Radio is the transmission of signals through free space by modulation of electromagnetic waves with frequencies below those of visible light. Electromagnetic radiation travels by means of oscillating electromagnetic fields that pass through the air and the vacuum of space. Information is carried by systematically changing (modulating) some property of the radiated waves, such as amplitude, frequency, phase, or pulse width. When radio waves pass an electrical conductor, the oscillating fields induce an alternating current in the conductor. This can be detected and transformed into sound or other signals that carry information.

Etymology

The etymology of "radio" or "radiotelegraphy" reveals that it was called "wireless telegraphy", which was shortened to "wireless" in Britain. The prefix ''radio-'' in the sense of wireless transmission, was first recorded in the word ''radioconductor'', a description provided by the French physicist Édouard Branly in 1897. It is based on the verb ''to radiate'' (in Latin "radius" means "spoke of a wheel, beam of light, ray"). This word also appears in a 1907 article by Lee De Forest, it was adopted by the United States Navy in 1912, and became common by the time of the first commercial broadcasts in the United States in the 1920s. (The noun "broadcasting" itself came from an agricultural term, meaning "scattering seeds widely".) The term was then adopted by other languages in Europe and Asia. British Commonwealth countries continued to mainly use the term "wireless" until the mid-20th century, though the magazine of the BBC in the UK has been called Radio Times ever since it was first published in the early 1920s.

In recent years the term "wireless" has gained renewed popularity through the rapid growth of short-range computer networking, e.g., Wireless Local Area Network (WLAN), Wi-Fi, and Bluetooth, as well as mobile telephony, e.g., GSM and UMTS. Today, the term "radio" often refers to the actual transceiver device or chip, whereas "wireless" refers to the system and/or method used for radio communication; hence one talks about ''radio'' transceivers and ''Radio'' Frequency Identification (RFID), but about ''wireless'' devices and ''wireless'' sensor networks.

Processes

Radio systems used for communications will have the following elements. With more than 100 years of development, each process is implemented by a wide range of methods, specialized for different communications purposes.

Each system contains a transmitter. This consists of a source of electrical energy, producing alternating current of a desired frequency of oscillation. The transmitter contains a system to modulate (change) some property of the energy produced to impress a signal on it. This modulation might be as simple as turning the energy on and off, or altering more subtle properties such as amplitude, frequency, phase, or combinations of these properties. The transmitter sends the modulated electrical energy to a tuned resonant antenna; this structure converts the rapidly changing alternating current into an electromagnetic wave that can move through free space (sometimes with a particular polarization).

Electromagnetic waves travel through space either directly, or have their path altered by reflection, refraction or diffraction. The intensity of the waves diminishes due to geometric dispersion (the inverse-square law); some energy may also be absorbed by the intervening medium in some cases. Noise will generally alter the desired signal; this electromagnetic interference comes from natural sources, as well as from artificial sources such as other transmitters and accidental radiators. Noise is also produced at every step due to the inherent properties of the devices used. If the magnitude of the noise is large enough, the desired signal will no longer be discernible; this is the fundamental limit to the range of radio communications.

The electromagnetic wave is intercepted by a tuned receiving antenna; this structure captures some of the energy of the wave and returns it to the form of oscillating electrical currents. At the receiver, these currents are demodulated, which is conversion to a usable signal form by a detector sub-system. The receiver is "tuned" to respond preferentially to the desired signals, and reject undesired signals.

Early radio systems relied entirely on the energy collected by an antenna to produce signals for the operator. Radio became more useful after the invention of electronic devices such as the vacuum tube and later the transistor, which made it possible to amplify weak signals. Today radio systems are used for applications from walkie-talkie children's toys to the control of space vehicles, as well as for broadcasting, and many other applications.

Electromagnetic spectrum

Radio frequencies occupy the range from a few tens of hertz to three hundred gigahertz, although commercially important uses of radio use only a small part of this spectrum. Other types of electromagnetic radiation, with frequencies above the RF range, are microwave, infrared, visible light, ultraviolet, X-rays and gamma rays. Since the energy of an individual photon of radio frequency is too low to remove an electron from an atom, radio waves are classified as non-ionizing radiation.

History

19th century

The meaning and usage of the word "radio" has developed in parallel with developments within the field of communications and can be seen to have three distinct phases: electromagnetic waves and experimentation; wireless communication and technical development; and radio broadcasting and commercialization. Many individuals—inventors, engineers, developers, businessmen - contributed to produce the modern idea of radio and thus the origins and 'invention' are multiple and controversial. Early radio designs could not transmit sound or speech and were called the "wireless telegraph".

Development from a laboratory demonstration to a commercial entity spanned several decades and required the efforts of many practitioners. In 1878, David E. Hughes noticed that sparks could be heard in a telephone receiver when experimenting with his carbon microphone. He developed this carbon-based detector further and eventually could detect signals over a few hundred yards. He demonstrated his discovery to the Royal Society in 1880, but was told it was merely induction, and therefore abandoned further research.

Experiments, later patented, were undertaken by Thomas Edison and his employees of Menlo Park. Edison applied in 1885 to the U.S. Patent Office for his patent on an electrostatic coupling system between elevated terminals. The patent was granted as on December 29, 1891. The Marconi Company would later purchase rights to the Edison patent to protect them legally from lawsuits.

In 1893, in St. Louis, Missouri, Nikola Tesla made devices for his experiments with electricity. Addressing the ''Franklin Institute'' in Philadelphia and the ''National Electric Light Association'', he described and demonstrated the principles of his wireless work. The descriptions contained all the elements that were later incorporated into radio systems before the development of the vacuum tube. He initially experimented with magnetic receivers, unlike the coherers (detecting devices consisting of tubes filled with iron filings which had been invented by Temistocle Calzecchi-Onesti at Fermo in Italy in 1884) used by Guglielmo Marconi and other early experimenters.

A demonstration of wireless telegraphy took place in the lecture theater of the Oxford University Museum of Natural History on August 14, 1894, carried out by Professor Oliver Lodge and Alexander Muirhead. During the demonstration a radio signal was sent from the neighboring Clarendon laboratory building, and received by apparatus in the lecture theater.

In 1895 Alexander Stepanovich Popov built his first radio receiver, which contained a coherer. Further refined as a lightning detector, it was presented to the Russian Physical and Chemical Society on May 7, 1895. A depiction of Popov's lightning detector was printed in the Journal of the Russian Physical and Chemical Society the same year. Popov's receiver was created on the improved basis of Lodge's receiver, and originally intended for reproduction of its experiments.

In 1895, Marconi built a wireless system capable of transmitting signals at long distances (1.5 mi./ 2.4 km). In radio transmission technology, early public experimenters had made short distance broadcasts. Marconi achieved long range signalling due to a wireless transmitting apparatus and a radio receiver claimed by him. From Marconi's experiments, the phenomenon that transmission range is proportional to the square of antenna height is known as "Marconi's law". This formula represents a physical law that radio devices use. Marconi's experimental apparatus proved to be a complete, commercially successful radio transmission system. According to the ''Proceedings of the United States Naval Institute'' in 1899, the Marconi instruments had a "[...] coherer, principle of which was discovered some twenty years ago, [and was] the only electrical instrument or device contained in the apparatus that is at all new".

In 1896, Marconi was awarded British patent 12039, ''Improvements in transmitting electrical impulses and signals and in apparatus there-for'', for radio. In 1897, he established a radio station on the Isle of Wight, England. Marconi opened his "wireless" factory in Hall Street, Chelmsford, England in 1898, employing around 50 people. Shortly after the 1900s, Marconi held the patent rights for radio.

20th century

The next advancement was the vacuum tube detector, invented by Westinghouse engineers. On Christmas Eve, 1906, Reginald Fessenden used a synchronous rotary-spark transmitter for the first radio program broadcast, from Ocean Bluff-Brant Rock, Massachusetts. Ships at sea heard a broadcast that included Fessenden playing ''O Holy Night'' on the violin and reading a passage from the Bible. This was, for all intents and purposes, the first transmission of what is now known as amplitude modulation or AM radio. The first radio news program was broadcast August 31, 1920 by station 8MK in Detroit, Michigan, which survives today as all-news format station WWJ under ownership of the CBS network. The first college radio station began broadcasting on October 14, 1920, from Union College, Schenectady, New York under the personal call letters of Wendell King, an African-American student at the school. That month 2ADD, later renamed WRUC in 1947, aired what is believed to be the first public entertainment broadcast in the United States, a series of Thursday night concerts initially heard within a radius and later for a radius. In November 1920, it aired the first broadcast of a sporting event. At 9 pm on August 27, 1920, Sociedad Radio Argentina aired a live performance of Richard Wagner's Parsifal opera from the Coliseo Theater in downtown Buenos Aires. Only about twenty homes in the city had receivers to tune in this radio program. Meanwhile, regular entertainment broadcasts commenced in 1922 from the Marconi Research Centre at Writtle, England.

Sports broadcasting began at this time as well, including the first broadcast college football game.

In 1943 the United States Supreme Court upheld Tesla's patent for radio, number 645,576 (1897), with the supreme court's justification that claim 16 in Marconi's related patent, number 763,772 (1904), contained nothing new not having been published earlier and registered by Tesla, Lodge, and others. After years of patent battles by Marconi's company, the United States Supreme Court, in the 1943 case "Marconi Wireless Telegraph co. of America v. United States", held regarding the priority of engineering advances concerning the invention of radio that "[but] it is now held that in the important advance upon his basic patent Marconi did nothing that had not already been seen and disclosed". The decision effectively awarded priority of the invention of radio to Tesla and his 1893 presentation in St. Louis. Although Marconi claimed that he had no knowledge of prior art taken from Tesla's patents, the supreme court considered his claim false. In addition to the June 21, 1943 ruling made by the supreme court, the United States Court of Claims also invalidated the fundamental Marconi patent earlier, in 1935. This case defined radio by the statement: "A radio communication system requires two tuned circuits each at the transmitter and receiver, all four tuned to the same frequency." Because Tesla's 1897 patent for radio was intended for general transmission of energy, the court determined that Tesla's patent clearly was the first to disclose a system which could be used for wireless communication of intelligible messages (such as human voice and music) and used the four-circuit tuned combination. In contrast, related developments in the United Kingdom saw the British High Court uphold Marconi's British Patent 7,777 that was issued on April 26, 1900. This British patent held by Marconi disclosed a four-circuit system, which was strikingly similar to a four-circuit system disclosed in U.S. patent #645,576 that was issued earlier to Tesla on March 20, 1900. On the matter of invention, it is held that Marconi knowingly and unknowingly used the scientific and experimental work of many others who were devising their own radio tuning apparatus' around the same time, such as the work of American electrical engineer John Stone Stone who was issued several U.S. patents between 1904 and 1908. However, what made Marconi more successful than any other was his ability to ''commercialize'' radio and its associated equipment into a global business.

One of the first developments in the early 20th century was that aircraft used commercial AM radio stations for navigation. This continued until the early 1960s when VOR systems became widespread. In the early 1930s, single sideband and frequency modulation were invented by amateur radio operators. By the end of the decade, they were established commercial modes. Radio was used to transmit pictures visible as television as early as the 1920s. Commercial television transmissions started in North America and Europe in the 1940s.

In 1954, the Regency company introduced a pocket transistor radio, the TR-1, powered by a "standard 22.5 V Battery". In 1955, the newly formed Sony company introduced its first transistorized radio. It was small enough to fit in a vest pocket, and able to be powered by a small battery. It was durable, because it had no vacuum tubes to burn out. Over the next 20 years, transistors replaced tubes almost completely except for very high-power transmitter uses. By 1963, color television was being regularly broadcast commercially (though not all broadcasts or programs were in color), and the first (radio) communication satellite, ''Telstar'', was launched. In the late 1960s, the U.S. long-distance telephone network began to convert to a digital network, employing digital radios for many of its links. In the 1970s, LORAN became the premier radio navigation system. Soon, the U.S. Navy experimented with satellite navigation, culminating in the invention and launch of the GPS constellation in 1987. In the early 1990s, amateur radio experimenters began to use personal computers with audio cards to process radio signals. In 1994, the U.S. Army and DARPA launched an aggressive, successful project to construct a software-defined radio that can be programmed to be virtually any radio by changing its software program. Digital transmissions began to be applied to broadcasting in the late 1990s.

Uses of radio

Early uses were maritime, for sending telegraphic messages using Morse code between ships and land. The earliest users included the Japanese Navy scouting the Russian fleet during the Battle of Tsushima in 1905. One of the most memorable uses of marine telegraphy was during the sinking of the RMS ''Titanic'' in 1912, including communications between operators on the sinking ship and nearby vessels, and communications to shore stations listing the survivors.

Radio was used to pass on orders and communications between armies and navies on both sides in World War I; Germany used radio communications for diplomatic messages once it discovered that its submarine cables had been tapped by the British. The United States passed on President Woodrow Wilson's Fourteen Points to Germany via radio during the war. Broadcasting began from San Jose, California in 1909, and became feasible in the 1920s, with the widespread introduction of radio receivers, particularly in Europe and the United States. Besides broadcasting, point-to-point broadcasting, including telephone messages and relays of radio programs, became widespread in the 1920s and 1930s. Another use of radio in the pre-war years was the development of detection and locating of aircraft and ships by the use of radar (''RA''dio ''D''etection ''A''nd ''R''anging).

Today, radio takes many forms, including wireless networks and mobile communications of all types, as well as radio broadcasting. Before the advent of television, commercial radio broadcasts included not only news and music, but dramas, comedies, variety shows, and many other forms of entertainment (the era from 1930 to the mid-1950s is commonly called radio's "Golden Age"). Radio was unique among methods of dramatic presentation in that it used only sound. For more, see radio programming.

Audio

AM radio uses amplitude modulation, in which the amplitude of the transmitted signal is made proportional to the sound amplitude captured (transduced) by the microphone, while the transmitted frequency remains unchanged. Transmissions are affected by static and interference because lightning and other sources of radio emissions on the same frequency add their amplitudes to the original transmitted amplitude. In the early part of the 20th century, American AM radio stations broadcast with powers as high as 500 kW, and some could be heard worldwide; these stations' transmitters were commandeered for military use by the US Government during World War II. Currently, the maximum broadcast power for a civilian AM radio station in the United States and Canada is 50 kW, and the majority of stations that emit signals this powerful were grandfathered in (see List of 50kw AM radio stations in the USA). In 1986 KTNN received the last granted 50,000 watt license. These 50 kW stations are generally called "clear channel" stations (not to be confused with Clear Channel Communications), because within North America each of these stations has exclusive use of its broadcast frequency throughout part or all of the broadcast day.

FM broadcast radio sends music and voice with higher fidelity than AM radio. In frequency modulation, amplitude variation at the microphone causes the transmitter frequency to fluctuate. Because the audio signal modulates the frequency and not the amplitude, an FM signal is not subject to static and interference in the same way as AM signals. Due to its need for a wider bandwidth, FM is transmitted in the Very High Frequency (VHF, 30 MHz to 300 MHz) radio spectrum. VHF radio waves act more like light, traveling in straight lines; hence the reception range is generally limited to about 50–100 miles. During unusual upper atmospheric conditions, FM signals are occasionally reflected back towards the Earth by the ionosphere, resulting in long distance FM reception. FM receivers are subject to the capture effect, which causes the radio to only receive the strongest signal when multiple signals appear on the same frequency. FM receivers are relatively immune to lightning and spark interference.

High power is useful in penetrating buildings, diffracting around hills, and refracting in the dense atmosphere near the horizon for some distance beyond the horizon. Consequently, 100,000 watt FM stations can regularly be heard up to 100 miles (160 km) away, and farther (e.g., 150 miles, 240 km) if there are no competing signals. A few old, "grandfathered" stations do not conform to these power rules. WBCT-FM (93.7) in Grand Rapids, Michigan, USA, runs 320,000 watts ERP, and can increase to 500,000 watts ERP by the terms of its original license. Such a huge power level does not usually help to increase range as much as one might expect, because VHF frequencies travel in nearly straight lines over the horizon and off into space. Nevertheless, when there were fewer FM stations competing, this station could be heard near Bloomington, Illinois, USA, almost 300 miles (500 km) away.

FM subcarrier services are secondary signals transmitted in a "piggyback" fashion along with the main program. Special receivers are required to utilize these services. Analog channels may contain alternative programming, such as reading services for the blind, background music or stereo sound signals. In some extremely crowded metropolitan areas, the sub-channel program might be an alternate foreign language radio program for various ethnic groups. Sub-carriers can also transmit digital data, such as station identification, the current song's name, web addresses, or stock quotes. In some countries, FM radios automatically re-tune themselves to the same channel in a different district by using sub-bands.

Aviation voice radios use VHF AM. AM is used so that multiple stations on the same channel can be received. (Use of FM would result in stronger stations blocking out reception of weaker stations due to FM's capture effect). Aircraft fly high enough that their transmitters can be received hundreds of miles (or kilometres) away, even though they are using VHF.

Marine voice radios can use single sideband voice (SSB) in the shortwave High Frequency (HF—3 MHz to 30 MHz) radio spectrum for very long ranges or narrowband FM in the VHF spectrum for much shorter ranges. Narrowband FM sacrifices fidelity to make more channels available within the radio spectrum, by using a smaller range of radio frequencies, usually with five kHz of deviation, versus the 75 kHz used by commercial FM broadcasts, and 25 kHz used for TV sound.

Government, police, fire and commercial voice services also use narrowband FM on special frequencies. Early police radios used AM receivers to receive one-way dispatches.

Civil and military HF (high frequency) voice services use shortwave radio to contact ships at sea, aircraft and isolated settlements. Most use single sideband voice (SSB), which uses less bandwidth than AM. On an AM radio SSB sounds like ducks quacking, or the adults in a Charlie Brown cartoon. Viewed as a graph of frequency versus power, an AM signal shows power where the frequencies of the voice add and subtract with the main radio frequency. SSB cuts the bandwidth in half by suppressing the carrier and one of the sidebands. This also makes the transmitter about three times more powerful, because it doesn't need to transmit the unused carrier and sideband.

TETRA, Terrestrial Trunked Radio is a digital cell phone system for military, police and ambulances. Commercial services such as XM, WorldSpace and Sirius offer encrypted digital Satellite radio.

Telephony

Mobile phones transmit to a local cell site (transmitter/receiver) that ultimately connects to the public switched telephone network (PSTN) through an optic fiber or microwave radio and other network elements. When the mobile phone nears the edge of the cell site's radio coverage area, the central computer switches the phone to a new cell. Cell phones originally used FM, but now most use various digital modulation schemes. Recent developments in Sweden (such as DROPme) allow for the instant downloading of digital material from a radio broadcast (such as a song) to a mobile phone.

Satellite phones use satellites rather than cell towers to communicate.

Video

Television sends the picture as AM and the sound as AM or FM, with the sound carrier a fixed frequency (4.5 MHz in the NTSC system) away from the video carrier. Analog television also uses a vestigial sideband on the video carrier to reduce the bandwidth required.

Digital television uses 8VSB modulation in North America (under the ATSC digital television standard), and COFDM modulation elsewhere in the world (using the DVB-T standard). A Reed–Solomon error correction code adds redundant correction codes and allows reliable reception during moderate data loss. Although many current and future codecs can be sent in the MPEG transport stream container format, as of 2006 most systems use a standard-definition format almost identical to DVD: MPEG-2 video in Anamorphic widescreen and MPEG layer 2 (''MP2'') audio. High-definition television is possible simply by using a higher-resolution picture, but H.264/AVC is being considered as a replacement video codec in some regions for its improved compression. With the compression and improved modulation involved, a single "channel" can contain a high-definition program and several standard-definition programs.

Navigation

All satellite navigation systems use satellites with precision clocks. The satellite transmits its position, and the time of the transmission. The receiver listens to four satellites, and can figure its position as being on a line that is tangent to a spherical shell around each satellite, determined by the time-of-flight of the radio signals from the satellite. A computer in the receiver does the math.

Radio direction-finding is the oldest form of radio navigation. Before 1960 navigators used movable loop antennas to locate commercial AM stations near cities. In some cases they used marine radiolocation beacons, which share a range of frequencies just above AM radio with amateur radio operators. LORAN systems also used time-of-flight radio signals, but from radio stations on the ground. VOR (Very High Frequency Omnidirectional Range), systems (used by aircraft), have an antenna array that transmits two signals simultaneously. A directional signal rotates like a lighthouse at a fixed rate. When the directional signal is facing north, an omnidirectional signal pulses. By measuring the difference in phase of these two signals, an aircraft can determine its bearing or radial from the station, thus establishing a line of position. An aircraft can get readings from two VORs and locate its position at the intersection of the two radials, known as a "fix." When the VOR station is collocated with DME (Distance Measuring Equipment), the aircraft can determine its bearing and range from the station, thus providing a fix from only one ground station. Such stations are called VOR/DMEs. The military operates a similar system of navaids, called TACANs, which are often built into VOR stations. Such stations are called VORTACs. Because TACANs include distance measuring equipment, VOR/DME and VORTAC stations are identical in navigation potential to civil aircraft.

Radar

Radar (Radio Detection And Ranging) detects objects at a distance by bouncing radio waves off them. The delay caused by the echo measures the distance. The direction of the beam determines the direction of the reflection. The polarization and frequency of the return can sense the type of surface. Navigational radars scan a wide area two to four times per minute. They use very short waves that reflect from earth and stone. They are common on commercial ships and long-distance commercial aircraft.

General purpose radars generally use navigational radar frequencies, but modulate and polarize the pulse so the receiver can determine the type of surface of the reflector. The best general-purpose radars distinguish the rain of heavy storms, as well as land and vehicles. Some can superimpose sonar data and map data from GPS position.

Search radars scan a wide area with pulses of short radio waves. They usually scan the area two to four times a minute. Sometimes search radars use the Doppler effect to separate moving vehicles from clutter. Targeting radars use the same principle as search radar but scan a much smaller area far more often, usually several times a second or more. Weather radars resemble search radars, but use radio waves with circular polarization and a wavelength to reflect from water droplets. Some weather radar use the Doppler effect to measure wind speeds.

Data (digital radio)

Most new radio systems are digital, see also: Digital TV, Satellite Radio, Digital Audio Broadcasting. The oldest form of digital broadcast was spark gap telegraphy, used by pioneers such as Marconi. By pressing the key, the operator could send messages in Morse code by energizing a rotating commutating spark gap. The rotating commutator produced a tone in the receiver, where a simple spark gap would produce a hiss, indistinguishable from static. Spark-gap transmitters are now illegal, because their transmissions span several hundred megahertz. This is very wasteful of both radio frequencies and power.

The next advance was continuous wave telegraphy, or CW (Continuous Wave), in which a pure radio frequency, produced by a vacuum tube electronic oscillator was switched on and off by a key. A receiver with a local oscillator would "heterodyne" with the pure radio frequency, creating a whistle-like audio tone. CW uses less than 100 Hz of bandwidth. CW is still used, these days primarily by amateur radio operators (hams). Strictly, on-off keying of a carrier should be known as "Interrupted Continuous Wave" or ICW or on-off keying (OOK).

Radioteletype equipment usually operates on short-wave (HF) and is much loved by the military because they create written information without a skilled operator. They send a bit as one of two tones using frequency-shift keying. Groups of five or seven bits become a character printed by a teleprinter. From about 1925 to 1975, radioteletype was how most commercial messages were sent to less developed countries. These are still used by the military and weather services.

Aircraft use a 1200 Baud radioteletype service over VHF to send their ID, altitude and position, and get gate and connecting-flight data. Microwave dishes on satellites, telephone exchanges and TV stations usually use quadrature amplitude modulation (QAM). QAM sends data by changing both the phase and the amplitude of the radio signal. Engineers like QAM because it packs the most bits into a radio signal when given an exclusive (non-shared) fixed narrowband frequency range. Usually the bits are sent in "frames" that repeat. A special bit pattern is used to locate the beginning of a frame. Communication systems that limit themselves to a fixed narrowband frequency range are vulnerable to jamming. A variety of jamming-resistant spread spectrum techniques were initially developed for military use, most famously for Global Positioning System satellite transmissions. Commercial use of spread spectrum began in the 1980s. Bluetooth, most cell phones, and the 802.11b version of Wi-Fi each use various forms of spread spectrum.

Systems that need reliability, or that share their frequency with other services, may use "coded orthogonal frequency-division multiplexing" or COFDM. COFDM breaks a digital signal into as many as several hundred slower subchannels. The digital signal is often sent as QAM on the subchannels. Modern COFDM systems use a small computer to make and decode the signal with digital signal processing, which is more flexible and far less expensive than older systems that implemented separate electronic channels. COFDM resists fading and ghosting because the narrow-channel QAM signals can be sent slowly. An adaptive system, or one that sends error-correction codes can also resist interference, because most interference can affect only a few of the QAM channels. COFDM is used for Wi-Fi, some cell phones, Digital Radio Mondiale, Eureka 147, and many other local area network, digital TV and radio standards.

Heating

Radio-frequency energy generated for heating of objects is generally not intended to radiate outside of the generating equipment, to prevent interference with other radio signals. Microwave ovens use intense radio waves to heat food. Diathermy equipment is used in surgery for sealing of blood vessels. Induction furnaces are used for melting metal for casting, and induction hobs for cooking.

Amateur radio service

Amateur radio, also known as "ham radio", is a hobby in which enthusiasts are licensed to communicate on a number of bands in the radio frequency spectrum non-commercially and for their own enjoyment. They may also provide emergency and public service assistance. This has been very beneficial in emergencies, saving lives in many instances. Radio amateurs use a variety of modes, including nostalgic ones like Morse code and experimental ones like Low-Frequency Experimental Radio. Several forms of radio were pioneered by radio amateurs and later became commercially important, including FM, single-sideband (SSB), AM, digital packet radio and satellite repeaters. Some amateur frequencies may be disrupted by power-line internet service.

Unlicensed radio services

Unlicensed, government-authorized personal radio services such as Citizens' band radio in Australia, the USA, and Europe, and Family Radio Service and Multi-Use Radio Service in North America exist to provide simple, (usually) short range communication for individuals and small groups, without the overhead of licensing. Similar services exist in other parts of the world. These radio services involve the use of handheld units.

Free radio stations, sometimes called pirate radio or "clandestine" stations, are unauthorized, unlicensed, illegal broadcasting stations. These are often low power transmitters operated on sporadic schedules by hobbyists, community activists, or political and cultural dissidents. Some pirate stations operating offshore in parts of Europe and the United Kingdom more closely resembled legal stations, maintaining regular schedules, using high power, and selling commercial advertising time.

