tierra, Malo, Sapo, Azteca and El Chicano, created new music that "said something" about Chicano heritage and their struggles for equality and justice. In the midst of these events, Mexican-American immigrants of East L.A. were being exposed to cultural identity problems and struggles with assimilation. Chicano rock emerged as a musical art-form with the power to cross over to the mainstream. With aims to pay homage to their native culture and capture the unique Chicano experience. Chicano rockers unified both the Mexican and American roots that lived within their oppressed cultural spheres.

The trend of Chicano rock mirrored what was happening on college campuses as well. The rise of Chicano Studies departments, which offered courses in Chicano literature, politics and culture, affected college students and musicians tremendously. Musicians rebels against the "old world" and adopt the Mexican and Latin American styles in their own music.

Along with visual artists, activists, and audiences, the musicians of the East Los Angeles chicano rock scene form an emergent cultural movement that speaks powerfully to present conditions. The chicano rock scene of East Los Angeles serves as a form of unity for radical Chicanos who wish to bring forth a call to action and a site for resistance through their art. By claiming the musical style of the "old world", Chicanos are reclaiming their indigenous identity and undoing Spanish colonialism.

The Eastside scene's story of formation, the diversity of its origins, and its commitment to political activism and coalition building illuminate the relations between culture and politics in the present. The musical practices of the East L.A. scene bring to the discussion the dislocations and displacements of people of color in urban California, but they also reflect the emergence of new forms of resistance that find counterhegemonic possibilities within contradictions.

Linda Ronstadt is a versatile singer who traversed multiple genres. She gained national hits such as "You're No Good" (1975), "It's So Easy", "Blue Bayou" (1977), "Back in the USA" (1978), and "Hurt So Bad" (1980) in the 1970s and '80s. Ronstadt was nurtured by her Mexican American family whose musical roots run deep in the Mexican border region of Tucson, Arizona. Ronstadt holds dear the memory of childhood serenades by "The Father of Chicano Rock," Lalo Guerrero, a close family friend. Ronstadt's great-aunt Luisa Espinel gained international popularity interpreting Spanish and Mexican song and dance in the 1930s. Among the most popular female pop singers, Ronstadt is one of the most influential Chicana musicians ever, as evident in her extensive discography and four-decades long career.

Chicano Rock 1980s
In 1980s, Tierra gained TOP 40 hit "Together", and Cheech and Chong recorded "Born In East LA". Maldita Vecindad is a rock en Español band whose music is a mixture of punk, rap, ska, funk, and Latin. They were formed in Mexico City in 1985 and describe themselves as a mambo punk combo. They influenced other Chicano rock bands and Chicano music, because they were among the first Mexican rock musicians to express a kindred spirit with the Chicano movement. On their early recordings, Maldita Vecindad y Los Hijos del Quinto Patio (BMG Ariola 1989) and Circo (BMG Ariola 1991), Maldita's music delved into Chicano culture with songs such as "Mojado," "Pachuco," and "Pata de Perro." In addition to the two albums above, Maldita Vecindad released "Baile de Máscaras" (1996), "Mostros" (1998), and "Greatest Hits + Rarities 1989-1999" (2000).

In the mid-1980s Chicano teen rock band Renegade landed on the international music scene, sporting a combination of heavy metal instrumentation with more pop oriented melodies, resulting in a new subgenre, termed "commercial metal". The four teens—Kenny Marquez on lead guitar and vocals, Luis Cardenas on drums and vocals, Tony De La Rosa on rhythm guitar and vocals and Danny David Flores on bass guitar and vocals—have been referred to as Chicano rock gods, amongst Mexican-Americans. Renegade or Los Renegados as they are called in Latin-America, went on to sell more than 30 million units worldwide, with a series of hits in Mexico, Canada, Japan and the United Kingdom, and to a lesser extent, the United States.

Subsequently, groups like 90s band Ozomatli and Quetzal had led the new wave of Latin Rock groups that fuse multiple musical genres.

Ozomatli mixes rock, hip-hop, funk music, and cumbia. Their song "City of Angels", presented a new eclectic form of Latino rock.

Quetzal, the band from the barrios of East Los Angeles has been creating Latin folk and roots-rock music for over a decade. With the successful tours and concerts alongside Los Lobos, Ozomatli, Taj Mahal and Michelle Shocked, Quetzal has played intimate clubs and large arenas alike. The band combines rock, Afro-Cuban, country blues, and jazz elements to support the wide-ranging, bilingual vocals of Martha González. The retro-futuristic mix has garnered praise from critics including the LA Times and Los Lobos. Quetzal simultaneously forges a sound that makes you dance and contemplate change.

Robert Lopez AKA El Vez started operating an art gallery called "La Luz de Jesus" and created a show dedicated to Elvis. Since Lopez's impersonator did not meet his expectation El Vez was created. El Vez's first performance was in Memphis, Tennessee on August 16, 1989. Lopez started making karaoke tapes while running his gallery. While not including "sacred" topics directly, his goal is to blur the line between what is sacred and profane allowing him to have wide age range in his audience. He has been releasing albums since 1994 continuing to use satire and humor in his songs to express revolutionary views. As his lyrics are historical, some teachers and professors use his music to teach history and Mexican American Culture.

