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Katatonia

Katatonia is a Swedish heavy metal band formed in Stockholm in 1991 by Jonas Renkse and Anders Nyström. The band started as a studio-only project for the duo, as an outlet for the band's love of death metal. Increasing popularity led them to add more band members for live performances, though outside of the band's founders, the lineup was a constantly changing, revolving door of musicians throughout the 1990s, notably including Mikael Åkerfeldt of the band Opeth for a period. After two death/doom albums, Dance of December Souls (1993) and Brave Murder Day (1996), problems with Renkse's vocal cords coupled with new musical influences led the band away from the screamed vocals of death metal to a more traditional, melodic form of heavy metal music.

The band released two more albums, Discouraged Ones (1998) and Tonight's Decision (1999), before settling into a stable quintet lineup for all of the 2000s. The band released four more albums with said lineup: Last Fair Deal Gone Down (2001), Viva Emptiness (2003), The Great Cold Distance (2006) and Night Is the New Day (2009), with the band slowly moving away from their metal sound while adding more progressive rock sounds to their work over time. While lineup changes started up again into the 2010s, Renkse and Nyström persisted, and the band continued on to release their ninth and tenth studio albums, Dead End Kings (2012) and The Fall of Hearts (2016). After touring in support of the album through 2017, the band entered a hiatus at the beginning of 2018. The band returned from their hiatus in February 2019, with their eleventh studio album, City Burials (2020), and twelfth studio album, Sky Void of Stars (2023).

Formation and early years (1991–1997)
The band was first formed in 1991 by Jonas Renkse and Anders Nyström as a two-piece studio-based project. Renkse would provide clean and screamed vocals and drums, while Nyström would provide all bass and guitars. Renkse was the primary lyricist, while Nyström was the primary music composer. The duo had been working together with music in some capacity since 1987, but became serious about making music in 1991, when they began work on their first release, the demo Jhva Elohim Meth... The Revival. The release, along with the next few subsequent releases by the band, were of the death/doom metal sound, with the members being inspired and influenced by the rise of death metal becoming popular in Europe at the time. The release was enough of a hit in the underground metal scene to garner the attention of a small music label, Vic Records, which re-released it as an EP in 1993, which helped gain more exposure for the duo. The newfound popularity found them recruiting a bass guitarist, Guillaume Le Huche, so the trio could play live performances, and returning to the studio to recreate a debut full-length album. The resulting work, Dance of December Souls, was released in late 1993. The album's bleak melancholy and despair of their sound continued to give them the classification of death-doom.

After touring in support of the album, the trio recorded an EP, For Funerals to Come..., which was released in early 1995. However, Le Huche left the band shortly after, and issues finding a replacement found the band break up for a year, while Renkse and Nystrom worked separately on their own projects. Of note, Renkse started up a new band, October Tide, with guitarist Fredrik Norrman. After working some with Norrman on the project, Renkse decided to revive Katatonia with Norrman as the new third member.

After the year off, the band regrouped in 1996 to record and release a second studio album, Brave Murder Day. In addition to Fredrik Norrman contributing guitars to the album, the band also recruited Renkse's friend, Mikael Åkerfeldt of the band Opeth, to perform the screamed vocals, as Renkse became unable to do them himself anymore due to medical issues. The release, alongside the EP Sounds of Decay released with the same lineup the next year, were considered their last in the genre of doom/death metal, with the band starting to focus more on clean vocals in subsequent releases. To promote the album, the band recruited Mikael Oretoft to play bass and they embarked on their first European tour with progressive metal band In the Woods...

Move away from death metal (1998–1999)
While Renkse experimented with clean, melodic vocals over metal instrumentation as early as the 1994 recording of the track "Scarlet Heavens" (later released in very limited capacity on Katatonia/Primordial in 1996), the band did not feel ready to pursue that sort of sound at the time. However, after the band's 1997 releases, due to a desire to create more emotive and evolving music, the band decided to move in that direction. The first of said releases was an EP entitled Saw You Drown, released in early 1997, which also contained the first wide release of "Scarlet Heavens". Later in 1998, the band released their first full-album of this style, titled Discouraged Ones. After the release, the band signed a multi-album record deal with Peaceville, which would mark the first time the band would work with a bigger label, and stay with them for the long-term. Additionally, Renkse wanted to focus further on dedicating himself to developing his clean vocals, leading him to no longer do any further drumming for the band. The band kept active, recording and releasing their fourth album, Tonight's Decision, in 1999. The sessions were difficult, with the writing alone taking Renkse and Nystrom over seven months to complete. Once recording, they recruited Dan Swanö, who had helped assist the band in the past, as a sessions drummer. While the album contained no screamed vocals, the band still retained Åkerfeldt still assisted with vocal production on the album, as they had with Discouraged Ones.

After the release of Tonight's Decision, the band, tired of continually searching for session musicians, finally decided to put together a stable, permanent lineup. Fredrick Norrman recruited his brother, Mattias Norrman, as a bassist and Daniel Liljekvist joined the band as the drummer.

Stable lineup and international growth (2000–2009)
With the band finally achieving a stable lineup with Renkse, Nystrom, the Norrman brothers and Liljekvist, the band began work on their fifth album, the first of four albums the quintet would release over the course of the next decade. While personnel issues no longer plagued the band, recording sessions were still difficult, this time due to financial constraints, which limited how much time they could spend in the studio. The band worked on recording the album off and on from April to December 2000, and while the stopping and starting proved to be troublesome, it also kept them re-evaluating and reworking their material in the downtime, something they felt ultimately helped the shaping of the album. The resulting album, Last Fair Deal Gone Down was released in May 2001, and marked the band further distancing itself from traditional heavy metal music, in favor of more of a hard rock sound. The band decided to release the Teargas EP shortly prior to the album release, essentially as a single, containing the album track "Teargas" and two B-sides. Another EP of music from the same sessions, Tonight's Music, was also released shortly after the album. The band rounded out the year with a European tour with Åkerfeldt's band Opeth, with Renkse and Nystrom even providing guest vocals at some Opeth shows when Åkerfeldt was experiencing trouble with his vocal cords.

By mid-2002, the band had started to write material for their sixth album, and by October 2002, they had entered the studio to begin formal recording sessions. In April 2003, the band released the resulting album, Viva Emptiness. The album was promoted by the release of the single "Ghost of the Sun" and the similarly named Ghost of the Spring tour. The tour, which went through Europe with support act Daylight Dies, went as planned, though the band later had to cancel a June performance in Germany due to sickness, and had July festival appearances cancelled due to issues beyond their control with third party organizers. Still, the album was a success, being their first to chart on any official charts, peaking at no. 17 on the Finnish charts.

The band continued to spend much of 2003 and 2004 touring in support of the album. The band started writing for their seventh studio album as early as October 2004, and spent six months of 2005 in the studio recording the album, while taking breaks for further touring. The band's only releases during the time period was two compilation album releases: Brave Yester Days, a collection of songs from their death metal era in the mid-1990s, and The Black Sessions, a collection of songs from after they moved away from death metal. While initially planning on releasing the album by the end of 2005, recording sessions went late into 2005, pushing its release into 2006. The album, entitled The Great Cold Distance, released in March 2006, along with the accompanying singles "My Twin" and "Deliberation".

The band again turned to touring, most notably their live performance at Summer Breeze Open Air in 2006 being used for the release of a live album titled Live Consternation in 2007. Additionally, the band's first full North American tour, with Daylight Dies and Moonspell, ran through October and November 2006. The band continued to tour into 2007, focusing on Europe in the first half of the year, and returning to North America, even Mexico, in the latter half of the year.

With focusing on touring in support of The Great Cold Distance for most of 2006 and 2007, the band turned their focus to working on a new album in early 2008. By mid-2008, the band had booked studio time twice, but cancelled both times, not satisfied with the material accumulated to record each time. Writer's block, largely stemming from the band feeling pressure to release a follow-up that could measure up to The Great Cold Distance, was main reason for the slow progress, as the album had been their biggest success, critically and financially, at the time. Renkse and Nystrom also had difficulty deciding in what direction the album's sound would move into, eventually deciding to move the band into a more progressive rock sound. Progress continued to be slow, with the band continuing to write into 2009, but not entering the studio until mid-2009. The band continued to tour intermittently as well, including a short tour supporting Porcupine Tree in Europe. After over three and a half years, the band finally released their eighth studio album, in November 2009, under the title Night Is the New Day, including the single "Day and Then the Shade" a month prior. The time spent on the album paid off, with it being generally well received by critics. PopMatters deemed the album the second best metal album of 2009.

Lineup changes, Dead End Kings and The Fall of Hearts (2010–2017)
Shortly after the release of Night is the New Day, the band's first lineup change in a decade occurred when both Norrman brothers amicably left the band, stating they wanted to focus on life at home rather than further touring cycles abroad. They were replaced by longtime guitar tech Per Eriksson on guitar and Niklas Sandin on bass. In March 2010, the band also released another EP, featuring unreleased and alternate versions of songs from Night is the New Day, titled The Longest Year, which were later included on the special edition reissue of the album in 2011. The band continued to tour extensively, including Sonisphere Festival in the UK, and another North American tour with Swallow the Sun in 2010, and another North American tour with Opeth on their Heritage tour in 2011. The band wrapped up the year with a 20th Anniversary concert in December, with the band playing songs spanning their career, and having past members, including the Norrman brothers and Le Huche, rejoin the band to play on some songs.

The band entered the studio to begin work on their ninth studio album on 30 January 2012. The resulting album, Dead End Kings was released in August in Europe and North America. In support of the release, the band co-headlined the "Epic Kings Idols Tour" with The Devin Townsend Project, in North America in September, followed by the "Dead Ends of Europe Tour" with Alcest and Junius in November of the same year. A music video for the single "Lethean", directed by Lasse Hoile, was released on 18 February 2013. In September 2013, the band also released Dethroned & Uncrowned, an album which featured more acoustic leaning re-workings of the songs from Dead End Kings. It was jointly funded by the Burning Shed record label and a crowd sourcing effort on PledgeMusic, which accumulated 190% of the target goal. The band embarked on an acoustic tour – "The Unplugged & Reworked Tour" in support of the album in 2014. Just prior to the touring, the band released another EP of b-sides, Kocytean for Record Store Day 2014.

In 2014, Eriksson and Katatonia "mutually agreed to part ways" due to "a difference in views" and Eriksson's decision to live in Barcelona. Bruce Soord of The Pineapple Thief temporarily filled in Eriksson for the band's May tour, while Tomas Åkvik filled in on guitar afterwards in mid-2014. Longtime drummer Liljekvist also left the band in April 2014, on friendly terms, citing personal and financial reasons. The band released another live album, Sanctitude, on 31 March 2015. In November 2015, the band announced Daniel Moilanen as their new drummer and revealed that they were working on a new album to be released in 2016. The album, The Fall of Hearts was released on 20 May 2016. The album, as well as featuring new drummer Daniel Moilanen, was also the first to feature new guitarist Roger Öjersson; who replaced Eriksson's position as second guitarist. Two singles were released in promotion of the album, "Old Heart Falls" and "Serein". The band continued touring in support of the album in 2017, including a North American tour that started in March.