Radio control (RC)

Radio remote controls use radio waves to transmit control data to a remote object as in some early forms of guided missile, some early TV remotes and a range of model boats, cars and airplanes. Large industrial remote-controlled equipment such as cranes and switching locomotives now usually use digital radio techniques to ensure safety and reliability.

In Madison Square Garden, at the Electrical Exhibition of 1898, Nikola Tesla successfully demonstrated a radio-controlled boat. He was awarded U.S. patent No. 613,809 for a "Method of and Apparatus for Controlling Mechanism of Moving Vessels or Vehicles."

See also

References

;General information

''A História da Rádio em Datas (1819-1997)'' (in Portuguese) - notes on etymology

L. de Forest, article in Electrical World 22 June 1270/1 (1907), early use of word "radio".

http://web.mit.edu/varun_ag/www/bose.html - It contains a proof that Sir Jagadish Chandra Bose invented the Mercury Coherer which was later used by Guglielmo Marconi and along with other patents.

;Footnotes

Further reading

Hugh G. J. Aitkin: ''The Continuous Wave: Technology and the American Radio, 1900-1932'' (Princeton University Press, 1985).

Asa Briggs: ''The History of Broadcasting in the United Kingdom'' (Oxford University Press, 1961).

John Dunning: ''On the Air. The Encyclopedia of Old-Time Radio''. New York; Oxford: Oxford University Press, 1998. ISBN 0-19-507678-8

Henry Ewbank and Sherman P. Lawton: ''Broadcasting: Radio and Television'' (Harper & Brothers, 1952).

Marc Fisher: ''Something In The Air: Radio, Rock, and the Revolution That Shaped A Generation'' (Random House, 2007).

Leland I. Anderson (ed.), "John Stone Stone, Nikola Tesla's Priority in Radio and Continuous-Wave Radiofrequency Apparatus". The AWA Review, Vol. 1. 1986. 24 pages, illustrated.

Tom Lewis: ''Empire of the Air: The Men Who Made Radio'', 1st ed., New York : E. Burlingame Books, 1991. ISBN 0060182156. "Empire of the Air: The Men Who Made Radio" (1992) by Ken Burns was a PBS documentary based on the book.

W. Rupert Maclaurin: ''Invention and Innovation in the Radio Industry'' (The Macmillan Company, 1949).

William B. Ray: ''FCC: The Ups and Downs of Radio-TV Regulation'' (Iowa State University Press, 1990).

Alexander Russo: ''Points on the Dial: Golden Age Radio Beyond the Networks'' (Duke University Press; 2010) 278 pages; discusses regional and local radio as forms that "complicate" the image of the medium as a national unifier from the 1920s to the 1950s.

Scannell, Paddy, and Cardiff, David. ''A Social History of British Broadcasting, Volume One, 1922-1939'' (Basil Blackwell, 1991).

Schwoch James. ''The American Radio Industry and Its Latin American Activities, 1900-1939'' (University of Illinois Press, 1990).

Christopher H. Sterling with Michael C. Keith (ed.): ''Encyclopedia of Radio''. New York; London: Fitzroy Dearborn, 2004 (three vols.)

Llewellyn White: ''The American Radio'' (University of Chicago Press, 1947).

Ulrich L. Rohde, Jerry Whitaker: ''Communications Receivers, Third Edition'', McGraw Hill, New York, NY, 2001, ISBN 0-07-136121-9.

External links

;General

"It's Radi-O! Essay by Richard Rubin, ''The Atlantic Monthly'', January 1998.

;History

U.S. Supreme Court, "''Marconi Wireless Telegraph co. of America v. United States''". 320 U.S. 1. Nos. 369, 373. Argued 9–12 April 1943. Decided 21 June 1943.

"''Who Invented Radio?''" Buzzle.com Date unknown. retrieved 20 January 2011.

Steven Schoenherr's History of Radio

The Broadcast Archive - Radio History on the Web! Retrieved 20 January 2011.

Canadian Communications Foundation - The History on Canadian Broadcasting - 1920 onward. Retrieved 20 January 2011.

United States Early Radio History -1897 to 1927. Retrieved 20 January 2011.

Historic Radios from Around the World at Kurrajong Radio Museum, Australia - a private collection. Retrieved 20 January 2011.

;Antiques

George H. Clark Radioana Collection, ca. 1880 - 1950 - Archives Center, National Museum of American History, Smithsonian Institution

A gallery of Antiques from the 1920s to the 1960s

;Technical

Radio Frequency Chart National Telecommunications and Information Administration (NTIA).

IAteacher: Interactive Explanation of Radio Receiver Construction

How Stuff Works - Radio

VOR Basic Information

Dr. Phil's Receiver Designs Single-Triode and Single-Transistor Regenerative Radio Designs

;DX

The British DX Club

World of Radio Glenn Hauser's internationally known DX radio show

Category:British inventions

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Coordinates	36°50′9″N175°42′1″N
name	Orson Welles
birth date	May 06, 1915
birth place
death date	October 10, 1985
death place
death cause	Heart attack
alma mater	Todd School for Boys
occupation	Actor, director, writer, producer, voice actor
years active	1931–85
spouse	Virginia Nicholson (1934–40)Rita Hayworth (1943–48)Paola Mori (1955–85)
height	6'1"
partner	Dolores del Río (1938–41)Oja Kodar (1966–85)
parents	Richard Hodgdon Head Welles,Beatrice Ives
awards	1941 Best Writing (Original Screenplay) for ''Citizen Kane'' 1970 Academy Honorary Award
influences	John Ford, William Shakespeare, Fritz Lang, Joseph Conrad
influenced	Tim Burton, Christopher Nolan, John Carpenter, Stanley Kubrick, Martin Scorsese }}

George Orson Welles (May 6, 1915 October 10, 1985), best known as Orson Welles, was an American film director, actor, theatre director, screenwriter, and producer, who worked extensively in film, theatre, television and radio. Noted for his innovative dramatic productions as well as his distinctive voice and personality, Welles is widely acknowledged as one of the most accomplished dramatic artists of the twentieth century, especially for his significant and influential early work—despite his notoriously contentious relationship with Hollywood. His distinctive directorial style featured layered, nonlinear narrative forms, innovative uses of lighting such as chiaroscuro, unique camera angles, sound techniques borrowed from radio, deep focus shots, and long takes. Welles's long career in film is noted for his struggle for artistic control in the face of pressure from studios. Many of his films were heavily edited and others left unreleased. He has been praised as a major creative force and as "the ultimate auteur."

After directing a number of high-profile theatrical productions in his early twenties, including an innovative adaptation of ''Macbeth'' and ''The Cradle Will Rock'', Welles found national and international fame as the director and narrator of a 1938 radio adaptation of H. G. Wells' novel ''The War of the Worlds'' performed for the radio drama anthology series ''Mercury Theatre on the Air''. It was reported to have caused widespread panic when listeners thought that an invasion by extraterrestrial beings was occurring. Although these reports of panic were mostly false and overstated, they rocketed Welles to instant notoriety.

''Citizen Kane'' (1941), his first film with RKO, in which he starred in the role of Charles Foster Kane, is often considered the greatest film ever made. Several of his other films, including ''The Magnificent Ambersons'' (1942), ''The Lady from Shanghai'' (1947), ''Touch of Evil'' (1958), ''Chimes at Midnight'' (1965), and ''F for Fake'' (1974), are also widely considered to be masterpieces.

In 2002, he was voted the greatest film director of all time in two separate British Film Institute polls among directors and critics, and a wide survey of critical consensus, best-of lists, and historical retrospectives calls him the most acclaimed director of all time. Well known for his baritone voice, Welles was also an extremely well regarded actor and was voted number 16 in AFI's 100 Years... 100 Stars list of the greatest American film actors of all time. He was also a celebrated Shakespearean stage actor and an accomplished magician, starring in troop variety shows in the war years.

Early life

Welles was born May 6, 1915, in Kenosha, Wisconsin, son of Richard Hodgdon Head Welles (1873, Missouri – December 28, 1930, Chicago, Illinois) and Beatrice Ives (1882 or 1883, Springfield, Illinois – May 10, 1924, Chicago, Illinois). His family was raised Roman Catholic. Despite his parents' affluence, Welles encountered many hardships in childhood. In 1919, his parents separated and moved to Chicago. His father, who had made a fortune as the inventor of a popular bicycle lamp, became an alcoholic and stopped working. Welles's mother, a concert pianist, played during lectures by Dudley Crafts Watson at the Chicago Art Institute to support her son and herself (the oldest Welles boy, "Dickie", had been institutionalized at an early age because he had learning difficulties). Beatrice died of jaundice in 1924 in a Chicago hospital a few days after Welles's ninth birthday. After his mother's death, Welles ceased pursuing his interest in music. He was taken in by Dudley Crafts Watson and lived with the family at Watson's family home, "Trillium Dell", on Marshman Avenue in Highland Park, Illinois. At the age of ten, Orson with Watson's third daughter, Marjorie (of the same age), ran away from home. They were found a week later, singing and dancing for money on a street corner in Milwaukee. His father died when Orson was 15 during the summer after Orson's graduation from Todd School for Boys, an independent school in Woodstock, Illinois. Maurice Bernstein, a physician from Chicago, became his guardian.

At Todd School, Welles came under the influence of Roger Hill, a teacher who later became Todd's headmaster. Hill provided Welles with an ''ad hoc'' educational environment that proved invaluable to his creative experience, allowing Welles to concentrate on subjects that interested him. Welles performed and staged his first theatrical experiments and productions there. Following graduation from Todd, Welles was awarded a scholarship to Harvard University. Rather than enrolling, he chose to travel. Later, he briefly studied for a time at the Art Institute of Chicago. He returned a number of times to Woodstock to direct his alma mater's student productions.

Early career (1931–1934)

After his father's death, Welles traveled to Europe with the aid of a small inheritance. Welles later reported that while on a walking and painting trip through Ireland, he strode into the Gate Theatre in Dublin and claimed he was a Broadway star. The manager of Gate, Hilton Edwards, later said he didn't believe him but was impressed by his brashness and some impassioned quality in his audition. Welles made his stage debut at the Gate in 1931, appearing in ''Jew Suss'' as the Duke. He acted to great acclaim, which reached the United States. He performed smaller supporting roles as well. On returning to the United States he found his fame ephemeral and turned to a writing project at Todd School that would become the immensely successful ''Everybody's Shakespeare'' and subsequently, ''The Mercury Shakespeare''. Welles traveled to North Africa while working on thousands of illustrations for the ''Everybody's Shakespeare'' series of educational books, a series that remained in print for decades.

An introduction by Thornton Wilder led Welles to the New York stage. In 1933, he toured in three off-Broadway productions with Katharine Cornell's company, including two roles in ''Romeo and Juliet''. Restless and impatient when the planned Broadway opening of ''Romeo and Juliet'' was canceled, Welles staged a drama festival of his own with the Todd School, inviting Micheál Mac Liammóir and Hilton Edwards from Dublin's Gate Theatre to appear, along with New York stage luminaries. It was a roaring success. The subsequent revival of Cornell's ''Romeo and Juliet'' brought Welles to the notice of John Houseman, who was casting for an unusual lead actor for the lead role in the Federal Theatre Project.

By 1935 Welles was supplementing his earnings in the theater as a radio actor in Manhattan, working with many of the actors who would later form the core of his Mercury Theatre. He married Chicago actress Virginia Nicholson in 1934 and that year he shot an eight-minute silent short film, ''The Hearts of Age'' with her. The couple had one daughter, Christopher. She made her only film appearance in 1948, taking the role of Macduff's son in Welles's film ''Macbeth'' and later became known as Chris Welles Feder, an author of educational materials for children.

Theatre and radio (1936–1940)

Federal Theatre Project

''Macbeth''

In 1936, the Federal Theatre Project (part of Roosevelt's Works Progress Administration) put unemployed theater performers and employees to work. Welles was hired by John Houseman and assigned to direct a play for the Federal Theatre Project's Negro Theater Unit. He offered them ''Macbeth'', in a production that became known as the ''Voodoo Macbeth'', because Welles set it in the Haitian court of King Henri Christophe, with voodoo witch doctors for the three Weird Sisters. Jack Carter played Macbeth. The incidental music was composed by Virgil Thomson. The play was received rapturously and later toured the nation. When the lead actor, Maurice Ellis, fell ill on tour, Welles quickly boarded an airplane to fly to the location and stepped into the part playing the role in blackface. At the age of twenty, Welles was hailed as a prodigy. A few minutes of the Welles production of Macbeth was recorded on film in a 1937 documentary called ''We Work Again''.

Collaboration with Aaron Copland

The young actor/director was chosen by the American composer Aaron Copland in 1937 to direct what is one of Copland's least known works, the opera ''The Second Hurricane'' composed for high school students of The Henry Street Settlement Music School in New York. Among the few adult performers in the production was actor Joseph Cotten, Welles's longtime friend and collaborator, who was paid $10 for his performance.

''The Cradle Will Rock''

After the success of ''Macbeth'', Welles mounted the absurd farce ''Horse Eats Hat'', an adaptation by Welles and Edwin Denby of Eugène Labiche's play, ''Un Chapeau de Paille d'Italie''. He consolidated his "White Hope" reputation with ''Dr. Faustus'', which used light as a prime unifying scenic element in a nearly blacked-out stage.

In 1937, he rehearsed Marc Blitzstein's highly political operetta, ''The Cradle Will Rock''. Because of severe federal cutbacks in the Works Progress projects, the show's premiere at the Maxine Elliott Theatre was canceled. The theater was locked and guarded to prevent any of the government-purchased materials being used for a commercial production of the work. In a last-minute move, Welles announced to waiting ticket-holders that the show was being transferred to the Venice, about twenty blocks away. Some cast, as well as some crew and audience, walked the distance on foot. The union musicians refused to perform in a commercial theater for lower non-union government wages. The actors' union stated that the production belonged to the Federal Theater Project and could not be performed outside that context without permission. Lacking the participation of the union members, ''The Cradle Will Rock'' began with Blitzstein introducing the show and playing the piano accompaniment on stage with some cast members performing their parts from the audience. This impromptu performance was well received by its audience. It afterward played at the Venice for two weeks in the same informal way.

Mercury Theatre

Resigning from the Federal Theatre, Welles and Houseman formed the Mercury Theatre, of which Welles became executive producer and whose repertory company eventually included actors such as Agnes Moorehead, Joseph Cotten, Dolores del Río, Ray Collins, George Coulouris, Frank Readick, Everett Sloane, Eustace Wyatt and Erskine Sanford, all of whom would continue to work for Welles for years. The first Mercury Theatre production was a melodramatic and heavily edited version of William Shakespeare's tragedy ''Julius Caesar,'' set in a contemporary frame of fascist Italy. Cinna the Poet dies at the hands not of a mob but of a secret police force. According to Norman Lloyd, who played Cinna the Poet, "it stopped the show." The applause lasted more than ten minutes and the production was widely acclaimed.

In the second year of the Mercury Theater, Welles shifted his interests to radio as an actor, director and producer. He played Hamlet for CBS on The Columbia Workshop, while adapting and directing the play. In July 1937, the Mutual Network gave him a seven-week series to adapt ''Les Misérables,'' which he did with great success. That September, Mutual chose Welles to play Lamont Cranston, aka ''The Shadow,'' anonymously and in the summer of 1938 CBS gave him (and the Mercury Theatre) a weekly hour-long show to broadcast radio plays based on classic literary works. The show was titled ''The Mercury Theatre on the Air,'' with original music by Bernard Herrmann, who would continue working with Welles on radio and in films for years.

''The War of the Worlds'' broadcast

Their October 30, 1938 radio adaptation of ''The War of the Worlds'' by H. G. Wells brought Welles instant fame. The combination of the news bulletin form of the performance with the between-breaks dial spinning habits of listeners from the rival and far more popular ''Edgar Bergen/Charlie McCarthy program,'' was later reported in the media to have created widespread confusion among listeners who failed to hear the introduction, although the extent of this confusion has recently come into question. Panic was reported to have spread (after citation from rumors) among many listeners who believed the news reports of a Martian invasion. The myth of the result created by the combination was reported as fact around the world and disparagingly mentioned by Adolf Hitler in a public speech a few months later. The 1970s "docu-drama" ''The Night That Panicked America'' was based on events centering around the production of, and events that resulted from, the program.

Welles's growing fame soon drew Hollywood offers, lures which the independent-minded Welles resisted at first. ''The Mercury Theatre on the Air,'' which had been a "sustaining show" (without sponsorship) was picked up by Campbell Soup and renamed ''The Campbell Playhouse.''

On October 28, 1940, Welles met H.G. Wells in San Antonio, Texas; a local radio station KTSA recorded the conversation, which was likely the only meeting between the two.

Hollywood (1939–1948)

RKO Radio Pictures president George Schaefer eventually offered Welles what generally is considered the greatest contract ever offered to an untried director: complete artistic control. RKO signed Welles in a two-picture deal; including script, cast, crew, and most importantly, final cut, although Welles had a budget limit for his projects. With this contract in hand, Welles (and nearly the entire Mercury Theatre troupe) moved to Hollywood. He commuted weekly to New York to maintain his commitment to ''The Campbell Playhouse''.

Welles toyed with various ideas for his first project for RKO Radio Pictures, settling on an adaptation of Joseph Conrad's ''Heart of Darkness'', which he worked on in great detail. He planned to film the action with a subjective camera (a technique later used in the Robert Montgomery film ''Lady in the Lake''). When a budget was drawn up, RKO's enthusiasm cooled because it was greater than the previously agreed limit. RKO also declined to approve another Welles project, ''The Smiler With the Knife'', based on the Cecil Day-Lewis novel, ostensibly because RKO executives lacked faith in Lucille Ball's ability to carry the film as the leading lady.

In a sign of things to come, Welles left ''The Campbell Playhouse'' in 1940 due to creative differences with the sponsor. The show continued without him, produced by John Houseman. In perhaps another sign of things to come, Welles's first experience on a Hollywood film was narrator for RKO's 1940 production of ''The Swiss Family Robinson''.

''Citizen Kane''

Production

RKO, having rejected Welles's first two movie proposals, agreed on the third offer, ''Citizen Kane,'' for which Welles co-wrote, produced, directed, and performed the lead role.

Welles found a suitable film project in an idea he conceived with screenwriter Herman J. Mankiewicz, (who was then writing radio plays for ''The Campbell Playhouse''). Initially entitled ''The American'', it eventually became Welles's first feature film (also his most famous and honored role), ''Citizen Kane'' (1941).

Mankiewicz based his original notion on an ''exposé'' of the life of William Randolph Hearst, whom he knew socially but came to hate, having once been great friends with Hearst's mistress, Marion Davies. Mankiewicz had been banished from her company because of his perpetual drunkenness. Mankiewicz, a notorious gossip, exacted revenge with his unflattering depiction of Davies in ''Citizen Kane'' for which Welles bore most of the criticisms. Welles also had a connection with Davies through his first wife.

Kane's megalomania was modeled loosely on Robert McCormick, Howard Hughes, and Joseph Pulitzer as Welles wanted to create a broad, complex character, intending to show him in the same scenes from several points of view. The use of multiple narrative perspectives in Conrad's ''Heart of Darkness'' influenced the treatment.

Supplying Mankiewicz with 300 pages of notes, Welles urged him to write the first draft of a screenplay under John Houseman, who was posted to ensure Mankiewicz stayed sober. On Welles's instruction, Houseman wrote the opening narration as a pastiche of ''The March of Time'' newsreels. Orson Welles explained to Peter Bogdanovich about the writers working separately by saying, "I left him on his own finally, because we'd started to waste too much time haggling. So, after mutual agreements on storyline and character, Mank went off with Houseman and did his version, while I stayed in Hollywood and wrote mine." Taking these drafts, Welles drastically condensed and rearranged them, then added scenes of his own. The industry accused Welles of underplaying Mankiewicz's contribution to the script, but Welles countered the attacks by saying, "At the end, naturally, I was the one making the picture, after all—who had to make the decisions. I used what I wanted of Mank's and, rightly or wrongly, kept what I liked of my own."

Charles Foster Kane is based loosely on parts of Hearst's life. Nonetheless, autobiographical allusions to Welles were worked in, most noticeably in the treatment of Kane's childhood and particularly, regarding his guardianship. Welles then added features from other famous American lives to create a general and mysterious personality, rather than the narrow journalistic portrait intended by Mankiewicz, whose first drafts included scandalous claims about the death of the film director Thomas Ince.

Once the script was completed, Welles attracted some of Hollywood's best technicians, including cinematographer Gregg Toland, who walked into Welles's office and announced he wanted to work on the picture. Welles later described Toland as "the fastest cameraman who ever lived." For the cast, Welles primarily used actors from his Mercury Theatre. He invited suggestions from everyone but only if they were directed through him. Filming ''Citizen Kane'' took ten weeks.

Reaction

Mankiewicz handed a copy of the final shooting script to his friend, Charles Lederer, husband of Welles's ex-wife, Virginia Nicholson, as well as the nephew of Hearst's mistress, Marion Davies. Gossip columnist Hedda Hopper saw a small ad in a newspaper for a preview screening of ''Citizen Kane'' and went. Hopper, realizing immediately that the film was based on features of Hearst's life, reported this back to him and he threatened to give "Hollywood, Private Lives" if that was what it wanted. Thus began the struggle over the attempted suppression of ''Citizen Kane''.

Hearst's media outlets boycotted the film. They exerted enormous pressure on the Hollywood film community by threatening to expose fifteen years of suppressed scandals and the fact that most of the studio bosses were Jewish. At one point, the heads of the major studios jointly offered RKO the cost of the film in exchange for the negative and all existing prints, fully intending to burn them. RKO declined and the film was given a limited release. Hearst intimidated theater chains by threatening to ban advertising for any of their other films in any of his papers if they showed ''Citizen Kane''.

The film was well-received critically, with Bosley Crowther, film critic for the ''New York Times'' calling it "close to being the most sensational film ever made in Hollywood". By the time it reached the general public, though, the publicity had waned. It garnered nine Academy Award nominations (Orson nominated as a producer, director, writer, and actor), but won only for Best Original Screenplay, shared by Mankiewicz and Welles. Although it was largely ignored at the Academy Awards, ''Citizen Kane'' now is hailed as one of the greatest films ever made. Andrew Sarris called it "the work that influenced the cinema more profoundly than any American film since ''The Birth of a Nation''."

The delay in its release and its uneven distribution contributed to its average result at the box office, making back its budget and marketing, but RKO lost any chance of a major profit. The fact that ''Citizen Kane'' ignored many Hollywood conventions also meant that the film confused and angered the 1940s cinema public. Exhibitor response was scathing; most theater owners complained bitterly about the adverse audience reaction and the many walkouts. Only a few saw fit to acknowledge Welles's artistic technique. RKO shelved the film and did not re-release it until 1956.

During the 1950s, the film came to be seen by young French film critics such as François Truffaut as exemplifying the "auteur theory", in which the director is the "author" of a film. Truffaut, Godard and others inspired by Welles's example made their own films, giving birth to the Nouvelle Vague. In the 1960s ''Citizen Kane'' became popular on college campuses as a film-study exercise and as an entertainment subject. Its frequent revivals on television, home video, and DVD have enhanced its "classic" status and ultimately it recouped its costs. The film still is considered by most film critics and historians to be one of the greatest motion pictures in cinema history.

''The Magnificent Ambersons''

Welles's second film for RKO was ''The Magnificent Ambersons'', adapted from the Pulitzer Prize-winning novel by Booth Tarkington. George Schaefer hoped to make money with this film, since he lost money with ''Citizen Kane''. ''Ambersons'' already had been adapted for ''The Campbell Playhouse'' by Welles for the stage, and he then wrote the screen adaptation. Toland was not available, so Stanley Cortez was named cinematographer. The meticulous Cortez, however, was slow and the film lagged behind schedule and over budget. Prior to production, Welles's contract was renegotiated, revoking his right to control the final cut.

At RKO's request, simultaneously, Welles worked on an adaptation of Eric Ambler's spy thriller, ''Journey into Fear'', which he co-wrote with Joseph Cotten. In addition to acting in the film, Welles was also producer. Direction was credited solely to Norman Foster. Welles later stated that they were in such a rush that the director of each scene was determined by whoever was closest to the camera.

CBS then offered Welles a new radio series called ''The Orson Welles Show''. It was a half-hour variety show of short stories, comedy skits, poetry, and musical numbers. Joining the original Mercury Theatre cast for the show, was Cliff Edwards, the voice of Jiminy Cricket, "on loan from Walt Disney". The variety format was unpopular with listeners and Welles soon was forced to limit the content of the show simply to telling a one half-hour story for the entirety of each episode.

''It's All True''

To further complicate matters during the production of ''Ambersons'' and ''Journey into Fear'', Welles was approached by Nelson Rockefeller and Jock Whitney to produce a documentary film about South America. This was at the behest of the federal government's Good Neighbor policy, a wartime propaganda effort designed to prevent Latin America from allying with the Axis powers. Welles saw his involvement as a form of national service, since his physical condition excused him from direct military service.

Expected to film the Carnaval in Rio de Janeiro, Brazil, Welles rushed to finish the editing on ''Ambersons'' and his acting scenes in ''Journey into Fear''. Ending his CBS radio show, he lashed together a rough cut of ''Ambersons'' with Robert Wise, who had edited ''Citizen Kane'', and left for Brazil. Wise was to join him in Rio to complete the film, but never arrived. A provisional final cut arranged via phone call, telegram, and shortwave radio was previewed without Welles's approval in Pomona in a double bill, to a mostly negative audience response, particularly to the character of Aunt Fanny played by Agnes Moorehead. Whereas Schaefer argued that Welles be allowed to complete his own version of the film, and that an archival copy be kept with the Museum of Modern Art in New York City, RKO disagreed. With Welles in South America, there was no practical means of having him edit the film.