Chicano/Latino Punk
Chicano punk is a branch of Chicano rock with bands like The Zeros, The Stains, The Plugz, The Bags, Thee Undertakers, Nervous Gender, The Brat, The Gun Club, Los Illegals, Los Angelinos, Felix and the Katz, Odd Squad, Union 13, and The Cruzados coming out of the punk scene in Los Angeles. The rock band ? and the Mysterians, made up of Hispanic American musicians from Bay City and Saginaw, Michigan, was the first band to be described as "punk rock." The term punk rock was reportedly coined in 1971 by rock critic Dave Marsh in a review of their show for Creem magazine. Recent Chicano punk bands include Rayos X, Tuberculosis, Mata Mata, Mugre, Venganza and Asko from southern California, La Grita and La Plebe from Northern California, as well as Los Crudos from Chicago.

In 1992 Mia Zapata and her punk rock group The Gits released Frenching the Bully, their first album, on C/Z Records. The group members met one another and formed the band in Yellow Springs, Ohio during the mid-1980s. Their music quickly became popular throughout the area and on the Antioch College campus. Band member Moriarty describes punk rock as a combination of emotion, temperament, rage and music. The Gits moved from Ohio to San Francisco and finally to Seattle, but not because of the up-and-coming music scene. Moriarty explains that "the idea was to just go up and pour your guts out" and to play their music and express their emotion. The group dissolved after Mia Zapata was murdered on July 7, 1993 by Jesus Mezquia. The remaining members went on to team up with Joan Jett to issue the album Zapata's death had interrupted. Proceeds from the album, titled Evil Stig (Gits Live spelled backwards) went to fund an investigator into Zapata's death, which had become a cold case.

Many Chicanas became "Punkeras" and have contributed to the artistic conditions of production, gender relations, and the punk aesthetic that existed in the late 1970s and 1980s. The D-I-Y sensibility at the core of punk musical subcultures found resonance with the practice of rasquache, a Chicano cultural practice of "making do" with limited resources. In fact, young Chicanas had historically been at the forefront of formulating stylized social statements via the fashion and youth subculture, beginning with the Pachucos and continuing with Chicana Mods in the 1960s. Punk's critique of the status quo, poverty, sexuality, class inequalities, and war spoke directly to working class East Los Angeles youth.

Alice Bag is an example of a punkera that typifies the punk scene of the late 1970s. Born as Alicia Armendariz, she went by Alice Bag (also Alice Phallus, and Alice Douchbag) as her stage name. Armendariz's Chicana experience influenced her music career as projected her unrelenting emotions through punk music. Her music reflects an accumulated rage evolved from being made fun of for not speaking proper English and having to witness domestic violence at a young age. She used her painful childhood experience as empowerment in the male-dominated field of punk rock with her female lead band, Bags. Alice and the Bags are known to be responsible for "co-creating the first wave of California punk alongside the likes of Black Flag, X, the Germs, Phranc (then in Catholic Discipline), and women that came to be known as the Go-Go's."

Chicano Rock, 1990s–present

Many popular Chicano and Chicano-led rock bands began to emerge during the mid and late 90s such as P.O.D., Los Lonely Boys, MxPx, Adema, Downset, Spineshank, At the Drive-In, Fenix TX, Ünloco, Union 13, Voodoo Glow Skulls, Ozomatli, The Latin Soul Syndicate, and El Vez, the "Mexican Elvis." In the early 2000s the progressive Latin-influenced rock band The Mars Volta came onto the scene.

Modern age Chicana punk rock band, Girl in a Coma, express their Chicana experience through their music and artistic expression. Girl in a Coma consists of three members, the two sisters, Nina Diaz, Phanie Diaz and their long time friend, Jenn Alva. Although they claim that they do not consider themselves to be a Latin rock group due to their lack of Spanish speaking fluency, it can't be denied that they are a reflection of the Chicana experience. Furthermore, their inability to speak Spanish fluently did not restrict them from releasing their album, "Trio B.C" that plays tribute to the sisters' grandfather's tejano band in which they recorded the last track, "Ven Cera", completely in Spanish. Girl in a Coma are the modern Chicana punkeras that have already picked up quite the large audience since their 2007 debut with their "all-American" punk rock feel. Although, the Latin undertones of their roots are not prominent in their current records, there is a possibility that they will be in their future records as Nina Diaz has stated that she's been trying to learn Spanish here and there but it is in her plans to someday write an album completely in Spanish.

In the 2020s, a new generation of Chicano rock artists, influenced by bands such as Cafe Tacuba and Tame Impala, have incorporated alternative rock elements into regional Mexican-style music. Ivan Cornejo, for example, first gained prominence for his "indie Sierreño" style of music.

