text:
Agatha Christie's Poirot

Agatha Christie's Poirot, or simply Poirot, is a British mystery drama television programme that aired on ITV from 8 January 1989 to 13 November 2013. The ITV show is based on many of Agatha Christie's famous crime fiction series, which revolves around the fictional private investigator, Hercule Poirot. David Suchet starred as the fictional detective. Initially produced by LWT, the series was later produced by ITV Studios. The series also aired on VisionTV in Canada and on PBS and A&E in the US.

The programme ran for 13 series and 70 episodes in total. Each episode was adapted from a novel or short story by Christie that featured Poirot. In each episode Poirot is both the main detective in charge of the investigation of a crime, usually murder, and the protagonist at the centre of most of the episode's action. At the programme's conclusion, which finished with "Curtain: Poirot's Last Case", based on the 1975 novel of the same name, every major literary work by Christie that featured the title character had been adapted.

Cast
David Suchet was cast as the eponymous role Hercule Poirot. He was portrayed, especially in the earlier series, alongside Hugh Fraser as the closest friend of Poirot, Captain Arthur Hastings, as well as Pauline Moran playing Poirot’s clever secretary Felicity Lemon and Philip Jackson depicting Poirot’s long-standing associate Inspector James Japp.

Towards the later series, other characters such as Poirot’s English butler George, played by David Yelland, and crime novelist Ariadne Oliver, played by Zoë Wanamaker, feature and become prominent. Several actors played multiple parts specific to certain episodes, including Nicholas Farrell and Beatie Edney.

Production
Clive Exton in partnership with producer Brian Eastman adapted the pilot. Together, they wrote and produced the first eight series. Exton and Eastman left Poirot after 2001, when they began work on Rosemary & Thyme. Michele Buck and Damien Timmer, who both went on to form Mammoth Screen, were behind the revamping of the series.

The episodes aired from series 9 in 2003 featured a radical shift in tone from the previous series. The humour of the earlier series was downplayed with each episode being presented as serious drama and saw the introduction of gritty elements not present in the Christie stories being adapted. Recurrent motifs in the additions included drug use, sex, abortion, homosexuality, and a tendency toward more visceral imagery. The visual style of later episodes was correspondingly different: particularly, an overall darker tone; and austere modernist or Art Deco locations and decor, widely used earlier in the series, being largely dropped in favour of more lavish settings (epitomised by the re-imagining of Poirot's home as a larger, more lavish apartment).

The series logo was redesigned (the full opening title sequence had not been used since series 6 in 1996), and the main theme motif, though used often, was usually featured subtly and in sombre arrangements; this has been described as a consequence of the novels adapted being darker and more psychologically driven. However, a more upbeat string arrangement of the theme music is used for the end credits of "Hallowe'en Party", "The Clocks" and "Dead Man's Folly". In flashback scenes, later episodes also made extensive use of fisheye lens, distorted colours, and other visual effects.

Series 9–12 lack Hugh Fraser, Philip Jackson and Pauline Moran, who had appeared in the previous series (excepting series 4, where Moran is absent). Series 10 (2006) introduced Zoë Wanamaker as the eccentric crime novelist Ariadne Oliver and David Yelland as Poirot's dependable valet, George — a character that had been introduced in the early Poirot novels but was left out of the early adaptations to develop the character of Miss Lemon. The introduction of Wanamaker and Yelland's characters and the absence of the other characters is generally consistent with the stories on which the scripts were based. Hugh Fraser and David Yelland returned for two episodes of the final series (The Big Four and Curtain), with Philip Jackson and Pauline Moran returning for the adaptation of The Big Four. Zoë Wanamaker also returned for the adaptations of Elephants Can Remember and Dead Man's Folly.

Clive Exton adapted seven novels and fourteen short stories for the series, including "The ABC Murders" and "The Murder of Roger Ackroyd", which received mixed reviews from critics. Anthony Horowitz was another prolific writer for the series, adapting three novels and nine short stories, while Nick Dear adapted six novels. Comedian and novelist Mark Gatiss wrote three episodes and also guest-starred in the series, as have Peter Flannery and Kevin Elyot. Ian Hallard, who co-wrote the screenplay for "The Big Four" with Mark Gatiss, appears in the episode and also "Hallowe'en Party", which was scripted by Gatiss alone.

Florin Court in Charterhouse Square, London, was used as Poirot's London residence, Whitehaven Mansions. The final episode to be filmed was "Dead Man's Folly" in June 2013 on the Greenway Estate (which was Agatha Christie's home) broadcast on 30 October 2013. Most of the locations and buildings where the episodes were shot were given fictional names.

Casting
Suchet was recommended for the part by Christie's family, who had seen him appear as Blott in the TV adaptation of Tom Sharpe's Blott on the Landscape. Suchet, a method actor, said that he prepared for the part by reading all the Poirot novels and every short story, and copying out every piece of description about the character. Suchet told The Strand Magazine: "What I did was, I had my file on one side of me and a pile of stories on the other side and day after day, week after week, I ploughed through most of Agatha Christie's novels about Hercule Poirot and wrote down characteristics until I had a file full of documentation of the character. And then it was my business not only to know what he was like, but to gradually become him. I had to become him before we started shooting".

During the filming of the first series, Suchet almost left the production during an argument with a director, insisting that Poirot's odd mannerisms (in this case, putting a handkerchief down before sitting on a park bench) be featured; he later said "there's no question [Poirot's] obsessive-compulsive". According to many critics and enthusiasts, Suchet's characterisation is considered to be the most accurate interpretation of all the actors who have played Poirot, and the closest to the character in the books. In 2013, Suchet revealed that Christie's daughter Rosalind Hicks had told him she was sure Christie would have approved of his performance.

In 2007, Suchet spoke of his desire to film the remaining stories in the canon and hoped to achieve this before his 65th birthday in May 2011. Despite speculation of cancellation early in 2011, the remaining books were ultimately adapted into a thirteenth series, adapted in 2013 into 5 episodes, from which "Curtain" aired last on 13 November. A 2013 television special, Being Poirot, centred on Suchet's characterisation and his emotional final episode.

Actors

Alongside recurring characters, the early series featured actors who later achieved greater fame, including Sean Pertwee ("The King of Clubs", 1989; "Dead Man's Folly", 2013), Joely Richardson ("The Dream", 1989), Polly Walker ("Peril at End House", 1990), Samantha Bond ("The Adventure of the Cheap Flat", 1990), Christopher Eccleston ("One, Two, Buckle My Shoe", 1992), Hermione Norris ("Jewel Robbery at The Grand Metropolitan", 1993), Damian Lewis ("Hickory Dickory Dock", 1995), Jamie Bamber ("The Murder of Roger Ackroyd", 2000), Russell Tovey ("Evil Under the Sun", 2001), Kelly Reilly ("Sad Cypress", 2003), Emily Blunt ("Death on the Nile", 2004), Alice Eve ("The Mystery of the Blue Train", 2005), Michael Fassbender ("After the Funeral", 2006), Aidan Gillen ("Five Little Pigs", 2003), Toby Jones and Jessica Chastain ("Murder on the Orient Express", 2010), and Tom Ellis ("Dead Man's Folly", 2013).

Four Academy Award nominees have appeared in the series: Sarah Miles, Barbara Hershey, Elizabeth McGovern and Elliott Gould. Peter Capaldi, Jessica Chastain, Michael Fassbender, Lesley Manville, Vanessa Kirby and Emily Blunt went on to receive Academy Award nominations after appearing on the show (with Chastain winning the Best Actress award in 2022 for The Eyes of Tammy Faye). Several members of British thespian families appeared in episodes throughout the course of the series. James Fox appeared as Colonel Race in "Death on the Nile", and his older brother Edward Fox appeared as Gudgeon in "The Hollow".

Three of the Cusack sisters each appeared in an episode: Niamh Cusack in "The King of Clubs", Sorcha Cusack in "Jewel Robbery at The Grand Metropolitan", and Sinéad Cusack in "Dead Man's Folly". Phyllida Law and her daughter Sophie Thompson appeared in "Hallowe'en Party". David Yelland appeared as Charles Laverton West in "Murder in the Mews" and as George for the remainder of the series from Series 10 onward, and his daughter Hannah Yelland appeared as Geraldine Marsh in "Lord Edgware Dies".

Critical response
Agatha Christie's grandson Mathew Prichard commented: "Personally, I regret very much that she [Agatha Christie] never saw David Suchet. I think that visually he is much the most convincing and perhaps he manages to convey to the viewer just enough of the irritation that we always associate with the perfectionist, to be convincing!"

In 2008, the series was described by some critics as going "off piste", though not negatively, from its old format. It was praised for its new writers, more lavish productions, and a greater emphasis on the darker psychology of the novels. Significantly, it was noted for "Five Little Pigs" (adapted by Kevin Elyot) bringing out a homosexual subtext of the novel. Nominations for twenty BAFTAs were received between 1989 and 1991 for series 1–3.

Home media
In the UK, ITV Studios Home Entertainment owns the home media rights.

In Region 1, Acorn Media has the rights to series 1–6 and 11–12. Series 7–10 are distributed by A&E, a co-producer on several of them. In North America, series 1–11 are available on Netflix and Amazon Prime instant streaming service. In Region 4, Acorn Media, distributed by Reel DVD, has begun releasing the series on DVD in Australia in complete season sets. To date, they have released the first 8 series of the show. Series 1–9 and 12 are available in Spain (Region 2) on Blu-ray with Spanish and English audio tracks. Dutch FilmWorks were reported to be the first company to release series 12, in 2010.

Beginning in 2011, Acorn began issuing the series on Blu-ray discs. As of November 2014, series 1 through 13 have all been issued on DVD and Blu-ray by Acorn. The A&E DVD releases of series 7 through 10 correspond to the A&E versions broadcast in America which were missing sections of the original video as originally broadcast in the United Kingdom. The Acorn releases of series 7 through 10 restore the missing video.

Being Poirot
Being Poirot is a 50-minute 2013 ITV television documentary in which David Suchet attempts to unravel the mysterious appeal of Hercule Poirot and how he portrayed him. It was broadcast in the United Kingdom on the same evening as the final episode, "Curtain".

Suchet visits the Greenway Estate, Agatha Christie's summer home, recollecting how he met her daughter Rosalind Hicks and her husband Anthony Hicks for their approval before he began filming. He meets Christie's grandson Mathew Prichard who recounts how his grandmother found the character amongst Belgian refugees in Torquay. There's a visit to the permanent Poirot exhibition at Torquay Museum, to which he presented the cane he used in the television series.