As a result of the difficult financial circumstances that RKO found itself in across the period 1940–42, major changes occurred at the studio in 1942 Floyd Odlum took over control of RKO and began changing its direction. Rockefeller, the most significant backer of the Brazil project, left the RKO board of directors. Around the same time, the principal sponsor of Welles at RKO, studio president George Schaefer, resigned. The changes throughout RKO caused reevaluations of many projects. RKO took control of ''Ambersons'', formed a committee, which was ordered to edit the film into what the studio considered a commercial format. They removed fifty minutes of Welles's footage, re-shot sequences, rearranged the scene order, and added a happy ending. Koerner released the shortened film on the bottom of a double-bill with the Lupe Vélez comedy, ''Mexican Spitfire Sees a Ghost''. ''Ambersons'' was an expensive flop for RKO, although it received four Academy Award nominations including Best Picture and Best Supporting Actress for Agnes Moorehead.

Welles's South American documentary, entitled ''It's All True'', budgeted at one million dollars with half of its budget coming from the U.S. Government upon completion, grew in ambition and budget while Welles was in South America. While the film originally was to be a documentary on Carnaval, Welles added a new story which recreated the journey of the ''jangadeiros'', four poor fishermen who had made a journey on their open raft to petition Brazilian President Vargas about their working conditions. The four had become national folk heroes; Welles first read of their journey in ''TIME''. Their leader, Jacare, died during a filming mishap. RKO, in limited contact with Welles, attempted to rein in the production. Most of the crew and budget were withdrawn from the film. In addition, the Mercury staff was removed from the studio in the U.S.

Welles requested resources to finish the film. He was given a limited amount of black-and-white stock and a silent camera. He completed the sequence, but RKO refused to support any further production on the film. Surviving footage was released in 1993, including a rough reconstruction of the "Four Men on a Raft" segment. Meanwhile, RKO asserted in public that Welles had gone to Brazil without a screenplay and that he had squandered a million dollars. Their official company slogan for the next year was, "Showmanship in place of Genius" – which was taken as a slight against Welles.

Director for hire (1943–1946)

On returning to Hollywood, Welles found no studios interested in hiring him as a film director after the twin disasters of ''The Magnificent Ambersons'' and ''It's All True''. Welles next worked on radio. CBS offered him two weekly series, ''Hello Americans'', based on the research he'd done in Brazil, and ''Ceiling Unlimited'', sponsored by Lockheed, a wartime salute to advances in aviation. Both featured several members of his original Mercury Theatre troupe. Within a few months, ''Hello Americans'' was canceled and Welles was replaced as host of ''Ceiling Unlimited'' by Joseph Cotten. Welles guest-starred on a great variety of shows, notably guest-hosting Jack Benny shows for a month in 1943. He took an increasingly active role in American and international politics and used journalism to communicate his forceful ideas widely.

In 1943, Welles married Rita Hayworth. They had one child, Rebecca Welles, and divorced five years later in 1948. In between, Welles found work as an actor in other directors' films. He starred in the 1944 film adaptation of ''Jane Eyre'', trading credit as associate producer for top billing over Joan Fontaine. He also had a cameo in the 1944 wartime salute ''Follow the Boys'', in which he performed his ''Mercury Wonder Show'' magic act and "sawed" Marlene Dietrich in half after Columbia Pictures head Harry Cohn refused to allow Hayworth to perform.

In 1944, Welles was offered a new radio show, broadcast only in California, ''Orson Welles' Almanac''. It was another half-hour variety show, with Mobil Oil as sponsor. After the success of his stand-in hosting on ''The Jack Benny Show'', the focus was primarily on comedy. His hosting on the Jack Benny show included several self-deprecating jokes and story lines about his being a "genius" and overriding any ideas advanced by other cast members. The trade papers were not eager to accept Welles as a comedian, and Welles often complained on-air about the poor quality of the scripts. When Welles started his ''Mercury Wonder Show'' a few months later, traveling to armed forces camps and performing magic tricks and doing comedy, the radio show was broadcast live from the camps and the material took on a decidedly wartime flavor. Of his original Mercury actors, only Agnes Moorehead remained working with him. The series was cancelled by year's end due to poor ratings.

While he found no studio willing to hire him as a film director, Welles's popularity as an actor continued. Pabst Blue Ribbon gave Welles their radio series ''This Is My Best'' to direct, but after one month he was fired for creative differences. He started writing a political column for the ''New York Post'', again called ''Orson Welles's Almanac''. While the paper wanted Welles to write about Hollywood gossip, Welles explored serious political issues. His activism for world peace took considerable amounts of his time. The ''Post'' column eventually failed in syndication because of contradictory expectations and was dropped by the ''Post''.

Post-war work (1946–1948)

''The Stranger''

In 1946, International Pictures released Welles's film ''The Stranger'', starring Edward G. Robinson, Loretta Young, and Welles. Sam Spiegel produced the film, which follows the hunt for a Nazi war criminal living under an alias in America. While Anthony Veiller was credited with the screenplay, it had been rewritten by Welles and John Huston. Disputes occurred during the editing process between Spiegel and Welles. The film became a box office success and it helped his standing with the studios.

In the summer of 1946, Welles directed a musical stage version of ''Around the World in Eighty Days'', with a comedic and ironic rewriting of the Jules Verne novel by Welles, incidental music and songs by Cole Porter, and production by Mike Todd, who would later produce the successful film version with David Niven. When Todd pulled out from the lavish and expensive production, Welles alone supported the finances. When he ran out of money at one point, he convinced Columbia president Harry Cohn to send him enough to continue the show, and in exchange, Welles promised to write, produce, direct, and star in a film for Cohn for no further fee. The stage show soon failed, due to poor box-office, with Welles unable to claim the losses on his taxes. The complicated financial arrangements concerning the show, its losses, and Welles's arrangement with Cohn, resulted in a tax dispute with the IRS.

At the same time in 1946 he began two new radio series, ''The Mercury Summer Theatre'' for CBS and ''Orson Welles Commentaries'' for ABC. While ''Summer Theatre'' featured half-hour adaptations of some of the classic Mercury radio shows from the 1930s, the first episode was a condensation of his ''Around the World'' stage play, and remains the only record of Cole Porter's music for the project. Several original Mercury actors returned for the series, as well as Bernard Herrmann. It only was scheduled for the summer months, and Welles invested his earnings into his failing stage play. ''Commentaries'' was a political vehicle for him, continuing the themes from his New York Post column. Again, Welles lacked a clear focus, until the NAACP brought to his attention the case of Isaac Woodard. Welles brought significant attention to Woodard's cause. Soon Welles was being hanged in effigy in the South and theaters refused to show ''The Stranger'' in several southern states.

''The Lady from Shanghai''

The film Welles was obliged to make for Cohn helping him complete ''Around the World in Eighty Days'' ended up being ''The Lady from Shanghai'', filmed in 1947 for Columbia Pictures. Intended to be a modest thriller, the budget skyrocketed after Cohn suggested that Welles's then-estranged second wife Rita Hayworth co-star. Cohn disliked Welles's rough-cut, particularly the confusing plot and lack of close-ups, and was not in sympathy with Welles's Brechtian use of irony and black comedy, especially in a farcical courtroom scene. Cohn ordered extensive editing and re-shoots. After heavy editing by the studio, approximately one hour of Welles's first cut had been removed, including much of a climactic confrontation scene in an amusement park funhouse. While expressing displeasure at the cuts, Welles was appalled particularly at the musical score. The film was considered a disaster in America at the time of release, though the closing shootout in a hall of mirrors has since become one of the touchstones of film noir. Not long after release, Welles and Hayworth finalized their divorce. Although ''The Lady From Shanghai'' was acclaimed in Europe, it was not embraced in the U.S. for several decades. Influential modern critics including David Kehr have subsequently declared it a masterpiece, with Kehr calling it "the weirdest great movie ever made." A similar situation occurred when Welles suggested to Charlie Chaplin that he star in a film directed by Welles based on the life of the French serial killer, Henri Désiré Landru. Instead, Chaplin adapted the idea for his own film, ''Monsieur Verdoux'', with Welles officially credited for the idea.

''Macbeth''

In 1948, Welles convinced Republic Pictures to let him direct a low-budget version of ''Macbeth'', which featured extremely stylized sets and costumes, and a cast of actors lip-syncing to a prerecorded soundtrack, one of many innovative cost-cutting techniques Welles deployed in an attempt to make an epic film from B-movie resources. The script, adapted by Welles, is a violent reworking of the Shakespearean original, freely cutting and pasting lines into new contexts via a collage technique, and recasting ''Macbeth'' as a clash of pagan and proto-Christian ideologies. Some of the voodoo trappings of the famous Welles/Houseman Negro Theatre stage adaptation are also visible, especially in the film's characterization of the Weird Sisters, who create an effigy of Macbeth as a charm to enchant him. Of all Welles's post-''Kane'' Hollywood productions, ''Macbeth'' is closest to ''Citizen Kane'' in its use of long takes and deep focus photography. Shots of the increasingly isolated Scottish king looming in the foreground while other characters address him from deep in the background overtly reference ''Kane''.

Republic initially trumpeted the film as an important work but decided it did not care for the Scottish accents on the soundtrack and held up general release for almost a year after early negative press reaction, which included ''Life'''s comment that Welles's film "doth foully slaughter Shakespeare." Welles left for Europe, while his co-producer and life-long supporter Richard Wilson reworked the soundtrack. Welles ultimately returned and cut twenty minutes from the film at Republic's request and recorded narration to cover the gaps. The film was decried as another disaster. ''Macbeth'' had its share of influential fans in Europe, especially the French poet and filmmaker Jean Cocteau, who hailed the film's "crude, irreverent power" and careful shot design, and described the characters as haunting "the corridors of some dreamlike subway, an abandoned coal mine, and ruined cellars oozing with water." In the late 1970s, a fully restored version of ''Macbeth'' was released that followed Welles's original vision, and all prints of the truncated continuity have gradually been withdrawn from circulation, turning Welles's compulsory recut, which has the distinction of being created by the director himself, into something of a lost work.

Welles in Europe (1948–1956)

Welles left Hollywood for Europe in late 1947, enigmatically saying that he had chosen "freedom." In Italy he starred as Cagliostro in the 1948 film ''Black Magic''. His co-star, Akim Tamiroff, impressed Welles so much that Tamiroff would appear in four of Welles's own productions during the 1950s and 1960s.

''The Third Man''

The following year, Welles starred as Harry Lime in Carol Reed's ''The Third Man'', alongside Joseph Cotten, his good friend and co-star from ''Citizen Kane'', with a script by Graham Greene and a memorable zither score by Anton Karas. The film was an international smash hit, but unfortunately Welles had turned down a percentage of the gross in exchange for a lump-sum advance. A few years later British radio producer Harry Alan Towers would resurrect the Lime character for radio in the series ''The Lives of Harry Lime''. The 1951 series included new recordings by Karas, was very successful, and ran for 52 weeks. Welles claimed to write a handful of episodes—a claim disputed by Towers, who maintains they were written by Ernest Borneman—which later would serve as the basis for the screenplay by Welles, ''Mr. Arkadin'' (1955).

Welles also appeared as Cesare Borgia in the 1949 Italian film ''Prince of Foxes'', with Tyrone Power and Mercury Theatre alumnus Everett Sloane, and as the Mongol warrior Bayan in the 1950 film version of the novel ''The Black Rose'' (again with Tyrone Power).

''Othello''

During this time, Welles was channeling his money from acting jobs into a self-financed film version of Shakespeare's play ''Othello''. From 1949 to 1951, Welles worked on ''Othello'', filming on location in Europe and Morocco. The film featured Welles's old friends, Micheál Mac Liammóir as Iago and Hilton Edwards as Desdemona's father Brabantio. Suzanne Cloutier starred as Desdemona and Campbell Playhouse alumnus Robert Coote appeared as Iago's associate Roderigo.

in the 1952 film ''Othello''.]]

Filming was suspended several times as Welles ran out of funds and left to find other acting jobs, accounted in detail in MacLiammóir's published memoir ''Put Money in Thy Purse''. When it premiered at the Cannes Film Festival it won the Palme d'Or, but was not given a general release in the United States until 1955 (by which time Welles had re-cut the first reel and re-dubbed most of the film, removing Cloutier's voice entirely), and it played only in New York and Los Angeles. The American release prints had a technically flawed soundtrack, suffering from a complete drop-out of sound at every quiet moment. It was one of these flawed prints that was restored by Welles's daughter, Beatrice Welles-Smith in 1992 for a wide re-release. The restoration included reconstructing Angelo Francesco Lavagnino's original musical score (which was inaudible) and adding ambient stereo sound effects (which weren't in the original film). The subject of great controversy among film scholars, the restoration went on to a successful theatrical run in America. A print of the U.S. version was released on laser-disc in 1995 and soon withdrawn after a legal challenge by Beatrice Welles-Smith. The original Cannes version has survived, but is not available commercially.

In 1952 Welles continued finding work in England, after the success of the ''Harry Lime'' radio show. Harry Alan Towers offered Welles another series, ''The Black Museum'', with Welles as host and narrator, and this would also run 52 weeks. Director Herbert Wilcox offered him the part of the murdered victim in ''Trent's Last Case'', based on the novel by E. C. Bentley. In 1953 the BBC hired Welles to read an hour of selections from Walt Whitman's epic poem ''Song of Myself''. Towers hired Welles again, to play Professor Moriarty in the radio series, ''The Adventures of Sherlock Holmes'', starring John Gielgud, and Ralph Richardson.

Late in 1953, Welles returned to America to star in a live CBS ''Omnibus'' television presentation of Shakespeare's ''King Lear''. The cast included MacLiammóir and the British actor, Alan Badel. While Welles received good notices, he was guarded by IRS agents, prohibited to leave his hotel room when not at the studio, prevented from making any purchases, and the entire sum (less expenses) he earned went to his tax bill. Welles returned to England after the broadcast.

In 1954, director George More O'Ferrall offered Welles the title role in the 'Lord Mountdrago' segment of ''Three Cases of Murder'', co-starring Badel. Herbert Wilcox cast him as the antagonist in ''Trouble in the Glen'' opposite Margaret Lockwood, Forrest Tucker, and Victor McLaglen. Old friend John Huston cast him as Father Mapple in his 1956 film adaptation of Herman Melville's ''Moby-Dick'', starring Gregory Peck.

''Mr. Arkadin''

Welles's next turn as director was the film ''Mr. Arkadin'' (1955), which was produced by his political mentor from the 1940s, Louis Dolivet. It was filmed in France, Germany, Spain and Italy on a very limited budget. Based loosely on several episodes of the Harry Lime radio show, it stars Welles as a billionaire who hires a man to delve into the secrets of his past. The film stars Robert Arden, who had worked on the Harry Lime series; Welles's third wife, Paola Mori, whose voice was dubbed by actress Billie Whitelaw; and guest stars Akim Tamiroff, Michael Redgrave, Katina Paxinou and Mischa Auer. Frustrated by his slow progress in the editing room, producer Dolivet removed Welles from the project and finished the film without him. Eventually five different versions of the film would be released, two in Spanish and three in English. The version that Dolivet completed was retitled ''Confidential Report''. In 2005 Stefan Droessler of the Munich Filmmuseum oversaw a reconstruction of the surviving film elements. Included in a DVD box set (''The Complete Mr. Arkadin'') released by The Criterion Collection, it is considered by Welles scholar and director Peter Bogdanovich to be the best version of Welles's original intentions for the film.

In 1955 Welles also directed two television series for the BBC. The first was ''The Orson Welles Sketchbook'', a series of six 15-minute shows featuring Welles drawing in a sketchbook to illustrate his reminiscences for the camera (including such topics as the filming of ''It's All True'' and the Isaac Woodard case), and the second was ''Around the World with Orson Welles'', a series of six travelogues set in different locations around Europe (such as Venice, the Basque Country between France and Spain, and England). Welles served as host and interviewer, his commentary including documentary facts and his own personal observations (a technique he would continue to explore). A seventh episode of this series, based on the Gaston Dominici case, was suppressed at the time by the French government, but was reconstructed after Welles's death and released to video in 1999.

In 1956 Welles completed ''Portrait of Gina'', posthumously aired on German television under the title ''Viva Italia'', a 30-minute personal essay on Gina Lollobrigida and the general subject of Italian sex symbols. Dissatisfied with the results—Welles recalled he had worked on it a lot and the result looked like it—he left the only print behind at the Ritz Hotel in Paris. The film cans would remain in a lost-and-found locker at the hotel for several decades, where they were discovered after Welles's death.

Return to Hollywood (1956–1959)

In 1956, Welles returned to Hollywood, guesting on radio shows (notably as narrator of ''Tomorrow'', a nuclear holocaust drama produced by the Federal Civil Defense Administration). He guest starred on television shows, including ''I Love Lucy,'' and began filming a projected pilot for Desilu, owned by Lucille Ball and her husband Desi Arnaz, who had recently purchased the former RKO studios. The film was ''The Fountain of Youth'', based on a story by John Collier. Originally deemed not viable as a pilot, the film wasn't aired until 1958. It won the Peabody Award for excellence. Welles's next feature film role was in ''Man in the Shadow'' for Universal Pictures in 1957, starring Jeff Chandler. Around this time period, however, Welles began to suffer from weight problems that would eventually cause a deterioration in his health.

''Touch of Evil''

Welles stayed on at Universal to direct (and co-star with) Charlton Heston in the 1958 film ''Touch of Evil'', based on Whit Masterson's novel ''Badge of Evil'' (Welles, who wrote the screenplay for the film, claimed never to have read the book). Originally only hired as an actor, Welles was promoted to director by Universal Studios at the insistence of Charlton Heston. Reuniting many actors and technicians with whom he'd worked in Hollywood in the 1940s (including cameraman Russell Metty (''The Stranger''), make-up artist Maurice Siederman (''Citizen Kane''), and actors Joseph Cotten, Marlene Dietrich, and Akim Tamiroff), filming proceeded smoothly, with Welles finishing on schedule and on budget, and the studio bosses praising the daily rushes. After the end of production, the studio re-edited the film, re-shot scenes, and shot new exposition scenes to clarify the plot. Welles wrote a 58-page memo outlining suggestions and objections. The studio followed a few of the ideas, but cut another 30 minutes from the film and released it. The film was widely praised across Europe, awarded the top prize at the Brussels World's Fair.

In 1978, the long preview version of the film was rediscovered and released. In 1998, editor Walter Murch and producer Rick Schmidlin, consulting the original memo, used a workprint version to attempt to create a version of the film as close as possible to that outlined in the memo. This is at best a compromise that should not be mistaken for Welles's original intent. Welles stated in that memo that the film was no longer his version—it was the studio's, but as such, he was still prepared to help them with it.

As Universal reworked ''Touch of Evil'', Welles began filming his adaptation of Miguel de Cervantes' novel ''Don Quixote'' in Mexico, starring Mischa Auer as Quixote and Akim Tamiroff as Sancho Panza. While filming would continue in fits and starts for several years, Welles would never complete the project.

Welles continued acting, notably in ''The Long, Hot Summer'' (1958) and ''Compulsion'' (1959), but soon returned to Europe.

Return to Europe (1959–1970)

He continued shooting ''Don Quixote'' in Spain, but replaced Mischa Auer with Francisco Reiguera, and resumed acting jobs. In Italy in 1959, Welles directed his own scenes as King Saul in Richard Pottier's film ''David and Goliath''. In Hong Kong he co-starred with Curt Jürgens in Lewis Gilbert's film ''Ferry to Hong Kong''. In 1960, in Paris he co-starred in Richard Fleischer's film Crack in the Mirror. In Yugoslavia he starred in Richard Thorpe's film ''The Tartars''.

By this time he had ceased filming ''Quixote''. Though he would continue toying with the editing well into the 1970s, he never completed the film. As the process went on, Welles gradually voiced all of the characters himself and provided narration. In 1992, the director Jesús Franco constructed a film out of the portions of ''Quixote'' left behind by Welles. Some of the film stock had decayed badly. While the Welles footage was greeted with interest, the post-production by Franco was met with harsh criticism.

In 1961 Welles directed ''In the Land of Don Quixote'', a series of eight half-hour episodes for the Italian television network RAI. Similar to the ''Around the World with Orson Welles'' series, they presented travelogues of Spain and included Welles's wife, Paola, and their daughter, Beatrice. Though Welles was fluent in Italian, the network was not interested in him providing Italian narration because of his accent, and the series sat unreleased until 1964, by which time the network had added Italian narration of its own. Ultimately, versions of the episodes were released with the original musical score Welles had approved, but without the narration.

''The Trial''

In 1962 Welles directed his adaptation of ''The Trial'', based on the novel by Franz Kafka and produced by Alexander Salkind and Michael Salkind. The cast included Anthony Perkins as Josef K, Jeanne Moreau, Romy Schneider, Paola Mori and Akim Tamiroff. While filming exteriors in Zagreb, Welles was informed that the Salkinds had run out of money, meaning that there could be no set construction. No stranger to shooting on found locations, Welles soon filmed the interiors in the Gare d'Orsay, at that time an abandoned railway station in Paris. Welles thought the location possessed a "Jules Verne modernism" and a melancholy sense of "waiting", both suitable for Kafka. The film failed at the box-office. Peter Bogdanovich would later observe that Welles found the film riotously funny. During the filming, Welles met Oja Kodar, who would later become his muse, star and mistress for the last twenty years of his life. Welles also stated in an interview with the BBC that it was his best film.

Welles played a film director in ''La Ricotta'' (1963)—Pier Paolo Pasolini's segment of the ''Ro.Go.Pa.G.'' movie, although his renowned voice was dubbed by Italian writer Giorgio Bassani. He continued taking what work he could find acting, narrating or hosting other people's work, and began filming ''Chimes at Midnight'', which was completed in 1966. Filmed in Spain, it was a condensation of five Shakespeare plays, telling the story of Falstaff and his relationship with Prince Hal. The cast included Keith Baxter, John Gielgud, Jeanne Moreau, Fernando Rey and Margaret Rutherford, with narration by Ralph Richardson. Music was again by Angelo Francesco Lavagnino. Jess Franco served as second unit director.

''Chimes at Midnight''

''Chimes at Midnight'' was based on Welles's play ''Five Kings'' which condensed five of Shakespeare's plays into one show in order to focus on the story of Falstaff. Welles produced the show in New York in 1939 but the opening night, where part 1 was acted, was a disaster and part 2 was never put on. He revamped the show and revisited it in 1960 at the Gate Theatre in Dublin. But again, it was not successful. However, this later production was used as the base for the movie. The script contained text from five plays: primarily ''Henry IV, Part 1'' and ''Henry IV, Part 2'', but also ''Richard II'', ''Henry V'', and ''The Merry Wives of Windsor''. Keith Baxter played Prince Hal, and internationally respected Shakespearean interpreter, John Gielgud, played the King, Henry IV. The film's narration, spoken by Ralph Richardson, is taken from the chronicler Raphael Holinshed. According to Jeanne Moreau, Welles delayed filming for two weeks due to stage fright. Welles held this film in high regard and considered it, along with ''The Trial'', his best work. As he remarked in 1982, "If I wanted to get into heaven on the basis of one movie, that's the one I'd offer up."

In 1966, Welles directed a film for French television, an adaptation of ''The Immortal Story'', by Karen Blixen. Released in 1968, it stars Jeanne Moreau, Roger Coggio and Norman Eshley. The film had a successful run in French theaters. At this time Welles met Kodar again, and gave her a letter he had written to her and had been keeping for four years; they would not be parted again. They immediately began a collaboration both personal and professional. The first of these was an adaptation of Blixen's ''The Heroine'', meant to be a companion piece to ''The Immortal Story'' and starring Kodar. Unfortunately, funding disappeared after one day's shooting. After completing this film, he appeared in a brief cameo as Cardinal Wolsey in Fred Zinnemann's adaptation of ''A Man for All Seasons''—a role for which he won considerable acclaim.

In 1967 Welles began directing ''The Deep'', based on the novel ''Dead Calm'' by Charles Williams and filmed off the shore of Yugoslavia. The cast included Jeanne Moreau, Laurence Harvey and Kodar. Personally financed by Welles and Kodar, they could not obtain the funds to complete the project, and it was abandoned a few years later after the death of Harvey. The surviving footage was eventually edited and released by the Filmmuseum München. In 1968 Welles began filming a TV special for CBS under the title ''Orson's Bag'', combining travelogue, comedy skits and a condensation of Shakespeare's play ''The Merchant of Venice'' with Welles as Shylock. Funding for the show sent by CBS to Welles in Switzerland was seized by the IRS. Without funding, the show was not completed. The surviving film clips portions were eventually released by the Filmmuseum München.

In 1969, Welles authorized the use of his name for a cinema in Cambridge, Massachusetts. The Orson Welles Cinema remained in operation until 1986, with Welles making a personal appearance there in 1977. Also in 1969 he played a supporting role in John Huston's ''The Kremlin Letter''. Drawn by the numerous offers he received to work in television and films, and upset by a tabloid scandal reporting his affair with Kodar, Welles abandoned the editing of ''Don Quixote'' and moved back to America in 1970.

Final years (1970–1985)

Welles returned to Hollywood, where he continued to self-finance his own film and television projects. While offers to act, narrate and host continued, Welles also found himself in great demand on talk shows, and made frequent appearances for Dick Cavett, Johnny Carson, Dean Martin, and Merv Griffin. Welles's primary focus in this period was filming ''The Other Side of the Wind'', a project that took six years to film but has remained unfinished and unreleased. An early role was portraying Louis XVIII of France in ''Waterloo'' (1970). Welles also narrated the beginning and ending scenes of the Bud Yorkin historical comedy ''Start the Revolution Without Me'' (1970), which starred Gene Wilder, Donald Sutherland, and Hugh Griffith, among others. In 1971 Welles directed a short adaptation of ''Moby-Dick'', a one-man performance on a bare stage, reminiscent of his stage production ''Moby Dick Rehearsed'' from the 1950s. Never completed, it was eventually released by the Filmmuseum München. He also appeared in ''La Décade prodigieuse'', co-starring with Anthony Perkins and directed by Claude Chabrol, based on a detective novel by Ellery Queen. That same year, the Academy of Motion Picture Arts and Sciences gave him an honorary award "For superlative artistry and versatility in the creation of motion pictures". Welles pretended to be out of town and sent John Huston to claim the award. Huston criticized the Academy for awarding Welles while they refused to give him any work.

In 1972, Welles acted as on-screen narrator for the film documentary version of Alvin Toffler's 1970 book ''Future Shock''. Working again for a British producer, Welles played Long John Silver in director John Hough's ''Treasure Island'' (1972), an adaptation of the Robert Louis Stevenson novel, which had been the second story broadcast by ''The Mercury Theatre on the Air'' in 1938. Welles also contributed to the script, his writing credit was attributed to the pseudonym 'O. W. Jeeves'. Welles original recorded dialog was re dubbed by Robert Rietty.