City Burials and Sky Void of Stars (2018–present)
The band announced they would enter a hiatus in 2018. The band cited Öjersson being hospitalized by a serious back injury at the end of 2017, and a number of other undisclosed issues, for the band needing to take some time off and "re-evaluate what the future holds for the band." In February 2019, the band announced their return to celebrate the tenth anniversary of their 2009 album Night Is the New Day, with an anniversary tour and deluxe release of the album. Their eleventh studio album, City Burials, was released in April 2020; its first single was "Lacquer". Unable to tour in support the album due to the oncoming of the COVID-19 pandemic, the band instead turned to releasing further music. This included releasing a new live album Dead Air (2020), a compilation album Mnemosynean (2021) and a box set of the band's earliest material Melancholium (2022). and forging ahead into writing and recording a twelfth studio album.

The band released their twelfth studio album, Sky Void of Stars, on January 20, 2023, followed by a European and US tour.

Musical style and influences
The band is known for changing its sound over the course of its three-decade career. Nystrom summarized it in a 2006 interview: "Yeah sure, we see ourselves as a metal band, but without boundaries and limitations to our sound. We do not necessarily belong to a certain subgenre within metal. We're just playing dark and heavy music and keeping an open mind to evolve and being true to ourselves. I'm proud to say that I believe KATATONIA sounds like no other band. We have eloquently avoided the gothic metal genre most bands tend to fall in when changing their sound from doom/death metal to something more rocking and melodic. We're leaning towards more of a contemporary alternative sound, free of all cheese and clichés."

Similarly, Nystrom noted of the band's live performances: "Well, it must be hard sometimes for Jonas to sing his heart out with lyrics referring to personal dark and depressive matters and at the same time also be accused of being a reluctant frontman. I actually think much of the stuff he sings about doesn't go in hand with running around on stage, throwing horns, smiling and firing up the audience. We're not an energetic power metal band. I think the withdrawn and shy aura actually does more justice to the concept of our songs than going wild, but we have some songs mainly on the two last albums that don't really fall into the doom and gloom category, but are still dark. And there the more aggressive approach fits better."

Renkse stated that early inspirations for Katatonia included bands of the death metal variety, namely Morbid Angel, Entombed, Carnage, Autopsy and Paradise Lost; especially the latter's album Gothic. Moreover, Renkse has on multiple occasions cited the work of American progressive metal band Tool as an influence. Nystrom has cited the work of Porcupine Tree as a large influence for the band in their post-death metal eras. For the 2011 Katatonia documentary Last Fair Day Gone Night, Nyström also credited alternative metal bands such as A Perfect Circle and Mudvayne with inspiring the heavy, single-string riff-oriented sound introduced on 2003's Viva Emptiness.

Their career, as a whole, has been summarized as being a metal band. Their early sound has been described as death-doom and death metal, and later they incorporated other styles, such as progressive rock, progressive metal,   doom metal, gothic rock, gothic metal and post-metal.

Comments from other musicians
Some artists and bands have cited Katatonia as an influence, among which are Agalloch, Nachtmystium, Andy Schmidt of Disillusion, Niklas Kvarforth of Shining, Klimt 1918, Marcela Bovio of Stream of Passion, Daylight Dies, Nucleus Torn, Khors, Marjana Semkina of iamthemorning, Wet, Vladimir Agafonkin of Obiymy Doshchu, Nahemah, Forest Stream, Forgotten Tomb, Alex Vynogradoff of Kauan, Bilocate, Maxime Côté of Catuvolcus, Nocturnal Depression, Last Leaf Down, Schizoid Lloyd, and Pallbearer.

In addition, other artists have been quoted expressing admiration for their work including Mark Jansen of Epica, Luc Lemay of Gorguts, Jim Matheos of Fates Warning, Esa Holopainen of Amorphis, and Bruce Soord of The Pineapple Thief.

Band members

 * Current
 * Jonas Renkse – lead vocals (1991–1994, 1996–present), guitar (1997–1999, 2009–present) , drums (1991–1999) , backing vocals (1996–1997)
 * Anders Nyström – guitar, backing vocals (1991–1994, 1997–present), keyboards (1999–present) , bass (1991, 1996)
 * Niklas Sandin – bass (2009–present)
 * Daniel Moilanen – drums (2015–present)
 * Roger Öjersson – guitar (2016–present)

 * Former
 * Guillaume Le Huche – bass (1992–1994)
 * Mikael Åkerfeldt – lead vocals (1996-1997)
 * Fredrik Norrman – guitar (1996–1998, 1999–2009), bass (1998–1999)
 * Mikael Oretoft – bass (1997–1998)
 * Mattias Norrman – bass (1999–2009)
 * Daniel Liljekvist – drums (1999–2014)
 * Per Eriksson – guitars, backing vocals (2009–2014)

Discography

 * Dance of December Souls (1993)
 * Brave Murder Day (1996)
 * Discouraged Ones (1998)
 * Tonight's Decision (1999)
 * Last Fair Deal Gone Down (2001)
 * Viva Emptiness (2003)
 * The Great Cold Distance (2006)
 * Night Is the New Day (2009)
 * Dead End Kings (2012)
 * The Fall of Hearts (2016)
 * City Burials (2020)
 * Sky Void of Stars (2023)

title: Katatonia


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Talk:Nechtan Scéne

2004 post
"...who killed one half of the Ulsterman." Which is the half that survived? Wetman 01:22, 21 Oct 2004 (UTC)

1/2 the ulsterman
my bad.. hahaha didnt see the bad style.

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

title: Talk:Nechtan Scéne


text:
Back Bay Fens

The Back Bay Fens, often called The Fens, is a parkland and urban wild in Boston, Massachusetts, United States. It was established in 1879. Designed by Frederick Law Olmsted to serve as a link in the Emerald Necklace park system, the Fens gives its name to the Fenway-Kenmore neighborhood.

History
The Fens is a large picturesque park that forms part of Boston's Emerald Necklace. It is essentially an ancient spot of saltwater marshland that has been surrounded by dry land, disconnected from the tides of the Atlantic Ocean, and landscaped into a park with fresh water within. The park is also known as the Fens or the Fenway. The latter term can also refer to either the surrounding neighborhood or the parkway on its southern border.

When Boston was settled in the early 17th century the Shawmut Peninsula on which it was built was connected to Roxbury by a spit of sandy ground called "The Neck." The adjacent area of marshland to the west was a tidal flat of the Charles River. The area became malodorous with time as it became tainted with sewage from the growing settlement.

For the dual purpose of eliminating the health and aesthetic problem created by the polluted bay waters and creating new and valuable Boston real estate, a series of land reclamation projects was begun in 1820 and continued for the rest of the century. The filling of present-day Back Bay was completed by 1882. Filling reached Kenmore Square in 1890 and finished in the Fens in 1900. These projects more than doubled the size of the Shawmut Peninsula.

Olmsted's challenge was to restore the spot of marsh which was preserved into an ecologically healthy place that could also be enjoyed as a recreation area. Combining his renowned landscaping talents with state-of-the-art sanitary engineering, he turned a foul-smelling tidal creek and swamp into "scenery of a winding, brackish creek, within wooded banks; gaining interest from the meandering course of the water."

Olmsted designed the Fens to be flushed by the tides twice daily. However, in 1910 a dam was constructed at Craigie's Bridge, closing the Charles River estuary to the ocean tides and forming a body of freshwater above the dam. Thus, the Fens became a freshwater lagoon regularly accepting storm water from the Charles River Basin.

Soon after, noted landscape architect Arthur Shurcliff, a protégé of Olmsted, added new features such as the Kelleher Rose Garden and employed the more formal landscape style popular in the 1920s and 1930s. An athletic field was also added.

In 1941, at the outbreak of United States involvement in World War II, citizens planted a victory garden within the Fens. While these were common in their era, the one in the Fens is now the last continually operating Victory Garden in existence and today is a much-valued community garden of flowers and vegetables.

In 1983, the Back Bay Fens were designated as a Boston Landmark.

The Emerald Necklace Conservancy is headquartered in the park and operates a year-round visitor center.

Entrances
The Back Bay Fens was designed with six entrances, with straight roads and formal lawns that contrasted with the more wild Fens.

The original main entrance was the Beacon Entrance, running from Beacon Street to Boylston Street, bounded by Charlesgate East and Charlesgate West. A crescent-shaped bridge crossed over the Boston and Albany Railroad, connecting the Commonwealth Avenue Mall with the Fens at Gaston Square. The entrance has been wholly modified, beginning with the addition of a bridge for the Ipswich Street line in 1898. A bust of Patrick Collins was added shortly after the mayor's 1905 death. The Charles River Esplanade, completed in 1910, connected with the Beacon Street end of the entrance. The bridge carrying Commonwealth Avenue was replaced with two bridges for separated eastbound and westbound traffic in 1917. Storrow Drive was built along the Esplanade in 1951–55, severing the connection with the Beacon Entrance. The construction of the Massachusetts Turnpike Extension in the 1960s caused the removal of the curved bridge, separating the entrance (now Charlesgate Park) from the rest of the Fens. It was replaced with the Bowker Overpass, which overshadows the remaining parkland; the Muddy River was moved to a small side channel, and the bust was relocated east along the Mall. Isolated from the Fens, Charlesgate was included with the Commonwealth Avenue Mall in its 1978 Boston Landmark designation.

The Boylston entrance is located just southeast of the Beacon Entrance, where Boylston Street meets the Fenway. A statue of John Boyle O'Reilly was added in the triangular center of the junction in 1894. The intersection was rebuilt in 1982, with the statue relocated into the park.

The Westland Entrance is on the east side of the Back Bay Fens, with lawns lining a block of Westland Avenue between the Fenway and Hemenway Street. Westland Gate, a pair of marble monuments with lion's-head fountains feeding horse troughs on the side, frames the entrance. It was designed by Guy Lowell and funded by Ellen Cheney Johnson as a memorial to her husband. Westland Gate was completed around 1905, at which time it replaced the Beacon Entrance as the main entrance to the Fens.

The Huntington Entrance runs along Forsyth Way from Huntington Avenue to the Fenway on the south side of the Fens, just east of the Museum of Fine Arts. As originally laid out by Olmsted, it had twin roadways framing a canal that carried the Stony Brook into the Muddy River, with a bridge carrying the Fenway and paths over the brook. The entrance was rebuilt several times as the Stony Brook was placed in conduits; the canal was filled in 1905 and the bridge demolished.

The Tremont Entrance is a wide formal lawn on the southwest corner of the Fens. It originally ran to the Fenway from Huntington Avenue at Longwood Avenue, in the direction of Tremont Street. Initial plans called for it to continue as a parkway to Tremont Street and over Parker Hill, but high lands prices prevented that design. The Emerald Necklace and its parkways were instead built along the Muddy River, and the Tremont Entrance was only built to Huntington Avenue. The Huntington end of the entrance was "obliterated" by expansion of Boston State College (now occupied by the Massachusetts College of Art and Design) in the 1960s and 1970s. The remaining section north of Tetlow Street is now Evans Way Park. The park and eponymous street were named for Robert Evans, whose wife Marie Antoinette Evans funded a new wing of the Museum of Fine Arts in 1915 in his memory.

The Longwood Entrance follows the Muddy River from Brookline Avenue at the west end of the Fens. Narrower than the main section of the Fens, the Longwood Entrance connects it to the Riverway. Roadway widenings in the 1950s covered over much of the river between Avenue Louis Pasteur and Brookline Avenue. Phase 1 of the Muddy River Restoration Project, which lasted from 2013 to 2016, daylit this section of the river and restored much of the former Longwood Entrance. The section between the Riverway and Avenue Louis Pasteur (including the former Longwood Entrance) was renamed as Justine Mee Liff Park in 2013, honoring a former Boston Parks and Recreation Commissioner. The park opened in April 2017.