Suchet acknowledges the first stage and film adaptations of the books with actors such as Charles Laughton on the London stage in Alibi, an adaptation of The Murder of Roger Ackroyd, in 1928. Alibi was filmed in 1931 with Austin Trevor but is now lost. The oldest surviving film portrayal from 1934 was Lord Edgware Dies again with Austin Trevor portraying Poirot. Suchet notes a conscious decision was made by the film company to portray Poirot without a moustache.

Films featuring Albert Finney and Peter Ustinov are also featured. Suchet reveals that he read the books and wrote down 93 notes about the character that he went on to use in his portrayal. The descriptions in the books helped him discover the voice he would use, and the rapid mincing gait.

Suchet also goes to Florin Court, a place that the production company chose to represent his home Whitehaven Mansions. There he meets first producer Brian Eastman, with whom he discusses the set that was built based on the flats, and Eastman's decision to fix the stories in 1936. Suchet also visits composer Christopher Gunning who had composed four themes for Eastman, the first being Gunning's favourite. Eastman chose the fourth after having Gunning darken the tone.

Suchet travels to Brussels, where he is feted by the police chief and mayor. He then goes to Ellezelles, which claims to be the birthplace of Poirot, and he is shown a birth certificate as proof. It says the date was 1 April, "April Fools' Day", with no year mentioned. Finally, Suchet travels on the Orient Express and recounts filming the episode "Dead Man's Folly" last at Greenway to finish on a high note.

Novels or stories not included in the series
Suchet was proud to have completed the entire Poirot canon by the time of the broadcast of the final episode, only slightly short of the target he had set himself in a 2007 interview of completing the entire canon before his 65th birthday.

The short stories and novellas "The Submarine Plans", "The Market Basing Mystery", "Christmas Adventure", "The Mystery of the Baghdad Chest", "The Second Gong", "The Incident of the Dog's Ball", and "Hercule Poirot and the Greenshore Folly" were not filmed in their original short story format, as Agatha Christie later rewrote these stories as novellas or novels (The Incredible Theft, Murder in the Mews, The Adventure of the Christmas Pudding, The Mystery of the Spanish Chest, Dead Man's Mirror, Dumb Witness, and Dead Man's Folly respectively) which were made into episodes.

Unlike the other Poirot short story collections, where each story was adapted into a 1-hour episode, the collection entitled The Labours of Hercules, consisting of twelve short stories linked by an initial scene-setting story and a broad running theme, was adapted into a single 2-hour film. The result drew heavily on some of the stories. Other stories contributed only minor details. The original version of "The Capture of Cerberus", unpublished until 2009, was not used at all. Also incorporated into this single film was a character with the surname Lemesurier, as a nod to the short story "The Lemesurier Inheritance", which has otherwise not been included in the Poirot series.

One other short story, "The Regatta Mystery", is not included in the Suchet series, as it is not generally considered part of the Poirot canon. First published in issue 546 of the Strand Magazine in June 1936 under the title "Poirot and the Regatta Mystery", and illustrated by Jack M. Faulks, the story was later rewritten by Christie to change the detective from Hercule Poirot to Parker Pyne. It was as a Parker Pyne mystery that the story was first published in book format in The Regatta Mystery and Other Stories, published in the United States in 1939. Although the story is now associated with Parker Pyne, it was included in the 2008 omnibus volume Hercule Poirot: the Complete Short Stories, which was the first public association of the story with Hercule Poirot since the original Strand Magazine publication of 1936.

Aside from "Poirot and the Regatta Mystery", the one authentic Hercule Poirot story not included in any form, whole or partial, in the Agatha Christie's Poirot series is the 1930 play Black Coffee. Although it was adapted into a novel in 1998, with the permission of the Christie Estate, it was not previously available in novel format. David Suchet did give a live reading of the original play version for the Agatha Christie Theatre Company and therefore felt that he had done justice to the entire authentic canon.

title: Agatha Christie's Poirot


text:
Paiute

Paiute (also Piute) refers to three non-contiguous groups of indigenous peoples of the Great Basin. Although their languages are related within the Numic group of Uto-Aztecan languages, these three languages do not form a single subgroup and they are no more closely related to each than they are to the Central Numic languages (Timbisha, Shoshoni, and Comanche) which are spoken between them. The term "Paiute" does not refer to a single, unique, unified group of Great Basin tribes, but is a historical label comprising:
 * Northern Paiute people of northeastern California, northwestern Nevada, eastern Oregon, and southern Idaho
 * Southern Paiute people of northern Arizona, southern Nevada, and southwestern Utah
 * Mono people of east central California, divided into Owens Valley Paiute (Eastern Mono) and Western Mono (Monache)

Linguistic differences
Though sharing similar Numic roots, the three groups historically called Paiute have different languages as shown below:

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

title: Paiute


text:
Jerome Skolnick

Jerome Herbert Skolnick (March 21, 1931 – February 22, 2024) was an American professor at Yale University, University of California, Berkeley, New York University and a former president of the American Society of Criminology. He joined the University of California, Berkeley in 1962. Skolnick had a Ph.D. in sociology from Yale University. In the 1950s he was appointed a Law professor at Yale, one of the youngest to ever hold that position.

Clearance rates
Jerome Skolnick had argued that clearance rates demonstrate the reality of the criminal justice conflict model by encouraging police to focus on appearing to do their job, rather than on actually doing their job. This is a comparable argument to that regarding standardized testing, and "teaching to the test". Skolnick noted one incident where police coerced a man to confess to over 400 burglaries so that they could have a high rate of crime solving (clearance).

His awards include Carnegie, Guggenheim and National Science Foundation fellowships as well as prizes for distinguished scholarship from the American Society of Criminology, the Academy of Criminal Justice Sciences and the Western Society of Criminology. Jerry received widespread recognition in the United States and abroad throughout his long career.

Skolnick died on February 22, 2024, in New York City, New York, at the age of 92.

Quotes

 * "The law often, but not always, supports police deception."
 * "Courtroom lying is justified within the police culture by the same sort of necessity rationale that courts have permitted police to employ at the investigative stage: The end justifies the means."

Writings by Jerome Skolnick
Most of his writings deal with criminal justice.

Personal life
While attending Yale Law School, Jerome married Arlene Silberstein in New Haven, Connecticut. Both Jerome and Arlene were Reform Jewish. They had two sons who were born in Berkeley, Alex Skolnick, lead guitarist for the thrash metal band Testament and founder of the jazz band Alex Skolnick trio, and Michael Skolnick.

title: Jerome Skolnick


text:
John Cale

John Davies Cale (born 9 March 1942) is a Welsh musician, composer, and record producer who was a founding member of the American rock band the Velvet Underground. Over his six-decade career, Cale has worked in various styles across rock, drone, classical, avant-garde and electronic music.

He studied music at Goldsmiths College, University of London (UoL), before relocating in 1963 to New York City's downtown music scene, where he performed as part of the Theatre of Eternal Music and formed the Velvet Underground. Since leaving the band in 1968, Cale has released seventeen solo studio albums, including the widely acclaimed Paris 1919 (1973) and Music for a New Society (1982). Cale has also acquired a reputation as an adventurous record producer, working on the debut studio albums of several innovative artists, including the Stooges and Patti Smith.

Early life and career
John Davies Cale was born on 9 March 1942 in the mining village of Garnant in the valley of the River Amman in Carmarthenshire of Wales to Will Cale, a coal miner, and Margaret Davies, a primary school teacher. Although his father spoke only English, his mother spoke and taught Welsh to Cale, which hindered his relationship with his father, although he began learning English at primary school, at around the age of seven. Cale was molested by two different men during his youth: an Anglican priest who molested him in a church and a music teacher. He played organ at Ammanford church. The BBC recorded Cale playing a toccata he composed primarily on the black keys of the piano in the style of Aram Khachaturian.

Having discovered a talent for viola, Cale joined the National Youth Orchestra of Wales (NYOW) at age 13. Receiving a scholarship, Cale studied music at Goldsmiths College, University of London (UoL). While he was there he organised an early Fluxus concert, A Little Festival of New Music, on 6 July 1963. He also contributed to the short film Police Car and had two scores published in Fluxus Preview Review (July 1963) for the nascent avant-garde collective. He conducted the first performance in the UK of Cage's Concert for Piano and Orchestra, with the composer and pianist Michael Garrett as soloist. In 1963, he travelled to the United States to continue his musical training with the assistance and influence of Aaron Copland, who recommended him for Tanglewood.

Upon arriving in New York City, Cale met a number of influential composers. On 9 September 1963 he participated, along with John Cage and several others, in an 18-hour and 40 minute piano-playing marathon that was the first full-length performance of Erik Satie's "Vexations". After the performance Cale appeared on the television panel show I've Got a Secret. Cale's secret was that he had performed in an 18-hour concert, and he was accompanied by Karl Schenzer, whose secret was that he was the only member of the audience who had stayed for the duration. Cale would later attribute Cage's writings with his own "relaxed" artistic outlook, having hitherto been raised to believe that European composers were obliged to justify their work.

Cale played in La Monte Young's ensemble the Theatre of Eternal Music. The heavily drone-laden music he played there proved to be a big influence in his work with his next band, the Velvet Underground. One of his collaborators on these recordings was the Velvet Underground guitarist Sterling Morrison. Three albums of his early experimental work from this period were released in 2001.

The Velvet Underground (1964–1968)
Cale had enjoyed and followed rock music as well as avant-garde and European art music from a young age; on a visit to Britain in 1965, he procured records by the Kinks, the Who and Small Faces that had remained unavailable in the United States.

Earlier that year, he co-founded the Velvet Underground with Lou Reed, recruiting his flatmate Angus MacLise and Reed's college friend Sterling Morrison to complete the initial line-up. Just before the band's first paying gig for $75 at Summit High School in New Jersey, MacLise abruptly quit the band because he viewed accepting money for art as selling out; he was replaced by Moe Tucker as the band's drummer. Initially hired to play that one show, she soon became a permanent member and her tribal pounding style became an integral part of the band's music, despite the initial objections of Cale to the band having a female drummer.

On his aforementioned visit to Britain in the summer of 1965, Cale shopped a crudely recorded, acoustic-based Velvet Underground demo reel to several luminaries in the British rock scene (including Marianne Faithfull) with the intention of securing a recording contract. Although this failed to manifest, the tape was disseminated throughout the UK underground over the following eighteen months by such figures as producer Joe Boyd and Mick Farren of the Deviants. As a result, the Deviants, the Yardbirds and David Bowie had all covered Velvet Underground songs prior to the release of their debut studio album in 1967.