In 1973, Welles completed ''F for Fake'', a personal essay film about art forger Elmyr de Hory and the biographer Clifford Irving. Based on an existing documentary by François Reichenbach, it included new material with Oja Kodar, Joseph Cotten, Paul Stewart and William Alland. An excerpt of Welles's 1930s ''War of the Worlds'' broadcast was recreated for this film, however none of the dialogue heard in the film actually matches what was originally broadcast. Welles filmed a five minute trailer, rejected in the US, that featured several shots of a topless Kodar.

Welles hosted and narrated a syndicated anthology series, ''Orson Welles's Great Mysteries,'' over the 1973–1974 television season. It did not last beyond that season; however, the program could be perceived as a television revival of the Mercury Theatre whose executive producer Welles had been in the 1930s and 1940s.

In 1975, Welles narrated the documentary ''Bugs Bunny: Superstar'', focusing on Warner Bros. cartoons from the 1940s. Also in 1975, the American Film Institute presented Welles with its third Lifetime Achievement Award (the first two going to director John Ford and actor James Cagney). At the ceremony, Welles screened two scenes from the nearly finished ''The Other Side of the Wind''. Filming had begun in 1972 and by 1976, Welles had almost completed the film. Financed by Iranian backers, ownership of the film fell into a legal quagmire after the Shah of Iran was deposed. Written by Welles, the story told of a destructive old film director looking for funds to complete his final film. It starred John Huston and the cast included Peter Bogdanovich, Susan Strasberg, Norman Foster, Edmond O'Brien, Cameron Mitchell, and Dennis Hopper. While there have been several reports of all the legal disputes concerning ownership of the film being settled, enough disputes still exist to prevent its release. The Showtime cable network has promised support for the project should the various entanglements associated with it be resolved.

In 1976, Paramount Television purchased the rights for the entire set of Rex Stout's Nero Wolfe stories for Orson Welles. Welles had once wanted to make a series of Nero Wolfe movies, but Rex Stout — who declined Hollywood adaptations during his lifetime after two disappointing 1930s films — turned him down. Paramount planned to begin with an ABC-TV movie and hoped to persuade Welles to continue the role in a mini-series. Frank D. Gilroy was signed to write the television script and direct the TV movie on the assurance that Welles would star, but by April 1977 Welles had bowed out. In 1980 the Associated Press reported "the distinct possibility" that Welles would star in a Nero Wolfe TV series for NBC television. Again, Welles bowed out of the project due to creative differences and William Conrad was cast in the role.

In 1979 Welles completed his documentary ''Filming Othello'', which featured Michael MacLiammoir and Hilton Edwards. Made for West German television, it was also released in theaters. That same year, Welles completed his self-produced pilot for ''The Orson Welles Show'' television series, featuring interviews with Burt Reynolds, Jim Henson and Frank Oz and guest-starring The Muppets and Angie Dickinson. Unable to find network interest, the pilot was never broadcast. In 1979 Welles also appeared in the biopic ''The Secret of Nikola Tesla'', and a cameo in ''The Muppet Movie'' as Lew Lord.

Beginning in the late 1970s, Welles participated in a series of famous television commercial advertisements. For two years he was on-camera spokesman for the Paul Masson Vineyards, and sales grew by one third during the time Welles intoned what became a popular catchphrase: "We will sell no wine before its time." He was also the voice behind the long-running Carlsberg "Probably the best lager in the world" campaign and promoted Domecq sherry on British television.

In 1981, Welles hosted the documentary ''The Man Who Saw Tomorrow'', about Renaissance-era prophet Nostradamus. In 1982 the BBC broadcast ''The Orson Welles Story'' in the ''Arena'' series. Interviewed by Leslie Megahey, Welles examined his past in great detail, and several people from his professional past were interviewed as well. It was reissued in 1990 as ''With Orson Welles: Stories of a Life in Film''. Welles provided narration for the tracks "Defender" from Manowar's album Fighting the World and "Dark Avenger" on Manowar's 1982 album, ''Battle Hymns''. His name was misspelled on the latter album, as he was credited as "Orson Wells".

During the 1980s, Welles worked on such film projects as ''The Dreamers'', based on two stories by Isak Dinesen and starring Oja Kodar, and ''The Orson Welles Magic Show'', which reused material from his failed TV pilot. Another project he worked on was ''Filming The Trial'', the second in a proposed series of documentaries examining his feature films. While much was shot for these projects, none of them was completed. All of them were eventually released by the Filmmuseum München.

In 1984, Welles narrated the short-lived television series ''Scene of the Crime''. During the early years of ''Magnum, P.I.'', Welles was the voice of the unseen character Robin Masters, a famous writer and playboy. Welles's death forced this minor character to largely be written out of the series. In an oblique homage to Welles, the ''Magnum, P.I.'' producers ambiguously concluded that story arc by having one character accuse another of having hired an actor to portray Robin Masters.

The last film roles before Welles's death included voice work in the animated films ''The Enchanted Journey'' (1984) and ''The Transformers: The Movie'' (1986), in which he played the planet-eating robot Unicron. His last film appearance was in Henry Jaglom's 1987 independent film ''Someone to Love'', released after his death but produced before his voice-over in ''Transformers: The Movie''. His last television appearance was on the television show ''Moonlighting''. He recorded an introduction to an episode entitled "The Dream Sequence Always Rings Twice", which was partially filmed in black and white. The episode aired five days after his death and was dedicated to his memory.

Personal life

Relationships and family

In 1934, Welles eloped with Chicago-born actress and socialite Virginia Nicolson. They divorced in 1940 after Welles's affair with Vera Zorina was vaguely mentioned in Walter Winchell's column.

Since 1932, Welles had fallen in love with Mexican actress, Dolores del Río. They lived a torrid romance between 1938 and 1942, though he was ten years her junior. They collaborated together in the movie ''Journey into Fear'' but the affair ended soon afterward.

Welles married Rita Hayworth in 1943. The couple became estranged during the making of ''The Lady from Shanghai''. After five years, Rita filed for divorce, her reason to the press being, "I can't take his genius any more." During his last interview and only two hours before his death, Welles answered Merv Griffin's suggestive comment "But one of your wives—oh, I have envied you so many years for Rita Hayworth", by calling her "one of the dearest and sweetest women that ever lived" and saying that he was "lucky enough to have been with her longer than any of the other men in her life."

In 1955 Welles married Italian actress Paola Mori (Countess Paola Di Girifalco). Estranged for decades, the couple were never divorced. Croatian-born actress Oja Kodar became Welles's longtime companion both personally and professionally from 1966 on. They lived together for the last twenty-four years of his life. A year after Orson's death, Paola and Oja finally agreed on the settling of his will. On the way to their meeting to sign the papers, however, Paola was killed in a car accident.

Welles had three children: author Christopher Welles, or Chris Welles Feder (born in 1938, with Virginia Nicolson), Rebecca Welles Manning (born December 17, 1944 – died October 14, 2004, with Rita Hayworth) and Beatrice Welles (born in 1955, with Paola Mori).

Some of Welles's claimed familial ties have not held up under scrutiny. Despite the persistent urban legend, promoted by Welles himself, he was not the great-grandson of Abraham Lincoln's wartime Secretary of the Navy, Gideon Welles. Perhaps the genesis of the myth dates to a 1970 interview on ''The Dick Cavett Show'' during which Welles remarks about his venerable great-grandfather Gideon Welles. Orson Welles's father was Richard Head Welles, son of his paternal grandfather Richard Jones Welles; Gideon Welles had no son by that name. His sons were Hubert (1833–1862), John Arthur (1845–1883), Thomas G. (1846–1892), and Edgar Thaddeus Welles (1843–1914).

Physical characteristics

According to a 1941 physical exam taken when he was 26, Welles was tall and weighed . His eyes were brown. Other sources cite that he was tall, but the slates from costume tests made during the 1940s show him as . Welles gained a significant amount of weight in his 40s, eventually rendering him morbidly obese, at one point weighing nearly four hundred pounds (181.4 kg). His obesity was severe to the point that it restricted his ability to travel, aggravated other health conditions, including his asthma, and even required him to go on a diet in order to play the famously portly Sir John Falstaff. Some have attributed his over-eating and drinking to depression over his marginalization by the Hollywood system.

Religious beliefs

In April 1982, Merv Griffin interviewed Welles and asked about his religious beliefs. Welles replied, "I try to be a Christian, I don't pray really, because I don't want to bore God." After the success of his 1941 film ''Citizen Kane'', Welles announced that his next film would be about the life of Jesus, and that he would play the lead role. However, Welles never got around to making the film. He narrated the Christian documentary ''The Late, Great Planet Earth'' as well as the 1961 Biblical film about the life of Christ, ''King of Kings''.

Politics

Welles was politically active from the beginning of his career. He remained a man of the left throughout his life, and always defined his political orientation as "progressive". He was a strong supporter of Franklin Roosevelt and the New Deal, and often spoke out on radio in support of progressive politics. In particular, he was an early and outspoken critic of American racism and the practice of segregation. He campaigned heavily for Roosevelt in the 1944 election. For several years, he wrote a newspaper column on political issues and briefly toyed with running for office. In 1970, Welles narrated (but did not write) a satirical political record on the administration of President Richard Nixon entitled ''The Begatting of the President''.

In the 2006 book, ''Whatever Happened to Orson Welles?'', writer Joseph McBride made several controversial claims about Welles. Though Welles said otherwise during his lifetime, McBride claimed Welles left America in the late 1940s to escape McCarthyism and the Hollywood blacklist. McBride also claimed, in spite of the sexual content of Welles's contemporary work (''F for Fake'' and the unfinished ''Other Side of the Wind''), that Welles was extremely puritanical about sex based on his comment to Peter Bogdanovich that ''The Last Picture Show'' was "a dirty movie".

Welles once told ''Cahiers du cinéma'' about sex in film, "In my opinion, there are two things that can absolutely not be carried to the screen: the realistic presentation of the sexual act and praying to God."

Death

On October 10, 1985, Welles did his final interview on ''The Merv Griffin Show''. He died two hours later of a heart attack at his home in the Hollywood area of Los Angeles, California, the same day as his ''Battle of Neretva'' co-star Yul Brynner. Welles's ashes were buried on the property of a long time friend, retired bullfighter Antonio Ordóñez, in Ronda, Spain.

Unfinished projects

Welles's reliance on self-production meant that many of his later projects were filmed piecemeal or were not completed. Welles financed his later projects through his own fundraising activities. He often also took on other work to obtain money to fund his own films.

''Don Quixote''

In the mid-1950s, Welles began work on ''Don Quixote'', initially a commission from CBS television. Welles expanded the film to feature length, developing the screenplay to take Quixote and Sancho Panza into the modern age. Filming stopped with the death of Francisco Reiguera, the actor playing Quixote, in 1969. Orson Welles continued editing the film into the early 1970s. At the time of his death, the film remained largely a collection of footage in various states of editing. The project and more importantly Welles's conception of the project changed radically over time. A version of the film was created from available fragments in 1992 and released to a very negative reception.

''The Merchant of Venice''

In 1969 Welles was given another TV commission to film a condensed adaptation of ''The Merchant of Venice''. Although Welles had actually completed the film by 1970 the finished negative was later mysteriously stolen from his Rome production office.

''The Other Side of the Wind''

In 1970 Welles began shooting ''The Other Side of the Wind''. The film relates the efforts of a film director (played by John Huston) to complete his last Hollywood picture and is largely set at a lavish party. By 1972 the filming was reported by Welles as being "96% complete", though it is likely that Welles had only edited about 40 minutes of the film by 1979. In that year, legal complications over the ownership of the film forced the negative into a Paris vault where it remained until 2004, when Peter Bogdanovich (who also acted in the film) announced his intention to complete the production. As of 2009, legal complications over the Welles estate have kept the film from being finished or released. Some footage is included in the documentary ''Working with Orson Welles'' (1993).

Other unfinished projects

''Heart of Darkness'': Welles's projected first film in 1940, planned in extreme detail and with some test shots filmed. (The footage is now lost.) It was planned to be entirely shot in long takes from the point of view of the narrator, Marlow, who would be played by Welles, seeing his own reflection in the window as his boat sailed down river. The project was abandoned because it could not be delivered on budget, and ''Citizen Kane'' was made instead. ''Mr. American'': Early 1940 drafts of ''Citizen Kane'' were based far more overtly on the life of Howard Hughes than on William Randolph Hearst, and would have made for a substantially different picture.

''It's All True'': Welles did not originally want to direct this 1942 documentary on South America, but after its abandonment by RKO, he spent much of the 1940s attempting to buy the negative of his material from RKO, so that he could edit and release it in some form. The footage remained unseen in vaults for decades, and was assumed lost. Over 50 years later, some (but not all) of the surviving material saw release in the 1993 documentary ''It's All True: Based on an Unfinished Film by Orson Welles''.

''Monsieur Verdoux'': In 1944, Welles wrote the first-draft script of this film, which he also intended to direct. Charlie Chaplin initially agreed to star in it, but later changed his mind, citing never having been directed by someone else in a feature before. Chaplin bought the film rights and made the film himself in 1947, with some changes (Welles said the gallows scenes were written by Chaplin, but that much of the film was unchanged from his own script). The final film credits Chaplin with the script, "based on an idea by Orson Welles".

''Cyrano de Bergerac'': Welles spent around nine months c. 1947-8 co-writing the screenplay for this along with Ben Hecht, a project Welles was assigned to direct for Alexander Korda. He began scouting for locations in Europe whilst filming ''Black Magic'', but Korda was short of money, so sold the rights to Columbia pictures, who eventually dismissed Welles from the project, and then sold the rights on to United Artists, who in turn made a film version in 1950, which was not based on Welles's script. ''Around the World in 80 Days'': After Welles's elaborate musical stageshow of this Jules Verne novel, encompassing 38 different sets, he began shooting some test footage in Morocco for a film version in 1947. The footage was never edited, funding never came through, and Welles abandoned the project. Nine years later, the stage show's producer Mike Todd made his own award-winning film version of the book. ''Moby Dick Rehearsed'': a film version of Welles's 1955 London meta-play, starring Gordon Jackson, Christopher Lee, Patrick McGoohan, and with Welles as Ahab. Using bare, minimalist sets, Welles alternated between a cast of nineteenth-century actors rehearsing a production of ''Moby Dick'', with scenes from ''Moby Dick'' itself. Kenneth Williams, a cast member who was apprehensive about the entire project, recorded in his autobiography that Welles's dim, atmospheric stage lighting made some of the footage so dark as to be unwatchable. The entire play was filmed, but is now presumed lost. The recording was made during one weekend at the Hackney Empire theatre. ''Histoires extraordinaires'': The producers of this 1968 anthology film, based on short stories by Edgar Allan Poe, announced in June 1967 that Welles would direct one segment based on both "Masque of the Red Death" and "The Cask of Amontillado" for the omnibus film. Welles withdrew in September 1967 and was replaced. The script, written in English by Welles and Oja Kodar, is in the Filmmuseum Munchen collection. ''One-Man Band'': This Monty Python-esque spoof in which Welles plays all but one of the characters (including two characters in drag), was made around 1968-9. Welles intended this completed sketch to be one of several items in a television special on London. Other items filmed for this special – all included in the "One Man Band" documentary by his partner Oja Kodar – comprised a sketch on Winston Churchill (played in silhouette by Welles), a sketch on peers in a stately home, a feature on London gentlemen's clubs, and a sketch featuring Welles being mocked by his snide Savile Row tailor (played by Charles Gray).

''Treasure Island'': Welles wrote two screenplays for this in the 1960s, and was eager to seek financial backing to direct it. Eventually, his own screenplay (under the pseudonym of O.W. Jeeves) was further rewritten, and formed the basis of the 1972 film version directed by John Hough, in which Welles played Long John Silver.

''The Deep'': An adaptation of Charles Williams' ''Dead Calm''. The picture was entirely set on two boats and shot mostly in close-ups, and was filmed off the coasts of Yugoslavia and the Bahamas, between 1966 and 1969, with all but one scene completed. Originally planned as commercially viable thriller, to show that Welles could make a popular, successful film. It was put on hold in 1970 when Welles worried that critics would not respond favourably to this film as his theatrical follow-up to the much-lauded ''Chimes at Midnight'', and Welles focused instead on ''F for Fake''. It was abandoned altogether in 1973 due to the death of its star Laurence Harvey. The Munich Film Museum holds a restored copy, with title cards filling out the missing scene. ''Saint Jack''. In 1978 Welles was lined up by his long-time protégé Peter Bogdanovich (who was then acting as Welles's ''de facto'' agent) to direct this adaptation of the 1973 Paul Theroux novel about an American pimp in Singapore. Hugh Hefner and Bogdnovich's then-partner Cybill Shepherd were both attached to the project as producers, with Hefner providing finance through his Playboy productions. However, both Hefner and Shepherd became convinced that Bogdanovich himself would be a more commercially viable director than Welles, and insisted that Bogdanovich take over. Since Bogdanovich was also in need of work after a series of box office flops, he agreed. When the film was finally made in 1979 by Bogdanovich and Hefner (but without Welles or Shepherd's participation), Welles felt betrayed and according to Bogdanovich the two "drifted apart a bit". ''Filming The Trial'': After the success of his 1978 film ''Filming Othello'' made for West German television, and mostly consisting of a monologue to the camera, Welles began shooting scenes for this follow-up film, but never completed it. What Welles did film was an 80 minute question-and-answer session in 1981 with film students asking about the film. The footage was kept by Welles's cinematographer Gary Graver, who donated it to the Munich Film Museum, which then pieced it together with Welles's trailer for the film, into an 83 minute film which is occasionally screened at film festivals.

''The Big Brass Ring'': A script of this project was eventually adapted and filmed by George Hickenlooper in 1999 as a play-within-a-film, about Orson Welles's production of the play. Welles's complete screenplay was one of his last projects, written in 1985.

''King Lear'': At the time of his death, Welles was in talks with a French production company to direct a film version of the Shakespeare play, in which he would also play the title role.

An adaptation of Vladimir Nabokov's novel ''Ada'' for which Welles flew to Paris to discuss the project personally with the Russian author.

Legacy

The 1996 documentary ''The Battle Over Citizen Kane'' chronicles the battle between Welles and Hearst. A 1999 HBO docudrama, ''RKO 281'', tells the story of the making of ''Citizen Kane'', starring Liev Schreiber as Orson Welles.

Tim Robbins's 1999 film ''Cradle Will Rock'' chronicles the process and events surrounding Welles and John Houseman's production of the 1937 musical by Marc Blitzstein. In it, Welles is played by actor Angus MacFadyen.

Playwright and actor Austin Pendleton wrote the play ''Orson's Shadow'' about Welles and his collaboration with Laurence Olivier. It deals with the time that Welles directed Laurence Olivier in a production of Eugène Ionesco's play ''Rhinoceros''. According to this play, Welles privately disliked Olivier's film adaptations of Shakespeare's works (which were far more successful than Welles's), at one point stating that Olivier's film of ''Hamlet'' "looked like a Joan Crawford movie". Welles struggled with getting Olivier to play not merely someone lower-class (as he did in ''The Entertainer'') but getting Olivier to play someone utterly non-descript.

Author Kim Newman has featured Orson Welles as a character in several stories from his Anno Dracula series.

In the Tim Burton-directed biopic ''Ed Wood'' (1994), Welles (played by Vincent D'Onofrio and dubbed by Maurice LaMarche) makes a brief "cameo appearance", giving advice to director Edward D. Wood, Jr. who idolises Welles. Inspired, Wood proceeds to finish his film ''Plan 9 from Outer Space'', sometimes called one of the worst films of all time. Though ''Ed Wood'' is based on Wood's life, in reality the scene is entirely fictional: Wood never met Orson Welles. D'Onofrio would again portray Welles in the 2005 30-minute film ''Five Minutes Mr. Welles'' concerning Welles's role in the film ''The Third Man''.

Although the character Brain from the animated series ''Animaniacs'' and ''Pinky and the Brain'' was not initially modeled after Welles, Maurice LaMarche was shown a picture of Brain and tasked with finding a voice for the character. LaMarche immediately thought of Welles and decided to do his Welles impersonation. LaMarche also played Welles in ''The Critic'' (where his "later work", ads for such products as 'Mrs. Pell's Fishsticks', is referenced) and in the ''Futurama'' episode "Lrrreconcilable Ndndifferences", in which he performs a ''WOTW''-like play.

One of the recurring celebrity characters on the influential Canadian sketch comedy TV show ''Second City Television'' (SCTV) was John Candy's impersonation of Welles. ON SCTV, Candy-as-Welles appeared in an embarrassing array of commercials, talk shows, and other low-budget productions. It's unknown whether or not Welles ever saw Candy's impersonation.

''Me and Orson Welles'', released in November 2009, stars Zac Efron as a teenager who convinces Welles (Christian McKay) to cast him in Welles's 1937 production of ''Julius Caesar'', based on Robert Kaplow's novel.

The final segment of ''The Simpsons'' "Treehouse of Horror XVII" features a parody of Welles's 1938 War Of The Worlds radio broadcast in which, having been fooled once, the people of Springfield refuse to believe that an actual alien invasion is taking place. Welles was again voiced by Maurice LaMarche in the episode.

Filmography

Awards

The American Film Institute ranked ''Citizen Kane'' as the greatest American movie. These other Welles films were nominated for their list: ''The Magnificent Ambersons'' (1942, director/producer/screenwriter); ''The Third Man'' (1949, actor); ''Touch of Evil'' (1958, actor/director/screenwriter); and ''A Man for All Seasons'' (1966, actor).

''Citizen Kane'' was nominated for numerous prizes at the 1941 Academy Awards, including Best Picture, Best Director and Best Actor in a Leading Role. The only Oscar won, however, was Best Original Screenplay, which Welles shared with Herman J. Mankiewicz. Welles later gave his statuette to cinematographer Gary Garver as payment for services rendered. Also, the film ''The Magnificent Ambersons'' was nominated for Best Picture, a year later.

''The Stranger'' was nominated for the Golden Lion at the Venice Film Festival in 1947. Welles himself was awarded a Career Golden Lion in 1970.

In 1952, Welles's ''Othello'' won the Palme d'Or at the Cannes Film Festival.

Welles was nominated for Best Foreign Actor in a Leading Role at the 1968 BAFTA Awards for his performance in ''Chimes at Midnight''.

Welles was given the first Career Golden Lion award in the Venice Film Festival in 1970.

In 1970, Welles won an Honorary Academy Award for "superlative and distinguished service in the making of motion pictures." In light of his poor treatment by the Academy and by the American film industry in general, Welles did not attend the ceremony. In 1970, he was awarded the French Légion d'honneur, the highest civilian decoration in France. Welles was also a distinguished Foreign Member of the Académie française, succeeded by Peter Ustinov.

Welles was given a Lifetime Achievement Award by the American Film Institute in 1975.

In 1978, Welles was presented with the Los Angeles Film Critics Career Achievement Award.

n 1979, Welles was inducted into the National Radio Hall of Fame.

In 1982, Welles was nominated for Best Supporting Actor in a Motion Picture at the Golden Globe Awards for his role in ''Butterfly'', and won a Grammy Award for Best Spoken Word Recording for his role on ''Donovan's Brain''.

Welles was awarded a Fellowship of the British Film Institute in 1983.

In 1984, Welles was given the D. W. Griffith Award of the Directors Guild of America.

In 1999, the American Film Institute ranked Welles as the 16th Greatest Male Star of All Time.

When asked to describe Welles's influence, Jean-Luc Godard remarked: "Everyone will always owe him everything." (Ciment, 42)

A highly divergent genus of Hawaiian spiders "Orsonwelles" is named in his honor (Hormiga et al. 2003)

He won three Grammy Awards, each win in the category of Best Spoken Word Recording: in 1976, for "Great American Documents" (shared with Helen Hayes, Henry Fonda and James Earl Jones; in 1978, for the original motion picture soundtrack to ''Citizen Kane''; and in 1981, for a recording of ''Donovan's Brain''.

In 2008 a statue of Welles sculpted by Oja Kodar was erected in the town of Split, Croatia.

References

Bibliography

Anderegg, Michael: ''Orson Welles, Shakespeare and Popular Culture'', New York: Columbia University Press, 1999

Bazin, Andre: ''Orson Welles'', Harper and Row, 1978

Benamou, Catherine L.: ''It's All True: Orson Welles's Pan-American Odyssey'', Berkeley: University of California Press, 2007

Beja, Morris, ed.: ''Perspectives on Orson Welles'', G. K. Hall, 1995

Berg, Chuck and Erskine, Tom, ed.: ''The Encyclopedia of Orson Welles'', Checkmark Books, 2003

Bessy, Maurice: ''Orson Welles: An investigation into his films and philosophy'', Crown, 1971

Bogdanovich, Peter and Welles, Orson ''This Is Orson Welles'', HarperPerennial 1992, ISBN 0-06-092439-X

Brady, Frank: ''Citizen Welles'', New York: Charles Scribner's Sons, 1989

Callow, Simon: ''The Road to Xanadu''. London: Jonathan Cape, 1995.

Callow, Simon: ''Hello Americans''. London: Jonathan Cape, 2006.

Carringer, Robert: ''The Making of Citizen Kane'', Berkeley: University of California Press, 1985

Carringer, Robert: ''The Magnificent Ambersons: a Reconstruction'', Berkeley: University of California Press, 1993

Ciment, Michel: "Les Enfants Terribles" in ''American Film'', December 1984

Comito, Terry, ed.: ''Touch of Evil'', Rutgers, 1985

Conrad, Peter: ''Orson Welles: The Stories of His Life'', London: Faber and Faber, 2003

Cowie, Peter: ''The Cinema of Orson Welles'', Da Capo Press, 1973.

D'Angela, Toni (ed.), ''Nelle terre di Orson Welles'', Alessandria: Edizioni Falsopiano 2004.