Bridges
Within the main section of the Back Bay Fens (Boylston Street to Avenue Louis Pasteur), three road bridges and two footbridges cross the Muddy River. The road bridges were designed by John C. Olmsted, Frederick Law Omlsted's adopted son. The largest and most significant is the Boylston Street bridge, designed as a "brilliant collaboration" between architect Henry Hobson Richardson (a frequent Olmsted collaborator) and the Olmsted firm. John Olmsted designed the main stone arch span, while Richardson added the tourelles flanking the arch. The foundation and abutments were built in 1880, though Richardson did not submit his design until July 1881. Cape Ann granite was not chosen as the material that December; although Richardson preferred rough boulders, seam-faced rock was used. The arch was constructed in 1883, and the bridge opened in 1884. The bridge was "totally different from any other masonry bridge of its day", and Shepley, Rutan and Coolidge applied its scale and materials to later structures along the Emerald Necklace.

The Agassiz Road bridge, which connects Park Drive and the Fenway through the middle of the Fens, was designed by John Olmsted. It has five small brick arches, with granite abutments and piers supported by spruce piles driven into the marsh. The bridge is faced with Roxbury puddingstone salvaged from old walls in Franklin Park. Construction began in 1887 and was completed in February 1888; parapets were added when the road was paved in 1891.

The Fen Bridge connects Park Drive and the Fenway at the west end of the Fens opposite Avenue Louis Pasteur. Also designed by John Olmsted, it is a masonry arch with a 15 ft span. Like the Agassiz Road bridge, its abutments are granite supported by spruce piles and the facing is reused Roxbury puddingstone. Construction lasted from February to November 1891; the bridge opened with Audubon Road (now Park Drive) on January 3, 1892. The cost of the bridge was $27,699. The triangular median at the south end of the bridge was designated Higginson Circle after Henry Lee Higginson in 1920. The west parapet was removed in the 1950s when the Muddy River was culverted through the Longwood Entrance.

A pair of footbridges are located on opposite sides of the Museum of Fine Arts: one across from Forsyth Way, the other north of Museum Road. They were built in the 1920s (the Forsyth Way bridge replacing an earlier crossing ) as part of Arthur Shurcliff's reconfiguration of The Fens, and rebuilt as concrete bridges with granite facing in 1979. A third footbridge at Evans Way existed in the early 20th century, but was gone by 1915. A replacement was designed during the 1920s work and finally built in 1939. The bridge was disassembled in 1979 with the other footbridges, but it was never rebuilt, possibly due to funding shortfalls created by Proposition 2½.

North from Boylston Street in Charlesgate Park, the Muddy River is crossed by Ipswich Street, the Worcester Main Line railroad bridge, the Massachusetts Turnpike, two bridges carrying Commonwealth Avenue, Beacon Street, and Storrow Drive, as well as the elevated Bowker Overpass and its ramps. The west border of the Fens (where it meets the Riverway) is Brookline Avenue, which crosses the Muddy River on a wide bridge completed in 2016.

Former bridges
Along with the Evans Way footbridge, two road bridges are no longer extant. The Fenway originally crossed the Stony Brook canal at the Huntington Entrance on a five-arched bridge designed by the firm of Walker & Kimball. The outer arches were occupied by footpaths, allowing pedestrians to cross under the road. The bridge was faced with red brick ornamented with Milford granite; the archways were faced with patterns of colored glazed bricks. A small iron footbridge crossed the canal just north of the road bridge. The bridges were removed when the canal was filled in 1905; the road bridge was demolished with explosives.

At the Beacon Entrance, a curved bridge crossed the Boston and Albany Railroad (and after the 1890s, Ipswich Street). Its south end connected to Boylston Street at Gaston Square, while its north end met Commonwealth Avenue. Although Richardson sketched designs for truss and suspension bridges, Frederick Olmsted insisted on a plate girder bridge; Richardson's contribution was ultimately the design of the decorative metalwork and lamps. The bridge was constructed in 1880–83. It was demolished around 1962 during construction of the Turnpike Extension and replaced by the Bowker Overpass, though the south abutment remains extant.

Structures
The Agassiz Road Duck House was designed by architect Alexander Longfellow, and built in 1897. It was used exclusively as a public restroom facility, and was closed after a damaging fire in 1986. The Duck House is sited within a prominent landscape in The Fens adjacent to the Agassiz Road bridge—the only building along that roadway. Agassiz Road is a significant pedestrian link between the East and West Fenway neighborhoods though it provides only one-way vehicular circulation. Much of the building that we see today is original; however, the roof design was simplified when it was reconstructed following the 1986 fire.

The Stony Brook Gatehouse was designed by Henry Hobson Richardson. The building features a slate roof with distinctive wooden beams and walls of smooth stones of varying cuts. The red mortar used between the stones is similar to that of many of Richardson's other works. A similar companion building, designed by Richardson protege Edmund Wheelright, sits directly next to this structure. It was added at a later date to contain pump equipment for the Boston Water and Sewer Commission. The Stony Brook Gatehouse has since been decommissioned and in 2010 was converted into the headquarters for the Emerald Necklace Conservancy, and a visitors' center by Ann Beha Architects.

Dedicated on December 27, 1925, the Fire Alarm Office is near the intersection of Westland Avenue and Hemenway Street. It is a neoclassical limestone building in the shape of a villa, with large ornate bronze entry doors to one side. Its facade is inscribed:

Monuments and memorials
A monument was dedicated in 1973 to baseball player and humanitarian Roberto Clemente (1934–1972). It is a 5 ft stone marker inset with a large bronze relief of Clemente and a short inscription in Spanish and English, "Roberto Clemente: His three loves; Puerto Rico, baseball, and children." The adjacent baseball diamond, which is part of the athletic field, is also dedicated in his honor.

The Katharine Lee Bates monument is a freestanding granite tablet inset with a bronze plaque on Agassiz Road overlooking the Muddy River and Stony Brook gatehouse. The plaque gives brief information on Bates and includes the lyrics of "America the Beautiful", which she wrote at the turn of the 20th century.

Close to the Westland Gate is the John Boyle O'Reilly Memorial. This memorial, sculpted in 1894 by Daniel Chester French memorializes the Irish poet and editor of the Catholic newspaper The Pilot. In the front of the memorial sits the bust of O'Reilly while the backside depicts a statue of Erin weaving a wreath of laurel and oak for her sons Poetry and Patriotism with Celtic calligraphy as a backdrop.

Several streets surrounding the Fens (Kilmarnock, Queensbury) were given names of Scottish peerages and towns mentioned in Robert Burns's literary works. In 1910 The Burns Memorial Association of Boston held a competition to make a statue of Burns, to correspond with that nomenclature as an honor. The winner was artist Henry Hudson Kitson. Kitson completed the statue in 1919, and Governor Calvin Coolidge dedicated it the next year on New Years Day, 1920. The piece was moved from the Fenway to Winthrop Square at Otis and Devonshire Streets, in the Financial District, in the summer of 1975. It was restored and returned to its original location on October 30, 2019.

A memorial commemorating the radio operators who lost their lives on merchant ships during the Second World War depicts a sinking ship with "End of service" in Morse Code around the base. It was moved in the 1990s to Peddocks Island at the request of veteran operators, as Peddocks was where they trained. Its plinth remains located on Agassiz Road adjacent to the Agassiz Bridge, overlooking the war memorials across from the Kelleher Rose Garden.

The Temple Bell, a bronze bell cast in 1675 by Tanaka Gonzaemon under the supervision of Suzuki Magoemon, was dedicated to Bishamon, a Buddhist god of children and good luck. The bell was contributed to the Japanese war effort in 1940 but ended up on a scrap heap in Yokosuka. Sailors from the USS Boston (CA-69) salvaged the bell after World War II, and offered it to the city of Boston in 1945. In 1953, Japanese officials presented the bell to Boston as a symbol of peace.

John Endecott Monument
Across from the Forsyth Dental Institute and Museum of Fine Arts on Forsyth Way, originally called the Huntington Avenue Entrance to The Fens, this is a large red granite monument and white granite statue of John Endecott. The statue is a standing portrayal of John Endecott dressed in early colonial attire, consisting of a jacket with a wide, square collar, knee breeches, buckle shoes, and a long cape. He holds his hat down at his side in his right hand. The sculpture rests on a square base that extends from a large granite wall with the inscription "JOHN ENDECOTT 1588–1665". A low granite bench surrounds the base of the wall.

According to inscriptions on one side of the monument, it was designed by Architect Ralph Weld Gray, and the statue was sculpted by Carl Paul Jennewein in 1936. The rear of the monument features a large inscription, "Bequest George Augustus Peabody Esquire of Danvers, Massachusetts". The main inscription features the seal of the Commonwealth of Massachusetts and the quote "STRONG, VALIANT JOHN WILT THOU MARCH ON, AND TAKE UP STATION FIRST, CHRIST CAL'D HATH THEE, HIS SOLDIER BE, AND FAIL NOT OF THY TRUST -EDWARD JOHNSON 1654".

Veterans Memorial Park
Created by the George Robert White Fund in 1948, this is a grouping of three war memorials arranged around a circle, adjacent to the Keller Rose Garden, the Agassiz Bridge, and a concert grove that overlooks two gatehouses across the Muddy River.

This World War II memorial features a granite monument designed by architect Tito Cascieri. It is composed of a plinth stage and lectern backed by a semi-circular wall, with names set in bronze tablets. A large bronze statue of an angel sculpted by John F. Paramino sits atop the memorial, along with an obelisk capped with bronze stars. It is the oldest and largest of the three memorials on the site, with the Korean and Vietnam war memorials flanking it. The lectern has a plaque, added during the 1990s, rededicating the entire memorial as Veterans Memorial Park and honoring Sergeant Charles Andrew MacGillivary, a World War II Congressional Medal of Honor recipient who enlisted in Boston.

The Korean War Memorial is a small installation, compared to the World War II memorial nearby. This memorial has a stone plaza area, with a map of the country of Korea embedded in it. Flanking the map are two stone slabs for use as benches. The memorial is a squarish monument that has three columns with names engraved in them. On top is the word, "Korea" and the years, "1950–1953."

The Vietnam War Memorial is a small installation, compared to the World War II memorial nearby. This memorial has a stone plaza area, with a map of the country of Vietnam embedded in it. Flanking the map are two stone slabs for use as benches. The memorial is a squarish monument that has three columns with names engraved in them. On top is the word, "Vietnam" and the years, "1962–1975."

Gardens
The Victory Gardens are now named after Richard D. Parker, one of the original organizers of the garden, who gardened there until his death in 1975. The Victory Gardens in the Fenway are one of only two remaining victory gardens in the U.S. dating back to World War II, during which President Franklin Roosevelt encouraged Americans to grow their own vegetables. The City of Boston set up 49 areas to grow gardens, including plots on Boston Common and Boston Public Garden. The Fenway Victory Gardens were established in 1942. These gardens are a central part of the Fenway community and are well known to gardeners across the country. Residents use the plots to grow vegetables or flowers.