The very first commercially available recording of the Velvet Underground, an instrumental track called "Loop" given away with the Pop Art issue of Aspen magazine, was a feedback experiment written and conducted by Cale. His creative relationship with Reed was integral to the sound of the Velvet Underground's first two studio albums, The Velvet Underground & Nico (recorded in 1966, released in 1967) and White Light/White Heat (recorded in 1967, released in 1968). On these albums he plays viola, bass guitar and piano, and sings occasional backing vocals. White Light/White Heat (1968) also features Cale on organ (on "Sister Ray") as well as two vocal performances: "Lady Godiva's Operation", an experimental song where he shares lead vocal duties with Reed, and "The Gift", a long spoken word piece written by Reed during his time at Syracuse University. Though Cale co-wrote the music to several songs, his most distinctive contribution is the electrically amplified viola. He also played celesta on "Sunday Morning". Cale also played on Nico's debut studio album, Chelsea Girl (1967), which includes songs co-written by Velvet Underground members Cale, Reed and Morrison, who also appear as musicians. Cale makes his debut as lyricist on "Winter Song" "Wrap Your Troubles in Dreams", and "Little Sister".

With tensions between Reed and Cale growing, Reed gave an ultimatum to Morrison and Tucker, declaring that unless Cale was fired, he would quit the band. Morrison and Tucker reluctantly went along with the scheme.

In September 1968, Cale played his final gig with the Velvet Underground at the Boston Tea Party and according to Tucker, "When John left, it was really sad. I felt really bad. And of course, this was gonna really influence the music, 'cause, John's a lunatic (laughs). I think we became a little more normal, which was fine, it was good music, good songs, it was never the same though. It was good stuff, a lot of good songs, but, just, the lunacy factor was... gone." After his dismissal from the band, Cale was replaced by Boston-based musician Doug Yule, who played bass guitar, keyboards and who would soon share lead vocal duties in the band with Reed.

Michael Carlucci, who was friends with Robert Quine, has given this explanation about Cale's dismissal, "Lou told Quine that the reason why he had to get rid of Cale in the band was Cale's ideas were just too out there. Cale had some wacky ideas. He wanted to record the next album with the amplifiers underwater, and [Lou] just couldn't have it. He was trying to make the band more accessible."

Arguably, the artistic frictions between Cale and Reed are what shaped the band's early sound much more than any other members. The pair often had heated disagreements about the direction of the band, and this tension was central to their later collaborations. When Cale left, he seemed to take the more experimental tendencies with him, as is noticeable in comparing the proto-noise rock of White Light/White Heat (which Cale co-created) to the comparatively dulcet, folk rock–influenced The Velvet Underground (1969), recorded after his departure.

Cale has favorably compared the dissonance of his Velvet Underground compositions to the indecipherable lyricism of certain strains of Southern hip hop: "If I can use out-of-tune stuff, [rappers] don't need words to make sense. There's definitely a lineage".

Cale would briefly return to the Velvet Underground in 1970, albeit in the studio only: he played organ on the track "Ocean" during the practice sessions to produce demos for the band's fourth studio album Loaded, nearly two years after he left the band. He was enticed back into the studio by the band's manager, Steve Sesnick, "in a half-hearted attempt to reunite old comrades", as Cale put it. Although he does not appear on the finished album, the demo recording of "Ocean" was included in the 1997 Loaded: Fully Loaded Edition CD re-issue. Finally, five previously unreleased tracks recorded in late 1967 and early 1968 were included on the compilation albums VU (1985) and Another View (1986).

1970s
After leaving the Velvet Underground, Cale worked as a record producer and arranger on a number of studio albums, most notably the Stooges' highly influential 1969 self-titled debut and a trilogy by Nico, including The Marble Index (1968), Desertshore (1970) and The End... (1974). On these he accompanied Nico's voice and harmonium using a wide array of instruments to unusual effect. While meeting with Joe Boyd (who co-produced Desertshore), he came across Nick Drake's music and insisted on collaborating with the fledgling artist. He appeared on Drake's second studio album, Bryter Layter (1971), playing viola and harpsichord on "Fly" and piano, organ, and celesta on "Northern Sky".

In addition to working as a record producer, Cale initiated a solo recording career in early 1970. His debut studio album, Vintage Violence (1970), is a lushly produced roots rock effort indebted to a range of disparate influences, including the Band, Leonard Cohen, the Byrds, Phil Spector and Brian Wilson. The more experimental Church of Anthrax (a collaboration with minimal music pioneer Terry Riley) followed in February 1971, although it was actually recorded nearly a year prior to its release. While his explorations in art music briefly continued with 1972's The Academy in Peril, he would not compose in the classical mode thereafter until he began working on film soundtracks in the 1980s.

In 1972, he signed with au courant Reprise Records as a recording artist and staff producer. The Academy in Peril (1972) was his first project for Reprise. The subsequent Paris 1919 (1973) steered back towards the singer-songwriter mode of Vintage Violence (1970) with a backing band that included Lowell George of Little Feat and Wilton Felder of the Crusaders, as well as the UCLA Symphony Orchestra. Composed of highly melodic songs with arcane and complex lyrics, it has been cited by critics as one of his best.

While affiliated with the label, he produced studio albums by Jennifer Warnes (her third, Jennifer), Chunky, Novi & Ernie, and the self-titled debut of the Modern Lovers, which Reprise chose not to release; it subsequently appeared on Beserkley Records, the latest in a series of important Cale-produced proto-punk records. In 1974, he signed to Island Records as an artist, while continuing to produce a variety of artists, mostly for other labels, including Squeeze, Patti Smith and Sham 69. He worked as a talent scout with Island's A&R department.

1974–1979
In 1974, Cale moved back to London. As his second marriage had begun to dissolve, he made a series of solo studio albums which moved in a new direction. His records now featured a dark and threatening aura, often carrying a sense of barely suppressed aggression. A trilogy of studio albums – Fear (1974), Slow Dazzle (1975), and Helen of Troy (1975) – were rapidly recorded and released over the course of about a year with other Island artists, including Phil Manzanera and Brian Eno of Roxy Music and Chris Spedding, who played in his live band. A showpiece of his concerts from the era was his radically transformed cover version of Elvis Presley's "Heartbreak Hotel", initially performed by Cale on Slow Dazzle (1975) and the live album June 1, 1974, recorded with Kevin Ayers, Nico and Eno. Both "Leaving It Up to You" and "Fear Is a Man's Best Friend" (from Fear) begin as relatively conventional songs that gradually grow more paranoid in tone before breaking down into what critic Dave Thompson calls "a morass of discordance and screaming".

Cale released Animal Justice in 1977, an extended play (EP) notable particularly for the epic "Hedda Gabler" based very loosely on the 1891 play of the same name by Henrik Ibsen. His loud, abrasive and confrontational live performances fitted well with the punk rock scene developing on both sides of the Atlantic Ocean. Cale took to wearing a hockey goaltender mask onstage (as evinced by the cover of his 1977 compilation album Guts, a compilation drawn from the Island trilogy after the label withheld Helen of Troy (1975) in the United States); this look predated the creation of Friday the 13th's villain, Jason Voorhees, by several years. During one concert in Croydon, south London, Cale chopped the head off a dead chicken with a meat cleaver, leading his band to walk offstage in protest. Cale's drummer – a vegetarian – was so bothered he quit the band. Cale mocks his decision on "Chicken Shit" from the Animal Justice EP. Cale has admitted that some of his paranoia and erratic behaviour at this time was associated with heavy cocaine use.

Also in 1977, Cale produced "I Don't Wanna", the debut single by punk rock band Sham 69.

In 1978, Cale produced the majority of Squeeze's debut studio album Squeeze, with Cale instructing the band to discard all of the songs that the band had written up until that point, and to write new songs instead, with Glenn Tilbrook, and Chris Difford finding the process of working with Cale both frustrating and challenging. Also that year he played keyboards on Julie Covington's cover version of Alice Cooper's "Only Women Bleed", which peaked at No. 12 on the UK Singles Chart.

In 1979, he began a relationship with Austin, Texas-based groupie and journalist Margaret Moser. Cale named the group of women that Moser hung out with the Texas Blondes. His relationship with Moser lasted about five years, overlapping with the beginning of his third marriage.

In December 1979, Cale's embrace of the punk rock ethic that he helped to inspire culminated in the release of Sabotage/Live. This record, recorded live over three nights, at CBGB that June, features aggressive vocal and instrumental performances. The album consists entirely of new songs, many of which grapple confrontationally with global politics, militarism and paranoia.

Also in 1979, Cale played piano and the ARP synthesizer on the track "Bastard" by Ian Hunter of Mott the Hoople, on his fourth solo studio album You're Never Alone with a Schizophrenic.

The band included Deerfrance on vocals and percussion. An earlier live set, consisting mostly of new material, was recorded at CBGB the previous year. It was released in 1987 as Even Cowgirls Get the Blues. The band on that recording includes Ivan Král (best known for his work with Patti Smith) on bass and longtime Brian Eno associate Judy Nylon providing vocals, and narrating.

1980s
In 1980, Cale signed a recording contract with A&M Records and moved in a more commercial direction with his seventh solo studio album Honi Soit (1981). He worked with record producer Mike Thorne towards this end. Andy Warhol provided the cover art, in black and white, but against Warhol's wishes, Cale colourised it. The new direction did not succeed commercially, however, and his relationship with A&M ended. He signed with ZE Records, a company he had influenced the creation of and which had absorbed SPY Records, the label he had co-founded with Jane Friedman. In 1982, Cale released the sparse studio album Music for a New Society. Seeming to blend the refined music of his early solo work with the threatening music that came later, it is by any standard a bleak, harrowing record. It's been called "understated, and perhaps a masterpiece."

He followed it up with his ninth solo studio album Caribbean Sunset (1984), also on ZE Records. The album features contributions from Brian Eno and an otherwise "young unknown" band, that consisted of David Young on guitar, Andrew Heermans on bass guitar, and David Lichtenstein (son of artist Roy Lichtenstein) on drums. This work, with much more accessible production than on Music for a New Society (1982), was still extremely militant in some ways. Caribbean Sunset became Cale's only studio album to chart on the Dutch Album Top 100, peaking at No. 28. However, it received negative reviews from critics, and has never been released on CD.

A live album, John Cale Comes Alive (1984), followed Caribbean Sunset and included two new studio songs, "Ooh La La" and "Never Give Up on You". Different mixes of the two studio tracks appeared on both sides of the Atlantic. During this period, Eden Cale was born to Cale and his third wife Risé Irushalmi in July 1985.