Davies, Anthony: ''Filming Shakespeare's Plays'', Cambridge University Press, 1988

Drazin, Charles: ''In Search of the Third Man'', Limelight, 2000

Estrin, Mark: ''Orson Welles Interviews'', University Press of Mississippi, 2002

Feder, Chris Welles: ''In My Father's Shadow: a Daughter Remembers Orson Welles'', Algonquin Books of Chapel Hill, 2009

France, Richard, ed.: ''Orson Welles on Shakespeare'', London: Routledge, 2001

France, Richard: "The Theatre of Orson Welles", Bucknell University Press, 1977

Garis, Robert: "The Films of Orson Welles", Cambridge University Press, 2004

Gosling, John: "Waging the War of the Worlds", McFarland & Company, Inc, 2009

Gottesman, Ronald, ed.: ''Focus on Citizen Kane'', Englewood Cliffs: Prentice-Hall, 1971

Gottesman, Ronald, ed.: ''Focus on Orson Welles'', Englewood Cliffs: Prentice-Hall, 1976

Greene, Graham: ''The Third Man'', London: Faber and Faber, 1991

Heyer, Paul: ''The Medium and the Magician: Orson Welles, the Radio Years'', Totowa: Rowman and Littlefield, 2005

Heylin, Clinton. ''Despite the System: Orson Welles Versus the Hollywood Studios'', Chicago Review Press, 2005

Higham, Charles: ''The Films of Orson Welles'', Berkeley: University of California Press, 1970

Higham, Charles: "Orson Welles: The Rise and Fall of an American Genius", New York: St. Martin's Press, 1985

Hormiga, G., M.A. Arnedo & R.G. Gillespie, 2003, "Speciation on a Conveyor Belt: Sequential Colonization of the Hawaiian Islands by "Orsonwelles" spiders (Araneae: Linyphiidae)., Syst. Biol. 52, 89–109.

Howard, James: "The Complete Films of Orson Welles", Citadel Press, 1991

Ishaghpour, Youssef: ''Orson Welles, cinéaste, une caméra visible'', éditions de la différence, 2001

Jorgens, Jack J.: ''Shakespeare on Film'', Bloomington: Indiana University Press, 1977

Leaming, Barbara: ''Orson Welles'', New York: Viking, 1985

Lyons, Bridget Gellert, ed.: ''Chimes at Midnight'', Rutgers, 1988

Mac Liammóir, Micháel. ''Put Money in Thy Purse: The Filming of Orson Welles's Othello'', Virgin, 1994

McBride, Joseph: ''Orson Welles'', Harcourt Brace, 1977

McBride, Joseph: ''Orson Welles'', Da Capo Press, 1996.

Mulvey, Laura: ''Citizen Kane'', London: BFI, 1992

Naremore, James. ''The Magic World of Orson Welles'', Southern Methodist University Press, 1989.

Naremore, James, ed.: ''Orson Welles's Citizen Kane: a Casebook'', Oxford University Press, 2004

Noble, Peter: ''The Fabulous Orson Welles'', London: Hutchinson and Co., 1956

Perkins, V. F.: ''The Magnificent Ambersons'', London: BFI, 1999

Rosenbaum, Jonathan: "Orson Welles's Essay Films and Documentary Fictions", in ''Placing Movies'', Berkeley: University of California Press, 1995

Rosenbaum, Jonathan: "The Battle Over Orson Welles", in ''Essential Cinema'', Baltimore: Johns Hopkins University Press, 2004

Rosenbaum, Jonathan: "Orson Welles as Ideological Challenge" in ''Movie Wars'', A Capella Books, 2000

Rosenbaum, Jonathan: ''Discovering Orson Welles'', Berkeley: University of California Press, 2007

''Shakespeare Bulletin'', Volume 23, Number 1, Spring 2005: Special Welles issue.

Simon, William G., ed.: "Special Welles issue", in: ''Persistence of Vision: the Journal of the Film Faculty of the City University of New York''; Number 7, 1988

Simonson, Robert. "Orson's Shadow Talkback Series Continues May 4 with Welles's Daughter." May 3, 2005

Taylor, John Russell: ''Orson Welles: a Celebration'', Pavilion, 1986

Taylor, John Russell: ''Orson Welles'', Pavilion, 1998

Walsh, John Evangelist: ''Walking Shadows: Orson Welles, William Randolph Hearst and Citizen Kane'', Madison: University of Wisconsin Press, 2004

Walters, Ben: ''Welles'', London: Haus Publishing, 2004 ISBN 978-1-904341-80-2

Welles, Orson: ''Les Bravades'', Workman, 1996

Welles, Orson and Bogdanovich, Peter: ''This is Orson Welles'', Da Capo Press, 1998.

Welles, Orson: ''Mr. Arkadin'', London: HarperCollins, 2006

Welles, Orson: ''The Big Brass Ring'', Black Spring Press, 1991

Welles, Orson: ''The Cradle Will Rock'', Santa Teresa Press, 1994

Welles, Orson: "The Other Side of the Wind", in: ''Cahiers du cinéma''/ Festival International du Film de Locarno, 2005

White, Rob: ''The Third Man'', London: BFI, 2003

Wood, Bret: ''Orson Welles: a Bio-Bibliography'', Greenwood Blue, 1990

External links

Wellesnet

Special about Orson Welles, ''La furia umana'', n°4, 2010, with pieces by James Naremore, Jonathan Rosenbaum,

Toni D'Angela, Richard Hell, Denis Lévy, Chris Fujiwara and others, lafuriaumana.it

''Orson Welles – The One Man Band'' (1995)

''Senses of Cinema'' Great Directors Critical Database: Orson Welles

Orson Welles bibliography

Orsonwelles.co.uk

Mercury Theatre on the Air

The Unseen Welles

Guide to the Orson Welles Materials: Lily Library, Indiana University

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Coordinates	36°50′9″N175°42′1″N
background	solo_singer
alias	The Boss
born	September 23, 1949Long Branch, New Jersey,United States
instrument	Vocals, guitar, harmonica, piano
genre	Rock, folk rock, heartland rock, hard rock, roots rock
occupation	Musician, singer-songwriter
years active	1972–present
label	Columbia
associated acts	E Street Band, Steel Mill, Miami Horns, The Sessions Band, U2
website	www.BruceSpringsteen.net
notable instruments	Fender TelecasterFender EsquireTakamine GuitarsHohner Marine Band Harmonica }}

Bruce Frederick Joseph Springsteen (born September 23, 1949 in Long Branch, New Jersey), nicknamed "The Boss," is an American singer-songwriter who records and tours with the E Street Band. Springsteen is widely known for his brand of heartland rock, poetic lyrics, and Americana sentiments centered on his native New Jersey.

Springsteen's recordings have included both commercially accessible rock albums and more somber folk-oriented works. His most successful studio albums, ''Born in the U.S.A.'' and ''Born to Run'', showcase a talent for finding grandeur in the struggles of daily American life; he has sold more than 65 million albums in the United States and 120 million worldwide and he has earned numerous awards for his work, including 20 Grammy Awards, two Golden Globes and an Academy Award. He is widely regarded by many as one of the most influential songwriters of the twentieth century, and in 2004, ''Rolling Stone Magazine'' ranked him as the 23rd greatest artist of all time in its 100 Greatest Artists of All Time list.

Early life

Springsteen was born in Long Branch, New Jersey, and spent his childhood and high school years in Freehold Borough. He lived on South Street in Freehold Borough and attended Freehold Borough High School. His father, Douglas Frederick Springsteen, was of Dutch and Irish ancestry and worked, among other vocations, as a bus driver; his surname is Dutch for ''jump stone''. His mother, Adele Ann (née Zirilli), was a legal secretary and was of Italian ancestry. Overall, his heritage is 50% Italian, 37% Irish and 13% Dutch. His maternal grandfather was born in Vico Equense, a city near Naples. He has two younger sisters, Virginia and Pamela. Pamela had a brief film career, but left acting to pursue still photography full time; she took photos for the ''Human Touch'' and ''Lucky Town'' albums.

Raised a Roman Catholic, Springsteen attended the St. Rose of Lima Catholic school in Freehold Borough, where he was at odds with the nuns and rejected the strictures imposed upon him, even though some of his later music reflects a Catholic ethos and included a few rock-influenced, traditional Irish-Catholic hymns.

In ninth grade, he transferred to the public Freehold Regional High School, but did not fit in there, either. Old teachers have said he was a "loner, who wanted nothing more than to play his guitar." He completed high school, but felt so uncomfortable that he skipped his own graduation ceremony. He briefly attended Ocean County College, but dropped out.

Career history

1962–1972: Early years

Springsteen had been inspired to take up music at the age of seven after seeing Elvis Presley on ''The Ed Sullivan Show''. At 13, his mother bought him his first guitar for $18; later, she took out a loan to buy the 16-year-old Springsteen a $60 Kent guitar, as he later memorialized in his song "The Wish".

In 1965, he went to the house of Tex and Marion Vinyard, who sponsored young bands in town. They helped him become lead guitarist and subsequently the lead singer of The Castiles. The Castiles recorded two original songs at a public recording studio in Brick Township and played a variety of venues, including Cafe Wha? in Greenwich Village. Marion Vinyard said that she believed the young Springsteen when he promised he would make it big.

Called for induction when he was 18, Springsteen failed his physical examination and did not serve in Vietnam. In an interview in ''Rolling Stone'' magazine in 1984, he said, "When I got on the bus to go take my physical, I thought one thing: I ain't goin'." He had suffered a concussion in a motorcycle accident when he was 17, and this together with his "crazy" behaviour at induction and not taking the tests, was enough to get him a 4F.

In the late 1960s, Springsteen performed briefly in a power trio known as Earth, playing in clubs in New Jersey. Springsteen acquired the nickname "The Boss" during this period as when he played club gigs with a band he took on the task of collecting the band's nightly pay and distributing it amongst his bandmates. Springsteen is not fond of this nickname, due to his dislike of bosses, but seems to have since given it a tacit acceptance. Previously he had the nickname "Doctor". From 1969 through early 1971, Springsteen performed with Steel Mill, which also featured Danny Federici, Vini Lopez, Vinnie Roslin and later Steve Van Zandt and Robbin Thompson. They went on to play the mid-Atlantic college circuit, and also briefly in California. In January 1970 well-known ''San Francisco Examiner'' music critic Philip Elwood gave Springsteen credibility in his glowing assessment of Steel Mill: "I have never been so overwhelmed by totally unknown talent." Elwood went on to praise their "cohesive musicality" and, in particular, singled out Springsteen as "a most impressive composer." During this time Springsteen also performed regularly at small clubs in Canton, Massachusetts, Richmond, Virginia, Asbury Park and along the Jersey Shore, quickly gathering a cult following. Other acts followed over the next two years, as Springsteen sought to shape a unique and genuine musical and lyrical style: Dr Zoom & the Sonic Boom (early–mid 1971), Sundance Blues Band (mid 1971), and The Bruce Springsteen Band (mid 1971–mid 1972). With the addition of pianist David Sancious, the core of what would later become the E Street Band was formed, with occasional temporary additions such as horn sections, "The Zoomettes" (a group of female backing vocalists for "Dr. Zoom") and Southside Johnny Lyon on harmonica. Musical genres explored included blues, R&B, jazz, church music, early rock'n'roll, and soul. His prolific songwriting ability, with "More words in some individual songs than other artists had in whole albums", as his future record label would describe it in early publicity campaigns, brought his skill to the attention of several people who were about to change his life: new managers Mike Appel and Jim Cretecos, and legendary Columbia Records talent scout John Hammond, who, under Appel's pressure, auditioned Springsteen in May 1972.

Even after Springsteen gained international acclaim, his New Jersey roots showed through in his music, and he often praised "the great state of New Jersey" in his live shows. Drawing on his extensive local appeal, he routinely sold out consecutive nights in major New Jersey and Philadelphia venues. He also made many surprise appearances at The Stone Pony and other shore nightclubs over the years, becoming the foremost exponent of the Jersey Shore sound.

1972–1974: Initial struggle for success

Springsteen signed a record deal with Columbia Records in 1972, with the help of John Hammond, who had signed Bob Dylan to the same label a decade earlier. Springsteen brought many of his New Jersey–based colleagues into the studio with him, thus forming the E Street Band (although it would not be formally named as such for several more years). His debut album, ''Greetings from Asbury Park, N.J.'', released in January 1973, established him as a critical favorite, though sales were slow. Because of Springsteen's lyrical poeticism and folk rock–rooted music exemplified on tracks like "Blinded by the Light", (which would later be a hit for Manfred Mann and go to number one, making it the only time Springsteen had a number one single as a songwriter), and "For You", as well as the Columbia and Hammond connections, critics initially compared Springsteen to Bob Dylan. "He sings with a freshness and urgency I haven't heard since I was rocked by 'Like a Rolling Stone,'" wrote ''Crawdaddy'' magazine editor Peter Knobler in Springsteen's first interview/profile, in March 1973. ''Crawdaddy'' discovered Springsteen in the rock press and was his earliest champion. (Springsteen and the E Street Band acknowledged by giving a private performance at the ''Crawdaddy'' 10th Anniversary Party in New York City in June 1976.) Music critic Lester Bangs wrote in ''Creem'' in 1975 that when Springsteen's first album was released "... many of us dismissed it: he wrote like Bob Dylan and Van Morrison, sang like Van Morrison and Robbie Robertson, and led a band that sounded like Van Morrison's." The track "Spirit in the Night" especially showed Morrison's influence, while "Lost in the Flood" was the first of many portraits of Vietnam veterans and "Growin' Up", his first take on the recurring theme of adolescence.

In September 1973 his second album, ''The Wild, the Innocent & the E Street Shuffle,'' was released, again to critical acclaim but no commercial success. Springsteen's songs became grander in form and scope, with the E Street Band providing a less folky, more R&B vibe and the lyrics often romanticized teenage street life. "4th of July, Asbury Park (Sandy)" and "Incident on 57th Street" would become fan favorites, and the long, rousing "Rosalita (Come Out Tonight)" continues to rank among Springsteen's most beloved concert numbers.

In the May 22, 1974, issue of Boston's ''The Real Paper'', music critic Jon Landau wrote after seeing a performance at the Harvard Square Theater, "I saw rock and roll future, and its name is Bruce Springsteen. And on a night when I needed to feel young, he made me feel like I was hearing music for the very first time." Landau subsequently became Springsteen's manager and producer, helping to finish the epic new album, ''Born to Run''. Given an enormous budget in a last-ditch effort at a commercially viable record, Springsteen became bogged down in the recording process while striving for a wall of sound production. But, fed by the release of an early mix of "Born to Run" to progressive rock radio, anticipation built toward the album's release. All in all the album took more than 14 months to record, with six months alone spent on the song "Born To Run" During this time Springsteen battled with anger and frustration over the album, saying he heard "sounds in [his] head" that he could not explain to the others in the studio. It was during these recording sessions that "Miami" Steve Van Zandt would stumble into the studio just in time to help Springsteen organize the horn section on "Tenth Avenue Freeze-Out" (it is his only written contribution to the album), and eventually led to his joining the E Street Band. Van Zandt had been a long-time friend of Springsteen, as well as a collaborator on earlier musical projects, and understood where he was coming from, which helped him to translate some of the sounds Springsteen was hearing. Still, by the end of the grueling recording sessions, Springsteen was not satisfied, and, upon first hearing the finished album, threw the record into the alley and told Jon Landau he would rather just cut the album live at The Bottom Line, a place he often played.

1975–1983: Breakthrough

On August 13, 1975, Springsteen and the E Street Band began a five-night, 10-show stand at New York's Bottom Line club. The engagement attracted major media attention, was broadcast live on WNEW-FM, and convinced many skeptics that Springsteen was for real. (Decades later, ''Rolling Stone'' magazine would name the stand as one of the 50 Moments That Changed Rock and Roll.) With the release of ''Born to Run'' on August 25, 1975, Springsteen finally found success. The album peaked at number 3 on the Billboard 200, and while there were no hit singles, "Born to Run" (Billboard #23), "Thunder Road", "Tenth Avenue Freeze-Out" (Billboard #83), and "Jungleland" all received massive album-oriented rock airplay and remain perennial favorites on many classic rock stations. The songwriting and recording was more disciplined than before, while still maintaining an epic feel. With its panoramic imagery, thundering production and desperate optimism, ''Born to Run'' is considered by some fans to be among the best rock and roll albums of all time and Springsteen's finest work. It established him as a sincere and dynamic rock and roll personality who spoke for and in the voice of a large part of the rock audience. To cap off the triumph, Springsteen appeared on the covers of both ''Time'' and ''Newsweek'' in the same week, on October 27 of that year. So great did the wave of publicity become that Springsteen eventually rebelled against it during his first venture overseas, tearing down promotional posters before a concert appearance in London.

A legal battle with former manager Mike Appel kept Springsteen out of the studio for nearly a year, during which time he kept the E Street Band together through extensive touring across the U.S. Despite the optimistic fervor with which he often performed, his new songs had taken a more somber tone than much of his previous work. Reaching settlement with Appel in 1977, Springsteen returned to the studio, and the subsequent sessions produced ''Darkness on the Edge of Town'' (1978). Musically, this album was a turning point in Springsteen's career. Gone were the raw, rapid-fire lyrics, outsized characters and long, multi-part musical compositions of the first two albums; now the songs were leaner and more carefully drawn and began to reflect Springsteen's growing intellectual and political awareness. The cross-country 1978 tour to promote the album would become legendary for the intensity and length of its shows. By the late 1970s, Springsteen had earned a reputation in the pop world as a songwriter whose material could provide hits for other bands. Manfred Mann's Earth Band had achieved a U.S. number one pop hit with a heavily rearranged version of ''Greetings''' "Blinded by the Light" in early 1977. Patti Smith reached number 13 with her take on Springsteen's unreleased "Because the Night" (with revised lyrics by Smith) in 1978, while The Pointer Sisters hit number two in 1979 with Springsteen's also unreleased "Fire".

In September 1979, Springsteen and the E Street Band joined the Musicians United for Safe Energy anti-nuclear power collective at Madison Square Garden for two nights, playing an abbreviated set while premiering two songs from his upcoming album. The subsequent ''No Nukes'' live album, as well as the following summer's ''No Nukes'' documentary film, represented the first official recordings and footage of Springsteen's fabled live act, as well as Springsteen's first tentative dip into political involvement.

Springsteen continued to consolidate his thematic focus on working-class life with the 20-song double album ''The River'' in 1980, which included an intentionally paradoxical range of material from good-time party rockers to emotionally intense ballads, and finally yielded his first hit Top Ten single as a performer, "Hungry Heart". This album marked a shift in Springsteen's music toward a pop-rock sound that was all but missing from any of his earlier work. This is apparent in the stylistic adoption of certain eighties pop-rock hallmarks like the reverberating-tenor drums, very basic percussion/guitar and repetitive lyrics apparent in many of the tracks. The title song pointed to Springsteen's intellectual direction, while a couple of the lesser-known tracks presaged his musical direction. The album sold well, becoming his first topper on the Billboard Pop Albums chart, and a long tour in 1980 and 1981 followed, featuring Springsteen's first extended playing of Europe and ending with a series of multi-night arena stands in major cities in the U.S.

''The River'' was followed in 1982 by the stark solo acoustic ''Nebraska''. Recording sessions had been held to expand on a demo tape Springsteen had made at his home on a simple, low-tech four-track tape deck. However during the recording process Springsteen and producer Landau realized the songs worked better as solo acoustic numbers than full band renditions and the original demo tape was released as the album. Although the recordings of the E Street Band were shelved, other songs from these sessions would later be released, including "Born in the U.S.A." and "Glory Days". According to the Marsh biographies, Springsteen was in a depressed state when he wrote this material, and the result is a brutal depiction of American life. While ''Nebraska'' did not sell as well as Springsteen's two previous albums, it garnered widespread critical praise (including being named "Album of the Year" by ''Rolling Stone'' magazine's critics) and influenced later significant works by other major artists, including U2's album ''The Joshua Tree''. It helped inspire the musical genre known as lo-fi music, becoming a cult favorite among indie-rockers. Springsteen did not tour in conjunction with ''Nebraska'''s release.

1984–1991: Commercial and popular phenomenon

Springsteen probably is best known for his album ''Born in the U.S.A.'' (1984), which sold 15 million copies in the U.S. and became one of the best-selling albums of all time, with seven singles hitting the Top 10, and the massively successful world tour that followed it. The title track was a bitter commentary on the treatment of Vietnam veterans, some of whom were Springsteen's friends and bandmates. The lyrics in the verses were entirely unambiguous when listened to, but the anthemic music and the title of the song made it hard for many, from politicians to the common person, to get the lyrics—except those in the chorus, which could be read many ways. The song was widely misinterpreted as jingoistic, and in connection with the 1984 presidential campaign became the subject of considerable folklore. Springsteen also turned down several million dollars offered by the Chrysler Corporation to use the song in a car commercial. (In later years, to eliminate the bombast and make the song's original meaning more explicitly clear, Springsteen performed the song accompanied only by acoustic guitar. An acoustic version also appeared on ''Tracks'', a later album.) "Dancing in the Dark" was the biggest of seven hit singles from ''Born in the U.S.A.'', peaking at number 2 on the Billboard music charts. The music video for the song featured a young Courteney Cox dancing on stage with Springsteen, an appearance which helped kickstart the actress's career. The song "Cover Me" was written by Springsteen for Donna Summer, but his record company persuaded him to keep it for the new album. A big fan of Summer's work, Springsteen wrote another song for her, "Protection". Videos for the album were made by noted film directors Brian De Palma and John Sayles. Springsteen was featured on the "We Are the World" song and album in 1985. His live single "Trapped" from that album received moderate airplay on U.S. Top 40 stations as well as reaching #1 on the ''Billboard'' Top Rock Tracks chart.

During the Born in the U.S.A. Tour, Springsteen met actress Julianne Phillips, whom he would marry in 1985.

The ''Born in the U.S.A.'' period represented the height of Springsteen's visibility in popular culture and the broadest audience demographic he would ever reach (aided by the release of Arthur Baker's dance mixes of three of the singles). ''Live/1975–85'', a five-record box set (also on three cassettes or three CDs), was released near the end of 1986 and became the first box set to debut at number 1 on the U.S. album charts. It is one of the most commercially successful live albums of all time, ultimately selling 13 million units in the U.S. ''Live/1975–85'' summed up Springsteen's career to that point and displayed some of the elements that made his shows so powerful to his fans: the switching from mournful dirges to party rockers and back; the communal sense of purpose between artist and audience; the long, intense spoken passages before songs, including those describing Springsteen's difficult relationship with his father; and the instrumental prowess of the E Street Band, such as in the long coda to "Racing in the Street". Despite its popularity, some fans and critics felt the album's song selection could have been better. Springsteen concerts are the subjects of frequent bootleg recording and trading among fans.

During the 1980s, several Springsteen fanzines were launched, including ''Backstreets'' magazine, which started in Seattle and continues today as a glossy publication, now in communication with Springsteen's management and official website.

After this commercial peak, Springsteen released the much more sedate and contemplative ''Tunnel of Love'' album (1987), a mature reflection on the many faces of love found, lost and squandered, which only selectively used the E Street Band. It presaged the breakup of his marriage to Julianne Phillips and described some of his unhappinesses in the relationship. Reflecting the challenges of love in "Brilliant Disguise", Springsteen sang:

The subsequent Tunnel of Love Express tour shook up fans with changes to the stage layout, favorites dropped from the set list, and horn-based arrangements. During the European leg in 1988, Springsteen's relationship with backup singer Patti Scialfa became public and Phillips and Springsteen filed for divorce in 1988. Later in 1988, Springsteen headlined the worldwide Human Rights Now! tour for Amnesty International. In the fall of 1989 he dissolved the E Street Band, and he and Scialfa relocated to California, marrying in 1991.

1992–2001: Artistic and commercial ups and downs

In 1992, after risking charges of "going Hollywood" by moving to Los Angeles (a radical move for someone so linked to the blue-collar life of the Jersey Shore) and working with session musicians, Springsteen released two albums at once. ''Human Touch'' and ''Lucky Town'' were even more introspective than any of his previous work and displayed a newly revealed confidence. As opposed to his first two albums, which dreamed of happiness, and his next four, which showed him growing to fear it, at points during the ''Lucky Town'' album, Springsteen actually claims happiness for himself.

An electric band appearance on the acoustic ''MTV Unplugged'' television program (later released as ''In Concert/MTV Plugged'') was poorly received and further cemented fan dissatisfaction. Springsteen seemed to realize this a few years hence when he spoke humorously of his late father during his Rock and Roll Hall of Fame acceptance speech: }}

A multiple Grammy Award winner, Springsteen also won an Academy Award in 1994 for his song "Streets of Philadelphia", which appeared on the soundtrack to the film ''Philadelphia''. The song, along with the film, was applauded by many for its sympathetic portrayal of a gay man dying of AIDS. The music video for the song shows Springsteen's actual vocal performance, recorded using a hidden microphone, to a prerecorded instrumental track. This technique was developed on the "Brilliant Disguise" video.

In 1995, after temporarily re-organizing the E Street Band for a few new songs recorded for his first ''Greatest Hits'' album (a recording session that was chronicled in the documentary ''Blood Brothers''), he released his second (mostly) solo guitar album, ''The Ghost of Tom Joad'', inspired by John Steinbeck's ''The Grapes of Wrath'' and by ''Journey to Nowhere: The Saga of the New Underclass'', a book by Pulitzer Prize-winners author Dale Maharidge and photographer Michael Williamson. This was generally less well-received than the similar ''Nebraska'', due to the minimal melody, twangy vocals, and political nature of most of the songs, although some praised it for giving voice to immigrants and others who rarely have one in American culture. The lengthy, worldwide, small-venue solo acoustic Ghost of Tom Joad Tour that followed successfully featured many of his older songs in drastically reshaped acoustic form, although Springsteen had to explicitly remind his audiences to be quiet and not to clap during the performances.

Following the tour, Springsteen moved back to New Jersey with his family. In 1998, Springsteen released the sprawling, four-disc box set of out-takes, ''Tracks''. Subsequently, Springsteen would acknowledge that the 1990s were a "lost period" for him: "I didn't do a lot of work. Some people would say I didn't do my best work."

Springsteen was inducted into the Rock and Roll Hall of Fame in 1999 by Bono of U2, a favor he returned in 2005.

In 1999, Springsteen and the E Street Band officially came together again and went on the extensive Reunion Tour, lasting over a year. Highlights included a record sold-out, 15-show run at Continental Airlines Arena in East Rutherford, New Jersey and a ten-night, sold-out engagement at New York City's Madison Square Garden which ended the tour. The final two shows were recorded for an HBO Concert, with corresponding DVD and album releases as ''Bruce Springsteen & the E Street Band: Live in New York City''. A new song, "American Skin (41 Shots)", about the police shooting of Amadou Diallo which was played at these shows proved controversial.