A passion for public rose gardens swept the country in the early 20th century. In 1930, landscape architect Arthur Shurcliff added a circular formal rose garden and fountain opposite the Museum of Fine Arts where the general public as well as rose enthusiasts could learn about rose culture and enjoy the flowers. The garden was expanded in 1933 when the rectangular section was built. At the south end of the rectangular portion of the garden is a statue that is a copy of the famous El Desconsol which was a gift to the City of Boston by Barcelona, Spain. In 1975, the garden was named the James P. Kelleher Rose Garden to honor the Boston Parks and Recreation Department's Superintendent of Horticulture. By the late 20th century, The Kelleher Rose Garden was in decline and needed a complete restoration. In 2001, the Emerald Necklace Conservancy, in cooperation with the Boston Parks and Recreation Department, convened landscape architects, horticultural specialists, and rosarians to develop a master plan for its renewal. Paths and planting beds were recut according to the original plans; the soil was rejuvenated and new turf laid. An irrigation system was installed and new signs were placed to help visitors learn from the garden. The restoration was completed in 2008. In 2014 the Emerald Necklace Conservancy completed restoration of the original ornamental fountain and had the descendant of the original sculpture manufacturer replicate missing ornamental cherub statues.

Athletic fields
As part of Arthur Shurcliff's alterations to The Fens, an athletic track and field was constructed in 1923. Two massive cast stone bleachers were completed in 1926 followed shortly in 1928 by a field house designed by William D. Austin. The original field house was demolished in the 1980s, due to neglect, and replaced with a simple Gothic styled storage structure. The 420m athletic track and field was later dedicated as the Joseph Lee Playground. At some point two baseball diamonds were added. One of them is dedicated to baseball player and humanitarian Roberto Clemente with a cast stone monument featuring a brass relief & dedication plaque. The other was dedicated to neighborhood residents Brian and David Cobe in 1984 with a bronze plaque inset into a Roxbury puddingstone boulder adjacent to the diamond. Sometime in the 1970s two basketball courts were also added alongside the playground and dedicated in honor of Jim Bradley. In 2010, as part of a public-private partnership between the City of Boston and Emmanuel College, the field was extensively renovated to collegiate standards, which necessitated the demolition of one of the stone bleachers.

title: Back Bay Fens


text:
Durotaxis

Durotaxis is a form of cell migration in which cells are guided by rigidity gradients, which arise from differential structural properties of the extracellular matrix (ECM). Most normal cells migrate up rigidity gradients (in the direction of greater stiffness).

History of durotaxis research
The process of durotaxis requires a cell to actively sense the environment, process the mechanical stimulus, and execute a response. Originally, this was believed to be an emergent metazoan property, as the phenomenon requires a complex sensory loop that is dependent on the communication of many different cells. However, as the wealth of relevant scientific literature grew in the late 1980s and throughout the 1990s, it became apparent that single cells possess the ability to do the same. The first observations of durotaxis in isolated cells were that mechanical stimuli could cause the initiation and elongation of axons in the sensory and brain neurons of chicks and induce motility in previously stationary fish epidermal keratocytes. ECM stiffness was also noted to influence cytoskeletal stiffness, fibronectin fibril assembly, the strength of integrin-cytoskeletal interactions, morphology and motility rate, all of which were known influence cell migration.

With information from the previous observations, Lo and colleagues formulated the hypothesis that individual cells can detect substrate stiffness by a process of active tactile exploration in which cells exert contractile forces and measure the resulting deformation in the substrate. Supported by their own experiments, this team coined the term "durotaxis" in their paper in the Biophysical Journal in the year 2000. More recent research supports the previous observations and the principle of durotaxis, with continued evidence for cell migration up rigidity gradients and stiffness-dependent morphological changes

Substrate rigidity
The rigidity of the ECM is significantly different across cell types; for example, it ranges from the soft ECM of brain tissue to that of rigid bone or the stiff cell wall of plant cells. This difference in rigidity is a result of the qualitative and quantitative biochemical properties of the ECM or in other words, the concentration and categories of the various macromolecules that form the ECM meshwork. Though the ECM is composed of many intracellularly-synthesized components - including a number of glycosaminoglycans (GAGs) and fibrous proteins such as fibronectin, laminin, collagen, and elastin - it is the latter two fibers that are most influential in defining the mechanical properties of the ECM.

Collagen is the fibrous protein that gives the ECM its tensile strength, or rigidity. Elastin - as its name suggests - is a highly elastic protein with an important role in tissues that need to return to their original positions after deformation, such as skin, blood vessels, and lungs. The relative concentrations of these two main determinants, along with other less influential matrix components, determine the rigidity of the ECM. For example, collagen concentration has been reported to be correlated to matrix stiffness, both in vivo and in vitro (gels).

Measuring rigidity
In biological research, the rigidity (or stiffness) is commonly measured using Young's modulus of elasticity, the ratio of stress to strain along an axis, in Pascals. Thus, a material with a high Young's modulus is very rigid. The most precise and well-established method to measure Young's modulus of a tissue relies on instruments - such as the Instron load cell device - that directly apply a mechanical load and measure the resulting deformation. Now, the Young's modulus of a tissue can be easily and accurately estimated without excision using a variety of elastography techniques. These methods induce distortion in the tissue and measure the mechanical properties, usually with ultrasound or magnetic resonance imaging (MRI).

Young's modulus has been repeatedly used to characterize the mechanical properties of many tissues in the human body. The stiffness of animal tissues varies over several orders of magnitude, for example:
 * Bovine articular cartilage - 950 kPa
 * Mouse skeletal muscle - 12 kPa
 * Guinea pig lung - 5-6 kPa
 * Human fibrotic liver - 1.6 kPa, healthy human liver 640 Pa
 * Swine brain - 260-490 Pa

Synthesizing varying rigidity
Matrices of varying stiffness are commonly engineered for experimental and therapeutic purposes (e.g. collagen matrices for wound healing ). Durotactic gradients are simply made by creating 2-dimensional substrates out of polymer (e.g. acrylamide or polydimethylsiloxane) in which the stiffness is controlled by cross-linking density, which in turn is controlled by cross-linker concentration. The polymer must be coated with a material that the cell can adhere to, such as collagen or fibronectin. The gradients themselves are often synthesized as hydrogels using microfluidic gradient generators followed by photopolymerization.

An advancement to this technique is the use of 3D matrices, which are able to guide cell migration in conditions that are more relatable to the natural three dimensional environment of the cell.

The site of cellular contact with the extracellular matrix is the focal adhesion, a large, dynamic protein complex that connects the cytoskeleton to the ECM fibers through several organized layers of interacting proteins. Integrins are the outermost proteins and the ones that bind directly to the ECM ligands. However, focal adhesions are quite more than simple anchors - their proteins have many roles in signaling. These proteins, such as focal adhesion kinase (FAK), talin, vinculin, paxillin, and α-actinin, interact with small GTPases (Rho, Rac, Cdc42) and other signaling pathways in order to relay even small changes in matrix stiffness and consequently respond with changes in cell shape, actomyosin contractility, and cytoskeletal organization. As a result, these changes can cause a cell to rearrange its cytoskeleton in order to facilitate directional migration.

A cell's cytoskeleton is a constantly fluctuating network of polymers whose organization greatly depends on the physical environment of the cell. At the focal adhesions, a cell exerts a traction force. In other words, it pulls on the ECM. Thus, the cell maintains a mechanical homeostasis between ECM stiffness and cytoskeletal tension across its focal adhesions. This homeostasis is dynamic, as the focal adhesion complexes are continuously constructed, remodeled, and disassembled. This leads to changes in signal transduction and downstream cellular responses. Cell signaling is a product of both the physical and biochemical properties of the ECM and interaction between these two pathways is crucial to understand cellular responses. For example, bone morphogenetic protein (BMP) - a growth factor - is unable to induce osteogenesis under insufficient cytoskeletal tension.

The source of cytoskeletal traction is actomyosin contractility. Increased external stiffness leads to a signal transduction cascade that activates the small GTPase Rho and Rho-associated kinase (ROCK). ROCK, in turn, controls myosin light chain phosphorylation, an event that triggers myosin ATPase activity and the shortening of actin fibers, causing contraction and pulling on the ECM. Though the precise pathway that connects ECM stiffness to ROCK activity is unknown, the observation of increased traction in response to increased ECM stiffness is sufficient to explain the phenomenon of durotaxis. The stronger mechanical feedback would pull the cell towards the stiffer region and cause a bias in directional movement and have other consequences on cytoskeletal and focal adhesion organization.

Consequently, durotaxis must rely on continuous sampling of ECM stiffness over space and time in a process called rigidity mechanosensing. Recent research has revealed that individual focal adhesions do not necessarily exert stable traction forces in response to unchanging ECM stiffness. In fact, while some individual focal adhesions may display stable traction forces, others exhibit tugging traction in the manner of a repeated cycle of tugging and release. The properties of focal adhesions - whether stable or tugging - are independent of their neighbors and as such, each focal adhesion acts autonomously. This tugging traction has been shown to be dispensable to other forms of cell migration, such as chemotaxis and haptotaxis, but required for durotaxis. The focal adhesion proteins (FAK/paxillin/vinculin) - and their phosphorylation-dependent interactions as well as their asymmetrical distribution within the cell (i.e. YAP activation and nuclear translocation via stiffness activated pFAK) - are required in order to exhibit high traction and tugging traction across a wide range of ECM rigidities. Furthermore, a reduction in focal adhesion tension by transferring cells to softer ECM or by inhibiting ROCK results in focal adhesion switching from stable to tugging states. Thus, rigidity mechanosensing allows a cell to sample matrix stiffness at the resolution of focal adhesion spacing within a cell (≈1-5μm).

The integration of biochemical and mechanical cues may allow fine-tuning of cell migration. However, the physiological reasoning behind durotaxis—and specifically the tendency of cells to migrate up rigidity gradients—is unknown.

Measuring traction
The most prevalent and accurate modern method for measuring the traction forces that cells exert on the substrate relies on traction force microscopy (TFM). The principle behind this method is to measure deformation in the substrate by calculating 2-dimensional displacement of fluorescent beads that are embedded in the matrix. High-resolution TFM allows the analysis of traction forces at much smaller structures, such as focal adhesions, at a spatial resolution of ≈1 μm.

Clinical significance
The role of durotaxis under physiological conditions remains unknown. It may serve a purpose in fine-tuning the movement response of a cell to extracellular biochemical cues, though the relative contribution of durotaxis in a physiological environment where a cell is subject to other taxes (e.g. chemotaxis) is unknown, and may in fact prove to be wholly dispensable for cell migration in vivo. The phenomenon might also have a role in several disease states that include the stiffening of tissues, as outlined below.

Cancer
It is a common observation that tumors are stiffer than the surrounding tissue, and even serves as the basis for breast cancer self-examination. In fact, breast cancer tissue has been reported to be as much as ten times stiffer than normal tissue. Furthermore, a growing and metastasizing tumor involves the cooperation of many different cell types, like fibroblasts and endothelial cells, that possess different rigidities and could result in local stiffness gradients that guide cell migration. There is increasing evidence that durotaxis plays a role in cancer metastasis. Experiments in mice have demonstrated that tumor cells preferentially invade into the adjacent stroma along stiff collagen fibers. These stiff collagen alignments can be used to identify focal sites of breast tumor cell microinvasion. Pregnancy, which has various links to breast cancer incidence and prognosis, involves postpartum breast involution that relies on collagen remodeling and inflammation that converts these collagen fibers into stiffer counterparts, thus establishing a potential link between pregnancy and metastatic properties. Though some research shows that stiffer tumors are indicative of increased metastasis and decreased survival (which contradicts the concept that durotactic cells should be more attracted to the tumor and metastasize less), this is not counter intuitive because collagen-dependent integrin signaling has a wide range of consequences beyond durotaxis, including inhibition of the tumor suppressor PTEN via upregulation of the miRNA miR-18a. Moreover, there is evidence that increased tumor stiffness does in fact correlate with decreased metastasis, as the principle of durotaxis would suggest.