In a last-ditch attempt at commercial success, Cale recorded Artificial Intelligence (1985), his only studio album for Beggars Banquet Records. With all of its tracks written in collaboration with High Times and National Lampoon editor Larry "Ratso" Sloman (who had previously co-written two tracks on Caribbean Sunset), the album was a pop effort characterised by prominent use of synthesizers and drum machines. It was not significantly more successful than its predecessors, despite the relative success of the single "Satellite Walk". However, "Dying on the Vine" is generally regarded as one of Cale's best songs. That same year, he played a neo-Nazi organizer on an episode of The Equalizer, and wrote the music for a dramatization of the Kurt Vonnegut short story, Who Am I This Time? (1982), which aired on PBS and starred Christopher Walken and Susan Sarandon.

Cale again returned to record producing, producing Belgian pop singer Lio's third studio album Pop model (1986), and Happy Mondays's debut studio album, Squirrel and G-Man Twenty Four Hour Party People Plastic Face Carnt Smile (White Out) (1987). Other albums that he produced during this time were Element of Crime's second studio album Try to Be Mensch (1987), and Art Bergmann's debut solo studio album Crawl with Me (1988).

In part because of his young daughter, Cale took a long break from recording and performing. He made a comeback in 1989 with the Brian Eno-produced studio album Words for the Dying. The album consists mainly of oral work, read or sung by Cale. It was written in 1982 as a response to the Anglo-Argentinian Falklands War, using poems written by fellow Welshman Dylan Thomas. There are also two orchestral interludes, two other solo piano pieces "Songs Without Words", and finally a song by Cale, "The Soul of Carmen Miranda".

1990s
Following Warhol's death in 1987, Cale again collaborated with Lou Reed on the 1990 studio album Songs for Drella, a song cycle about Warhol, their mentor. The album marked an end to a 18-year estrangement from Reed. In his autobiography, Cale revealed that he resented letting Reed take charge of the project. The longstanding friction between Reed and Cale contributed to the passion and lurching frustration evident in the sound of the album, as did the ambivalent relationship Reed had to Warhol. Nevertheless, that same year, following a 20-year hiatus, the Velvet Underground reformed for a Fondation Cartier benefit show in Paris, France.

Cale again collaborated with Brian Eno, also in 1990, Wrong Way Up, a collaboration album characterised by an up-tempo accessibility at odds with Cale's description of the fraught relationship between the pair. The following year, Cale contributed a cover version of "Hallelujah" to the Leonard Cohen tribute album I'm Your Fan. His mid-tempo, piano arrangement formed the basis of most subsequent cover versions of the song, which has since become a standard.

In 1996, Cale released Walking on Locusts which turned out to be his only solo studio album of the decade. The record featured appearances by Talking Heads' David Byrne, the Soldier String Quartet, and original Velvet Underground drummer Moe Tucker. Throughout the rest of the nineties, he worked primarily as a producer or contributor to other's recordings.

In 1992, he performed vocals on two songs, "Hunger" and "First Evening", on French composer and record producer Hector Zazou's concept album, Sahara Blue. All lyrics on the album were based on the poetry of Arthur Rimbaud. In 1994, Cale performed a spoken-word duet with folk rock singer Suzanne Vega on the song "The Long Voyage" on Zazou's studio album Chansons des mers froides. The lyrics were based on the poem "Les Silhouettes" by Oscar Wilde, and Cale co-wrote the music with Zazou. It was later released as a single (retitled "The Long Voyages" as it featured several remixes by Zazou, Mad Professor and more).

In 1996, he played piano on "Love to Die For" by Marc Almond of Soft Cell, from his ninth solo studio album Fantastic Star. He also produced Scottish alternative rock band Goya Dress's debut studio album Rooms.

Cale composed an instrumental score for a ballet titled Nico, performed by the Scapino Ballet in Rotterdam in October 1997 and was released as Dance Music (1998). Cale has written a number of film soundtracks, often using more classically influenced instrumentation.

In 1998, Cale mainly spent the year on tour with singer Siouxsie Sioux, formerly of Siouxsie and the Banshees. In February, he was the curator of one day festival called With a Little Help from My Friends that took place at the Paradiso in Amsterdam, Netherlands, with the presence of the Metropole Orchestra. The concert was shown on Dutch national television and featured a song specially composed for the event and still unreleased, "Murdering Mouth", sung in duet with Siouxsie and her second band the Creatures. Cale and Siouxsie then did a double bill tour in the US for two months from late June until mid-August, both artists collaborating on stage on several songs including a version of the Velvet Underground's "Venus in Furs".

Cale's autobiography, What's Welsh for Zen?, was written in collaboration with Victor Bockris and published in 1999 by Bloomsbury Publishing.

2000s
Cale had recorded a cover version of "Hallelujah" by Leonard Cohen for the tribute album I'm Your Fan (1991). Cohen's original version of the song had not garnered much interest; it was only through Cale's arrangement and recording of it (and Jeff Buckley's subsequent cover of Cale's arrangement) that it achieved popularity. It was used in the 2001 animated film Shrek, although it did not appear in the film's soundtrack due to licensing issues.

In 2002, Cale played piano and sang vocals on the track "Don't Pretend" by Gordon Gano of Violent Femmes, from his debut solo studio album Hitting the Ground.

Signing to EMI Records in 2003 with the EP 5 Tracks and studio album HoboSapiens, Cale again returned as a regular recording artist, this time with music influenced by modern electronica and alternative rock. The well-received album was co-produced with Nick Franglen of Lemon Jelly. It was followed by his 2005 studio album blackAcetate.

In 2005, Cale produced Austin, Texas singer-songwriter Alejandro Escovedo's eighth studio album, The Boxing Mirror, which was released in May 2006. In June 2006, Cale released a radio and digital single, "Jumbo in tha Modernworld", which was a standalone single. A music video was created for the song as well.

In February 2007, a 23-song live retrospective, Circus Live, was released in Europe. This two-disc album, composed of recordings from both the 2004 and 2006 tours, featured new arrangements and reworkings of songs from his entire career. Of particular interest is the Amsterdam Suite, a set of songs from a performance at the Amsterdam Paradiso in 2004. A studio-created drone has been edited into these songs. The set also included a DVD, featuring electric rehearsal material and a short acoustic set, as well as the video for "Jumbo in tha Modernworld", a 2006 single.

In May 2007, Cale contributed a cover version of the song "All My Friends" by LCD Soundsystem to the vinyl and digital single releases of the LCD Soundsystem original. Cale has continued to work with other artists, contributing viola to Replica Sun Machine, the Danger Mouse-produced second studio album by London alternative pop trio the Shortwave Set and producing the second studio album of American indie band Ambulance LTD.

On 11 October 2008, Cale hosted an event to pay tribute to Nico called Life Along the Borderline in celebration of what, five days later, would have been her 70th birthday. The event was reprised at the Teatro Communale in Ferrara, Italy on 10 May 2009.

Cale represented Wales at the 2009 Venice Biennale exhibition, collaborating with artists, filmmakers, and poets, and focusing the artwork on his relationship with the Welsh language.

2010s
In January 2010, Cale was invited to be the first Eminent Art in Residence (EAR) at the Mona Foma festival curated by Brian Ritchie of the Violent Femmes held in Hobart, Tasmania, Australia. His work for the 2009 Venice Biennale 'Dyddiau Du (dark days)' was shown at the festival, along with a number of live performances at venues around Hobart.

The Paris 1919 (1973) studio album was performed, in its entirety, at the Coal Exchange in Cardiff on 21 November 2009, at the Royal Festival Hall in London on 5 March 2010, and the Theatre Royal in Norwich on 14 May 2010. These performances were reprised in Paris, France, on 5 September 2010; Brescia, Italy, on 11 September 2010; Los Angeles, California, on 30 September 2010 at UCLA's Royce Hall; Melbourne, Australia, on 16 October 2010; Barcelona, Spain, on 28 May 2010 and Essen, Germany, on 6 October 2011.

In October 2010, Cale released the two-disc live album Live at Rockpalast, recorded during his two shows for German music television show Rockpalast on 14 October 1984 at Grugahalle, Essen (first disc; with full band) and 6 March 1983 at Zeche, Bochum (second disc; Cale solo with guitar and piano). This concert is missing "Risé, Sam and Rimsky-Korsakov" (Cale, Shepard) narrated by his then-wife Risé Irushalmi.

In February 2011, Cale signed a recording contract with Domino Records subsidiary Double Six and released an EP, Extra Playful, in September 2011.

In May 2011, he and his band appeared at the Brighton Festival, performing songs to the theme of Émigré/Lost & Found. Cale appeared at the invitation of the Nobel Peace Prize winner Aung San Suu Kyi, who was the festival's guest director.

In the autumn of 2012, Cale released Shifty Adventures in Nookie Wood, his first studio album since 2005. The album features a collaboration with Danger Mouse, "I Wanna Talk 2 U". Critical reception of the album was mixed to positive, with The Guardian newspaper describing it as "an album that combines the 70-year-old's experience with the glee of a small child."

In 2014, he appeared as vendor in an episode "Sorrowsworn" of the crime drama television series The Bridge.

Cale released his sixteenth solo studio album M:FANS in January 2016. It features new versions of songs from his 1982 studio album Music for a New Society.

In July 2016, Cale performed the songs "Valentine's Day", "Sorrow" and "Space Oddity" at a late-night BBC Prom concert at the Royal Albert Hall in London, celebrating the music of David Bowie who had died earlier that year.

At the 2017 Grammy Salute to Music Legends ceremony, Cale performed with, amongst others, Moe Tucker, two Velvet Underground classics, "Sunday Morning" and "I'm Waiting for the Man". The Velvet Underground were also the recipients of the 2017 Merit Award.

In February 2019, Cale collaborated with Marissa Nadler on her new single "Poison".

In September 2019, he gave three concerts titled 2019–1964: Futurespective at the Paris' Philharmonie, inviting his compatriot Cate Le Bon to join the band.

2020s
Cale features on the track "Corner of My Sky" from Welsh electronic musician Kelly Lee Owens' second studio album Inner Song (2020).

On 6 October 2020, Cale released a standalone single and accompanying music video called "Lazy Day".

In February 2022, Cale announced his first full UK tour in almost a decade. Cale's tour was to begin in Liverpool at the Philharmonic Hall on July 15, before calling at Whitley Bay, York, Bexhill, Cambridge and the London Palladium, before closing out the run at Birmingham Town Hall on July 25. However, the tour was postponed to the fall of 2022 due to some bandmembers contracting COVID-19.