Cultural politics of Chicano/a rock
Zacharias Manuel de la Rocha is an activist is best known as the vocalist and lyricist of rock band Rage Against the Machine. Rage Against the Machine songs express revolutionary political views. As of 2010, they had sold over 16 million records worldwide. Chicano rock music is being led by a wave of socially and politically active Latin-fusion bands that emerged and gained popularity in the 1990s such as Aztlan Underground, Ozomatli, Lysa Flores, Quinto Sol and more. Their music in general pulls from other genres (soul, samba, reggae, and rap) and utilizes multilingual lyrics (in Spanish, English and Nahuatl) and takes themes like urban exile, indigenous identity and multiracial unity and layers them in order to put into the spotlight important social issues. These artists in particular have been exceptionally successful due to the millions of Latinos in Los Angeles, California that are bilingual/bicultural. One of the larger purposes of the music is to draw attention to "present conditions of oppression and disenfranchisement" in the East L.A. scene, and to provide a form of political possibility to those who are less powerful (financially, socially, etc.).

The Alacranes' frontman, Ramon "Chunky" Sánchez, once said that Chicano rock lies “somewhere between Pedro Infante and the Rolling Stones.” This categorization, or lack-thereof, by Sánchez demonstrates that Chicano rock might be characterized by an identity rather than a musical style.

Chicano/a rock as a global phenomenon

Chicano rock's origins in diverse places like Los Angeles and San Francisco requires us to consider the many cultures that went into its creation. Shared experiences of discrimination have led black and Latinx communities to build what George Lipsitz called "a ‘historical bloc’ of oppositional groups united in ideas and intentions if not experience." A shared experience in America amongst members of Lipsitz's "historical bloc" led to cultural, and musical, fusion that transcends national borders. Jesus Velo of 1970s Chicano punk band, Los Illegals, has said "We [had] no choice but to just absorb each other’s rhythms and patterns." Through this fusion, international musical styles mixed with American rock to create something novel and multicultural. Mexican-American artists' music in this era has been labelled 'Chicano rock.' It's undeniable that Chicano rock helped create a distinct Mexican-American identity, but this includes elements of other Latin American nations.

Additionally, Latin American nations' musical styles were not developed in isolation. Loza writes, "Latin America must be considered a cultural entity much like that of other continental areas––for example, the United States, Europe and East Asia––where intercultural expression ultimately signifies various national identities and 'characters'." Latin American nations are built on a mix of indigenous, colonist, and African peoples, and their music reflects contributions from these different cultures.

title: Chicano rock


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Talk:Matthias, Holy Roman Emperor

Untitled
is this mathias II? Vera Cruz

He was Holy Roman Emperor Matthias or Matthias II of Hungary. Just a small issue of enumeration. User:kt2

Can one of the administrators please do something about the correct heading of Matthias, Holy Roman Emperor? his name was written with a double "tt", not one "t". Throughout Wikipedia he is listed as "Matthias". if anyone wishes to keep him with only one "t", then we should redirect that to Matthias, Holy Roman Emperor, and not the other way around...? thanks. User:antares911

Would his name be translated into english as "Matthew"? -Alex 12.220.157.93 09:30, 27 December 2005 (UTC)
 * Matthias and Matthew were different persons. (Matthias was selected as an Apostle after Judas Iscariot left the group.)--StanZegel  (talk) 16:07, 27 December 2005 (UTC)

I have never heard him referred to as "the Magnificent", and the last line, "died happy and drunk..." is ridiculous. I have removed both. Talshiarr 10:36, 4 May 2007 (UTC)

I am confused. It is said that Ferdinand II became king of Bohemia in 1617 but it's also said that Matthias reigned Bohemia until 1619. So who is the actual leader of Bohemia from 1617-1619? — Preceding unsigned comment added by Peterfromhfls (talk • contribs) 01:17, 16 June 2014 (UTC)

Succession to the Archduchy of Austria
The table at the bottom of the article needs to be corrected, but as I am not quite sure how to do it I hope someone more able than me will. The point is that Matthias was succeeded in the Archduchy of Austria by his younger surviving brother Archduke Albert (VII), who passed the archduchy on to Emperor Ferdinand II in November 1620. It is only from that moment on that all the Hereditary Lands are reunited (and even then briefly). Richardot (talk) 15:34, 9 February 2010 (UTC)

 * We have an article about Albert VII, Archduke of Austria. Some people claimed that Albert did not reign as Archduke of Austria while others claimed that he did. I can change the succession box but do you have any sources that say he succeeded to the Archduchy? I guess he wouldn't be called Albert VII if he hadn't but having a source to settle the matter once for all would be very helpful. Surtsicna (talk) 20:49, 10 February 2010 (UTC)

Low Countries 1577-1581
During the Eighty Years' War, Catholic nobles from the southern Low Countries arranged for Matthias, Archduke of Austria, to replace Don Juan as governor-general, which he was from 1577 until 1581, even though this arrangement was never recognized by Philip II of Spain. See just about all sources on the Dutch Revolt or the Eighty Years' War (or Matthias' article on the Dutch language WP, and better still: a whole section on the German language WP, which entire article shows much more about Mathhias). I would expect to read something about that in his article on this WP as well.  ▲ SomeHuman 2011-08-18 05:39-05:46 (UTC)

?
Matthias of Austria better known as Matthias of Austria

Am i missing something here? All the best Wikirictor  01:46, 4 February 2020 (UTC)

title: Talk:Matthias, Holy Roman Emperor