Liver fibrosis
Fibrosis of the liver is the accumulation of ECM proteins, such as collagen, that occurs in many chronic liver diseases. Increased liver stiffness (of existing collagen) has actually been shown to precede fibrosis and to be required for the activation of fibrogenic myofibroblasts. Fibroblasts move towards the stiffer tissue via durotaxis, and upon reaching it, will differentiate into fibrogenic myofibroblasts. This vicious positive feedback loop of durotaxis-dependent fibrosis could potentially be a therapeutic target for the prevention of liver fibrosis.

Atherosclerosis
The pathology of atherosclerosis is largely dependent on the migration of vascular smooth muscle cells (VSMCs) into the tunica intima layer of the blood vessel, where they can accumulate lipids, undergo necrosis, and elaborate the ECM (fibrosis). The migration of these cells has also been demonstrated to be rigidity-dependent, and matrix stiffness further affects their proliferation in response to growth factors.

Mathematical models
Several mathematical models have been used to describe durotaxis, including:
 * One 2-dimensional model based on the Langevin equation, modified to include the local mechanical properties of the matrix.
 * One model based on the description of durotaxis as an elastic stability phenomenon where the cytoskeleton is modeled as a planar system of prestressed elastic line elements that represent actin stress fibers.
 * A model where stiffen mediated persistence has the form of Fokker-Planck equation.
 * A model where stiffen mediated persistence affect durotaxis.

title: Durotaxis


text:
Fenway–Kenmore

Fenway–Kenmore is an officially recognized neighborhood of Boston, Massachusetts. It is considered one neighborhood for administrative purposes, but it is composed of numerous distinct sections (East Fenway, West Fenway, Audubon Circle, Kenmore Square) that are almost always referred to as "Fenway", "the Fenway", "Kenmore Square", or "Kenmore". Furthermore, the Fenway neighborhood is divided into two sub-neighborhoods commonly referred to as East Fenway/Symphony and West Fenway.

Fenway is named after the Fenway, the main thoroughfare laid out by Frederick Law Olmsted. Fenway–Kenmore's population was 40,898 as of the 2010 Boston Redevelopment Authority Census, while its land area was defined to be 1.24 sqmi.

Location
On the east, Fenway–Kenmore is separated from the Back Bay neighborhood by Charlesgate West, the Massachusetts Turnpike, Dalton Avenue and Belvidere Street. The South End is across Huntington Avenue near The First Church of Christ, Scientist headquarters, a major tourist attraction. East Fenway (generally south of the Massachusetts Turnpike) is separated from West Fenway by the Muddy River, which flows through the Back Bay Fens and into the Charles River north of Kenmore.

The Longwood Medical Area is sometimes included as a part of Fenway, and is located across the Back Bay Fens from the West Fenway area. To the south of the neighborhood is the Mission Hill area, which is sometimes considered to be part of Roxbury, which continues as the border extends along Ward, Parker, and Ruggles Streets, and the Southwest Corridor. The Kenmore neighborhood is located north and west of Fenway, roughly separated by the Massachusetts Turnpike. Kenmore includes the part of Boston University campus east of the Boston University Bridge, where it meets the Allston neighborhood, although due to the size of the university, it is sometimes considered to be its own neighborhood. Southwest of the Boston University campus and west of the Longwood Medical Area is the town of Brookline.

Throughout the neighborhood are brownstone townhouses, brick walk-ups, and five- to six-story apartment buildings, typically constructed between 1880 and 1930. Small, independently-owned shops are scattered throughout. Major commercial developments are in Kenmore Square and along Brookline Avenue, Beacon Street, Boylston Street, and Huntington Avenue. The baseball stadium Fenway Park is located immediately south of the Turnpike from Kenmore Square. Parts of Boston University, Northeastern University, the Berklee College of Music, and the Boston Conservatory of Music are located in Fenway–Kenmore, and many students reside in the neighborhood. Over the last 20 years almost every residential building in Kenmore has been purchased by Boston University and turned into dorms, especially in the Audubon Circle area between Beacon Street and Commonwealth Avenue.

History
The Fenway–Kenmore area was formed by land annexed from neighboring Brookline in the 1870s as part of the Brookline-Boston annexation debate of 1873 as well as from land filled in conjunction with the creation of landscape architect Frederick Law Olmsted parks in the 1890s. When planned, it was thought that the buildings built upon the Fenway parkway would house high-wealth residents and that the whole area would be a high-class neighborhood. As property values rose, however, it was educational institutions that sprung up along the Fenway's route. By 1907, there were twenty-two educationally focused organizations, including nine college and universities which had made their homes on the Fenway. Residential buildings that were built needed their frontages to be approved by the Park Board so that a "poor looking building [did not] depreciate the value of the whole neighborhood". Additionally, the Board had discretion on whether it felt a proposed building was suitable for frontage along the park and parkway. The hope of these building restrictions was that there would be an improvement in the look of the Fenway compared to neighboring streets. In the last few years, development in Fenway has picked up, particularly from developer Samuels and Associates. Recent developments include the renovation of the Landmark Center; the 2003 addition of Hotel Commonwealth on the site of the Rathskeller bar; and the 576-unit, 17-floor Trilogy apartment building on Brookline Avenue and Boylston Street. 1330 Boylston, a second high-rise apartment building, was completed in 2008 and contains 210 apartments, 85000 sqft of office space contained within 10 floors and the new home of Fenway Health.

Planned developments include a 24-story mixed use development at the confluence of Boylston Street and Brookline Avenue, likely including retail, dining, and luxury hotel/apartments. Other plans include the renovation of the Howard Johnson motel on Boylston Street, to be rehabbed as an upscale hotel. Additionally, developer John Rosenthal is planning to build a complex named One Kenmore over the Mass Pike alongside the Beacon Street Bridge, comprising 525 units in one 17 floor tower and one 20 floor tower. Concerning infrastructure, in 2007 the MBTA renovated the Fenway Green Line stop and in 2014 renovated the nearby Yawkey commuter rail station. Finally, the Museum of Fine Arts, Boston recently completed a $425 million expansion, and the Isabella Stewart Gardner Museum completed construction of a second building.

Street names
West Fenway features streets named after Scottish cities and towns present in Robert Burns' literary works; Peterborough, Kilmarnock, Queensberry. This was a result of influence by the (Robert) Burns Memorial Association of Boston influencing the city of Boston when a decision was made to simplify the original neighborhood plan by Frederick Law Olmsted's office. As originally planned in 1894, the street naming system was to continue the system originating in the Back Bay of naming streets in alphabetical order. Where the Back Bay proper ends at Hereford Street, the Fenway was to continue Ipswich, Jersey, Kenyon (Kilmarnock), Lansdowne, Mornington, Nottingham, Onslow, Peterborough, Queensberry, Roseberry, Salisbury, Thurlow, Uxbridge, Vivian, Westmeath (Wellesley), (with X omitted), York, and Zetland.

The parkways surrounding the Back Bay Fens, Fenway and Park Drive, are named after various parks which are part of the Emerald Necklace park system. Other streets in Fenway are named after institutions or civic minded patrons within the neighborhood: Palace Road (formerly Worthington Street), Forsyth Way (formerly Rogers Avenue), Evans Way, Forsyth Street, Hemenway Street (formerly Parker Avenue), Agassiz Road (named after Ida Agassiz), Higginson Circle (named after the founder of the Boston Symphony Orchestra), Evans Way (named after the donor of the Evans Wing at the Museum of Fine Arts), Tetlow Street (named after the headmaster of Girls Latin School at its former location), Symphony Road (formerly Batavia Road), St. Stephens Street (St. Stephen's Church became St. Ann's, which is now known as Northeastern University's Fenway Center), Opera Place (the Boston Opera House was demolished in 1958), and Speare Place (formerly a continuation of St. Stephens Street which itself was formerly Falmouth Street).

Demographics
According to the census of 2000 and the City of Boston, there were 36,191 people, 12,872 households, and 5,428 families residing in the neighborhood. The population density was 29,186.3 people per square mile (11,268.9/km²). Of the neighborhood's housing structures, 1% were single-family dwellings while 15% had 3–9 units, 16% had 10–19 units, 41% had 20–49 units, and 27% had 50 or more units; there were 13,229 units in total. 91% percent of units were occupied by tenants while 9% were owner-occupied. The average household size was 1.69 people, while the average family size was 2.61 and non-family 1.51.

The racial makeup of the neighborhood was 71% White, 7% Black or African American, 14% Asian, 4% from other races, and 3% from two or more races. Hispanic or Latino of any race were 8% of the population. 21.3% of the population was foreign born.

The neighborhood population consisted of 4% under the age of 18, 63% from 18 to 24, 23% from 25 to 44, 6% from 45 to 64, and 5% who were 65 years of age or older. The median income for a household in the neighborhood was $25,356. 37.3% of the population was below the poverty line, while the unemployment rate was 11.4%.

East Fenway has a large student population due to its proximity to area colleges and universities, while West Fenway, formerly known as a student haven, has seen rising interest from young professionals and families. The Kenmore Square area is mainly commercial with many residential units now owned by Boston University and used as on-campus housing for students.

Ancestry
According to the 2012–2016 American Community Survey 5-Year Estimates, the largest ancestry groups in ZIP Codes 02115 and 02215 are:

Establishments
It is the home of Fenway Park, the famous Boston Citgo sign, Kenmore Square, The Art Institute of Boston, The Forsyth Institute, Massachusetts College of Pharmacy and Health Sciences, Northeastern University, the New England Conservatory, portions of Boston University (including the Myles Standish Residence Hall), portions of the Harvard Medical School, Harvard School of Dental Medicine, Harvard T.H. Chan School of Public Health, Berklee College of Music, The Boston Conservatory, Massachusetts College of Art, Wentworth Institute of Technology, Simmons College, Wheelock College, Emmanuel College, New England School of Photography, Holy Trinity Orthodox Cathedral, the Isabella Stewart Gardner Museum and the Museum of Fine Arts, Boston.

Transportation
The neighborhood is ringed by the MBTA Orange Line Ruggles subway station and the following MBTA Green Line light rail stops:
 * Kenmore – B, C, D
 * Fenway – D
 * St. Mary's Street – C
 * Symphony – E
 * Northeastern University – E
 * Museum of Fine Arts – E

Lansdowne station on the Framingham/Worcester Line of the MBTA Commuter Rail is located near Fenway Park and Kenmore Square and is served by all trains on the line. Fenway–Kenmore is also served by a number of MBTA buses connecting it to the city proper and the surrounding neighborhoods and communities.

As for roadways, Fenway and Park Drive circulate around the Fens. Boylston Street is a major east–west route, as are Beacon Street (MA 2) and Commonwealth Avenue (U.S. 20), which intersect at Kenmore Square. Brookline Avenue begins in Kenmore Square at this intersection and proceeds southwest. Huntington Avenue (MA 9) is on the southern border, while Massachusetts Avenue forms the eastern border, and is a major north–south route. Although the Massachusetts Turnpike cuts through the neighborhood, there are no access points to it except westbound only at Massachusetts Avenue and Newbury Street.

title: Fenway–Kenmore


text:
Gewisse

The Gewisse (Geuissæ) were a tribe or ruling clan of the Anglo-Saxons. Their first location, mentioned in early medieval sources was the upper Thames region, around Dorchester on Thames. However, some scholars suggest that the Gewisse had origins among the ancient Britons at Cair-Caratauc (Old Sarum) in Wiltshire. According to Saxon folklore, the Gewisse were the founders of the kingdom of Wessex.