In August 2022, Cale released the new track "Night Crawling", accompanied by an official animated music video by Mickey Miles. The song is a reminiscence about his friendship with David Bowie who had died in 2016. "It's been a helluva past two years and I'm glad to finally share a glimpse of what's coming ahead," Cale said in a statement. "There was this period around mid-late Seventies when David and I would run into each other in New York. There was plenty of talk about getting some work done but of course we'd end up running the streets, sometimes until we couldn't keep a thought in our heads, let alone actually get a song together!" Cale played synthesizers, bass guitar, piano and drums on the track assisted by Mars Volta drummer Deantoni Parks and guitarist Dustin Boyer. On 19 October 2022, Cale released another track, titled "Story of Blood", featuring the American chamber pop singer Weyes Blood. "Noise of You" was released as the third track on 11 January 2023. All tracks are from his seventeenth studio album Mercy. The album was released on 20 January 2023.

After further postponements, Cale finished his UK tour in 2023, adding two extra dates for Manchester, and Stroud later that year.

Cale released an official music video for "Pretty People" on 5 February 2024. The song is one of the 7" vinyl bonus tracks from the 2023 released Mercy album. The video was directed by Abigail Portner.

"How We See the Light" is the first single, accompanied by an official video, released in March 2024 and a second single and official video were released in May 2024, titled "Shark-Shark". The songs are from his forthcoming 18th studio album Poptical Illusion, which was released on 14 June 2024.

Honours and legacy
Cale was inducted into the Rock and Roll Hall of Fame as a member of the Velvet Underground in 1996. At the ceremony, Cale, Reed, and Tucker performed a song titled "Last Night I Said Goodbye to My Friend", dedicated to Sterling Morrison, who had died the previous August due to non-Hodgkin lymphoma.

Cale was appointed Officer of the Order of the British Empire (OBE) in the 2010 Birthday Honours for services to Music and to the Arts.

Personal life
Cale married American fashion designer Betsey Johnson in 1968. The couple divorced in 1971 having been married three years.

In 1971, Cale met Cynthia "Cindy" Wells, better known as Miss Cinderella or Miss Cindy of the GTOs, and they married soon afterward. Their marriage was rocky and they divorced in 1975.

On 6 December 1981, Cale married his third wife, Risé Irushalmi. They had one daughter together, Eden Cale. They divorced in 1997.

For his 2004 appearance on BBC Radio 4's Desert Island Discs Cale chose "She Belongs to Me" by Bob Dylan as his favourite track; he also selected Repetition (2001) by Alain Robbe-Grillet as his chosen book and an espresso coffee machine as his luxury item.

Substance abuse
As a child, Cale suffered from severe bronchial issues, which led to a doctor prescribing him opiates. He would come to rely on the drug in order to fall asleep. Biographer Tim Mitchell claims Cale's early dependence on medicine was a "formative experience". Cale later told an interviewer that, "When I got to New York, drugs were everywhere, and they quickly became part of my artistic experiment".

He was heavily involved in New York City's drug scene of the 1960s and 1970s, with cocaine as his drug of choice. He is said to have "taken most of the available drugs in the United States." Cale has said that, "In the '60s, for me, drugs were a cool experiment... In the '70s, I got in over my head."

Cale feels his drug addiction negatively affected his music during the 1980s. He decided to clean up following a series of embarrassing concerts and the birth of his daughter. According to a 2009 BBC interview, the "strongest drug" he was then taking was coffee. Cale has also hosted a documentary called Heroin, Wales and Me (2009) to promote awareness of the problems of heroin addiction, easy availability and low cost of the drug in his native Wales and thousands of addicts.

Discography

 * Studio albums

 * Vintage Violence (1970)
 * The Academy in Peril (1972)
 * Paris 1919 (1973)
 * Fear (1974)
 * Slow Dazzle (1975)
 * Helen of Troy (1975)
 * Honi Soit (1981)
 * Music for a New Society (1982)
 * Caribbean Sunset (1984)
 * Artificial Intelligence (1985)
 * Words for the Dying (1989)
 * Walking on Locusts (1996)
 * HoboSapiens (2003)
 * blackAcetate (2005)
 * Shifty Adventures in Nookie Wood (2012)
 * M:FANS (2016)
 * Mercy (2023)
 * Poptical Illusion (2024)

 * Live albums

 * June 1, 1974 (with Kevin Ayers, Brian Eno, Nico) 1974
 * Sabotage/Live (1979)
 * John Cale Comes Alive (1984)
 * Even Cowgirls Get the Blues (1991)
 * Fragments of a Rainy Season (1992)
 * Circus Live (2007)
 * Live at Rockpalast (2010)

 * Collaborative albums

 * Church of Anthrax (1971) (with Terry Riley)
 * Songs for Drella (1990) (with Lou Reed)
 * Wrong Way Up (1990) (with Brian Eno)
 * Last Day on Earth (1994) (with Bob Neuwirth)

 * Soundtracks and scores

 * Straight and Narrow (Short) (1970)
 * Women in Revolt (1971)
 * Heat (1972)
 * Caged Heat (1974)
 * American Playhouse (TV Series) (1 episode)- Who Am I This Time? (1982)
 * Something Wild (1986)
 * The Houseguest (short) (1989)
 * Dick: A Film by Jo Menell (Documentary short) (1989)
 * Songs for Drella (Video) (1990)
 * Paris Awakens (1991)
 * Healing Hurts (1991)
 * Primary Motive (1992)
 * The Birth of Love  (1993)
 * Life Underwater (1994)
 * Ah Pook Is Here (short) (1994)
 * Don't Forget You're Going to Die/N'oublie pas que tu vas mourir (1995)
 * Antarctica (1995)
 * I Shot Andy Warhol (1996)
 * Basquiat (1996)
 * Rhinoceros Hunting in Budapest (1997)
 * Somewhere in the City (1998)
 * Night Wind (1999)
 * Wisconsin Death Trip (1999)
 * The Virgin (1999)
 * American Psycho (2000)
 * Love Me (2000)
 * The King's Daughters / Saint-Cyr (2000)
 * The Farewell: Brecht's Last Summer (2000)
 * Y Mabinogi / Otherworld (2003)
 * New Scenes from America (2003)
 * Paris (2003)
 * Process (2004)
 * About Face: The Story of the Jewish Refugee Soldiers of World War II (2005)
 * A Burning Hot Summer (2011)
 * Of Women and Horses (2011)
 * Paul Sanchez Is Back! (2018)

title: John Cale


text:
Sarah Winnemucca

Sarah (née Winnemucca) Hopkins (c. 1844 – October 17, 1891) was a Northern Paiute writer, activist, lecturer, teacher, and school organizer. Her Northern Paiute name was Thocmentony, also spelled Tocmetone, which translates as "Shell Flower."

Sarah Winnemucca was born near Humboldt Lake, Nevada, into an influential Northern Paiute family who led their community in pursuing friendly relations with the arriving groups of Anglo-American settlers. She was the daughter of Chief Winnemucca of the Paiute nation and the granddaughter of Chief Truckee. At 16, Sarah studied at a Catholic school in San Jose, California. When the Paiute War erupted between the Pyramid Lake Paiute and the settlers, including some who were friends of the Winnemucca family, Sarah and some of her family traveled to San Francisco and Virginia City to escape the fighting. They made a living performing onstage as "A Paiute Royal Family." In 1865, while the Winnemucca family was away, their band was attacked by the U.S. cavalry, who killed 29 Paiutes, including Sarah's mother and several members of her extended family.

At 27, Sarah began working in the Bureau of Indian Affairs at Fort McDermit in 1871 as an interpreter. Subsequently, Winnemucca became an advocate for the rights of Native Americans, traveling across the U.S. to tell Anglo- Americans about the plight of her people. When the Paiute were interned in a concentration camp at Yakima, Washington after the Bannock War, she traveled to Washington, D.C. to lobby Congress and the executive branch for their release. She also served U.S. forces as a messenger, interpreter, and guide, and as a teacher for imprisoned Native Americans.

Winnemucca published Life Among the Piutes: Their Wrongs and Claims (1883), a book that is both a memoir and history of her people during their first 40 years of contact with European Americans. It is considered the "first known autobiography written by a Native American woman." Anthropologist Omer Stewart described it as "one of the first and one of the most enduring ethnohistorical books written by an American Indian," frequently cited by scholars. Following the publication of the book, Winnemucca toured the Eastern United States, giving lectures about her people in New England, Pennsylvania, and Washington, D.C. She returned to the West, founding a private school for Native American children in Lovelock, Nevada.

Since the late 20th century, scholars have paid renewed attention to Winnemucca for her accomplishments. In 1993, she was inducted posthumously into the Nevada Writers Hall of Fame. In 2005, the state of Nevada contributed a statue of her by sculptor Benjamin Victor to the National Statuary Hall Collection in the U.S. Capitol.

Winnemucca's legacy has been controversial. Some biographers have wished to remember her primarily for her activism and social work to better the conditions for her people, while others have criticized her for her tendency to exaggerate her social status among the Paiute. Among the Paiute, her assistance to the U.S. military at a time when they were at war with the Paiute has been criticized, as has her advocacy for assimilation of Natives to Anglo-American culture. Still, Paiute have also recognized her social work and activism for Indigenous rights.

Early life and family
Born "somewhere near 1844" at Humboldt Lake in what is now western Nevada, Sarah Winnemucca was the daughter of Winnemucca (Poito), a Shoshone who had joined the Paiute through marriage, and his wife Tuboitonie. Her father was an influential war chief of a small band of about 150 Northern Paiute people. The town of Winnemucca, Nevada was named after her father. Winnemucca's grandfather, Tru-ki-zo or Truckee, had established positive relations with the European Americans who started exploring in the area. He guided Captain John C. Frémont during his 1843–45 survey and map-making expedition across the Great Basin to California. Later, Truckee fought in the Mexican–American War (1846–1848), earning many white friends and leading the way for his extended family's relationships with European Americans.

Sarah had an older sister Mary, younger brother Natchez, and sister Elma. She and her family spent her early childhood in eastern Oregon and western Nevada. She learned the ways of her people, including fishing and gathering plants. At the age of six, Winnemucca traveled with her family to near Stockton, California, where the adults worked in the cattle industry. In 1857, her grandfather arranged for Winnemucca (then 13) and her sister Elma to live and work in the household of William Ormsby and his wife; he had a hotel and was a civic leader of Carson City, Nevada. The couple wanted a companion for their daughter, Lizzie. The Winnemucca girls also did domestic work in the house. They had a chance to improve their English and learn more about European-American ways. After having some time to assimilate the difference between the two cultures, Winnemucca particularly began to be at ease in going back and forth between Paiute and European-American culture. She was one of the few Paiute in Nevada who knew how to read and write English, and her family all spoke English. She took on the English name Sarah. Winnemucca also spoke Spanish.