In November 2000, Springsteen filed legal action against Jeff Burgar which accused him of registering the domain brucespringsteen.com (along with several other celebrity domains) in bad faith to funnel web users to his Celebrity 1000 portal site. Once the legal complaint was filed, Burgar pointed the domain to a Springsteen biography and message board. In February 2001, Springsteen lost his dispute with Burgar. A WIPO panel ruled 2 to 1 in favor of Burgar.

On Labor day 2001 Bruce Springsteen played at Donovan's Reef in Sea Bright NJ surprising a local cover band named Brian Kirk and the Jerks and performed Rosalita with them showing his support and love.

2002–2007: Return to success

In 2002, Springsteen released his first studio effort with the full band in 18 years, ''The Rising'', produced by Brendan O'Brien. The album, mostly a reflection on the September 11 attacks, was a critical and popular success. (Many of the songs were influenced by phone conversations Springsteen had with family members of victims of the attacks who in their obituaries had mentioned how his music touched their lives.) The title track gained airplay in several radio formats, and the record became Springsteen's best-selling album of new material in 15 years. Kicked off by an early-morning Asbury Park appearance on ''The Today Show'', The Rising Tour commenced, barnstorming through a series of single-night arena stands in the U.S. and Europe to promote the album in 2002, then returning for large-scale, multiple-night stadium shows in 2003. While Springsteen had maintained a loyal hardcore fan base everywhere (and particularly in Europe), his general popularity had dipped over the years in some southern and midwestern regions of the U.S. But it was still strong in Europe and along the U.S. coasts, and he played an unprecedented 10 nights in Giants Stadium in New Jersey, a ticket-selling feat to which no other musical act has come close. During these shows Springsteen thanked those fans who were attending multiple shows and those who were coming from long distances or another country; the advent of robust Bruce-oriented online communities had made such practices more common. The Rising Tour came to a final conclusion with three nights in Shea Stadium, highlighted by renewed controversy over "American Skin" and a guest appearance by Bob Dylan.

During the early 2000s, Springsteen became a visible advocate for the revitalization of Asbury Park, and played an annual series of winter holiday concerts there to benefit various local businesses, organizations, and causes. These shows were explicitly intended for the devoted fans, featuring numbers such as the ''E Street Shuffle'' outtake "Thundercrack", a rollicking group-participation song that would mystify casual Springsteen fans. He also frequently rehearses for tours in Asbury Park; some of his most devoted followers even go so far as to stand outside the building to hear what fragments they can of the upcoming shows. The song "My City of Ruins" was originally written about Asbury Park, in honor of the attempts to revitalize the city. Looking for an appropriate song for a post-Sept. 11 benefit concert honoring New York City, he selected "My City of Ruins", which was immediately recognized as an emotional highlight of the concert, with its gospel themes and its heartfelt exhortations to "Rise up!" The song became associated with post-9/11 New York, and he chose it to close ''The Rising'' album and as an encore on the subsequent tour.

At the Grammy Awards of 2003, Springsteen performed The Clash's "London Calling" along with Elvis Costello, Dave Grohl, and E Street Band member Steven Van Zandt and No Doubt's bassist, Tony Kanal, in tribute to Joe Strummer; Springsteen and the Clash had once been considered multiple-album-dueling rivals at the time of the double ''The River'' and the triple ''Sandinista!''. In 2004, Springsteen and the E Street Band participated in the "Vote for Change" tour, along with John Mellencamp, John Fogerty, the Dixie Chicks, Pearl Jam, R.E.M., Bright Eyes, the Dave Matthews Band, Jackson Browne, and other musicians. All concerts were to be held in swing states, to benefit the liberalism political organization group America Coming Together and to encourage people to register and vote. A finale was held in Washington, D.C., bringing many of the artists together. Several days later, Springsteen held one more such concert in New Jersey, when polls showed that state surprisingly close. While in past years Springsteen had played benefits for causes in which he believed – against nuclear energy, for Vietnam veterans, Amnesty International, and the Christic Institute – he had always refrained from explicitly endorsing candidates for political office (indeed he had rejected the efforts of Walter Mondale to attract an endorsement during the 1984 Reagan "Born in the U.S.A." flap). This new stance led to criticism and praise from the expected partisan sources. Springsteen's "No Surrender" became the main campaign theme song for John Kerry's unsuccessful presidential campaign; in the last days of the campaign, he performed acoustic versions of the song and some of his other old songs at Kerry rallies.

''Devils & Dust'' was released on April 26, 2005, and was recorded without the E Street Band. It is a low-key, mostly acoustic album, in the same vein as ''Nebraska'' and ''The Ghost of Tom Joad'' although with a little more instrumentation. Some of the material was written almost 10 years earlier during, or shortly after, the Ghost of Tom Joad Tour, a couple of them being performed then but never released. The title track concerns an ordinary soldier's feelings and fears during the Iraq War. Starbucks rejected a co-branding deal for the album, due in part to some sexually explicit content but also because of Springsteen's anti-corporate politics. The album entered the album charts at No. 1 in 10 countries (United States, Austria, Switzerland, Sweden, Denmark, Italy, Germany, the Netherlands, the United Kingdom, and Ireland). Springsteen began the solo Devils & Dust Tour at the same time as the album's release, playing both small and large venues. Attendance was disappointing in a few regions, and everywhere (other than in Europe) tickets were easier to get than in the past. Unlike his mid-1990s solo tour, he performed on piano, electric piano, pump organ, autoharp, ukulele, banjo, electric guitar, and stomping board, as well as acoustic guitar and harmonica, adding variety to the solo sound. (Offstage synthesizer, guitar, and percussion were also used for some songs.) Unearthly renditions of "Reason to Believe", "The Promised Land", and Suicide's "Dream Baby Dream" jolted audiences to attention, while rarities, frequent set list changes, and a willingness to keep trying even through audible piano mistakes kept most of his loyal audiences happy.

In November 2005, Sirius Satellite Radio started a 24-hour, seven-day-a-week radio station on Channel 10 called E Street Radio. This channel featured commercial-free Bruce Springsteen music, including rare tracks, interviews, and daily concerts of Bruce Springsteen & the E Street Band recorded throughout their career.

In April 2006, Springsteen released ''We Shall Overcome: The Seeger Sessions'', an American roots music project focused around a big folk sound treatment of 15 songs popularized by the radical musical activism of Pete Seeger. It was recorded with a large ensemble of musicians including only Patti Scialfa, Soozie Tyrell, and The Miami Horns from past efforts. In contrast to previous albums, this was recorded in only three one-day sessions, and frequently one can hear Springsteen calling out key changes live as the band explores its way through the tracks. The Bruce Springsteen with The Seeger Sessions Band Tour began the same month, featuring the 18-strong ensemble of musicians dubbed The Seeger Sessions Band (and later shortened to The Sessions Band). ''Seeger Sessions'' material was heavily featured, as well as a handful of (usually drastically rearranged) Springsteen numbers. The tour proved very popular in Europe, selling out everywhere and receiving some excellent reviews, but newspapers reported that a number of U.S. shows suffered from sparse attendance. By the end of 2006, the Seeger Sessions tour toured Europe twice and toured America for only a short span. ''Bruce Springsteen with The Sessions Band: Live in Dublin'', containing selections from three nights of November 2006 shows at The Point Theatre in Dublin, Ireland, was released the following June.

Springsteen's next album, titled ''Magic'', was released on October 2, 2007. Recorded with the E Street Band, it featured 10 new Springsteen songs plus "Long Walk Home", performed once with the Sessions band, and a hidden track (the first included on a Springsteen studio release), "Terry's Song", a tribute to Springsteen's long-time assistant Terry Magovern, who died on July 30, 2007. The first single, "Radio Nowhere", was made available for a free download on August 28. On October 7, ''Magic'' debuted at number 1 in Ireland and the UK. ''Greatest Hits'' reentered the Irish charts at number 57, and ''Live in Dublin'' almost cracked the top 20 in Norway again. Sirius Satellite Radio also restarted E Street Radio on Channel 10 on September 27, 2007, in anticipation of ''Magic''. Radio conglomerate Clear Channel Communications was alleged to have sent an edict to its classic rock stations to not play any songs from the new album, while continuing to play older Springsteen material. However, Clear Channel Adult Alternative (or "AAA") station KBCO did play tracks from the album, undermining the allegations of a corporate blackout. The Springsteen and E Street Band Magic Tour began at the Hartford Civic Center with the album's release and was routed through North America and Europe. Springsteen and the band performed live on NBC's ''Today Show'' in advance of the opener. Longtime E Street Band organist Danny Federici left the tour in November 2007 to pursue treatment for melanoma from which he would die in 2008

2008–present: Recent events

Springsteen supported Barack Obama's 2008 presidential campaign, announcing his endorsement in April 2008 and going on to appear at several Obama rallies as well as performing several solo acoustic performances in support of Obama's campaign throughout 2008, culminating with a November 2 rally where he debuted "Working On A Dream" in a duet with Scialfa. At an Ohio rally, Springsteen discussed the importance of "truth, transparency and integrity in government, the right of every American to have a job, a living wage, to be educated in a decent school, and a life filled with the dignity of work, the promise and the sanctity of home...But today those freedoms have been damaged and curtailed by eight years of a thoughtless, reckless and morally-adrift administration."

Following Obama's electoral victory on November 4, Springsteen's song "The Rising" was the first song played over the loudspeakers after Obama's victory speech in Chicago's Grant Park. Springsteen was the musical opener for the Obama Inaugural Celebration on January 18, 2009 which was attended by over 400,000. He performed "The Rising" with an all-female choir. Later he performed Woody Guthrie's "This Land Is Your Land" with Pete Seeger.

On June 18, 2008, Springsteen appeared live from Europe at the Tim Russert tribute at the Kennedy Center in Washington, D.C., to play one of Russert's favorite songs, "Thunder Road". Springsteen dedicated the song to Russert, who was "one of Springsteen's biggest fans."

On January 11, 2009, Springsteen won the Golden Globe Award for Best Song for "The Wrestler", from the Mickey Rourke film by the same name. After receiving a heartfelt letter from Mickey Rourke, Springsteen supplied the song for the film for free.

Springsteen performed at the halftime show at Super Bowl XLIII on February 1, 2009, agreeing to do it after many previous offers A few days before the game, Springsteen gave a rare press conference, where he promised a "twelve-minute party." His 12:45 set, with the E Street Band and the Miami Horns, included abbreviated renditions of "Tenth Avenue Freeze-Out"", "Born to Run", "Working on a Dream, and "Glory Days", the latter complete with football references. The set of appearances and promotional activities led Springsteen to say, "This has probably been the busiest month of my life."

Springsteen's ''Working on a Dream'' album was released in late January 2009 and the supporting Working on a Dream Tour ran from April 2009 until November 2009. The tour featured few songs from the new album, with instead set lists dominated by classics and selections reflecting the ongoing late-2000s recession. The tour also featured Springsteen playing songs requested by audience members holding up signs as on the final stages of the Magic Tour. Drummer Max Weinberg was replaced for some shows by his 18-year-old son Jay Weinberg, so that the former could serve his role as bandleader on ''The Tonight Show with Conan O'Brien''. During this tour, Springsteen and the band made their first real foray in the world of music festivals, headlining nights at the Pinkpop Festival in the Netherlands, Festival des Vieilles Charrues in France, the Bonnaroo Music Festival in the United States and the Glastonbury Festival in the UK and Hard Rock Calling in the UK. Several shows on the tour featured full album presentations of ''Born to Run'', ''Darkness on the Edge of Town'', or ''Born in the U.S.A.'' The band performed a stretch of five final shows at his homestate Giants Stadium, opening with a new song highlighting the historic stadium, and his Jersey roots, named "Wrecking Ball". The tour ended as scheduled in Buffalo, NY in November 2009 amid speculation that it was the last performance ever by the E Street Band, but during the show Springsteen said it was goodbye “for a little while.” A DVD from the Working of a Dream Tour entitled ''London Calling: Live in Hyde Park'' was released in 2010.

In addition to his own touring, Springsteen made a number of appearances at tribute and benefit concerts during 2009, including The Clearwater Concert, a celebration of Pete Seeger's 90th birthday, the Rock and Roll Hall of Fame's 25th anniversary benefit concert, a benefit for the charity Autism Speaks at Carnegie Hall. On January 22, 2010, he joined many well-known artists to perform on ''Hope for Haiti Now: A Global Benefit for Earthquake Relief‎'', organized by George Clooney to raise money to help the victims of the 2010 Haiti earthquake.

In 2009, Springsteen performed in The People Speak a documentary feature film that uses dramatic and musical performances of the letters, diaries, and speeches of everyday Americans, based on historian Howard Zinn's "A People's History of the United States".

Springsteen was among the recipients of the Kennedy Center Honors, an annual award to figures from the world of arts for their contribution to American culture, in December 2009. President Obama gave a speech in which he talked about how Springsteen has incorporated the life of regular Americans in his expansive pallette of songs and how his concerts are beyond the typical rock-and-roll concerts, how, apart from being high-energy concerts, they are "communions". He ended the remark "while I am the president, he is The Boss". Tributes were paid by several well-known celebrities including Jon Stewart (who described Springsteen's "unprecedented combination of lyrical eloquence, musical mastery and sheer unbridled, unadulterated joy"). A musical tribute featured John Mellencamp, Ben Harper and Jennifer Nettles, Melissa Etheridge, Eddie Vedder and Sting.

The 2000s ended with Springsteen being named one of eight Artists of the Decade by ''Rolling Stone'' magazine and with Springsteen's tours ranking him fourth among artists in total concert grosses for the decade.

In September 2010, a documentary about the making of his 1978 album "Darkness on The Edge of Town" was premiered at the Toronto International Film Festival. The film, ''The Promise: The Making of Darkness on the Edge of Town'', was included in a box set reissue of the album, entitled ''The Promise: The Darkness on the Edge of Town Story'', released in November 2010. Also airing on HBO, the documentary explored Springsteen's making of the acclaimed album, and his role in the production and development of the tracks.

Springsteen is working on his next studio album with Ron Aniello, who also co-produced the 2007 album "Play It As It Lays", by Springsteen's wife, Patti Scialfa. Ron Aniello also produced "Children's Song" early in 2011, a duet with Bruce and Patti, which was done for a charity project.

Musical style

Bruce Springsteen draws on many musical influences from the reservoir of traditional American popular music, folk, blues and country. From the beginning, rock and roll has been the dominant influence. On his debut album, ''Greetings from Asbury Park, New Jersey'', the folk-influence is clear to hear. An example of the influence of this music genre to Springsteen's music is his song "This Hard Land" which demonstrates a clear influence of the style of Woody Guthrie.

He expanded the range of his musical compositions on his second album, ''The Wild, the Innocent & the E Street Shuffle''. Elements of Latin American music, jazz, soul, and funk influences can be heard; the song "New York City Serenade" is even reminiscent of the music of George Gershwin. These two records prominently featured pianist David Sancious, who left the band shortly into the recording of Springsteen's third album, ''Born To Run''. This album, however, also emphasized the piano, the responsibility now of Roy Bittan.

Earlier in his career, Springsteen has focused more on the rock elements of his music. He initially compressed the sound and developed ''Darkness On The Edge Of Town'' just as straightforward as concise musical idiom, for the simple riffs and clearly recognizable song structures are dominant. His music has been categorized as heartland rock, a style typified by Springsteen, John Fogerty, Tom Petty, Bob Seger, and John Mellencamp. This music has a lyrical reference to the U.S. everyday and the music is kept rather simple and straightforward. This development culminated with Springsteen's hit album ''Born in the U.S.A.'', the title song of which has a constantly repeating, fanfare-like keyboard riff and a pounding drum beat. These sounds fit with Springsteen's voice: it cries to the listener the unsentimental story of a disenchanted angry figure. Even songs that can be argued to be album tracks proved to be singles that enjoyed some chart success, such as "My Hometown" and "I'm on Fire", in which the drum line is formed from subtle hi-hat and rim-clicks-shock (shock at the edge of the snare drum).

In recent years, Springsteen has changed his music further. There are more folk elements up to the gospel to be heard. His last solo album, ''Devils and Dust'', drew rave reviews not only for Springsteen's complex songwriting, but also for his expressive and sensitive singing.

On the album ''We Shall Overcome: The Seeger Sessions'' Springsteen performs folk classics with a folk band, rather than his usual E Street Band. On his ensuing tour he also interpreted some of his own rock songs in a folk style.

The 2007 album ''Magic'' was a reflection on the old stadium rock attitude and with its lush arrangements was almost designed to be performed at large stadiums, which also succeeded on the corresponding tour.

Lyrical themes

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Often described as cinematographic in their scope, Springsteen's lyrics frequently explore highly personal themes such as individual commitment, dissatisfaction and dismay with life in a context of every day situations.

It has been recognized that there was a shift in his lyrical approach starting with the album ''Darkness on the Edge of Town'', in which he focused on the emotional struggles of working class life.

Politics and activism

Springsteen's music has often contained political themes, and he has publicly campaigned for several causes, including his opposition to the Iraq War and support for Democratic presidential campaigns, including Senator John Kerry and President Barack Obama. He is also noted for his support of various relief and rebuilding efforts in New Jersey and elsewhere, and for his response to the September 11 attacks in 2001, on which his album ''The Rising'' reflects.

In 1988, Springsteen headlined the worldwide Human Rights Now! tour for Amnesty International.

Springsteen has been associated with various local food banks, particularly with the New Jersey Food bank for many years. During concerts, he usually breaks the routine to announce his support and later matches the total collection during the concert with his own money. During his Charlotte, North Carolina concert on November 3, 2009, he started with a $10,000 donation for the local food bank to start the collections process – which he again matched later.

He has made substantial financial contributions to various workers' unions both in America and in Europe.

Personal life

Springsteen had a short marriage to Julianne Phillips (born May 6, 1960) from May 13, 1985 to May 1988, when they separated. The two were opposites in background and his traveling took its toll on their relationship. The final blow came when Bruce began an affair with Patti Scialfa (born July 29, 1953), whom he had dated briefly in 1984 shortly after she joined the band. Phillips and Springsteen separated in the spring of 1988, and on August 30, 1988, Julianne filed for divorce. The Springsteen/Phillips divorce was finalized on March 1, 1989.

After the separation in 1988 Bruce began living with Scialfa. Springsteen received press criticism for the hastiness in which he and Scialfa took up their relationship. In a 1995 interview with The Advocate, Springsteen spoke about the negative publicity the couple subsequently received. "It's a strange society that assumes it has the right to tell people whom they should love and whom they shouldn't. But the truth is, I basically ignored the entire thing as much as I could. I said, 'Well, all I know is, this feels real, and maybe I have got a mess going here in some fashion, but that's life.'" He also noted that, "I went through a divorce, and it was really difficult and painful and I was very frightened about getting married again. So part of me said, 'Hey, what does it matter?' But it does matter. It's very different than just living together. First of all, stepping up publicly- which is what you do: You get your license, you do all the social rituals- is a part of your place in society and in some way part of society's acceptance of you...Patti and I both found that it did mean something."

On July 25, 1990 Scialfa gave birth to the couple's first child, Evan James Springsteen. On June 8, 1991 Springsteen and Scialfa married at their Beverly Hills home. Their second child, Jessica Rae Springsteen, was born on December 30, 1991; and their third child, Samuel Ryan Springsteen, was born on January 5, 1994. The family owns and lives on a horse farm in Colts Neck, New Jersey. They also own homes in Wellington, Florida, a wealthy horse community near West Palm Beach, Los Angeles and Rumson, New Jersey. Their eldest son, Evan, attends Boston College. Their daughter Jessica is a nationally ranked champion equestrian, and attends Duke University.

Since 1991, Springsteen has led a relatively quiet life for a well-known popular performer and artist. He moved from Los Angeles to New Jersey in the early 1990s specifically to raise a family in a non-paparazzi environment. It has been reported that the press conference regarding the 2009 Super Bowl XLIII half-time show was his first press conference for more than 25 years. However, he has appeared in a few radio interviews, most notably on NPR and BBC. 60 minutes aired his last extensive interview on TV before his tour to support his album, ''Magic''.

Bands

Bruce Springsteen has been a member of, or has been backed by, several bands during his career, most notably The E Street Band.

His earliest known band is The Castiles.

Prior to signing his first record deal in 1972, Springsteen was a member of several bands including Steel Mill. In October 1972 he formed a new band for the recording of his debut album Greetings from Asbury Park, N.J., which became known as The E Street Band, although the name was not officially introduced until September 1974. The E Street Band performed on all of Springsteen's recorded works from his debut until 1982's ''Nebraska'', a solo album on which Springsteen himself played all the instruments. The full band returned for the next album ''Born in the USA'', but there then followed a period from 1988 to 1999 in which albums were recorded with session musicians. The E Street band were briefly reunited in 1995 for new contributions to the ''Greatest Hits'' compilation, and on a more permanent basis from 1999, since which time they have recorded 3 albums together (''The Rising'', ''Magic'' and ''Working on a Dream'') and performed a number of high profile tours.

The 2005 album ''Devils & Dust'' was largely a solo recording, with some contribution from session musicians and the 2006 folk rock ''We Shall Overcome: The Seeger Sessions'' album was recorded and toured with another band, known as The Sessions Band.

Earlier Bands: The Castiles, Earth, Child, Steel Mill, Sundance Blues Band, Dr Zoom and the Sonic Boom, Bruce Springsteen Band.

E Street Band

Current members:

Bruce Springsteen – lead vocals, lead and rhythm guitar, harmonica, piano

Patti Scialfa – backing and duet vocals, acoustic guitar, percussion

Max Weinberg – drums, percussion

Garry Tallent – bass guitar, tuba

Roy Bittan – piano, keyboards

Steven Van Zandt – lead and rhythm guitar, backing vocals, mandolin

Nils Lofgren – lead and rhythm guitar, pedal steel guitar, backing vocals

With: Soozie Tyrell – violin, acoustic guitar, percussion, backing vocals Charles Giordano – organ, accordion, glockenspiel

Former Members:

1973–2011 Clarence Clemons (deceased) – tenor, baritone and soprano saxophones, backing vocals, percussion

1973–2008 Danny Federici (deceased) – organ, accordion, backing vocals

Film

Music used in films

Springsteen's music has been used in many films and he has also written and performed several works specifically for films, examples include ''Philadelphia'', ''Dead Man Walking'', Jerry Maguire, and ''The Wrestler''.

1983 1983 1987 1989 1992 1992 1993 1995 1995 1996 1997 1998 1998 1999 1999 2000 2000 2002 2003 2004 2007 2007 2007 2007 2008 2009

Film !! Year of film release !! Song(s) !! Notes
''Dead End Street''	1982	"Point Blank", "Hungry Heart" and "Jungleland"
''Risky Business''	|	Hungry Heart
''Baby, It's You (film)	Baby, It's You''	|	"It's Hard To Be A Saint In The City", "The E Street Shuffle", "She's The One" and "Adam Raised A Cain"	Film directed by John Sayles who later directed music videos for songs from ''Born in the U.S.A.'' and ''Tunnel of Love''.
''Light of Day''	|	"(Just Around the Corner to the) Light of Day"	Song written for the film.
''In Country''	|	"I'm On Fire"	Film also contained many Springsteen references.
''Thunderheart''	|	"Badlands" (instrumental version)
''Honeymoon in Vegas''	|	Viva Las Vegas (song)>Viva Las Vegas"	A 1964 song recorded by Elvis Presley.
Philadelphia (film)	Philadelphia	|	"Streets of Philadelphia"	Song written for film. Won an Oscar.
''Dead Man Walking (film)	Dead Man Walking''	|	"Dead Man Walkin'"	Song written for film. Nominated for a Oscar.
''The Crossing Guard''	|	"Missing"	Song was later released in 2003 on ''The Essential Bruce Springsteen''.
''Jerry Maguire''	|	Secret Garden (Bruce Springsteen song)>Secret Garden"
''Cop Land''	|	Stolen Car (Bruce Springsteen song)>Stolen Car"	Sylvester Stallone's character plays the songs on his turntable.
''The Wedding Singer''	|	"Hungry Heart"
''A Night at the Roxbury''	|	"Secret Garden"
''Big Daddy (film)	Big Daddy''	|	"Growin' Up"	Played over a montage near the end of the film.
''Limbo (film)	Limbo''	|	"Lift Me Up"	Another John Sayles film.
''High Fidelity (film)	High Fidelity''	|	"The River" and Blues Guitar Riff	Blues riff played by Springsteen, on-screen during his cameo appearance. "The River" played from vinyl on turntable.
''The Perfect Storm (film)	The Perfect Storm''	|	"Hungry Heart"
''25th Hour''	|	"The Fuse"
''Grand Theft Parsons''	|	"Blood Brothers"
''Jersey Girl''	|	"Jersey Girl"	Cover of the Tom Waits version
''Reign Over Me''	|	"Drive All Night" and "Out In The Street"	The River (album)>The River'' was also well mentioned in the movie.
''In the Land of Women''	|	"Iceman"
''The Heartbreak Kid (2007 film)	The Heartbreak Kid''	|	"Rosalita (Come Out Tonight)"
''Lucky You (film)	Lucky You''	|	"Lucky Town"
''The Wrestler (2008 film)	The Wrestler''	|	The Wrestler (song)>The Wrestler"	Written for the film. The song was awarded a Golden Globe Award for Best Original Song and nominated for the MTV Movie Award as "Best Song From a Movie".
''Food, Inc.''	|	"This Land Is Your Land"	Live version, Bruce Springsteen's performance of the Woody Guthrie song.

Films inspired by music

In turn, films have been inspired by his music, including ''The Indian Runner'', written and directed by Sean Penn, which Penn has specifically noted as being inspired by Springsteen's song "Highway Patrolman".

In September 2010, a documentary about the making of his 1978 album "Darkness on The Edge of Town" was premiered at the Toronto International Film Festival.

Kevin Smith is an admitted "big fan" of fellow New Jersey native Springsteen and named his film ''Jersey Girl'' after the Tom Waits song which Springsteen made famous. The song was also used on the soundtrack.

Ricky Gervais and Stephen Merchant said Springsteen's "Thunder Road" to have been a heavy influence on their 2010 film "Cemetery Junction," employing the song's themes of escape and optimism into their story of 1970s England.