Etymology
The name was first documented as Gewissorum in the eighth century as an ethnonym of the West Saxons. Its origin is uncertain. The Old English adjective ġewisse means "reliable" or "sure", and its corresponding noun means "certainty". Eilert Ekwall proposed that the similarity in toponymy between the kingdoms of the Gewisse and Hwicce suggests a common origin, and an analysis by Richard Coates concluded that Hwicce was of Brittonic origin.

Several linguists believe that the word is not the result of natural linguistic development, but may have been adopted as ethno-political propaganda.

"The seventh and eighth centuries indeed saw a pseudo-historical reconstruction of the origins of the English kingdoms. This process of reconstruction culminated in Bede's Ecclesiastical History, but it began before that. It can be seen in the changing nomenclature of the Anglo-Saxons. At its most influential level it can be seen in the growing significance of the term Angli over Saxones, occasioned apparently by Gregory the Great's support of the former term. Arguably more instructive is the evidence supplied by Bede for the renaming of the group known as the Gewisse as West Saxons. It is unfortunate that the etymology of Gewisse is unclear, but it is at least possible that the origins of the word are British, in which case King Ine, successor to Cadwalla, an Anglo-Saxon king with a British name, may deliberately have been rejecting any hint of British tradition among his people. What is clear, whatever the origin of the name Gewisse, is that the followers of Ine were now ostentatiously being identified as Saxon--a point which is of a piece with the evidence for a streamlining of Anglo-Saxon history and, therefore, of Anglo-Saxon identity in the seventh century."

The Anglo-Saxon Chronicle presents an eponymous ancestor figure, named Giwis, which is an example of non-historical founding myths.

The Winchester (or Parker) Chronicle has "...Cynric, son of Cerdic, son of Elesa, son of Gewis, son of Wig, son of Freawine, son of Frithugar, son of Brand, son of Beldeg, son of Woden, son of Finn, son of Godwulf, son of Geats..." listed as descent from Cerdic of Wessex. This manuscript does not present Gewis as eponymous, but in the Parker Manuscript's current state, is reconstructed from both apparently missing pages of the work, as well as a later fire, long after the manuscript had been recorded and disseminated. According to the Stanford Library, the Provenance of the manuscript is as follows [16]: "'Volume I: It was in the Library of Christ Church, Canterbury, no. 311 in Prior Eastry's Catalogue (Ancient Libraries, pp. xxvi, 509). The first leaf with press-mark etc. has disappeared since Parker's time. The first remaining page is numbered 3 by Parker.. It appears to have been written at Winchester down to the year 1001, and thereafter at Christ Church, Canterbury. Professor Earle suggested that it was transferred from Winchester to Canterbury when the monks at the latter place were endeavouring to repair the losses in their library caused by the fire of 1067 (Plummer, p. xxv note). Another possibility (New Pal. Soc.) is that Ælfheah, bishop of Winchester, may have brought it with him when he became archbishop in 1006. At the Dissolution the volume came into the hands of Dr Nicholas Wotton the first Dean of Canterbury, who gave it to Parker.]"

History
Evidence of Germanic settlements appearing around Abingdon and Dorchester on Thames in the 6th and 7th centuries has been used to make assumptions about the origins of the Ġewisse, presuming them to be Germanic mercenaries that may have been settled in the region after the end of the Roman occupation to protect a border region between Britons. Another theory holds that the name of the tribe and its founding house is Brittonic and that they originated from the area that would become Old Sarum.

The early Saxon myths say that the Gewisse captured Searobyrig (Old Sarum) in AD 552 and Beranbyrig (Barbury Castle) from the Britons in 556. Birinus converted the Gewisse to Christianity in AD 636 by baptising their king Cynegils and establishing the Diocese of Dorchester. The Gewisse killed the three sons of Sæbert of Essex in about 620, defeated the Britons at the Battle of Peonnum in 660 and by 676 had sufficient control over what is now Hampshire to establish a see at Winchester.

The conquests by the royal house of Gewisse in the 7th and 8th centuries led to the establishment of the Kingdom of Wessex, and Bede treated the two names as interchangeable. It was only during the reign of Cædwalla (685/6 – 688) that the title "king of the Saxons" began to replace "king of the Gewisse". Barbara Yorke has suggested that it was Cædwalla's conquest of the Jutish province and the South Saxons that led to the need for a new title to distinguish the expanded realm from its predecessor. However, as there are no surviving documents to indicate how these people described themselves, the most that can be said is that by the time Bede was writing (early 8th century), the phrase "West Saxons" had come into use by scholars.

title: Gewisse


text:
Talk:Art school

Wiki Education Foundation-supported course assignment
This article was the subject of a Wiki Education Foundation-supported course assignment, between 22 January 2019 and 8 May 2019. Further details are available on the course page. Student editor(s): SeraCordero.

Above undated message substituted from Template:Dashboard.wikiedu.org assignment by PrimeBOT (talk) 14:46, 16 January 2022 (UTC)

 * This article needs a complete re-write RHPB2019 (talk) 15:05, 31 August 2022 (UTC)

"Art School Culture"
This is a pretty poor section. What's its purpose? There's really no actual content concerned with "art school culture". It reads like a defensive response to something that's no longer there. numerous issues i.e. undefined "contemporary stereotype", use of "authentic" without defining why some degrees wouldn't be authentic, references only NASAD, US art school board, hence subtle implication that only art schools under this body grant "authentic" degrees, et cetera et cetera. Needs a serious overhaul. Rfrfro (talk) 16:25, 29 March 2013 (UTC)

Self-Promotion (undated and unsigned, pre-October 2012)
This article is filled with blatant self promotion by art schools themselves. It needs a major edit.

Design School seperation
Design or 'D' Schools should be seperated and not redirected to Art schools. Art and design are hardly the same thing. As user:Eastjame suggests below graphic design, industrial design, landscape design, digital design AND ALSO product design, interior space design should be under their own page as in many colleges they are not liberal arts degrees but science degrees. —Preceding unsigned comment added by 70.116.147.245 (talk) 02:38, 22 February 2011 (UTC)

 * I agree
 * But in some cases they are in the same institution.
 * I still think there should be both or 3 pages.
 * A good compare/contrast is the page: University 2A0A:EF40:91C:2801:3AC0:FFD4:2029:9517 (talk) 18:59, 4 June 2024 (UTC)

Stuff
I don't understand what the purpose of this article is. The text merely duplicates the definition on the Category article, and short of writing a history of art schools or something of that sort, it doesn't seem like there's really much more to say about them that their individual articles don't explain. Also the list of "notable" schools seems like a subjectively selective version of the complete list of schools in the Category. Tverbeek 01:28, 21 Oct 2004 (UTC)

 * The above comment doesn't seem needed. I don't see the relevance of the above comment and I wish for it to be erased from wikipedia. (If you didn't notice I was making an example of what you are actually doing right now.)

 * We have, OUTISDE of the U.K. over 100 "art" schools in that category. A definition of that category is very helpful if/when arguments arise. -- Fplay 05:26, 21 December 2005 (UTC)

 * Your parody of my statement (if that's what you were trying to do) is both off-base and out of date. My original comment was written when this article and the Category article simply duplicated the same information; this is no longer the case, which is probably why you're so confused. Tverbeek 13:02, 21 December 2005 (UTC)

 * This article is in bad need of repair. It has been used by specific private schools for self promotion rather than intellectual understanding of what an art school is. I have made some changes but an Art Historian would be able to provide factual content. —Preceding unsigned comment added by Matt1977a (talk • contribs) 15:55, 1 May 2008 (UTC)

why does typing in 'design school' bring me to this page? design school - i.e graphic design, industrial design, landscape design, digital design....? —Preceding unsigned comment added by Eastjame (talk • contribs) 10:33, 26 May 2009 (UTC)

Because many art and design schools are being merged, so a search for one will bring you to the other. Seazzy (talk) 21:07, 31 May 2015 (UTC)

External link submission (undated and unsigned pre-October 2012)
I would like to submit the following discussion for consideration as an External Link to this article: http://www.zipser.nl/2006/10/is-art-school-worthless.html Herein I compare art school modes of teaching to that used in science. I do not add this link myself in consideration of the Wikipedia neutrality policy. Thanks, Karl Zipser, Ph.D.

What about elementary art schools?
This page says "whether secondary, post-secondary/undergraduate, or graduate/postgraduate". However, shouldn't something be said about elementary art schools, such as Claude Watson School for the Arts (which begins at grade 4)? Esn (talk) 06:43, 1 May 2008 (UTC)

Where're My Art Schools On This Page?
I'm anonymous, an art school graduate twice over, and here to promote the value of my academic degrees by touting the importance and exclusivity of my art schools. Why can't this Wikipedia help me do that? I haven't defaced any pages by writing "poopee head," but that's how I feel when this page doesn't mention my art schools! They're good ones, I tell you, really good. And exclusive, too. —Preceding unsigned comment added by 70.23.99.187 (talk) 13:59, 14 May 2008 (UTC)

Art school culture
I got sick of perpetuating the stereotypes and rewrote the section. Also, I think it should be further down. If anyone can name a "bohemian" art school of the type alluded to previously, I'd be interested to hear about it. ----Sue Maberry (talk) 17:55, 28 September 2008 (UTC)

Art school book
Here is an early book on Art studies, Hennecke's Art Studies, 1889. CedarL Tim (talk) 05:35, 11 October 2010 (UTC)

Blow it up
This article may be a candidate for "blow it up and start over". It is a collection of vague generalities about arts education and spammy sections about art schools in individual countries. Category:Art schools and its various sub-categories can contain the useful links to actual art schools, listed by country, etc.