Pyramid Lake War and stage
With the decreasing pressure of new migrants in the region attracted to the Washoe silver finds, Old Winnemucca arranged in 1859 to have his daughters returned to him again in Nevada. In 1860, open conflict occurred. At Williams Station, two Paiute girls were kidnapped and abused, leading the Paiute to kill five men at the station. Settlers and miners organized a militia, with Major William Ormsby leading it by default. He was killed by the Paiute in a disciplined confrontation in the first event of the Pyramid Lake War. Settlers were alarmed at how well the Paiute fought and the ill-prepared miners could not hold their own. Young Winnemucca, Sarah's cousin, led the Paiute as a war chief during the war.

The Paiute and whites reached a truce that lasted four years, but it was a difficult time for the Paiute who lived on the Pyramid Lake Reservation, giving up their hunter-gatherer way of life. After the first year, they did not receive the promised supplies from the government and did not have the training needed to be effective farmers. Many Paiute starved to death. After Winnemucca begged for food for her people, military officials at Camp McDermit (later Fort McDermit) sent supplies.

As a mark of development, Nevada was established as a distinct U.S. Territory, and James W. Nye was appointed as its first governor. When he came to the territory, he went to the Pyramid Lake Reservation, where he met Old Winnemucca, Young Winnemucca and the Paiute, who put on a grand display. In October 1860, their grandfather Truckee died of a tarantula bite.

For the next five years (1860–1865), Winnemucca and her family frequently traveled away from the reservation, performing on stage, either in Virginia City, Nevada at Maguire's Opera House, or in San Francisco. They were billed as the "Paiute Royal Family." By this time, her father had taken a second, younger wife, with whom he had a young son.

In Nevada, U.S. forces repeatedly acted against Native Americans to "remind them of who was in charge." The Natives were repeatedly accused of raids and cattle stealing. In 1865, Almond B. Wells led a Nevada Volunteer cavalry in indiscriminate raids across the northern part of the state, attacking Paiute bands. While Winnemucca and her father were in Dayton, Nevada, Wells and his men attacked Old Winnemucca's camp, killing 29 of the 30 persons in the band, who were old men, women and children.

The chief's two wives (including Winnemucca's mother) and infant son were killed. Although Winnemucca's sister Mary escaped from camp, she died later that winter due to the severe conditions. Her younger sister Elma was out of the area, as she had been adopted by a French family in Marysville, California. There Elma Winnemucca married John Smith, a white man, and moved with him to a white community in Montana and, later, Idaho.

In 1868, about 490 Paiute survivors moved to a Camp McDermit, on the Nevada–Oregon border. They sought protection from the U.S. Army against the Nevada Volunteers. In 1872, the federal government established the Malheur Reservation in eastern Oregon, designated by President Ulysses S. Grant for the Northern Paiute and Bannock peoples in the area. Three bands of Paiute moved there at the time. In 1875, Winnemucca, her brother Natchez and his family, and their father Old Winnemucca moved there, too.

Teaching and interpreter
In 1871, at the age of 27, Winnemucca began working in the Bureau of Indian Affairs at Fort McDermitt as an interpreter, and later was invited to interpret at the Malheur Reservation by Indian Agent Samuel B. Parrish. She found in observing Parrish that he worked well with the Paiute; he encouraged them in learning some new ways and helped them plant crops that could support the people, establishing a well-managed agricultural program. He had a school built at the reservation, and Winnemucca became an assistant teacher.

First marriage
Winnemucca married Edward Bartlett, a former First Lieutenant in the Army, on January 29, 1872, at Salt Lake City, Utah. He abandoned her, and she returned to Camp McDermit. In 1876, after having moved to Malheur Reservation, she got a divorce and filed to take back her name of Winnemucca, which the court granted. In the divorce decree, Sarah stated what she did to support herself when her husband left her with no money, writing, "I did sewing. I made gloves for a living."

Bannock War
Parrish was replaced in the summer of 1876 by agent William V. Rinehart. The Paiute were sorry to see Parrish leave. A proponent of extermination-style warfare, Rinehart emphasized keeping the Paiute under his thumb. He reversed many of the policies that Parrish had initiated, telling the Paiute the reservation land belonged to the government. He failed to pay their workers for agricultural labor in communal fields, and alienated many tribal leaders. Conditions at the Malheur Reservation quickly became intolerable.

In her 1883 book, Winnemucca recounted that Rinehart sold supplies intended for the Paiute people to local whites. Much of the good land on the reservation was illegally expropriated by white settlers. In 1878, virtually all of the Paiute and Bannock people left the reservation because of these abuses and their difficulties in living. The Bannock from southern Idaho had left the Fort Hall Reservation due to similar problems. They moved west, raiding isolated white settlements in southern Oregon and northern Nevada, triggering the Bannock War (1878). The degree to which Northern Paiute people participated with the Bannock is unclear. Winnemucca wrote that she and several other Paiute families were held hostage by the Bannock during the war.

During the Bannock War, Winnemucca worked as a translator for General Oliver O. Howard of the U.S. Army, whom she had met during his visit to the reservation; she also acted as a scout and messenger. According to her account, the Bannock warriors and the Army soldiers liked each other so much that they rarely shot to kill. For whatever reason, casualties were relatively few. Winnemucca was highly regarded by the officers she worked for, and she included letters of recommendation from several of them in her 1883 book. Impressed by many of the officers, Winnemucca began to support the U.S. Army's position to have the military take over administration of the Indian reservations, rather than political appointees.

Move to Yakama Reservation
Following the Bannock War, the Northern Paiute bands were ordered from Nevada to the Yakama Indian Reservation (in eastern Washington Territory), where they endured great deprivation. A total of 543 Paiute were interned in what has been described as a "concentration camp."

Winnemucca accompanied them to serve as a translator. Since she had an official job, she was not required to live on a reservation. Outraged by the harsh conditions forced on the Paiute, she began to lecture across California and Nevada on the plight of her people. During the winter of 1879 and 1880, she, her father, and two other Winnemucca visited Washington, D.C. to lobby for release of the Paiute from the Yakama Reservation. They gained permission from Secretary of the Interior, Carl Schurz, for the Paiute to be allowed to return to Malheur, at their own expense. Instead, the government decided to "discontinue" the Malheur Reservation in 1879, closing it.

Second marriage
In 1881, General Oliver O. Howard hired Winnemucca to teach Shoshone prisoners held at Vancouver Barracks. While there, she met and became close to Lieutenant Lewis H. Hopkins, an Indian Department employee. They married that year in San Francisco. Winnemucca's husband had contributed to his wife's efforts by gathering material for the book at the Library of Congress. But, he ran through Winnemucca's money. Her husband died of tuberculosis on October 18, 1887 and was buried in Lovelock at the Lone Mountain Cemetery. Despite a bequest from Mary Peabody Mann and efforts to turn the school into a technical training center, Winnemucca was struggling financially by the time of her husband's death in 1887.

Lectures and writing
In 1883, the Hopkinses traveled east, where Winnemucca delivered nearly 300 lectures throughout major cities of the Northeast and Mid-Atlantic, seeking to heighten awareness of injustice against Native Americans. The press reported her talks and sometimes referred to her as the "Paiute Princess" or "Indian princess".

In Boston, Winnemucca met the sisters Elizabeth Peabody and Mary Peabody Mann, the latter married to the educator Horace Mann; they began to promote her speaking career. In addition, the two women helped her to compile and prepare her lecture materials for publication as Life Among the Piutes. Her book was published in 1883, the "first known autobiography written by a Native American woman" and the first U.S. copyright registration secured by a Native American woman.

After returning to Nevada in 1884, Winnemucca spent a year lecturing in San Francisco. When she returned again to Pyramid Lake, she and her brother built a school for Indian children at Lovelock, Nevada, in order to promote the Paiute culture and language. The Peabody Indian School, named for their benefactor Mary Peabody Mann in Boston, operated for a couple of years. Changes in federal policy following what was considered the success of the Carlisle Indian School prompted the federal government to promote education for Native American children at English-language boarding schools. Winnemucca's school was closed in 1887 and the children were transferred to a facility in Grand Junction, Colorado.

The Dawes Severalty Act of 1887 required allotment of communal lands on reservations to individual households to force assimilation of tribes.

Later years and death
Winnemucca spent the last four years of her life retired from public activity. She died of tuberculosis at her sister Elma Smith's home at Henry's Lake, Idaho.

Legacy

 * Anthropologist Omer C. Stewart has described Winnemucca's book about the Paiute as "one of the first and one of the most enduring ethnohistorical books written by an American Indian," frequently cited by scholars through the 20th century.
 * In 1993, Sarah Winnemucca was inducted into the Nevada Writers Hall of Fame.
 * In 1994, a Washoe County, Nevada elementary school was named in her honor.
 * In 1994, Sarah Winnemucca was inducted into the National Women's Hall of Fame.
 * In 2005, the state of Nevada contributed a statue of Winnemucca to the National Statuary Hall Collection in the U.S. Capitol.

Works
By Winnemucca
 * 1870, . The original letter was addressed to Major H. Douglass. Forwarded by him, with his report as Indian Superintendent, Nevada, to Ely Samuel Parker.

 * 1883, (new edition in 1994 ISBN 978-0-259-44619-4)
 * 1885,

With Winnemucca or her papers or lecturers
 * 1886 pamphlet,
 * 2015 . Based upon an anthology of publications about Winnemucca and her lectures.

title: Sarah Winnemucca


text:
Talk:Jerome Herbert Skolnick

Untitled
How about a summary of his positions, discoveries, and writings? The capsule academic biography doesn't explain why he's interesting. Vicki Rosenzweig

External links modified
Hello fellow Wikipedians,

I have just modified one external link on Jerome Herbert Skolnick. Please take a moment to review my edit. If you have any questions, or need the bot to ignore the links, or the page altogether, please visit this simple FaQ for additional information. I made the following changes:
 * Added archive https://web.archive.org/web/20080201235555/http://www.criminology.fsu.edu/crimtheory/skolnick.htm to http://www.criminology.fsu.edu/crimtheory/skolnick.htm

When you have finished reviewing my changes, you may follow the instructions on the template below to fix any issues with the URLs.

Cheers.— InternetArchiveBot  (Report bug) 13:15, 21 April 2017 (UTC)

External links modified
Hello fellow Wikipedians,

I have just modified one external link on Jerome Herbert Skolnick. Please take a moment to review my edit. If you have any questions, or need the bot to ignore the links, or the page altogether, please visit this simple FaQ for additional information. I made the following changes:
 * Added archive https://web.archive.org/web/20150518082340/http://alumniandfriends.org/content/uploads/newsletter-summer_2011.pdf to http://alumniandfriends.org/content/uploads/newsletter-summer_2011.pdf

When you have finished reviewing my changes, you may follow the instructions on the template below to fix any issues with the URLs.