In 2011, Springsteen appears in an independent film made by a local musician Chris Vaughn from New Jersey entitled "Jerseyboy Hero" where the songwriter/filmmaker documents his journey to get his music out to the world by attempting to reach one of his two local New Jersey legends, Bruce Springsteen or Jon Bon Jovi.

Acting

Springsteen made his first on-screen appearance in a brief cameo as himself in ''High Fidelity'' in 2000 and it was voted "Best Cameo in a Movie" at the MTV Movie Awards.

Discography

Major studio albums (along with their chart positions in the U.S. Billboard 200 at the time of release):

1973: ''Greetings from Asbury Park, N.J.'' (#60)

1973: ''The Wild, the Innocent & the E Street Shuffle'' (#59)

1975: ''Born to Run'' (#3)

1978: ''Darkness on the Edge of Town'' (#5)

1980: ''The River'' (#1)

1982: ''Nebraska'' (#3)

1984: ''Born in the U.S.A.'' (#1)

1987: ''Tunnel of Love'' (#1)

1992: ''Human Touch'' (#2)

1992: ''Lucky Town'' (#3)

1995: ''The Ghost of Tom Joad'' (#11)

1998: ''Tracks'' (#64)

2002: ''The Rising'' (#1)

2005: ''Devils & Dust'' (#1)

2006: ''We Shall Overcome: The Seeger Sessions'' (#3)

2007: ''Magic'' (#1)

2009: ''Working on a Dream'' (#1)

2010: ''The Promise'' (#16)

Awards and recognition

Grammy Awards

:Springsteen has won 20 Grammy Awards, as follows (years shown are the year the award was given ''for'', not the year in which the ceremony was held):

Best Rock Vocal Performance, Male, 1984, "Dancing in the Dark"

Best Rock Vocal Performance, Male, 1987, "Tunnel of Love"

Song of the Year, 1994, "Streets of Philadelphia"

Best Rock Song, 1994, "Streets of Philadelphia"

Best Rock Vocal Performance, Solo, 1994, "Streets of Philadelphia"

Best Song Written Specifically for a Motion Picture or Television, 1994, "Streets of Philadelphia"

Best Contemporary Folk Album, 1996, ''The Ghost of Tom Joad''

Best Rock Album, 2002, ''The Rising''

Best Rock Song, 2002, "The Rising"

Best Male Rock Vocal Performance, 2002, "The Rising"

Best Rock Performance by a Duo or Group with Vocal, 2003, "Disorder in the House" (with Warren Zevon)

Best Solo Rock Vocal Performance, 2004, "Code of Silence"

Best Solo Rock Vocal Performance, 2005, "Devils & Dust"

Best Traditional Folk Album, 2006, ''The Seeger Sessions: We Shall Overcome''

Best Long Form Music Video, 2006, ''Wings For Wheels: The Making Of Born to Run''

Best Solo Rock Vocal Performance, 2007, "Radio Nowhere"

Best Rock Song, 2007, "Radio Nowhere"

Best Rock Instrumental Performance, 2007, "Once Upon a Time in the West"

Best Rock Song, 2008, "Girls in Their Summer Clothes"

Best Solo Rock Vocal Performance, 2009, "Working on a Dream"

Only one of these awards has been one of the cross-genre "major" ones (Song, Record, or Album of the Year); he has been nominated a number of other times for the majors, but failed to win.

Golden Globe Awards

Golden Globe Award for Best Original Song for "Streets of Philadelphia" in 1994. Golden Globe Award for Best Original Song for "The Wrestler" in 2009.

Academy Awards

Academy Award for Best Original Song, 1993, "Streets of Philadelphia" from ''Philadelphia''.

Emmy Awards

The ''Bruce Springsteen & the E Street Band: Live In New York City'' HBO special won two technical Emmy Awards in 2001.

Other recognition

October 27, 1975: Bruce Springsteen appears simultaneously on the covers of 'Newsweek' and 'Time'

Polar Music Prize in 1997. Inducted into the Rock and Roll Hall of Fame, 1999. Inducted into the Songwriters Hall of Fame, 1999. Inducted into the New Jersey Hall of Fame, 2007. "Born to Run" named "The unofficial youth anthem of New Jersey" by the New Jersey state legislature; something Springsteen always found to be ironic, considering that the song "is about leaving New Jersey". The minor planet 23990, discovered Sept. 4, 1999, by I. P. Griffin at Auckland, New Zealand, was officially named in his honor. Ranked #23 on ''Rolling Stone'' magazines 2004 list of the 100 Greatest Artists of All Time. Ranked #36 on ''Rolling Stone'' magazines 2004 list of the 100 Greatest Singers Of All Time. Made ''Time'' magazine's 100 Most Influential People Of The Year 2008 list. Won Critic's Choice Award for Best Song with "The Wrestler" in 2009.

Performed at the Super Bowl XLIII half time show.

Kennedy Center Honors, 2009.

Rolling Stone magazine also ranked 8 out of 16 Springsteen's studio albums in their 500 Greatest Albums Of All Time list.

Rolling Stone magazine ranked Born to Run and Thunder Road in its 500 Greatest Songs Of All Time list, in 21st and 86th, respectively.

Forbes ranked him 6th in The Celebrity 100 in 2009

John Steinbeck Award

Influence

In addition to his noted influence on music in his native New Jersey, Springsteen is also cited as an influence by , Bon Jovi, Arcade Fire, The Gaslight Anthem, The Constantines, The Hold Steady, The National, Kings of Leon, The Killers, U2, Willy DeVille, Johnny Cash',Lady Gaga in his later recordings, and countless others. His songs have been covered by diverse artists such as David Bowie, The Pointer Sisters, John Mayer, Manfred Mann's Earth Band, Melissa Etheridge, Emmylou Harris, Johnny Cash, Automatic 7, Vampire Weekend, McFly, Tegan and Sara, Damien Jurado, Free Energy, Aimee Mann, Dropkick Murphys, Social Distortion, Rage Against The Machine, Ben Harper, Eric Bachmann, Josh Ritter, Frank Turner, Hank Williams III, Roger_Meddows-Taylor (covered "Racing In The Streets" on Strange Frontier), Madrugada. For Springsteen's influence on academic writers, see "Library of Hope and Dreams":a comprehensive annotated bibliography of published Springsteen scholarship in English. Note, bibliography is indexed by song, album, author and subject keywords.

See also

List of best selling music artists

List of artists who reached number one on the U.S. Mainstream Rock chart

Notes

References

Sources

Alterman, Eric. ''It Ain't No Sin To Be Glad You're Alive : The Promise of Bruce Springsteen''. Little Brown, 1999. ISBN 0-316-03885-7.

Coles, Robert. ''Bruce Springsteen's America: The People Listening, a Poet Singing''. Random House, 2005. ISBN 0-375-50559-8.

Cross, Charles R. ''Backstreets: Springsteen – the man and his music'' Harmony Books, New York 1989/1992. ISBN 0-517-58929-X. Contains 15+ interviews and a complete list of all Springsteen songs including unreleased compositions. Complete lising of all concerts 1965–1990 – most of them with tracklists. Hundreds of previously unreleased high quality color pictures.

Cullen, Jim. ''Born in the U.S.A.: Bruce Springsteen and the American Tradition''. 1997; Middletown, CT: Wesleyan University Press, 2005. New edition of 1997 study book places Springsteen's work in the broader context of American history and culture. ISBN 0-8195-6761-2

Eliot, Marc with Appel, Mike. ''Down Thunder Road''. Simon & Schuster, 1992. ISBN 0-671-86898-5.

Graff, Gary. ''The Ties That Bind: Bruce Springsteen A to E to Z''. Visible Ink, 2005. ISBN 1-57859-151-1.

Guterman, Jimmy. ''Runaway American Dream: Listening to Bruce Springsteen''. Da Capo, 2005. ISBN 0-306-81397-1.

Hilburn, Robert. ''Springsteen''. Rolling Stone Press, 1985. ISBN 0-684-18456-7.

Knobler, Peter with special assistance from Greg Mitchell. "Who Is Bruce Springsteen and Why Are We Saying All These Wonderful Things About Him?", ''Crawdaddy'', March 1973.

Marsh, Dave. ''Bruce Springsteen: Two Hearts : The Definitive Biography, 1972–2003''. Routledge, 2003. ISBN 0-415-96928-X. (Consolidation of two previous Marsh biographies, ''Born to Run'' (1981) and ''Glory Days'' (1987).)

Wolff, Daniel. ''July 4, Asbury Park: A History of the Promised Land''. Bloomsbury, 2005. ISBN 1-58234-509-0.

Further reading

''Greetings from E Street: The Story of Bruce Springsteen and the E Street Band''. Chronicle Books, 2006. ISBN 0-8118-5348-9.

''Days of Hope and Dreams: An Intimate Portrait of Bruce Springsteen''. Billboard Books, 2003. ISBN 0-8230-8387-X.

''Racing in the Street: The Bruce Springsteen Reader''. Penguin, 2004. ISBN 0-14-200354-9.

''Runaway American Dream: Listening to Bruce Springsteen''. Da Capo Press, 2005. ISBN 0-306-81397-1.

''The Ties That Bind: Bruce Springsteen A to E to Z''. Visible Ink Press, 2005. ISBN 1-57859-157-0.

''Bruce Springsteen: "Talking"''. Omnibus Press, 2004. ISBN 1-84449-403-9.

''The Songs of Bruce Springsteen : 1965-2010"''. by Steve Rowland. printondemand.co.uk, 2011.

''For You: Original Stories and Photographs by Bruce Springsteen's Legendary Fans''. LKC Press, 2007. ISBN 978-0-9784156-0-0.

''Bruce Springsteen on Tour: 1968–2005''. by Dave Marsh Bloomsbury USA, 2006. ISBN 978-1-59691-282-3.

''The Gospel according to Bruce Springsteen: Rock and Redemption from Asbury Park to Magic''. by Jeffrey B. Symynkywicz. Westminster John Knox Press, 2008. ISBN 978-0-664-23169-9.

''Magic in the Night: The Words and Music of Bruce Springsteen'' by Rob Kirkpatrick. St. Martin's Griffin, 2009. ISBN 0-312-53380-2.

''Land of Hope and Dreams: Celebrating 25 Years of Bruce Springsteen In Ireland'' by Greg Lewis and Moira Sharkey. Magic Rat Books. ISBN 978-0-9562722-0-1

External links

Bruce Springsteen – official website

Bruce Springsteen at ''Idiomag'' 21 12 10

in 2005

Highlights of Springsteen at Glastonbury 2009.

Bruce Springsteen at NPR Music

"Library of Hope and Dreams":bibliography of published Springsteen scholarship in English.

Category:1949 births Category:Living people Category:American baritones Category:American folk singers Category:American male singer-songwriters Category:American people of Dutch descent Category:American people of Irish descent Category:American people of Italian descent Category:American rock guitarists Category:American rock singers Category:Best Song Academy Award winning songwriters Category:BRIT Award winners Category:Columbia Records artists Category:Grammy Award winners Category:American musicians of Italian descent Category:American musicians of Irish descent Category:Jersey Shore musicians Category:Kennedy Center honorees Category:New Jersey Democrats Category:People from Colts Neck Township, New Jersey Category:People from Rumson, New Jersey Category:Rock and Roll Hall of Fame inductees Category:Songwriters Hall of Fame inductees Category:Sony/ATV Music Publishing artists Category:The E Street Band members Category:Songwriters from New Jersey

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Coordinates	36°50′9″N175°42′1″N
name	Mark Ronson
background	non_vocal_instrumentalist
occupation	Musician, DJ, producer
birth name	Mark Daniel Ronson
born	September 04, 1975Notting Hill, London, England
label	Allido/Columbia/RCA/JRoc Nation
years active	1993–present
instruments	Vocals, guitar, percussion, keyboards, drum machine, bass, clavinet, organ, piano
associated acts	Duran Duran, Amy Winehouse, Daniel Merriweather, Jordan Galland, Wale, The Ghost of a Saber Tooth Tiger, the Business International, Samantha Ronson
Website	}}

Mark Daniel Ronson (born 4 September 1975) is an English DJ, guitarist, music producer, artist and co-founder of Allido Records. He currently works with his band under the music alias of Mark Ronson & The Business Intl.

While his debut album ''Here Comes the Fuzz'' failed to make an impact on the charts, his second album, ''Version'' included three top ten hits and won Ronson a BRIT Award for ''Best Male Artist 2008''. His third studio album, ''Record Collection'', was released on 27 September 2010.

Early life

Ronson was born at the Wellington Hospital, St John's Wood, to writer/socialite Ann Dexter-Jones and one-time band manager and real estate entrepreneur Laurence Ronson. His parents are of Ashkenazi Jewish descent, with ancestors from Austria, Russia, and Lithuania, and Ronson was brought up in Conservative Judaism. Ronson's family name was originally Aaronson, but his grandfather Henry Ronson changed it to Ronson. Ronson is the nephew of property tycoon Gerald Ronson. Ronson is related to British Conservative politicians Sir Malcolm Rifkind and Leon Brittan, as well as Odeon Cinemas founder Oscar Deutsch. Ronson has younger twin sisters, Charlotte Ronson, a fashion designer, and Samantha Ronson, a singer and DJ. Ronson also has five younger half-siblings. Alexander and Annabelle, through his mother's remarriage to Mick Jones as well as David, Henrietta, and Joshua, through his father's remarriage to Michele Human. After his parents broke up, his mother married Foreigner guitarist Mick Jones, which contributed to a childhood surrounded by music.

Career

Ronson went to high school at the private Collegiate School in New York. Attending Vassar College and then New York University (NYU), Ronson became a regular at downtown hip hop spots and made his name as a DJ on the New York club scene in 1993, charging $50 per job. Though a novice with little experience, he became known for his diverse, genre-spanning selection. Influenced by funk, the hip hop scene of New York and the more rock influence of the UK (all of which he incorporated in his sets) he attracted a wider audience. He was soon one of the most respected DJs and was being called on for celebrities' private parties. In 1999, Ronson was featured in an ad wearing Tommy Hilfiger denim in the recording studio for an ad campaign for the company.

He provided the score for the 2011 film ''Arthur''.

''Here Comes the Fuzz'' and initial producing

He moved on, however, to producing music after Nikka Costa's manager heard one of his gigs and introduced the musicians. He produced her song "Everybody Got Their Something", and soon Ronson signed a record contract with Elektra Records. Mark had produced tracks for Hilfiger ads, and in 2001 used the connection to have Costa's single "Like a Feather" used in an ad.

Ronson's first album, ''Here Comes the Fuzz'', was released in 2003 and was critically acclaimed and a financial success, despite initially poor sales. On the album, he wrote the songs, made the beats and played guitar, keyboards, and bass. The album featured artists from diverse genres, including Mos Def, Jack White, Sean Paul, Nikka Costa, Nappy Roots and Rivers Cuomo. The best known song from the album, "Ooh Wee", samples "Sunny" by Boney M and features Nate Dogg, Ghostface Killah, Trife Da God, and Saigon. It was featured that year in the movie ''Honey'' and its soundtrack. The song was later used in the movies ''Hitch'' and ''Harold & Kumar Escape from Guantanamo Bay''. Two weeks after releasing ''Here Comes the Fuzz'', Elektra Records dropped him. Ronson has since produced multiple songs on the albums of singers Lamya, Macy Gray, Christina Aguilera, Amy Winehouse, Lily Allen, and Robbie Williams.

Ronson became one of the regular DJs at Justin Timberlake's New York club, Suede, when it opened in 2003.

In 2004, Ronson formed his own record label, Allido Records, a subsidiary of Sony BMG's J Records, along with his longtime manager Rich Kleiman. The first artist he signed to Allido was rapper Saigon, who later left to sign with Just Blaze's Fort Knox Entertainment. He has signed Rhymefest, most well-known for winning the Grammy for co-writing Kanye West's "Jesus Walks".

''Version (album)''

Ronson released a cover of The Smiths' track "Stop Me If You Think You've Heard This One Before" under the title "Stop Me" on 2 April 2007, featuring singer Daniel Merriweather, which reached number 2 in the UK singles charts, the biggest hit for Ronson to date. Ronson remixed the Bob Dylan song "Most Likely You'll Go Your Way (And I'll Go Mine)" in promotion for the three disc Bob Dylan set titled ''Dylan'' released October 2007. Ronson has also produced Candie Payne's "One More Chance (Ronson mix)" in 2007.

The album has been well received by critics. In May 2007 it was awarded the title Album of the Month by the British dance music magazine, ''Mixmag''. On 23 June, the DJ made the cover of the ''Guardian'' newspaper's Guide magazine, alongside singer Lily Allen.

In June 2007, Ronson signed DC hip hop artist Wale to Allido Records. In late 2007, he focused on production, working with Daniel Merriweather on his debut album, and recording again with Amy Winehouse and Robbie Williams.

On 24 October 2007 Ronson performed a one-off set at The Roundhouse in Camden, London as part of the BBC Electric Proms 2007. The performance featured the BBC Concert Orchestra and included special guests Terry Hall, Sean Lennon, Tim Burgess, Alex Greenwald, Ricky Wilson, Charlie Waller, Adele and Kyle Falconer.

Ronson received a Grammy Award nomination in early December 2007 for 'Producer of the Year, Non Classical', along with Timbaland and Mike Elizondo. Ronson's work with Amy Winehouse also received substantial praise, gaining 6 nominations. ''Back to Black'', an album mostly produced by Ronson was nominated for 'Album of the Year' and 'Best Pop Vocal Album'. "Rehab" received nods for 'Best Female Pop Vocal Performance', 'Song of the Year' and 'Record of the Year'. Ronson would go on to win three Grammys for 'Producer of the Year' as well as 'Best Pop Vocal Album' and 'Record of the Year' (which he shared with Amy Winehouse) in early February 2008.

Ronson is credited as producer on a mixtape album called ''Man in the Mirror'', released in January 2008 by the rapper Rhymefest which is a tribute to the pop star Michael Jackson. The album features Rhymefest appearing to speak to Michael Jackson using archive audio from interviews with the pop star.

Later in January 2008, Ronson received three nominations for the Brit Awards, including 'Best Male Solo Artist', 'Best Album' (''Version'') and 'Song of the Year' ("Valerie"). Ronson won his first Brit for 'Best Male Solo Artist' in mid February 2008 over favourite Mika. He also performed a medley of "God Put a Smile upon Your Face" with Adele, "Stop Me" with Daniel Merriweather and "Valerie" with Amy Winehouse.

The performance allowed for a large boost in sales in the iTunes UK Top 100. "Valerie" would jump almost 30 spots in the days after the event, while "Just", "Stop Me" and "Oh My God" all appeared in the chart as well. That same week, Ronson appeared twice in the UK Top 40, with "Valerie" rebounding to number 13 and "Just" at number 31, his fourth Top 40 hit from "Version". The Brits performance also allowed for "Version" to climb 18 spots to number 4.

Around this time, Ronson received his first number one on an international chart (Dutch Top 40) for "Valerie", which has spent four consecutive weeks at the top of the chart. He collaborated with Kaiser Chiefs on their third album.

Ronson has toured the album "Version" vigorously through both the UK and Europe during 2008. Notable sold out performances at The Hammersmith Apollo and Brixton Academy. Ronson is known to champion new upcoming artists on the road with him, such as Sam Sparro and Julian Perretta. Ronson's string backing was provided by the all-female string quartet Demon Strings. In May 2008, Ronson played at the largest private party in the world, the Trinty Ball in Trinity College Dublin. On 2 July 2008 in Paris, Mark Ronson performed a unique live set with Duran Duran for an exclusive, invitation-only performance. Together, they showcased specially re-worked versions of some of Duran Duran's classic hits that were created by Ronson, along with tracks from the band's new album, ''Red Carpet Massacre''. Ronson & the Version Players also brought Ronson's acclaimed live show to the event, performing songs from his album ''Version''. Simon LeBon was one of his featured guest vocalists. As of March 2009 Ronson was working with the group on their upcoming 13th album. The Album, titled ''All You Need Is Now'' was released digitally exclusively via Apple's iTunes on 21 December 2010. A physical release with an expanded track list will be released in March 2011.

''Record Collection''

At the launch of his most recent Gucci pop-up store in London, Ronson confirmed the name of his new album ''Record Collection'', and said that he hoped to have it out by September 2010. Additionally, Ronson announced the name of his new band, "The Business Intl.'", which is the alias adopted by Ronson on the third studio album. The first single "Bang Bang Bang". which featured rapper Q-Tip and singer MNDR was released on 12 July 2010, where it peaked at number 6 on the UK Singles Chart, giving Ronson his fourth Top 10 hit. The single also saw success on the Irish Singles Chart, where it peaked at number 18. The second single from the album, "The Bike Song", was 19 September 2010 and features Kyle Falconer from The View and Spank Rock. The album was released on 27 September 2010. This is the first of Ronson's albums that he has sung on.

Videos

Ronson created a video, along with Directors Gary Breslin and Jordan Galland: Circuit Breaker, which is a Homage to video game ''The Legend of Zelda.''

Personal life

Ronson spends his time between New York and London; due to this and his childhood he has a Mid-Atlantic English accent. Ronson is the nephew of property tycoon Gerald Ronson. Mark has two sisters who are twins: Charlotte is a fashion designer and his other sister Samantha is a DJ and singer. He lived next door to, and was friends with, Sean Lennon. Ronson became a naturalised citizen of the United States in 2008.

In 2002, he began dating Quincy Jones's daughter, actress/singer Rashida Jones They became engaged in March 2003, with Ronson proposing by creating a crossword puzzle with the message "Will you marry me". They later broke up. In the beginning of 2008, Ronson briefly dated English model/socialite Daisy Lowe. Ronson went on to date Tennessee Thomas, the English drummer of American indie girl band The Like, but they split in early 2009.

In March 2009, Ronson was pictured with French actress and singer Joséphine de La Baume. She featured in his 2010 video for "The Bike Song." The couple got engaged in February 2011.

In 2009 he participated in PETA's "Please Don't Wear Any Fur" campaign. He was also voted the most stylish man in UK by ''GQ'' magazine.

Discography

Studio albums

Year	Album details	Peak chart positions									! style="width:30px;"	! style="width:30px;"	! style="width:30px;"	! style="width:30px;"	! style="width:30px;"	! style="width:30px;"	! style="width:30px;"
		2003		* Released: 8 September 2003	* Label: [[Elephant Records">Music recording sales certification
! style="width:30px;"	! style="width:30px;"	! style="width:30px;"	! style="width:30px;"	! style="width:30px;"	! style="width:30px;"	! style="width:30px;"	! style="width:30px;"
2003		* Released: 8 September 2003	* Label: [[Elephant Records	70	—	—	—	—	—	—	—		British Phonographic Industry>UK: Silver
2007	style="text-align:left;"	* Released: 16 April 2007	Allido>Allido Records	2	—	—	21	44	—	51	129		* UK: 2× Platinum
2010	style="text-align:left;"	* Released: 27 September 2010	Allido>Allido RecordsRCA RecordsColumbia Records	2	6	61	16	67	33	40	81		* AUS: Gold	UK: 2x Platinum

Singles

Year	Title	Chart positions	Album
style="width:30px;"	UK	AUS	! style="width:30px;"	! style="width:30px;"	! style="width:30px;"	! style="width:30px;"	! style="width:30px;"	! style="width:30px;"
2003		15	—	—	9	82	—	—	—	''Here Comes the Fuzz''
	2006		48	—	—	—	—	—	—	—
		—	—	—	—	—	—	—	—
	2	—	—	38	—	—	11	—
	8	72	—	21	—	—	—	—
	2	75	5	3	1	39	4	—
	2008		31	—	—	—	—	—	—	—
	"Bang Bang Bang (song)	6	16	75	18	68	25	65	17
"[[The Bike Song" (featuring Kyle Falconer & Spank Rock)	17	66	—	—	—	—	—	35
	55	—	—	—	—	—	—	10

;Other charted songs:

Year	Title	Chart positions		Album
		! style="width:30px;"	! style="width:30px;"
2003		—	21	''Here Comes the Fuzz''
		63	—	rowspan="2"
	66	—

''Notes'': – As ''Mark Ronson & The Business Intl''.

Production discography

Albums

1998: Flip Squad Allstars – ''The Flip Squad Allstar DJs''

1999: The High & Mighty – ''Home Field Advantage'' (programming)

2001: Nikka Costa – ''Everybody Got Their Something''

2002: Jimmy Fallon – ''The Bathroom Wall'' (mixing)

2002: Sean Paul – ''Dutty Rock''

2002: Saigon – ''The Best of Saigon a.k.a. The Yardfather Volume 1''

2003: Mark Ronson – ''Here Comes the Fuzz''

2003: Macy Gray – ''The Trouble with Being Myself'' (programming)

2004: Consequence – ''Take 'Em to the Cleaners''

2005: Ol' Dirty Bastard – ''Osirus''

2005: Terry Sullivan – ''TheErthMoovsAroundTheSun'' (guitar)

2005: Teriyaki Boyz – ''Beef or Chicken''

2006: Lily Allen – ''Alright, Still''

2006: Rhymefest – ''Blue Collar''

2006: Christina Aguilera – ''Back to Basics''

2006: Amy Winehouse – ''Back to Black''

2006: Robbie Williams – ''Rudebox''

2006: Ghostface Killah – ''More Fish''

2007: Wale – ''100 Miles & Running''

2007: Mark Ronson – ''Version''

2008: Rhymefest – ''Man in the Mirror''

2008: Adele – ''19''

2008: Estelle – ''Shine''

2008: Wale – ''The Mixtape About Nothing''

2008: Solange Knowles – ''Sol-Angel and the Hadley St. Dreams''

2008: Nas – ''Untitled''

2008: Q-Tip – ''The Renaissance''

2008: Kaiser Chiefs – ''Off with Their Heads''

2009: Wale & 9th Wonder – ''Back to the Feature''

2009: Richard Swift – ''The Atlantic Ocean''

2009: Wale – ''Attention Deficit''

2009: Daniel Merriweather – ''Love & War''

2009: The Rumble Strips – ''Welcome to the Walk Alone''

2009: ODB – ''A Son Unique''

2010: The Like – ''Release Me''

2010: Mark Ronson & The Business Intl. – ''Record Collection''

2011: Duran Duran – ''All You Need is Now''

2011: Mark Ronson & The Business Intl. – ''Record Collection 2012''

2011: Black Lips – ''Arabia Mountain''

2012: Rufus Wainwright - untitled album

Singles

1997: Posse-O – "It's Up to You..."