Certainly, the general description of an art school, and sourced descriptions of how arts education vary from place to place are useful, but the article as it stands is not. WikiDan61 ChatMe!ReadMe!! 16:10, 1 July 2013 (UTC)

 * Agreed RHPB2019 (talk) 15:06, 31 August 2022 (UTC)

This article used to have all sorts of weird stereotypes from the movie Art School Confidential. --Sue Maberry (talk) 22:50, 2 July 2013 (UTC)

Australian art schools
I have added some history and expanded the list of Australian art schools. I am also declaring my interest here:

Uberlibris (talk) 02:34, 31 May 2019 (UTC)

British art schools
I think this article lacks a section on the grave importance of British art schools and their easier access especially during the 1960s and 1970s for the creative explosion of British art and its global importance after 1945, namely in areas such as music (British Invasion, Canterbury Scene, later Britpop, etc.), painting, photography, and cinema. Quite a lot of Swinging London and the British counterculture wouldn't have been possible without the British art schools of the time. --2003:EF:1709:2918:E427:BC60:CA13:BC5F (talk) 08:07, 19 August 2021 (UTC)

 * Yes this is still a problem. I don't see a section about arts schools education globally, only 'notable schools' which is a different thing.
 * Musicians out of art schools deserve a mention.
 * Also eg between Italy and UK - there are different focuses on design, arts, technical, engineering, graphic design traditions, and new media such as gaming industry. German history is interesting
 * I'm not sure how this compares globally as much more aware of European tradition and variations.
 * There should be more discussion of how practical arts are in a separate domain to 'academic' universities (or not)
 * And practical Vs theoretical arts study, other disciplines and crafts and industries..(eg journalism - photojournalism, fashion journalism) In the UK the move from arts education being technical to 'universities' meant every F/T course teaching Cultural studies & histories of the disciplines as academic subjects, alongside practical lessons.
 * And how making universities in the c. 90s and 00s led to prior arts colleges joining together to make a 'university'
 * How these institutions offer or don't offer short courses, classes etc
 * In the UK lots of arts education is via further education institutions.
 * History of art
 * Figure drawing
 * Color theory
 * City and Guilds of London Institute - see history - Guild
 * Design process - incPrototype, Mood board, Internship, Presentation
 * Group crit
 * Dyslexic thinking + Visual thinking
 * some disciplines & departments in the UK within many art schools :
 * Fine art, Sculpture, Photography, Time-based media, Contemporary art, Conceptual art, Computer animation, Fashion design, Architect, Film
 * Compare/contrast with Music school or Drama school and University & Further education.
 * A-level mathematics 2A0A:EF40:91C:2801:3AC0:FFD4:2029:9517 (talk) 18:51, 4 June 2024 (UTC)

Wiki Education assignment: Composition II
— Assignment last updated by 5natalie1 (talk) 13:53, 2 May 2023 (UTC)

Hi
You have to have social contact with someone and have fun together 75.245.149.229 (talk) 00:07, 3 November 2023 (UTC)

China
a couple of links for info

https://www.sfaq.us/2014/10/the-state-of-chinese-art-education-and-contemporary-chinese-art/

Artsy https://www.artsy.net › article › art... The Grueling, Hyper-Competitive Exams That Decide the Futures of Chinese Art Students

If you do more research, " Double Reduction Policy " may come up, a government edict about education. e 2A0A:EF40:91C:2801:3AC0:FFD4:2029:9517 (talk) 18:18, 4 June 2024 (UTC)

Art school history, Bauhaus & more
see Bauhaus#See also 2A0A:EF40:91C:2801:3AC0:FFD4:2029:9517 (talk) 19:34, 4 June 2024 (UTC)

title: Talk:Art school


text:
Merovingian (disambiguation)

Merovingian may refer to:

 * Merovingian dynasty, family of Frankish kings who ruled an area of modern France and Germany from the 5th to 8th century AD
 * Merovingian art and architecture
 * Merovingian script

 * Merovingian (The Matrix), a character in the films The Matrix Reloaded and The Matrix Revolutions
 * Merovingian Music, a non-genre specific record label based out of Red Bank, New Jersey
 * The Merowingians (novel), a 1962 novel by Heimito von Doderer

title: Merovingian (disambiguation)


text: Template:ERC Presidents

title: Template:ERC Presidents


text:
Schubert Thematic Catalogue

Schubert: Thematic Catalogue of all his Works in Chronological Order, also known as the Deutsch catalogue, is a numbered list of all compositions by Franz Schubert compiled by Otto Erich Deutsch. Since its first publication in 1951, Deutsch (abbreviated as D or D.) numbers are used for the unique identification of Schubert's compositions.

1951 edition
The Deutsch catalogue was first published in London in 1951 by J. M. Dent & Sons, as Schubert: Thematic Catalogue of all his Works in Chronological Order, compiled by O. E. Deutsch, in collaboration with Donald R. Wakeling.

1978 edition: NSE VIII/4
In 1978, as part VIII Supplement / Volume 4 of the New Schubert Edition (NSE), an updated version of the catalogue was published in German.

A few compositions that had been undated in the first edition received a new number (usually followed by a letter), e.g. D u was renumbered to D u.

Later versions
The original 1951 edition (in English) was re-issued several times, for instance in the United States by W. W. Norton. The 1978 version, published by Bärenreiter, had a double objective: it was not only a list of Schubert's works as such, it was also the compendium of all scores published by that publisher in the New Schubert Edition.

New versions in English
In 1995 Dover Publications republished the 1951 edition, with updates derived from scholarship that had been published since 1951.

New versions in German
From 1983 compact versions of the catalogue appeared, edited by Werner Aderhold and others.

Changes to the numbering of Schubert's works were minor in these later editions.

title: Schubert Thematic Catalogue


text:
Shōzō Iizuka

Shōzō Iizuka (飯塚 昭三) was a Japanese actor, voice actor and narrator from Fukushima Prefecture. He graduated from the fine arts department of Nihon University.

He is most known for the roles of Hakaider (Android Kikaider), Doctor Neo Cortex (Crash Bandicoot series), 38 out of 50 Vader Monsters (Denshi Sentai Denjiman), Ryu Jose (Mobile Suit Gundam), Heart (Fist of the North Star), Happosai Ueda (Nintama Rantarou), Nappa (Dragon Ball Z) and Sergeant Bosco Albert "B.A." Baracus (Japanese dub of The A-Team). He played major villain roles in the first eight Metal Hero Series.

Death
Iizuka died from acute heart failure at the age of 89 on February 15, 2023.

Television animation

 * 1965
 * Astro Boy
 * Gigantor
 * Wolf Boy Ken
 * 1970
 * Tomorrow's Joe (Tiger Ozaki, Gerira, others)
 * 1975
 * Brave Raideen (Kyoretsu Gekido)
 * 1977
 * Voltes V (Jangal)
 * 1978
 * Daimos (Balbas, Isamu Ryūzaki)
 * 1979
 * Mobile Suit Gundam (Ryu Jose)
 * 1980
 * Space Emperor God Sigma (Shiwai Ritsu)
 * 1981
 * Urusei Yatsura (Daimajin)
 * 1982
 * Rainbowman (Dongoros)
 * Space Adventure Cobra (Dan Brad)
 * 1983
 * Fushigi no Kuni no Alice (Humpty Dumpty)
 * 1984
 * Fist of the North Star (Heart, Fudou of the Mountain)
 * Sherlock Hound (Inspector Lestrade)
 * 1986
 * Dragon Ball (Android #8)
 * 1987
 * Metal Armor Dragonar (Chephov, Dorchenov)
 * 1988
 * Sakigake!! Otokojuku (Raiden)
 * 1989
 * Dragon Ball Z (Nappa, Android #8)
 * Idol Densetsu Eriko (Kōsuke Tamura)
 * 1990
 * Brave Exkaiser (Dinogeist)
 * NG Knight Lamune & 40 (Don Harumage)
 * 1991
 * Future GPX Cyber Formula (Tetsuichirō Kurumada)
 * 1992
 * Tekkaman Blade (Honda)
 * 1993
 * Ghost Sweeper Mikami (Santa Claus, Gondawara)
 * Nintama Rantarō (Happosai Ueda)
 * YuYu Hakusho (Enki)
 * 1994
 * Tekkaman Blade II (Honda)
 * 1995
 * Street Fighter II V (Dhalsim)
 * 1996
 * Detective Conan (Tatsuji Kuroiwa)
 * Rurouni Kenshin (Hyottoko)
 * 1997
 * Kindaichi Case Files (Shūichirō Midō)
 * 1998
 * Lost Universe (Jill Il)
 * Yu-Gi-Oh! (Toei) (Kujirada, Dark Master Zorc)
 * 1999
 * Pokémon (Tadokoro)
 * 2002
 * Monkey Typhoon (Gantz)
 * 2003
 * Ashita no Nadja (Head pirate)
 * Planetes (Goro Hoshino)
 * 2004
 * Monster (Tomāshu Zoback)
 * Paranoia Agent (Keiichi Ikari)
 * Pokémon Advanced Generation (Aoba, Genji)
 * Samurai Champloo (Zuikō)
 * 2005
 * Black Jack (Doctor Asakusa)
 * Gun X Sword (Tony)
 * 2006
 * Black Jack 21 (Dr. Kuma)
 * Ōban Star-Racers (Kross)
 * Utawarerumono (Genjimaru)
 * Yomigaeru Sora - Rescue Wings (Motomura)
 * 2007
 * Deltora Quest (Soldeen)
 * Devil May Cry (Pleshio)
 * Shugo Chara! (Gozen)
 * Doraemon (Mokke)
 * 2008
 * One Outs (Yuuzaburou Mihara)
 * Soul Eater (Alcapone)
 * Stitch! (Dr. Jumba Jookiba)
 * 2009
 * Bleach (Baraggan Luisenbarn)
 * Fullmetal Alchemist: Brotherhood (Dominic)
 * Stitch! ~Itazura Alien no Daibōken~ (Jumba)
 * 2010
 * Stitch! ~Zutto Saikō no Tomodachi~ (Jumba)
 * 2012
 * K (Daikaku Kokujōji)
 * 2013
 * Hajime no Ippo: Rising (Kamogawa Genji)
 * 2014
 * Sword Art Online II (Thrym)
 * 2015
 * K: Return of Kings (Daikaku Kokujōji)
 * Yo-kai Watch ("Komasan's exploration team" narrator)
 * 2017
 * Little Witch Academia (Fafnir (ep. 5))
 * Onihei (Hikojū)
 * Time Bokan 24 (Leonardo da Vinci (ep. 24))
 * 2018
 * Puzzle & Dragons X (Teradoragon (ep. 89))
 * The Seven Deadly Sins: Revival of The Commandments (Demon King (ep. 21))
 * 2019
 * Carole & Tuesday (Fire Brothers)
 * 2020
 * White Cat Project: Zero Chronicle (Bal)

Original video animation (OVA)

 * Future GPX Cyber Formula OVAs (Tetsuichirou Kurumada)
 * Getter Robo Armageddon (Benkei Kurama)
 * Giant Robo (Tetsugyu)
 * Legend of the Galactic Heroes (Hans Dietrich von Seeckt)
 * Mobile Suit Gundam MS IGLOO (Martin Prochnow)
 * Yotoden (OAV) (Ongyo no Kiheiji)

Film animation

 * Memories Iwanofu
 * Royal Space Force: The Wings of Honneamise (Space Force Trainer)
 * Mystery of Mamo (1978) (Flinch)
 * Dragon Ball: Curse of the Blood Rubies (1986) (Pansy's Dad)
 * Dragon Ball Z: Lord Slug (1991) (Kakūja)
 * Street Fighter II: The Animated Movie (1994) (Thunder Hawk)
 * Dragon Ball: The Path to Power (1996) (Artificial Human #8 (8-chan))
 * Millennium Actress (2001) (Genya Tachibana)
 * Tokyo Godfathers (2003) (Ota)
 * Professor Layton and the Eternal Diva (2009) (Curtis O'Donnell)
 * Resident Evil: Damnation (2012) (Ivan Judanovich / Ataman)
 * Doraemon: New Nobita's Great Demon—Peko and the Exploration Party of Five (2014) (Daburanda)
 * Kingsglaive: Final Fantasy XV (2016) (Iedolas Aldercapt)