Cheers.— InternetArchiveBot  (Report bug) 13:54, 7 December 2017 (UTC)

title: Talk:Jerome Herbert Skolnick


text:
Thomas D. Rice

Thomas Dartmouth Rice (May 20, 1808 – September 19, 1860) was an American performer and playwright who performed in blackface and used African American vernacular speech, song and dance to become one of the most popular minstrel show entertainers of his time. He is considered the "father of American minstrelsy". His act drew on aspects of African American culture and popularized them with a national, and later international, audience.

Rice's "Jim Crow" character was based on a folk trickster of that name that was long popular among black slaves. Rice also adapted and popularized a traditional slave song called "Jump Jim Crow". The name became used for the "Jim Crow laws" that enforced racial segregation in the Southern United States between the 1870s and 1965.

Biography
Thomas Dartmouth Rice was born on the Lower East Side of Manhattan, New York. His family resided in the commercial district near the East River docks. Rice received some formal education in his youth, but ceased in his teenage years when he acquired an apprenticeship with a woodcarver named Dodge. Despite this occupational training, Rice quickly made a career as a performer.

By 1827, Rice was a traveling actor, appearing not only as a stock player in several New York theaters, but also performing on frontier stages in the coastal South and the Ohio River valley. According to a former stage colleague, Rice was "tall and wiry, and a great deal on the build of Bob Fitzsimmons, the prizefighter", and according to another account he was at least six feet tall. He frequently told stories of George Washington, who he claimed had been a friend of his father.

Career

Rice had made the Jim Crow character his signature act by 1832. Rice went from one theater to another, singing his Jim Crow Song. He became known as "Jim Crow Rice". There had been other blackface performers before Rice, however it was Rice who became so indelibly associated with a single character. Rice claimed to have been inspired by a crippled black stable groom, who sang and danced as he did his work, and even claimed to have bought the man's clothes for "authenticity." The time, place and truth of this claim have been disputed.

He soon expanded his repertoire, with his most popular routine being his "shadow dance." Rice would appear on stage carrying a sack slung over his shoulder, then sing the song "Me and My Shadow" (not the better-known 1920s song). As Rice began to dance, a child actor in blackface would crawl out of the sack, and emulate each of Rice's moves and steps. Rice also performed as the "Yankee" character, an already-established stage stereotype who represented rural America and dressed in a long blue coat and striped pants.

Rice's greatest prominence came in the 1830s, before the rise of full-blown blackface minstrel shows, when blackface performances were typically part of a variety show or as an entr'acte in another play.

During the years of his peak popularity, from roughly 1832 to 1844, Rice often encountered sold-out houses, with audiences demanding numerous encores. In 1836 he introduced his blackface performances overseas when he appeared in London, "SURREY THEATRE: This theatre, which last year was so prolific in sea pieces, has this season been abundant in a novel species of entertainment. A sort of extravaganzas, called "black operas", has superseded the ancient drama, and the Black-Eyed Susan of former days has been obliged to give place to the black-faced Susan of the Transatlantic importations from Boston and New York. Mr. Rice, whose Jim Crow has insured his reputation in every street of the metropolis, and whose admirable representation of the negroes of the United States has raised a host of imitators, is the hero of these black burlettas.  Mr Rice is in his way the most accomplished artist on the boards, his personation is the beau ideal of a negro. There is something in his chuckle which is not to be described, but which is equally rich, veracious, and inimitable. He has the faculty of twisting his limbs in such a manner as to represent the distortions of an ill grown African, and the very tibia of his legs appear to shape themselves in aid of his endeavours. The novelty of last night is called, ''Oh, Hush! or Life in New York''. This is merely a vehicle for the exhibition of the very peculiar talent of the performer, and as such it fully answers its purpose. The plot consists in the loves of the black hero and heroine (Mr. W. Smith) who are made to dance, sing and caper through three or four scenes... There is not much point in the songs or the dialogue, but there are several good hits, and of them Mr. Rice made the most." The Times, Wednesday, October 26, 1836; pg. 5; Issue 16244; col G. Rice was so successful he soon transferred to the more upmarket Adelphi Theatre in a play built especially around his Jim Crow character; this was also a hit. The Times, November 8, 1836, p. 5 although he and his character were known there by reputation at least by 1833.

Rice not only performed in more than 100 plays, but also created plays of his own, providing himself slight variants on the Jim Crow persona—as Cuff in Oh, Hush! (1833), Ginger Blue in Virginia Mummy (1835), and Bone Squash in Bone Squash Diavolo (1835). Shortly after making his first hit in London in Oh, Hush, Rice starred in a more prestigious production, a three-act play at the Adelphi Theatre in London. Moreover, Rice wrote and starred in Otello (1844); he also played the title character in Uncle Tom's Cabin. Starting in 1854 he played in one of the more prominent (and one of the least abolitionist) "Tom shows", loosely based on Harriet Beecher Stowe's book.

"The Virginny Cupids" was an operatic olio and the most popular of the time. It is centered on a song "Coal Black Rose", which predated the playlet. Rice played Cuff, boss of the bootblacks, and he wins the girl, Rose, away from the black dandy Sambo Johnson, a former bootblack who made money by winning a lottery.

According to Broadbent, "T. D. Rice, the celebrated negro comedian, performed "Jump Jim Crow" with witty local allusions" at Ducrow's Royal Amphitheatre (now The Royal Court Theatre), Liverpool, England.

At least initially, blackface could also give voice to an oppositional dynamic that was prohibited by society. As early as 1832, Rice was singing, "An' I caution all white dandies not to come in my way, / For if dey insult me, dey'll in de gutter lay." It also on occasion equated lower-class white and lower-class black audiences; while parodying Shakespeare, Rice sang, "Aldough I'm a black man, de white is call'd my broder."

Personal life and death
On one of his stage tours in England, Rice married Charlotte Bridgett Gladstone in 1837. She died in 1848. They had four children: Frances Gwynne Gladstone Rice born July 31, 1839, and died July 18, 1897, John Joy and Mary Gwynne who both died as babies and Elizabeth Mary Rice born August 31, in the 1840s and died on August 28, 1910.

Rice enjoyed displaying his wealth, and on his return from London wore a blue dress coat with gold guineas for buttons, and a vest on which each gold button bore a solitaire diamond.

As early as 1840, Rice suffered from a type of paralysis which began to limit his speech and movements, and eventually led to his death on September 19, 1860. His funeral services were at St. Thomas Church and he is interred at Green-Wood Cemetery in Brooklyn, New York. A reminiscence of him in The New York Times suggests his death was alcohol-related, and states that although he had made a considerable fortune in his time, his later years were spent in a liquor saloon and his burial was paid for by public subscription.

In popular culture
In the later half of the 19th century, a wooden statue of Rice in his "Jim Crow" character stood in various New York locations, including outside the Chatham Garden Theatre. It was painted and made in four pieces, with both arms and the right leg below the knee being separate parts screwed to the trunk. Prior to at least 1871 it had stood on Broadway outside "a well-known resort of actors and showmen". According to an article in The New York Times, it had apparently been carved by Rice himself in 1833, although a different account in the same paper says it had been carved by a celebrated figurehead carver called Weeden, and yet another article attributes it to Rice's former employer "Charley" Dodge. It had long been used by Rice as an advertising feature and accompanied him on his successful tour of London.

title: Thomas D. Rice


text:
Jump Jim Crow

"Jump Jim Crow", often shortened to just "Jim Crow", is a song and dance from 1828 that was done in blackface by white minstrel performer Thomas Dartmouth (T. D.) "Daddy" Rice. The song is speculated to have been taken from Jim Crow (sometimes called Jim Cuff or Uncle Joe), a physically disabled enslaved African-American, who is variously claimed to have lived in St. Louis, Cincinnati, or Pittsburgh. The song became a 19th-century hit and Rice performed it all over the United States as "Daddy Pops Jim Crow".

"Jump Jim Crow" was a key initial step in a tradition of popular music in the United States that was based on the racist "imitation" of black people. The first song sheet edition appeared in the early 1830s, published by E. Riley. A couple of decades saw the mockery genre explode in popularity with the rise of the minstrel show.

"Abolitionists on both sides of the Atlantic seized upon this new format, including burnt-cork blackface, to promote the end of slavery."

As originally printed, the song contained "floating verses", which appear in altered forms in other popular folk songs. The chorus of the song is closely related to the traditional Uncle Joe / Hop High Ladies; some folklorists consider "Jim Crow" and "Uncle Joe" to be a single, continuous family of songs.

As a result of Rice's fame, the term Jim Crow had become a pejorative term for African Americans by 1838, and from this time onward, the laws of racial segregation became known as Jim Crow laws.

Lyrics
As they are most commonly quoted, the lyrics of the song are as follows:

Come, listen all you gals and boys, Ise just from Tuckyhoe; I'm goin' to sing a little song, My name's Jim Crow.

CHORUS [after every verse] Weel about and turn about and do jis so, Eb'ry time I weel about I jump Jim Crow.

I went down to the river, I didn't mean to stay; But dere I see so many gals, I couldn't get away.

And arter I been dere awhile, I tought I push my boat; But I tumbled in de river, and I find myself afloat.

I git upon a flat boat, I cotch de Uncle Sam; Den I went to see de place where dey kill'd de Pakenham.

And den I go to Orleans, an, feel so full of flight; Dey put me in de calaboose, an, keep me dere all night.

When I got out I hit a man, his name I now forgot; But dere was noting left of him 'cept a little grease spot.

And oder day I hit a man, de man was mighty fat I hit so hard I nockt him in to an old cockt hat.

I whipt my weight in wildcats, I eat an alligator; I drunk de Mississippy up! O! I'm de very creature.

I sit upon a hornet's nest, I dance upon my head; I tie a wiper round my neck an, den I go to bed.

I kneel to de buzzard, an, I bow to the crow; An eb'ry time I weel about I jump jis so.

Standard English
Other verses, quoted in non-dialect standard English:

Come, listen, all you girls and boys, I'm just from Tuckahoe; I'm going to sing a little song, My name's Jim Crow.

CHORUS: Wheel about, and turn about, and do just so; Every time I wheel about, I jump Jim Crow.

I went down to the river, I didn't mean to stay, But there I saw so many girls, I couldn't get away.

I'm roaring on the fiddle, and down in old Virginia, They say I play the scientific, like master Paganini,

I cut so many monkey shines, I dance the galoppade; And when I'm done, I rest my head, on shovel, hoe or spade.