1998: Powerule – "Heatin' Up"

1998: Powerule – "Rhymes to Bust" / "It's Your Right"

2001: Nikka Costa – "Like a Feather"

2002: J-Live – "School's In"

2004: Daniel Merriweather – "City Rules"

2004: Daniel Merriweather – "She's Got Me"

2005: Ol' Dirty Bastard – "Dirty Dirty"

2005: Rhymefest – "These Days"

2005: Rhymefest – "Brand New"

2006: Amy Winehouse – "Rehab"

2006: Robbie Williams – "Lovelight"

2006: Lily Allen – "Littlest Things"

2007: Amy Winehouse – "You Know I'm No Good"

2007: Robbie Williams – "Bongo Bong and Je Ne T'Aime Plus"

2007: Amy Winehouse – "Back to Black"

2007: Christina Aguilera – "Slow Down Baby"

2007: Candie Payne – "One More Chance"

2007: Amy Winehouse – "Love Is a Losing Game"

2008: Adele – "Cold Shoulder"

2008: Leon Jean-Marie – "Bed of Nails"

2008: Kaiser Chiefs – "Never Miss a Beat"

2008: Wiley – "Cash in My Pocket"

2008: Kaiser Chiefs – "Good Days Bad Days"

2009: Daniel Merriweather – "Change"

2009: Daniel Merriweather – "Red"

2009: Daniel Merriweather – "Impossible

Awards

Winner

Grammy Award 2008 Producer of the Year – Non-Classical, Record of the Year (with Amy Winehouse), Best Pop Vocal Album (also with Winehouse)

The BRIT Awards 2008 Best British Male Solo Artist

Vodafone Live Music Awards – Best Live Male – Winner 2008

Glamour Women of the Year – Men of the Year – Winner 2008

Nominations

BRIT Awards 2008 Best Album – Version, Best Single Valerie (feat. Amy Winehouse)

MOBO Awards 2010 Best Video – Bang Bang Bang (feat. Q-Tip & MNDR), Best Song – Bang Bang Bang (feat. Q-Tip & MNDR)

References

External links

Mark Ronson and Boy George

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Coordinates	36°50′9″N175°42′1″N
name	Boy George
background	solo_singer
birth name	George Alan O'Dowd
born	June 14, 1961Bexley, Kent, England
occupation	Singer-songwriter, Fashion Designer, Performer, Photographer, Producer
years active	1978–present
genre	New Wave, Soul, Pop, Soft Rock, Disco
label	Virgin Records, Epic Records, Plan A Records
website	http://www.boygeorgeuk.com/
associated acts	Culture Club, Jesus Loves You, Mark Ronson }}

Boy George (born George Alan O'Dowd on 14 June 1961) is a British singer-songwriter who was part of the English New Romantic movement which emerged in the early 1980s. He helped give androgyny an international stage with the success of Culture Club during the 1980s. His music is often classified as blue-eyed soul, which is influenced by rhythm and blues and reggae. His 1990s and 2000s-era solo music has glam influences such as David Bowie and Iggy Pop. He also founded and was lead singer of Jesus Loves You during the period 1989–1992. Being involved in many activities (among them songwriting, DJing, writing books, designing clothes and photography), he has released fewer music recordings in the last decade.

Career

Early life and career

Boy George was born George Alan O'Dowd at Barnehurst Hospital in Bexley, Kent on 14 June 1961, to Gerald and Dinah O'Dowd (née Glynn), who were originally from Thurles, County Tipperary in Ireland. He is one of six children. His siblings are Richard, Kevin, David, Gerald, and Siobhan.

He was a follower of the New Romantic movement which was popular in Britain in the early 1980s. George frequently lived at the infamous Warren Street Squat in Central London. George and his friend Marilyn were regulars at ''The Blitz'', a trendy London nightclub run by Steve Strange of the group Visage. George and Marilyn also worked at the nightclub as cloakroom attendants.

Culture Club

Boy George's androgynous style of dressing caught the attention of music executive Malcolm McLaren (previously the manager of the Sex Pistols), who arranged for George to perform with the group Bow Wow Wow, featuring Annabella Lwin. Boy George's tenure with Bow Wow Wow proved quite popular, much to the dismay of Lwin, the group's actual lead singer. His association ended soon afterwards and he started his own group with bassist Mikey Craig. Next came Jon Moss (who had drumming stints with The Damned and Adam and the Ants), and then Roy Hay. The group called themselves In Praise of Lemmings, but the name was later abandoned, as was their next name, Sex Gang Children. Realizing they had a transvestite Irish singer (George), a black-Briton (Craig), a Jewish drummer (Moss), and an Anglo-Saxon Englishman (Hay), they settled on the name Culture Club, referring to the various ethnic backgrounds of the members. George and Jon Moss would begin a climactic relationship that they would keep hidden from the public, as well as group members Hay and Craig.

The band recorded demos that were paid for by EMI Records but the label declined to sign them. Virgin Records, however, expressed interest in signing the group in the UK for European releases, while Epic Records handled the US and North American distribution. They recorded their debut album ''Kissing to Be Clever'' (UK#5, US#14,) and it was released in 1982. The single "Do You Really Want to Hurt Me?", became an international hit, reaching #1 in a dozen countries around the world, plus top ten in several more countries (US #2). This was followed by the Top 5 hit "Time (Clock of the Heart)" in the US and UK, and "I'll Tumble 4 Ya" which reached US #9. This gave Culture Club the distinction of being the first group since the Beatles to have three Top 10 hits in the US from a debut album.

Their next album, ''Colour By Numbers'' was an enormous success, topping the UK charts and hit #2 in the US. The single "Church of the Poison Mind" became a Top 10 hit, and "Karma Chameleon" became an international hit, peaking at #1 in sixteen countries, and the top ten in additional countries. It hit #1 in the US where it stayed for three weeks. It was the best-selling single of the year in the United Kingdom, where it spent six weeks at #1. "Miss Me Blind" and "It's a Miracle" were Top 5 and Top 20 hits respectively in the US. "Victims" was another Top 5 UK hit.

George and Hay co-wrote the group's contributions to the movie soundtrack ''Electric Dreams'' with the songs "Love is Love" and "The Dream". The P. P. Arnold song "Electric Dreams" was written by George and Phil Pickett.

The band's third album ''Waking Up with the House on Fire'' (UK#2, US#26) featured the hit single "The War Song" and a modest hit in "Mistake No. 3". George then provided a lead vocal role on the Band Aid international hit single "Do They Know It's Christmas", he was not featured on the cover sleeve of the single. Proceeds from the single were donated to feed famine victims in Africa, particularly Ethiopia. In 1986, George guest-starred on an episode of the television action-drama series ''The A-Team'', in which he played himself. The episode was entitled "Cowboy George".

George had been occasionally using drugs for several years, and by 1985, he had developed a heroin addiction. His relationship with Jon Moss had also completely soured, and the two could hardly be around each other at that point. The group released its fourth album, ''From Luxury To Heartache'' (UK#10, US#32), and it featured one hit single, "Move Away". However, word shortly began circulating in tabloids that George was addicted to drugs. He was arrested in Britain for possession of cannabis. Shortly thereafter, keyboardist Michael Rudetsky, who co-wrote the song "Sexuality" on Culture Club's ''From Luxury to Heartache'' album, was found dead of a heroin overdose in George's London home. George had expressed interest in working with the keyboardist on a solo album George was planning. Rudetsky's parents filed a wrongful death suit in Britain against George, seeking financial damages for their son's death. With George's drug addiction, the underwhelming performance of their latest album, a soured romance between band members shrouded in secrecy, and a wrongful death lawsuit, the group ultimately disbanded. George would win the court case against the Rudetskys, and would not be required to pay any monetary damages. He would agree to seek treatment for his addiction. Following next would be the death of his friend Mark Golding, who overdosed on methadone and Valium at a party. George had been arrested en-route to the party on suspicion of carrying drugs.

Solo career: late 1980s

Boy George, now a solo artist and now signed to Virgin Records in the US as well, entered treatment for his addiction. In kicking his heroin addiction, he ''then'' became addicted to the prescription narcotics that were used during his treatment. In 1987, he released his first solo album, ''Sold'', and enjoyed its success in Europe. It spawned the UK singles "Everything I Own" (UK #1), "Keep Me In Mind" (UK #29), "To be Reborn" (UK #13), and the title song, "Sold" (UK #24). The singles were hits in various other European countries as well. The album's success, however, was not duplicated in the US. This may be due in part to the fact that George was prohibited by US authorities from travelling to America for several years (because of his British drug charges). He did score his first solo Top 40 hit with the single "Live My Life" (US #40) from the ''Hiding Out'' soundtrack. ''Tense Nervous Headache'' (1988), and ''Boyfriend'' (1989) would be his next two internationally released albums; however, these two albums would not be distributed in the US. Instead, Virgin Records selected several songs from these two albums for a US-only release called ''High Hat'' (1989). This album scored a Top 5 R&B hit in "Don't Take My Mind On A Trip", produced by Teddy Riley. George's following single in the UK was a protest song against the UK Conservative Party's legal restriction that anyone working for a local authority be barred from "promoting" homosexuality. The song, 'No Clause 28 (Emilio Pasquez Space Face Full Remix)' was an underground acid house hit.

In 1989, George formed his own record label, More Protein, and began recording under the name Jesus Loves You, (writing under the pseudonym Angela Dust, a word play off angel dust). He released several underground hits; "After The Love", "Generations Of Love", and "Bow Down Mister", the latter giving him a UK Top 30 hit in 1991. Inspired by his involvement in the Hare Krishna movement (ISKCON), George had written the song during a trip to India. Another single, "One On One", featured a remix by Massive Attack.

Solo career: 1990s

From March 1990 to April 1991, George presented a weekly chat and music show on the Power Station satellite channel called ''Blue Radio''. In 1992, George had a major US and UK hit with the song "The Crying Game", from the movie soundtrack of the same name. The movie became a surprise hit and the single reached the US Top 20. Although he had had several solo hits in Europe, this would be Boy George's biggest US hit since Culture Club's "Move Away" reached the US Top 20.

He has also enjoyed a second career as a notable music DJ. He started DJing in the early 1990s and came to the attention of legendary rave/house promoters Fantazia who asked him to mix 1 of the discs on the 2 volume in their new compilation series ''Fantazia The House Collection 2''. This compilation was a success in the UK, going gold. The album was also sold to Sony for European-wide release. London nightclub Ministry of Sound hired him to compile one of their first CDs, and it promptly sold 100,000 copies. He then completed some compilations for them, five of them being the Annual I to V.

George made many recordings between 1990 and 1994, but none were issued. In 1992 a pop and world music-oriented album was scheduled for release by a group George was fronting called Jesus Loves You. The album, to be named "Popularity Breeds Contempt", was never released. An EP entitled "Sweet Toxic Love" released in 1990 reached #65 on the UK Chart. The phrase "popularity breeds contempt" was used as the opening line on the beginning of the 1993 greatest hits album ''At Worst: The Best of Boy George and Culture Club''.

George showed an interest in releasing a rock album. He released the rock-driven album ''Cheapness and Beauty'' in 1995, but the album was not successful, although the single "Same Thing in Reverse" became a minor US hit. ''The Unrecoupable One Man Bandit Volume One'' was the next album release, first being sold on the internet only. It was then distributed by independent labels. Another project from the time was a new group that would include Boy George and two long-time musicians, John Themis and Richie Stevens. Initially named "Shallow", it was later re-named "Dubversive". The project took place in 1997 and was to include trip-hop, dub and reggae. The project was not picked up by any major labels but some of the songs were later included on the 2002 Culture Club Box Set, and some others appeared on eBay in 2004.

On some other labels, several dance-oriented songs were released in various countries. For example, "Love is Leaving" went Top 3 in Italy and "When Will You Learn" reached the top positions in the Swiss charts. "When Will You Learn" was also nominated for the Best Dance Recording, at the Grammy Awards. In 1999, Boy George collaborated on songs with dance-oriented acts. For example, "Why Go", a slow-paced track with Faithless, from their ''Sunday 8 PM'' LP, was later released in a remixed form in some European countries and Australia. A track was done with Groove Armada, named "Innocence Is Lost", but was only released on a promo 12" in 1999.

Solo career: 2000s

Boy George remained a figure in the public eye, starring in the London musical ''Taboo'', based on his life (George did not play himself, opting instead to take on the persona of Australian-born performance artist Leigh Bowery). Boy George was nominated for a Tony Award for the "Best Musical Score" and ''Taboo'' was a great success in London's West End, though a heavily altered Rosie O'Donnell-produced run in New York City was short-lived (100 performances, versus the two-year run in London).

In 2002, Boy George released ''U Can Never B2 Straight'', an "unplugged" collection of rare and lesser known acoustic works. It contained unreleased tracks from previous years as well as some ballads from ''Cheapness And Beauty'' and the Culture Club album ''Don't Mind if I Do''. It received the best reviews of Boy George's solo career, many of them highlighting his strong song writing abilities. The record was only released in the UK and Japan, and received almost no promotion from Virgin Records, only rising to #147 on the UK album charts.

From 2002 to 2004, under the pseudonym "the Twin", Boy George experimented in electronica, releasing limited edition 7" singles and promo records. Performed in small venues such as the Nag Nag Club, the material was considered innovative, but not commercially marketable. This period, however, was a very creative and liberating one for George; for "the Twin", could sing whatever he wanted. The limited releases included four 500 to 520 copies 7", one limited 12" (for Sanitized) and a promo CD, 1000 copies 13-track album ''Yum Yum''. Two years later, it was released via digital outlets like iTunes. An album recorded in the Spring of 2003 was also shelved. A collaboration with electronic combo T-Total, the album was a collection of covers of songs by Jefferson Airplane, David Bowie, John Lennon, Dusty Springfield, T. Rex, and Eurythmics among others. It is suggested that Boy George's numerous abandoned projects are due to his broad interest and need to explore other creative mediums such as photography, writing, and fashion.

During 2003, he presented a weekly show on London radio station LBC 97.3 for six months. He wrote the foreword for a feng shui book called ''Practical Feng Shui'' by Simon G. Brown (published in 1998). He also appeared as a guest on the British comedy-talk show ''The Kumars at No. 42''. In March 2005 he was the guest host for an episode of ''The Friday Night Project'', for Channel 4 television.

On his "More Protein" website, George did announce another unreleased album, named ''Straight'', for mid-2005. It was to include tracks such as "Panic" and "Talking Love". Four tracks were released as a sampler with the book of the same name in 2005. A reggaeton oriented EP was also planned for August 2006 but was never released. Some recent tracks were shared by George himself in late 2006 and early 2007 on his YouTube account, his three Myspace pages and sometimes on his official site.In January 2007, Boy George released "Time Machine" on Plan A Records. "Time Machine" was co-written by double Ivor Novello Award-winning songwriter Amanda Ghost who also co-wrote "You're Beautiful" with James Blunt.

On 20 October 2006, it was announced that he would be writing some tracks for Kylie Minogue (News.com.au story) with Amanda Ghost; however, the songs were not included on her 2007 album. It was not the first time that George wrote songs for other artists; in the past, he shared songwriting credits with the Beach Boys, Caron Wheeler, Charlotte Church, Mica Paris and many others. He also wrote many of the tracks for the artists on his own dance oriented music label, More Protein, such as Eve Gallagher, Zee Asha, Lippy Lou, and E-Zee Possee.

Boy George has run his own fashion line for some years, called "B-Rude". B-Rude has shown at fashion shows in London, New York and Moscow. On 24 December 2006, George appeared on a one-off BBC TV programme ''Duet Impossible'' in which he performed with himself from the 1980s and joked about his street cleaning.

Later in 2007, two electronica/dance collaborations were released in limited editions. In the spring, the track "You're Not The One" was remixed from an old demo and released with the dance combo "Loverush UK" reaching the top 20 in the UK dance chart. It was a digital-only release, available in many digital retailers like iTunes. Also on iTunes, a new collaboration with trip-hop/electro band Dark Globe, called "Atoms", was released on 19 November. The single contains eight versions, from the slow original to electro remixes by Ariya and Henrik Schwarz. Also in late 2007, an EP titled "Disco Abomination" appeared on the internet, available for download on several underground outlets. It included new remixes of tracks like "Turn 2 Dust", "Love Your Brother", and covers of "Don't Wanna See Myself" and "Go Your Own Way". Most of the versions are remixes done by German producer Kinky Roland.

On 25 February 2007, George was special guest DJ at LGBT nightspot, The Court Hotel in Perth, Western Australia. On 4 March 2007, George performed as a DJ at the Hordern Pavilion in Sydney for the Mardi Gras Festival. On 11 May 2007, George performed as a DJ at the launch party for the Palazzo Versace in Dubai, UAE. George cancelled his planned 2007 October tour via an announcement on his official website. In 2007: George toured as a DJ, visiting Florence, Stuttgart, Rotterdam, Toulouse, Auckland, Brisbane, Melbourne, Sydney, Dubai, Skopje, Niagara Falls, Montreal, Toronto, Cagliari, Blackpool, Coventry, Munich, Naples, Mantova, Lyon, Follonica, Paris, Kristiansand, Noli, Rio de Janeiro, São Paulo, Amsterdam, Beirut, Budapest, Skanderborg, Baia, London, Mykonos, Geneva, Lausanne, Stockholm, Manchester, Brussels, Bologna, Hong Kong, Letterkenny, Aix-en-Provence, Reims, Moscow and Genova.

Upon his return from prison Boy George resumed his successful DJ career embarking on a worldwide tour of clubs. George has played a special residency at the Shaw Theatre in London (in which all shows were sold out) from 23 January 2008, followed by a full UK tour. In April 2008, The Biography Channel featured a documentary on the life of Boy George. The American tour which was planned for July/August 2008 had to be cancelled because he had been denied a United States visa due to a London court case scheduled for November 2008. On 2 July, 6 concert dates in South America were announced. Boy George participated in RETROFEST held in Scotland in August 2008, and a 30-date UK tour took place in October/November 2008.

In 2009 he signed a new record deal subsequently releasing the album ''Ordinary Alien – The Kinky Roland Files'' in the autumn of 2010. The album consisted of previously recorded tracks mixed by longtime dance partner Kinky Roland. He took part in Night of the Proms, which is a series of concerts held yearly in Belgium, the Netherlands, Germany and Spain. Regularly there are also shows in France, Austria, Switzerland, Luxembourg and the Scandinavian countries. The concerts consist of a combination of pop music and popular classical music (often combined) and various well-known musicians and groups usually participate.

In December 2009, Boy George had a successful run of concerts at the Leicester Square Theatre in London's West End.

19 November saw the release of British DJ and musician Mark Ronson’s third single from his album Record Collection. Somebody to Love Me featured Boy George and was met with critical acclaim from critics and also meant a return to BBC Radio 1’s play list after being banned for many years.

On 11 May 2009, Boy George was released from prison at HMP Edmunds Hill in Newmarket, Suffolk, four months into a fifteen-month sentence for the assault and false imprisonment of a male escort, in his East London flat. He was tagged and placed on a curfew for the remainder of the sentence.

Reunions

In July 1998, a reunited Culture Club performed three dates in Monte Carlo and then joined the Human League and Howard Jones in a "Big Rewind" tour of the US. The following month, the band appeared on ''The Late Show with David Letterman'' and made an appearance in Britain, their first in 14 years. Later that year, the band had a Top 5 hit in the UK with "I Just Wanna Be Loved" and later a top 30 hit with "Your Kisses are Charity". In 2006, the band decided to again reunite and tour; however, George declined to join them for this tour. As a result, two members of Culture Club replaced George with vocalist Sam Butcher. George has expressed his displeasure at the turn of events. Finally, after one showcase and one live show, that project was shelved.

Boy George announced in 27 January 2011 to the BBC that there will be a 30th anniversary Culture Club reunion tour sometime later in the year and that they would be releasing a new album in 2012.

Personal life

By the late 1980s, George had been struggling with his severe heroin addiction for many years. He attempted to perform concerts while under its influence. Addictions to other drugs soon followed. Determined to save George's life, his younger brother David made an appearance on UK national television and blew the whistle on George's drug habit, which George had been publicly denying at that time. In 1986, Boy George was arrested for heroin possession as part of 'Operation Culture'.

In 1995, Kirk Brandon sued George for libel claiming that George mentioned a love affair between them in George's autobiography, ''Take It Like a Man''. George won the court case and Brandon was ordered to pay £200,000 to Virgin Records, EMI Virgin Music and the book publisher in costs. Brandon declared himself bankrupt, which resulted in Boy George paying over £60,000 in legal fees.

On 7 October 2005, George was arrested in Manhattan on suspicion of cocaine possession and falsely reporting a burglary. George denied that the drug was his. In court on 1 February 2006, the cocaine possession charge was dropped and George pleaded guilty to falsely reporting a burglary. He was sentenced to five days of community service, fined US$1,000 and ordered to attend a drug rehabilitation program.

On 17 June 2006, a Manhattan judge issued a warrant for the arrest of Boy George after he failed to appear in court for a hearing on why George wanted to change his sentence for the false burglary report. George's attorney informed the court that he had advised George not to appear at that hearing.

On 14 August 2006, George reported to the New York Department of Sanitation for his court-ordered community service. As a result of the swarming media coverage, he was allowed to finish his community service inside the Sanitation Department grounds.

In a February 2007 interview, the performer explained: “People have this idea of Boy George now, particularly the media: that I’m tragic, fucked up. I mean, I’m all those things, but I’m also lots of other things. Yes, I’ve had my dark periods, but that isn’t all I am.”

On 5 December 2008, George was convicted in Snaresbrook Crown Court, London, of the assault and false imprisonment of Audun Carlsen. On 16 January 2009, he was sentenced to 15 months' imprisonment for these offences. George stated that Carlsen was viewing his private information without George's consent. Initially sent to HMP Pentonville in London, George was later transferred to HMP Edmunds Hill in Newmarket, Suffolk (a category C prison).

On 11 May 2009, George was released after serving four months of his 15 month custodial sentence at HMP Edmunds Hill. He was released on home detention curfew and was required to wear an ankle monitor for 90 days.

On 23 December 2009, George had his request to appear on the ''final series of Celebrity Big Brother'' turned down by the Probation Service. Richard Clayton QC, representing the Probation Service, said George's participation would pose "a high level of risk" to the service's reputation. Clayton argued that if he used the show to promote his status as a celebrity and earn "a lucrative sum of money" it could undermine public confidence in the criminal justice system.

In January 2011, George agreed to return an 18th-century icon of Christ to the Church of Cyprus that he had bought without knowing the origin of. The icon, which had adorned his home for 26 years, had been looted from the church of St Charalampus from the village of New Chorio, near Kythrea. George had originally purchased the icon from a London art dealer eleven years after the Turkish invasion of Cyprus. He returned the icon at the Saints Anargyroi Church, Highgate, north London.

Memoirs

Harper Collins published his first autobiography, ''Take It Like a Man'', in 1995, written with Spencer Bright. The book was released to coincide with the timing of George's solo album, ''Cheapness and Beauty'', actually released at the same time, dealing with the same themes, and also including a number of photographs as in the book. ''Take It Like a Man'' was a bestseller in the UK.

In 2005, Century published ''Straight'', his second autobiographical book, this time written with author Paul Gorman. It stayed in ''The Sunday Times'' bestseller list for six weeks. This latter autobiography starts off there where the former had stopped, though the two works are different in style, due to their different co-authors, and all of the chapters have a title in the 2005 book, while the 1995 autobiography only featured numbered sections.

Gorman has also ghost-written ''Cry Salty Tears'', the memoirs of George's mother Dinah O'Dowd, which was published by Arrow Books, in January 2007. The same year also saw the publication of ''Straight'' in paperback. It was originally supposed to be updated, but Boy George declined to do so since he felt the book was too bitter and negative about other people, and he regretted writing it.

Sexual orientation

When Boy George was with Culture Club, much was made of his androgynous appearance, and there was speculation about his sexuality. When asked in interviews, George gave various answers. He gave a famous, often quoted response to an interviewer that he preferred "a nice cup of tea" to sex.

In ''Take It Like a Man'', George told his side of his secret relationship with Culture Club drummer Jon Moss. He stated many of the songs he wrote for Culture Club were directed at Moss. Most notably, "Do You Really Want to Hurt Me" which was about the abuse he received from Moss. He also alleged that Moss had broken off his engagement with a woman to be with George, but that Moss, although bisexual, was never comfortable in a same-sex relationship.

In 2006, in an episodic documentary directed by Simon George titled ''The Madness of Boy George'', George declared on camera he was "militantly gay". In a 2008 documentary directed by Mike Nichols titled ''Living with Boy George'', he talks about his first realisation he was gay, and when he first told his parents. He discloses that he understands why men fall in love with one another as well as with women.

References in popular culture

In 1984, during the height of the popularity of Culture Club, country singers Moe Bandy and Joe Stampley recorded a parody called "Where's the Dress". In the song, they see Boy George on television and decide they can be more successful if they dressed like him. The intro to the song is identical to "Karma Chameleon" before it goes into a traditional country feel, which in turn caused problems due to copyright infringement. However, the song reached #8 on the country charts.

Boy George was portrayed on film by Douglas Booth in the BBC2 drama documentary ''Worried About The Boy''. The TV film was aired in May 2010.

In the 2008 episode of ''Everybody Hates Chris'', "Everybody Hates Tattaglia," Boy George, played by actress Suzanne Quinn, is portrayed as the front man for the heavy metal band Quiet Riot performing the song "Cum On Feel the Noize."

There is also reference made to Boy George in the 1998 Adam Sandler flick "The Wedding Singer" in which Alexis Arquette plays George, a Boy George look-alike, who sings songs from Culture Club, including "Do You Really Want to Hurt Me."

Discography

Notes

References

De Graaf Kasper, Garret Malcolm (1983), ''When Cameras Go Crazy'', London, UK, Virgin Books & New York, NY, USA, St. Martin's Press; ISBN 0-312-17879-4 (Culture Club's official biography)

Boy George with Spencer Bright (1995), ''Take It Like a Man'', London, Sidgwick & Jackson (Boy George's first official autobiography)

Boy George with Paul Gorman (2004), ''Straight'', London, Century (Boy George's second official autobiography – republished in 2007 with updates – first edition includes EP of the same name)

External links

Boy George Website

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