Video games

 * Bloody Roar Extreme (Ganesha / Golan Draphan)
 * Crash Bandicoot series (Dr. Neo Cortex (Brendan O'Brien, Clancy Brown, Lex Lang)) (Japanese dub)
 * Dragon Ball Z: Budokai series (Nappa)
 * Dragon Ball Z: Budokai Tenkaichi series (Nappa)
 * Final Fantasy XV (Iedolas Aldercapt)
 * Genji: Dawn of the Samurai (Fujiwara no Hidehira)
 * Genji: Days of the Blade (Fujiwara no Hidehira)
 * God of War III (Cronos (George Ball)) (Japanese dub)
 * Hokuto no Ken series (Mr. Heart)
 * Kingdom Hearts Birth by Sleep (Dr. Jumba Jookiba)
 * Klonoa Heroes: Densetsu no Star Medal (Pango)
 * Lego Batman 3: Beyond Gotham (Solomon Grundy (Fred Tatasciore)) (Japanese dub)
 * Mega Man 8 (Dr. Thomas Light)
 * Mega Man Battle & Chase (Guts Man, Doctor Light)
 * Mega Man Legends 2 (Bancoscus)
 * Metal Gear Solid 2: Sons of Liberty (Peter Stillman)
 * Metal Gear Solid 4: Guns of the Patriots (Ed, Psycho Mantis, Beast unit's voice)
 * Ninja Gaiden 2 (Dagra Dai)
 * Odin Sphere (Brigand, Belial)
 * Policenauts (Ed Brown)
 * Rogue Galaxy (Dorgengoa)
 * Saint of Braves Baan Gaan (Grandark)
 * Shining Force Neo (Graham)
 * Shinobido: Way of the Ninja (Kagetora Akame)
 * Sly 2: Band of Thieves (Jean Bison) (Japanese dub)
 * Street Fighter Alpha 3 (Thunder Hawk)
 * Super Adventure Rockman (Dr. Thomas Light)
 * Tales of Destiny (Grebaum)
 * Tales of Hearts (Zirconia)
 * The Space Sheriff Spirits (Don Horror, Psycho, Khubirai)
 * Utawarerumono (Genjimaru)

Tokusatsu

 * Himitsu Sentai Gorenger (1975-1977) - Crescent Moon Mask / Wing Mask / Horn Mask / Sword Mask / General Iron Mask Temujin / Fire Mountain Mask General Magman / Great General Golden Mask
 * J.A.K.Q. Dengekitai (1977) - Devil Killer / Devil Drill / Devil Mite / Devil Wrestler / Devil Wolf / Devil Mummy / Devil Ball / Aringam General / Captain Ghost / Mantis Tribal Chiefn / Cobra Shinto Priest / Shachira Sweat / Chameleon Ieader / Icarus King
 * Battle Fever J (1979-1980) - Satan Egos
 * Denshi Sentai Denjiman (1980-1981, majority of episodes ) - Musasabilar / Shabonlar / Chikagerilar / Tsutakazular / Higekitakolar / Umitsular / Firumular / Denwalar / Hambular / Taiyajikolar / Balar / Adobaloolar / Samelar / Deadbolar / Kaigalar / Gamalar / Hachidokular / Taimular / Kokelar / Hamigakilar / Medamalar / Rekolar / Kilar / Nazolar / Sabimushilar / Chōchinlar / Noranekolar / Kamakilar / Akumalar / Pikarilar / Jishinlar / Ninpolar / Onilar / Torikagolar / Botolar / Sakkalar / Karakurilar / Banriki Monster
 * Denshi Sentai Denjiman The Movie (1980) - Ankolar
 * Taiyo Sentai Sun Vulcan (1981-1982) - President Hell Satan
 * Dengeki Sentai Changeman (1985) - Jeeg / Savoo
 * Gokiraagin, Butarugin, Scarabgin, Goriwashigin (Voice : Yutaka Ohyama), Sasorinamazugin in Chikyu Sentai Fiveman
 * Kyōryū Sentai Zyuranger (1992) - Dora Goldhorn
 * Gekisou Sentai Carranger (1996) - PP Chiipuri
 * Seijuu Sentai Gingaman (1998) - Morgumorgu
 * Hyakujuu Sentai Gaoranger vs. Super Sentai (2001) - Rakuushaa
 * GoGo Sentai Boukenger: The Greatest Precious (2006) - Hyde Gene
 * Kamen Rider Black (1987-1988) - Gorgom High Priest Darom / Great Mutant Darom
 * Kamen Rider Black RX (1998-1989) - Naval Commander Bosgun
 * Kamen Rider J (1994) - Earth Spirit / Narrator
 * OOO, Den-O, All Riders: Let's Go Kamen Riders (2011) - High Priest Darom and King Dark
 * Wirepullers of Smart Brain in Kamen Rider 555: Paradise Lost (voice of Gorō Naya & Seizō Katō)
 * Space Sheriff Gavan (1982, eps. 1-10) - Don Horror
 * Space Sheriff Sharivan (1983-1984) - Demon King Psycho
 * Kamen Rider × Super Sentai × Space Sheriff: Super Hero Taisen Z (2013) - Demon King Psycho
 * Space Sheriff Shaider (1984-1985) - Lord Kublai
 * Kyojuu Tokusou Juspion (1985-1986) - Satan Ghos
 * Jikuu Senshi Spielban (1986-1987) - General Deathzero
 * Choujinki Metalder (1987-1988) - Battle Robot Army General Doranga
 * Sekai Ninja Sen Jiraiya (1988-1989) - Org Ninja Dokusai
 * Doctor Giba in Kidou Keiji Jiban (played by Leo Meneghetti)
 * Alien Toad (Leader), Alien Genoss in Spectreman
 * Avatar Demon King Debonoba (ep16 - 18) in Kaiketsu Lion-Maru
 * Alien Gorgon in Silver Mask
 * Kumondes in Suki! Suki!! Majo Sensei
 * Barom-1 (1972) - Majin Doruge
 * Android Kikaider (1972, eps. 36-43) - Hakaider
 * Kikaider 01 (1973) - Gilu Hakaider / Black Dragon
 * Inazuman (1973) - Emperor Banba / Flame Fighter
 * Alien Virenus in Fireman
 * Mr. Asumodi in Dengeki!! Strada 5
 * Garba, Sairen in Akumaizer 3
 * Seigi no Symbol Condorman (1975) - King Monster
 * Space Ironman Kyodain (1976) - Death Gutter
 * Ganbaron (1977) - Dowarugin
 * Big Sam (Actor : Sugiyama Thunder) in Message from Space
 * Machine Bem (majority of episodes ) in Spider-Man
 * Black Danger Demon King in Red Tiger
 * Kapetan in Batten Robomaru
 * Dinosaur Hachi in Robot 8 Chan
 * Golden Monsu in Seiun Kamen Machineman
 * Temple Mirror in Dokincho！ Nemurin
 * Legend Teru teru bōzu in Mysterious girl Nile Thutmose
 * Zodiac (Actor : Tenmei Basara) in Shichisei Tōshin Guyferd
 * Emperor Genbah in Voicelugger
 * Great King Mons Drake of the Planet (eps. 1 - 15) in Tensou Sentai Goseiger
 * M1 in Ultraman X
 * Alexander Icon in Kamen Rider 1

Live-action

 * Alien (1980 Fuji TV edition) – Parker (Yaphet Kotto)
 * The A-Team – Sgt. Bosco Albert "B.A." Baracus (Mr. T)
 * Batman (1995 TV Asahi edition) – Lieutenant Eckhardt (William Hootkins)
 * Bean – George Grierson (Harris Yulin)
 * The Big Brawl (Judge #2)
 * Bird on a Wire (1993 TV Asahi edition) – Raun (Alex Bruhanski)
 * Black Christmas (1982 Fuji TV edition) – John Graham (Leslie Carlson)
 * The 'Burbs (1992 TV Asahi edition) – Uncle Reuben Klopek (Brother Theodore)
 * Colors (1991 TV Asahi edition) – Leo "Frog" Lopez (Trinidad Silva)
 * The Cotton Club (1988 TBS edition) – Joe Flynn (John P. Ryan)
 * Dance with Me – John Burnett (Kris Kristofferson)
 * Demolition Man (1997 TV Asahi edition) – Associate Bob (Glenn Shadix)
 * The Departed – Arnold French (Ray Winstone))
 * The Exorcist (1980 TBS edition) – Pazuzu (Mercedes McCambridge)
 * Ghostbusters (1989 TV Asahi edition) – Police Commissioner (Norman Matlock)
 * Ghostbusters II (1992 Fuji TV edition) – Vigo (Max von Sydow)
 * Glory (1994 NTV edition) – Sergeant Major Mulcahy (John Finn)
 * The Gumball Rally (1980 TBS edition) – Steve Smith (Tim McIntire)
 * The Hudsucker Proxy – Waring Hudsucker (Charles Durning)
 * Hooper (1984 TV Asahi edition) – Roger Deal (Robert Klein)
 * Indiana Jones and the Last Crusade (1994 NTV edition) – Sallah (John Rhys-Davies)
 * Jacob's Ladder – Louis Denardo (Danny Aiello)
 * The Living Daylights (1993 TBS edition) – General Leonid Pushkin (John Rhys-Davies)
 * Magnum Force (1987 TV Asahi edition) – Pimp (Albert Popwell)
 * Master of the Flying Guillotine – Nai Man (Sham Chin-bo)
 * Me, Myself & Irene – Colonel Partington (Robert Forster)
 * Mississippi Burning (1992 TV Asahi edition) – Sheriff Ray Stuckey (Gailard Sartain)
 * Monty Python's Flying Circus – Terry Jones
 * The Mummy Returns – High Priest Imhotep (Arnold Vosloo)
 * The NeverEnding Story (Rockbiter (Alan Oppenheimer))
 * Only When I Laugh (1989 TV Asahi edition) – Jimmy Perrino (James Coco)
 * Piranha (1982 TBS edition) – Mr. Dumont (Paul Bartel)
 * Predator (1989 Fuji TV edition) – Billy (Sonny Landham)
 * Raise the Titanic (1982 Fuji TV edition) – Captain Andre Prevlov (Bo Brundin)
 * Raw Deal (1988 TBS edition) – Steven Hill (Martin Lamanski)
 * Revenge (1991 TV Asahi edition) – The Texan (James Gammon)
 * The Rocketeer – Eddie Valentine (Paul Sorvino)
 * Rocky III (1987 TBS edition) – Clubber Lang (Mr. T)
 * The Running Man (1989 Fuji TV edition) – Dynamo (Erland Van Lidth De Jeude)
 * Ted – Frank (Bill Smitrovich)
 * Ted 2 – Frank (Bill Smitrovich))
 * Three Days of the Condor (1980 TV Asahi edition) – Mailman (Hank Garrett)
 * Thunderbirds Are Go – The Hood
 * Thunderbird 6 – Black Phantom

Animation

 * Aladdin (Mud Sultan)
 * An American Tail (Moe)
 * Babes in Toyland (Goblin King)
 * Batman: Assault on Arkham (King Shark)
 * Batman: The Animated Series (Garth)
 * The Black Cauldron (The Horned King)
 * G.I. Joe: The Movie (Golobulus, Snow Job)
 * Lilo & Stitch franchise (Dr. Jumba Jookiba)
 * My Little Pony: Friendship Is Magic (Ahuizotl)
 * The Black Cauldron (The Horned King)
 * The New Adventures of Winnie the Pooh (Crud)
 * The Year Without a Santa Claus (Mayor)
 * Timon and Pumbaa (Uncle Boaris)
 * Treasure Planet (Billy Bones)

 * Up (Carl Fredricksen)
 * Carl's Date (Carl Fredricksen)
 * VeggieTales (Mr. Nezzer)
 * We're Back! A Dinosaur's Story (Woog)
 * X-Men (TV Tokyo edition) (Juggernaut)

Other

 * Tokyo Disneyland Cinderella Castle Mystery Tour (Voice of the Horned King)

Accolades

 * Merit Award at the Tokyo Anime Awards Festival 2022

title: Shōzō Iizuka


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User:Valette

Valette has a blog

Valette is an amateur photographer and has a photolog

Valette grew up in Homer, Alaska but currently resides in Fairbanks, Alaska

title: User:Valette