I met Miss Dina Scrub one day, I give her such a buss [kiss]; And then she turn and slap my face, and make a mighty fuss.

The other girls they begin to fight, I told them wait a bit; I'd have them all, just one by one, as I thought fit.

I whip the lion of the west, I eat the alligator; I put more water in my mouth, then boil ten load of potatoe.

The way they bake the hoe cake, Virginia never tire. They put the dough upon the foot and stick them in the fire.

Variants
As he extended it from a single song into an entire minstrel revue, Rice routinely wrote additional verses for "Jump Jim Crow". Published versions from the period run as long as 66 verses; one extant version of the song, as archived by American Memory, includes 150 verses. Verses range from the boastful doggerel of the original version to an endorsement of President Andrew Jackson (known as "Old Hickory"); his Whig opponent in the 1832 election was Henry Clay:

Old hick'ry never mind de boys But hold up your head; For people never turn to clay 'Till arter dey be dead.

Other verses by Rice, also written in 1832, demonstrate anti-slavery sentiments and cross-racial solidarity, sentiments that were rarely expressed in later blackface minstrelsy:

Should dey get to fighting, Perhaps de blacks will rise, For deir wish for freedom, Is shining in deir eyes.

And if de blacks should get free, I guess dey'll see some bigger, An I shall consider it, A bold stroke for de nigger.

I'm for freedom, An for Union altogether, Although I'm a black man, De white is call'd my broder.

The song also condemns Virginia for being the birthplace of George Washington, and the landing place for slaves from Guinea in Africa.

But bress dat Baltimore, Wid a monument of stun, Erected to de memory, Ob great massa Washington. Dan dare is de state, Where de niggers lan from guinny, De birth place ob dat great man, Tree cheers for ol Virginny.

Origins
The origin of the name "Jim Crow" is obscure but may have evolved from the use of the pejorative "crow" to refer to black people in the 1730s. Jim may be derived from "Jimmy", an old cant term for a crow, which is based on a pun for the tool "crow" (crowbar). Before 1900, crowbars were called "crows" and a short crowbar was and still is called a "jimmy" ("jemmy" in British English), a typical burglar's tool. The folk concept of a dancing crow predates the Jump Jim Crow minstrelsy and has its origins in the old farmer's practice of soaking corn in whiskey and leaving it out for the crows. The crows eat the corn and become so drunk that they cannot fly, but wheel and jump helplessly near the ground, where the farmer can kill them with a club.

title: Jump Jim Crow


text:
Talk:Jump Jim Crow

Lyrics
I'm trying to find the lyrics and post them here (should be well past the copyright. So far I can only find the chorus.  -User:Reboot

What about adding the lyrics from the Michelle Shocked version, or at least mentioning it? It is on her album Arkansas Traveler. —Preceding unsigned comment added by 76.113.41.254 (talk) 18:08, 19 November 2008 (UTC)

 * See discussion of origin, authorship, along with the same chorus, at blackface. Ortolan88

 * Adding lyrics found at a public broadcasting history of Jim Crow laws. Ortolan88

"Bluegrass" Lyrics?
The lyrics of "Jump Jim Crow" from the Bluegrass site (footnotes 4 & 5) are NOT "Bluegrass" lyrics. Bluegrass has its origins in late 1940s mountain music, whereas these racist lyrics come from a much earlier time.

Influence
Justify:
 * ...by white comedian Thomas Dartmouth (T.D.) "Daddy" Rice

and
 * The tune was one of the first major examples of African-American influence in popular music in the United States.

I don't think the possibility that it was inspired by an African-American cripple can really count as 'influence'... Tyrhinis 21:49, 29 March 2006 (UTC)
 * I agree. Zargulon 00:14, 25 April 2006 (UTC)

picture: really Jim Crow?
Are we sure that the picture we're using is really supposed to be the Jim Crow character, as opposed to a less specific caricature? I see it comes from the Jim Crow Museum, that they use it to illustrate their page on "Who was Jim Crow?" and that they titled the image "jimcrow.jpg"... which does suggest that the image is the Jim Crow character... but couldn't it also be the case that they just needed a Jim Crow-ish picture for that page, and titled the jpeg after the page they planned to use it in? We could ask them, of course, but I'm not sure if that would count as original research. --Allen 14:59, 31 March 2007 (UTC)
 * I'm on vacation and away from my books, but I have definitely seen the same image identified in the same way in print. I'll try to give a more specific cite when I get home in a couple of days. — Amcaja ( talk ) 16:11, 31 March 2007 (UTC)

 * This is indeed the correct historical image. I've uploaded a new version, which is higher resolution and includes the whole page, including the caption; you can see Image:Jimcrow.jpg for details and contextual information.--Pharos (talk) 14:36, 16 February 2008 (UTC)

"In Modern English"
This is a little silly. 19th century English is virtually identical to 21st century English—there's no reason to have a "translation". The song isn't written in some pre-modern dialect; it's a phony caricature of AAVE.--Pharos (talk) 14:49, 16 February 2008 (UTC)

Earliest sheet music editions
There appear to have been two of these published in 1832. The E. Riley edition was published in New York (this is the one we have the picture from), and there was a J. Edgar edition published in Philadelphia. The E. Riley edition has 44 stanzas; I don't know about the J. Edgar edition but it seems likely it's the nine stanza version (which is printed on this article, and is perhaps the most commonly reproduced one today). This page appears to have low-resolution views of all the pages of what are probably these two editions. The title of the J. Edgar edition appears to be (from records I have read, I can't make out anything on the low-res image) "Jim Crow: a comic song sung by Mr. Rice at the Chesnut St. Theatre". Maybe someone else can track down the rest of my loose ends?--Pharos (talk) 01:55, 17 February 2008 (UTC)

Notes on Etymology
I have been researching the etymology of Jump Jim Crow for a long time and yesterday finally figured out the whole story, the essence of which has been added to the article with references. Thomas Rice stated that he got the got the idea from overhearing a slave singing a ditty in the streets about crows wheeling and jumping (a reference and quote should probably be added to the article about this, by the way). However, other literary references from the same time period show that this could not have been just this one man's concept. For example, John Quincy Adams' wife wrote a poem to her daughter about dancing crows. Also, there are nursery rhymes from the time period with references to dancing crows. For example, one goes "Crow and caper, caper and crow, there, little baby, there you go, etc." The whole story becomes clear when we find out about the practice of doping beans or corn with whiskey. Since keeping cornfields clear of crows was often the responsibility of young male slaves the origin of the man's ditty was probably of his knowledge of this practice and his observation of its effects on crows. John Chamberlain (talk) 17:16, 7 July 2009 (UTC)

Nice work. I found a secondary reference to the practice in the 1864 Old Farmer's Almanac in Mother Earth News, but I have not seen an original or facsimile and do not have a page number. It would be good to verify and there are copies available on the internet for anyone so inclined to buy.Jojalozzo (talk) 04:12, 8 July 2009 (UTC)

Song for online listening or downloading
Isn't there one single rendition of the song in the public domain, so that we could link it here? Maikel (talk) 15:51, 25 August 2009 (UTC)

External links modified
Hello fellow Wikipedians,

I have just modified one external link on Jump Jim Crow. Please take a moment to review my edit. If you have any questions, or need the bot to ignore the links, or the page altogether, please visit this simple FaQ for additional information. I made the following changes:
 * Added archive https://web.archive.org/web/20040815081532/http://www.bluegrassmessengers.com/master/jimcrow5.html to http://www.bluegrassmessengers.com/master/jimcrow5.html

When you have finished reviewing my changes, you may follow the instructions on the template below to fix any issues with the URLs.

Cheers.— InternetArchiveBot  (Report bug) 19:25, 2 December 2017 (UTC)

Jump Jim Joe
The children song was deleted from this article with the remark there is no evidence for the connection. It has been mentioned by [The American Folk Song Collection from Kodály Center that the alternative title of the children song Jump Jim Joe is Jump Jim Crow. Probably they meant another song with the same title. If you compare that music sheet of Jump Jim Joe with the refrain in the Jump Jim Crow music sheet from 1919 at https://library.duke.edu/rubenstein/scriptorium/sheetmusic/b/b07/b0775/b0775-3-150dpi.html the text is identical except for Crow->Joe and devil->partner. Is that 1919 related to the Jump Jim Crow song of 1828? If not, the deletion is correct, but if the 1919 version is a variant of the 1828 version we should re-add the children song --[[User:Hannolans|Hannolans]] (talk) 20:48, 4 January 2018 (UTC)

The cover says the 1919 song was written by Rida Johnson Young, and music by Sigmund Romberg (https://library.duke.edu/rubenstein/scriptorium/sheetmusic/b/b07/b0775/b0775-1-150dpi.html). So probably we have indeed two independent songs with the same name? EDIT: the song premiered in the Maytime (musical) on Broadway in 1917. --Hannolans (talk) 21:01, 4 January 2018 (UTC)

In the book Anything Goes: A History of American Musical Theatre, 2013 is said the song Jump Jim Crow is '.. using the title and concept of an old minstrel song'. --Hannolans (talk) 21:11, 4 January 2018 (UTC)
 * As you have discovered, this is a different song of the same name. Please read WP:OR and WP:VERIFY. World's Lamest Critic (talk) 23:50, 4 January 2018 (UTC)
 * I pretty know WP:OR. It was not me who placed the children's song in this article. It was placed here. I only moved that text down. --Hannolans (talk) 08:31, 5 January 2018 (UTC)

Where is the music for this song?
After 10 years of edits, you'd think the Wiki editors here might have found the correct music to this song? Plus variations of additional verses, if any were found? Misty MH (talk) 13:30, 13 October 2019 (UTC)
 * Not sure if this is helpful, but it's recorded music (followed by sheet music): https://www.loc.gov/item/afcreed000120/
 * Not sure if this is helpful, but it's sheet music (preceded by recorded music): https://www.loc.gov/resource/afcreed.reedt039/
 * Misty MH (talk) 15:01, 13 October 2019 (UTC)

Two more early "Jim Crow" images found at the Library of Congress
I found two more early "Jim Crow" images at the Library of Congress, if someone wants to utilize them somehow:

"Jim Crow / GEM [monogram] DIGITAL FILE FROM ORIGINAL ITEM" https://www.loc.gov/resource/pga.13926/ LCCN Permalink https://lccn.loc.gov/2014649335

"Jim Crow" https://www.loc.gov/item/2004669584/ LCCN Permalink https://lccn.loc.gov/2004669584 Misty MH (talk) 14:58, 13 October 2019 (UTC)

title: Talk:Jump Jim Crow